Publication: Kültler ve ikonlar bağlamında ölü bedenler ve politik fotoğraf
Abstract
Fotoğraf ve gerçeklik ilişkisi, fotoğrafa dayalı anlam yaratmanın ve fotoğrafik görüntünün ne denli gerçeği oluşturduğu konuları tartışmaya açıktır. Temel iddiası gerçeği belgeleme olan belgesel fotoğrafçılık da dahil, gerçeğin yorumlanmasının ve kişisel müdahalelerden bağımsız olmasının kaçınılmaz olduğu ortaya konmuştur. Fotoğraf gerçeğin temsili bağlamında politik bir tavır içermektedir. Bu çalışma, fotoğraf aracılığı ile “ölüm hakkının ihlal edilmesi”, başka bir deyişle ölümlü varlıkların, özellikle sanatta ve politikada kendileri olarak ölü kalamamaları ile ilgilidir. Bu sosyo- politik kavram ölümün kalıcılığı ya da bir kavram olarak ölümsüzleşmenin ironikliğinden ziyade, görüntünün gerek sanatla gerek medya gibi otoritelerle insan algı, bilinci üzerindeki sihirli otoritesinin analiziyle de ilgilidir. Araştırmanın en önemli kısmı ölü bedenlerin anıtsal, ikonik imgelere dönüşüp bir nevi yeniden diriltilmesini içermektedir. Andreas Sarrano gibi ölü bedenin imgelerinin sanat aracılığı ile ifşası, İsa kültleri, Atatürk heykelleri, Che’nin bedeni gibi toplumun üzerinde olumlu ya da olumsuz manipüle edici etkilere sahibi olan imgeleri içermektedir. Bu imgelerin dolaylı ya da doğrudan fotoğraf aracılığı ile kitleleri nasıl etkisi altına aldığı, nasıl fotografik görüntü ile politik figürlere dönüştüğü, bu sürecin sanat ve fotoğrafta nasıl işlendiği araştırılacaktır. Bedenlerin yaşarken taşıdığı imgeler ve bu imgelerin ölümden sonraki süreçte nasıl devam ettiği, süreci anlama açısından değerlendirilecektir. Bu çalışma, fotoğraf aracılığı ile insan zihninde yaratılan politik anlayışın bir yansıma ve karşılaşma olarak ölümle yüzleşmek, “yaşayan varlıkların imgelerinin ölümleri” ve “Bir türlü ölemeyen imgeler” gibi fotografik politikanın döngüsel ilişkisini ortaya koymayı hedeflemektedir. Ölüm, sanat ve acı aracılığı da ile mitlerimize ve dilimize de yerleşmiştir. Ölü bedeni bu noktada beden, sembol, yabancılaşma, ikonografi gibi kavramla da açıklanmaya çalışılacaktır. Bir tür kültür aktarımı olarak ölüm kültü, geçmişin, gelecekle ilişkilerini; dinler, politikacılar ve çeşitli kitlelerin ölüm kültünün, devamlılığı, ölenlerin yaşayanların hafızasındaki imgelerini fotoğraf aracılığı ile şekillenme çabalarını ele alıyor. Günümüzde politik aktör olmanın koşulu da bu kültleşme denilebilir; tarihle kurulacak faal ilişki, ölümü şimdide tutmaya adanmış günümüz politikası için kurucu bir işleve sahiptir.
The subjects; ‘relation of photography and reality’, ‘creation of meaning based on photographs’ and ‘how kind of a reality does the photographic view creates£ are open to discussion. It has been demonstrated that the interpretation of reality and its independence from personal interventions are inevitable, including documentary photography, whose main claim is to document reality. Photography, contains a political attitude in the context of representing reality. This work is about the violation of the right to death through photography, in other words, the inability of mortal beings to remain dead as themselves, especially in art and politics. This socio-political concept is related to the analysis of the magical authority of the image over human perception and consciousness, both through art and authorities such as media, rather than the permanence of death or the irony of immortalization as a concept. The most important part of the research involves semi-resurrection of dead bodies by turning them into monumental, iconic images. The disclosure of images of the dead body through art, such as Andreas Sarrano, includes images that have positive or negative manipulative effects on society, such as Jesus cults, Ataturk statues, Che's body. It will be researched how these images influence the masses indirectly or directly through photography, how they transform into political figures through photographic images, and how this process is processed in art and photography. The images that bodies carry while they are alive and how these images continue after death will be evaluated in terms of understanding the process. This study aims to reveal the cyclical relationship of photographic politics such as facing death as a reflection and encounter of the political understanding created in the human mind through photography, the deaths of the images of living beings and images which cannot die. Death has become embedded in our myths and language through art and pain. At this point, the dead body will be tried to be explained with concepts such as body, symbol, alienation and iconography. As a kind of cultural transfer, death cult examines the relations between the past and the future; It deals with the continuity of the death cult of religions, politicians and various masses, and their efforts to shape the images of the dead in the memory of the living through photography. It can be said that this cultization is the requirement of being a political actor today; a dynamic relation with history has a founding function for today's politics dedicated to keeping death in the present.
The subjects; ‘relation of photography and reality’, ‘creation of meaning based on photographs’ and ‘how kind of a reality does the photographic view creates£ are open to discussion. It has been demonstrated that the interpretation of reality and its independence from personal interventions are inevitable, including documentary photography, whose main claim is to document reality. Photography, contains a political attitude in the context of representing reality. This work is about the violation of the right to death through photography, in other words, the inability of mortal beings to remain dead as themselves, especially in art and politics. This socio-political concept is related to the analysis of the magical authority of the image over human perception and consciousness, both through art and authorities such as media, rather than the permanence of death or the irony of immortalization as a concept. The most important part of the research involves semi-resurrection of dead bodies by turning them into monumental, iconic images. The disclosure of images of the dead body through art, such as Andreas Sarrano, includes images that have positive or negative manipulative effects on society, such as Jesus cults, Ataturk statues, Che's body. It will be researched how these images influence the masses indirectly or directly through photography, how they transform into political figures through photographic images, and how this process is processed in art and photography. The images that bodies carry while they are alive and how these images continue after death will be evaluated in terms of understanding the process. This study aims to reveal the cyclical relationship of photographic politics such as facing death as a reflection and encounter of the political understanding created in the human mind through photography, the deaths of the images of living beings and images which cannot die. Death has become embedded in our myths and language through art and pain. At this point, the dead body will be tried to be explained with concepts such as body, symbol, alienation and iconography. As a kind of cultural transfer, death cult examines the relations between the past and the future; It deals with the continuity of the death cult of religions, politicians and various masses, and their efforts to shape the images of the dead in the memory of the living through photography. It can be said that this cultization is the requirement of being a political actor today; a dynamic relation with history has a founding function for today's politics dedicated to keeping death in the present.