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HALL AKDENZYeni Sanat Eseri Kavrami Ve Kurgusuna Doru...

Birim - Kurgu - oalmaToward the Concept and Fiction of New Artwork...

Unit Fiction Multiplication

SAYI: 10 / 21-25 ARALIK 2012 / ISSUE: 10 / 21-25 DECEMBER 2012ada1985 Mine Sanat Galerisi nin Sanat Postasdr, Para ile Satlmaz / Contemporary1985 The Free Of Charge Art Magazine published by Mine Art Gallery

IKM 207 STANDI - MNE SANAT GALERS - STANBUL KONGRE MERKEZ VELTF KIRDAR ULUSLARARASI KONGRE VE SERG SARAYI - RUMEL SALONUAl Kokteyli // Opening Cocktail: 21 Kasm, 2012 // 21 November, 2012 / 19.00 - 21.0022-25 Kasm, 2012 /11.00 - 20.00 // 22-25 November, 2012 / 11.00 - 20.00

Kltrmleri,

2012,

tuvalzerineakrilikkarkteknik,

29x

20cm.

Birim:snrszoalma.

/CulturalSigns,

2012,

acryliconcanvas

mixedmedia,

29x20cm.

Unit:infinitemultiplication.

2 2 - 2 5 K A S I M 2 0 1 2 / / 2 2 - 2 5 N O V E M B E R 2 0 1 2

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quakes. While it has been studying on the wand with dif-ferent propositions, which is consisting of one single ob-jects concluding with three-items, objective and culturalmemory occured.Objective mind formed within the triplesystematics reached us as possiblity of power or stagesof hidden power. At the same time, it has been describedas layers of enmity and hostility.(4) When Poseidon wasaccrued with being the commander of the seas; r st of allwe went to the sky, after to the earth and then to the sea.

Thus, rstly, he would be the god of freshwater and thenthe god of water of earth. Poseidon also honored with thename Phytalmios which means the god of vegetation.This time, trident is a magic wand which involved allresources. (5) Poseidon throws his trident to the Saty-ros to protect daughter of Danaos (Amymone) who is theking of Argos . The scepter penetrates the body of Saty-ros and it sticks into a rock. Amymone get thirsty. Shelistened to Poseidons order and pulled out The Trident.Then the rock starts to leaking water from these threeholes and comprises a water fount. According to Charles,there is a tough and virile action of this scepter. At theend of this provacative act, the water occurs.

The objective memory is enriched with the transition toneolitic age -as being an age of production- from hunterand gatherer way of life. Describing of Trident withseals which also a references to private property of

i: Mine Sanat Galerisi Genel Yayn Ynetmeni: Mine Glener - Nur Glener Yaz leri Mdr: Serkan Glener Grafk Tasarm:Alp Dedeolu Grafk Uygulama: Rabia Ergin eviriler:Melike Tomris nder Katkda Bulunanlar:Yusuf Taktak - H. Avni ztopu Bask:Focus BasmSanat Galerisi - Bodrum / Palmarina - Yahane Mekan, Merkez Mahallesi, kertme Caddesi Yalkavak - Bodrum / Mula - Tel: 0536 553 50 66 - web: www.minesanat.com

minegulener@gmail.com Mine Sanat Galerisi Avrupa ubesi / Dr. Mde Kley Sok. Yasemin Apt. No: 1 D: 5 Nianta/stanbul - Tel: 0212 232 38 13 - Gsm: 0536 553 50 66

The brain is the house of memory which representsmans inner perception and phenomenon. However, theformation, organization, protection of existence consistsof the external dimensions. (1) Jan Asmann empha-sizes the social and cultural framework as external di-mension and denes them as mimetic, objective, commu-nicative and cultural ssues. Cultural memory in termsof memory belonging to object and convection of mean-ing creates the main theme with the tendecy of chasingthe traces of trident. Man nds himself surrounded bythings that are founded by themselves. They stressesto reections on themselves, their past, commitment totheir ancestors, in other words, highlights the index of

time. This journey comes over to communicative and mi-metic memory, by going beyond the main themes, as well.Particularly,transformation of symbols and signs to thesymbolism is inevitable. This transformation make upbuilding process of places that are created in the memo-ries. It is, in a way, an exchange of what is abstract to theconcrete one. The Concrete becomes abstract by hidingthe abstract concept and abstract becomes concrete.

Content of symbol and signication depends on time andspace that its used. Qualit ative objects plays a key rolein the world of symbols. They are the key elements of per-sonication and identication. Qualitative objects createspurpose. They give up being a medium and becomes anaim on his own. Going beyond the identication, they aretelling function of identity and part of its biography whichinvolved characterics of it. In this context, trident asa visual and formal creation of language, is a quantierobject and while it was carrying us to an abstract, moral-didactic idea, it is reached us to a general concept as well.

Sea god Poseidon talks with anger and gets into action.(Od. V, 291 vd)

Thereon he gathered his clouds together, grasped his tri-dent, stirred itround in the sea, and roused the rage of every wind thatblows tillearth, sea, and sky were hidden in cloud, and night sprangforth outof the heavens. Eurosla Notos, howling Zephyros andBoreas blew with wrestling .

Homeros transmits us Poseidons duty and characther -istics with the frame of objective mind. In HesiodossTheogonia, the son of Kronos and Rhea, absolute com -mander of sea Poseidons trident is a qualitative object;a symbolic representation of waters, seas and earth-

nn isel algsn ve grngsn temsil eden bel -n mekan beyindir. Ancak bu mekandaki varoluunmlenii, organizasyonu ve korunmas d boyutlarevesinde oluur(1). Jan Asmann d boyut olarakumsal ve kltrel ereveyi vurgular ve bu boyutla-imetik, nesnel, iletiimsel ve kltrel olarak belirler.

bu boyutlar erevesinde atall Asann izleri-rme yneliminde nesnesel bellek ve anlam aktarm

ndan kltrel bellek ana temalar oluturur. Kendi-ulduu eylerle evrelenen insan bu nesnelerde ken-ansmasn, gemiini, atalarna ball bir bakale zaman dizinini vurgular(2). Amaca ynelik an -tesine gitmesi ise bir kltrel bellek yolculuudur.

boller, iaretler, temsiliyetler srekli bir yo lculuk s-yaarlar. Bu yolculuk ana temalarmzn da tesinerek iletiimsel ve mimetik bellee d e urar. zelliklebollerin, iaretlerin sembolizme dnm kanl-dr. Bu dnm hafzalarda yaratlan mekanlarna srecini oluturur. Soyutun somutla alveriidirakma. Somut belirli bir soyut kavram gizleyerek so-ar ve soyut somutlar.

boln ierii ve anlamlandrma kullanld mekanamana baldr. Semboller dnyas arasnda niteli-nesneler kilit rol oynar. Kiiletirmenin, kimlikle-enin nemli geleridirler. Niteliyici nesneler ara

aktan karak ama oluturur. Kimlikletirmeninine geerek, kimliin grevini, karakter zelliininald biyograsinin bir blmn anlatrlar (3). Buamda grsel ve ekilsel dilin yarats atall Asaeyici bir nesnedir ve bizleri belli bir soyut, ahlaki-ktik ideaya gtrrken ayn oranda genel bir kavra-

da ulatrr.

merosun Odysseasnda deniz tanr Poseidon kralsseusa fkeyle konuur ve eyleme geer (Od. V,291

e dedi, yd bulutlar st stenda allak bullak etti denizi,atall Asasn tutuyordu elinde,

verdi eitli yellerin kasrgasn tekmil,aa, denizi kaplad bulutlarla,

anlk boand gklerden,osla Notos ve uluyan Zephyrosoca dalgalarla ak gkten kopan Boreas,er drt bir yandan boua boua.

meros Poseidonun grev ve karakteristiini nesnelek erevesinde bizlere ulatrr. Hesiodosun Theo-asnda Kronosla Rheann olu, denizin mutlak ha-

kimi Poseidonun atall Asas niteleyici nesnesidir;sularn, denizlerin ve depremlerin imsel bir temsilidir.Tekil bir nesnenin geyle sonlanmasndan oluan asahakknda farkl nermeler getirilirken nesnesel bellekile kltrel bellek oluur. l sistematik iinde biimle-nen nesnel bellek bizleri gcn yansra g olanannveya gizli gcn aamalarna, kademelerine ulatrr.Ayn oranda da husumetin, dmanln katmanlar ola-rak ifade edilebilir(4). Poseidon deniz hakimiyeti payn

alnca nce gkyznden topraa ve daha sonra denizegidecektir. Bylece nce tatl su tanrs, toprak suyununtanrs olacaktr. Bitki rtsnn tanrs anlamna gelenPhytalmios adyla da onurlandrlr. Bu kez atallAsa kaynaklar bulduran bir sihirli denektir(5). Posei-don, Argos kral Danaos un kz Amymoneyi Satyrostankorumak iin atall Asasn frlatr. Asa Satyrosunvcudunu delip geerek bir kayaya saplanr. ok susayanAmymone Poseidonun buyruunu dinleyerek atallAsay sapland yerden karr ve kayann yerindensu szdran kayadan bir su pnar oluur. Charles Poixyagre asann sert ve erkeksi bir eylemi vardr ve bu k -krtc eylem sonucunda su oluur.

nsanolunun paleolitikteki avc, toplayc yaam bii-minden besi retiminin gerekletii neolitik dnemegeiiyle nesnel bellek zenginleir. atall Asa nn ta-rmn yani besi retiminin, ilk admlarnn gerekletii

R N E S N E N N B E L L E K L E R D E Z L E R V E L T R L E R A R A S I Y O L C U L U U : A T A L L I A S A N O B J E C T ' S T R A C E S I N M E M O R I E SN D I T S C U L T U R A L J O U R N E Y : T R D E N T

3

Prof.Dr.Eva Aleksandru arlak

K l t r m l e r i , 2 0 1 2 , t u v a l z e r i n e a k r i l i k - a a k o n s t r k s i y o n , 1 8 0 x 2 1 2 c m . / C u l t u r a l S i g n s , 2 0 1 2 , a c r y l i c o n c a n v a s - w o o d c o n s t r u c t i o n , 1 8 0 x 2 1 2 c m .

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Mesopotomia,(It is rst place of nutrition production, ag-riculture) reect as manifestation of cultural memory.Parallelism of its formation with scythe and pitchfork canbe explained within the framework of the agriculturalsymbolism. trident is also a sign of lighting as a qualierobject of a god which can not be identied in different re-gions. It has some paralellism with mythical narrativesbelonging to Assyrian origin. J. E gives a broad placesto Pail Diels proposal of trident and describes his ownproposition within the framework of the theory of eth -ics against the logical proposition. Trident represents

three sins which consists of three vital impulsion of food.Food and storage which transforms to property, wealthand authority; reproduction which turns to enthusiasm;sanctify and evolution which turns to pride(6)

At the same time, It is basic form of life: It is a reection ofPast, Present, Future within the representation of Birth,Life, Death . Statement of to be three in one is a fre-quently used fact in Mitologia. Three-Fractional maliceor replicas of diabolic trinity. Three-headed hell dog Ker-

beras and three-formed Hekate which is a godness belong-ing to Anatolia and resembles Artemis from Efessos alsoincludes in Hesiodoss Theogonia. In this time, Its three-formed is recommended as broodmares, shewolf, she dogby Azra Erhat and it implies Hekate and Artemiss pa-ralelism of girl,woman and moon godness . its implicationas three-bodied statue attracts interest as well. (7)

Roman retiarius gladiators who ght with equipment en-hancements of the sea and sailors use their trident dur-ing the war. This weapon as the representation of pow-er, provides a long-range ght to retiarus due to the longlenght of it. Long lenght of the scepter refers to celesti-ality and the celestial divinity of scepter. (8) Thus, theirchances to defeat their enermy ()It can be seen as a me -dium of impulse of human beings for establishing sover-eignity on distance. mirmillo Gladiators who ghts withtheir swords against Retiarus can be dened within theframework of individual heroism. It is a confrontationof celestiality and indiviual courage. As stated by Cirlot,there is power sign that represents patriarchal poweragainst this indiviual courage. This can be evaluated as

an absolute victory within the framework of spiritualunderstanding of pater familias in Rome.The Trident is located cultural memory of Hindu and Bu-dhist. Its proximity to the sun disk evokes an antecedentsymbol of sun. James Hall mentions tridents representa-tion of lighting in Buddhism in his Dictionary of Symbols.In Buddha faith, trident associates with Buddhizmsthree-Ore which represent Buddha, Law and Public. It iswand of Hindu God Shiva as well. Each spear tip,three-forks represents three features of nature: Creativity andDestructiveness securement. These desire, action andwisdom can be expressed as allusion. (10) It representforce against devil power as an Shamanistic ritual object.In this context, it can be identied with true knowledge,true faith, true conduct. In fact, Trident is a hiyerofanithat means it is a Manifestation of Being Holly.

Our encountering with this symbol n monotheism as anobjective qualier of devil, also leads to the creation ofa memory of mankind towards to pagan symbols. How-ever, it does not create deviation in semantic representa-tion This representation is diffucult and it can be evalu -ated within the framework of dualism.The faculty of producing meaning of people who can

produce,think and also think about what did he thoughtcan be seen within the tridents intercultural journeyinto the geography of the world. It can be wittnesedthe exchange between the abstract and concrete. Thus,shaping of thought into the Trident and transformationof Trident a spatial harmony to a thought may be an is -sue for to discuss and explain.

Footnotes:Assman, Jan. ev. Aye Tekin.Kltrel Bellek, Eski Yksek KltrlerdeYaz,Hatrlama ve Politik Kimlik. Ayrnt, stanbul, 2000. (1)Assman, Jan. a.g.e. (2)Straten, Roelaf van. An Introduction to Iconography, Taylor and Francis. New

York, 2007. (3)Cirlot,J.E.. A Dictionary of Symbols, Routledge, Londra, 1971.(4)Bachelard, G.ev.Olcay Kunal, Su ve Dler, Yap Kredi Yaynlar,stanbul,2004.(5)Cirlot,J.E..a.g.e. (6)Erhat, Azra. Mitoloji Szl, Remzi Kitabevi, stanbul,1989.(7)Cirlot,J.E..a.g.e.(8)Shepherd, Rowena and Rupert. 1000 Symbols, Thames and Hudson, Lon -don,2002.(9)Hall,James. Illustrated Dictionary of Symbols in Eastern and Western Art,

Westview Press, U.S.A.1996.(10)

opotamyadaki zel mlkiyetin de referanslar olanrlerde betimlenmesi kltrel bellein bir manifes-olarak yansr. Biimleniinin trpan, dirgenle olanlellii tarm sembolizmi erevesinde aklanabilir.

kl corafyalarda tanmlanamayan bir tanrnn nite-ci nesnesi olarak atall Asa yldrmn da imidir.r kkenli mitsel anlatlarda da paralellikler bulunur.

mboller Szl almasnda J.E.Cirlot, Pail Dielinatall Asa nerisine geni yer verir ve mantksalmenin karsnda bu kez ahlak kuram erevesine

n nermesini aklar. atall Asa besinin ya-sal drtsnden oluan gnah temsil etmektedir.k, servet ve otoriteye dnen besi ve depolama, ihti-

dnen reprodksyon, gurura dnen kutsalla-a ve evrim(6).

amn temel formlarnn bir nesnesidir de ayn zaman-Doum, Yaam ve lm temsiliyetinde Gemi, Bu-ve Gelecek yansmasdr. Tekte olmann ifadesilogyada ska rastlanan bir olgudur. kademeli k-k veya lemin eytani replikas. bal cehennemei Kerberos ve Anadoluya zg bir Tanra olan,

soslu Artemis nitelikleri tayan biimli Hekateodos Theogoniasnda da yer alr. formluluu buksrak, dii kpek ve dii kurt biimleri zellii Azraat tarafndan nerilir ve Hekatenin Artemisin kz,n ve ay tanras paralelliine iaret eder. gvdeli

heykel olarak imgelenii de dikkati eker(7).

iz ve denizcilere ait malzeme donanmlaryla dv-Romal gladyatr retiaruslar dvlerinde a-Asalarn kullanrlar. G temsiliyetinin bu silah,

nluu nedeniyle retiaruslarn mesafelerini koruya-dvmelerini salar. Bylece karlarndaki glad-r yenebilme yetileri de yksektir. Asann uzunluuellie ve gks el tanrsalla referans verir(8). nsa-unun mesafeye egemenlik kurma drtsnn de bir olarak kabul edilebilir. Retiarusun karsnda kl-

a dven mirmillo gladyatrleri bireysel kahraman-r erevesinde tanmlanabilir. Gkselliin bireyselretle kar karya geliidir. Cirlotun da ifade etiibu bireysel cesaretin karsnda ataerkil gc tem-den bir g imi vardr. Romadaki pater familiasel anlay erevesinde bunu mutlak zafer olarakrlendirmek mmkndr.

atall Asa Hindu ve Budist kltrel belleinde dealr. Gne diskiyle olan yaknl bir ncl gneboln artrabilir. James Hall Semboller Szl-de ikili ularla sonlanan atall Asann Budizmldrm temsiliyetinden sz eder. Buda inan biimle-

nde atall Asa Budizmin, Buda, Kanun ve Halksil eden cevheriyle ilikilendirilir. (9). Hindu Tan-hivann da asasdr ve buradaki her bir mzrak ucuatal doa zelliini temsil eder: Yaratclk ve Ko-uculuk ve Ykclk. Bu Arzu, Eylem ve Bilgelike gn-me olarak da ifade edilebilir(10). amanist ritel nes-larak eytana kar gc temsil eder. Bu balamdau bilgi, doru inan ve doru davranla zdeleir.

nda atall Asa bir hiyerofani yani Kutsaln Te-r dr. Tektanrclkta bu kez karmza eytannnel niteleyicisi olarak karmza k insanolununan sembollerine kar bir bellek yaratmna da gt -Ancak yine de tektanrclktaki anlamsal temsiliye-

tinde sapma yaratmaz. Bu temsiliyet gtr ve dualizmerevesinde deerlendirilebilir.

reten, dnen ve dndnn de zerine dne-bilen insann, anlam ykleme yetisini atall Asanndnya corafyasndaki kltrleraras yolculuunda iz-lerken, bu yolculukta mutlak hafzada soyut ile somutarasndaki dei tokua tanklk etmek ve dncenin atall Asa da biimleniini ve atall Asa biim-selliinin dnceye dnt aka ifade etmek szkonusudur.

DPNOTLAR:Assman, Jan. ev. Aye Tekin.Kltrel Bellek, Eski Yksek KltrlerdeYaz,Hatrlama ve Politik Kimlik. Ayrnt, stanbul, 2000. (1)Assman, Jan. a.g.e. (2)Straten, Roelaf van. An Introduction to Iconography, Taylor and Francis. New

York, 2007. (3)Cirlot,J.E.. A Dictionary of Symbols, Routledge, Londra, 1971.(4)Bachelard, G.ev.Olcay Kunal, Su ve Dler, Yap Kredi Yaynlar,stanbul,2004.(5)Cirlot,J.E..a.g.e. (6)Erhat, Azra. Mitoloji Szl, Remzi Kitabevi, stanbul,1989.(7)Cirlot,J.E..a.g.e.(8)Shepherd, Rowena and Rupert. 1000 Symbols, Thames and Hudson, Lon -don,2002.(9)Hall,James. Illustrated Dictionary of Symbols in Eastern and Western Art,

Westview Press, U.S.A.1996.(10)

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retim srecinde n aratrma ve yaratma evreleri Halil

nizin sanatnn temel disiplinini oluturuyor. Disipline bal

k ortaya kan yaptn oluum srecini ise disiplinin berabe -

getirdii bir aray olarak adlan drabiliriz.

trma disiplini, sre ve srecin srekli kld aray; sanat-

hem kavramsal hem de teknik adan yaptlarnn niteliini

ya koyar. Yapt aratrlan bir nesneyi ierir, sadece nesnenin

bununla birlikte yaptn da ada balamda yeniden zm-

eye alldn grrz. Yaptlarda klasik ereve yerini

i kurgularla sregiden bir yaplanmaya brakr. Arayn da

kledii aada bahsedeceim bu yapy kurgunun son rasna

ei yo lu olarak grebiliriz. Sanat tarafndan aratrlan,

an ve zemin zerine monte edilmesiyle sonulanan yaratm

cinden sonra nesne yepyeni bir srece dhil edilmitir. Yap -

nk olan izleyiciye sunulan, yeniden kurgulanm simgelerin

alglamalardr. Akdenizin yaptlar sz konusu olduunda

nde durulmas gereken balca drt konu vardr: zerine ei-

konunun evrensellii, bunun yapta kavramsal olarak teza-

, kavramsal srecin drt ta arasnda kalmayp teknik ile b -

ip somutlat ve sonrasnda izleyicinin yeniden kurgusu

ttiimiz nesnelerin ounluunu Akdenizin titizlikle aratr-

ntik kltrlere ait semboller, harer, imler oluturur. Farkl

an ve mekanlarda kullanlan ve kullanldklar her kltrde

gsterilenlere sahip olan bu imlerin alar boyunca sre gel -

corafyalarn ayn zamanda kltrlerin de kendi dili olmas

tnn yaptlarn da zaman kavramnn zerine karttn

yebiliriz. Sanatnn bir rportajnda dikkat ektii gibi ya-

rnda ska geen harnin, Greklerin rettii harf olmas

nun Felixin Fsi olarak ayn zamanda mutlulua iaret et-

gnmzde ise modern zikte alternatif enerjiyi modern

matikte de soyut kavramlara iaret etmesi imin bize zaman-

rasnda nasl yolculuk ettiini gstermektedir. Sanat, bu

luu aratrd kilit imlerle yaptlarnda gzler nne serer.

dolat kltrleri alglamann yaratt evrensellik gnde-

etirilmektedir. Bu evrensellik yapta gemi, an ve gelecein

hr olarak ilenmi olur. Bunu oluturan yaptn kendisidir;

ite kullanlan ve u anda kullanlan ortak simgeler yap-bo-

u bir tavrla ayn zemin zerine yerletirilir. rnek olarak

har ile Peace simgesinin birlikte kullanlmas, imlerin ken-

nde gemile ve bugnle hesaplamasn gsterir ama ayn

anda iki ayr gsterilene sahipmi gibi duran iki imin birbir-e ada dzlemde nasl etkileime girebilecei de gsteril-

edir. Bylelikle gemiten gnmze gelen srecin gelecee

salanmaktadr.

tnn yaptlarnn kavramsal ilevi, sanat yaptlarnn tekni-

birlikte dnlmelidir. Nitekim aratrlan konu, kavramsal

k sreklilie sahiptir.

ik olarak da bu srekliliin sanat yaptnn imkanlar zor -

ak da aktarma abas grlr. Yaptlar, malzeme ve tek -

sndan konstrktif bir etki uyandrr. Yalnz teknik, kons -

ivizmin ierii ile ilgili deildir. Yaptlar eskiz aamasndan

ez. Sanat ska kulland antik dnem granit renklerini

satan beyaz, yeil, krmz zemin zerine imleri resmi o an

rken monte eder, retilen almalarn her aamasnda sre-

dk kalnr. Bylece kltrlerin srele birlikte kullandkla-

nda kendi kurgular olan imler, yine sanatnn srece bal

olarak oluturduu kurgu ile devam eder. Burada zaman sz ko -

nusu olmaktan kar, nk artk im ne gemitedir, ne de bug-

ne sabitlenmitir. Yaptn ahap bloklar sayesinde meknla yapt

arasnda saydam bir grnt o luturulur.

Sanatnn, yukarda aklamaya altm sre, kurgu, uzam

problemini 2012 tarihli Kltr mleri isimli son yaptlarnda ok

daha gelitirdiini gryoruz. 29 x 20 cm ebadnda olan yaptla-

rn her birinin zerinde Yunan mitolojisinde geen deniz tanrs

Poseidonun asas yer alr. Poseidon mitolojide enosigalos yeri

sarsan, yok eden - unvanyla anlr. Bu haliyle asa g simgesi ola-

rak yaptlarda yerini alr. Yunan mitolojisinde asann g simgesi

olmasnn yan sra Trk mitolojisinde de amanlarn kulland

asann kt ruhlardan koruyucu nitelii vard. Sanat, gemi-

ten alp getirdii bu kltrel simgeyi gelecee tanmas iin yapt -

ta gemi almalarna nazaran yeni teknik ve malzemelerle bir-

likte hem ierik hem de temsili deerler balamnda yeni almlar

gerekletirmitir. Teknik ve kavramsal ifadesini birletiren sa-

nat tek tek duvara yerletirdii birim formlarla, izleyicinin

kurgulama ve yorumuna aktr. Bunlar ayn zamanda Akdenizin

daha nceki Yasa(k)lar Tehlikede (2008) almalarndaki gibi

iinde bulunduumuz an ve modern bilincin kltr zmle-

meleri olarak: Artk gnmzde g ve otoritelerin sarsld, her

trl st kavramn ve st gerekliin irdelenmesi biiminde de

okunabilir. Sanatnn gemii aratrp ve anlk retmesiyle so -

nulanan yaptlar, yeni yorum ve katlmcnn kurgusuyla da a-

da zamanlarda yeni bir srece doru evrilmektedir.

Arzu edildii kadar oaltlabilir, yerleri deitirilebilir, renk sei-

mi yaplabilir olan bu ilerin artrmak istediklerini karlamak

iin Akdenizin kulland simgeler hakknda bilgi sahibi olmak ge -

rekebilir. Bunun yannda bu simgelerin bilerek ya da bilmeyerek

hayatmzda bir ekilde var olduunu ve bir ksm temsili deer-

ler/deersizlikler ierdii gereini de grmek gerekir. Sonu ola-

rak Halil Akdenizin, gemii deerek evrensel farkndalk yaratt-

n, snrlar ap corafyalar zenginletiren kltrel simgelerin

yaratt snrszl ve zamanszl yeniden kurguladn ve izle-

yiciyi buna ortak etmek istediini dnebiliriz.

H A L L A K D E N Z : R E C O N S T R U C -T I O N O F C U L T U R A L S I G N S

Preliminary investigations,stages of creation make up basic disci-pline of Halil Akdenizs art during the production process of his

works. The formation process of the works which are emerging

with discipline could be designated as a quest which comes with

disipline.

Research discipline, process and quest become continuous with

process; demostrate the quality of his work both technically and

conceptually. The work contains an object that are studied. It has

been seen that not only object but also the work are tried to resolve

again in the contemporary context. The classic frame of works are

replaced by structure ongoing with various reconstructions. This

structure, also supported by search, can be seen as a transition

gate to the following stages of setting up. The object has been in -

volved a new process af ter a mean time passing with reseaching,

approving, and concluding with assembling of work to the oor.

Presented to the audience who witnessed the work of art is new

perceptions reconstructed symbols. There are four main topics to

be addressed when it comes to works of the Akdeniz: Universality

of subject and its conceptual manifestation in the work of art, in-

tegration of conceptual process to the technic, re-construction of

the audience after the completion of everthing...

Majority of the aforementioned objects are being created by sym-

bols, letters, signs of ancient cultures which are carefully inves-

tigated by the Akdeniz.These signs were being used by different

cultures with various indicators throughout the ages and both ge-

ographies and cultures have their own language as well. All these

have contributed to ascending of his works to the concept of time.

As pointed out in an interview with the artist, the letter which

is frequently used in his works was produced by Greeks, at the

same time point out the happiness as being f of felix and today

it implies alternative energy in modern physics and abstract con-

cepts in modern mathematics. t indicates that how signs can be

travelling between eras. The artist explores this journey with key

signs and reveals them with his works. Universality created by

perception of cultures that the sign strolls around. This univer-

sality will be processed to work as manifestation of past, present

and future. For example, use of letter with the peace symbol

shows reckoning of signs by themselves with past,future,presentbut at the same time, t has been shown that how two signs which

have as if two separate signied can interact with each other in a

modern platform. Thus,there is a process comes from past to the

present and its ow of future is provided.

Conceptual function of the artists works should be considered in

conjunction with the technique of works of art. Indeed, same as

the conceptual continuity of the subject is studied.

Technically, it has been shown an effort to export with enforcing

the facilities of art work. Works register a constructive impact in

terms of material and technique. Technique only is not very close

to the content of constructivism. There isnt any sketch process in

his works. Signs frequently used by artists which are the reminis -

cent of ancient marble colors, white, green, red are assembled at

the same moments with the act of painting each stages of works

that produced stay faithfull to process. Thus, signs that are used

with the process by civilizations, they implies their own ctions.

which implies that their ctions, however, depending on the art -

ists process continues with ction created. Here time ceases to be

in issue. Because sign is neither in past, nor xed at present any

longer. A transparent image is generated between work and image

with wooden blocks.

It has been seen that the artist developed much more his process,

set up, space problem in his latest works in 2012 named Signs

of Culture. I also tried to exlain above. The wand of Poseidon, the

god of sea in Greek mythology, is placed in each works with the

size of 28 x 20 cm. Poseidon is called with the title of enosigalos-

consultive, eradicator-. He replaced the wand in his works as a

symbol of power. Apart from that, the wand used by shamans as a

protector of evil spirits and also a sign used in agriculture which is

an important mainstray in Anatolia ,it has some similarities with

the wand of Poseidon. All these are some of cultural samples at -

tract the attention of artist. This wand had brought from the past

by the artist, can be symbols of cultures carried out technical

changes in order to transport to the future. The artist combined

technical and conceptual statement by xing the unit forms one

by one. These are open to interpretation and re-construction and

at the same time they are resolutions of the current era and mod-

ern consciousness as being the study of cultural analysis just like

Akdenizs previous works are entitled as Laws (Prohibitions) are

Endangered(2008): t can be interpreted as evaluation of concept

of superior and the reality of it. In this way, works that occured

with artists the investigation of past, concluded with instant pro-

duction of him and it is presented to a new process in contempo-

rary times with setting up the auidence. These works are repro -

duced as many times as you wish, their places can be changed, the

choice of colors that can be done to provide these works

if you want to know what is evoken by these works, maybe youll

need to have information about the icons used by Akdeniz. In ad-

dition, it s the fact that these icons knowingly or unknowingly in-

volves our ordinary lifes.

As a result, it can be said that Halil Akdeniz create universal

awareness by digging up the history. He also tries to setting up for

innity and timelessness of cultural sign and wants to partipate

the audience in it.

ALL AKDENZ: KLTREL MLERN YENDEN KURGUSUOuz Alp Dedeolu

Sanatn*ve

SalnBulutuu

Mekan

Bizim iin deerlisiniz...

TANI HZMETLER

RadyolojiNkleer TpLaboratuvarGenetikPatoloji

TEDAV HZMETLER

Medikal Onkoloji Radyasyon Onkolojisi Genel Cerrahi Kadn Hastalklar ve Doum Gs Cerrahisi Psikiyatri Psiko- Onkoloji Beslenme ve Diyet

Ycel Sokak. No:6, 1.Levent,Nisbetiye Mahallesi 34340 Beikta - stanbul

Tel: (212) 385 31 00 Fax: (212) 269 01 20 www.neolife.com.tr

* Yl boyunca merkezimizde yer alan sergileri grmek zere, sizi merkezimize bekliyoruz.

Salnz

ihmaletmeyin,

yllk

kontrollerinizi

unutmayn!

* Yl boyunca merkezimizde yaplmakta olan resim sergilerimizi ziyaret etmek zere sizleri bekleriz.

7/30/2019 ADA1985 10.say

5/5

HALL AKDENZ KMDR? | WHO IS HALL AKDENZ?Akdeniz was born in Antalya in 1944. He graduated from Ankara Gazi Institute of

Education Department of Arts and Crafts (1962-65). He won the State Specializa-

tion Scholarship Abroad and went to Germany. Between 1968 and 1974, Akdeniz

completed his undergraduate studies and specialization at the Berlin State Acade-

my of Fine ArtsHdK, Berlin (currently, Berlin Fine Arts University). He received

the following degrees from Ege University and Dokuz Eyll University: Masters

Degree from with the thesis, Grsel Alglama Asndan Renk Kullanm ve Et-

kileri (The Use of Color and Its Effects in Visual Perception; 1982), prociency

in art with his work zmir Krfez Kirlenmesi zerine Sanatsal Deerlendirmeler

(Artistic Assesments on the zmir Bay Pollution; 1984), and PhD entitled, ada

Resim Sanatnda Kuram (Dnce Boyutu) ve Trk Resim Sanatna Yansmaszerine Bir Aratrma (Theory of Contemporary Painting and Its Reections

on Turkish Art; 1990). He became an assistant professor in 1986, an associate

professor in 1987, and a full professor in 1994. He worked as faculty member at

Ankara Gazi Education Institute (currently Gazi University Gazi School of Educa-

tion), Ege University, Dokuz Eyll University, Bilkent University and Anadolu Uni-

versity. Akdeniz founded the Painting and Fine Arts Departments at Ege, Dokuz

Eyll, and Bilkent Universities. While at these institutions, he served at different

administrative levels ranging from head of department to faculty board member,

as well as university senate to university administrative board member. Between

1996 and 2001, Akdeniz was appointed as the Cultural Advisor to the Turkish

Embassies in Bonn and Berlin and as Advisor to the Minister of Culture in 2001.

He worked as faculty member at Anadolu University School of Fine Arts between

2001 and 2005. Having established art studies for the rst time in Turkey, he

launched Art Theory and Criticism Masters Programs at Anadolu University

(2003) and Ik University. Akdeniz

currently works as the Head of Ik

Universitys School of Fine Arts De-

partment of Visual Arts, as well as

the Head of the Institute of Social

Studies Department of Art Studies.

Halil Akdeniz is recognized in Con-

temporary Turkish Art with his

works and research essays. Hav-

ing served as the basis of his recent

works and begun with the painting

series entitled, Visual Reections

on the zmir Bay Pollution in 1978

and the 1980s with the scientic

research concentrating on the en-

vironmental problems in the areas

he lived, his artistic analyses con-

tinued with zmir Ephesus-Ruins

Viusal Notes series. Covering vari-

ous cultural regions of Anatolia,

Akdeniz concentrated on Anato-

lian Civilizations-Intercultural,

Anatolian Civilizations-Cultural

Settings, Anatolian Civilizations-

Culture Logos and Anatolian Civ-

ilizations-Cultural Remnants. Most recently, the artist has been focusing on a

series of works entitled, Cultural Signs.

Having emerged during the aforementioned period, the works of Halil Akdeniz,which contain many artistic and non-artistic elements as well as contemporary

interpretations and artistic analyses, were displayed in countless national and in-

ternational exhibitions, biennials, triennials, art fairs, and museum exhibitions.

Including a rst prize (gold medal) abroad, the artist was granted two interna-

tional and numerous national awards. Due to his achievements and contributions

towards Turkish Art, he was bestowed the honor of State Artist by the Turkish

Presidency in 1998. He was selected as one of the artists to create art works in the

interior space of the new building of the Presidential Pavilion and thus executed

his work entitled, Anatolian Civilizations-Intercultural on the wall of the build-

ings library. His works are preserved in museums and collections in Turkey and

abroad. Akdeniz has published four books (the last two is currently in the course

of publication) on Turkish art and artists, as well as catalogue texts, numerous sci-

entic articles, researches, papers, and essays. In addition, four books have been

published on the artist and numerous books and catalogues include his works.

Halil Akdeniz is an Honorary member of the Mnster Academy of Art in Germa-

ny. He is also a member of the International UNESCO-AIAP Association of Plastic

Arts and, at one point, served as this Associations Chair of the Ankara Repre-

sentative Ofce for the Turkish National Committee. Furthermore, Akdeniz is a

member of UNESCO-AICA International Association of Art Critics and a founding

member of AICAs Turkish National Committee.

1944 ylnda Antalyada dodu. Ankara Gazi Eitim Enstits Resim-

Blmn bitirdi(1962-65). Devlet Yurtd ihtisas snavn kazanarak

Almanyaya gitti. Berlin Devlet Gzel Sanatlar Akademisinde HdK, Berlin

(bugnk Berlin Gzel Sanatlar niversitesi) lisans ve uzmanlk renimi gr-

d(1968-74). Ege niversitesi ve Dokuz Eyll niversitesinde; Grsel Alglama

Asndan Renk Kullanm ve Etkileri konulu tezi ile yksek lisans(1982), zmir

Krfez Kirlenmesi zerine Sanatsal Deerlendirmeler almas ile sanatta ye-

terlik(1984), ada Resim Sanatnda Kuram(Dnce Boyutu) ve Trk Resim

Sanatna Yansmas zerine Bir Aratrma konulu tezi ile doktora(1990) de-

receleri ald. 1986da yardmc doent, 1987de doent, 1994te profesr oldu.Ankara Gazi Eitim Enstits (bugnk Gazi niversitesi Gazi Eitim Faklte-

si), Ege niversitesi, Dokuz Eyll niversitesi, Bilkent niversitesi ve Anadolu

niversitesinde retim yesi olarak alt. Ege, Dokuz Eyll ve Bilkent ni-

versitelerinde Resim ve Gzel Sanatlar Blmlerini kurdu. Bu niversitelerde

blm bakanlklar faklte kurulu yelikleri, niversite senatosu ve niversite

ynetim kurulu yeliklerine kadar eitli kademelerde grev ald. 1996-2001

yllar arasnda T.C.Bonn ve Berlin Bykelilii Kltr Mavirlii ve 2001de

Kltr Bakanl Bakanlk Mavirlii grevlerinde bulundu. 2001-2005 yllar

arasnda Anadolu niversitesi Gzel Sanatlar Fakltesinde retim yesi ola-

rak alt. Trkiyede ilk kez sanat bilimini kurarak Anadolu niversitesinde

(2003) ve Ik niversitesinde(2008) Sanat Kuram ve Eletiri Yksek Lisans

Programlarn at. Halen stanbulda Ik niversitesi Gzel Sanatlar Fakltesi

Grsel Sanatlar Blm Bakanl ve Sosyal Bilimler Enstits Sanat Bilimi AnaBilim Dal Bakanl grevlerini

srdrmektedir.

Halil Akdeniz, ada Trk Sanat

alannda eserleri ve aratrma ya-

zlar ile tannr. Son dnem al-

malarna kaynaklk eden 1978li

ve 1980li yllarda zmir Krfez

Kirlenmesi ile lgili Grsel Deer-

lendirmeler adl resim dizisiyle

balad ve yaad evrelerdeki

ziki evre sorunlaryla ilgili bilim-

sel aratrmalarla da desteklenen

sanatsal zmlemeleri, zmir

Efes-ren Grsel Notlar dizisi ile

devam etmi, Anadolunun deiik

kltr blgelerini kapsayan bu a-

lma dizilerinde Anadolu Uygar-

lklar-Kltrleraras, Anadolu

Uygarlklar-Kltrevresi, Ana-

dolu Uygarlklar-Kltr Logolar

ve Anadolu Uygarlklar-Kltr

Bakiyeleri zerine younlam-

tr. Sanat, son dnemde Kltr mleri adl bir dizi ie younlam durum-

dadr.

Halil Akdenizin tm bu srete ortaya kan, sanat ve sanat d elerin kul -lanld ada yorum ve sanatsal zmleri ieren eserleri, birok ulusal ve

uluslararas sergi, bienal, trienal, sanat fuarlar ve mze sergilerinde yer ald.

Sanat, birisi yurtdnda birincilik dl(altn madalya) olmak zere iki ulus-

lararas ve birok ulusal dle deer grld. 1998 ylnda baarlar ve Trk

Sanatna katklar dolaysyla Cumhurbakanlnca Devlet Sanats unvan

ile onurlandrld. T.C. Cumhurbakanl Kk Yeni Binas, Mekanlar Sa-

natsal Deerlendirme Projesine sanat olarak seildi ve ktphane duvarna

Anadolu Uygarlklar-Kltrleraras almasn gerekletirdi. Eserleri yur-

tii-yurtd mze ve koleksiyonlarda yer almaktadr. Akdenizin Trk Sanat

ve sanatlar zerine yaynlanm drt kitab ve katalog yazlar, ok sayda bi-

limsel yayn, aratrma, bildiri ve makaleleri ile birlikte hakknda yaynlanm

drt kitab (son ikisi henz yayn aamasnda) ve ayrca eserlerinin yer ald

ok sayda sanat kitab ve katolog bulunmaktadr.

Halil Akdeniz, Almanya Mnster Sanat Akademisi eref/Onur yesidir. Akde-

niz ayn zamanda Uluslararas UNESCO-AIAP Plastik Sanatlar Dernei yesi ve

bir dnem bu dernein Trkiye Ulusal Komitesi Ankara Temsilcilii Bakanl-

n yapt. UNESCO-AICA Uluslararas Sanat Eletirmenleri Dernei yesi ve ayn

zamanda AICAnn Trkiye Milli Komitesi kurucu yesidir.