Publication: İlişkisellikler çağında biyoiktidar, sanat ve sokak : mural İstanbul örneği
Abstract
Bu çalışmada biyoiktidar, sanat ve sokak kavramsallaştırmalarının ayrı ayrıdüşünülmesinden ziyade onların birbirleri ile ilişkileri ve bu ilişkilerin ortaya çıkardığıproje olarak Mural İstanbul Festivali ele alınmıştır. Biyoiktidar kavramının kendinisürdürmesinin en büyük araçlarından olarak düşünülebilecek pozitif ve yaşam üzerindeodaklanan yapısı olaylar/ durumlar daha derinden incelendiğinde açığa çıkmaktadır.Türkiye’deki graffiti kültürünün tarihsel süreç içerisinde giderek toplumun kabul ettiğihatta daha ötesinde artık talep ettiği bir yöne evrilmesi biyoiktidarın, toplumsal durumlarınormallik eğrisine uydurmaya çalışarak normalleştirme çabasını örnekler niteliktedir.Graffitinin sanatsal niteliği ile ilgili farklı görüşler olsa da Türkiye’de muralinuygulayıcıları olarak graffiticiler bu çalışmada sanatı temsil eden kitleyioluşturmaktadırlar. Sanatın geçmişten bu güne kendini farklılaştıran tavrı iktidarlailişkisinde yine bu tutumu sergilemektedir. Bu açıdan çalışmanın temel odağı Muralİstanbul’un uygulanmasını mümkün kılan belediye(ler), Mural İstanbul Organizatörleri,Çekül Vakfı, mural sanatçıları ve graffiticilerle yapılan görüşmeler aracılığıylabiyoiktidar, sanat ve sokak kavramsallaştırmalarının birbirleri ile ilişkileri veilişkisellikleri içinde nasıl görünür hale geldiğini incelemek olacaktır.
In this study, rather than considering the conceptions of bio-power, art and streetseparately, their relations with each other and the Mural Istanbul Festival as the projectof these relations are discussed. The positive and life-oriented structure of the concept ofbio-power, which can be considered as one of the greatest means of self-sustainability,emerges when events / situations are examined more deeply. In the historical process ofthe graffiti culture in Turkey, by society was increasingly accepted it and now evolve ina direction that request it. That is illustrates the concept of biopower's the effort ofnormalizing by trying to adapt the social conditions to the normality curve. There aredifferent views on the artistic nature of graffiti. Graffiti as practitioners of mural inTurkey constitute representing the arts in this study. The attitude of art that differentiatesitself from the past to the present shows this attitude in its relationship with the power. Inthis respect, the main focus of the study will be to examine how bio-power, art and streetconceptions become visible in their relations and relationships with each other throughinterviews with municipality (s), Mural Istanbul Organizers, Çekül Foundation, muralartists and graffiti makers, which enable the implementation of Mural Istanbul.
In this study, rather than considering the conceptions of bio-power, art and streetseparately, their relations with each other and the Mural Istanbul Festival as the projectof these relations are discussed. The positive and life-oriented structure of the concept ofbio-power, which can be considered as one of the greatest means of self-sustainability,emerges when events / situations are examined more deeply. In the historical process ofthe graffiti culture in Turkey, by society was increasingly accepted it and now evolve ina direction that request it. That is illustrates the concept of biopower's the effort ofnormalizing by trying to adapt the social conditions to the normality curve. There aredifferent views on the artistic nature of graffiti. Graffiti as practitioners of mural inTurkey constitute representing the arts in this study. The attitude of art that differentiatesitself from the past to the present shows this attitude in its relationship with the power. Inthis respect, the main focus of the study will be to examine how bio-power, art and streetconceptions become visible in their relations and relationships with each other throughinterviews with municipality (s), Mural Istanbul Organizers, Çekül Foundation, muralartists and graffiti makers, which enable the implementation of Mural Istanbul.