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Al Kokteyl, 19 Temmuz Perembe 2012 saat: 19.00 - 22.00 - Opening Coctail, 19 July Thursday 2012 at: 19.00 - 22.00PALMARNA YAHANE MEKANI YALIKAVAK / BODRUM GSM: 0536 553 50 66 ww w.minesanat.com - minegu

M N E S A N A T@P A L M A R N A19 TEMMUZ 19 AUSTOS 2012 / 19 JULY - 19 AUGUST 2012

B E D R B A Y K A M S O N 1 0 Y I L D A N / / W I T H I N T H E L A S T 1 0 Y E A R S

SAYI: 7/TEMMUZ/AUSTOS 2012 / ISSUE: 7/ JULY/AUGUST 2012ada1985 Mine Sanat Galerisi nin Sanat Postasdr, Para ile Satlmaz / Contemporary1985 The Free Of Charge Art Magazine published by Mine Art Gallery

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Mine Sanat Galerisi / Genel Yayn Ynetmeni: Mine Glener - Nur Glener / Yaz leri Mdr: Serkan Glener / Gra k Tasarm: e Sartoprak - Suat ahin / Gra k Uygulama: Suat ahin / eviriler: Mge Hzal / Katkda Bulunanlar: Yusuf Taktak - H. Avni ztopu / Bask: Focus BasmSanat Galerisi Asya ubesi / Badat Caddesi Ogn Sok. No: 3 / B Caddebostan/stanbul - Tel: 0216 385 12 03 - web: www.minesanat.com / e-posta: minegule-

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

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

I have great news for this issue! Along with the summer season, Mine Art Gallery realizesa season project that is appreciated through the years ina whole different context and hosts the unique name of Turkish Contemporary Art, Bedri Baykams Within 10 Years exhibition in its new place that is in Bodrum Yal-kavak Palmarine. At this point Id like to quote Mr. Baykams comments:Opening a gallery is another case. Its not a capital. Itssomething that is done over lifetime. Its the interestshown to the artist. While ful lling all of these, individu-als who know this profession, who dedicated their live

should enter this market. One should not enter art mar-ket as if he/she is entering to stock market. Painting isthe best thing that goes along with time. Individuals whotry to make quick money out of it harm the market. Therevival of the market is good up to a point after that it isharmful. I have known Mine and Nur Glener for a long time. It must have been 17- 18 years. We have respectfuland loving relationship. Our friendship lasted throughoutthe years, sometimes involving exhibitions. Besides Imnot an artist who works for a speci c gallery. Mine ArtGallery is one of the 6- 7 galleries I work with in Turkey. As I have mentioned before Mine Glener is a professio-nal who loves her job, takes it seriously and knows the value of art and her job. Bedri Baykam who gives important messages to youprecious art lovers, greets us with a great project thatconsists of his 4 D works that are synthesis of his latetechnologic works and new canvas series. Baykam who

added the time dimension to 3 D provides transferen-ce between times. The works that are created with a new technology opens a new page in contemporary art as they are addressing to subjects such as eroticism, Istanbul, arthistory and pop culture. I wish you a great summer andhope to meet you in Bedri Baykams Within 10 Years ex-hibition that takes place in Bodrum Yalkavak Palmarine Yahane.

Best Regards,Serkan Glener

d i t r n B a k gili Dostlarmz,

aymzda size harika bir haberim var!dnemiyle beraber Mine Sanat Galerisi eitli yllar-eeniyle karlanm bir sezon projesini bu defa bam-a bir hacimle hayata geiriyor ve Bodrum Yalkavak

marinede bulunan yeni mekannda Trk ada Sa-nn benzersiz isimlerinden Bedri Baykamn Son 10a sergisine ev sahiplii yapyor.oktada Sayn Baykamn kendi szlerine yer vermekim: Galeri amak bir baka iddiadr. Kapital deildir.r stnden yaplan bir eydir. Sanatya gsterilenir. Btn bunlar yaparken bu ie mrn vermi, builen okuyan kiiler bu piyasaya girmeli. Sanat piya-

na hisse senedi piyasasna girer gibi girilmemelidir.m uzun vadede zaman tneli ile en iyi geinen ey-Ksa vadede bundan para yapmaya alan insan busay bozar. Piyasann canlanmas gelimesi bir yerer iyi, bir yerden sonra zarar vermeye balar. Minem ile Nur Beyi uzun sredir tanrm. 17 - 18 yl oldurm. Karlkl sevgi sayg dolu bir ilikimiz vardr.ara yaylan beraberl iimiz kimi sergileri kapsayacakde srd. Ben zaten belli bir galeriye bal alandei lim. Min e Sanat, Trkiyede altm 6-7 gale-n biridir. Az nce bahsettiim gibi mesleini ciddi ya-iini seven, Trkiyede sanatn deerini ve mesleinrini bilerek bu ii mr stnden srdren ciddi biresyoneldir Mine Hanm. te bu derin ifadeleriyle l-izin siz deerli sanatseverlerine nemli mesajlar ile-Bedri Baykam, son dnem teknolojik ilerinin sentezi4-Boyut almalarn ve bununla birlikte yeni Tuvalini kapsayan harika bir projeyle karnza kyor. 3 .uta ek olarak zaman boyutunu da ekleyen Baykam,

yicilere zamanlar arasnda gei salyor. Yeni bir tek-ji ile retilen eserler erotizm, stanbul, sanat tarihiop kltrne gndermeler ierdii gibi ayn zamanda a sanatta yeni bir sayfa yaratm oluyor.

ri Baykamn kariyerinin zeti niteliindeki SonYlda sergisinde, Bodrumda Yalkavak Palmarinehanede sizlerle bulumay arzu ediyor, keyi i bir yazmi geirmenizi diliyorum.

gilerimle,an Glener

3

renme fobisiyle, cehaletrtme abasyla, ierii d -

lama lksyle, mzayedeevlerinin de krklemesiylecehaletin paray parann ce -haleti desteklemesiyle olu -turulan bu piyasalar bugn

bizi mutlu ediyor, i hacminiarttryor gibi grnse de bu

piyasa, zemini olmayan ne s bir oday artrmaktadr.

Sanatnz zerine dndmzde bugnlerde sizi hangi konular megul ediyor ve sanatnzdahangi konulara dikkat ekmek istiyorsunuz?

u anda bir yandan benim srekli ana iim olan tuval resimlerimi yapyorum. Bir yandan 4D iler dedi-im teknoloji ile iie olan 4 boyutlu almalarm yapyorum. Son bir buuk ylda yeni bir tuval dizisioluturdum. Bu ilk tuvaller bir yandan tipik Bedri Baykam kimlii tayorlar. Hatta 80li yllardaki tu- vallerime yakn bir pro l iziyorlar. Bu tuvallere daha dikkatle baktmzda 90lar ve 2000li yllarda iinden getiim ok deiik deneyimlerden ve yaptm ok deiik resim serilerinden de etkileimlerolduunu gryoruz. Yani bu tuvaller ilk bakta o canl boyal tipik bir Bedri Baykam kompozisyonluiler olmasnn tesinde bu resimler Dii Entrikalar sel zler Saydam Katmanlar Lolitart se-rileri ile hatta teknoloji ile retilmi bambaka bak as olan ilerle de dnsel ve ziksel alveriiindeler. Dolaysyla biraz daha dikkatli baktmzda bu resmin tipik otuz yl nceki Bedri Baykamtuvalleri ile olan paralelliklerini de farkllklarn da gryoruz.

Yeni almalarnzn 80lerdeki ilerinize armlarda bulunmasn belki o dnemden gnm -ze gelerek biraz daha aabilirsiniz.

Trk sanatnn iinde farkl dnemler ve tartmalar var. Mesela 80li yllarda gratif resim mi yapa-caz soyut resim mi yapacaz tartmas vard ve bu tartma insanlarn birbirleriyle kanl baklolmasna, ksmesine, sa ve sol gibi kamplara ayrlmasna yol aan traji-komik bir durumdu. Realist

gratif resim yapmak ile maniyerist gratif resim yapmakla bunu yapanla baka bir ey yapan ara-snda akademideki kimi tutucu isimlerin krkledii medyaya da yansyan bir kavga oluyordu. Gensanatlar o dnemde bu tartmay ibretle izliyordu. Fakat Trk sanatnn bugnne baktmzda daha ok bu kavgada bizim atmz yoldan gen kuan gelmi olduunu gryoruz. Ben gratif-so- yut kavgasnn bir noktasnda hibir zaman bulunmadm. nk benim resmim hibir zaman grtatif veya soyut resim olmad. Resmim kimi zaman gratif oldu kimi zaman soyut oldu. Vermek istediiniz bazen soyut kavramdr, bazen konudur, bazen erotizmdir, bazen gre ihtiya vardr. Bazen siyasi,tarihidir, bazen de ann kavgasdr. Dolaysyla gr olabilir ya da olmayabilir bu benim ana konumdeildi. Bunu atk bundan sonra 90larda enstalasyon ve tuval kavgas geldi. Ben tartmaya teorikolarak, yaznsal olarak, dnsel olarak katlmam dnda buna da kendi amdan glerek baktm n-k kendi sanatmda zaten byle bir ayrm yoktu. nk multimediay da entelasyonu da Trkiyedeilk srarla yapan, uygulayan bunun yeni sesini getirenler arasndaym ama bu durum drtgen zerineresim yapmama mani olmad. Yani ben resim yapmay entalasyona alternatif olarak grmedim. Herkes

benim gibi olmak zorunda deil tabiki. Kimisi entelasyon yapabilir, kimi yalnz resim yapabilir, kimihepsini kartararak yapabilir ama Trkiyede entelasyon yapanlar sanki tuval yapanlara sava at.Entelasyon yapanlarn, tuval yapanlar kmsedii, demode ve statkocu bulduu bir dnemdi. Btn bu saldrlara da glmseyerek baktm nk hayranlkla katlmaya altklar dnya sanat merkezle-rinde hibir zaman tuval resmi lmedi. Mzelerde, galerilerde ve piyasada da lmedi. Bilakis binlerce yl sanat dikdrtgen zerine yapldktan sonra bugn hala dikdrtgen zerinde yeni bir eser retmeninzorluu, riski ve avangartlk derecesi zaten ortada bir olay. Bunca yl dikdrtgen doldurulduktan sonra siz yeni bir dikdrtgene balyorum dediinizde bu zaten bal bana ok iddal bir olay. Maymunlara Resim Yapma Hakk kitabnn post-duchamp krizi blmnde detayl bir ekilde anlattm gibi MarcelDuchampn yapt ready-madeler ve enstelasyonlarna bakarak ald risk oranna dikkat ekmekgerekiyor. Ben mesela ok iddial bir i yaptm; 58 kola iesi kullandm, yere 79 tane mobilya artkoydum ve bunu daha da perinlemek iin yklmakta olan 9 binann fotora arn kullandm. Bunlardikkate aldmzda zaten o resme k ar tadnz iddia ok havada kalyor. nk o konuda alnacak bir risk varsa bunu zaten Marcel Duchamp fazlasyla almt. Demek ki orada ierik ilgili ok iddial bir veri olmas lazm ki o ensteleasyon konusun arpc olsun. Ama buna da ender rastlyoruz. Daha ok bienal sanatna benzemeye alan sergilerde de olduka tekrara dayal belirli dozda fotoraf, belirli dozda desen, belirli bir dozda atk gibi almalar gryoruz.O sergi ou zaman, belirli bir hzda gezen insanlara hitap ediyor. O insanlar da zaman ktlndan or-talama yirmi dokuz dakikalk videolarn en fazla bir buuk dakikasn izliyorlar. Daha sonra gelir izle-rim diyorlar hi bir zaman gelemiyorlar nk hayat yle kurgulanm. Maalesef insanlarn atomistikzaman paralanmasnda baka ncelikleri var. Diziler tra k skkl, kartyla kavga etmek gibi.Dolaysyla sergide grlen grld gibi kalyor. Ve o ema insanlarla sanal iliki kuruyormu gibioluyor ve havada kalyor. Belki resmin insanla kurma ans olan ilikinin derinliine fazla giremiyor.Ben video da yapm insanm entelasyon da yapm bir insanm hatta enstelesyonlarn ou politikoldu sansre kar oldu kimisi erotik oldu. Aslnda entelasyon dnda canl mekan dzenlemeleri ya-pan bir insanm. Kendimi uzam ynetmeni olarak gryorum. Sergileme alannda mekann , ha- vas, dekoru, kullanacam canl aktr iine alan birok sergi yaptm. 1987de I. stanbul Bienalinde

When you consider your art; what kind of topics interests you lately and what are the issues you want to point out in your art?

Nowadays, Im involved with my main work; canvas painting. Im also working on my 4 dimensional works. In the past one and a half years I have created new canvas series. On one hand, these paintingsre ect typical Bedri Baykam style. In fact, their pro le is close to my 80s paintings. On the other hand, when studied carefully, we can see the in uence of various experiences I had and series I have made du-ring 1990s and 2000s on these paintings. So, these paintings are beyond being a typical Bedri Baykam work with bright colors but they are in physical and spiritual relation with series such as Girly Plots,Inner Traces Transparent Layers, Lolitart and other works with completely different perspecti- ves. So, when looked closely, we can see both the similarities and differences between these paintingsand 30 years old Bedri Baykam works.

Maybe you can elaborate on your new works association with the ones from 80s?

There are different periods and discussions in Turkish art. For example, in 80s there was the questionof gurative and abstract painting and this question resulted in tragicomic situations where people were divided between two camps and put out with each other and so on. Then there was the discussion between the realist gurative painters and mannerist gurative painters, encouraged by some conser- vative names in academy and this took huge place in media. Young artists of that period watched thearguments with great interest. When we look at current Turkish art, we see that the young generationfollowed our footsteps in this argument. I never got involved with the gurative abstract argument because my paintings were never merely gurative or abstract. What you want to emphasize is some-times an abstract concept, sometimes a subject, sometimes eroticism or sometimes there might be a need for gure. Sometimes its political and historical or the ght of the moment. So, whether there wasa gure or not was not my concern. Then in 90s there was the discussion of installation and canvaspainting. I looked at these discussions laughingly, except for participating in them on theoretical andliterary basis because there was no such division in my art. And that is because Im one of the pioneers who did and practiced multimedia and installation in Turkey but this didnt stop me from painting oncanvas. So, in other words; I did not think of painting as an alternative for installation. Of course nobody has to be like me. Some can deal with installation, some can only paint, some can mix these two but inTurkey its as if those who practice installation started a war against canvas painters. It was a timein which, canvas painters were despised, considered to be old fashioned and status quoist. Ive always watched these arguments with a grin because canvas painting never died in art centers of the world in which they wanted to be a part of. It didnt die in the museums, galleries and market either. On the cont-rary, since art being exercised in rectangles for ages, the dif culty, risk and degree of avant-gardism of creating a new work on a rectangle is apparent. Because after all those years, its already a very boldmove when you declare starting on a new rectangle. As I have explained in the post Duchamp crisispart of the book, Monkeys Right to Paint in a detailed way, its crucial to note the risk factor behindMarcel Duchamps ready made materials and installations. For example I have created a very boldpiece in that context; I have used 58 bottles of coke, put 79 pieces of furniture scraps. And used photosof 9 buildings that were about to be demolished to emphasize this. When you consider these issues, theclaim you hold on to kind of hangs in the air. Because, if there is a risk to be taken in that matter, thatrisk is already taken by Marcel Duchamp. So in this context there is the necessity of a great data for theinstallation to be strikingI also made live space installation. I can say that I see myself as director of space. Ive organized many exhibitions including the organization of the light of the exhibition space, atmosphere, decor and the ac-tor that Im going to use. The Sin Room and Ingre Jerome, This is My Bath installations that wererealized in 1st Istanbul Biennial in 1987; they were the alphabet of everything, the rst examples of multimedia and contemporary art in Turkey during the 90s in terms of enlarged photos, introduction

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m, Gnah Odas, Ingre Jerome, Buras Benim Hamamm enstelasyonu vs. Tm bunlar 90lTrkiyede multimedia ve gncel sanat ad altnda bytlm fotora ar, siyasete giri, ero-ri, izleyiciyi dahil etme asndan- ortaya kan her eyin alfabesi o sergiden tremedir. Bu okk ortadadr. Ama enteresan bir ekilde 90l yllarda gncel sanat adna sava ap bir de tuvalncel sanat kavgas yaratanlar, sanki bu tip sanat e serlerini 90larn ortasnda Satrnden bu-anan bir kapslden durup dururken ortaya ktn dnmlerdir. Dolaysyla sahte sanatna soyunulmutur. Trkiyede bu durum, gerek sanatlar ve sanat tarihileriyle Trkiyeninkendi doum tarihlerine ve kendi yaam tarihlerine gre yeniden sahte bir ekilde yazmaya

kratrler arasnda bir tarih ikilemi yaratmtr. Trkiyede ada sanatn, Trkiyeye gelipmze mdr ve sanat tarihisinin deyimiyle gncel sanatnn 90larda baladn sanan birsanlar grubu vardr. Halbuki hepimiz bu lkenin sanatnn yava yava nereden nereye geldi-yoruz. Mesela ilk 80lerde yeni duavurumculuk ile birlikte gra ti, kolajn girmesi 87de bienalde enstelasyonlar klar, fotora ar, sesler... imdi btn bunlarn 80ler boyunca yapldnlmann 80lerde olduunu Maymunlarn Resim Yapma Hakknn ve manifestolarn 80lerden, batya isyan bayrann almasnn 80lerde olduunu bu piyasann 80lerde yava yavaelitiini biliyoruz. 80lerde bunu yapan bizlerin de 50lere 60lara 70lere borcumuz olduu-oruz. 80lerde binbir zorlua ramen bu resmi retip satabilip devam edebildiysem bu FikretAbidin Dino, Nejat Devrim gibi sanatlarn at saha ile mmkn olabilmitir. Bunlar st stelalarla olan bir eydir.

zde bahsettiim kavgalar enteresan bir ekilde baka politik dzeylere kayyor. Trkiyenineksenden cumhuriyeti eksenden kayyor olmasndan mutlu olan ve bundan ABnin kendisi-

aca onurlar paylamak iin onlarn deyimiyle Mustafa Kemal statkoculuunu ktleyenan gruplarn oluturaca sanatsal bat balantl gettolar, rettiimiz sanat ve savunduumuz

dnda Trkiyede sanatlar giriimi ad altnda en nl ressamlar tiyatrocular akttrleri, bir araya getiren, her olumsuzlua reddediyoruz diye kar kma cesareti gsteren aydnla-u ile siyasal yol ayrmna gelmitir. yol ayrmndan bahsettim; 30 yl geriye baktmzda soyut tartmas bunlarn yannda ok sempatik kalyor. 15 yl geriye baktmzda enstelas-uval ayrmnn arkasnda sanatsal baz inatlar veya kratoryal baz ego ekimelerinin brakt-tarih retimini ve bugn yaanan siyasal yol ayrmn zetle bu ekilde anlatabilirim.

manlarda rettiiniz 4D almalara baktmzda teknoloji de sanatnzda baat rol oynu -almalarnzn kri alt yapsndan bahseder misiniz?

m teknolojiyi kullanyorum hem de onun dnda yalnz tuval iler de yapyorum. Onlar da bu-ok sanatnn asistanlarna resim yaptrmas gibi ilere girimeyip her eyi kendim yapyorum.en kendimi tekrarlayan bir ressam deilim. Yaptm her ey birbiriyle ilikili; her bir resmimnde bir dnya, her bir resmimde bir kompozisyon iddias var. Ayr bir malzeme ve konu iddi-

Her bir serinin birbiriyle art eksi, iti kak ilikisi var. Eski serime tepki olarak da yaptmvar. Onlardan bir eyler alarak ve zerine k atarak giden seriler de var. 4Dler az nce bahset-

gibi uzaydan kapslle inmedi nasl 30 yldr kolaj yapyorsam, nasl fotora a resim arasndakikurduysam, nasl dii entrikalardan getiysem, nasl boyasal saydam katmanlarla urapnu fotoraf saydam katmanlarna gei yapp arkasndan malzeme saydam katmanlarna ge-

p arkasndan boyasal, fotoraf, malzeme saydam katmanlarnn tamamn yepyeni bir dzlemebilgisayar geri plannda tuvalin i ie getii yeni bir sunum fonksiyonunu retebildiysem buir srekli yaayan bir mutfaa sahip olduumdandr. Bu durum insanlarn birbirinden farkl veden beslenen yeni kaplar alan labirentte, kimi zaman kaybolup kimi zaman k urdanmp o yola girmesi gibi bir ey. Risk almay seviyorum.

nn zm reten mekanizma- iindesiniz ayn zamanda sorunlara dikkat eken bir sa -iyorsunuz. Sanat ve sorumluluk balamnda sanatn politik olup olmamas konusundaleriniz nelerdir?

yasi olmaya mecbur deildir. Her sanat zgrdr. Sanat isterse yalnz iek resmi yaparnz manzara resmi ya da yalnz soyut resim yapar.. Ama buna ramen duru ok politik ola-litik olmas iin illa ki sanatnn siyasi sanat retiyor olmasna gerek yok. Yalnz renklerleeten sanat da sanatlar giriiminin imzacs somut katlmcs olabilir. Olmaldr. Ama be nnin siyasetine de zmler getiren bir insanm. tiraf e deyim; siyasi ortam, sanatnn siyasiendilerinden daha iyi analiz edebiliyor olmasn veya bunu zaman iinde kantlam olmasnlardan siyasette de daha alkan olmasn kolay kolay hazmedemiyor. Sanatlar siyasal birazrladklar zaman siyasal ortam bunu hazmetmeye hazr deil. rnek olarak bir yldr ze-ltmz sanat haklaryla ilgili millet meclisi yasa tasla verdik kltr bakanlna ama brakn ilgi grdmz dahi syleyemem.

nin nerisiyle tm dnyada 15 Nisanda Dnya Sanat Gn ilan edildi. Dernein bakanu sreten bahsedebilirsiniz?

sanat birlikleri dnya genel kurulunda Trkiye Milli Komitesi UPSDnin nerisiyle Dnya Sa-, Leonardo Da Vinci doum gn kabul edildi.

iyi sunmanz besleyen idealleriniz neydi?

oluunu hep hissediyordum. Tiyatro gn var. Mzik gn var. Anne gn, Baba Gn var.iye gnmz yok diye sorguluyoruz ister istemez. Arkadalara bu boluu ynetim kurulun-. Ne olabilir diye dndk. Sanat ismi olarak kim olmas konusunda gemie baktmzda gio diyebilirsin, Michelangelo diyebilirsin, Picasso diyebilirsin, Dali diyemezsin (glmeler)

n bunlardan szlen isim Leonardo oldu. nk bugnn disiplinler-aras geie de ok msa-ok boyutlu ve ok katmanl dnce yetisini ve bunu ortak retim alanna ama kapasitesiniak Leonardo Da Vinci ismini dndk. Ama rnein maara resimlerinin dnyada ilk olarakdii ann bulsaydk o gn olsun da diyebilirdik. Onu aratrdk fakat ne kan bir tarih bula-konuda. Leonardonun doum gnnn 15 Nisana denk gelmesi, 15 Nisanda baharn ortaya

na, kazaksz sokaa kmaya balamamza, insanlarn daha rahat giyinmesine, gnein parla-baharn gzelliine denk gelmesi nemliydi.

uda Dnyada ve lkemizde eitli etkinlikler planlanyor mu?

ras sanatlar grubunun kendi potansiyelinde milyonlarca dolarlk btesi yok. Dolaysyla yava kutlanlmaya balanyor. Bugn her lkenin kendi iinde belirli gc orannda yavautlanp yaylacak. Ama bunun yava yava yaylmas her birimizin elinde. Sanatn gerekliliini,, bara katksn, evrensel dostluu, rklkla faizmle mcadeleye katksn gndeme getire-btn bunlar dnyada tayacak bir bte haline getirecek iletiim vesilesi haline getirebilecekbu. Ayn zamanda her sene baharla birlikte sanatn nemini vurgulamak insanlarn birbiri-hediye etmesinin, galerilerin ge saate kadar ak olmasnn nn aan bir yaklam. Abdie canl mzik konserleri olacak, dans gsterileri dzenlenecek, sanat kitaplar ve boya satanandlar olacak. O gece UPSD sanat galerisinde WAP sergisi alacak. Nisann 13nde Tomurben ve Yusuf Taktakn katlmyla Beikta Akatlar Kltr Merkezinde bir panel dzenlene-ann 16snda talya Leonardo Mzesinin mdr talyan Kltr Merkezinde bir konferans

ada sanat pazar konusunda kirleriniz almak istiyorum. stanbuldaki sanat fuarlarnda sa -t oranlarnn ykselmesi ve Avrupa mzayedelerinde Trk ada sanatna gsterilen ilgiyi bazalrsak piyasann olumlu ekilde ilerlediini dnebilir miyiz?

Trkiyede koleksiyonerler neden resim aldklarn bilmiyorlar. Eskiden kanepeme uyuyor, Boyuodama uyuyor diye aldklar zaman bile daha salklyd. Eskiden daha salklyd; imdi mzayedeyegidip nemli grnmeye almak ve ieriini bilmeden kulaktan dolma bilgi ile indirim olan maa-zaya koar gibi bir rzgara ve dedikoduya dayal alm-satm var. Bir de bunu yaparken hibir eitimzahmetine girmiyorlar. Sanat tarihindeki bir resim neden nemlidir? O sanaty tanmak, o akmlartanmak, bir akm tetikleyen belirli bir kii ve belirli bir yapt neden nemlidir? rnek olarak basitgrlen desen neden sanat tarihinin akn deitirmitir? Byle derinliklere girmeden tam tersinemzayedelerde aralarnda da anlaarak giriilen para odakl speklasyonlar yaratan almlarla nereyekadar varlabilir ki. Alt doldurulmam ve tarihi olmayan kiiler ile olsa olsa yapay gstermelik piya-sa oluturulmaya allyor. Bunu hem i hem d mzayedeler iin syleyebiliriz. renme fobisiy-le, cehalet rtme abasyla, ierii dlama lksyle, mzayede evlerinin de krklemesiyle cehaletinparay parann cehaleti desteklemesiyle oluturulan bu piyasalar bugn bizi mutlu ediyor i hacmiarttryor gibi grnse de bu piyasa, zemini olmayan ne s bir oday artrmaktadr. Admmz at-tmz anda aaya debileceimiz bir odadr bu. Sanatn geliiyor olmas, daha ok insann sanat

eseri satn alyor olmas galerilerin oalmas bir yere kadar salkl bir yerden sonra salkszdr. Ga-leri amak bir baka iddiadr. Kapital deildir. mr stnden yaplan bir eydir. Sanatya gsterilenilgidir. Btn bunlar yaparken bu ie mrn vermi bu ii bilen okuyan kiiler bu piyasaya girmeli.Sanat piyasasna hisse senedi piyasasna girer gibi girilmemelidir. Resim uzun vadede zaman tneliyleen iyi geinen eydir. Ksa vadede bundan para yapmaya alan insan bu piyasay bozar. Piyasanncanlanmas gelimesi bir yere kadar iyi, bir yerden sonra zarar vermeye balar.

Mine Sanat Galerisi ile tanklnz nasl balad?

Mine Hanm ile Nur Beyi uzun sredir tanrm. 17 - 18 yl oldu sanrm. Karlkl ok sevgi sayg dolu bir ilikimiz vardr. Yllara yaylan ekilde beraberliimiz kimi sergileri kapsayacak ekilde srd. Benzaten belli bir galeriye bal alan biri deilim. Mine Sanat, Trkiyede altm 6-7 galeriden biridir. Az nce bahsettiim gibi mesleini ciddi yapan, iini seven, Trkiyede sanatn deerini ve mesleindeerini bilerek bu ii mr stnden srdren ciddi bir profesyoneldir Mine Hanm.

to politics, eroticism, interaction with the audience. This is crystal clear. But surprising as it is, those who started a war in the name of contemporary art and enforce the discussions against canvas pain-ting and contemporary art, thought that these art works were sent to Earth from Saturn in a capsule inthe middle of the 90s. So this resulted in creation of a fake art notation. This situation in Turkey causeda history dilemma in real artists and art historians and those curators who try to re - write Turkish arthistory according to their birth dates. In Turkey there is a group of people who think that modern art or in words of the museum director and art historian who had came to Turkey and left; contemporary art has started in 90s. However we know how Turkey art came to its current position. We know thatthe writing of Monkeys Right to Paint and manifestos, the development of the market and expansionto West and protests of West has started in the 80s. We; as the ones who used lights, photos and soundsin 87 Biennial, know that we owe it to 50s 60s and 70s generations. If I was able to create and sellthese paintings despite the 80s it was because the eld was opened by artists such as Fikret Mualla, Abidin Dino, Nejat Devrim. They are like bricks on the wall.Today, surprisingly these discussions shifts to political levels. The artistic ghettos with Western relati-ons who are sharing the bene ts of UN; they are content by Turkeys shift from Kemalist view, degra-dation of Mustafa Kemal status quo as they put it - came to political cross roads with intellectuals;

Turkeys well known painters, actors, writers who are not afraid to speak up against all negativitiesand gathered under one roof as Artist Initiative in Turkey. I mentioned three cross roads so far; the

gurative versus abstract discussion that took place 30 years ago which seems sympathetic comparedto the recent ones. 15 years later that, we see the installation versus canvas discussion and that someartistic stubbornness and ego con icts of some curators causing the creation of a fake art notation andnow the political cross road.

Lately technology plays a crucial part of your artistic production, as it is seen in your 4D Works?Can you elaborate on this perspective of your work?

I use technology but I also like to do canvas works. Despite some artists who are using their assistantsfor canvas paintings I paint them all by myself. All my works are related to one and other; every pain-ting has a world of its own, in every painting there is a claim of composition. There is a claim of material

and subject. There are paintings that I have created as a reaction to older ones. There are series created by getting inspiration from older ones or adding on to them. As I have mentioned before the 4Ds didntcame out of space, its because I always have a lively and broad cuisine like relating photographs to pa-intings or working on transparent layers of paint and shifting this knowledge into photographic trans-parent layers and transferring all of these into a completely new plane. Its is like being in a labyrinth where new doors keep appearing. I love taking risks.

You are in politics the mechanism that solves but at the sam e time you produce art that points

out problems. In the context of art and responsibility, what are your thoughts on arts being poli -

tical or not?

Art does not have to be political. All artists are free. An artist can paint only owers or landscape or abs-tract paintings if he/she wants to. But despite this, the attitude can be very political. The artist doesnthave to produce political art in order to be political. The artist who only work with colors can be a partof an movement. They should be. But Im a person who also suggest solutions to Turkeys political prob-lems. Let me confess; the political arena cannot accept the fact that artists are better at comprehending the political environment. The political arena is not ready for a political art work either. For examplethe draft of the law on rights of artists that we were working on for a year is delivered to ministry of culture but let alone thanking us, its hard to s ay that they paid any interest to it.

With the suggestion of IA A, 15th of April is declared as the World Art Day. Can you emphasize on

the process as the president of the association? What were the ideals behind this suggestion?

In the IAA meeting, with the suggestion of Turkish National Committee, the birthday of Leonardo Da Vinci is accepted as the World Art Day. I have always felt the void about this issue. There is theatre day.There is music day. There is Mothers day, Fathers day. So, why not art day? I mentioned this void inthe meeting. So we thought about names. It could be Caravaggio, Michelangelo, Picasso, it couldnt beDali (laughter) but the name that surpassed all was Leonardos because when you think of his multidimensional and multi layered thinking pattern and his ability to open this pattern to collective produc-tion space is quite appropriate for todays inter disciplinary mode of living. But for example, if we wereable to nd the date in which the cave paintings were found, we could choose that. We have searched forit but we couldnt nd a speci c date for that. Also Leonardos birthdays coinciding with the emergenceof spring, our going out to street without our sweater in a more relaxed manner, the sun shining brightand beauty of spring starting to show were important in a sense.

Are there any events planne d throughout the world or in our count ry?

The group of international artists dont have a million dollar budget. So, the celebrations will startslowly. Today it will start to be celebrated according to e very countrys own capability and then expandin time. But this is also in our own hands. This is a special day which can be used as a communicationtool to underline the necessity of art, its contribution to peace, universal companionship, its ght aga-inst racism, fascism. Its also an approach to e nable galleries to be open till late hours, peoples receiving and giving art as presents, and celebrate the importance of art with the beginning of spring. During thecelebrations there will be live music concerts in Abdi peki, dance shows will be organized and standsthat are selling art related materials and books. There will also be a WAP exhibition held in IAA art gal-lery. Moreover in the 13th of April, there will be a panel discussion in Beikta Akatlar Cultural Center with the participation of Tomur Atagk, myself and Yusuf. In the 16th of April the director of LeonardoMuseum will give a conference in Institute of Italian Culture Center.

Id like to learn your comments about modern art market. By taking the increase of sales in art

fairs in Istanbul and the interest to Turkish modern art in European auctions to consideration can

we suggest that the marke t is developing in a good way?

The collectors in Turkey dont know why they are buying paintings It was even more reasonable in thepast where they would buy paintings for reasons such as it suits my sofa or the length ts my bed-room. Now the sales are based on attending to the auction and looking like an important person andto buy paintings on hearsay information and gossip like racing into a discount store. And they dont

bother with the educational part either. Why is a speci c painting is important in art history? Why is itimportant to know the artist, the periods, speci c artists and works that are essential to some periods?How far can this situation last, making speculative pur chases by conspiring within themselves in aucti-ons without having any knowledge is a question. The market is trying to be fed by people who have littleknowledge or history within the eld. We can say this for both internal and external auctions. Thesemarkets; formed by boosting of money by ignorance and vice versa, are encouraged by auction houses,phobia of learning, attempt to hide the ignorance and the luxury to exclude content, seems to makes ushappy since it increases work capacity but it, it evokes a gorgeous room without a gr ound. Its a type of room in which the moment we step in we would fall down. The improvement of art, the fact that morepeople are buying art works and the increase in the number of the galleries are healthy up to a point.Opening a gallery is another thing. Its not a capital. Its a lifelong interest. Its the interest shown to theartist. All these requires someone who reads, knows about this job, someone who gave their lifetime forit. One should not enter into art market like entering into stock market. Painting gets along well withlong term time intervals. The individual who aims to make money in short term disturbs the market.The development of the market is good up to a point, but after that it starts to harm the market.

How did your acquaintance with Mine Art Gallery started?

I have known Mrs. Mine and Mr. Nuri for a long time. I guess its been 17 18 years. We have a very loving relationship for one and another. Our friendship included some exhibitions since Im not an artist working for a speci c gallery. Mine Art Gallery is one of the 6 7 galleries Im working with in Turkey. As I have mentioned before Mrs. Mine is a professional who values and loves art in Turkey and herprofession.

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7

e Yelken hayatnzda neleri etkiledi, yasam tarznz ve i yaamnz bunlarla ilikilen -zde neler sylemek istersiniz?

it olma duygusunu benliinizde tamak her insana hediye edilmi bir zellik deil maalesefe edemeyeceimi bildiim, slah edilemez ve kar konulamaz bir tanradr. Deniz, feminendirin. Rzgar ise masklen tanrsal gc, hakimiyeti ve dengeyi ifade eder. Her ikisinin bulutuuelkendir. Yelkene dolan rzgar ile teknenin deniz zerindeki zarif szl, rzgar tanrs ilerasnn bulumasn ifade eder. Tm bunlar her hcremde tadm, istemsiz olarak yaa-er detayn ekillendiren ve bugnk beni yaratan bir felsefe olduu iin kendimi seilmi veryorum.

dokusu, denizcilik ve sanat arasnda ne gibi balantlar gryorsunuz; doadaki renkler in sunduu renkler ile sanat eserleri arasnda size gre en belirgin etkileim nedir?

ik kadar doa ile i ie gemi ve tamamen onun dinamiklerine tutsak baka hibir meslekyoktur. Usuz mavilikteki gndz ve gecenin dinginlii ve mutlak sessizlii ise sizi yaamninde asla bulamayacanz bir noktaya, saf dnebilme zgrlne tar ki bu zgrlk,rin, seslerin ve renklerin ayrabildii, zgr dncenin, sanatn balayabildii ince krmzDeniz zerinde, dnyann nerede ise tm denizlerinde, okyanuslarda yaadm her bir gn,kendi izdii bir tablo gibi, bir resital gibi aklmdadr. Ve deniz zaman iinde st k adar beni al-

mi, yine dnyann en ulalmaz yerlerinde yaptmz dallarda o dibinde gizledii inanlmaze tanmam da salamtr. Bu tecrbe, sessizlik ve ilham ile bilinaltma ve benliime dena hayatmda mutlaka bir kelime, bir nota olarak yerini almtr. Ksacas sanat yaratan, doa dinamikleridir.

ediimiz zaman neler gelir aklnza? Yaamnzda mziin yeri nedir?

enim yaammn ekseni oldu hep. Beni eiten, yk selten, yaamda hep doru bir devinim ya-m salayan bir eksen. Belki de o beni ve ben de onu en doru ekilde kullandk diyebilirim.n zamanda yutkunamadm ve boazma dmlenmi bir yumruk olarak kald. Asla tamam-m bir beste gibi. Ben belki de byle kalmas gerekiyordu diye dnyorum hep; Nadireniim ve hep zlediim sonsuz akm olarak Belki de boazmdaki bu yumruk, 1987 niver-

as mzik yarmasnda gitar soketimizin arknn tam ortasnda kmasndan dolay ncuz ve bizler bunun iin hngr hngr alar iken, sevgili zzet z aabeyimizin yanmza gelip

i herkes yreiyle size 10 puan verdi, ama kalemleriyle 7, eer mzii brakrsanz iki elim ya-olsun. demesinden ibarettir. Kimbilir?

e kadar gerekletirdiiniz ve size en byk doyumu sunan almanz veya projeniz neydi?

geldii kadar gzel projelere imza attm, birou ile de byk gurur duyuyorum. nsan olgun-daha gzel eylere daha doyurgan projelere imza atyor. Ama tarihimde hi unutamayacamli ey, mzik grubumuz olan Albatrosu kurmu olmak, Comfortably Numb parasnda iki ayr birinde davul dierinde gitar alm olmak, sonuncusu ise bugn burada bulunduum yerdeRINA gibi dnyaya rnek bir projenin banda olmaktr. Ancak ok zlerek sylemem lazm20 kere yaam olsam da, k ortasnda kuzey pasi kte yakalandm 11 kuvvetindeki bir fr-metrelik dalgalarn arasnda gemiyi kurtarp sakin sulara ulamann verdii doyumu hibiri

atramam.

e kadarki baarlarnza ek olarak bundan sonra sizden hangi ilgin projeleri ekleyelim,ede en byk hayaliniz/projeniz nedir?

denizcilik ile ilgili o kadar deiik projelerde yer aldm ki, sizin sorunuz ile belki de ilk defa pmadm diye dndm. Pek fazla bir ey kalmadn dnyorum. Ve yaptm eylerdeaha nce yaplmam olanlar denedim. Tpk PALMARINAda olduu gibi. Ama ideal olmasa , radikal bir kir iin hep ak oldum. Ancak bugn sanki deniz benden artk onunla aramzda eyler paylamamz istiyor gibi... Teknemiz ile daha nce yaplmam olan bir dnya turu bel-gdeer Sadun Boro abim ile Avrasyann kuzeyinden Atlantikten Pasi ke gemek ve sonra en Gneye ynl bir dnya turu

How did sea and sailing effected your life, what are your comments on the relationship between

your lifestyle and professional life?

Unfortunately the feeling of belonging to the sea is not a gift given to everybody. For me; sea is femi-nine, a goddess who cannot be claimed, who is irresistible and know that I cannot have. On the otherhand, the wind symbolizes the masculine godlike power, sovereignty and balance. Their meeting pointis sailing. The elegant gliding of the sail with the wind that lls the canvas expresses the meeting of Godof Wind and Goddess of Sea. I feel blessed and lucky for carrying all these in my personality, having a philosophy that shapes every aspect of my life naturally and creates the person I am today.

What kind of relation do you see betwee n texture of nature, sailing and art, what is the most

prominent interact ion between the colors in nature and colors that the sea represent s in your

opinion?

There is no profession and hobby that is so intermingled with nature and prisoner of its dynamics asmarine. The quietness and serenity of day and night in the vast blue of the sea caries you to a point where you can never nd in lifes mangle, a state of free thought which is a thin red line where words,sounds and colors can separate, free thought and art can exist. Each day that I have spent in the sea,almost in every sea, is on my mind like a recital or painting . And eventually, bottom of the sea attractedme as well as the above and the dives that we have made to the unreachable places of the world allowedme to discover new colors. This experience, quietness, every drop that falls into my subconscious self and ego with inspiration, gained its place in my life like a word or note. In other words, what createsart is nature and its dynamics.- What comes to your mind when you think of music? What is the place of music in your life?Music has always been the axis of my life. An axis that has always educated, raised and enabled me to

nd my true motion. M aybe it would be proper to say that I used it as it used me in a speci c way. Buat the same time music remained as a st in my throat. Like a song that I have never completed. Some-times I think that maybe that is the way it has to be; like my eternal love whom I rarely see and always

miss. Maybe it is about the words of dear zzet z who approached us after the Music Contest BetweenUniversities in 1987 where we were chosen as third because our guitar socket was unplugged in themiddle of the song; E verybody in the jury gave you 7 points but in their hearts it is 7. Dont you everquit making music. Who knows?

What was your most satisfying work or project for so far?

I have done as much as beautiful projects as I can and Im proud of most of them. One takes roles in better projects as he matures. But three important achievements in my life that Ill never forget were;to form Albatros (our band), to play Comfortably Numb in two different concerts; one with drums, theother with guitar and the last one is to be the head of a world class project like Palmarina. But I mustsay with regrets that even though I have experienced this 20 times, the satisfaction I get from saving the ship from 15 meter long waves and the storm with the strength of 11 that I have experienced inNorth Paci c in winter is incomparable.

In addition to your achievements so far, what are your future dreams/ projects?

I have taken role in so many different projects about sea and marine, with your question I have thoughtof what I havent done for the rst time. I dont think there is much left and I always tried what is notdone before like the Palmarina Project. But I have always been open to radical and interesting projectsalthough they are not ideal. But today, it seems like the sea demands from us to share a special thing. A world trip with our boat maybeA world tour with my brother Sadun Boro s tarting from north of Eurasia to Atlantic to Paci c and then a North to South directional world tour.

Tp vesanatn

estetii.

n Rportaj - Editrn Rportaj -Editrn Rportaj -Editrn Rportaj -Editrn Rportaj -Editrn Rpor-rtaj: Serkan Glener

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BEDR BAYKAM SON 10 YILDAN

Mine Sanat Galerisi, Mays ay itibariyle Caddebostan ve Nianta mekanlarnn yannda Bod -rum Yalkavak Palmarinedeki yeni mekannda sanat projelerini srdrmeye devam edecek.2011de Yalkavak Marineyi satn alp, oluturduu Yalkavak Palmarine ve bnyesinde -ki yeni kadrosu ile birlikte dnyann en iyi marinalardan birini gerekletirmeyi hede e - yen Palmali grubu, turizme katklarnn yannda sanat da gz ard etmiyor. Yeni yapsnnierisinde yer alan tarihi yahane yapsn sanat mekan haline getirmeye karar veren Pal -marine ynetimi, bu konuda Mine Sanat Galerisi ile birlikte ortak projelere imza atacak.Sanat mekan olarak kullanlacak olan eski yahane yaps, bu defa Trk ada Sanatsahnesinin nl ve baarl isimlerinden Bedri Baykamn Son 10 Yldan sergisine ta -nklk edecek. Son dnem ilerinin sentezi olan ve sanatnn Dii entrikalar, At Se -risi, Lolitart(e) serilerinin boyut kazanmasnda etkili olduunu ve 80lerden esinler tadn syledii 4D almalar da sergilenen almalar arasnda... 3. Boyuta ek olarak zaman boyutu da eklenen almalar bu sayede zamanlar arasnda kolaylkla gei salaya - biliyor. Yeni bir teknoloji ile retilen eserler erotizm, stanbul, sanat tarihi ve pop kltr -ne gndermeler ierdii gibi ayn zamanda ada sanatta yeni bir sayfa yaratm oluyor.Bedri Baykamn kariyerinin zeti niteliindeki Son 10 Yldan sergisi, Bodrumda Yalka - vak Palmarine Yahanede 19Temmuz 19Austos 2012 tarihleri arasnda ziyaret edilebilir.

BEDR BAYKAM WITHIN THE LAST 10 YEARS

Starting from May, Mine Art Gallery continue its art projects with its new pla -ce in Bodrum Yalkavak Palmarine along with its Caddebostan and Nianta places.Palmali Group who bought Yalkavak Marine in 2011 and developed Yalkavak Palmarine aims torealize one of the best marines in the world with its new staff, does not put aside art, alongside withits contributions to tourism. Palmarine Management decided to transform thve historical rende -ring plant into an art space and from now on conduct collaborative projects with Mine Art Gallery.

The old rendering plant that is to be transformed into an art space will rst host the wellknown and successful name of Modern Turkish Art; Bedri Baykam with his Within TheLast 10 Years exhibition. The artists 4D works that inspired his 80s works; are in u -ential in conceptualization of his series of Girly Plots, Horses and Icons Lolitart andstands as an synthesis of his recent works are among the works that are represented inthe exhibition. With the addition of the time factor to three dimensions, the works can tra - vel through time. This highly technological art works initiates a new page in modernart while referring to subjects such as eroticism, Istanbul, art history and pop culture. .Within The Last 10 Years exhibition that serves as a summary of Bedri Baykams career, can be vi -sited in Yalkavak Palmarine Rendering Plant between the dates 19th of July 19th of August2012.