Publication: Beden kavramı ve 1980 sonrası Türk plastik sanatlarında beden olgusu
Abstract
Beden, en genel anlamıyla varlığımızın fiziksel bir kanıtıdır. Antik Çağ’da ikili bir yapı içerisinde ele alınan beden, moderniteye dek bu yapı içerisinde ele alınmaya devam etmiştir. Ortaçağ’da tanrısal gücün hizmetinde olan insan aklı ve dolayısıyla beden, Rönesans’la birlikte yerini bilimsel yasalara ve özneye ait olan ‘ben’e bırakır. Modernizm de aydınlanmanın bir uzantısı olarak akılcı bir dünya modeli yaratmıştır. Fen bilimleri alanında beden, insanın biyolojik, genetik vb. özelliklerini anlamak için kullanılmıştır. Sosyal bilimler ise bedeni, geçmişten bu güne birey ve toplumu oluşturan en küçük yapı taşı olması özelliği üzerinden araştırmıştır. Bütün bu düşünsel dönüşümler ve bilimsel gelişmeler, sanatçının dünyaya bakışını etkilemiş ve bedenin farklı algılanma biçimleri kendini sanatta görünür kılmıştır. Rönesansla birlikte başlayan sanatçının “özne” konumuna gelmesi süreci moderniteyle devam etmiştir. 1960’lı yıllara gelindiğinde ise Batı’daki bu öznel yaklaşım yerini, sanatçının kendi bedeninin, sanatın nesnesi oluşuna bırakmıştır. Türkiye’de ise bedene dair çözümlemelerin Batı’dakinden farklı yaşandığını görürüz. Sanatçının kendisini resmin içerisinde görmeye başlaması ancak 19. yy. sonlarına denk gelmiş ve 1980’li yıllara dek beden, resmin içerisinde plastik bir eleman olma konumundan öteye geçememiştir. 1980 yılında toplumda meydana gelen büyük değişimler, sanatçının, bedene dair bireysel yaklaşımlar geliştirmesinde rol oynamıştır. Yine bu tarihlerde sosyoloji, felsefe, psikoloji, sanat vb. alanlarda dünyada üretilen bilginin, Türkiye’deki sanat alanıyla etkileşime girmesi, bedene dair farklı bakış açıları ortaya konulmasında etkili olmuştur. Sonuç olarak, küreselleşen dünyada sanatçıların bedene dair yaklaşımları aynı paralelde ilerlemeye başlamıştır. Günümüzde sanatçı ile beden arasındaki sorunsal ilişki kavramsal bir boyuta taşınmış ve tekil durum saptamaları üzerinden işler üretilmeye başlanmıştır.
The body is a proof of our presence in the most general sense. The body, which was discussed in a double-structure in the ancient times, continued to be discussed this way until modernity. In the medieval times, the human mind -and the body accordingly- which was in service of holistic powers, leaves its place to scientific laws and to the I that belongs to be subject with renaissance. Modernism has also created a rationalist world model as an extension of enlightment. In natural sciences, the body has been used to understand the biological, genetical etc. properties of the humans, whereas the social sciences have searched the body over its property of being the smallest part of the individual and the society. All these intellectual conversions and scientific developments have affected the artist's point of view about the world and different forms of perception of the body have been visible in art. The process of the artist's becoming the subject which started with the renaissance continued with modernity. In 1960's, this subjective approach in the west left its place to the body being an object of the art. In Turkey however, we see that the analysis about the body has been different than it is in the west. the artist begins to see himself in the picture only in the late 19th century and until 1980's, the body is nothing but just a plastic element in the picture. 1980, the great changes in the society have played a role for the artist to develop more individual approaches concerning the body. Again in this time, with the interaction of the information gathered around the world about sociology, philosophy, art etc. with the artistic area in turkey has been effective in putting forward different points of view about the body. As a result, in the globalized world, the artists' approach to the body started to be more parallel. Nowadays the problematic relation between the artist and the body has been carried to a conceptual dimension and the works have been started to be produced over individual situation analysis.
The body is a proof of our presence in the most general sense. The body, which was discussed in a double-structure in the ancient times, continued to be discussed this way until modernity. In the medieval times, the human mind -and the body accordingly- which was in service of holistic powers, leaves its place to scientific laws and to the I that belongs to be subject with renaissance. Modernism has also created a rationalist world model as an extension of enlightment. In natural sciences, the body has been used to understand the biological, genetical etc. properties of the humans, whereas the social sciences have searched the body over its property of being the smallest part of the individual and the society. All these intellectual conversions and scientific developments have affected the artist's point of view about the world and different forms of perception of the body have been visible in art. The process of the artist's becoming the subject which started with the renaissance continued with modernity. In 1960's, this subjective approach in the west left its place to the body being an object of the art. In Turkey however, we see that the analysis about the body has been different than it is in the west. the artist begins to see himself in the picture only in the late 19th century and until 1980's, the body is nothing but just a plastic element in the picture. 1980, the great changes in the society have played a role for the artist to develop more individual approaches concerning the body. Again in this time, with the interaction of the information gathered around the world about sociology, philosophy, art etc. with the artistic area in turkey has been effective in putting forward different points of view about the body. As a result, in the globalized world, the artists' approach to the body started to be more parallel. Nowadays the problematic relation between the artist and the body has been carried to a conceptual dimension and the works have been started to be produced over individual situation analysis.