Can curtains hide what the eyes already see? / GAi??zA?n GAi??rdA?AYA?nA? Perde KapatAi??r mAi??? – Naz CuguoAYlu

[TA?rkAi??e iAi??in sayfayAi?? aAYaAYAi?? kaydAi??rAi??n]

Can curtains hide what the eyes already see?

ART UNLIMITED 39Ai?? NOVEMBER 2016Ai??Ai??

I am stuck in mud up to my ankles. I have always tried to escape, but couldnai??i??t succeed. All the dirt, the waste that we tried to hide all these years now sucks me in. It is meaningless to escape. It is impossible to move in this mud. e sewage that humanity has tried to ignore, and pulled a face at since the middle age, now oods from all the holes of this city, and draws near me. e history of the past prints a map of the town, and puts it in front of me, only now in a non-subjective way. It carries the cultural heritage, and all the conse- quences of our past behaviors in it. We cannot escape from our history, I slowly understand. I close my eyes, as if trying to ignore all the pain that was lived and still is lived in our region. e smell of the sewage lls my nostrils. Pain stinks, I understand. e bubbles made by the water remind me of the deep sound made by the human crowds. Pain is noisy, I feel it. Yet I had dreamt clear, transparent water owing through the end of time. On the opposite, the bubbles that come out are interrupting the uidity of time, just like the sound of war I hear from afar, just like the dark water on which people are forced to migrate from their birth lands towards unknown regions. is stream detached from the same sea, transport the sound of those people to me. Now I try to hide this water with a cheap white lacy curtain that I brought back from home. is curtain forces the privacy of my home to face the dininishing mass of public spaces that Iai??i??m beginning to lose control over recently. While the white curtain slowly sways over the stream it tries to hide, it becomes part of the dirt that it in fact wants to cover. A great con ict starts at the point where they touch each other. e transparent side of the curtain can only mask the dirt, yet cannot fully conceal. Just like us, who cannot fully hide the pains that we are exposed to. Ai??zgA?l Arslanai??i??s site-spe- ci c public installation, entitled Exposure, makes the problems that are impossible to be ignored visible again while trying to cover up the dirt of the stream. Setting o from the irredeemable nature of KurbagIi??alAi?? Dere (Froggy Stream) which is very close to where he lives and which is something we the inhabitants of KadAi??kAi??y are desperate to ignore when talking about our beloved neighborhood, Arslan refers to issues like urbaniza- tion, cultural heritage, contemporary socio-political situation and so on while displaying the current state of the stream. By using KurbagIi??alAi?? Dere both as a subject and an object, she invites the viewers to confront the city and the geography they live in beginning from an ecological point of view in the micro ai??i??the relationship of people with waste- towards an economical, social and political point of view in the macro.

In the exhibition text, she summarizes the history of humanityai??i??s living in its own waste: ai??? e methods people have been using to get rid of their waste and feces and how they tried to make them invisible have de ned the form in which our civilizations hasve come to exist. Yet this struggle of disposing or hiding becomes more and more di cult with the progress of civilizations, the urbanization, and the increased need for further residences. What was tried to make invisible was not lost, on the opposite the ai???man of the modern worldai??? was forced to live side by side his own waste and feces.ai???

e work that was exhibited during the parallel events at the 14th Istanbul Biennale brings a di erent point of view to the concept of salty water which was the conceptual framework of the biennale, because just like in the case of KurbagIi??alAi?? dere, sometimes water cannot leak out and on the contrary, interpenetration happens as underlined by the white curtain placed on the stream by the artist; the curtain exhibited in rela- tion with the waste carried in the stream, starts to become ill as it touches the water. e shadowing of the transparent composition of the curtain; instead of hiding the waste, and becoming a part of the waste, invites the viewers to think over the wars, pains and destructions that they spectate, that they try to avoid, but in the end become a part of.

In the rst of the three sections of the exhibition fea- tures almost abstract photographs of the stream. In the second section three di erent videos present the per- ception of human-nature. In the third and main sec- tion, nearly forty photographs exhibit the di erent reactions given by the installation and the stream. e sub section of the exhibition entitled ai???the social media reactionsai???, has the viewers confront with the criticism of people involuntarily involved in artistic produc- tion as well as with professionals discussing the artis- tic dimension of the installation. In its own way, the exhibition renders KurbagIi??alAi?? Dere abstract beginning from the stream itself; it blurs the stream, hence lets the viewers think more over the causes and consequences on the macro level rather than the stream itself.

e exhibition space, Operation Room carries a special ambiguous meaning as well. e semantic- ity towards healing that is present in the exhibition space also shows itself in the artistai??i??s intervention. e artist suggests an operation by presenting the desper- ate consequences of the insu ciency and failure of the aesthetic intervention she applies on the stream that cannot be cleaned for years. She suggests going deeper, and solving the problem from its roots rather than an aesthetic intervention that serves to simply physically mask the problem. e artist who foresees that this is the only way we can be puri ed of our dirt, invites the viewer to observe and become a part of this process.

Curated by Seda Yavuz, Ai??zgA?l Arslanai??i??s solo exhibi- tion entitled Aesthetic Intervention can be visited from the 24th of November to the 21st of January 2016, at the American Hospital Operation Room.

Naz CuguoAYlu

 

 

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GAi??zA?n GAi??rdA?AYA?nA? Perde KapatAi??r mAi???

ART UNLIMITED 39 KASIMAi?? 2016

Ayak bileklerime kadar balAi??Ai??AYa batmAi??AYAi??m. Hep kaAi??maya Ai??alAi??AYmAi??AYAi??m ama baAYaramamAi??AYAi??m. YAi??llardAi??r saklamaya Ai??alAi??AYtAi??AYAi??mAi??z tA?m kirler, atAi??klar AYimdi yavaAY yavaAY beni iAi??ine Ai??ekiyor. KaAi??maya Ai??alAi??AYmak anlamsAi??z. Bu balAi??Ai??kta ilerlemek imkansAi??z.

Ai??nsanlAi??AYAi??n orta Ai??aAYdan beri gAi??rmezden gelmeye Ai??alAi??AYtAi??AYAi??, burun kAi??vAi??rdAi??AYAi??, kendine ait gAi??rmediAYi laAYAi??m artAi??k bu AYehrin tA?m deliklerinden Ai??Ai??karak bana doAYru yaklaAYAi??yor. Kentin haritasAi??nAi?? Ai??Ai??karAi??yor, geAi??miAYin tarihi bu defa subjektif olmayan bir AYekilde Ai??nA?me seriyor. Bu kentin kA?ltA?rel mirasAi??nAi??, geAi??miAY davranAi??AYlarAi??mAi??zAi??n tA?m sonuAi??larAi??nAi?? iAi??inde taAYAi??yor. Tarihimizden kaAi??amayAi??z, yavaAYAi??a anlAi??yorum. YaAYadAi??AYAi??mAi??z coAYrafyada yaAYanmAi??AY ve halen yaAYanmakta olan acAi??larAi?? gAi??rmezden gelmeye Ai??alAi??AYtAi??AYAi??m gibi gAi??zlerimi kapAi??yorum. LaAYAi??mAi??n kokusu burnuma doluyor. AcAi?? kokar, anlAi??yorum. Suyun oluAYturduAYu kabarcAi??klar insan kitlelerinin Ai??Ai??kardAi??AYAi?? derinden gelen sesi anAi??msatAi??yor. AcAi?? seslidir, hissediyorum.

Halbuki ben zamanAi??n sonsuzluAYuna doAYru akan, berrak bir su hayal etmiAYtim. Tam tersine Ai??Ai??kan baloncuklar, zamanAi??n akAi??AYkanlAi??AYAi??nAi?? sekteye uAYratAi??yor, tAi??pkAi?? uzaktan sesini duyduAYum savaAYAi??n acAi?? dolu sesi gibi, tAi??pkAi?? doAYduAYu topraklardan bilinmeyen diyarlara gAi??Ai?? etmeye zorlanan insanlarAi??n A?zerinde yolculuk yaptAi??AYAi?? karanlAi??k su gibi. AynAi?? denizden kopup gelen bu dere, o insanlarAi??n sesini bana ulaAYtAi??rAi??yor.

Azimdi ben evimden getirdiAYim, ucu dantelli, beyaz bir perde ile bu suyu kapatmaya Ai??alAi??AYAi??yorum. Bu perde evimin mahremiyetini, son zamanlarda A?zerinde kontolA?nA? kaybetmekte olduAYum kamusal alanlarAi??n kaybolmakta olan kA?tlesiyle yA?zleAYtiriyor. Beyaz perde, gAi??lgelemeye Ai??alAi??AYtAi??AYAi?? derenin A?zerinde yavaAYAi??a salAi??nAi??rken gizlemeye Ai??alAi??AYtAi??AYAi?? pisliAYin bir parAi??asAi?? haline geliyor. Birbirlerine deAYdikleri noktada bA?yA?k bir anlaAYmazlAi??k yaAYanmaya baAYlAi??yor. Perdenin geAi??irgen yA?zeyi bu kiri sadece maskeleyebiliyor, tamamen Ai??rtmeyi baAYaramAi??yor. TAi??pkAi?? bizim de maruz kaldAi??AYAi??mAi??z acAi??larAi?? tamamen gizlemeyi baAYaramadAi??AYAi??mAi??z gibiai??i??

Ai??zgA?l Arslanai??i??Ai??n ai???Maruzai??? isimli mekana Ai??zgA?, kamusal yerleAYtirmesi derenin kirliAYini Ai??rtmeye Ai??alAi??AYAi??rken gAi??z ardAi?? edilmesi mA?mkA?n olmayan sorunlarAi?? da gAi??rA?nA?r kAi??lAi??yor. Evine Ai??ok yakAi??n olan ve biz KadAi??kAi??ylA?lerin Ai??ok sevdiAYimiz semtimizi anarken yok saymak istediAYimiz KurbaAYalAi?? Dereai??i??nin Ai??slah olmayan yapAi??sAi??ndan yola Ai??Ai??kan Arslan, derenin gA?nA?mA?zdeki durumunu yansAi??tAi??rken bir yandan da kentleAYme, kA?ltA?rel miras, gA?ncel sosyo-politik durum gibi konulara referanslarda bulunuyor. KurbaAYalAi?? Dereai??i??yi hem Ai??zne hem de nesne olarak kullanarak izleyicileri iAi??erisinde yaAYadAi??klarAi?? kentle ve coAYrafyayla, mikroda ekolojik bir durumdan ai??i??insanlarAi??n atAi??kla olan iliAYkisinden- yola Ai??Ai??karak makroda ekonomik, toplumsal ve politik aAi??Ai??lardan yA?zleAYmeye davet ediyor.

Arslan, sergi metninde insanlAi??AYAi??n kendi atAi??AYAi?? iAi??erisinde yaAYamasAi?? durumunun tarihini AYu AYekilde Ai??zetliyor: ai???Ai??nsanlAi??AYAi??n Ai??Ai??p ve dAi??AYkAi??larAi??ndan kurtulmanAi??n, onlarAi?? gAi??rA?nmez kAi??lmanAi??n yollarAi?? uygarlAi??AYAi??n varoluAY biAi??imini belirlemiAYtir. Fakat bu kurtulma ya da gAi??rA?nmez kAi??lma gayreti, uygarlAi??AYAi??n geliAYmesi ve insanlarAi??n AYehirleAYmesi ve yaAYayacak daha Ai??ok alana ihtiyaAi?? duyulmasAi??yla daha da zorlaAYmAi??AYtAi??r. GAi??rA?nmez kAi??lAi??nan AYeyler kaybolmamAi??AY, tersine ai???modern dA?nya insanAi??ai??? Ai??Ai??plA?kler ve dAi??AYkAi??larAi??yla iAi?? iAi??e yaAYamaya maruz kalmAi??AYtAi??r.ai???

14. Ai??stanbul Bienali paralel etkinlileri Ai??erAi??evesinde sergilenmiAY olan bu Ai??alAi??AYma, bienalin kavramsal Ai??erAi??evesi olan tuzlu su kavramAi??na da farklAi?? bir bakAi??AY aAi??Ai??sAi?? getiriyor Ai??A?nkA? KurbaAYalAi?? Dereai??i??de yaAYandAi??AYAi?? gibi bazen su sAi??zamAi??yor, tam tersine bir birbirinin iAi??ine geAi??me durumu yaAYanAi??yor. SanatAi??Ai??nAi??n dere A?zerine yerleAYtirdiAYi beyaz perde de bu durumun altAi??nAi?? Ai??iziyor, derenin iAi??erisinde taAYAi??dAi??AYAi?? atAi??kla iliAYki iAi??erisinde sergilenen perde suya deAYdiAYi noktada zamanla bir bakAi??ma hastalanmaya baAYlAi??yor. Perdenin geAi??irgen yapAi??sAi??nAi??n atAi??klarAi?? saklamak yerine gAi??lgelemesi, onun bir parAi??asAi?? haline gelmesi, izleyicileri iAi??erisinde yaAYadAi??klarAi?? coAYrafyada seyirci olduklarAi??, gizlemeye ve gAi??rmezden gelmeye Ai??alAi??AYsalar da baAYarAi??sAi??z olduklarAi??, parAi??asAi?? haline geldikleri, savaAYlar, acAi??lar ve yAi??kAi??mlar A?zerine dA?AYA?nmeye davet ediyor.

A?Ai?? ana bAi??lA?mden oluAYan serginin ilkinde derenin gAi??rA?ntA?lerinin soyuta vardAi??AYAi?? ayrAi??ntAi??lAi?? fotoAYraflar sergileniyor. Ai??kinci bAi??lA?mde, A?Ai?? farklAi?? videoyla doAYa-insan algAi??sAi?? izleyicinin deneyimine sunuluyor. A?Ai??A?ncA? ana bAi??lA?mde ise yaklaAYAi??k kAi??rk fotoAYrafAi??n yerleAYtirilmesiyle yerleAYtirmenin ve derenin farklAi?? doAYa koAYullarAi??nda verdikleri tepkiler yer alAi??yor. Serginin alt bAi??lA?mA? olan ai???sosyal medya tepkileriai??? izleyiciyi hem sanatsal A?retime istemeden dahil olan insanlarAi??n yorumlarAi??yla, hem de yerleAYtirmenin sanatsal boyunu tartAi??AYan profesyonellerle yA?zleAYtiriyor. Sergi bu haliyle, KurbaAYalAi?? Dereai??i??den yola Ai??Ai??karak onu soyutlaAYtAi??rAi??yor, buAYulu bir hale getiriyor, bu sayede de izleyicileri derenin kendisinden Ai??ok, makro dA?zeydeki sebepleri ve sonuAi??larAi?? A?zerine dA?AYA?ndA?rA?yor.

ai???Estetik MA?dahaleai??? sergisine mekan olan ai???Operation Roomai??? berlirsiz bir anlamAi?? da iAi??erisinde barAi??ndAi??rAi??yor. Sergi mekanAi??nAi??n isminde yer alan iyileAYtirmeye yAi??nelik anlamsallAi??k sanatAi??Ai??nAi??n mA?dahalesinde de kendini gAi??steriyor. SanatAi??Ai?? yAi??llardAi??r Ai??slah olamayan dereye yaptAi??AYAi?? estetik mA?dahalenin yetersizliAYinin ve baAYarAi??sAi??zlAi??AYAi??nAi??n Ai??aresiz sonucunu sunarak ai???ameliyatai??? yapmayAi?? Ai??neriyor. Sadece fiziksel maskeleme yapmaya yarayan estetik mA?dahalenin aksine derinlere inmeyi, problemi kAi??kA?nden Ai??Ai??zmeyi Ai??neriyor. Ancak bu AYekilde kirlerimizden arAi??nabileceAYimizi Ai??ngAi??ren sanatAi??Ai??, izleyiciyi de bu sA?reci gAi??zlemleyerek parAi??asAi?? olmaya davet ediyor.

Seda Yavuzai??i??un kA?ratAi??rlA?AYA?nde gerAi??ekleAYen Ai??zgA?l Arslanai??i??Ai??n ai???Estetik MA?dahaleai??? isimli kiAYisel sergisi 24 KasAi??m ai??i?? 21 Ocak tarihleri arasAi??nda Amerikan Hastanesi Operation Roomai??i??da gAi??rA?lebilir.

Naz CuguoAYlu