Publication: Kafka'nın ceza sömürgesi bağlamında sanatsal içerik olarak şiddet
Abstract
KAFKA’NIN CEZA SÖMÜRGESİ BAĞLAMINDA SANATSAL İÇERİK OLARAK ŞİDDET Bu eser metni, Franz Kafka’nın Ceza Sömürgesi isimli eserinde bahsetmiş olduğu infaz makinesinden beslenerek şiddet, acı, azap gibi kavramları incelerken aynı zamanda metinde bahsedilen infaz makinesini bir sanat yapıtı olarak üretmeyi amaçlar. Şiddet kavramının sanat yapıtlarını geçmişten günümüze ne şekilde etkilediğinin üzerinde önemle durur. Amaç soyut bir boyutta var olan infaz makinesinin somut bir düzlemde farklı disiplinler ile birlikte var ederek sanat tarihinde her zaman var olmuş şiddet, azap ve acı kavramlarına yeni bir bakış acısıyla farklı okumaların oluşturulmasıdır. Çalışmada şiddet kavramı sorunlaştırılırken, işkencenin, azap çekmenin ve çektirmenin sanatta ne şekilde yansımaları olduğu üzerine yoğunlaşılmıştır. Özellikle günümüz sanatının önemli problematiklerinden biri olan şiddet kavramı bu araştırmanın sonucunda çıkan yapıt ile modern sanat yapıtlarından farklı olarak, disiplinlerarası bir çalışma pratiği izlenerek ve izleyicinin yapıt ile ilişkisi üzerinden yeni bir okuma alanı açılması hedeflenmiştir. teorik alt yapıyı oluşturur. Azap çektirmenin tarihi, bedensel/ ruhsal ayrımı ve azap kavramının sanat tarihindeki yansımalarına genel bir bakış yapılır. Devamında Franz Kafka’nın hayatı ve yaşadıklarının eserlerine yansıması otobiyografik olacak şekilde incelenir. Son olarak bu kapsamda üretilmiş olan yapıtın incelenmesi yapılır ve i sanat tarihinde içerik bağlamından benzer kavramlar üzerinde çalışmış olan sanatçıların genel bir incelemesi gerçekleştirilir. Bu çalışma kendi sanatsal pratiğimin sürecini ve sanatsal anlamda bulunduğu noktayı sorgularken kişisel bir yolculuğu içinde barındırır. Aynı zamanda günümüzde toplumun ve sanatın temel sorunlarından olan şiddet kavramına da ışık tutmayı hedefler. RESİM LİSTESİ 1.GİRİŞ 2.ŞİDDETİN TANIMLARI VE EĞİLİMLERİ 2.1 Şiddet Ve Şiddetin Bedendeki Yansımaları 2.2 Azap Çektirmenin Tarihİ 2.2.1 Azap Çektirmenin Bedensel ve Ruhsal Ayrımı 3. SANATSAL ÜRETİMDE BAĞLAM OLARAK ŞİDDETİN KULLANIMI 3.1 Sanat Tarihinde İmge Olarak Şiddet 3.1.1 Beckmann Ve Şiddetin Dışavurumu 3.1.2 Anselm Kiefer Ve Manzaralaşan Şiddet 3.1.3 Döneminin Tanığı Goya Ve 3 Mayıs 3.1.4 Katliam Ve Şiddetin Estetikleşmesi Picasso Ve Modernist Şiddet 3.1.5 Happening Ve Şiddet 3.1.6 Bedenin Gösterisinde Şiddetin Kendisi 3.1.7 Günümüzde Şiddetin Sanat Yapıtlarına YansımasI 4. YAPITA DAİR – KAFKA’NIN İŞKENCE ALETİ PROJESİ 4.1. Kafka Tarafından Betimlenen Şiddet, Acı, Suç ve Mahkum İlişkisi 4.2. İşkence Aleti Projesi 5. SONUÇ 6. KAYNAKÇA
THE VIOLENCE AS ARTISTIC CONTENT IN THE CONTEXT OF THE PENAL COLONY OF KAFKA The text examines teh concepts such as viokence, pain and torment by feding on the execution machine that Franz Kafka mentioned in his work called The Penal Colony, while at the same time it aims to produce the execution machine mentioned in the text as a work of art. It emphasizes how the concept of violence affects Works of art from the past to the present. The aim is to create different readings with a new perspective on the concepts of violence, torment and pain, which have always existed in the history of art, by bringng the execution machine, which exists in an abstract dimension, into existence together with different disciplines on a concrete plane. While the concept of violence is probllematized in the study, it is focused on how torture, torment and infliction are reflected in art. In particular, teh concept of violence, which is one of the important problematics of today’s art, is aimed to open a new field of reading by following an interdisciplinary working practice and through the relationship of the viewer with the work, unlike modern Works of art. The first part constitutes the theoretical background. An overview is made of the history of torment, the physical/ spiritıal distinction and the reflections of the concept of torment in the history of art. Afterwards, Franz Kafka’s life and reflection of his experiences on his works are examined in an autobiographical manner. Finally, the Works produced in iii this context is examined and a general examination of the artist who have worked on similar concepts in the context of content in the history of art is carried out. This work includes a personal journey whilr questioning the process of my own artistic practice and the point where it is artistically. At the same time, it aims to shed light on the concept of violence, which is one of the main problems of society and art today. INGREDIENTS PICTURE LIST 1.INTRODUCTION 2. DEFINITIONS AND TENDENCIES OF VIOLENCE 2.1 Violence and its Reflections on the Body 2.2 History of Torment 2.2.1 The Physical and Spiritual Separation of Torment 3. USE OF VIOLENCE AS CONTEXT IN ART PRODUCTION 3.1 Violence as an Image in Art History 3.1.1 Beckmann and the Expression of Violence 3.1.2 Anselm Kiefer and Violence in the Landscape 3.1.3 Witness of the Period Goya and May 3 3.1.4 Massacre and Aestheticization of Violence Picasso and Modernist Violence 3.1.5 Happening and Violence 3.1.6 Violence Itself in the Show of the Body 3.1.7 The Reflection of Violence on Artworks Today 4. ABOUT THE BUILDING – KAFKA'S TORTURE INSTRUMENT PROJECT 4.1. The Relationship of Violence, Suffering, Crime, and Prisoner Described by Kafka 4.2. Torture Tool Project 5. CONCLUSION 6. REFERENCES
THE VIOLENCE AS ARTISTIC CONTENT IN THE CONTEXT OF THE PENAL COLONY OF KAFKA The text examines teh concepts such as viokence, pain and torment by feding on the execution machine that Franz Kafka mentioned in his work called The Penal Colony, while at the same time it aims to produce the execution machine mentioned in the text as a work of art. It emphasizes how the concept of violence affects Works of art from the past to the present. The aim is to create different readings with a new perspective on the concepts of violence, torment and pain, which have always existed in the history of art, by bringng the execution machine, which exists in an abstract dimension, into existence together with different disciplines on a concrete plane. While the concept of violence is probllematized in the study, it is focused on how torture, torment and infliction are reflected in art. In particular, teh concept of violence, which is one of the important problematics of today’s art, is aimed to open a new field of reading by following an interdisciplinary working practice and through the relationship of the viewer with the work, unlike modern Works of art. The first part constitutes the theoretical background. An overview is made of the history of torment, the physical/ spiritıal distinction and the reflections of the concept of torment in the history of art. Afterwards, Franz Kafka’s life and reflection of his experiences on his works are examined in an autobiographical manner. Finally, the Works produced in iii this context is examined and a general examination of the artist who have worked on similar concepts in the context of content in the history of art is carried out. This work includes a personal journey whilr questioning the process of my own artistic practice and the point where it is artistically. At the same time, it aims to shed light on the concept of violence, which is one of the main problems of society and art today. INGREDIENTS PICTURE LIST 1.INTRODUCTION 2. DEFINITIONS AND TENDENCIES OF VIOLENCE 2.1 Violence and its Reflections on the Body 2.2 History of Torment 2.2.1 The Physical and Spiritual Separation of Torment 3. USE OF VIOLENCE AS CONTEXT IN ART PRODUCTION 3.1 Violence as an Image in Art History 3.1.1 Beckmann and the Expression of Violence 3.1.2 Anselm Kiefer and Violence in the Landscape 3.1.3 Witness of the Period Goya and May 3 3.1.4 Massacre and Aestheticization of Violence Picasso and Modernist Violence 3.1.5 Happening and Violence 3.1.6 Violence Itself in the Show of the Body 3.1.7 The Reflection of Violence on Artworks Today 4. ABOUT THE BUILDING – KAFKA'S TORTURE INSTRUMENT PROJECT 4.1. The Relationship of Violence, Suffering, Crime, and Prisoner Described by Kafka 4.2. Torture Tool Project 5. CONCLUSION 6. REFERENCES