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SAYI: 10/OCAK 2013/ I SSUE: 10/ JANUARY 2013ada1985 Mine Sanat Galerisi nin Sanat Postasdr, Para ile Satlmaz / Contemporary1985 The Free Of Charge Art Magazine published by Mine Art Gallery

M A N Z A R A H A K K I N D A17 ARALIK - 31 OCAK 2012 / 17 DECEMBER - 31 JANUARY 2012

M N E S A N A T G A L E R S A V R U P A U B E S /M N E A R T G A L L E R Y E U R O P E A N B R A N C HTevikiye, Dr. Mfde Kley Sokak Yasemin Apt. No:1 Daire5 Nianta, stanbul - TURKEY Tel: +90 212 232 38 13G S M : 0 5 3 6 5 5 3 5 0 6 6 w w w . m i n e s a n a t . c o me - p o s t a : m i n e g u l e n e r @ g m a i l . c o mAZMESARITOPRAK

H A L L A K D E N Z B L G E A L K O R M A D E A R E L E M S A R E L

Z G L A R S L A N T O M U R A T A G K N A N C Y A T A K A N P E R T E V B O Y A RB E D R B A Y K A M

C E V A T D E R E L B E R N A E R K NJ A L E N E J D E TE R Z E N

M EH ME TG L ERY ZG L I L G A Z

N A M I K S M A L S E R H A T K R A Z N U R K O A KB A L K A N N A C S L M Y E L

C A N M A D E N

E R G L Z K U T A N A V N Z T O P U G N G R T A N E R Y U S U F T A K T A KC E M A L T O L L U

G L I N A K S O Y

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i: Mine Sanat Galerisi / Genel Yayn Ynetmeni: Mine Glener - Nur Glener / Yaz leri Mdr: Serkan Glener / Grak Tasarm:eTomrisnder-Suatahin/GrakUygulama:Suat ahin/eviriler:MelikeTomris nder/KatkdaBulunanlar:Yusuf Taktak- H. Avniztopu/Bask:Focus Basmanat 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 web: www.minesanat.com / e-posta: minegulener@gmail.com

E d i t o r s V i e w Dear Friends of Art,

As close followers of artistic view, did you ever takeyour time and think about the different meaningsand applications of the concept scenery within theart history and its role in the Turkish paintings andother artworks.Mine Sanat is embarked on exhibiting the importantworks of 26 artists with a focus on a special topic na-mely scenery.In this exhibition our artists will be sharing with youtheir perception of scenery and the associated ide-as they generate in their minds. Moreover, this jour-ney of imagination will be interlinking to the chan-ging concepts of scenery within the timeline of arthistory.At this event you will be able to witness the ability ofthe great artists how to embody the meaning of theirfollowing sayings:a window that shows the outside world, what ever you see when you look into a directiona view of a timezonerepresentation of a realityvisual existence in the universereections of the inner world of an human beingthe view of a world where you would like to liveSo, we kindly invite you to meet the world of scenery ofHalil Akdeniz, Glin Aksoy, Bilge Alkor, MahideArel, emsi Arel, zglArslan,Tomur Atagk, Nancy Atakan, Pertev Boyar,Bedri Baykam, Cevat Dereli,Berna Erkn, Jale Nejdet Erzen, Mehmet Gleryz,Gl Ilgaz, Namk smail,

Serhat Kiraz, Nur Koak, Balkan Naci slimyeli, CanMaden, Ergl zkutan,Avni ztopu, Gngr Taner, Yusuf Taktak, CemalTollu and Azime Sartoprakbetween 17.12.2012 31.01.2013 at Mine Sanat Ga-lerisi Niantato explore the perceptions of different artists and toexplore your own inner scenery.

Best Regards,

Serkan Glener

d i t r n B a k gili Sanat Dostlar,

atsal dncenin sk takipileri olarak, zama-

z ayrp Trk Sanat, sanat tarihi ve dier sa-

yaptlar iersinde manzara kavramnn fark-

nlam ve de kullanmlar zerine hi dndnz

?

e Sanat, manzara zel bal altnda 26 sa-

nn ok nemli ilerini sergileme iine giriti.

sergide sanatlarmz, kendi manzara algla-

ve de zihinlerinde oluturduklar ortak kirleri

erle paylaacaklar.

ca, hayal gcnn bu yolculuu, sanat tarihi-

zaman tneli iersinde deien manzara kav-yla birletiriliyor olacak.

etkinlikte, deerli sanatlarmzn aadaki

emlerinin yetenekleriyle nasl somutlatrld-

a tank olacaksnz:

dnyay gsteren pencere

li bir yne baktnzda ne gryorsanz o

zaman dilimin grn

rein bir temsili

rendeki grsel varolu

ann i dnyasnn yansmas

amak istediin dnyann grn

ebeple sizleri, Halil Akd eniz, Glin Aksoy, Bilge

or, Mahide Arel, emsi Arel, zgl Arslan,Tomur

gk, Nancy Atakan, Pertev Boyar, Bedri Bay-

m, Cevat Dereli, Berna Erkn, Jale Nejdet Erzen,

hmet Gleryz, Gl Ilgaz, Namk smail, Serhat

az, Nur Koak, Balkan Naci slimyeli, Can Ma-

Ergl zkutan, Avni ztopu, Gngr Taner,

uf Taktak, Cemal Tollu and Azime Sartoprak

manzara dnyasyla tanmak, onlarn man-

a alglarn, ayn zamanda da kendi isel man-

a algnz kefetmek iin 17.12.2012-31.01.2013

hleri arasnda Mine Sanat Galerisinin Nianta-

daki meknna bekliyoruz.

gilerimle,

kan Glener

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One component from the art of paintings accepting as a painting stylein itself , does it depends on setting forth its own reality as what it re-ally is. Does not it important its being there from the beginning?Artist Serhat Kiraz declared a statement about his work which was depicted in 1977 ( Ithas two canvasses. The canvas at the bottom painted at gr ay color. There isnt any gu-re). He said that all these gures are in the canvas above. The one below is painted atgray (blank canvas), nevertheless , we see it and perceive it as an extension of the rea lityin the upper piece, not with its own reality as a blank canvas. Actually, landscape pain-ting was in the same situation with this fact. Egyptians have been used landscape as a me-dium to narrate their living condition,traditions with pictorial form. The landscape wasnot found so much in Gree k Art until 3.th and 4.th century. t has only founded on wealtypersons houses murals and the main concern w as on the depictions of man and societyThe Roman historian, scholar Pliny the Elder indicated that there are too many imp-rovement and development on landscape in Roman art in terms of correct mathe-matical perspective and suchlike other things. Futhermore, he claimed that thereis also an increase of interest in picturing the mountains,canals, countrysides andthe people who walks the edges of lakes. (Frescoed Wall from the House of Livia)The depiction of landscapes in Europe,during the medieval times(from the 5th until the15th centuries) is banned. It was only a backround to religious myths. Because the tho-ught of false,deceptive,evil nature was so fundemental in Christianity. For this reason, de-piction of pleasurable, delightful images are prohibited even if it is a background scener yThe rst quarter of 15. century is a transition to Renaissance from the Middle Age. Thereis a perception of art based on rational,ideal human. It is improved with humanism philo-sophy and experimentation and observation of nature. Due to the fact that developmentof landscape painting depends on the increased interest of the external world and natu-re, this genre gained acceleration with the philosophy of this period. Great progress hasbeen made in the studies of perspective. Although the landscapes prese nted as a back-drop for religious themes and portraits, they were depicted with their ideal form. Theyare formed just as a depiction of natural landscape, even though depicted in the studios.Along with the movements of reform, the religious pressure was d iminished on the so-ciety. This period also known as Golden Age of Netherlands. During this period, the co-untry turned into a republican regime. It became one of the worlds most developed co-untry in terms of science,commerce and ar t. The landscape grew in importance in Dutchart. Dutch artist depicted everyday lives of middle class people dealing with trade withhighly advanced perception of landscape. Italian Renaissance Venetian painter Giorgio-ne depicted literar y works with landscape images. In addition, artists such as AnnibaleCarracci and Giovanni Bellini worked landscape painting theme as a genre on its own.In 17. century, Netherland and taly was the center of landscape painting butstill it was not a idealized and interesting style for high-status people in Italy.The artist such as Esaias van de Velde, Jacob van Ruisdael, Aelbert Cuyp de-picted works on landscape painting with using the technique of Bruegel.In 18. century, rich people came and visited art places of Italy and bought cap-ricci and other landscape paintings in thoes places. After these journeys, Brita-in and France encountered to this genre and French rocco painter Watteau de-picted landscapes such as gardens, parks with gures so pleasant and happy.19. century have a great importance in the history of art. Because the photography wasdiscovered in this century and the artist gained freedom in order to interpret nature asthey wish. The camera took the authentic, photorealistic image of nature. They began pa-inting at the outside places. The late in the 19. century, the impress ionism had emerged in

line with these developments. These paintings were depicted quickly and given the imp-ression of being unnished and also these artist as stated by the ar tist Yusuf Taktak, arenot only ripping off form, but also led to the emergence of some concepts such as timeIn 20. century, it has been getting further away from classic style landscape. The-re were industrialization, urbanization, population growth in this period and apartfrom that it has been witnessed two great world war. For these reasons, there wasno one single fashion art. Diversity in species and comment and multiplicity of pa-radigms have been seen together in this era. In addition, the ideal perspective, themathematical ratio had dropped and a style which can be described as anti-art wasadopted and art of ideal beauty was rejected. We can see landscape as an indepen-dent genre but it came out with different interpretation and methods. In addition tothe classic interpretations of paysage,more factories, buildings began to emerge inlandscape paintings with the inuence of futurism. Especially in the rst half of theperiod,under the inuence of Cubism and its various interpretations, there were somany abstract,contemporary interpretations of landscape painting depicted by Pi-casso, Cezanne, Braque, Matisse..etc. After this century, it can be considered un-derstanding and interpreting of art within the exploring diversity of paradigm oneby one is more accurate than evaluating it within the linear historical development.The exhibition contains 26 artists 38 work .On Landscapes oldest work was depic-ted in 1932 and the most recent works were of 2012 but it can be wrong evaluatingits subject with a historical investigation in this period. We asked 19 artist a question:what is landscape reects for you?, how do you interpret to your own landscape?. This exhibition is an visual answer to this question and the aim of it to show theartist own interpretation on this concept-or with the words of artist Gul Ilgaz- howthe artist fullll this concept with his/her own inner landscape. And desire to see it.It is a kind application of Duchamps performance with urinal on conceptual art.Apart from that, when we examined the translation of this concept in Turkish lan-guage. It has been witnessed a linguistic meaning differences. Landscape, as an ara-bic rooted word, allows for more varied contemporary interpretation of this concept.( The artist Ergl Ozkutan attracted attention on this issue in his interview. He gaveits only dictionary meaning: 1- intuition 2- appearance, to look out and far away...)

Sanat Serhat Kiraz; 1977 ylnda, hiperrealist tarzda yapt, iki para-dan oluResim sanatndaki bir enin kendi bana bir sanat tr olarak grl-mesi, onun kendi gerekliini mutlak kendisi olarak ortaya koymasna m ba-ldr? Onun bandan beri bir ekilde hep orada olmas nem arz etmez mi?Sanat Serhat Kiraz; 1977 ylnda, hiperrealist tarzda yapt, iki paradan olu-an (alt ksmda kalan ksm dz gri renge boyanm, bo bir tuvaldir) eseri ze-rine konuurken alttaki tuval (asi, bez, boya) dz gri renkte boyanm oldu-u halde (bo tuval) stteki grnt nedeni ile kendisini, kendi gerek yapsndeil de stteki gerekliin bir uzants olarak grmekte ve alglamaktayz. der.Dnya sanatnda uzun yllar manzara resmine yaplan da bu olmutur aslnda.Msrllarn sembolizme de oka rastlanlan sanatlarnda yaam artlarn, kl-trlerini aktarmak adna manzara resmini bir tr ara olarak kullandklar g-rlmektedir. Grek sanatnda Manzara resmi 3. ve de 4. yzyla kadar ok fazlarastlanmamakla birlikte, daha ok varlkl kesimin yaadklar mekanlarn duvar re-simlerinde grlmektedir ama bu sanatta asl nem insan ve toplum betimlemeleridir.Romal tarihi, bilim adam Yal Plinius Naturalis Historia adl eserinde RomaDneminde doru matematiksel perspektif ve daha birok adan manzara resmin-de geliim ve de deiimin yaandn ve krlarda, gl kenarlarnda gezintileri ya-pan insanlarn, kanallarn, dalarn resmedilmesine ilginin arttn belirtmitir.Bunlar srf doaya ait resimler olduu gibi; bahe resimleri, mimari binalar ve debaz mitolojik eleri ieren manzaralar da mevcuttur ve onlar bir takm soylula-rn villalarnda bulmaktayd. (Liviann evinin duvarlar rnek olarak gsterilebilir)Avrupada, 5. yz yldan 15. yzyla kadar hk m sren Ortaa sanat kendi banabir manzara resiminin or taya kmasn sregeldii bu uzun y llar boyunca engelle-mitir. Dinsel dncenin dorultusunda oluan sanata manzara sadece dini mitlerianlatmak iin bir arka plandr. Hristiyan dncesinde grnenler dnyasnn, doa-nn sahte, aldatc, kt olduu dncesi n plandadr. Bu sebepten tr arka planmanzarann bile haz verici ,zevk uyandrc ekilde resmedilmesi yasaklanmtr.15. yzyl ilk eyrei, Ortaadan Rnesansa gei dnemidir ve bir tr er-ken modern a olarak grlebilir. Bu dnemin deney ve gzlemle doal dn-yaya ilginin artt humanizm felsefesi ile gelien, rasyonel insan temelli birsanat anlay vardr. Manzara resminin gelimesi, d dnyaya, doaya ilginin art-masna bal olduundan Rnesansn deney,gzleme, insan rasyonalitesine, bilim-sel bilgiye dayanan felsefesiyle bu dnemde byk bir ivme kazanmtr. Perspektifalmalarda byk gelimeler grlmtr. Her ne kadar Erken Rnesans resimle-ri manzara algs anlatmak istedii dinsel temalara ve portrelere arka plan olarakkullanlm, zerinde allarak, ideal formlaryla resmedilmilerdir. Artistler ta-rafndan stdyolarda allyor olsalar da olduka doal manzara formundalardr.16. yzylda refom hareketleriyle birlikte toplum zerinde dini etki azald. Hollandadaaltn a olarak adlandrlan bu dnemde lke Cumhu riyet ynetimine dnt ve bilim,ticaret ve sanat dallarnda dnyann en gelimi lkelerinden biri haline geldi. Hollandasanatnda manzaralara ilgi daha da artt. Resimlerinde daha ok ticaret ile uraan ortasnf insanlarn gndelik yaamlar olduka gelimi bir manzara algsyla resme dildi. Budnemde bu trde eserler veren sanatlarn en nemlilerinden biri Bruegeldir. Sanatkulland manzarada kulland ustaca renkler, ayn zamanda snfsal gndermeler ierir.talya Rnesansnda Venedik ressamlarndan Giorgionenin edebi eserleri resim -ledii manzara grntleri vardr. Bunun yannda Annibale Carracci and Giovan-ni Bellini gibi sanatlar kendinde tema olarak manzara resmini kullanmlardr.17. yy sanatnda kendi bana, uzant olmayan manzara resminin merkezi ha-linde talya ve Hollandadr. Italyada bu tr yine yksek statde insanlarn ilgigsterdii, idealize edilmi bir tr deildir. Hollandada Esaias van de Velde, Ja-cob van Ruisdael, Aelbert Cuyp gibi isimler Bruegelin gelitiridii teknii de ze-min olarak alarak kendi bana manzara resmi trnde eserler yapmlardr.18. yyda varlkl insanlarn talyaya geliiyle ve buradan aldklar resimlerle birliktemanzara sanat Fr ansa ve ngiltereye ulat. Rokoko Dnemi ressamlar Watteeau ba-

ta olmak zere elenen,gezen insanlar manzarayla birlikte resmederler (Fte galante).19. yyn en byk nemi fotorafln ke oldu. nk artistler artk manzarayistedikleri gibi yorumlama zgrlne kavutular. Sadk, fotogereki resmi artkfotoraf makinesi resimleyecekti. Ak havaya kan ressamlar doalama manzararesimleri yapmaya baladlar. 19.yyn ge dnemlerinde bu tr resimlerden etkile-nilmesiyle Empresyonizm ortaya kt. Srhatlice yaplan, bitmemi izlenimi veri-len resimler Sanat Yusuf Taktakn da belirttii gibi bu sanatlar biimi para-lamakla kalmam zaman gibi kavramlarn da gndeme gelmesine neden olmutur.20. yy klasik manzara anlayndan olduka uzaklalmtr. Sanayilemenin, ehir-lemenin, nfus artnn yansra iki byk dnya sava gren bu dnem, tek birmoda sanat anlayndan uzak, paradigma eitlilii bununla birlikte de tr ve yorumokluunun birlikte grld bir a olmutur. Ayrca, ideal perspektif,matematikseloran braklm ve gzel sanatlarn yadsnd, yerine anti-art olarak tabir edebile-ceimiz bir anlay benimsenmitir. Kendi bana grebileceimiz manzara resmi dekarmza ok farkl sluplarda yorumlanm olarak kar. Klasik peyzaj yorumla-rn yansra, manzara resimlerinde,futurizm akmnn da etkisiyle, artk karmzadaha ok fabrikalar, binalar kmaya balar. zellikle dnemin ilk yarsna Kubizminve onun eitli yorumlarnn byk etkisi altndaki resim sanatnda Picassoya,Cezannea, Braquee, Mattisse vb birok sanatya ait manzara resminin soyut,kbik,ada eitli yorumlar mevcuttur. Bu yzyldan sonra sanata lineer bir ta-rihsel geliim olarak deil de paradigma okluklarnn tek tek incelemesi olarak gr-menin sanat anlama ve yorumlama asndan daha doru olduunun dnlebilir.En eskisi 1932, en yenileri 2012 tarihine ait yaptlarn bulunduu Manzara Hak-

knda sergisinin de byle bir tarihsel incelemeye tabi tutulamayaca grnde-yim. 20 sanatya sizin sanatnzda Manz ara neyi ifade ederi sorarak ( dier altsanatmz yaamadndan kendi manzara yorumlarn biz semek zorunda kal-dk) hazrlanan bu sergiyi yapmak, tamamen sanatnn bu kavramn iini -sanat-nn Gl Ilgazn deyimle- kendi i manzarasyla ya da hayalgcyle nasl doldurdu-uyla ilgilenmektir. Onu grme arzusudur. Marcel Duchampn kavramsal sanattayapt, yani bir pisuar ters evirip eme ismiyle sergileme iini Manzarayauyarlamaktr. Keza Landscapein dilimizdeki karn olan manzaray dnd-mzde nmze tarihsel deil daha dilsel bir anlam farkll kmaktadr. Arap-a kkenli szck olan manzarann Ergl zkutann da sadece szlk anlamnvererek belirttii gibi 1-Gr 2-Grn. Dar ve uzaa bakmak. gibi a nlamlaronun ada bir yorumla deerlendirilmesine ve ilenmesine olanak salamaktadr.

MANZARAHAKKINDA/ONLANDSCAPEResim sanatndaki bir enin ken-di bana bir sanat tr olarakgrlmesi, onun kendi gerekli-ini mutlak kendisi olarak orta-ya koymasna m baldr? Onunbandan beri bir ekilde hep ora-da olmas nem arz etmez mi?

Melike Tomris nder

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ve hareketlerini resmetmeye altm. Bu nlara manzara denilebilir mi bil-mem, zira doann ekillerinden ok renklerin ve hareketlerin resimleri gibiele aldm. Bu sergideki resim ise bahem konulu drt byk resmimden kanlatan resimdir. Bu seri iinde, kontrastl renkleri ve hareketleriyle en sev-diim resimdir diyebilirim.

The gure and nature always has been a priority in my painting. Generally,the mountains appear to be the bodies of nature to me.The mountains, sea,

waves took place very often in my art. I tried to depict my garden color andmovement in the mid-1990s for a while. I do not know it could be called land-scape, because I dealt with the colors and movements rather than shapes ofnature. My work in this exhibition is a painting describing the winter. t isfrom my four major painting series entitled My Garden. I can say that thisis my favorite work with its contrasting colors and movements in this series.

MEHMET GLERYZ: Seyredilebilirlik zelliklerine sahipher grnt objesi veya insan halleri manzara tanmlamasnagirer.

Each image object or human conditions which has the charac-teristic of viewability, can be denite as landscape.

GL ILGAZ: Her sanatnn kendi i manzaras ile dardakimanzaraya baktn dnyorum. Benim iin de bu balamdamanzara bir ama olma konumunundan ziyade bir ara konu-mundadr. Bu sergide de tek bir konuya ne kadar farkl ekil-lerde yaklaldn ve ele alndn gryoruz. Bu da bize in-sanolunun i dnyasndaki farkllklar ve eitlilii gsteriyor.

Bu sergide, belirsizlik ve gelecee dair bir bilinmezlik sorunsaln ele aldmalmam yer alyor.

I think that every artist looks at outside landscape with its own inner land-scape. it is a tool rather than being an aim. In this exhibition a single issuehave been tackled in different ways. This also shows us the variety and dif-ferences of the inner worlds of human beings. In this exhibition, my work isabout the issue of uncertainty and uncertainty about the future.

BALKAN NAC SLMYEL: Manzara resm i Realist, Natra-list, R omantik, Empresyonist dnem servenlerinin tmnde

yaanan dnyann bir betim lemesi olmaktan o k yaanmak is-tenen dnyann karl olmutur bence. Rnesansta ise ie-riden darya ynelen bir vizyonla zengin dekorlara fon olu-turan bir MLK grnmndedir. Ben dou kltrleri yanls

kalbimle manzaray, iinde insann aray servenini yaad bir VAROLUalan olarak grdm. Siyah beyaz GEZGNLER (1984 )adl sergimden beri

bu byledir...Burada sergilenen Resmimde bu izginin devamdr..

In my opinion, Landscape Painting is not a description of adventures of Ro-mantic, Impressionist,Naturalistic, Realistic period world but it correspondsto a world that is desired to live. As for Renaissance, it has an appearance of aproperty that creates fund with its rich decor. I consider landscape, with myEastern Culture proponent heart, as an existential place where the human

being lives its quest adventure in it.This is the case since my The Black andWhite TRAVELERS exhibition(1984) and my work in this exhibition is thecontinuation of this line ..

SERHAT KRAZ: Manzara diyerek sergilediim resim 1977ylnda Devlet Gzel Sanatlar Akademisi Resim Blmndeokurken yaptm, okulun, altm atlyenin bakt deniz ta-rafndaki rhtmdr. Resim iki paradan olumaktadr ve hiper-realist (ar gereki) denecek bir uslupta yaplmtr. Burada

sisli bir hava, denizde bir gemi, beton bir rhtm ve zerindeki turuncu iskelebabas resmedilmitir. Resimde sisli bir havada geminin rhtma balanacaveya rhtmdan ayrlmakta m olduu ve nereye gidecei belli deildir; tp-k o dnemler gibi...Ancak, tm bu temsiliyet iki paradan oluan resminst tarafnda duran tuvaldedir. Oysa alttaki tuval (asi, bez, boya) dz grirenkte boyanm olduu halde (bo tuval) stteki grnt nedeni ile ken-disini, kendi gerek yapsn deil de stteki gerekliin bir uzants olarakgrmekte ve alglamaktayz. Grnt ne kadar gereki olursa, belki de bizigerei alglamaktan o kadar uzaklatrmaktadr. Bu resmi ve buna benzerretimlerimi bu durumu anlatmak iin gerekletirdim.

This painting which I entitled Landscape shows us the waterfront that wasseen through the window of the studio where we used to work at the time whenI was studying in the Painting Department of the State Academy of Fine Artsin 1977. This hiperrealistic painting consists of two canvasses. In one of them,

we can see a ship on the sea and a concrete dock on which there is a red bollardin foggy wheather. In this foggy wheather, it is not very clear whether the shipis leaving or approaching the docks, just like those times...However, all thesegures are in the canvas above. The one below is painted at gray (blank can-

vas), nevertheless, we see it and perceive it as an extension of the reality inthe upper piece, not with its own reality as a blank canvas. I can say that, themore realistic the image, the further it takes us from perceiving the reality. Ihave made this painting and my other suchlike works to depict this fact.

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nzara Hakknda sergimizde Benim iin bu bir manzara diyereknizi sergiliyorsunuz. Bu bir anlamda manzarann sanatsal,grselkndal n temsil etmekte. Peki bunu dnceyi dile dkersek,zara sizin iin ne ifade etmekte? Bu sergi balamnda kendizara yaptnz nasl yorumlarsnz? (Bu suale drt cmleylea yant verir misiniz?)

xhibited your artwork On Lanscape exhibition by saying It is acape, in my way of thinking. It represents the landscapes artis-d visual aboutness in a sense. So, to express it in words, what isscape reects for you? In the context of this exhibition, how do you

pret to your own landscape? (Could you answer to this questiony, with three or four sentences?)

HALL AKDENZ: Sanatmda manzara benim iin : sadeceseyredilen ziki bir evre deil, ziki evreye bilgi ve sanatnilave edildii entelektel bir mekan tasarmdr. Sergideki bualmam, benim Bilkent niversitesinde grev yaptm sra-da 1994 ylnda Bilkent Srtlarnda Sanat olarak yaptm birsanat almasnn 2012 ylnda yorumsal balamda baka bir

tta yeniden retimidir.

andscape in my art: It is not only a physical environment but also itintellectual design of a space with the addition of knowledge and art.I was working in Bilkent University, I made a work which is called Art

e Ridge of Bilkent in 1994. My work in this exhibition is a reproductionprevious work with a different format in the year 2012.

GLN AKSOY: Seyir balkl serimin iinden kardm veserginize dahil ettiim bu iim, manzaraya seyirlik olma nok-tasnda dahil oluyor ya da manzara ona dahil oluyor. Rhtmkenarnda oturup denizi ya da manzaray seyretme davran

bu corayann tipik hallerinden biridir. Bu alma, 200 0 li yl-larn banda rhtmda, katlmay kabul eden kiilerle birlikte

layarak fotoraadm seyirlik bir manzaradr. inde hocalk yapt-urum manzaraya dahil, artk kendisi de sadece manzara olmu halde.meselesini, mekan ve kiileri abartarak, sinema seyreder gibi, pek

mayacak TOPLU MANZARA SEYR haline getirmem ,gsterinin gran-iaret etmekle alakal. Yani seyredenin de seyrilik olduu bir hemhal

mu ortaya koymak istermi gibiyim.

work in this exhibition belongs to my series which entitled Watching.involved to landscape in terms of being watchable or the landscapevolved into it. Sitting on the edge of the sea side and viewing the land-is a typical behavior of this culture. This work is a watchable landscapephotographed and set up with people who agreed to participate in the2000s. The university that I work included in this landscape. Nowa-the institutions itself turned into a landscape too. Exaggerating theding issue, place and people,just like watching a lm in a cinema andd it into a course of public view is related to intending the draw atten-o the gurant of this show. It means that the beholders itself is in thesituation with this landscape.

BLGE ALKOR: Baktm herey,resmimin konusuoluyorsa,benim iin MANZARAdr;Bak, Nazar, MANZARA...Bu sergide ki yaptm: Doaya Bak olarak adlandryorum.

Everything that I look, if it become a subject of my painting, tllbe a landscape for me. I entitled my work as Looking at Nature.

ZGL ARSLAN: Manzara, hibir engel olmakszn istenilenadan grmenin zgrldr.Davetsiz misafir olarak szank beraberinde pencerenin iine dardaki grnty detamaktadr. D ardan grnmeyi ve dary grmeyi en-

gellemek iin konulan engellerin arasndan gemekte ve ina-dna pencerenin dndakini ieriye getirmektedir. Parmakl

akat yatay olan izgiler ieridekinin darya kmasn engellemek-dardakinin ieriye girmesini engellmektedir. Zira pencereden

nen gzel bir peyzaj deildir. Pencerede havalandrma boluunaak tadr v e penc erede b ulunan jaluzi dardak i dar, ki rli, izb e hava-rma boluunun grntsnn ieriye girmesini engellemeye al-adr. Fakat bir aralktan darya bakmak, grmek bir umuttur.zerinden de rengi silerek elde edilen aralklardan gelen k ve belliiz g rnt bir umu t kayna olabilm ekte.

scape is freedom to see anything from the desired angle without nocle. The Light leaks in as an uninvited quest. t carries outside im-

o the inside of the window. The obstacles puts to obstruct the seeinge from the outside and seeing outside from the inside. Homever, thepasses through in it deliberately anyhow. Horizontal lines,such asdoesnt obstruct the moving out of the inside things to the outside.tructs the entrance of outside things to the inside. Because what isoutside is not a beautiful paysage(landscape). Window overlookingntilation space too and the jalousie on the window is preventingnce the image of dirty,secluded ventilation space from the outsideaking a look at the outside of a range i s a hope to see the light. Thecoming outside which is obtained by deleting the color on the can-nd vague image may become a source of hope.

TOMUR ATAGK: Doay her zaman muhteem bir g olarakalgladm. Onu yaratan tanr deil, kendisidir diye dndm.

Ancak son yllarda insanlarn ona gerektii saygy gstermedi-ini grdke zlyorum. Doa ve onun grnts olan doa-

y hem yaamak hem de belgeleyerek yaatmak istiyorum. Busergideki iim Gap gezisinden farkl fotoraarn biraraya geti-

rilmesiyle olutu.Kltr ve tabiat varlklarnn korunmas Kltr ve TurizmBakanlnn grevidir. lisu Barajnn yaplarak toprak altnda kalan tarih

bu kez su ile tam an lamyla yok edilecek. Bu eserimde sadece doay deil,onun barndaki tarihini korumay arda bulunuyorum.

I always perceived nature as a spectacular power. I thought that it is notcreator god, but it is what it is. However, in recent years, Im getting upset

because people do not show respect nature that it deserved. I want to live na-ture but also keep it alive with documenting. I took many photographs in myGAP trip.My work in this exbition were formed with bringing together thesedifferent photographs. The duty of The Ministry of Culture and Tourism isthe protection of cultural and natural assets. Ilisu Dam was built and thehistory earthed up with this dam. This time, it will be destroyed by water. Inthis work, I call for the protection not only the nature, but also the history inthe bosom of this nature.

NANCY ATAKAN: Bence, Manzara, daha ok sanat tarihiersinde yal boya veya suluboya teknii olan resimlerin snf-landrlmas iin kullanlan bir terim. ada sanat gelenek-sel anlamda manzara resim yapmaz. Sa natsal sorunu, bire biregrdklerini veya gzel bulduklarn belli bir uslup veya tekniikullanarak temsil etmek deildir.

Kendi almama gelince, evet, darda yani evrem de grdklerim, hisset-tiklerim, felsefe balamnda okuduklarm,

yaadklarm ile ilgilenirim ama bunlar kullanarak kendimc e nemli gncelveya psikoloj ik dn celere, politikaya veya toplum sal olaylara gndermeyaparim. Uslp veya estet ik kayglar ikinci pland adr. S anat nesnesi, sanatsreci iaret eden belgedir. Simgeseldir.

In my opinion, manzara (Landscape) is one of a series of words used inart history to classify water color and oil paintings. A contemporary artist

would not refer to this traditional meaning. The artistic questioning by thecontemporary artist would not be about using a particular style or techniqueto represent exactly what one sees or nds beautiful in nature. In my ownartistic practice, I am interested in what I see or feel as I observe my en-

vironment and only in that sense I am dealing with manzara/landscape. Iinvestigate issues from contemporary philosophy in relationship to what Iexperience or live daily to make reference to important contemporary psy-chological thought as well as political or social events. I can use any tech-nique that I nd appropriate to pinpoint an issue. I do not try to develop arecognizable style and aesthetic considerations are secondary. For me, theart object is a documentation of an art process and can be read like a sen-tence in a paragraph. I t is a symbolic.

BEDR BAYKAM: Manzara resmi benim iin sanld gibidemode bir tarz olmaktan ok uzak. Her aamada iinde yeraldmz evren bize ok farkl senaryolarla farkl varoluortamlar sunuyor. Bunlarn her biri zaman, hava ve corafyakoullarna gre deiebiliyor. Aynen gr resmi gibi manzararesmi de ilerleyen sanat akm ve dnemlerine gre kendini ye-

nileyerek geliiyor. Manzara Hakknda sergisindeki This Has Been DoneBefore - Aktma Serisi kapsamndaki yaptm da soyut ve pop gndermele-riyle o yla kadar yaplm almalarmn bir zetini oluturuyor.

Landscape Painting is far from being old-fashioned style from my point ofview. The universe that we are living presents us different existence sce-narios in its each stage. Each of these can be varied depending on air, ge-ography and time conditions. Just as gure painting, landscape painting is

improving with self-renewal in accordance with the later periods and move-ments of art . My work in On Landscape exhibition is in the scope of ThisHas Been Done Before - Taps Series and it is the summary of all my worksin this series with its abstract and pop references maden up to that year.

BERNA ERKN: Manzara Hakknda sergisine katldmiimde Manzara doaln dnmdr.Farkl boyutlarda (ku bak veya harita grnts armgibi) stste effaf katmanlar halinde oluan grntler dar-daki manzara ile ilikili iken ayn zamanda bir i manzara dr.Birbiriyle ilikilendirilen insann paras olduu doa ile btn-

lemesi ve kopmas arasndaki izgiyi nereye doru izeceidir.

My work in On Landscape exhibiton is the transformation of natural. Theimages with different sizes( just as birds eye view or map view connotati-on) and composed with overlapping transparent layers is both associated

with the outside landsc ape and inner landscape as well. My point is thattowards which direction does the line drawing by people in their severanceand coalescence with nature

JALE ERZEN: Resmimde her zaman gr ve doa ncelikli ola-rak yer almtr. Genellikle dalar benim iin doann bedenlerigibi grnrler; dalar dnda deniz ve dalgalar da sanatmdaok sk yer ald. 1990larn ortasnda bir sre bahemin renk

NUR KOAK: Manzara Hakkinda sergisine 1978 yilinda ce-kip 1998 yilinda kagida bastirttigim bir fotograa katiliyorum.O donemde, yani 70lerin ikinci yarisinda toplum asiri politizeolmus, cevre karsit siyasal egilimli gruplarin slogan yaristirdi-gi bir arenaya donusmustu. Beni ilgilendiren reklam panola-

riyla vahsi kapitaiizmin saldirisina ugramis vapur iskeleleri ve sehir hat-lari vapurlari oldu! Gelenekle modernin catismasi yani. Bir dizi fotografcektim. O fotogralardan yararlanak yaptigim resimler de var. Bu sergide

yer alan dogrud an fotogran kendisi. Haydarpasadaki Toprak O si silolarionunde Guney Sanayi Yunlu Kumaslarinin (coktan ias etmis bir rmanin)reklam panolarini tasiyan Devlet Demir Yollari vapuru.I joint On Landscape exhibition with a photograph printed on paper. I tookthis photo in 1978 and printed it in 1998. At that time,-viz. the second halfof the 70s- society turned into an arena where so many over-politicized,an-ti-environmentalist groups were racing their slogans. My interest was onbillboards, cityline ferry port and ferries . They were attacked by wild cap-italism. In other words, it is a conict of traditon and modernity. I shot aseries of photograph. There are some paintings that I made beneted fromthese photos. My work on this exhibition is the photographs itself. This isthe photograph of State Railways Ferry. It is carrying advertising boardsof South Industrial Wool Fabrics(a bankrupt company) in front of the silosof Toprak Osi in Haydarpaa.

CAN MADEN: Manzara bilincalti ve bilincdisi ve zihin alan-larina denk dusuyor. Bicim ve tesi: tanimlanamayan, sekilsizolan; gzlerimin arkasindaki sonsuz alan. Su yzeyinin altin-daki tanimsiz derinlik. Yuzey bicimin dis ifadesi, ictekinin yan-simasi.

The landscape corresponds to subconsciousness, unconsciousness and rangeof mind. Forms and beyond: unidentiable, which is misshapen; the innitespace beyond of my eyes, outer expression of the surface forms, reection ofthings that is inside of you .

ERGL ZKUTAN: Manzara(Szlk Anlam): a. Ar. 1-Gr2-Grn. Dar ve uzaa bakmak. Veya yakn krlndenkurtulma abalarna eklenm tanmsz yerekimi.

Landscape: 1- intuition 2- appearance, to look out and far awayor the undened gravity which attached to the efforts for get-

ting rid of the near-blindness.

GNGR TANER: Her trl grnm manza olarak dnle-bilir. Eer Meseleye bu ekilde yaklarsak, benim eserlerim debirer manzara olarak d nlebilir.

I do not think landscape as a paysage and it is not a question formy art. However, in my opinion every apperance is a landscape

in the metaphorical sense. If we approach the issue in this way, my work canbe considered as landscape as well

YUSUF TAK TAK: Dnya sanatnda manzara temas balan-gtan bu yana yaplmakta. bu konu gndeme geldiinde aklaen ok Empresyonistler gelir. Atlyesinden doaya kan sanat-, biimi paralamakla kalmam zaman gibi kavramlarn dagndeme gelmesine neden olmutur.Dolaysyla sanat tarihininen nc akmlarndan biri olmay hak etmitir. Resimlerimi ya-

parken manzaray dnmekten ok, osmanl minyatr sanatsnn yaptileri dndm. su yollarn gsteren skc, sr konuyu ho bir resimsel ha-

vaya sokmular. Buradan karak bir yorumlama yaptm. nk mekan an-

lay hatta armoni alarndan da ok heyecan vericiydi. Sonuta dneminmanzaras ortaya km oldu.

The theme of landscape has been processed in the world art from the begin-ing. The Impressionist comes to mind when this issue aquire currency. Theartist who went out nature from his workshop not only ripp ing off form butalso led to the emergence of some concepts such as time. Thus, it deservesto be one of leading movements of the history of art. When I was painting, Iwould prefered considering on the ottoman miniature artists work ratherthan the landscapes itself. They put such a boring, mystical issue into anice pictorial atmosphere. I took my way and did an interpretation from here.Because it was very exciting in terms of harmony and its sense of space. Asa result, the landscape of that period has emerged.

AZME SARITOPR AK: Bir zamanlar grdm, imdi gr-yor oldu um ve sadece dleyip hi grm ediim g rntlerintm desenlerimde ki manzaralar oluturuyor. inde var ol-duumu sandm yaam alanlarm biimlendirmeye, zihnim-de canlanan planlar kada dkmeye abalyorum ve tm bun-lar mutlu olmak iin iziyorum...

The images once upon a time I have ever seen, now Im seeing and also some-times I just imagine makes up the landscapes on my drawings. Im tryingto form my life slot that I thought that it exist and Im trying to write downrevived plans in my mind and Im doing at all just to be happy.

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a n : A z i m e S a r t o p r a ks u f T a k t a k

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s u f T a k t a k

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S o l d a n : S e r h a t K i r a zY u s u f T a k t a k

S o l d a n : M i n e G l e n e rN u r G l e n e r

S o l d a n : M i n e G l e n e rN u r K o a k

S o l d a n : E r g l z k u t a nS e r h a t K i r a z

Soldan:SerhatKiraz-AzimeS a r t o p r a k - G l I l g a z

S o l d a n : Y u s u f T a k t a kS e r h a t K i r a z

S o l d a n : S e r h a t K i r a zY u s u f T a k t a k

S o l d a n : S e r h a t K i r a zY u s u f T a k t a k

A v n i z t o p u

S o l d a n : Y u s u f T a k t a k -MelikeT.nder- Azime Sartoprak

S o l d a n : M i n e G l e n e rYusufTaktak -AzimeSar toprak

S o l d a n : M i n e G l e n e rYusufTaktak--AzimeSartoprak

S o l d a n : Y u s u f T a k t a kA z i m e S a r t o p r a k

S o l d a n : A z i m e S a r t o p r a kS e r h a t K i r a z

S o l d a n : S a d k A k a y S e r h a t K i r a z

S o l d a n : M i n e G l e n e rB i l g e A l k o r - S a d k A k a y

S o l d a n : A v n i z t o p uA z i m e S a r t o p r a k

S o l d a n : G l I l g a z - N a n c y A t a k a n - T o m u r A t a g k

S o l d a n : B i r i z l e y i c iM i n e G l e n e r

Soldan:GlIlgaz-NancyAtakanS e r h a t K i r a z - N u r K o a k

Soldan:SerhatKiraz-GlIlgaz-N a n c y A t a k a n

S o l d a n : T o m u r A t a g kS e r h a t K i r a z

B i r i z l e y i c i

A y h a n z k u t a n

Soldan:GlIlgaz-SerhatKirazN u r K o c a k - T o m u r A t a g k

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E R G H A Z I R L I K A A M A S I S E R G A I L I I N D A N K A R E L E R

Fotoraf, Melike Tomris nder

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HALL AKDENZ 1944 Antalyada dodu. 1965 Ankara Gazi Eitim Enstits Resim-Blmn bitirdi. 19681974 Berlin Devlet Gzel Sanatlar Akademisinde / Hochschulefr Bildende Knste Berlin HfBK (Bugnk Berlin Gzel Sanatlar niversitesi) lisansve sanat master/uzmanlk renimi grd. zmir Ege niversitesi ve zmir Dokuz Eyllniversitesinde yksek lisans, sanatta yeterlilik ve doktora dereceleri ald. 1987 Doentoldu. 1994 Profesr oldu. 2009 Ik niversitesi Gzel Sanatlar Fakltesinde GrselSanatlar Blm Bakanl grevini srdrmektedir. GLN AKSOY 1965, Samsun.1986 ylnda 19 Mays niversitesi Eitim Fakltesi Resim Blmnden mezun oldu. Mi-mar Sinan niversitesi Resim Blmnde yksek lisansn tamamlad. Sanatta yeterlilii-ni 1995 ylnda ayn blmden ald. AtlKunst grubunun aktif yesinden biri. 1990ylnda n bu gn e MSG SF Re sim Blm nde retim yesi olarak alyo r. BLGE ALKOR1936, Istanbul. 1956 ylnda stanbul Gzel Sanatlar Akademisi,1958-1961 yllar arasndaMnih Gzel S anatlar Akademisi, 1959 stanbul Gzel Sanatlar Akademisi, 1969-1971 yl-lar arasnda Roma Gzel Sanatlar A kademisinde eitim grd. 1996 ylnda Venedik Kar-naval il Shakespearein Biz Yaz Gecesi D ile Frtna adl yaptlarndan yola karakbyk boyutlu tuvaller boyad, fotograar se rgiledi. MADE AREL stanbul, 1907 -1997.1935 ylnda Gzel Sanatlar Akademisinin Nazmi Ziya-Hikmet Onat Atlyelerinden me-zun olmutur. 1945-50 yllar arasnda Pariste Andre Lhote, Fernand Leger ve Metsinger

Atlyelerine devam etm itir. Alliance Fran oisede n diplom a almtr. Pariste bronz m adal-ya ve Clermon t Fer randda grupbyk dln kazanmt r. Sanatn n ya ptlarnd a ken -dince kulland kbist slup, sanat eletirmenleri tarafndan ok da baarl bulunmamak-tadr. EMS AREL 1906-1985, stanbul. Sanayi-i Nesede brahim allnn rencisiolarak eitim ald. 1949 tarihinde Pariste Andre-Lhotenin rencisi oldu. Lhotenin etki-sinde yar soyut, yar kbist eserler retip, Trkiyedeki bu slubun erken temsilcilerindenbiri olarak grlr. ZGL ARSLAN 1974, Erzincan.1994-98 MGSF R esim Blmndelisans eitim ald. 1998de Sanat Mehmet Gn e asistanlk yapt.almalarn stan-buldaki atlyesinde devam e tmekte dir.TOMUR ATAGK 1939, stanbul.1960 ylnda Ro-bert College mezunu olan san at 1962-1965 yllar arasnda Amerika Birleik Devletlerindemesleki almalarn srdrm, 1980-1984 arasnda ise M imar Sinan niversitesi-ResimHeykel Mzesi-Mdr Yardmcl grevini stlenmitir. oukez yurtdnda Trkiyeyitemsil eden ve halen retim yelii grevini yrten sanat yurt iinde ve dnda 31 ki-isel sergi am ve 8 dl vardr. NANCY ATAKAN 1946, Amerika. 1968 tarihinde MaryWashington niverstesin de P lastik Sanatla r ve Sanat Tarihi eitimi ald. 1995 MGSFdekavramsal sanat zerine doktorasn tamamlad. 1969 ylndan beri stanbulda sanat,sanat retmen, sanat yazar ve sanat eletirmeni olarak alyor. SELM PERTEV BO-YAR1897-1981,stanbul. Sanayi-i Nese Mektebinde brahim all atlyesinde resim eiti-mi ald. Klasik izlenimcilik trnde peyzajlar ile tannr. BEDR BAYKAM 1957, Ankara.6 yanda Ankara, Bern ve Cenevrede ilk eserlerini sergiledi. 1960l yllarda Avrupa veAmerika nn birok sanat me rkezinde srekli olarak sergil er at.1975-80 aras nda Pariste

Sorbonne niversitesinde iletme ve ekonomi, LActorat okulunda da aktrlk tahsiliyapt.1980-198 4e kadar Californi a C ollege of Arts and Craftsde resim ve sinema eitimigrd. 1987 tarihte stanbula geri dnd. bugne kadar yars uluslararas olmak zere113 kiisel sergi at, saysz grup sergisine katld. Baykamn yaynlanm, yars siyasi 23kitab ve yaptlar hakknda 46 sergi katalou bulunuyor. Ayrca, kendisi hakknda yayn-lanm 4 kitap mevcut. CEVAT HAMT DEREL 1900 Rize- 1989 stanbul. 1924 Sanayi-iNese Mektebine katld. Mstakil R essamlar ve Heykeltralar Birliinin kurucularndan-dr. D grubunda yer alr. stanbulu konu alan gratif anlayta resim yapar. BERNA ER-KN 1962, Ankara. 1986, Mimar Sinan niversitesi, Gzel Sanatlar Fakltesinde LisansEitimi. 1989, Mimar Sinan niversitesi, Gzel Sanatlar Fakltesinde Yk sek Lisans Eiti-mi tamamlad. Genellikle tuval ya da kat zerine eitli malzemelerle alan Erknnilerinin k noktalarn Anadolunun ok katmanl kltr ve yok olmaya yz tutan kl-trel doal deerler oluturuyor.Yurtii ve dnda eitli koleksiyonlarda almalar bulu-nan sanat almalarn halen stanbulda srdryor. JALE NEJDET ERZEN 1943, An-kara.1967-74 tarihleri arasnda Los-Angeles Art Center College of Designda eitim grd.1981, T M imarlk Doktoras tamamlad. 1974den itibaren ODT M imarlk Fakltesinderetim yelii yapmakta,sanat tarihi, estetik ve saant dersleri vermekte ve resim al-malarn srdrmektedir. MEHMET GLERYZ 1938, stanbul. 1958-66 tarihleri arasn-da Mimar Sinan niversitesi, Gzel Sanatlar Fakltesinde lisans eitimi ald ve birinciliklebitirdi. 197 0-75 yl lar arasn da Pariste Yksek Resim ve L itographie ih tisas yapt. 1975-80 aras stanbul Devlet Gzel Sanatlar Akademisi Resim Blmnde ders verdi. ada

Sanatn soyut gratif alannda nemli temsilcilerindendir. GL ILGAZ stanbul, 1962.1983-87 Mimar Sinan niversitesi, Gzel Sanatlar Fakltesinde lisans eitimi ald. 1992-93 Writing and Thinking Program, Bard College, New York, USA 1996 Art Forum, SavannahCollege, New York, USA Fransa, ngiltere, Almanya, in, Kanada gibi pek ok lkede grupsergilerine katlm olan sanat, 50. Venedik Bienalinde de yer ald. BALKAN NAC S-LMYEL 1947, Adapazar.1968-72 Marmara niversitesi Gzel Sanatlar Fakltesindeyksek res im eitimi ald , birincilik le mezun old u.1983 tarihin de ayn niversiteden San at-ta Yeterliliini,1986 tarihinde D oentliini ald.1993 tarihinde Profesr oldu.Marmara ni-versitesinde kendi adyla resim atlyesi mevcuttur. Yirminin zerinde yksek lisans vedoktora tezi yneten sanat, halen Ik niversitesinde retim grevlisi olarak almak-tadr. NAMIK SMAL 1890, Samsun - 1935. stanbul Sanayi-i Nese M ektebinde brahimall atlyesinde resim eitimi ald. 1912-14 Fransaya gider ve Pariste Ecole Nationale desArts De coratif de Julia ns ve Corm on Atlyesi nde al malarn srdrd. Bazen paletin dehaf fra vurular ve ltl renklerin grld empresyonist, zaman zaman parlakrenklerin ve kart tonlarn egemenliinin hissedildii ekspresyonist bir d oa ressam, ba-zen realist bir gr ressam, srasnda akademik bir plak ressam olmutur. kinci dnemresimlerinde renklerin ve boya dokusunun, konunun nne getii youn boya tabakalardikkati ekmektedir. SERHAT KRAZ 1954, stanbul. 1973-1979 Devlet Gzel SanatlarAkadem isi ykse k resim bl mden m ezun ol du. 1996-99 yllar aras nda Mar mara niver-sitesi Sanatta yeterlilik yapt. 1999-2006 yllar arasnda Yldz Teknik niversitesinderetim yesi olarak alt. 1978den gnmze kadar birok karma ve kiisel sergiye ka-

tlmtr. Halen almalarn stanbulda srdrmektir. NUR KOAK 1941, stanbul.Trkiyede Foto-Gerekilik akmn ilk uygulayan sanatdr. 1960-68, MSGS R esim Bl-mnde eitim ald. ( srayla Adnan oker, Cemal Tollu,Neet Gnal ile almtr.) 1975-81arasnda DGSA (e.GSA) Yksek Resim Blmnde, 2000-2001 arasnda Marmara ni-versitesi Eitim Faklte si Resim- Blmn de retim grevlisi olarak almt r.1981den beri serbest ressam olarak almalarn srdrmektedir. CAN MADEN stan-bul,1961. 19801987 M imar Sina n niversite si, Gzel Sanatlar Faklte sinde l isans eit imiald. 1992-94 Yldz Tekniz niversitesi, Mzecilik yksek lisansn tamamlad. (Dan-manlar: Prof.zdemir Altan, Prof. Tomur Atagk) Yeditepe niversitesi ve Koniversitesinde sanat tarihi ve eletirisi dersleri vermektedir. ERGL ZKUTAN 1954,zmit. 1979-IDGSA (MS) Resim Blm yksek lisans diplomas. 1981-1983 . Aix niver-sitesinde eitim grd ve Paris VIII niversitesinde Frank Popperle alt. 2004-2008M.S. Modern Dans Blm Kavramsal Temel Sanat Eitimi gretim Grevlisi olarakalt 2008_2010 Bilgi niversitesi_Santral stanbul Grsel letiim ve Tasarm FakltesiSTV retim grevlisi olarak alt.AVN ZTOP U 1962, Erzincan. 1980-1984 Marma-ra niversitesi Atatrk Eitim Fakltesi Resim-i Eitimi Blmnde Lisans Eitimi ald.1984-1986 Mimar Sinan niversitesi Resim Anasant Dalnda Yksek Lisans Eitimi ald.Ayn k urumda Yardmc Doent olarak halen grev y apmakta dr. GNGR TANER1941,stanbul. 1968de stanbul Devlet Gzel Sanatlar Akademisi-Nurullah Berk Atlyesindenmezun oldu. 1971de Salzburg Yaz Akademisinde Corneille ile alt. Mimar Sinan niver-sitesindeki retim yelii yapt. Halen stanbuldaki atlyesinde almaktadr. YUSUF

TAKTAK 1951, Bolvadin. 1974, SDGSA yk sek resim blmn Adnan oker atlyesin-den mezun oldu. 1974 Avusturya Salzburg Yaz Akademisi Prof. Mario Deliugiu Atlyesindeeitim ald. 2005 Y ldz Teknik niversitesi Sanat Tasarm Fakltesi nde almaya balad.Sanatsal almalarn stanbul, Beyolundaki Atlyesinde srdrmektedir. CEMAL TOL-LU 1899-1968, stanbul. 1930 ku ann nde gelen temsilcilerindendir. Sanayi-i Nesedeeitim grd. 1932 ylnda D grubu kurucular arasna katlmtr.AZME SARITOP RAK1987,Merzifon. Marmara niversitesi Atatrk Eitim Fakltesi Resim retmenlii blmn-de lisansn tamamlad. Halen Mimar Sinan Gzel Sanatlar Fakltesi ResimBlmnde yksek lisansna devam ediyor. lk kiisel sergisini 2011 ylnda Miya-zaki Buradayd adyla, Mine Sanat Galerisi Caddebostan mekannda gerekletirdi.2009 ylndan bu yana, ocuklarla sanat eitimi almalar ve etkinlikleri srdryor.

U B A T 2 0 1 3E T K N L K K R K A R A K U K R E S E L K R E S E L , k r K a r a k u ada Trk resminin nemli isimlerin-den kr Karaku nmzdeki ubataynda, Mine Sanat Galerisinde Kresel

bal altnda yeni bir sergiye hazrlanyor.spanyada yaayan Sanat geen yaz Bod-rum Palmarina-Mine Sanatta Makro-Mik-ro adl kapsaml bir sergi gerekletirmiti.Daha nceki almalarnda makro ve mikrogndermelerde bulunduu krede bu defa fark-l anlamlar aryor: Sosyolojik ve ekonomik an-lamda gnmzn temel konularndan saylankresellik ve salt grsel bir biim olarak kre.Herkese ve hikimseye ait olan byk al veri mer-kezleri, havaalanlar ve metropollerin byk cadde-leri kreselliin aa vurulduu temsili alan/mekan-lar olarak kaynaklk ediyor sanatnn almalarna.

kr Karakuun oulcu ve eklektik estetie da-yal anlay birbirinden farkl imgelerin ve gelerinbirarada barnmasna olanak tanyor. Yaptlarn-da grlen belirgin zellik bir taraftan fotoraa-rn derinlikli, st ste binerek katmanlaan yap-sn; dier taraftan patchworklarn, mozaiklerinve pixellerin yanyanalk durumunu hatrlatyor.Paralarn biraraya getirilmesiyle kurulan bu ya-ptlarda yzeydeki elemanlar hem tekil, hem deoul iliki alaryla birletirilip, desteklenirler.Ayn zamanda iaret, kaligra, virus, jest kay-nakl yaln hareketlerle tamamlanarak apayr,zgn ve zengin bir dile ularlar. Bu dil ayn za-manda modernizmin zorlayc ve tektipletiricidayatmasna kar ak bir grsel hamledir.Baudrillarda gre sanat artk btn biim-lerin birarada var olabilecei ve var olduubir krenin addr ve sanat hereyi deneye-bilir, hereyle oynayabilir. Yine McLuhanagre ise sanat artk bir mozaiktir, tamamlan-dnda kendi servenini anlatan bir mozaik...kr Karaku imdiye kadar Trkiye ve Av-rupa lkelerinde yirmiden fazla kiisel sergigerekletirdi, yze yakn karma sergiye katl-d. ok saydaki zel ve kurumsal koleksiyonlar-da yapt olan sanatnn bu sergisinde deiikmalzeme ve tekniklerle gerekletirdii otuz

civarnda yeni almas grlebilecek.