Publication: Günümüz heykel sanatında grotesk tekinsizliğin yorumu : Jane Alexander, Berlinde De Bruyckere ve Patricia Piccinini
Abstract
Bu çalışmada, günümüzde faaliyet gösteren, üç çağdaş sanatçı olan Jane Alexander, Berlinde De Bruyckere ve Patricia Piccinini'nin heykelleri üzerinden grotesk beden imgesi incelenmektedir. Araştırmanın amacı, bu sanatçıların eserlerinde dönüşüm, yabancılaşma ve ötekilik temalarının nasıl ifade edildiğini analiz etmektir. Jane Alexander'ın politik ve toplumsal konuları ele alan eserleri, ırk, cinsiyet ve iğrenme gibi temalarla ilişkilendirilirken, Sara Ahmed'in öteki kavramı ve Duyguların Kültürel Politikası kitabı bu çalışmada önemli yer tutmuştur. Alexander'ın eserlerinin Güney Afrika'nın tarihsel bağlamında şekillendiği ve Apartheid rejiminin yarattığı politik ve toplumsal ayrımcılığı nasıl ele aldığı araştırılmıştır. Jane Alexander'ın heykelleri, ötekileştirilmiş grupların iktidar tarafından nasıl yaratıldığını ve politik mesajları aktarırken, Sara Ahmed'in teorik çerçevesi ötekileştirme süreçlerini anlamamızda yardımcı olmaktadır. Berlinde De Bruyckere'nin eserleri ise deformasyon, travma ve kırılganlık vurgusuyla “insanın açıklığı” hakkındadır. Sanatçının heykelleri bedenlerin açık dolayısıyla yüzeysel olmayan yanlarını anlamamızı, Agamben'in açıklık, hayvan ve insan kavramlarıyla ilişkili incelenmiştir. Patricia Piccinini’nin eserleri ise insanın doğa ve teknolojiyle olan ilişkisini sorgulayarak, feminist bir perspektif sunan Donna Haraway’den hareketle incelenmiştir. Sanatçının eserleri incelenirken, biyoteknoloji ve genetik mühendislik gibi çağdaş konuları fantastik bedenlerle birleştirerek insanın doğa ve teknolojiyle olan ilişkisi hakkında ortaya koyduğu etik sorgulamalar araştırılmıştır. Bu araştırmada, insanın doğa, teknoloji ve diğer canlılarla olan ilişkilerini sorgulayan, toplumsal normlara meydan okuyan ve ötekileştirilmiş grupların deneyimlerine odaklanan eserler üzerinde durulmaktadır. Araştırılan konudan hareketle, eser metni kapsamında üretilen çalışmaların sergilenmesi amaçlanmaktadır.
In this study, the grotesque body image is examined through the sculptures of three contemporary artists, Jane Alexander, Berlinde De Bruyckere and Patricia Piccinini. The aim of the research is to analyze how the themes of transformation, alienation and otherness are expressed in the works of these artists. While Jane Alexander's works dealing with political and social issues are associated with themes such as race, gender and disgust, Sara Ahmed's concept of the other and her book The Cultural Politics of Emotions have an important place in this work. It has been investigated how Alexander's works were shaped by the historical context of South Africa and how he addressed the political and social discrimination created by the Apartheid regime. While Jane Alexander's sculptures convey political messages and how marginalized groups are created by power, Sara Ahmed's theoretical framework helps us understand the processes of marginalization. While examining De Bruyckere's works in Berlin; It is about human openness with an emphasis on deformation, trauma and fragility. It has been examined in relation to Agamben's concepts of openness, animal and human, in order to understand the open and non-superficial aspects of the bodies in the artist's sculptures. Patricia Piccinini's works were examined based on Donna Haraway, who offers a feminist perspective by questioning the relationship between humans and nature and technology. While examining the artist's works, the ethical questions he poses about man's relationship with nature and technology by combining contemporary topics such as biotechnology and genetic engineering with fantastic bodies were investigated. While examining the works of artists in detail, this thesis focuses on works that question human relations with nature, technology and other living creatures, challenge social norms and focus on the experiences of marginalized groups. Based on the subject researched, it is aimed to exhibit the works produced within the scope of the text of the work.
In this study, the grotesque body image is examined through the sculptures of three contemporary artists, Jane Alexander, Berlinde De Bruyckere and Patricia Piccinini. The aim of the research is to analyze how the themes of transformation, alienation and otherness are expressed in the works of these artists. While Jane Alexander's works dealing with political and social issues are associated with themes such as race, gender and disgust, Sara Ahmed's concept of the other and her book The Cultural Politics of Emotions have an important place in this work. It has been investigated how Alexander's works were shaped by the historical context of South Africa and how he addressed the political and social discrimination created by the Apartheid regime. While Jane Alexander's sculptures convey political messages and how marginalized groups are created by power, Sara Ahmed's theoretical framework helps us understand the processes of marginalization. While examining De Bruyckere's works in Berlin; It is about human openness with an emphasis on deformation, trauma and fragility. It has been examined in relation to Agamben's concepts of openness, animal and human, in order to understand the open and non-superficial aspects of the bodies in the artist's sculptures. Patricia Piccinini's works were examined based on Donna Haraway, who offers a feminist perspective by questioning the relationship between humans and nature and technology. While examining the artist's works, the ethical questions he poses about man's relationship with nature and technology by combining contemporary topics such as biotechnology and genetic engineering with fantastic bodies were investigated. While examining the works of artists in detail, this thesis focuses on works that question human relations with nature, technology and other living creatures, challenge social norms and focus on the experiences of marginalized groups. Based on the subject researched, it is aimed to exhibit the works produced within the scope of the text of the work.