Publication: Gerilla sanatın sanat kurumlarına karşı konumu
Abstract
Gerilla sanat günümüzde olduğu gibi ilk dönemlerinde de sokaklarda sıkça rastlayabileceğimizizinsiz eylemlerdir. 1970’li yıllarda mural kolektifleri ile kendini göstermiş, tarihsel süreçtefarklı ülkelere yayılmış ve çeşitli yöntemler geliştirmiştir. Grafiti, sokak sanatı ve gerilla sanatbirbirlerinden etkilenerek varolmuş aynı zamanda da birbirlerinden ayrılmışlardır.Sanat piyasasının her şeyi kendine mal etme durumuyla birlikte gerilla sanata ilgi başlamış,galeri ve müze gibi sanat kurumlarında izleyiciyle buluşmuştur. 1980’li yıllarda Basquiat,Keith Haring gibi sokaklara işler yapan sanatçılar, sanat simsarları tarafından keşfedilmiş vesanat piyasasına dahil edilmişlerdir. Günümüzde de bazı gerilla sanatçılar kurumlarlaişbirliğine girerken bazı gerilla sanatçılar da bu duruma karşı çıkmaktadırlar. Bu durum gerillasanatın doğasında bazı değişikliklere yol açmış, gerilla sanatçılarını kendi arasında fikirayrılıklarına götürmüştür. Doğası gereği geçici olma özelliğini barındıran gerilla sanat, sanatpiyasasına dahil olarak metalaşmaya başlamıştır.Son yıllarda sanat bir yatırım aracı olarak görülmeye başlanmış ve sermaye ile ilişkisinde ciddiartışlar görülmüştür. Bu bağlamda sadece ticari amaç güden kurumlar açısından değil, küreselboyutta reklam ve projelere imza atan birçok sanat kurumu gerilla sanatın dinamiklerinden veruhundan yararlanarak gerilla sanatı kendi propagandalarına dahil etmektedirler.
Guerrilla art, as it is today, is an unauthorized activity that we can often find on the streets inthe early stages. In the 1970s, it manifested itself with its mural collectives, spread to differentcountries in the historical process and developed various methods. Graffiti, street art andguerilla art have been influenced by one another and at the same time separated from eachother.With the state of the art market giving everything to itself, interest in guerilla art began and theaudience met in art institutions such as galleries and museums. In the 1980s artists working onthe streets such as Basquiat and Keith Haring were discovered by art dealers and included inthe art market. Today, while some guerrilla artists collaborate with institutions, some guerrillaartists oppose this. This led to some changes in the nature of guerrilla art and led guerrilla artiststo disagreements among themselves. Guerrilla art, which is temporary by nature, has started tocommodify by being included in the art market.In recent years, art has started to be seen as an investment tool and its relationship with capitalhas increased dramatically. In this context, not only for commercial purposes, many artinstitutions that sign and advertise on a global scale take advantage of the dynamics and spiritof guerrilla art and include guerrilla art in their propaganda.
Guerrilla art, as it is today, is an unauthorized activity that we can often find on the streets inthe early stages. In the 1970s, it manifested itself with its mural collectives, spread to differentcountries in the historical process and developed various methods. Graffiti, street art andguerilla art have been influenced by one another and at the same time separated from eachother.With the state of the art market giving everything to itself, interest in guerilla art began and theaudience met in art institutions such as galleries and museums. In the 1980s artists working onthe streets such as Basquiat and Keith Haring were discovered by art dealers and included inthe art market. Today, while some guerrilla artists collaborate with institutions, some guerrillaartists oppose this. This led to some changes in the nature of guerrilla art and led guerrilla artiststo disagreements among themselves. Guerrilla art, which is temporary by nature, has started tocommodify by being included in the art market.In recent years, art has started to be seen as an investment tool and its relationship with capitalhas increased dramatically. In this context, not only for commercial purposes, many artinstitutions that sign and advertise on a global scale take advantage of the dynamics and spiritof guerrilla art and include guerrilla art in their propaganda.