Kamusal Alanda Ant/Heykel Uygulamalar Zeynep Yaa Yaman

Osmanl mparatorluunda devlet desteiyle gerekletirilen, eitli kltrel ve sanatsal etkinlikleri de ieren enlikler, konusu ne olursa olsun, ynetenle ynetilenler arasndaki ba, rejimin toplumsal yapsn glendirmek iin dzenlenirdi. rnein III. Muradn, olu ehzade Mehmet iin 1582de ve III. Ahmedin, ehzadeleri iin 1720de Hipodrom alannda gerekletirdikleri ve halkn yakndan izledii snnet dn enliklerinde nahllarn ardnda seyirten balmumundan, kattan, bezden, tketilebilir ekerden yaplm, sokaklardan gemesi bile son derece g, insan, hayvan heykelleri mitolojik yaratklar, kuklalar, bahe, kale, vb. maketler, halk iinde dolatrlyor, enlikten sonra ekerden olanlarnn byk paralar yabanc konuklara, elilere, hediye ediliyor ya da yemeleri iin halka datlyordu.
2

A brief look at monuments/sculptures in public sphere Zeynep Yaa Yaman

In the Ottoman Empire, the state-supported festivals of any theme, which included various cultural and artistic activities, were organised to strengthen the bond between the ruler and the ruled as well as the social structure of the regime. For instance, the circumcision ceremonies organised for Shahzadah Mehmed, son of Murad III, in 1582 and for the sons of Sultan Ahmed III in 1720 in the Hipodrom area were closely watched by the people. During these ceremonies, models of human beings, animals, mythological sculptures, puppets, gardens, and castles made up of wax, paper, fabrics and sweet, which were very hard to move around on the streets, moved among the public, and following the ceremonies, large pieces of those made up of sweet were given as gifts to foreign guests, ambassadors or to the public. 5 The replica or the sculpture did not have any cult value if their existence was only temporary. A similar approach was taken by two artists from Moscow, Yuri Shabelnikov and Yuri Fesenko, in 1998. With the help of a team of bakers, the artists designed a delicious, two-metres-long and 50 kgs of cake, shaped like the dead body of Lenin, ornamented with cream. They gobbled up the cake with the words, Let them eat Lenin, turning it into a performance, and breaking the boundaries of art, the object of art, and the receiver. The Russians were able to both claim ownership of and eat Lenin. Eleven years after this performance, a similar performance took place on 29 October 2009, during the Republic Day reception held at the Dolmabahe Palace and attended by ministers and top state officials. Fashion designer Faruk Sara created an Atatrk figure, and a cake with the help of ten bakers. An original model of Atatrk, placed on the platform right behind the cake, emerged and greeted the guests. Part of the Republics 10th Year Sermon was orated along to the tune of the 10th Year Anthem. Later the Republic Cake of six metres to four metres was cut and eaten. The cake prepared for the Republic Day ceremonies might not really be a work of art. Well, that happens. The public space I will be referring to in this article will be limited to squares and the relationship between squares and monumental sculptures. Squares are among the most significant public spaces,
7 6

Suret ya da

heykel, geici olmas durumunda, bir klt deeri edinmiyordu. Benzer bir yaklamn rn 1998de Moskoval iki sanat Yuri Shabelnikov ve Yuri Fesenko tarafndan gerekletiriliyor.
3

Sanatlar, yaratc bir pasta ustas ve ekibinin yardmyla tasarladklar 2 metre uzunluunda 50 kg arlnda, krema ile sslenmi, lezzetli, l Lenin pastasn Let them eat Lenin! szleriyle yalayp yutarak yaratlarn bir performansa dntrdklerinde sanat, sanat nesnesi ve almlayc arasndaki tm snrlar da kaldrlm oluyordu. Ruslar, Lenine hem sahip kyor hem de onu yiyebiliyorlard. Bu performanstan 11 yl sonra 29 Ekim 2009 tarihindeki Cumhuriyet Bayram dolaysyla devlet erkannn hazr bulunduu Dolmabahe Saray'nda verilen resepsiyondaki grkemli kutlamada benzer bir olay gerekleti. Atatrk figrn hazrlayan modac Faruk Sara da 10 kiilik yaratc bir pasta ekibiyle almt. zel bir mekanizmayla hazrlanm, pastann hemen gerisindeki platformda yer alan Cumhuriyetin kurucusu Atatrk'n zgn maketi, mekanizmann iinden kp, frakyla halk selamlad, 10. Yl Nutku'nun bir blm 10. Yl Mar eliinde sylendi. Sonra da platformun nndeki 6 metre boyunda ve 4 metre eninde dev boyutlu Cumhuriyet Pastas alklar arasnda kesilerek afiyetle yendi. 4 Geri Cumhuriyet bayram kutlamas iin hazrlanm pasta, bir sanat nesnesi olarak retilmemiti ama olsun.

Bu metin 15 Mays 2010 tarihinde Benim Kentim projesi kapsamnda Garaj Istanbul'da dzenlenen sempozyumda Zeynep Yasa Yaman tarafndan sunulan konumann tam metnidir. 2 Esin Atl, Levni ve Surname, Bir Osmanl enlii'nin yks, stanbul: Kobank Yaynlar, 1999 ve Nurhan Atasoy, Surname-i Hmayun: Dn Kitab, stanbul: Kobank Yaynlar, 1997. 3 "Let them eat Lenin!", World News Story Page, CNN Interactive, 31 Mart 1998. http://edition.cnn.com/WORLD/9803/31/fringe/let.them.eat.lenin/index. html (Eriim: 10 Mays 2010) 4 Taner Yener-Hasan rnekolu, Cumhuriyet Resepsiyonu'nda pastadan Atatrk kt, Hrriyet, ; http://www.hurriyet.com.tr/gundem/12812762.asp pastadan Atatrk kt! Cumhuriyet Resepsiyonu'nda ilgin an... 30.10.2009; http://www.kanaldhaber.com.tr/HaberDetay.aspx?haberid=53806&catid =34 (Eriim: 10 Mays 2010) Cumhuriyet pastasndan Atatrk heykeli kt; t24.com.tr/haberdetay/59816.aspx
1

5 Esin Atl, Levni ve Surname, Bir Osmanl enlii'nin yks, stanbul: Kobank Yaynlar, 1999 ve Nurhan Atasoy, Surname-i Hmayun: Dn Kitab, stanbul: Kobank Yaynlar, 1997 6 "Let them eat Lenin!", World News Story Page, CNN Interactive, 31 Mart 1998. http://edition.cnn.com/WORLD/9803/31/fringe/let.them.eat.lenin/index.html (Eriim: 10 Mays 2010) 7 Taner Yener-Hasan rnekolu, Cumhuriyet Resepsiyonu'nda pastadan Atatrk kt, Hrriyet; http://www.hurriyet.com.tr/gundem/12812762.asp (Eriim: 10 Mays 2010) Pastadan Atatrk kt! Cumhuriyet Resepsiyonu'nda ilgin an... 30.10.2009; http://www.kanaldhaber.com.tr/HaberDetay.aspx?haberid=53806&catid=34 (Eriim: 10 Mays 2010) Cumhuriyet pastasndan Atatrk heykeli kt; http://www.ihlas.net.tr/detail.asp?id=216165

Bu metinde ele alnan kamusal alan, meydanlar ve meydanlarn ant/heykelle olan ilikisiyle snrl kalacak. Yaamn srd kentsel meknlar olmann yan sra siyasal iktidarlarn, yurttalarn uygar davranlar iinde grmek zere denetledii, devletin gcn kantlad, iktidarn ve muhalefetin siyaset arenalarlar olan meydanlar, nemli kamusal meknlar arasnda. Bununla birlikte byk irketlerin birletii ve glenen bu ibirliinin sanat da ynetmeye talip olduu nemli bir kar iktidar oluturan kresel kapitalizm nderlerinin, uzunca bir sredir, glerini dorudan meydanlarda ve bu meydanlardaki ant/heykellerle gstermeyi yelemedikleri sylenebilir. Kltr ve sanatn yeni patronlar, meydanlar devlete brakp kendilerini farkl kamusal alanlarda var ediyor, sanat, kresel ekonominin bir nesnesi haline dntryorlar. Jrgen Habermas'n Kamusal Alann Yapsal Dnm: Burjuva Toplumunun Bir Kategorisi zerine Aratrmalar (Strukturwandel der ffentlichkeit/The Transformation of the Public Sphere) adl kitabnda gelitirdii ve ilk kez 1962 ylnda tartmaya alan "kamusal alan" tanm, sosyolojik bir kavram olarak o gnden beri deiik bak alarndan eletirildi, farkl anlamlar kazand. zellikle 1960larla birlikte Avrupada balayan "teki modernlikler"in yeniden dnm sorunu ile farkllklarn tannp benimsenmesi, aznlklar, gmenler, snmaclar gibi toplumun eitli kesimlerinin seslerini duyurmalarn, isteklerini zgrce ifade edebilmelerini salayaca varsaylan ve ayn zamanda da bir eliki bulunuyor. Ayrml sosyal, eitsel, ticari, vd. ilevleriyle kentler, onu oluturan toplum/bireyle, geirgen bir iliki iinde.. Kamu-sanat ilikisini belirleyen birok zellik arasnda i ie gemi olan iki temel etken, "yaratclk" ve "korumaclk" olarak adlandrlabilir. Gemi dnemlerde yaplan sanat yaptlarn korumak, gelecek kuaklara aktarmak, onlar kentin kltr tarihi iinde konumlandrmak kentli bilincinin ya da baka bir deyile uygarlk bilincinin nemli bir zellii. te yandan sanat yaptlar, tarihin eitli dnemlerinde yok edilip yklmtr da. 8 Grsel propogandann Fransz Devrimi ile balad, iki dnya sava arasnda Sovyet Rusya, Nazi Almanyas, Faist talya ile 20. yzyla ulat ve bu srete sanatnn soyut kavramlar grnr klarak somut hale getiren, bir siyaset dnr olarak tanmland yaygn bir grtr.
9

not only as urban spaces of daily life but as spaces where the ruling system controls the civil behaviour of its people, where state exercises its power, and as political arenas of the ruling and opposing parties. We could also say that when the big firms united their powers and this consolidated cooperation became a candidate for the management of art, leaders of global capitalism did not prefer displaying their powers in the squares nor with the monuments/statues in these squares. New patrons of art and culture have left the squares to the state and have chosen various public spaces as places of expression, making art an object of global economy. The definition of public sphere, which first became a matter of discussion in 1962 with Jrgen Habermass Structural Transformation of the Public Sphere (Strukturwandel der ffentlichkeit), has been criticised as a sociological concept from various points of view and has acquired many different meanings since then. With the emergence of the debate around the transformation of other modernities in Europe in 1960s, it was presumed that the public sphere would allow the recognition and acceptance of differences, lend a voice to different groups such as minorities, immigrants and refugees, and help them express their ideas freely. However, there seems to be both a convergence and a conflict between the concepts of freedom and equality facilitated by public sphere. Cities with their various functions including social, educational, commercial ones etc. are in a transparent relationship with the individual/society comprising them The two permeable factors among many others defining the relationship between the public and the art can be named as creativity and conservation. Conservation of the art works created in the past, leaving their legacy to the next generations, and positioning them within the cultural history of the city are significant aspects of urban awareness or, to put into other words, an awareness of the civilization. On the other hand, art works were also demolished and destroyed in certain periods of history. 10 The period of visual propaganda started with the French Revolution and reached 20th century with the Soviet Russia, the Nazi Germany and the fascist Italy during the period between the two world wars. It is a widespread view that through this process, the artist had come to be defined as a political thinker who visualised and made concrete the abstract concepts.
11

"kamusal alan"n

yarataca eitlik ve zgrlk kavramlar arasnda bir yaknlama

Having changed its function as a result of modernisation, the modern Modern kent, modernlemenin gerei olarak deitirdii ilevini, sanatsal adan da yeni saylacak, mze, galeri, vb. kurumlarla, meknlarla ve bu meknlarda konumlandrlm heykel ve city has brought with it a new sense of conservation against conservation with new artistic institutions such as museums, art

8 Cevat Erder, Tarihi evre Bilinci, Ankara : ODT niversitesi Mimarlk Fakltesi Yayn, No. 24, 1975. 9 Peter Burke, Afiten Heykele Minyatrden Fotorafa Tarihin Grg Tanklar (zgn ad: Eyewitnessing: The Uses of Images as Historical Evidence, London, Reaktion Books, 2001), ev. Zeynep Yele, stanbul: Kitapyaynevi, 2003, s. 65. 6 Burke, 2003, s. 72-79.

Cevat Erder, Tarihi evre Bilinci, Ankara: ODT niversitesi Mimarlk Fakltesi Yayn, No. 24, 1975. 11 Peter Burke, Afiten Heykele Minyatrden Fotorafa Tarihin Grg Tanklar (Original: Eyewitnessing: The Uses of Images as Historical vidence, London, Reaktion Books, 2001), trans. Zeynep Yele, stanbul: Kitapyaynevi, 2003, p. 65.
2

10

antlarla donatrken korumacla kar yeni bir "korumaclk" ve eski karsnda varolu ya da direnmeyi de beraberinde getirdi. Sanatn hep gelenekle, gelenein ve direniin meknlar saylan kentlerle, kamusal alanlarla dorudan ilikisi olmutur. Bu bakmdan demokrasiyi benimsemi siyasi rejimlerin, idare edenler ve edilenlerce kendilerini ynetmeleri anlayna dayal bir ulus devleti sistemi olarak tanmlana gelen cumhuriyetilik kavram ve onun evrensel/ortak dnya tasavvuruyla ilgili olarak uygarln ve insanlk tarihinin oluumunda etkin olduu varsaylan soylularn, din adamlarnn, devlet byklerinin, kahramanlarn, askerlerin, kaiflerin, sanatlarn, tanr-a-larn, yarattklar stnlk duygusuyla halka k samak, idealleri yaymak, duraan toplumlarn geliimlerine katkda bulunmak, zaman hatrla-t-mak; unutmamak benzeri niyetleri-ni kamusal alana tayan tekin-siz bstleri ve ant heykelleri, direniin, eski olan dsallatrmann ve kurumsallatrmann ideolojik bir gsterim biimi olagelmitir. Demokrasi anda nderler, dncelerin ve deerlerin hayata geirilmi halleri olarak, yanlarna aldklar zgrl, bamszl temsil eden simgelerle, zenle seilmi giysiler iinde, heykelletirilmi ve idealletirilmi olarak kamuya sunulurlar.
12

galleries and similar establishments, as well as monuments and sculptures placed within these new establishments. This has also brought forward a sense of resistance and presence against the past. Art has always had a direct relationship with tradition, cities that are seen as places of tradition and resistance, and public spheres. Republicanism has been defined as a nation state system, which is based on an understanding of the political regimes adopting democracy where the rulers and the ruled co-govern themselves. Related to the universal/common world vision of republicanism, the auspicious and haunted busts and monumental sculptures of the nobles, clergy, statesmen, heroes, soldiers, explorers, artists, gods, goddesses, everyone who has always been perceived as influential in the formation of the history of humanity, have been ideological displays of resistance, externalisation of the past, and institutionalisation. In the age of democracy, the leaders are presented to the public as embodiments of ideas and values, representing freedom and independence, and idealised and turned into monuments, wearing clothes carefully selected for them. 13 The postmodern era, covering the period after 1960, can be defined by production, information and communication revolution, work divided into offices, and escape from the centre. The structure of society is associated with a hybrid definition that can be called socitalism (social capitalism), and information is produced by office workers. We can talk about a perception of time that is circular and linear, and fast changing, as well as a nonconformity between time and space relationship. This is a multinational, pluralistic, eclectic, inclusive, and open age of images, consisting of many tastes, cultures and information. Like the expanding city getting replaced by the decentralised city and subsequently by the urban area, the individual also destroys the traditional definitions of personal boundaries that place himself in the centre, and conceive the single body as a separate unit. In the heavy political climate of the late 1960s, artists inclined towards other things than metaphors. They needed to question the artistic patterns that were integrated into the city such as exhibitions, museums and monuments in the face of clusters trying to communicate with one another, the transitional nature of time and space, and collectivity and globalisation of consciousness. Today, crowds crossing one another at city squares meet not only at squares but scatter across the city, meet at various points through the Internet, and, in a way, make the public sphere virtual. And a certain group of artists deny acknowledging the duty of facilitating a political weapon assigned to sculptures by the authority. Gilbert and George questioned and criticised this traditional, official understanding of public sculpture. In 1969, they carried out a performance called The Singing Statue in which they pretended to be statues and sang over a table for a long time. I guess the observers of this performance were passive despite all their surprise. They kept the traditional, typical audience status. The distance

1960 sonrasn kapsayan postmodern sre, retim, iletiim ve bilgi devrimi, ofislere ayrlm alma ve merkezden kala tanmlanabilir. Toplum yaps socitalism (sosyal kapitalizm) diye adlandrlabilecek melez bir tanmlamayla ilikilendirilir ve bilgi reten ofis alanlarndan oluur. Devresel ve izgisel, hzl deien zaman algsndan; zaman ve mekn ilikisinde uygunsuzluktan sz edilir. Bu, ok uluslu, oulcu, eklektik, kapsayc ve ak olana ynelimli, tatlar, kltrler, bilgi temelli birok durumu ieren imgeler adr. Yaylan kentin, yerini dalan kente ve sonra da kentsel alana brakmas gibi birey de kendini merkeze alan, tekil bedenin ayr bir birim olarak algland bireysel snrlarn geleneksel tanmlarn yok ediyor. Ge 1960larn olduka politik ortamnda sanatlar, metaforlardan daha baka eylere yneldiler. Birbirleriyle iletiim kurmaya alan kmeler, zaman ve meknn deikenlii, bilincin kolektiflemesi ve kresellemesi karsnda sergi, mze, ant gibi sanat evreleyen ve kentle btnleen dizgeleri de yeniden sorgulamay gereksindiler. Kentin meydanlarnda keien kitleler, bugn artk yalnzca meydanlarla yetinmiyor, kente dalyor, internet zerinden de deiik ortamlarda karlayor, bir anlamda kamusal alan sanallatryorlar. Ve bir grup sanat, erkin ynettii heykel zerine yklenen "politik silah" olma grevinin gstereni olmay reddediyor. Bu geleneksel, resm kamusal heykel anlayn ironik biimde sorgulayp eletiren Gilbert ve George, 1969da ark Syleyen Heykel (The Singing Sculpture)le, kendilerini heykel yerine

12

Burke, 2003, s. 72-79.

3

13

Burke, 2003, pp. 72-79.

koyduklar almlaycnn aknlna

bir

performans bu

gerekletirmiler, karsndaki edilgendi.

bir

masann tm izleyici

between the observer and the sculpture, established hundreds of years ago, seems to be valid for this performance too. Maybe the most radical discourse was that of Beuys. Joseph Beuys claimed that we could shape the world we lived in with our ideas. His social sculpture concept aimed to transform the society into a creator and intellectually remove the traditional statue out of the public sphere completely. Beginning from the 1960s, artists such as Daniel Buren, Michael Asher, Marcel Broodthaers and Lohar Baumgarten criticised the institutions, and deconstructed the myths created by the past and the contemporary times.
16

zerinde uzun sre durarak ark sylemilerdi. Sanyorum ki performans yine de duruu, karn Altmz

konumunu koruyorlard. Yzyllarn yaratt heykel ve almlayc arasndaki mesafe, bu performans iin de geerli olmal. Belki de en radikal sylem sosyal Beuysunkiydi. heykel kavram, Yaadmz toplumu dnyay yaratcya dncelerimizle biimlendir-ebilece-di-imizi syleyen Joseph Beuysun dntryor ve bir anlamda geleneksel heykeli dnsel anlamda btnyle kamusal alann dna atyordu. 1960lardan balayarak Daniel Buren, Michael Asher, Marcel Broodthaers, Lohar Baumgarten gibi sanatlar ise, kurumlar eletirerek tarihin ve imdinin yaratt mitlere geri dnyor, onlar yapbozuma uratyordu.
14

Daniel Buren said, Art is the secure valve for

our repressive system, it is the mask that attracts the attention to a different direction. As long as the reality is masked, conflicts of the system are hidden and there will not be anything to be scared of. Burens perfect lines in the public sphere were indicative of his political stance. In 1980s, Buren took part in urban projects of monuments. Between 1985 and 1986, he built Deux Plateaux (Two Planes) in the courtyard of Palais Royal in Paris which had repositioned history within history, presented deconstruction against construction, and opposed hierarchy and individualism. The said work was exemplary of Burens attitude with its anonymous existence and short span of life. Buren perceives the concept of in situ (on site) work as an opportunity of artistic intervention arising from a deep connection to the particular place. 17 Illusion of a public sphere/venue that is shaped and governed by those who have the authority or where the right to say a word is granted completely to the politicians, leaders, capitalists or the artists

Sanat, bizim basklayc sistemimizin

gvenli supap, ilgiyi baka yne eken maskesidir. Gerek maskelendii srece sistemin elikileri saklanr, rkecei bir ey kalmaz diyen Daniel Burenin kamusal alanlardaki muntazam izgileri, politik yaklamnn bir gstergesiydi. 80li yllarda antsal nitelikteki kentsel projelerde yer al, 1985-86 yllar arasnda Pariste Palais Royalin avlusunda yapt ki Dzeyde (Deux Plateaux), tarih iinde tarihi konumlandr, yapya kar yapbozumu sunuu, hiyerari ve bireysellik kart oluu, anonim ve ksa mrl varlyla Burenin tavrn rnekleyen bir yapt olarak anlabilir. Buren, in situ (yerinde) alma kavramn, iinde bulunduu yere znden bal sanatsal bir mdahale frsat olarak deerlendirir. Kamunun sz
15

syleme,

tercih

etme

hakknn

btnyle

authority can lead to reactions and even sanctions of the public. There is not much to say about creativity, but still the arrogant stance of art which refuses any kind of criticism and objection with its aesthetically compact loneliness in the public sphere isolates it from the public, and the relationship, or lack of thereof, between the aesthetical object of the artist who denies to face the dynamics of the city and the receptive public can turn into a clash in the public sphere. To put it into other words, the presence of the public and the monument/statue in the public sphere loses its touch with reality, and turns into an involuntary show of supervision planned and pictured by the hands of the authority. For instance, Richard Serras Tilted Arc, 1981 which he had built in New Yorks Federal Plaza was of a monumental scale and it became the object of complaints by the employees in the surrounding buildings on grounds that it was blocking the passage and the view. In 1985, the removal of the sculpture was decided. Serra opposed the decision, asserting that, the work was designed for that

siyasilerin, ynetenlerin, kapitalistlerin ya da sanatnn iktidarna brakld, erk sahiplerinin biimleyip ynettikleri bir kamusal alan/mekn yanlsamas, kamunun tepkilerine ve daha da te yaptrmlarna neden olabiliyor. Yaratcla diyecek bir ey yok, ama sanatn kamusal alandaki estetik, kompakt tek banal ile kendini dayatt, eletiri ve itiraz kabul etmez "arogan" duruu, onu kamudan soyutlarken kentin dinamikleri ile yzlemeyen sanatnn "estetik nesne"si ile "almlayc kamu" arasndaki ilikisizlik, kamusal alanda atmaya dnebiliyor. Bir baka deyile, kamunun ve ant/heykelin kamusal alandaki varl, hakikiliini yitiriyor, erk eliyle planlanp manzaralatrlan "nezaret"in istem d gsterimine dnyor. rnein Richard Serrann New York; Federal Plazada yapm olduu antsal lekli 1981 tarihli Tilted Arc", evre binalardaki alanlarca geii ve gr engelledii gerekesiyle ikayet konusu oldu, 1985te heykelin kaldrlmasna karar verildi. Serra, iin o yer iin tasarlandn, yer deitirmesinin doasna aykr 34-42. Bkz. Andrew Causey, Sculpture since 1945, New York, Oxford University Press, 1998. 15 Rosalind E. Krauss, Daniel Buren, ArtForum, Aralk, 2002 ve Zeynep Yasa Yaman, Quintette Ankara/Ankarada Beli Sergisi zerine Dnceler, Arredamento Mimarlk, Haziran 2007, Sa. 203, s.
14

16 Bkz. Andrew Causey, Sculpture since 1945, New York, Oxford University Press, 1998. 17 Rosalind E. Krauss, Daniel Buren, ArtForum, Aralk, 2002 ve Zeynep Yasa Yaman, Quintette Ankara/Ankarada Beli Sergisi zerine Dnceler, Arredamento Mimarlk, Haziran 2007, No. 203, pp. 34-42.

dtn, bunun yaptn lm olacan syleyerek karara direndi. Sonunda heykel, 15 Mart 1989da Federal alanlarnca paraya ayrlarak, hurdaya karld. Serra, sanatn mutlu etme gibi bir ilevi olduunu dnmyorum. Sanat demokratik deildir. O halk iin de deildir yorumunda bulundu. olay 2002de California Teknoloji
18

particular place, that any change of place would be against its nature, and that it would lead to its death. Eventually on 15 March 1989, the sculpture was broken down into three pieces by the workers of Federal Plaza, and carted off to a scrap-metal yard. Later, Serra commented, "I don't think it is the function of art to be pleasing. Art is not democratic. It is not for the people."
21

Benzer bir yinelendi.

Enstitsnde

A similar incident took place

Vektrler (Vectors) enstelasyonu renci ve retim yeleri engeliyle karlat. Yaptn, sanatnn erken iinin ikincil bir tekrar olduu, bu kibirli iin, enstitnn kimliini maskeledii belirtilerek kurulumu engellendi.
19

in California Tech Institute. The Vectors installation met with vehement opposition from the students and the academics. The work was interpreted as a second repetition of an early work of the artists and as an arrogant work that would mask the identity of the institution. Its installation was called off.
22

Trkiyeye gelince, Sultan Abdlazizin 1871de C. F. Fullere yaptrd doal boyutlardaki atl heykeli, kamunun tepkisinden korkulduu iin stanbulda kamusal alanda yer bulamaynca sarayn bahesine kondu. ok deil, 50 yl iinde Atatrk, cumhuriyetle icad edilen ant geleneinin deimez imgesi oldu. 19. yzyl moderliinde ant inas, lkelerin kendi gemilerini kutlamann ve yaratmann bir arac olarak ulus devletlerin taknts haline gelmiti. 20. yzyln bandan II. Dnya Savann sonuna dein dnyada da meydanlarn heykellerle ve antlarla doldurulmas istei yaygn bir grt.
20

If we take a look at Turkey, in 1871, Sultan Abdulaziz commissioned C. F. Fuller to make a real size statue of himself riding a horse. Because of a fear of a possible public reaction, the statue could not find any place in public space in Istanbul, and was placed in the imperial garden. In a period of as little as fifty years, the increasing number of Atatrk statues made him the ultimate symbol for the tradition of monuments invented with the establishment of the Republic. With the modernity of the 19th century, monuments became an obsession for the nation states to celebrate and create their pasts. From the beginning of the 20th century until the end of World War II, filling the squares with monuments and sculptures was a widespread demand. 23 When talking about art in public sphere in Turkey, the first things that come to mind are the public spaces designed during the first decades of the Republic and the Atatrk sculptures erected in these squares. The project of creating a public sphere meant designing squares filled with monumental statues, shaped and directed with the ideological demands of the governments and local administrations, with the bulk of the costs of these works financed by the state budget. With the establishment of the Republic, Turkey adopted modernisation as a principle. Imitation of the European past and the future led to a country packed with Atatrk sculptures everywhere from big cities to villages. In Turkey, the ideology behind the monument/statue is obvious and clearly defined. During the period between 1933-1945, which included the World War II, the cultural formation which was the source of expression through monuments/statues was influenced by national socialism in Germany and Italy, the Russian internationalism, the Public Works of Art Project within the scope of the New Deal initiated by Roosevelt in the

Trkiyede kamusal alanda sanat ncelikle Cumhuriyetle birlikte tasarlanan meydanlar ve bu meydanlarda konumlanan Atatrk antlarn, heykellerini getiriyor akla. Kamusal alan yaratma projesi, hkmetlerin ve yerel ynetimlerin ideolojik istekleri dorultusunda dzenlenen, ynlendirilen ve giderleri byk lde devlet btesiyle karlanan ant heykellerle donatlm meydanlar tasarlamtr. Cumhuriyetin ilanyla adalamay ilke edinen ve programlayan Trkiyenin rnek ald Avrupal gemi ve gelecee yknmenin sonularndan biri olarak bugn kamusal meknlar, kentlerden kylere dein Atatrk heykelleriyle tklm tklm dolu. Ant/heykelden beklenen ideolojik gsterim belli, tanm aktr. Yaklak 1933-1945 yllar arasnda II. Dnya Savan da iine alan bir zaman diliminde, ant/heykel anlatmna kaynaklk eden kltrel oluum, Almanya ve talya Milli Sosyalizmi ile Rus Enternasyonalizminden, ABDde Rooseveltin balatt Yeni Dzen (New Deal) program kapsamnda gndeme gelen toplumsal sanat projesi (Public Works of Art) ve New Yorkta Komnist Partinin iinde eitli sosyal gerekileri barndran deiik sanat yaklamlarndan etkilenmitir. Bu srete sanat, Avrupada ve Sovyetlerde olduu gibi Trkiyede de siyasi propagandann antsal bir arac haline gelmitir. Culture Shock: Flashpoints: Visual Arts: Richard Serras Tilted Arc; http://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/tiltedarc_a .html (Eriim: 10 Mays 2010) 19 Richard Serra, "Biography of Postmodernist Sculptor in Sheet Metal", Encyclopedia of Irish and World Art HOMEPAGE; http://www.visual-arts-cork.com/sculpture/richard-serra.htm (Eriim: 10 Mays 2010) 20 Susan Buck-Morss, Rya lemi ve Felaket, (zgn ad: Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West, Massachusetts of Technology, 2000), ev. Tuncay Birkan), stanbul, Metis Yaynlar, 2004, s. 56.
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18

21 Culture Shock: Flashpoints: Visual Arts: Richard Serras Tilted Arc; http://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/tiltedarc_a.htm l (Eriim: 10 Mays 2010) 22 Richard Serra, "Biography of Postmodernist Sculptor in Sheet Metal", Encyclopedia of Irish and World Art HOMEPAGE; http://www.visual-arts-cork.com/sculpture/richard-serra.htm (Eriim: 10 Mays 2010) 23 Susan Buck-Morss, Rya lemi ve Felaket, (Original: Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West, Massachusetts of Technology, 2000), trans. Tuncay Birkan, stanbul, Metis Yaynlar, 2004, p. 56.

1950ler boyunca Souk Sava paranoyasnn artt, ekonomi politikalarnn ve dinin ykselie getii II. Dnya Sava sonrasnda btn dnyada gdml sanata kar yaygnlaan sessiz, szsz, soyut sanat eilimleri ve tartmalar ile ant uygulamalar birliktelii yapmnda, balayarak nemini km, bir belirgin Taksim byk lde yitirmi, Bu mimari/sanat heykel ne 1950-1960 azalma yllar olmutur. arasnda

USA, and various artistic approaches reflecting different social realities of the Communist Party in New York. During this period, art, as in other places in Europe and the USSR, became a tool for political propaganda in Turkey as well. During the 1950s, in the post-World War II period, when the Cold War paranoia was increasing, economic policies and religion were on the rise, the voiceless, wordless, abstract artistic tendencies and discussions emerged as a reaction to the controlled art around the world. Between 1950 and 1960, monuments lost their importance notably, unity between architecture and art became significant, and there was a substantial decrease in making sculptures. Since around same time, the Taksim Square has been an arena of public disputes with its cosmopolitan secular identity affirmed by its Atatrk Monument becoming a symbol against continuous discussions on construction of a mosque in the area. During World War II, 35 to 60 million civilians and soldiers had died in wars and genocides. A significant post-war activity was an international sculpture competition, The Unknown Political Prisoner, held by Londons Institute of Contemporary Arts and open to everyone. The competition had generated 3,500 applications from 57 countries, including works of artists from Turkey. Selected models were exhibited at Tate Britain between 14 March and 30 April 1953. 25 In the post-World War II period, sculptures in the public sphere had become memorial structures for those who had died in the wars. Vertical structures were being transformed into horizontal ones. Monumental statues were not being made for glorification of certain individuals, and their introduction to the public through eternally engraving them in the area any more, but rather for expressing the current situation and for helping the public remember it in the future. But this time, memories were being used for political agendas as they were turned into integral parts of museums and touristic locations in newly created places like war cemeteries and monuments. It is possible to see the counter-monument, an artistic tendency which emerged in 1980s and which makes use of abstract, non-figurative, geometrical shapes erected in memory of deaths and genocides, as an extension of the same political point of view. Counter-monument, carrying signs and symbols aiming at collective memory despite its abstract structure and

tarihlerden tanmlad

Meydan,

Atatrk

Antnn

kozmopolit laik kimlii ile, gnmze kadar sren cami yapm tartmalarnn odandaki nemli bir kamusal ekime alan oldu. II. Dnya Sava sresince sivil ve asker 35-60 milyon dolaynda insan sava ve soykrm nedeniyle lmt. Sava ertesinin nemli bir etkinlii, 57 lkeden 3500 kiinin bavurduu, Trkiyeden de sanatlarn katld, Londra ada Sanatlar Enstitsnn (ICA) herkese ak olarak dzenledii ve seilmi maketlerin 14 Mart-30 Nisan 1953 tarihleri arasnda Tate Galleryde (Tate Britain) sergilendii Bilinmeyen Siyasal Hkml (The Unknown Political Prisoner) konulu uluslararas heykel yarmasyd. 24 II. Dnya Sava sonrasnda kamusal alanda heykel daha ok savalarda lenlerin anmsand antlara dntrlrken, dikey ykseltiler de aa ekilerek yataya yaylyordu. Ant heykel artk meydanlarda kiileri yceltip kamuya tantmak, mekna kazmak iin deil daha ok iinde bulunulan durumu ifade edebilmek ve gelecekte de unutmamak iin yaplyordu ama bu kez de anlar, yaratlan yeni alanlarda, ehitliklerde ve antlarda, mezarlklardan farkl olarak politik bir yaklamla mzeletiriliyor ve turistikletiriliyordu. 1980lerde kan yeni bir eilim olarak, lmleri, soykrmlar hatrlatma/unutmamaya dayal kar/t-ant (counter-monument) anlaynn da figre bavurmayan soyut, geometrik biimlerle ayn niyeti ierdii sylenebilir. Soyut grntsne karn zaman zaman zerinde kolektif bellei harekete geirecek imlere ve simgelere de yer veren ve kimi evrelerce eletirilen countermonument, kiilerle didaktik olmayan interaktif bir iliki kuruyor, anlarn gelecekte de anmsanmalarna ve tarihin yeniden yorumlanmasna araclk ediyor. Byle olunca kamusal m oluyor? 1960 askeri mdahalesiyle Atatrkn ansn tazelemek,

criticised by many, established an interactive, not a didactic, relation with individuals, and acted as an agent to help memories to be remembered in the future and history reinterpreted. But does this make it public? With the military intervention of 1960, the monuments gained popularity once again as to refresh Atatrks memory and strengthen the loyalty to the revolutions. Since the 1970s, statues erected in various parks and venues by local administrations and governments with social democratic views, sometimes through competitions, had a difficult time surviving in the public sphere. Most of these sculptures

devrimlere ball pekitirmek amacyla ant faaliyetleri oald. 1970lerden itibaren gnmze dein zellikle sosyal demokrat anlay benimseyen yerel ynetimlerin ve iktidarlarn at yarmalar ve farkl uygulamalarla eitli parklara ve alanlara, yerletirdikleri heykeller de kamusal alanda yer edinememilerdir. Bir ou saldrya urayan heykeller, ncelikle dnemin sa ve islamc politikalar, iktidarlar ve muhalefet tarafndan kyasya eletirilmi, yerlerinden kaldrlm ya da tahrip edilmilerdir. Bu kar koyuu belirleyen temel sorun, heykelin soyut ve

24 The Unknown Political Prisoner, 14 March-30 April 1953; http://www.tate.org.uk/britain/exhibitions/theunknownpoliticalprisoner/ default.shtm

The Unknown Political Prisoner, 14 March-30 April 1953; http://www.tate.org.uk/britain/exhibitions/theunknownpoliticalprisoner/defau lt.shtm (Eriim: 10 Mays 2010)
6

25

(Eriim: 10 Mays 2010)

anlalmaz olmas, farkl bir siyasetin szcln stlenmesi, plakln ve cinselliin gsterimine araclk etmesinde odaklanyor. Bununla birlikte bu tepki biimini de genellikle kamu deil, seilmi olmaktan dolay kamu adna sz syleme hakkn kendilerinde gren milletvekili ve yerel yneticiler dillendiriyorlar. 12 Eyll 1980 darbesi sonrasnda ve Atatrkn Doumunun 100. Yl kutlamalar kapsamnda Atatrkn ansn yeniden tazeleme gerei duyularak ant ve heykel yapmna ivme kazandrld. znde tarihi misyonunu tamamlam antlk, ii boaltlm ticari bir kimlik kazanm, bu tarihten sonra baz sanatlar ayn kalptan oaltarak farkl kaideler stne koyduklar ve artk kavaklar, tretuvarlarn stlerini de dolduran polyester Atatrk heykellerini doudan batya lkenin hemen ou kentine, ilelere, beldelere kadar yaygnlatrmlardr. Bugn her kentin merkez ve ilelerinde ok sayda Atatrk heykeli bulunmaktadr. TBMM, YKle birlikte oalan niversite kampsleri, okullar, askeri alanlar, ehitlikler, kamu binalarnn nleri, Atatrk bst ve heykelleriyle dolmutur. Atatrk heykelleri, Erken Cumhuriyet Dneminin tanmlad cumhuriyet alanlarndaki anlamn yitirip deitirerek 2000 yl sonrasnda zellikle ilelerde, trenlerde elenk konmak zere yerel ynetim yaplarnn nnde de konumlandrlm ve arka plan minarelerle talandrlmtr. Osmanl mparatorluunda bir ibadet ve sosyalleme alan olan cami, meydan anlaynn yeni bir unsuru haline gelmi, imgeler eitlenmi, Atatrkn yan sra dier Trk bykleri, Osmanl padiahlar, paalar, vezirleri, Anadolu ozanlar, kentlerin simgeleri (horoz, inek, pamuk, kiraz, karpuz, vd.) ayn kaynaktan beslenerek tam bir aydnlanmac heykel gelenei itahasyla kamusal alanlar istila etmilerdir. Hayrsz Adann (Sivriada) helikopterden ekilmi bir resmi stne "fotoop"la oturtulan 110 metrelik semazen heykeli projesi
26

were attacked, criticised fiercely by the right-wing and Islamist politicians of the period, from the ruling and the opposing parties, removed, destroyed, or demolished. The three main arguments for this opposition were that these sculptures were considered abstract and inapprehensible, they spoke for unwanted political points of view, and they acted as mediators for exposing nudity and sexuality. Nevertheless all these responses were elicited not by the public but by members of the parliament and local authorities who believed they had the right to speak on behalf of the public as they were elected by them. After the military coup of 12 September 1980 and the centennial of Atatrks birth in 1981, the need to refresh Atatrks memory fuelled further momentum for building statues and monuments. Monumentalism, which had essentially completed its historical mission, gained a vapid, commercial identity during that time. Some artists continuously reproduced the same Atatrk sculptures from polyester and put them on different pedestals. These sculptures adorned every junction, every pavement across the country from cities to towns and small villages. Today one can come across many Atatrk sculptures in city centres and towns. The Grand National Assembly, the increasing number of university campuses after the establishment of the Council of Higher Education, schools, military bases, war cemeteries, and public buildings are filled with Atatrk busts and sculptures. The significance of the Atatrk sculptures in early periods of the Republic has completely changed. After 2000, especially in towns, they were positioned in front of local administrative buildings where wreaths were placed, while the minarets crowned the background. Mosques, which were places of prayer and socialising during the Ottoman Empire, became an integral part of a new understanding of public places. New images other than Atatrk emerged, such as other significant historical figures of Ottoman sultans, admirals, viziers, Anatolian bards, symbols of cities (rooster, cow, cotton, cherries, watermelon, etc.). These were all a continuation of the same understanding, and they invaded the public spaces with an enlightened sculpture tradition. The opposing voices raised against the project of a giant statue of a whirling dervish placed with Photoshop over a photograph of Hayrszada (Unfaithful Island) taken from a helicopter 27 , and later the statue of Mehmed II, planned to be erected on the Haydarpaa Pier, along with the subsequent competition organised by the Ministry of Culture and Tourism for the statue, triggered further discussions on would erect a carefully selected statue, not anything ordinary. Like the public sphere and statues in 2005. Despite all the objections raised by non-governmental organisations, Ministry officials said that they

iin

ykselen

muhalif

seslerin

hemen

ardndan

Haydarpaa Mendireine yaplmak istenen devasa boyuttaki Fatih heykeli ve bu heykel iin Kltr ve Turizm Bakanlnn at yarma, 2005 ylnda kamusal alan ve heykel tartmasnn odanda konumlanmt. Sivil toplum rgtlerinin tm itirazlarna karn Bakanlk yetkilileri, "Geliigzel bir eser deil, zenle seilecek bir heykel yerletireceiz" diyorlard. nceki yneticiler gibi iktidardaki hkmet de, stanbul'a kalc bir eser brakmak iin tpk, Amerikan zgrlk Heykelinin New York Limanna girenleri karlad gibi Istanbula girenleri karlayacak bir Fatih heykeli dikilmesi projesini heyecanla kutsuyordu. Fatih Sultan Mehmet heykeli, stanbula atlacak

26 http://forum.arkitera.com/archive/index.php/t-4068.html (Eriim: 10 Mays 2010) Krat Bumin, Hayrsz Aday Korkun Ada yapma giriimi, Yeni afak, 11 Ocak 2005 ; http://www.turkcebilgi.com/kose_yazisi_9328_kursat-bumin-hayirsizadayi-korkunc-ada-yapma-girisimi.html (Eriim: 10 Mays 2010) Semazen heykeli rafa kalkt, Milliyet, 22 Ocak005 ;http://www.milliyet.com.tr/2008/01/22/yasam/yas13.html (Eriim: 10 Mays 2010)

27 http://forum.arkitera.com/archive/index.php/t-4068.html (Eriim: 10 Mays 2010) Krat Bumin, Hayrsz Aday Korkun Ada yapma giriimi, Yeni afak, 11 Ocak 2005 ; http://www.turkcebilgi.com/kose_yazisi_9328_kursat-bumin-hayirsiz-adayi-korkuncada-yapma-girisimi.html (Eriim: 10 Mays 2010) Semazen heykeli rafa kalkt, Milliyet, 22 Ocak 2005 ; http://www.milliyet.com.tr/2008/01/22/yasam/yas13.html (Eriim: 10 Mays 2010)

kalc bir imza olacakt. Bir grup sivil toplum rgt, heykelin gereksizliini savunurken Bykehir ve Kadkyller Fatih Heykelinin yeri Haydarpaa Mendirei mi olmal sorusunda birbirlerine ters dyorlard. te yandan farkl siyasetlerin tartmalar da dikilecek heykelin Fatih mi Atatrk m olmas gerektiine odaklanmt. Kamusal alanda sanat nesnesi olarak dokunulmazlk edinecek bu antn evresiyle ilikiye girecei, kent bilincini dntrecei inanc hakimdi. Fatih heykelini oylamaya sunan Kadkyller "heykeli burada istemiyoruz" karar verdi. Bu kararn hemen arkasndan Kadky Belediye Bakan Selami ztrk, Fatihin Kadkyle bir ilgisinin olmadn, heykelin Halie dikilmesinin daha uygun olacan da ekledi.
28

previous administrators, the ruling government was excited about leaving a permanent work of art to Istanbul and with the idea of a statue of Mehmed II that would welcome all the visitors arriving in Istanbul, similar to the Statue of Liberty welcoming all newcomers to New York. The statue of Mehmed II would be a permanent signature in Istanbul. While some NGOs were arguing that such a statue was unnecessary, residents of Kadky and the Metropolitan Municipality were fighting over the ideal place of the statue, whether Haydarpaa Pier was the right location. Another topic of discussion among different political points of view was whether the statue should be of Mehmed II or Atatrk. The dominant idea was that this monument as a work of art in public sphere would have immunity, interact with its surrounding environment, and transform urban awareness. Kadky residents voted against the statue to be erected in their region. Right after this decision, Kadky Mayor Selami ztrk said that Mehmed II did not have any connection to Kadky and the statue would better suit Hali (the Golden Horn) 30 . The same year, a sculpture project, Art for Our Town was organised by Ilhan Koman Foundation and supported by the European Union, Istanbul municipalities and some NGOs. The project involved children aged between 7-14 to make sculptures, and the selected four sculptures would be enlarged to monumental sizes to be erected in four different locations in Istanbul. The project aimed to blend the scholar and artistic heritage of Ilhan Koman and creativity of children. Children who participated in the project visited different sculptures made for Istanbul. They saw what materials could be used and how those works of art had become a part of the urban structure. The children had workshops with trainers and artists for three months, and eventually created sculptures they would have liked to see in their respective towns. Everything looks very exciting up to this point. But what was surprising about the project, which was hailed as a first in the world, was that many NGOs, which included artists and architects, persisted on the idea of turning the sculptures into monuments, and erecting them in public spaces. Writing in Arkitera.com, dated 11 July 2005, here is what Glin enol had to say: You might have heard that Istanbul is a candidate for the Capital of Culture for 2010, as part of the most expansive cultural project of the European Union. 31 If you would ask what does a city hoping to become the European Capital of Culture should be careful to avoid, the answer would be erecting such
Glin enol, Bin Akllnn karamad Ta, 13 Temmuz 2005; http://www.arkitera.com/news.php?ID=3064&action=displayNewsItem (Eriim: 10 Mays 2010) Boaza Fatihin Heykeli Dikilecek!; http://www.turkforum.net/52111-bogaza-fatihin-heykeli-dikilecek.html (Eriim: 10 Mays 2010) stanbul'a Fatih Sultan Mehmet ant; http://www.cnnturk.com/2005/kultur.sanat/diger/02/04/istanbula.fatih.sult an.mehmet.aniti/70275.0/index.html (Eriim: 10 Mays 2010) Korhan Gm, Fetihi deoloji ve Sanat, Radikal, 31.05.2005; http://www.radikal.com.tr/haber.php?haberno=154311 (Eriim 10 Mays 2010) Fatih in Referandum, Vatan, 25.05.2005; http://www.yapi.com.tr/Haberler/fatih-icin-referandum_27467.html (Eriim 10 Mays 2010) 31 Glin enol, Fatih Sultan Mehmet Heykeli'nin Dntrecekleri, 11 Temmuz 2005; http://arkitera.com/news.php?action=displayNewsItem&ID=3009 (Eriim 10 Mays 2010)
8
30

Ayn yl, lhan Komann bilimsel ve sanatsal miras ile ocuk yaratcln birletiren, Avrupa Birlii (AB), stanbuldaki ile belediyeleri ve sivil toplum rgtlerinin byk desteiyle lhan Koman Vakfnn BS (Beldemiz in Sanat) ad altnda ocuklarla yrtt heykel projesi kapsamnda 7-14 yalar arasnda ocuklarn yapaca heykellerin 4 tanesinin antsal boyutlarda bytlerek stanbulun 4 farkl semtine yerletirilmesi planland. BS projesine katlan ocuklar, nce stanbul iin yaplm heykelleri gezdiler, kullanabilecekleri malzemeleri, sanat yaptlarnn kent yapsnn nasl bir paras haline geldiini grdler, 3 ay sreyle eitmenler ve sanatlarla atlye almalar yapan ocuklar kendi mahallelerinde gerekten grmek istedikleri heykelleri yarattlar. Buraya kadar her ey heyecan verici gzkyor, ama dnyada ilk olduu sylenen bu yaratc projenin artc olan yan, iinde sanatlarn ve mimarlarn da bulunduu ou sivil toplum rgtnn, heykeli antlatrarak kamusal alanlara dikme fikrinden vazgemeyileriydi. Arkitera.comdan alntladm 11 Temmuz 2005 tarihli bir yazda Belki biliyorsunuz, stanbul, 2010 yl iin ABnin en kapsaml kltr program olan Avrupa Kltr Bakenti aday. Avrupa Kltr Bakenti olmak isteyen bir kentin ne yapmamas gerekir diye sorarsanz, hi kukunuz olmasn ite rnek, byle bir heykel dikmektir diye cevap verilecektir. diyor yazar.
29

Hkmetlerin ve halkn her dnemde yok etmeye bu

denli merakl olduklar antlara karn, dzenleyicilerin ocuklarn yaratt yzlerce eser iinden (eser vurgusu nde, yaratclk

Glin enol, Bin Akllnn karamad Ta, 13 Temmuz 2005; http://www.arkitera.com/news.php?ID=3064&action=displayNewsItem (Eriim: 10 Mays 2010) Boaza Fatihin Heykeli Dikilecek!; http://www.turkforum.net/52111-bogaza-fatihin-heykeli-dikilecek.html (Eriim: 10 Mays 2010) stanbul'a Fatih Sultan Mehmet ant; http://www.cnnturk.com/2005/kultur.sanat/diger/02/04/istanbula.fatih.sultan.mehm et.aniti/70275.0/index.html (Eriim: 10 Mays 2010) Korhan Gm, Fetihi deoloji ve Sanat, Radikal, 31.05.2005; http://www.radikal.com.tr/haber.php?haberno=154311 (Eriim 10 Mays 2010) Fatih in Referandum, Vatan, 25.05.2005; http://www.yapi.com.tr/Haberler/fatih-icin-referandum_27467.html (Eriim 10 Mays 2010) 29 Glin enol, Fatih Sultan Mehmet Heykeli'nin Dntrecekleri, 11 Temmuz 2005; http://arkitera.com/news.php?action=displayNewsItem&ID=3009 (Eriim 10 Mays 2010)

28

denilmiyor) seilecek 4 tanesini antsal boyutlarda uygulamak iin gsterdikleri aba ironik. Antta sava ve fetihi imgelerden kanlmas gerektiini vurgulayan tartmaclar, te yandan da kamusal alanlar antsal heykellerle donatma isteklerini nlenemez biimde ocuklara kadar ulatryorlar. Kamusal alann sanatsal yaratclk alan deil de bir ant/heykel alan olarak grlmesi dncesi znde gnmzde hl sryor. Trkiyede, ounluun belki de tek kamusal alan olarak anlad meydanlarda heykel/anta gereksinim duyulmas ya da bir ocuun yaratc urann antsallatrmak istenmesinin

sculptures. It was ironic to see that despite the continuous efforts of the governments and the public to destroy monuments throughout history, the organisers vehemently persisted to transform the selected four works of art by children to monumental proportions. Those who stressed the importance of avoiding warriors and conquerors in monuments ironically voiced their desire to decorate public spaces with monumental sculptures, reaching even to children. Understanding of the public sphere as an area for monuments rather than for artistic creativity still continues today. Does the urge to monumentalise a childs creative work or the need to have the sculptures/monuments in the squares, perceived to be the only places of public sphere, arise from a collective desire to reach the levels of modern civilization? Striking similarity between the words police and civilise, which converged the concepts of culture and civilization that had emerged with Enlightenment, points to the use of these two words interchangeably in relation to society and the political realm. Among the meanings this relationship signifies are the protection of the status quo, prohibition of violence in peoples relationships, or in other words, monopolising of violence with the laws supported by the state, provision of security of public areas, and creation of a public sphere closely controlled and sustained with clearly defined and simple rules. The monument maintains its ideological and narrative function through different outlets and at different public places. For instance, it was decided that a colossal monument would be built on the highest hills of Kars as a reaction to genocide monuments. The construction for the Monument of Humanity started in 2006. The monument, aiming to give a humanitarian message, would be heightened further, lighted to further effect with laser, and would be seen from Armenia. Modelled with the internationalist approach of the Soviets to represent peace and fraternity, it would be the largest monument in Turkey, weighing 700 tons with 35 metres wide and 30 metres high. Erzurum Commission for Protection of Cultural and Natural Heritage stopped the building of the monument on grounds that it was being built in a protected area. The US President Obama was also invited to Kars to see the monument in efforts to emphasise that the Turks did not commit genocide. The monument is still at the centre of different political discussions which the artist is also a part of.
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temelinde ada uygarlk dzeyine ulama niyetinin izleri mi bulunmaktadr? Aydnlanma ile aa kan Bat kkenli kltr ve uygarlatrma kavramlarn birbirine yaknlatran "police" (kontrol altnda tutmak) ile civilise" (uygarlatrmak) arasndaki arpc benzerlik, bu iki fiilin balangtan beri bir btn olarak topluma ya da siyasal alana ynelik olarak kullanlmalaryla ilikilidir. Bu ilikinin tad anlamlar arasnda, dzenin korunmas, insanlar aras ilikilerde iddetin yasaklanmas, ya da bir baka deyile iddeti, devlet destekli yasa hizmetinde tekelletirme, kamusal meknlarn gvenliini salama, yakndan denetlenen ve iyi tanmlanm, anlalmas kolay kurallar iinde tutulan bir kamusal mekn yaratma fikri bulunuyor. Ant, ideolojik ve anlatmsal ilevini farkl mecralarda, kamuya sunulmas amalanan farkl meknlarda toposlarla srdryor. rnein yapmna 2006 ylnda balanan, soykrm antlarna bir tepki olarak insanlk mesaj vermek zere Ermenistandan grnsn diye lazerlerle klandrlarak Karsn en yksek tepesinden daha da ykseltilen ve Trkiye'nin en byk ant olduu sylenen nsanlk Abidesi, Sovyetler modellenmeli enternasyonalist bir yaklamla 700 tonluk arl, 35 metre genilii ve 30 metre yksekliiyle bar ve kardelii temsil etmeyi amalyor. Erzurum Kltr ve Tabiat Varlklarn Koruma Kurulunun sit alanna yapld gerekesiyle yapmn durdurduu ve te yandan Trklerin soykrm yapmadn vurgulamak amacyla ABD Bakan Obama'nn da Kars'a davet edildii anta ilikin tartmalar sanatnn da mdahil olduu farkl siyasetler tarafndan deiik gr alarndan tartlyor. 32 Bir baka olgu, 1990lardan sonra eitlenen dini, tarihi, etnik

Heykeltra Mehmet Aksoy: nsanlk Ant'nn Yapm Devam Etmeli, 29 Ocak 2010; http://www.haberler.com/heykeltras-mehmet-aksoy-insanlik-aniti-ninyapimi-haberi/ (Eriim 10 Mays 2010) 'nsanlk Ant' SAVA KARITIDIR!; http://www.politikars.com/haberdetay/12987/insanlik-Aniti-SAVAsKARsiTiDiR!.asp (Eriim 10 Mays 2010) Kars'taki nsanlk Ant'n Ykmayan Bakan Hakknda Su Duyurusu; http://www.dha.com.tr/n.php?n=insanlik-anitini-yikmayan-baskan-hakkinda-sucduyurusu--2010-03-24 (Eriim 10 Mays 2010) MHP Kars l Bakan Akta nsanlk Ant Nedeniyle Su Duyurusunda Bulundu; http://bolge.25haber.com/2010/03/mhp-kars-il-baskani-aktas-insanlikaniti-nedeniyle-suc-duyurusunda-bulundu/ (Eriim 10 Mays 2010) Yaln Doan, nsanlk Ant; http://www.politikars.com/haberdetay/10716/Yalcin-Dogan:-insanlik-Aniti-.asp (Eriim 10 Mays 2010)
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Heykeltra Mehmet Aksoy: nsanlk Ant'nn Yapm Devam Etmeli, 29 Ocak 2010; http://www.haberler.com/heykeltras-mehmet-aksoy-insanlik-aniti-nin-yapimi-haberi/ (Eriim 10 Mays 2010) 'nsanlk Ant' SAVA KARITIDIR!; http://www.politikars.com/haberdetay/12987/insanlik-Aniti-SAVAs-KARsiTiDiR!.asp (Eriim 10 Mays 2010) Kars'taki nsanlk Ant'n Ykmayan Bakan Hakknda Su Duyurusu; http://www.dha.com.tr/n.php?n=insanlik-anitini-yikmayan-baskan-hakkinda-sucduyurusu--2010-03-24 (Eriim 10 Mays 2010) MHP Kars l Bakan Akta nsanlk Ant Nedeniyle Su Duyurusunda Bulundu; http://bolge.25haber.com/2010/03/mhpkars-il-baskani-aktas-insanlik-aniti-nedeniyle-suc-duyurusundabulundu/ (Eriim 10 Mays 2010) Yaln Doan, nsanlk Ant; http://www.politikars.com/haberdetay/10716/Yalcin-Dogan:insanlik-Aniti-.asp (Eriim 10 Mays 2010)

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kltrel kimlik temelli farkllamalarn/oullamalarn siyasi ierikli ve gsterimli ant heykel uygulamalarna hl gereksinim duyduudur. Snf kltrnn yerini kimlik kltrne brakt gnmzde, kimlie sahip bir devlet ve sivil toplum kuram olarak siyasal kltr politikalarnn grme ve gsterme

Another fact is the continuing necessity of monumental statues for political purposes in light of the increasing discussions on diversification/multiplicity of religious, historical, ethnical and cultural identities after the 1990s. In todays world the class culture is replaced by the culture of identity, and it is not hard to see statues used as a representation of inherently political cultural policies put forth by the states and the civil society.

arzusunun temsilini heykellerle izlemek g deil. Bununla birlikte bugn Trkiyede heykelin kent iindeki

konumuna bakldnda iki duru ne kyor. Bunlardan ilki ant/heykel biiminin kendini benzetmeler, simgeler, alegorilerle tanmlamas, milli, dini, tarihi, etnik, vb. siyasetlerin gstergesi olmay semesi. Dieri ise yalnzca biim yetkinliini nemseyen, meknla uyumlu (hepsi iin sylenemese de), bir bana duran estetik objeler olarak sergileniyor olmalar. Bu anlamda her iki heykel kmesinin, metinleri de ak ve durgun. Bilmeceleri zmeye merakl, belleklerine kaydettikleri kodlar ve szckleri ezberden ilgili kutulara koymaya alkn kiiler/kmeler iin kkrtc ve heyecan verici olabilseler de. Gnmzde zellikle de geleneksel malzemesine (ta, maden, ahap, vb.) sk skya bal olmay yeleyen heykeltran, sanatsal siyasi duruun gncel "siyaset"e kar oyun retme, oyunu bozma, siyasallam kltrel genel kabulleri alt st etme, siyaseten dorulukun sradzensel mantn ve deerini sorgulama, kk anlatlar aa karma, gne, ana, mekna, herhangi bir olaya ilikin soru sorma ya da sordurma, diyaloa girme gibi eitlenen gsterim dillerine ve olanaklarna uzak durduu sylenebilir. ounlukla balamndan kopuk olarak retildikten sonra kent iinde kendine uygun bir yer arayan heykelin iine dt bu durumda, 1990lardan gnmze, giderek ivme kazanan heykel sempozyumlarnn da katks olmal. Trkiyenin tannmas modernleme srecinde projesi siyaset, zerine hukuk sren bilimsel, felsefesi ve

Still, if we look at the position of the monument/statue form within the urban structure in Turkey there are two main stances. The first one is the form of the monument/statue defined through metaphors, symbols, allegories and serving as an indicator of national, religious, historical, ethnical, etc. policies. The second one is about the competency of the form, as it is exhibited as an aesthetic object standing on its own, in harmony with the venue (although this may not be true for all of them). Within this context, the narratives of both groups of statues are clear and fixed. Nevertheless, they can still be very exciting for people/groups who are fond of solving puzzles, or for those who are used to placing the codes and words recorded in their memories to their respective correct boxes by heart. It is possible to say that today, the sculptor who prefers to stick to his conventional materials (stone, metal, wood, etc.) keeps a distance with various forms of expression such as the political artistic stance playing against the contemporary politics, breaking the preconceived and politicised notions of contemporary culture, questioning the hierarchical logic and value of political correctness, questioning or raising questions on the small narratives of time, place or any event, or establishing dialogue. The sculpture symposiums that gained momentum since the 1990s must have contributed significantly to the current situation of sculpture, disconnected from its context and looking desperately for a suitable place in the city. The concept of public sphere has become a major topic of discussion in politics, philosophy of law and various other disciplines as part of Turkeys modernisation project, which was shaped by scientific, academic and political criticism, as well as recognition of ethnic and cultural identities. After the 1980s, artists and art milieu jumped on the bandwagon to discuss public sphere, and in 1990s, it became a focal point for politics, social sciences, art, and history of art. Sculpture, with its implications of representation, plays a pivotal role in discussions on visibility and representation around art created for public but independent of public, and art in public sphere in Turkey. This concept comprises one of the most significant dynamics in art, both in relation to global and urban scales, and to virtual spaces created by communication technologies, media and the Internet. Social, political and visual dimensions of sculpture as a defined discipline and daily practices of art, as well as their relationship with public sphere and public space, are continuously being questioned and changing.
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akademik ve siyasi eletirilerle etnik ve kltrel kimliklerin deiik disiplinlerin ilgilendii konulardan biri olan ve 1980lerden balayarak sanat evreleri ve sanatlarca da tartmaya balanan "kamusal alan" kavram, 1990larda hzlanarak siyasetin, sosyal bilimlerin, sanatn ve tarihinin de sorunsallar arasna girdi. Trkiyede de kamu iin kamudan bamsz yaplan sanat ve "kamusal alanda sanat" asndan "heykel", yanna ald temsili nesnelerle "grnrlk" ve "temsil" sorununun tartlmasnda nemli bir yer tutuyor. Bu kavram, dnya ve kent leinde olduu kadar iletiim teknolojileri, medya ve internet ortamnda yaratlan sanal alanlarla kurduu ilikilerle de nemli sanat dinamiklerinden birini oluturuyor. Tanml bir disiplin olan "heykel"in ve gncel pratikleri asndan sanatn, "kamusal mekn" ve "kamusal alan"la kurduu ilikilerin toplumsal, siyasi ve grsel boyutlar deiliyor, deiiyor.

Bugn birok sanat ve sanat inisiyatifi, sivil oluum, toplum rgtleri, niversite, sanat ve kltr kurumlar, kamusal alan ve meknlar zorlamay, sorgulamay deniyor. Birka rnekten biri olarak santralistabulun Avrupa Birlii Kltr 2000 Program erevesinde Bilgi niversitesi ve dier desteki kurulularla Yeni Kltrel Pratikler ve Trans-Avrupa diyalou inde Kamusal Sanat bal ile 2006-2007de gerekletirdikleri sergi, sylei, konuma, tartma, yayndan oluan bir dizi etkinlik Neyle Yaar? sorusuyla kresel bir platforma
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Today, many artists and artists initiations, civil society, various organisations, universities, arts and culture institutions try to push and question the public sphere and public places. Some examples could be the set of exhibitions, conversations, discussions, forums, and publications carried out under New Cultural Practices and Public Art in Trans-European Dialogue in 2006-07, organised by Bilgi University and supporting institutions within santralistanbuls European Union Culture 2000 programme , as well as the 11 Istanbul Biennial (12 October 8 November 2009), carrying this question to a global platform by asking What Keeps Mankind Alive? The installations made up of video films and wall drawings by Chto delat/What is to be done?, a formation founded by a group of artists, philosophers, critics and writers, intellectualise the potential of political projects for social liberation and collectivism through using Russias conjuncture and speculations on cynicism and alienation.
37 36 th

ile 11.

stanbul Bienalinin (12 Ekim-8 Kasm 2009) bu sorunu nsan tamas gsterilebilir. Yazarlar, eletirmenler, felsefeciler ve sanatlardan oluan Chto delat/Ne Yapmal? (Oluumu 2003) kolektifi ise, videolardan ve yerinde yaplm duvar izimlerinden oluan enstelasyonlarn konjonktrnden, Rusyann kinizm ve yabanclama toplumsal speklasyonundan
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bakarak

zgrleme ve kolektivizm iin siyasal projelerin potansiyeli zerine dnselletiriyor. Kamusal alanda sanat almalar, kamusal alann zerinde tahakkm oluturan ynetim, siyaset ve sanatlarn iktidarn paralamak istiyor. Sanatnn tanmn ve konumunu deitirerek, sanaty, kamusal alan ya da mekn zerinde yaplacak sanat adna siyaset/iktidar ile ibirlii iinde tek sz sahibi olan yetke konumundan kamu ile iie ve yanyana bir yaratcya dntryor. Bu durumda kamusal alanda ant/heykelin gerekliliini yeniden dnmek gerekebilir mi?

Art works in the public

sphere aim to disrupt the powers of politics and the artists exerting dominance over public sphere. They change the definition and position of the artist and turn the artist into a creator standing side by side and within the public rather than accepting his stance as the single authority in cooperation with the politics/government in the name of creating art in public sphere and public places. Under these circumstances, do we really (not) need to reevaluate the necessity of the monument/sculpture in the public sphere?

http://www.benimkentim.org/edergi/

Blten No:2 Haziran 2010

http://www.benimkentim.org/edergi/

Bulletin No:2 June 2010

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Bkz. Asu Aksoy ve Eylem Ertrk (ed.), Kamusal Alan ve Gncel Sanat/The Public Turn in Contemporary Art (Proje Kitab/Project Book), stanbul, stanbul Bilgi niversitesi Yaynlar 194, 2007. 18 Chto delat/What is to be done Ne Yapmal, 11.B Rehber/The Guide, nsan Neyle Yaar/What Keeps Mankind Alive?, stanbul: stanbul Kltr Sanat Vakf Yayn, s. 272-275.

Bkz. Asu Aksoy ve Eylem Ertrk (ed.), Kamusal Alan ve Gncel Sanat/The Public Turn in Contemporary Art (Proje Kitab/Project Book), stanbul, stanbul Bilgi niversitesi Yaynlar 194, 2007. 37 Chto delat/What is to be done Ne Yapmal, 11.B Rehber/The Guide, nsan Neyle Yaar/What Keeps Mankind Alive?, stanbul: stanbul Kltr Sanat Vakf Yayn, pp. 272-275.
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