{"id":37874,"date":"2022-06-14T14:14:08","date_gmt":"2022-06-14T11:14:08","guid":{"rendered":"https:\/\/politeknik.org.tr\/?p=37874"},"modified":"2022-06-14T14:14:08","modified_gmt":"2022-06-14T11:14:08","slug":"kultur-yolu-ve-sanatsal-aklama-beyoglunun-yeni-failleri-marina-papazyan-eda-hisarlioglu-11-express","status":"publish","type":"post","link":"https:\/\/eonmeet.com\/pol\/kultur-yolu-ve-sanatsal-aklama-beyoglunun-yeni-failleri-marina-papazyan-eda-hisarlioglu-11-express\/","title":{"rendered":"\u201cK\u00fclt\u00fcr Yolu\u201d ve sanatsal aklama: Beyo\u011flu\u2019nun yeni failleri – Marina Papazyan, Eda Hisarl\u0131o\u011flu (1+1 Express)"},"content":{"rendered":"

On y\u0131l \u00f6ncesine kadar kent hakk\u0131n\u0131 mesele edinen, kentsel d\u00f6n\u00fc\u015f\u00fcm tahribat\u0131n\u0131n kar\u015f\u0131s\u0131nda ve kent hareketlerinin par\u00e7as\u0131 oldu\u011funu iddia eden T\u00fcrkiye g\u00fcncel sanat alan\u0131 bug\u00fcn nas\u0131l oldu da kent su\u00e7lar\u0131n\u0131n \u00f6nde gelen i\u015fbirlik\u00e7ilerinden birine d\u00f6n\u00fc\u015ft\u00fc? Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019nin ikincisi ve bu g\u00fczerg\u00e2ha eklenen di\u011fer sergiler \u00fczerinden yak\u0131n plan\u2026<\/strong><\/p>\n

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\u0130stiklal Caddesi, Haziran 2022 (Foto\u011fraflar: Eda Hisarl\u0131o\u011flu)<\/figcaption><\/figure>\n

\u201cKi\u015fisel tarihimizin \u00f6nemli bir par\u00e7as\u0131yd\u0131, 12 Eyl\u00fcl\u2019den \u00e7\u0131k\u0131\u015fta yap\u0131lan ilk 1 May\u0131s kutlamas\u0131n\u0131n mek\u00e2n\u0131yd\u0131 Emek Sinemas\u0131. Simge de\u011ferindeki bir mek\u00e2na dahi sahip \u00e7\u0131kam\u0131yorsak, ba\u015f\u0131m\u0131zdaki dama nas\u0131l sahip \u00e7\u0131kaca\u011f\u0131z?\u201d
\n\u2013\u00d6zg\u00fcrle\u015fen Seyirci: Emek Sinemas\u0131 M\u00fccadelesi, Emek Bizim \u0130stanbul Bizim inisiyatifi (2016)<\/em><\/p>\n

May\u0131s 2022. Beyo\u011flu\u2019ndaki hemen hemen her cadde, cephe ve pano Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019nin duyurular\u0131yla kapl\u0131. Gelen kutular\u0131m\u0131za d\u00fc\u015fen davetiyelerde, birka\u00e7 y\u0131l \u00f6nce yan yana gelece\u011fini hayal dahi edemeyece\u011fimiz kurumlarla i\u015fbirlikleri ve kullan\u0131lamayaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz sergi mek\u00e2nlar\u0131, bu sergilere kat\u0131lmayaca\u011f\u0131n\u0131 varsayd\u0131\u011f\u0131m\u0131z sanat\u00e7\u0131 ve k\u00fcrat\u00f6rlerin isimleriyle yan yana ge\u00e7iyor.<\/p>\n

\u0130lki d\u00fczenleneli daha bir sene bile olmam\u0131\u015fken, Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019nin ikincisi, aralar\u0131nda yeni AKM, Taksim Camii, Grand Pera AVM, Narmanl\u0131 Han[1] ve Paket Postanesi\u2019nin de bulundu\u011fu bir\u00e7ok ticari ve kamusal mek\u00e2nda yer alan \u201cm\u00fczikten edebiyata y\u00fczlerce etkinlik\u201dten olu\u015fuyor. Bu festivalin bir kez daha d\u00fczenleniyor, bireysel ve kurumsal kat\u0131l\u0131mc\u0131 say\u0131s\u0131n\u0131n ise giderek art\u0131yor olu\u015fu hayli endi\u015fe verici. K\u00fclt\u00fcr Yolu\u2019nun ilk edisyonuna y\u00f6neltilen ele\u015ftirilerin ciddiye al\u0131nmam\u0131\u015f olmas\u0131n\u0131n yan\u0131 s\u0131ra, bu durum bize k\u00fclt\u00fcr-sanat alan\u0131n\u0131n \u201cyeni\u201d Beyo\u011flu\u2019nun artwashing\u2019le[2] me\u015frula\u015ft\u0131r\u0131lmas\u0131na arac\u0131 olmay\u0131 b\u00fcy\u00fck \u00f6l\u00e7\u00fcde kabul etti\u011fini g\u00f6steriyor.<\/p>\n

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Grand Pera AVM\u2019nin giri\u015fi, Haziran 2022<\/figcaption><\/figure>\n

Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019nin ilki, yeni AKM ve Galataport\u2019un a\u00e7\u0131l\u0131\u015flar\u0131yla e\u015fzamanl\u0131 d\u00fczenlenen bir dizi etkinlikten olu\u015fuyordu. Bu \u201ck\u00fclt\u00fcr yolu\u201d g\u00fczerg\u00e2h\u0131, Galataport kruvaziyer liman\u0131nda kar\u015f\u0131lad\u0131\u011f\u0131 turistleri yol boyunca kesintisiz sergi ve al\u0131\u015fveri\u015f mek\u00e2nlar\u0131 ile sararak, Taksim Camii ve yeni AKM ile \u201dta\u00e7land\u0131r\u0131lm\u0131\u015f\u201d Taksim Meydan\u0131\u2019na ula\u015ft\u0131r\u0131yordu. Bu \u201ck\u00fclt\u00fcr\u201d rotas\u0131n\u0131 Taksim Meydan\u0131\u2019ndan ba\u015flayarak kateden izleyiciye ise, \u0130stikl\u00e2l Caddesi\u2019nin haf\u0131zas\u0131 muhalif seslerden ar\u0131nd\u0131r\u0131lm\u0131\u015f mek\u00e2nlar\u0131ndan ge\u00e7erek, y\u0131llard\u0131r yaya eri\u015fimine kapal\u0131 kalan F\u0131nd\u0131kl\u0131-Tophane k\u0131y\u0131 \u015feridinde \u201cnihayet\u201d denize eri\u015fmeyi vadediyordu.<\/p>\n

\u201cYeni\u201d Beyo\u011flu, orta ve \u00fcst orta s\u0131n\u0131f\u0131n \u2013\u00f6zellikle de turistlerin\u2013 \u015fehri h\u0131zl\u0131 ve kolayca t\u00fcketebilece\u011fi bir turizm ve al\u0131\u015fveri\u015f g\u00fczerg\u00e2h\u0131 olarak kurguland\u0131. Gezi Park\u0131 d\u0131\u015f\u0131nda, bu planl\u0131 d\u00f6n\u00fc\u015f\u00fcm\u00fcn b\u00fcy\u00fck \u00f6l\u00e7\u00fcde hayata ge\u00e7irildi\u011fini s\u00f6yleyebiliriz. Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali, tam da bu projenin zaferini y\u00fcz\u00fcm\u00fcze vurmay\u0131 ve \u201cyeni\u201d Beyo\u011flu\u2019nda \u201ck\u00fclt\u00fcr\u201dden geriye ne kald\u0131ysa panay\u0131rla\u015ft\u0131rmay\u0131 ama\u00e7layan bir vaka.<\/p><\/blockquote>\n

Festivalin birinci edisyonuyla ilgili ele\u015ftirilerin b\u00fcy\u00fck bir k\u0131sm\u0131, Ali Akay\u2019\u0131n k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlendi\u011fi Yaya ve H\u00fcsamettin Ko\u00e7an dan\u0131\u015fmanl\u0131\u011f\u0131nda, Haldun Dosto\u011flu ile Gizem Gedik k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde d\u00fczenlenen Yeniden isimli grup sergilerine y\u00f6neltilmi\u015fti. Her iki sergi de K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131 ve Beyo\u011flu Belediyesi i\u015fbirli\u011finde, Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019nin bir par\u00e7as\u0131 olarak d\u00fczenlenmi\u015f olmakla birlikte, Nasan Tur\u2019un, polislerle ku\u015fat\u0131lm\u0131\u015f Gezi Park\u0131\u2019na yerle\u015ftirilen ve bize korkmamam\u0131z\u0131 buyuran (\u201cDon\u2019t be afraid\u201d) i\u015fi ile AKM\u2019nin \u201cco\u015fkuyla\u201d kutlanan a\u00e7\u0131l\u0131\u015f program\u0131ndaki Yeniden\u2019in \u201ckent imgesine, kent sosyolojisine ve \u00e7evre duyarl\u0131l\u0131\u011f\u0131na\u201d vurgu yapan bas\u0131n b\u00fclteni son y\u0131llarda T\u00fcrkiye g\u00fcncel sanat alan\u0131nda ya\u015fanan bili\u015fsel \u00e7eli\u015fkinin en abart\u0131l\u0131 \u00f6rnekleri olsa gerek.<\/p>\n

N\u00e2z\u0131m Dikba\u015f\u2019\u0131n Express\u2019in 178. say\u0131s\u0131nda yay\u0131nlanan Sokakta kah\u0131r var<\/a> adl\u0131 yaz\u0131s\u0131 ve birka\u00e7 sosyal medya payla\u015f\u0131m\u0131 d\u0131\u015f\u0131nda, 1. K\u00fclt\u00fcr Yolu\u2019na kat\u0131lanlara y\u00f6neltilen ele\u015ftiriler ki\u015fisel mesajlar ve dedikodunun \u00f6tesine ge\u00e7emedi. Bu durumun ba\u015fl\u0131ca sebebinin \u2013k\u00fclt\u00fcr-sanat alan\u0131nda \u00e7al\u0131\u015fanlar\u0131n da h\u00e2lihaz\u0131rda \u015fik\u00e2yet\u00e7i olduklar\u0131\u2013 ele\u015ftiri yoksunlu\u011fu oldu\u011funu s\u00f6yleyebiliriz. Ancak, belki de sorunun \u00f6l\u00e7e\u011fini de\u011fi\u015ftirmemiz ve \u201cNeden kimse bir \u015fey demiyor?\u201d diye hay\u0131flanman\u0131n \u00f6tesine ge\u00e7ip ele\u015ftirinin ask\u0131ya al\u0131nm\u0131\u015f olmas\u0131ndan kimlerin faydaland\u0131\u011f\u0131n\u0131 sorgulamam\u0131z gerekiyor.<\/p>\n

\u201c\u0130ktidar\u0131n t\u00fcm toplumsal kesimler \u00fczerinde b\u00f6ylesine artan bask\u0131s\u0131na toplumsal muhalefetin ses \u00e7\u0131karmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 bir d\u00f6nemde, g\u00fcncel sanat alan\u0131ndan, \u00e7o\u011fu herhalde kendisini muhalif olarak tan\u0131mlayan sanat\u00e7\u0131lar nas\u0131l olup da iktidar taraf\u0131ndan d\u00fczenlenen, Beyo\u011flu\u2019nun kamusal alan\u0131na yerle\u015fen ve Gezi Park\u0131\u2019nda da boy g\u00f6steren bu sergiye kat\u0131lmay\u0131 kabul etmi\u015flerdi?\u201d<\/p>\n

Dikba\u015f\u2019\u0131n ele\u015ftirisinin temelindeki bu soru K\u00fclt\u00fcr Yolu\u2019na kat\u0131l\u0131m\u0131n \u00f6nerdi\u011fi iki farkl\u0131 ve birbirinden ayr\u0131lmas\u0131 g\u00fc\u00e7 failli\u011fe, \u2013somut olarak\u2013 iktidarla i\u015fbirli\u011fi yapman\u0131n ve \u2013sembolik olarak\u2013 kent su\u00e7u niteli\u011findeki mek\u00e2nlar\u0131 birer sanat alan\u0131 olarak kullanman\u0131n etik a\u00e7\u0131dan ne ifade etti\u011fine i\u015faret ediyordu.<\/p>\n

Somut faillik<\/h5>\n

\u015eehrin merkezinde, \u00e7ok \u00e7e\u015fitli s\u0131n\u0131f ve k\u00fclt\u00fcrel arka plandan insan\u0131n ya\u015fam alan\u0131 olan Beyo\u011flu, \u00f6zellikle son on be\u015f y\u0131lda \u015fiddetli ve planl\u0131 bir d\u00f6n\u00fc\u015f\u00fcme maruz kald\u0131. Kurulmak istenen \u201cyeni \u0130stanbul\u201d imaj\u0131n\u0131n \u00f6nemli bir par\u00e7as\u0131 olan bu \u201cyeni\u201d Beyo\u011flu, K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131 ve \u00f6zel sekt\u00f6r \u00f6nc\u00fcl\u00fc\u011f\u00fcnde orta ve \u00fcst orta s\u0131n\u0131f\u0131n \u2013\u00f6zellikle de turistlerin\u2013 \u015fehri h\u0131zl\u0131 ve kolayca t\u00fcketebilece\u011fi bir turizm ve al\u0131\u015fveri\u015f g\u00fczerg\u00e2h\u0131 olarak kurguland\u0131. 2010\u2019dan bu yana verilen kent m\u00fccadelelerinin oda\u011f\u0131ndaki \u00e7o\u011fu mek\u00e2n\u0131n \u2013Gezi Park\u0131, eski Saray Sinemas\u0131 binas\u0131,[3] Serkildoryan,[4] Narmanl\u0131 Han ve Galataport\u2019un in\u015fa edildi\u011fi F\u0131nd\u0131kl\u0131-Tophane hatt\u0131n\u0131n\u2013 y\u0131k\u0131larak veya birbirinden garip restorasyon projeleriyle birer al\u0131\u015fveri\u015f merkezine d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi \u00f6ng\u00f6r\u00fcl\u00fcyordu. Gezi Direni\u015fi\u2019nin dokuzuncu y\u0131ld\u00f6n\u00fcm\u00fcn\u00fc geride b\u0131rak\u0131rken, Gezi\u2019nin en somut kazan\u0131m\u0131 olan Gezi Park\u0131 d\u0131\u015f\u0131nda, bu planl\u0131 d\u00f6n\u00fc\u015f\u00fcm\u00fcn b\u00fcy\u00fck \u00f6l\u00e7\u00fcde hayata ge\u00e7irildi\u011fini, \u201ck\u00fclt\u00fcr\u201d\u00fcn ve kent haf\u0131zas\u0131n\u0131n ivedilikle turizmin ve rant\u0131n hizmetine sunuldu\u011funu s\u00f6yleyebiliriz. Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali ise, tam da bu projenin zaferini y\u00fcz\u00fcm\u00fcze vurmay\u0131 ve \u201cyeni\u201d Beyo\u011flu\u2019nda \u201ck\u00fclt\u00fcr\u201dden geriye ne kald\u0131ysa panay\u0131rla\u015ft\u0131rmay\u0131 ama\u00e7layan bir vaka olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor.<\/p>\n

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Refik Anadol Studio\u2019nun AKM\u2019deki Rumi Dreams adl\u0131 sergisinin giri\u015fi, Haziran 2022<\/figcaption><\/figure>\n

 <\/p>\n

K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131 ve Beyo\u011flu Belediyesi\u2019nin, \u00f6zel sekt\u00f6r\u00fcn \u00e7oktan fark etmi\u015f oldu\u011fu bir takti\u011fi yeni yeni kullanmaya ba\u015flad\u0131\u011f\u0131, kentlerdeki kamusal ya\u015fam\u0131 ve haf\u0131zay\u0131 k\u00fclt\u00fcr-sanat etkinlikleri arac\u0131l\u0131\u011f\u0131yla tasfiye etmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 a\u015fik\u00e2r. \u0130stanbul\u2019da kamusal ya\u015fam\u0131n ve m\u00fccadelenin simgesi olmu\u015f mek\u00e2nlar\u0131n takip edilmesi gittik\u00e7e g\u00fc\u00e7le\u015fen bir h\u0131zda ablukaya al\u0131nd\u0131\u011f\u0131 ve y\u0131k\u0131ld\u0131\u011f\u0131na, ticarile\u015ftirildi\u011fine ve siyasetsizle\u015ftirildi\u011fine \u015fahit oluyoruz. Kamusal alan\u0131n sistematik bir \u015fekilde kamusuzla\u015ft\u0131r\u0131lmas\u0131 s\u00fcrerken, 2021 y\u0131l\u0131nda ard\u0131 ard\u0131na a\u00e7\u0131lan ve kamusal oldu\u011fu iddia edilen yeni AKM ve Galataport gibi projelerin mek\u00e2nsal kurgular\u0131ysa yaln\u0131zca itaatk\u00e2r, haf\u0131zadan ar\u0131nd\u0131r\u0131lm\u0131\u015f ve t\u00fcketime dayal\u0131 bir kamusal performansa mahal veriyor. Bu yeni \u201ckamusal\u201d alanlarda, ancak yo\u011fun bir \u00f6zel g\u00fcvenlik veya polis g\u00f6zetiminde ve para harcama ko\u015fuluyla var olabiliyoruz. Kamuya b\u00fcy\u00fck bir \u201cc\u00f6mertlikle bah\u015fedilen\u201d bu mek\u00e2nlar kentte ya\u015fayanlar\u0131n kontrol alt\u0131nda, herhangi bir itaatsizlik g\u00f6stermeden \u201ckullanabilece\u011fi\u201d bi\u00e7imde tasarlan\u0131rken, bu denklemin \u015fa\u015fmamas\u0131 da kamusal alan i\u015flevi g\u00f6rmesi gereken meydan ve sokaklara konu\u015flanm\u0131\u015f a\u011f\u0131r silahl\u0131 ara\u00e7lar ve \u00e7evik kuvvetin varl\u0131\u011f\u0131yla garanti alt\u0131na al\u0131n\u0131yor.<\/p>\n

Yeni AKM ve Galataport gibi projelerin mek\u00e2nsal kurgular\u0131 yaln\u0131zca itaatk\u00e2r, haf\u0131zadan ar\u0131nd\u0131r\u0131lm\u0131\u015f ve t\u00fcketime dayal\u0131 bir kamusal performansa mahal veriyor. Bu yeni \u201ckamusal\u201d alanlarda, ancak yo\u011fun bir \u00f6zel g\u00fcvenlik veya polis g\u00f6zetiminde ve para harcama ko\u015fuluyla var olabiliyoruz.<\/p><\/blockquote>\n

Feminist Gece Y\u00fcr\u00fcy\u00fc\u015f\u00fc, 1 May\u0131s ve Onur Y\u00fcr\u00fcy\u00fc\u015f\u00fc s\u0131ras\u0131nda Taksim Meydan\u0131 ve \u0130stikl\u00e2l Caddesi\u2019ne ula\u015f\u0131m\u0131 imk\u00e2ns\u0131z k\u0131lan ve kentte ya\u015fayanlar\u0131 polis \u015fiddeti kar\u015f\u0131s\u0131nda savunmas\u0131z b\u0131rakan polis bariyerleri, Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali kapsam\u0131ndaki \u015ei\u015fhane Meydan\u0131 gibi mevkileri kontroll\u00fc giri\u015fleri olan konser alanlar\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor. 1995 y\u0131l\u0131ndan beri her hafta Galatasaray Meydan\u0131\u2019nda toplanan Cumartesi Anneleri\u2019nin 25 A\u011fustos 2018\u2019de, oturma eylemlerinin 700. haftas\u0131nda maruz kald\u0131\u011f\u0131 polis sald\u0131r\u0131s\u0131n\u0131n ard\u0131ndan bariyerlerle kapat\u0131lan ve o g\u00fcnden beri bir kontrol noktas\u0131 i\u015flevi g\u00f6ren meydan\u0131n Yap\u0131 Kredi K\u00fclt\u00fcr Sanat binas\u0131na biti\u015fik k\u0131sm\u0131n\u0131n, festivalin m\u00fcjdecisi kutudan billboard\u2019lar\u0131n yerle\u015ftirilebilmesi i\u00e7in a\u00e7\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Bariyerlerin yak\u0131n\u0131nda \u201chaddinden fazla\u201d oyalanmak bile polisin sert uyar\u0131s\u0131yla sonu\u00e7lanabilecekken, festival billboard\u2019lar\u0131yla foto\u011fraf \u00e7ektirmek bu tahakk\u00fcm\u00fc devre d\u0131\u015f\u0131 b\u0131rakmaya yetiyor. \u201cYeni\u201d Beyo\u011flu\u2019nun turistik kimli\u011fini tasdikleyecek talepler kar\u015f\u0131s\u0131nda bariyerler kalk\u0131veriyor.<\/p>\n

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Galatasaray Meydan\u0131, Haziran 2022<\/figcaption><\/figure>\n

K\u00fclt\u00fcr-sanat kurumlar\u0131 ve alanda ba\u011f\u0131ms\u0131z faaliyet g\u00f6steren ki\u015fi ve gruplar\u0131n y\u0131llard\u0131r talep etti\u011fi ve ancak (oto)sans\u00fcr yoluyla eri\u015febildi\u011fi kamu deste\u011fini alabilmenin gittik\u00e7e pop\u00fclerle\u015fen bir ba\u015fka yolunun da bu yeni \u201ckamusal\u201d\u0131n me\u015frula\u015ft\u0131r\u0131lmas\u0131na katk\u0131 sa\u011flamak oldu\u011funu g\u00f6r\u00fcyoruz. T\u00fcrkiye\u2019de \u00f6zellikle g\u00fcncel sanat\u0131n, Eczac\u0131ba\u015f\u0131, Ko\u00e7 ve Sabanc\u0131 gibi b\u00fcy\u00fck sermaye gruplar\u0131 taraf\u0131ndan i\u015fletilen kurumlar d\u0131\u015f\u0131nda kendisine kaynak bulmakta zorlanmas\u0131 hem sanat\u00e7\u0131lar\u0131n hem de izleyicinin bu kurumlardan beklentisini hakl\u0131 bir bi\u00e7imde art\u0131rd\u0131. Bu y\u00f6n\u00fcyle T\u00fcrkiye g\u00fcncel sanat alan\u0131, kamusal olmayan, fakat alanda \u00e7al\u0131\u015fanlar\u0131n hesap verme y\u00fck\u00fcml\u00fcl\u00fc\u011f\u00fc ta\u015f\u0131mas\u0131 gerekti\u011fine inand\u0131\u011f\u0131 kurumlar\u0131n b\u00fcnyesinde varolmaya devam ediyor. Bu \u00f6zel kurulu\u015flar, kamusal ve ba\u011f\u0131ms\u0131z alternatiflerin azl\u0131\u011f\u0131ndan m\u00fctevellit \u00fclkedeki hesap sorulamazl\u0131k k\u00fclt\u00fcr\u00fcn\u00fcn s\u00fcrd\u00fcr\u00fclmesi ve yeniden \u00fcretilmesine de katk\u0131 sa\u011fl\u0131yor. K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131 ve belediyelerin g\u00fcncel sanata g\u00f6sterdi\u011fi bu ani ilginin nereden kaynakland\u0131\u011f\u0131n\u0131 anlamak i\u00e7inse bu kamu kurumlar\u0131n\u0131n k\u00fclt\u00fcr-sanattan ne bekledi\u011fini irdelememiz gerek.<\/p>\n

Beyo\u011flu\u2019nun d\u00f6n\u00fc\u015f\u00fcm\u00fcnde k\u00fclt\u00fcr-sanat kurumlar\u0131n\u0131n oynad\u0131\u011f\u0131 rol\u00fcn g\u00f6rmezden gelinmesi, bu i\u015fbirliklerinin ola\u011fan ve hatta yararl\u0131 oldu\u011funun savunulmas\u0131, y\u0131llard\u0131r \u00fczerinde \u00e7al\u0131\u015f\u0131lan haf\u0131zas\u0131zla\u015ft\u0131rma projesinin sand\u0131\u011f\u0131m\u0131zdan daha ba\u015far\u0131l\u0131 oldu\u011funu g\u00f6steriyor.<\/p><\/blockquote>\n

SALT, Pera M\u00fczesi, Yap\u0131 Kredi K\u00fclt\u00fcr Sanat, Me\u015fher, Akbank Sanat gibi kurumlar\u0131n sergilerinin K\u00fclt\u00fcr Yolu kapsam\u0131nda \u00fcretilmemi\u015f olmalar\u0131na ra\u011fmen bu g\u00fczerg\u00e2ha eklenmeleri, K\u00fclt\u00fcr Yolu\u2019nun \u201calternatif\u201d bir k\u00fclt\u00fcr rotas\u0131 \u00f6nermekten ziyade olabildi\u011fince \u00e7ok mek\u00e2n, etkinlik, kat\u0131l\u0131mc\u0131 ve izleyiciyle Beyo\u011flu\u2019ndaki dola\u015f\u0131m\u0131 art\u0131rmay\u0131 ama\u00e7lad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor. K\u00fclt\u00fcr Yolu\u2019nun sitesinde ge\u00e7en \u201c\u015eimdi sanata s\u0131n\u0131r \u00e7ekmeden bir rota \u00e7iziyoruz. Tarih, k\u00fclt\u00fcr, sanatla harmanlanm\u0131\u015f yollar\u0131n k\u0131ymetini bilerek yolculu\u011fumuza t\u00fcm sanat\u00e7\u0131lar\u0131, sanatseverleri ve \u015fehri kat\u0131yoruz\u201d c\u00fcmlesindeki \u201ckapsay\u0131c\u0131l\u0131k\u201d ve \u201cs\u0131n\u0131rs\u0131zl\u0131k\u201d vurgusuyla, Beyo\u011flu\u2019nun etraf\u0131 polis bariyerleriyle \u00e7evrili meydanlar\u0131, i\u00e7erisine yaln\u0131zca g\u00fcvenlik kontrol\u00fcnden ge\u00e7erek girilebilen \u00f6zel sanat kurumlar\u0131 ve \u00e7o\u011funlukla orta ve \u00fcst orta s\u0131n\u0131fa hitap eden d\u00fckk\u00e2nlar ve al\u0131\u015fveri\u015f merkezlerince ele ge\u00e7irilmi\u015f \u0130stikl\u00e2l Caddesi ve ara sokaklar\u0131na davet edilen kim?<\/p>\n

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Emine Ocak Cumartesi Anneleri oturma eylemlerinin 700. haftas\u0131na yap\u0131lan polis sald\u0131r\u0131s\u0131nda g\u00f6zalt\u0131na al\u0131n\u0131yor, Galatasaray Meydan\u0131, 25 A\u011fustos 2018 (Foto\u011fraf: Hayri Tun\u00e7 \/ AFP)<\/figcaption><\/figure>\n

K\u00fclt\u00fcr-sanat alan\u0131n\u0131n K\u00fclt\u00fcr Yolu\u2019yla i\u015fbirli\u011finin en somut sonucu, Taksim\u2019den Piyalepa\u015fa\u2019ya, Dolapdere\u2019den Okmeydan\u0131\u2019na Beyo\u011flu\u2019nun kamusuzla\u015ft\u0131r\u0131lmas\u0131n\u0131n h\u0131zlanmas\u0131, burada ya\u015fayan, \u00e7al\u0131\u015fan, e\u011flenen, direnen ve hat\u0131rlayan halk\u0131n, polis bariyerleri, yeni AVM in\u015faatlar\u0131, kentsel d\u00f6n\u00fc\u015f\u00fcm projeleri ve protesto yasaklar\u0131yla semtteki ya\u015famlar\u0131n\u0131n ve birbirleriyle temas\u0131n\u0131n imk\u00e2ns\u0131zla\u015ft\u0131r\u0131lmas\u0131d\u0131r. \u0130stanbul\u2019da giderek artmas\u0131 beklenen bir bar\u0131nma krizi ya\u015fan\u0131rken evlerinden olan d\u00fc\u015f\u00fck gelirli insanlar\u0131n, Bayram Sokak ve K\u00fc\u00e7\u00fck Bayram Sokak\u2019taki trans kad\u0131nlar\u0131n, 1 May\u0131s\u2019\u0131n, Onur Y\u00fcr\u00fcy\u00fc\u015f\u00fc\u2019n\u00fcn, Cumartesi Anneleri\u2019nin, Feminist Gece Y\u00fcr\u00fcy\u00fc\u015f\u00fc\u2019n\u00fcn ve daha nicelerinin kriminalize edilerek Beyo\u011flu\u2019ndan kovulmalar\u0131 s\u00fcrecinde k\u00fclt\u00fcr-sanat kurumlar\u0131n\u0131n oynad\u0131\u011f\u0131 rol\u00fcn g\u00f6rmezden gelinmesi, bu i\u015fbirliklerinin ola\u011fan ve hatta yararl\u0131 oldu\u011funun savunulmas\u0131 bizlere y\u0131llard\u0131r \u00fczerinde \u00e7al\u0131\u015f\u0131lan haf\u0131zas\u0131zla\u015ft\u0131rma projesinin de sand\u0131\u011f\u0131m\u0131zdan daha ba\u015far\u0131l\u0131 oldu\u011funu g\u00f6steriyor.<\/p>\n

Sembolik faillik<\/h5>\n

K\u00fclt\u00fcr-sanat ile iktidarlar aras\u0131ndaki ili\u015fki tart\u0131\u015f\u0131ld\u0131\u011f\u0131nda, \u00e7o\u011funlukla sanat\u0131n ba\u015fl\u0131ca bir direni\u015f bi\u00e7imi olabilece\u011fi, ya da bask\u0131 alt\u0131nda \u00fcretilen sanat\u0131n ba\u011flam\u0131n\u0131 d\u00f6n\u00fc\u015ft\u00fcrme potansiyeli oldu\u011fu y\u00f6n\u00fcnde ak\u0131l y\u00fcr\u00fct\u00fcl\u00fcr. \u00d6rne\u011fin bu arg\u00fcman\u0131 AKM\u2019deki Yeniden sergisine uyarlarsak, muhalif bir sanat\u00e7\u0131n\u0131n her \u015feye ra\u011fmen bu sergide yer almas\u0131n\u0131n veya kendisini davet edenin ideolojisini payla\u015fmayan bir k\u00fcrat\u00f6r\u00fcn bu rol\u00fc \u00fcstlenmesinin politik olarak d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc bir etkisi olabilece\u011fi iddia edilebilir. Peki ba\u011flam\u0131n\u0131 d\u00f6n\u00fc\u015ft\u00fcrme niyeti ta\u015f\u0131yan politik tav\u0131r ile bu ba\u011flam\u0131 t\u00fcm\u00fcyle reddetmemek aras\u0131ndaki \u00e7eli\u015fkide hangi taraf\u0131n a\u011f\u0131r bast\u0131\u011f\u0131na nas\u0131l karar verebiliriz? Mesela, Gezi Direni\u015fi\u2019ne dair haf\u0131zam\u0131zda \u00f6nemli bir yer edinen, \u00f6n cephesi afi\u015f ve bayraklarla kapl\u0131 AKM\u2019nin (y\u0131llarca s\u00fcren in\u015faat\u0131n\u0131n ard\u0131ndan) yerini alan binan\u0131n a\u00e7\u0131l\u0131\u015f sergisinin d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc potansiyelinden bahsedilebilmesi i\u00e7in ne kuvvette bir s\u00f6ylem veya eylem \u00fcretmi\u015f olmas\u0131 gerekiyordu?<\/p>\n

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Eski AKM binas\u0131n\u0131n \u00f6n\u00fc, Haziran 2013 (Foto\u011fraf: \u00d6zge A\u00e7\u0131kkol)<\/figcaption><\/figure>\n

Kendini muhalif olarak tan\u0131mlayan veya g\u00fcncel sorunlarla ilgilendi\u011fini iddia eden sanat\u00e7\u0131lar\u0131n Gezi Park\u0131, yeni AKM, Serkildoryan veya Galataport\u2019taki sergilere kat\u0131lmalar\u0131, belki de sanat eserinden ziyade temsil etmenin veya edilmenin d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcne inan\u00e7lar\u0131yla a\u00e7\u0131klanabilir. Bu gibi, kent m\u00fccadelelerinin simgesi olmu\u015f mek\u00e2nlarda yap\u0131lmas\u0131 planlanan sergilere davetin \u201corada olman\u0131n olmamaktan daha iyi olaca\u011f\u0131\u201d, etkinli\u011fin kamu paras\u0131yla veya kamusal alanda yap\u0131ld\u0131\u011f\u0131 i\u00e7in g\u00f6rece me\u015fruiyet ta\u015f\u0131d\u0131\u011f\u0131 hissiyle kabul edilebilmesiyle ilgili ele\u015ftirilerimizi tekil sanat\u00e7\u0131lara y\u00f6neltmektense, ba\u015fka bir ihtimalin m\u00fcmk\u00fcn olmad\u0131\u011f\u0131 kan\u0131s\u0131n\u0131n giderek normalle\u015fmesi \u00fczerinden tart\u0131\u015fmak daha \u00fcretken olabilir.<\/p>\n

Sanat alan\u0131nda herhangi bir politik tavr\u0131n \u00fcretilmesi ihtimalini ask\u0131ya alan \u201cyeni normal\u201d, y\u0131llar i\u00e7erisinde iktidar\u0131n diliyle b\u00fct\u00fcnle\u015fen kurumsal a\u00e7\u0131klamalar\u0131 (\u201cBizim de elimiz kolumuz ba\u011fl\u0131\u201d), ki\u015fisel gerek\u00e7elendirmeleri (\u201cE ama herkes yap\u0131yor\u201d) ve s\u00f6m\u00fcr\u00fcy\u00fc (\u201cGen\u00e7 sanat\u00e7\u0131lara g\u00f6r\u00fcn\u00fcrl\u00fck sa\u011fl\u0131yoruz\u201d) \u015fiddetlendiriyor.<\/p><\/blockquote>\n

Haf\u0131zas\u0131zl\u0131\u011fa e\u015flik eden, hatta haf\u0131zaya y\u00f6nelik sald\u0131r\u0131n\u0131n do\u011fal ve planlanan sonucu oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz \u201cufuksuzluk\u201d T\u00fcrkiye\u2019de ba\u011f\u0131ms\u0131z sanat mek\u00e2nlar\u0131n\u0131n, inisiyatiflerin, kolektif \u00fcretimin ve sanat \u00fcretimiyle ge\u00e7inmenin birer hayal oldu\u011fu inanc\u0131n\u0131 b\u00fcy\u00fct\u00fcyor. Dayana\u011f\u0131 ne olursa olsun, \u201ct\u00fcm iyi niyetlere ra\u011fmen bask\u0131 alt\u0131nda, \u00e7aresiz oldu\u011fumuz\u201d g\u00f6r\u00fc\u015f\u00fcn\u00fcn yayg\u0131nla\u015fmas\u0131 da bu ufuksuzlu\u011fu g\u00fc\u00e7lendiriyor. Hissedilen \u00e7aresizli\u011fi ele\u015ftirmekten ziyade, bu duyguda uzla\u015fman\u0131n yol a\u00e7t\u0131\u011f\u0131 konformizm, kariyerizm ve muhafazak\u00e2rl\u0131kla y\u00fczle\u015fmek gerekiyor. Sanat alan\u0131nda herhangi bir politik tavr\u0131n \u00fcretilmesi ihtimalini ask\u0131ya alan bu yeni normal, y\u0131llar i\u00e7erisinde iktidar\u0131n diliyle b\u00fct\u00fcnle\u015fen kurumsal a\u00e7\u0131klamalar\u0131 (\u201cBizim de elimiz kolumuz ba\u011fl\u0131\u201d), ki\u015fisel gerek\u00e7elendirmeleri (\u201cE ama herkes yap\u0131yor\u201d) ve s\u00f6m\u00fcr\u00fcy\u00fc (\u201cGen\u00e7 sanat\u00e7\u0131lara g\u00f6r\u00fcn\u00fcrl\u00fck sa\u011fl\u0131yoruz\u201d) de \u015fiddetlendiriyor.<\/p>\n

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Eski AKM binas\u0131n\u0131n \u00f6n\u00fc, Haziran 2013 (Foto\u011fraf: \u00d6zge A\u00e7\u0131kkol)<\/figcaption><\/figure>\n

Osman Kavala\u2019ya a\u011f\u0131rla\u015ft\u0131r\u0131lm\u0131\u015f m\u00fcebbet hapis cezas\u0131, Ali Hakan Alt\u0131nay, Can Atalay, \u00c7i\u011fdem Mater, Mine \u00d6zerden, M\u00fccella Yap\u0131c\u0131, Tayfun Kahraman ve Yi\u011fit Ali Ekmek\u00e7i\u2019ye 18\u2019er y\u0131l hapis cezas\u0131 ve tutuklama karar\u0131yla sonu\u00e7lanan Gezi Davas\u0131\u2019n\u0131n 25 Nisan 2022\u2019de g\u00f6r\u00fclen son duru\u015fmas\u0131n\u0131n \u00fczerinden daha bir ay bile ge\u00e7memi\u015fken duyurular\u0131yla kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019ne k\u00fclt\u00fcr-sanat alan\u0131ndan kat\u0131l\u0131m\u0131n artarak devam etmesi \u00e7o\u011fumuzu \u015fa\u015f\u0131rtm\u0131\u015f olmakla beraber, belki de en b\u00fcy\u00fck hayal k\u0131r\u0131kl\u0131\u011f\u0131 b\u00f6ylesi bir d\u00f6nemde ki\u015fisel, kolektif veya kurumsal \u00f6l\u00e7ekte bir politik tavr\u0131n \u00fcretilememesiydi. Art\u0131k \u201cola\u011fan\u201d kabul edilenin ak\u0131\u015f\u0131na m\u00fcdahalede bulunulmamas\u0131 k\u00fclt\u00fcr-sanat alan\u0131nda politik eylemin itibars\u0131zla\u015ft\u0131r\u0131lmas\u0131 ve etkisinin k\u00fc\u00e7\u00fcmsenmesiyle beraber, \u015fahsi yak\u0131nl\u0131klar ve duygular\u0131n \u00f6n plana \u00e7\u0131kar\u0131lmas\u0131yla da do\u011frudan ili\u015fkili.<\/p>\n

Gezi Davas\u0131\u2019n\u0131n son duru\u015fmas\u0131n\u0131n \u00fczerinden daha bir ay bile ge\u00e7memi\u015fken duyurular\u0131yla kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019ne k\u00fclt\u00fcr-sanat alan\u0131ndan kat\u0131l\u0131m\u0131n artarak devam etmesi \u00e7o\u011fumuzu \u015fa\u015f\u0131rtm\u0131\u015f olmakla beraber, belki de en b\u00fcy\u00fck hayal k\u0131r\u0131kl\u0131\u011f\u0131 b\u00f6ylesi bir d\u00f6nemde ki\u015fisel, kolektif veya kurumsal \u00f6l\u00e7ekte bir politik tavr\u0131n \u00fcretilememesiydi.<\/p><\/blockquote>\n

Bir sergiden \u00e7ekilmenin, bir kurumu veya etkinli\u011fi boykot veya protesto etmenin \u201cn\u00fcanss\u0131zl\u0131kla\u201d itham edilmesinin, bu t\u00fcr sembolik eylemlerin etkisiz olaca\u011f\u0131, kimse taraf\u0131ndan hat\u0131rlanmayaca\u011f\u0131, sanat\u00e7\u0131n\u0131n kariyerine zarar verece\u011fi veya network\u2019\u00fcne ket vuraca\u011f\u0131 inanc\u0131n\u0131n temelinde T\u00fcrkiye g\u00fcncel sanat alan\u0131nda ele\u015ftirel d\u00fc\u015f\u00fcncenin eksikli\u011fi yat\u0131yor. Ele\u015ftiri yoksunlu\u011fundan hepimiz \u015fik\u00e2yet\u00e7i g\u00f6r\u00fcn\u00fcrken, bu olgu etik olmayan i\u015fbirliklerine girilmesine, bunlar\u0131n sorgulanmamas\u0131na ve h\u0131zl\u0131ca unutulmas\u0131na olanak sa\u011fl\u0131yor. \u015eahsi inan\u00e7 ve duygular\u0131n politik olan\u0131 yutup t\u00fcketti\u011fi k\u00fclt\u00fcr-sanat alan\u0131nda on sene \u00f6nce utan\u00e7 sebebi say\u0131labilecek bir\u00e7ok projenin yap\u0131labilmesinde, bu alanda \u00e7al\u0131\u015fanlar\u0131n kendi politik etki alan\u0131n\u0131 k\u00fc\u00e7\u00fcmsemeleriyle beraber kariyerist h\u0131rslarla nitelikten \u00e7ok niceli\u011fe odaklanan akt\u00f6rler de az\u0131msanamaz bir rol oynuyor.<\/p>\n

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AKM\u2019deki Gen\u00e7ler Yolda sergisi hakk\u0131nda bilgilendirici pano, Haziran 2022<\/figcaption><\/figure>\n
\u201cGen\u00e7 sanat\u00e7\u0131lar\u201d\u0131n haf\u0131zas\u0131<\/h5>\n

Akbank Sanat, Mamut Art Project, Zilberman Gallery ve \u2013son y\u0131llarda\u2013 BASE\u2019in de aralar\u0131nda bulundu\u011fu \u00e7e\u015fitli kurum ve olu\u015fumlar\u0131n d\u00fczenledi\u011fi ve gittik\u00e7e pop\u00fclerle\u015fen \u201cgen\u00e7 sanat\u00e7\u0131\u201d odakl\u0131 sergi, yar\u0131\u015fma ve fuarlar\u0131n \u00f6rneklerine 2. Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali\u2019nde de rastl\u0131yoruz. Emek Sinemas\u0131\u2019n\u0131n hayaletinin \u00fcst kat\u0131nda, \u00f6n\u00fcne g\u00fcvenlik \u015feridi \u00e7ekilmi\u015f y\u00fcr\u00fcyen merdivenlerin ard\u0131nda \u201cya\u015famaya\u201d devam etti\u011fi Grand Pera AVM binas\u0131n\u0131n Serkildoryan salonunda yer alan BASELECTED sergisi hem kulland\u0131\u011f\u0131 mek\u00e2n hem de alm\u0131\u015f olabilece\u011fi olas\u0131 kamusal deste\u011fe dair uyand\u0131rd\u0131\u011f\u0131 soru i\u015faretleriyle \u00f6n plana \u00e7\u0131k\u0131yor. BASE\u2019in \u00f6nceki edisyonlar\u0131na kat\u0131lm\u0131\u015f \u201cgen\u00e7 sanat\u00e7\u0131lar\u0131n\u201d i\u015flerinden bir se\u00e7ki sunan ve k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc Derya Y\u00fccel\u2019in \u00fcstlendi\u011fi bu serginin K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131\u2019n\u0131n deste\u011fiyle d\u00fczenlenen kamusal bir sergi mi, yoksa sat\u0131\u015f yap\u0131l\u0131p komisyon al\u0131nan bir fuar m\u0131 oldu\u011fu kas\u0131tl\u0131 olarak mu\u011flak b\u0131rak\u0131lm\u0131\u015f gibi g\u00f6r\u00fcn\u00fcyor. Serginin Bakanl\u0131k ve K\u00fclt\u00fcr Yolu logolar\u0131 ta\u015f\u0131yan ve dolay\u0131s\u0131yla yap\u0131m\u0131nda kamusal kaynak kullan\u0131m\u0131n\u0131n s\u00f6z konusu oldu\u011fu mesaj\u0131n\u0131 veren ileti\u015fim materyali kafalar\u0131 kar\u0131\u015ft\u0131r\u0131rken, olas\u0131 sat\u0131\u015flardan edinilecek gelirlerin nas\u0131l kullan\u0131ld\u0131\u011f\u0131, sanat\u00e7\u0131lara ve di\u011fer kat\u0131l\u0131mc\u0131lara \u015ferefiye ve prod\u00fcksiyon deste\u011fi verilip verilmedi\u011fi gibi sorulara ise cevap bulmak m\u00fcmk\u00fcn de\u011fil.<\/p>\n

Grand Pera AVM\u2019deki BASELECTED\u2019e davet edilen sanat\u00e7\u0131lardan yaln\u0131zca birinin sergiden \u00e7ekilmi\u015f olmas\u0131, di\u011fer kat\u0131l\u0131mc\u0131lar\u0131n hassasiyetsizli\u011finden ziyade, \u00e7ekilme, if\u015fa ve boykot gibi politik eylemlerin itibars\u0131zla\u015ft\u0131r\u0131lmas\u0131 ve \u201cunutulacaklar\u0131\u201d kan\u0131s\u0131n\u0131n yan\u0131 s\u0131ra bunun bir \u201ckariyer intihar\u0131\u201d olabilece\u011fi korkusunun yayg\u0131nla\u015ft\u0131r\u0131lmas\u0131ndan kaynaklan\u0131yor.<\/p><\/blockquote>\n

\u201cGen\u00e7 sanat\u00e7\u0131lar\u0131\u201d oda\u011f\u0131na alan yar\u0131\u015fma, sergi ve fuarlar rekabet k\u00fclt\u00fcr\u00fcn\u00fc dayat\u0131rken, Grand Pera AVM gibi kent su\u00e7u te\u015fkil eden binalar\u0131n sergi mek\u00e2n\u0131 olarak se\u00e7ilmesi, sanattaki g\u00fcvencesizlik, opakl\u0131k ve adaletsizli\u011fe ra\u011fmen \u00fcretimlerini s\u00fcrd\u00fcrmeye \u00e7al\u0131\u015fan kat\u0131l\u0131mc\u0131lar\u0131n\u0131n da bu \u201cyeni\u201d haf\u0131zaya ve \u201cyeni\u201d mek\u00e2nlara me\u015fruiyet kazand\u0131rmaya alet edilmesi anlam\u0131na geliyor. BASELECTED i\u00e7in kullan\u0131lan Serkildoryan salonunun, Emek Bizim \u0130stanbul Bizim inisiyatifinin \u00fc\u00e7 y\u0131ll\u0131k m\u00fccadelesine ra\u011fmen in\u015fa edilen Grand Pera AVM\u2019den, ba\u011flam\u0131ndan \u201ckopar\u0131l\u0131p\u201d yaln\u0131zca kiralayan\u0131n kullanabildi\u011fi bir salon haline getirilen Emek Sinemas\u0131\u2019ndan ba\u011f\u0131ms\u0131z d\u00fc\u015f\u00fcn\u00fclmesi beklenemez. Festival kapsam\u0131ndaki kurumlar ve sergiler kent su\u00e7lar\u0131n\u0131n sanatla \u00fcst\u00fcn\u00fcn \u00f6rt\u00fclmesinin \u00f6nc\u00fcl failiyken, \u201cgen\u00e7 sanat\u00e7\u0131lara\u201d da bu g\u00f6r\u00fcn\u00fcrl\u00fck panay\u0131r\u0131na ancak toplumsal haf\u0131zadan ve politik bir tutum sergilemekten vazge\u00e7erek dahil olabilecekleri inanc\u0131 a\u015f\u0131lan\u0131yor. BASELECTED\u2019e davet edilen sanat\u00e7\u0131lardan yaln\u0131zca birinin (Umut Erba\u015f) sergiden \u00e7ekilmi\u015f olmas\u0131, di\u011fer kat\u0131l\u0131mc\u0131lar\u0131n hassasiyetsizli\u011finden ziyade, \u00e7ekilme, if\u015fa ve boykot gibi politik eylemlerin itibars\u0131zla\u015ft\u0131r\u0131lmas\u0131n\u0131n yan\u0131 s\u0131ra, bunun bir \u201ckariyer intihar\u0131\u201d olabilece\u011fi korkusunun, \u201cunutulacaklar\u0131\u201d endi\u015fesinin de yayg\u0131nla\u015ft\u0131r\u0131lmas\u0131ndan kaynaklan\u0131yor.<\/p>\n

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Grand Pera AVM, Haziran 2022. \u0130kinci kattan yukar\u0131s\u0131na eri\u015fimin g\u00fcvenlik \u015feritleriyle engellendi\u011fi Grand Pera\u2019n\u0131n be\u015finci kat\u0131ndaki \u201cEmek Sahnesi\u201d, Grand Pera\u2019n\u0131n web sitesinden anla\u015f\u0131ld\u0131\u011f\u0131 kadar\u0131yla, rezervasyonla gala, lansman ve defileler i\u00e7in kiralanabiliyor ve \u201ctarih ve zarafet\u201din bir aradal\u0131\u011f\u0131 \u00fczerinden pazarlan\u0131yor.<\/figcaption><\/figure>\n

Yaz\u0131 boyunca t\u0131rnak i\u00e7erisinde kullanmay\u0131 tercih etti\u011fimiz \u201cgen\u00e7 sanat\u00e7\u0131\u201d tan\u0131m\u0131n\u0131n ne ifade etti\u011fini, ancak bu \u201ckategorinin\u201d kimler i\u00e7in faydal\u0131 oldu\u011funun tahliliyle a\u00e7\u0131klayabiliriz. H\u00fcsamettin Ko\u00e7an\u2019\u0131n 2. Beyo\u011flu K\u00fclt\u00fcr Yolu Festivali kapsam\u0131nda, Nazl\u0131 Pekta\u015f ve Ay\u00e7a Okay k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde AKM\u2019de d\u00fczenlenen Gen\u00e7ler Yolda isimli sergi i\u00e7in yazd\u0131\u011f\u0131 sunum yaz\u0131s\u0131nda \u201cNas\u0131l d\u00fc\u015flerin tarihi, akarsular\u0131n belle\u011fi yoksa gen\u00e7li\u011fin de belli bir tarifi yoktur\u201d diyerek romantize etti\u011fi \u201cgen\u00e7ler\u201dden beklenenin belleksiz ve tarifsiz kalmalar\u0131 oldu\u011funu anl\u0131yoruz. \u201cGen\u00e7\u201d addedilen sanat\u00e7\u0131lardan tam olarak neyi hat\u0131rlamamalar\u0131 bekleniyor? Bizden \u00f6nceki jenerasyonlar\u0131n k\u00fclt\u00fcr-sanat alan\u0131nda \u00e7al\u0131\u015fanlar\u0131n haklar\u0131 i\u00e7in verdi\u011fi m\u00fccadeleleri ve kazan\u0131mlar\u0131n\u0131 unutmam\u0131z, \u015ferefiye talep etmememiz, prod\u00fcksiyonumuzu kendi cebimizden kar\u015f\u0131lamam\u0131z, sergisine davet etti\u011fi \u201cgen\u00e7 sanat\u00e7\u0131ya\u201d herhangi bir yap\u0131sal g\u00fcvence vermeksizin sat\u0131lan eserimiz \u00fczerinden komisyon al\u0131rken bize g\u00f6r\u00fcn\u00fcrl\u00fck \u201cl\u00fctfetti\u011fini\u201d iddia eden yap\u0131lara \u015f\u00fckretmemiz mi isteniyor?<\/p>\n

AKM\u2019de d\u00fczenlenen Gen\u00e7ler Yolda isimli serginin sunum yaz\u0131s\u0131nda \u201cNas\u0131l d\u00fc\u015flerin tarihi, akarsular\u0131n belle\u011fi yoksa gen\u00e7li\u011fin de belli bir tarifi yoktur\u201d denerek romantize edilen \u201cgen\u00e7ler\u201dden beklenenin belleksiz ve tarifsiz kalmalar\u0131 oldu\u011funu anl\u0131yoruz. \u201cGen\u00e7\u201d addedilen sanat\u00e7\u0131lardan tam olarak neyi hat\u0131rlamamalar\u0131 bekleniyor?<\/p><\/blockquote>\n

\u201cGen\u00e7 sanat\u00e7\u0131\u201d ifadesindeki mu\u011flakl\u0131\u011f\u0131n, kurumlar\u0131n kendi yarar\u0131na kullanabilece\u011fi, g\u00fcvencesizli\u011fe dayal\u0131, \u015feffafl\u0131ktan ve hesap sorulabilirlikten uzak, s\u00f6ylemlerle faaliyetlerin birbiriyle \u00f6rt\u00fc\u015fmesi gibi bir ko\u015fulun aranmad\u0131\u011f\u0131 gri alan\u0131n a\u00e7\u0131lmas\u0131nda paravan olarak kullan\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6rmek ve bu \u201ctarifsizli\u011fin\u201d hangi durumlarda, ne gibi ama\u00e7lara hizmet etti\u011fini irdelemek gerekiyor. K\u00fclt\u00fcr Yolu mek\u00e2nlar\u0131 listesinde yer alan Akbank Sanat\u2019\u0131n 40. G\u00fcn\u00fcm\u00fcz Sanat\u00e7\u0131lar\u0131 \u00d6d\u00fcl\u00fc sergisinde ya\u015fanan intihal vakas\u0131n\u0131n kurum taraf\u0131ndan nas\u0131l y\u00f6netildi\u011fi bu sorunun en g\u00fcncel \u00f6rneklerinden biri. Akbank Sanat\u2019\u0131n, \u00e7o\u011fu sosyal medya \u00fczerinden kamusal olarak kendilerine y\u00f6neltilen ele\u015ftirileri, \u00f6zellikle de \u00f6d\u00fcl\u00fcn hangi k\u0131staslara g\u00f6re verildi\u011fine dair sorular\u0131 cevaps\u0131z b\u0131rakt\u0131\u011f\u0131 a\u00e7\u0131klamas\u0131nda, yaln\u0131zca intihali yapan sanat\u00e7\u0131n\u0131n ismini ortaya atarak sistemik bir problemi tek bir ki\u015finin \u00fczerine y\u0131kmas\u0131, kurumlar\u0131n sorumluluk almaktansa kendilerini temize \u00e7\u0131karmak i\u00e7in \u00e7ok \u00f6nemsediklerini iddia ettikleri \u201cgen\u00e7 sanat\u00e7\u0131lar\u0131\u201d gerekirse sosyal medyan\u0131n insaf\u0131na teslim edebilece\u011fini g\u00f6steriyor. Belki de mevzubahis intihal oldu\u011fundan g\u00f6ze batmam\u0131\u015f olsa da, Akbank Sanat\u2019\u0131n bu tutumu, i\u015flerinin \u201ctoplumsal hassasiyetlere uymad\u0131\u011f\u0131\u201d veya \u201c\u00fclkenin birlik ve b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc tehlikeye att\u0131\u011f\u0131\u201d gerek\u00e7esiyle gelecekte ba\u015fka sanat\u00e7\u0131lar\u0131n da g\u00fcnah ke\u00e7isi ilan edilebilece\u011finin habercisi.<\/p>\n

\u00c7e\u015fitlenen faillikler aras\u0131nda<\/h5>\n

K\u00fclt\u00fcr Yolu\u2019nu d\u00fczenleyenler ve kat\u0131l\u0131mc\u0131lar\u0131 festivalin Taksim Meydan\u0131\u2019n\u0131 Karak\u00f6y\u2019e, AKM\u2019yi Galataport\u2019a, Taksim Camii\u2019ni Atat\u00fcrk Kitapl\u0131\u011f\u0131\u2019na, galeriyi soka\u011fa ve \u201cgen\u00e7li\u011fi\u201d sanata ba\u011flad\u0131\u011f\u0131n\u0131 iddia ediyor. Ancak \u015furas\u0131 a\u00e7\u0131k ki, K\u00fclt\u00fcr Yolu asl\u0131nda \u201cyeni\u201d T\u00fcrkiye\u2019nin \u201cyeni\u201d Beyo\u011flu\u2019nda, \u00f6zel sermayenin kaynaklar\u0131 yetmezse, nas\u0131l bir faillik te\u015fkil etti\u011fine bakmaks\u0131z\u0131n kamusal havuzdan pay almak isteyen sanat niz\u00e2m\u0131 ile, kurdu\u011fu yeni kentin ve \u201cyeni\u201d haf\u0131zan\u0131n orta s\u0131n\u0131flar taraf\u0131ndan kabul g\u00f6rmesi i\u00e7in sanat\u0131n \u201citibar\u0131na\u201d ihtiya\u00e7 duyan iktidar\u0131 birbirine ba\u011fl\u0131yor. Beyo\u011flu\u2019ndaki festivalin yaln\u0131zca bir par\u00e7as\u0131n\u0131 olu\u015fturdu\u011fu bu \u201cal\u0131\u015fveri\u015f\u201d kamusal alan\u0131 \u00f6zel sermayeye, sanat\u0131 siyasetsizli\u011fe, gen\u00e7li\u011fi ise haf\u0131zas\u0131zl\u0131\u011fa ve ufuksuzlu\u011fa mahk\u00fbm ederken, bizden bunun bir kazan\u0131m, gen\u00e7 ya da din\u00e7, hi\u00e7 olmad\u0131 ka\u00e7\u0131n\u0131lmaz oldu\u011funa inanmam\u0131z\u0131 bekliyor.<\/p>\n

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Odakule \u00f6n\u00fc, Haziran 2022 (solda), Taksim Meydan\u0131, Haziran 2013 (sa\u011fda, foto\u011fraf: \u00d6zge A\u00e7\u0131kkol)<\/figcaption><\/figure>\n

\u201cYeni\u201d ve \u201cgen\u00e7\u201d olan muhafazak\u00e2r ve kapitalist politikalar u\u011fruna ara\u00e7salla\u015ft\u0131r\u0131l\u0131rken, yak\u0131n ge\u00e7mi\u015fimizdeki kent m\u00fccadeleleriyle, k\u00fclt\u00fcr-sanat alan\u0131ndan y\u00fckselen hak talepleri sayesinde y\u0131llar i\u00e7erisinde edinilmi\u015f kazan\u0131mlarla, ba\u011f\u0131ms\u0131z \u00fcretim ve kolektivizmin asl\u0131nda ne zamanda ne de mek\u00e2nda bizlerden pek de uzak olmayan \u00f6rnekleriyle, toplumsal hareketlere tan\u0131kl\u0131\u011f\u0131m\u0131zla ba\u011f\u0131m\u0131z\u0131 g\u00fc\u00e7lendirmemiz gerekiyor. Sanatsal \u00fcretimin ya\u015fam alanlar\u0131m\u0131z\u0131n sistemli bir \u015fekilde daralt\u0131lmas\u0131ndan pay\u0131n\u0131 ald\u0131\u011f\u0131, k\u00fclt\u00fcr-sanat alan\u0131n\u0131n da, i\u00e7erisinde yaln\u0131zca belirli bir s\u0131n\u0131f\u0131n birtak\u0131m a\u00e7\u0131k\u00e7a s\u00f6ylenmeyen kurallara itaat etti\u011fi takdirde varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrebildi\u011fi bir ger\u00e7ek. Hepimizin fark\u0131nda ve \u00e7o\u011fumuzun ma\u011fduru oldu\u011fu bu yap\u0131ya direnebilmenin yolu, adalet taleplerinin y\u00fckseltilmesi, yok edilmeye \u00e7al\u0131\u015f\u0131lan haf\u0131zan\u0131n tan\u0131nmas\u0131 ve zaman ge\u00e7tik\u00e7e \u00e7e\u015fitlenen faillik bi\u00e7imleriyle y\u00fczle\u015fmekten ge\u00e7iyor.<\/p>\n

K\u00fclt\u00fcr-sanat alan\u0131nda \u00e7al\u0131\u015fan herkes i\u00e7in adil \u00fccret ve \u00e7al\u0131\u015fma \u015fartlar\u0131n\u0131n sa\u011flanmas\u0131, ba\u011f\u0131ms\u0131z \u00fcretimin desteklenmesi, sanat ve siyaseti birbirinden ay\u0131ran bili\u015fsel \u00e7eli\u015fkinin a\u015f\u0131lmas\u0131 ve bu sorunlar\u0131n yaln\u0131zca bir d\u00f6neme, siyasi iktidara veya \u015fah\u0131slara atfedilmemesi i\u00e7in, sanatta politik eylemin miad\u0131n\u0131 doldurdu\u011fu kan\u0131s\u0131na kar\u015f\u0131 koymam\u0131z gerekiyor. Umutsuzlu\u011fun sebep oldu\u011fu suskunluk ve eylemsizli\u011fin \u00fcstesinden ancak talepk\u00e2r bir ele\u015ftiri ve haf\u0131zas\u0131ndan vazge\u00e7meyen bir politik tav\u0131rla gelebiliriz.<\/p>\n

\u201cKaramsarl\u0131k ya da reddetme umutsuzlukla ayn\u0131 \u015fey de\u011fil, krizi bizzat do\u011furan kurumlara inanmay\u0131 ya da yat\u0131r\u0131m yapmay\u0131 reddetmektir.\u201d [5]\n\u2013 Saidiya Hartman (Refusal and Radical Hope, Research Center for Material Culture, 2018)<\/p>\n

 <\/p>\n

*<\/strong> Yaz\u0131 haz\u0131rl\u0131\u011f\u0131ndaki deste\u011fi i\u00e7in Mert Sar\u0131su\u2019ya te\u015fekk\u00fcrler.<\/p>\n

[1]<\/strong> Narmanl\u0131 Han iki senelik in\u015faat\u0131n ard\u0131ndan 2018 y\u0131l\u0131nda tekrar a\u00e7\u0131ld\u0131\u011f\u0131nda, pasta kremas\u0131n\u0131 and\u0131ran yeni d\u0131\u015f cephesiyle dikkat \u00e7ekmi\u015fti. Bina, son y\u0131llarda bir a\u00e7\u0131k hava food court\u2019una d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc.<\/p>\n

[2]<\/strong> Artwashing, sanat\u0131n veya sanat\u00e7\u0131lar\u0131n, bir birey, kurulu\u015f, \u00fclke veya h\u00fck\u00fcmet taraf\u0131ndan, \u00f6zellikle soylula\u015ft\u0131rmayla ili\u015fkili faaliyetlerini me\u015frula\u015ft\u0131rmak veya dikkat da\u011f\u0131tmak i\u00e7in kullan\u0131lmas\u0131n\u0131 tan\u0131mlar.<\/p>\n

[3]<\/strong> 2011 y\u0131l\u0131nda Eski Saray Sinemas\u0131 Binas\u0131 olarak da bilinen i\u015f han\u0131 y\u0131k\u0131larak yerine Demir\u00f6ren AVM yap\u0131ld\u0131.<\/p>\n

[4]<\/strong> 2012 y\u0131l\u0131nda, Serkildoryan olarak bilinen ve i\u00e7erisinde Emek Sinemas\u0131\u2019n\u0131n yan\u0131 s\u0131ra \u0130nci Pastanesi ve 2010 y\u0131l\u0131nda kapanan R\u00fcya Sinemas\u0131\u2019n\u0131n da yer ald\u0131\u011f\u0131 bina, Emek Sinemas\u0131\u2019n\u0131n ba\u015fka bir kata \u201cta\u015f\u0131nmas\u0131n\u0131\u201d da i\u00e7eren tadilat\u0131n\u0131n ard\u0131ndan Grand Pera AVM\u2019ye d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc. \u0130kinci kattan yukar\u0131s\u0131na eri\u015fimin g\u00fcvenlik \u015feritleriyle engellendi\u011fi Grand Pera\u2019n\u0131n be\u015finci kat\u0131ndaki \u201cEmek Sahnesi\u201d, Grand Pera\u2019n\u0131n web sitesinden anla\u015f\u0131ld\u0131\u011f\u0131 kadar\u0131yla rezervasyon ile gala, lansman ve defileler i\u00e7in kiralanabiliyor ve \u201ctarih ve zarafet\u201din bir aradal\u0131\u011f\u0131 \u00fczerinden pazarlan\u0131yor.<\/p>\n

[5]<\/strong> \u201cPessimism or refusal is not the same as hopelessness, but it is a refusal to believe in or invest in the very same institutions that have engendered the crisis.\u201d \u2013Saidiya Hartman (Refusal and Radical Hope, Research Center for Material Culture, 2018)<\/p>\n","protected":false},"excerpt":{"rendered":"On y\u0131l \u00f6ncesine kadar kent hakk\u0131n\u0131 mesele edinen, kentsel d\u00f6n\u00fc\u015f\u00fcm tahribat\u0131n\u0131n kar\u015f\u0131s\u0131nda…\n","protected":false},"author":2,"featured_media":37885,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[4689],"tags":[2915,5423,1690,565,3712],"class_list":{"0":"post-37874","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-secki","8":"tag-beyoglu","9":"tag-beyoglukulturyolu","10":"tag-kent","11":"tag-kentsel-donusum","12":"tag-manset"},"acf":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/37874","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/comments?post=37874"}],"version-history":[{"count":0,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/37874\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media\/37885"}],"wp:attachment":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media?parent=37874"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/categories?post=37874"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/tags?post=37874"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}