{"id":13814,"date":"2021-04-14T13:57:37","date_gmt":"2021-04-14T10:57:37","guid":{"rendered":"http:\/\/www.artnivo.com\/proje-sergi\/uncategorized\/kendine-ait-bir-oda\/"},"modified":"2021-10-18T10:32:06","modified_gmt":"2021-10-18T07:32:06","slug":"kendine-ait-bir-oda","status":"publish","type":"etheme_portfolio","link":"https:\/\/www.artnivo.com\/en\/proje-sergi\/online-exhibition\/kendine-ait-bir-oda\/","title":{"rendered":"Kendine Ait Bir Oda"},"content":{"rendered":"

14.03.2015 – 25.04.2015<\/strong><\/p>\n

 <\/p>\n

Sergi ad\u0131n\u0131 Virgina Woolf\u2019un \u2018Kendine Ait Bir Oda\u2019 adl\u0131 roman\u0131ndan al\u0131yor. Woolf, bu roman\u0131nda kad\u0131n\u0131n kendine ait bir odas\u0131 olmas\u0131n\u0131n, kad\u0131n\u0131n \u00fcretimini ve yarat\u0131c\u0131l\u0131\u011f\u0131 etkileyen en \u00f6nemli unsur oldu\u011funun alt\u0131n\u0131 \u00e7iziyor. Kitap Woolf\u2019un, \u2018Neden Shakespeare gibi bir kad\u0131n yazar yok?\u2019 sorusuna cevap olarak yazd\u0131\u011f\u0131 roman\u0131d\u0131r\u2026 Woolf\u2019dan yakla\u015f\u0131k 85 y\u0131l sonra sanat\u00e7\u0131m\u0131z Manolya \u00c7elikler, bu kitab\u0131 kendi \u00fcslubuna g\u00f6re yorumlayarak bir sanat eserine \u00e7evirdi. Bug\u00fcne kadar yap\u0131lan\u0131n aksine, artnivo.com\u2019un Online Sergisi\u2019ni, Artnivo.com\u2019un kad\u0131nlar\u0131 \u015eebnem Alp Alk\u0131n, \u00d6zlem \u00dcnsal, \u00d6zge \u0130nal yap\u0131yor ve kad\u0131n \u00fczerine \u00fcretilen i\u015flere odaklan\u0131yorlar.<\/p>\n

Sanat tarihine d\u00f6n\u00fcp bakt\u0131\u011f\u0131m\u0131zda ‘kad\u0131n’ imgesinin hassas ve problemli bir ba\u015fl\u0131k oldu\u011funu g\u00f6r\u00fcyoruz… Bu konuda iki nokta dikkat \u00e7ekiyor; birincisi izleyicinin ve\/veya koleksiyonerin erkek oldu\u011fu d\u00fc\u015f\u00fcn\u00fclerek yap\u0131lan resimler. D\u00f6nemi ne olursa olsun, Oryantalist, K\u00fcbist veya Barok, bu resimlerde g\u00fczel kad\u0131nlar, estetik pozlarda izleyicinin g\u00f6zlerinin i\u00e7ine bak\u0131yor… Ingres’nin “Les Grande Odalisque”\u0131n\u0131, Monet’nin “Olympia”s\u0131n\u0131, Rembrandt’\u0131n “Danae”sini hat\u0131rlayacaks\u0131n\u0131z. Bir di\u011fer nokta ise, tarihte ad\u0131 bilinen kad\u0131n sanat\u00e7\u0131 say\u0131s\u0131n\u0131n iki elin parma\u011f\u0131n\u0131 ge\u00e7memesi. Ad\u0131 bilinen kad\u0131n ressamlar\u0131n \u00e7o\u011funu da ba\u015fka bir \u00fcnl\u00fc ressam\u0131n e\u015fi ya da karde\u015fi olarak tan\u0131yor olmam\u0131z. Camile Claudel’i Rodin’in sevgilisi olarak, Gwen John’u Agustus John’un k\u0131z karde\u015fi olarak \u00f6\u011frenmi\u015ftik. Ba\u015fta Linda Nochlin olmak \u00fczere pek \u00e7ok ele\u015ftirmen ve sanat tarih\u00e7i bu konuyu ele alan makaleler yazd\u0131lar ve ara\u015ft\u0131rmalar yapt\u0131lar. Hatta bu ara\u015ft\u0131rmalar sonucunda 1960’larda Feminist sanat do\u011fdu… artnivo.com’un b\u00fcnyesinde kad\u0131n\u0131n sosyo-politik ve k\u00fclt\u00fcrel g\u00fcncel konumu \u00fczerine i\u015f \u00fcreten, sanat\u0131n\u0131 konumland\u0131ran bir ka\u00e7 kad\u0131n sanat\u00e7\u0131y\u0131 g\u00f6r\u00fcyoruz. Hepsinin bir birinden g\u00fc\u00e7l\u00fc farkl\u0131 medyumlarda ve farkl\u0131 anlat\u0131mlara sahip i\u015fleri mevcut… Ama serginin se\u00e7kisinde hem kad\u0131n hem erkek sanat\u00e7\u0131lar yer al\u0131yor.<\/p>\n

Bu ayki ‘Online Sergi’miz i\u00e7in artnivo.com\u2019un \u00fc\u00e7 kad\u0131n\u0131 olarak kad\u0131n temas\u0131na istinaden \u00fcretilen i\u015flere odaklan\u0131rken; \u00d6zlem \u00dcnsal bir sanat tarih\u00e7isi olarak ve kad\u0131n g\u00f6z\u00fcyle erkek sanat\u00e7\u0131lar\u0131n kad\u0131nl\u0131\u011f\u0131 nas\u0131l yorumlad\u0131klar\u0131na bak\u0131p, Alper Ayd\u0131n (21. Y\u00fczy\u0131l Kibeleleri), Ali \u015eent\u00fcrk (Paspas) ve Bedri Baykam’\u0131n (Artist\u2019s Proof) farkl\u0131 tekniklerdeki i\u015flerini se\u00e7ti. \u00d6zge \u0130nal, sosyolog kimli\u011fiyle kad\u0131n\u0131n toplumsal \u00f6zg\u00fcrl\u00fck alan\u0131na ve do\u011fas\u0131na odaklanan sanat\u00e7\u0131lar olan Jacquelin Roditi (The Orgasm), Zeynep Beler (Black Eye) ve Manolya \u00c7elikler\u2019in (Bulma!-ca) i\u015flerini sergiye dahil etti. \u015eebnem Alp Alk\u0131n, koleksiyoner ve sanatsever g\u00f6z\u00fcyle se\u00e7ti\u011fi i\u015flerde kad\u0131n\u0131n toplumsal belle\u011fi ve duygusal i\u00e7 d\u00fcnyas\u0131yla temas eden eserlerin sergiye dahil olmas\u0131 i\u00e7in, sergiye ad\u0131n\u0131 veren i\u015fin sanat\u00e7\u0131s\u0131 Manolya \u00c7elikler (Kendine Ait Bir Oda), Hayal \u0130ncedo\u011fan (Seni Oldu\u011fun Gibi Seviyorum) ve Leyla Emadi\u2019nin (K\u0131z Gibi Kar\u0131 Gibi) i\u015flerinden bir se\u00e7ki yapt\u0131.<\/p>\n

Kad\u0131n sorunlar\u0131na e\u011filen ve i\u015flerinde de kad\u0131ns\u0131 bir deneyim olan diki\u015fi kullanan Manolya \u00c7elikler’in “Kendine Ait Bir Oda” adl\u0131 i\u015fi Virginia Woolf’un ayn\u0131 adl\u0131 roman\u0131na i\u015flenmi\u015f Virginia Woolf portresi. Online sergiye ad\u0131n\u0131 veren bu i\u015f, Woolf\u2019un yazar kimli\u011finin g\u00fcc\u00fcn\u00fcn ve kitab\u0131n bir esere d\u00f6n\u00fc\u015fmesinde sanat\u00e7\u0131n\u0131n rol\u00fcn\u00fcn yan\u0131 s\u0131ra i\u015fin sunu\u015f bi\u00e7imiyle de dikkat \u00e7ekiyor. Manolya’n\u0131n bir sergide yer alan bir di\u011fer i\u015fi ise kasnak \u00fczerine bulmaca \u015feklinde i\u015fledi\u011fi \u201cBulma!-ca\u201d adl\u0131 i\u015fi. Sanat\u00e7\u0131n\u0131n bu i\u015finde toplumda kad\u0131nlar\u0131n cinsellikleri \u00fczerinden etiketlenerek nas\u0131l bask\u0131 alt\u0131na al\u0131nd\u0131\u011f\u0131 ve a\u015fa\u011f\u0131land\u0131\u011f\u0131 seyirciye hat\u0131rlat\u0131l\u0131yor. G\u00fcndelik hayat\u0131m\u0131zda a\u015final\u0131\u011f\u0131m\u0131z\u0131n olu\u015ftu\u011fu bu etiketler, neredeyse sabah kahvemizi i\u00e7ip bulmaca \u00e7\u00f6zerken kar\u015f\u0131m\u0131za \u00e7\u0131kacak kadar yayg\u0131nlar. Sanat\u00e7\u0131, bu kelimeleri kuma\u015f \u00fczerinde k\u0131rm\u0131z\u0131 ile i\u015faretleyerek, erkek egemen toplumda kad\u0131nlara uygulanan s\u00f6zel \u015fiddeti, bize insan kan\u0131n\u0131 hat\u0131rlatan k\u0131rm\u0131z\u0131 renk ile \u00f6ne \u00e7\u0131karm\u0131\u015f. Kad\u0131n\u0131n cinsel \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc reddeden bu kelimeler, genelde kad\u0131nlar taraf\u0131ndan kullan\u0131lan, emek gerektiren i\u015fleme tekni\u011fi ile bize verilmi\u015f.<\/p>\n

Manolya\u2019n\u0131n \u201cBulma!-ca\u201d i\u015finde kad\u0131na dair y\u00fcklenen s\u0131fatlarla kar\u015f\u0131la\u015f\u0131yorken Leyla Emadi\u2019nin i\u015finde ise kad\u0131na dair ba\u015fka bir etimolojik anlam problem kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Leyla Emadi’nin “K\u0131z Gibi Kar\u0131 Gibi” i\u015finde yine kulland\u0131\u011f\u0131 medyum olan halat\u0131n diki\u015f ile yaz\u0131 haline getirilmesi ve \u00e7a\u011fda\u015f sanatta \u00e7ok kullan\u0131lmayan bir medyum olmas\u0131 i\u015fi ilgin\u00e7 k\u0131l\u0131yor. K\u0131z gibi ve kar\u0131 gibi laflar\u0131 kad\u0131n\u0131 a\u015fa\u011f\u0131layan ve dilimize yerle\u015fmi\u015f hatta kad\u0131nlar taraf\u0131ndan bile s\u0131k\u00e7a kullan\u0131lan deyimler olmas\u0131, i\u015fi \u00e7arp\u0131c\u0131 hale getiriyor.<\/p>\n

Hayal \u0130ncedo\u011fan da kelime ve c\u00fcmlelerin \u2018anlam\u2019lar\u0131na odaklanarak yapt\u0131\u011f\u0131 bir i\u015fiyle sergiye dahil oluyor. Sanat\u00e7\u0131n\u0131n neon kullanarak yazd\u0131\u011f\u0131 “Seni Oldu\u011fun Gibi Seviyorum” c\u00fcmlesi ayna ile birlikte var oluyor. Ayna yaz\u0131n\u0131n izleyici ile etkile\u015fime girmesine sebep oluyor ve i\u015fi interaktif k\u0131l\u0131yor. Bu yerle\u015ftirme belki de bir kad\u0131n\u0131n bir erkekten en \u00e7ok duymak isteyece\u011fi c\u00fcmle olarak sergiden ak\u0131lda kalan par\u00e7a oluyor. \u0130\u015fe yakla\u015ft\u0131\u011f\u0131n\u0131zda aynadan kendinizi g\u00f6rmeniz asl\u0131nda ilk \u00f6nce kendimizi oldu\u011fumuz gibi kabullenip sevmemizin gereklili\u011fini anlat\u0131yor.<\/p>\n

Sergide yer alan kad\u0131n sanat\u00e7\u0131lar\u0131n yan\u0131 s\u0131ra erkek kimli\u011fi ile \u00fcretti\u011fi i\u015flerinde kad\u0131na dair okuma yapabilece\u011fimiz sanat\u00e7\u0131 Ali \u015eent\u00fcrk. Sanat\u00e7\u0131n\u0131n “Paspas” adl\u0131 enstalasyonu, erkek g\u00f6z\u00fcnden kad\u0131n tav\u0131rlar\u0131n\u0131 ele alan bir i\u015f niteli\u011fini ta\u015f\u0131yor. Kad\u0131n – erkek ili\u015fkilerini bu i\u015fte, anne-o\u011ful ba\u011flam\u0131nda g\u00f6r\u00fcyoruz ki bu anne-o\u011ful ili\u015fkisi belki de kad\u0131n-erkek ileti\u015fiminin en temel hali\u2026 Ali’nin annesiyle evden ayr\u0131l\u0131rken kap\u0131da ya\u015fanan diyaloglar\u0131n\u0131 i\u00e7eren “anne tembihlemeleri” \u00fczerine bir g\u00fczelleme bu i\u015f. Hepimiz i\u00e7in tan\u0131d\u0131k ama uzaktan bak\u0131nca T\u00fcrk kad\u0131n\u0131n anneli\u011fine sosyolojik bir bak\u0131\u015f olarak okumaya a\u00e7\u0131k…<\/p>\n

Sergideki bir di\u011fer erkek sanat\u00e7\u0131 ise Alper Ayd\u0131n. \u00dclkemizde land-art yani arazi sanat\u0131yla ilgilenen sanat\u00e7\u0131n\u0131n azl\u0131\u011f\u0131na kar\u015f\u0131t Alper Ayd\u0131n’\u0131n bu konudaki \u00e7al\u0131\u015fmalar\u0131yla dikkat \u00e7eken bir isim. Sanat\u00e7\u0131 sergiye, “21. Y\u00fczy\u0131l Kibeleleri” adl\u0131 i\u015fiyle kat\u0131l\u0131yor. Anadolu’daki Kibele k\u00fclt\u00fcn\u00fc erkek g\u00f6z\u00fcyle yorumlayan sanat\u00e7\u0131, do\u011fada buldu\u011fu kemik par\u00e7alar\u0131n\u0131 boyayarak Ankara yak\u0131nlar\u0131ndaki bir araziye yerle\u015ftirip foto\u011fraflam\u0131\u015f. Foto\u011fraf sanki Kibele’ye adanm\u0131\u015f toprak tanr\u0131\u00e7a heykellerini an\u0131msat\u0131yor. Arazinin dokusunun ba\u015fka bir gezegeni akla getirmesinin yan\u0131 s\u0131ra hayvan kemiklerinin form olarak Kibele heykellerini an\u0131msatmas\u0131 ger\u00e7ekten ilgin\u00e7. G\u00f6r\u00fcnce ‘do\u011fa kad\u0131n\u0131n yan\u0131nda’ dedirtiyor insana…<\/p>\n

Kad\u0131n\u0131n do\u011fas\u0131na istinaden \u00fcretilen bir di\u011fer i\u015f ise belki de kad\u0131n\u0131n \u00f6z\u00fcyle en derin noktada bulu\u015ftu\u011fu an olan orgazm an\u0131n\u0131 donduran Jacqueline Roditi\u2019nin foto\u011fraf\u0131. \u201cThe Orgasm\u201d ad\u0131n\u0131 ta\u015f\u0131yan bu foto\u011frafta orgazm an\u0131nda bir kad\u0131n\u0131 seyrediyoruz. Foto\u011fraf\u0131n yal\u0131nl\u0131\u011f\u0131n\u0131n, \u0131\u015f\u0131\u011f\u0131n sade ve yumu\u015fak kullan\u0131m\u0131n\u0131n yan\u0131 s\u0131ra, i\u015fin g\u00fcc\u00fc kad\u0131n fig\u00fcr\u00fcn bize doyum noktas\u0131ndayken, kad\u0131n\u0131n en g\u00fczel ve \u00f6zg\u00fcr an\u0131ndayken g\u00f6sterilmi\u015f olmas\u0131ndan geliyor. Roditi, sessiz bir sunu\u015fla ve do\u011fall\u0131kla, sokakta pek de konu\u015fulmayan bir ger\u00e7e\u011fi, kad\u0131n orgazm\u0131n\u0131 seyirciye sunuyor. Kad\u0131n\u0131n cinselli\u011fine dair kapal\u0131 bir okuma yapan Zeynep Beler ise sergide \u201cBlack Eye\u201d adl\u0131 i\u015fiyle yer al\u0131yor. Black Eye isimli resimde Beler’in pornografik bir kareden ald\u0131\u011f\u0131 bu g\u00f6r\u00fcnt\u00fc, girift ve karma\u015f\u0131k, hatta \u00e7o\u011fu birey i\u00e7in a\u00e7\u0131k\u00e7a kafa kar\u0131\u015ft\u0131r\u0131c\u0131 olan vajina imgesi olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Kad\u0131nlar\u0131n vajinalar\u0131ndan bile bahsetmeye hakk\u0131 olmad\u0131\u011f\u0131n\u0131 devlet bizlere ba\u011f\u0131r\u0131rken, Zeynep Beler zeki ve esprili bir bi\u00e7imde, galaksiyi kendini tatmin eden bir kad\u0131n olarak resmediyor. \u0130\u015flerinde \u00e7o\u011funlukla g\u00f6rsel bellekte depolanan g\u00f6r\u00fcnt\u00fclere referans veren Beler, bu sefer de sans\u00fcrlenecek \u00e7\u0131plakl\u0131ktaki bir g\u00f6r\u00fcnt\u00fcy\u00fc devasa galaksiyi kullanarak metaforize ediyor ve bizi g\u00fcl\u00fcmsetiyor… Ayn\u0131 zamanda Gustave Courbet’nin me\u015fhur ve sansasyonel \u201cL’Origine du Monde\u201d resmine g\u00f6nderme yapan Beler, bu sefer vajinay\u0131 d\u00fcnyan\u0131n ba\u015flang\u0131c\u0131 olarak de\u011fil, galaksiyi kad\u0131n\u0131n oyun alan\u0131 olarak resmediyor. Sergide yer alan t\u00fcm sanat\u00e7\u0131lar\u0131n d\u0131\u015f\u0131nda kalan bir yakla\u015f\u0131m bi\u00e7imine sahip olan isim ise Bedri Baykam. Bu i\u015f sergide hem bask\u0131 olmas\u0131 sebebiyle hem de sanat\u00e7\u0131n\u0131n kad\u0131nlarla kurdu\u011fu ili\u015fkiyi g\u00f6zler \u00f6n\u00fcne sermesi a\u00e7\u0131s\u0131ndan di\u011ferlerinden ayr\u0131\u015f\u0131yor. Bu i\u015fi ilgin\u00e7 k\u0131lan noktas\u0131, ad\u0131! \u0130\u015fin ad\u0131, hem t\u00fcr\u00fcne hem de i\u015fin i\u00e7eri\u011fine g\u00f6nderme yap\u0131yor. “Artist’s Proof” adl\u0131 i\u015fin kompozisyonunun ana \u00f6gesini yar\u0131 \u00e7\u0131plak bir kad\u0131n fig\u00fcr\u00fc olu\u015fturuyor. \u0130zleyiciye bakan ama bir yandan da bedenini izleyiciden saklar bir pozisyonda duran kad\u0131n fig\u00fcr\u00fcn\u00fcn yer ald\u0131\u011f\u0131 i\u015f, ismiyle ba\u015fka farkl\u0131 bir okumaya imkan sa\u011fl\u0131yor. Bask\u0131 i\u015flerde, bu proje i\u00e7in yap\u0131lan resmin belirli say\u0131da \u00e7o\u011falt\u0131lmas\u0131n\u0131n ard\u0131ndan belirli say\u0131da bir k\u0131sm\u0131 sanat\u00e7\u0131ya ayr\u0131l\u0131r ve bu sanat\u00e7\u0131 taraf\u0131ndan saklan\u0131r, sat\u0131lamaz. Bu noktada, resimdeki kad\u0131n \u2018sanat\u00e7\u0131ya ait olan\u2019 olarak okunabilir\u2026 Virgina Woolf ve Shakespeare ile bug\u00fcnde ya\u015fasalard\u0131 nas\u0131l bir yazar olurlard\u0131, hangisi daha \u00e7ok bilinen bir yazar olurdu bilemiyoruz\u2026 Belki de b\u00fct\u00fcn mesele \u2018kad\u0131n olmak ya da olmamakt\u0131r\u2019 veya \u2018bir odaya sahip olabilmek ya da olamamakt\u0131r\u2019\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

14.03.2015 – 25.04.2015   Sergi ad\u0131n\u0131 Virgina Woolf\u2019un \u2018Kendine Ait Bir Oda\u2019 adl\u0131 roman\u0131ndan al\u0131yor. Woolf, bu roman\u0131nda kad\u0131n\u0131n kendine ait bir odas\u0131 olmas\u0131n\u0131n, kad\u0131n\u0131n…<\/p>\n","protected":false},"author":1,"featured_media":12173,"template":"","meta":{"_thumbnail_id":["12173"],"sanatci_1_adres":["http:\/\/www.artnivo.com\/shop\/who\/hayal-incedogan-en\/?lang=en"],"sanatci_2_adres":["http:\/\/www.artnivo.com\/shop\/who\/jacqueline-roditi-en\/?lang=en"],"sanatci_3_adres":["http:\/\/www.artnivo.com\/shop\/who\/zeynep-beler-en\/?lang=en"],"sanatci_4_adres":[""],"sanatci_5_adres":[""],"sanatci_6_adres":[""],"sanatci_7_adres":[""],"_wp_page_template":["default"],"_galeri":["field_607080346c383"],"eserleri_goster":["Hay\u0131r"],"_eserleri_goster":["field_6076b9061dd57"],"sanatci_1_isim":["Hayal \u0130ncedo\u011fan"],"_sanatci_1_isim":["field_607080ab54c9b"],"_sanatci_1_adres":["field_607080d354c9c"],"_sanatci_1_eser_gorseli":["field_6070810054c9d"],"sanatci_2_isim":["Jacqueline 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