{"id":37009,"date":"2015-10-21T03:24:59","date_gmt":"2015-10-21T08:24:59","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=37009"},"modified":"2015-10-21T03:24:59","modified_gmt":"2015-10-21T08:24:59","slug":"torunlar-sergisi","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=37009","title":{"rendered":"Torunlar Sergisi"},"content":{"rendered":"

\"Torunlar\"<\/a>Erden Kosova <\/a><\/b><\/p>\n

Torunlar sergisinde Soyk\u0131r\u0131m\u2019\u0131n yaratt\u0131\u011f\u0131 travmatik bo\u015flu\u011fun, muazzam ac\u0131n\u0131n, adalet talebinin zorunlu k\u0131ld\u0131\u011f\u0131 gerid\u00f6n\u00fc\u015fl\u00fc bak\u0131\u015f\u0131 \u00f6nemsiz k\u0131lmaks\u0131z\u0131n \u2013bug\u00fcne tutunma, ya\u015fam\u0131 sahiplenme, gelece\u011fe ve umuda kap\u0131y\u0131 a\u00e7\u0131k b\u0131rakma y\u00f6n\u00fcndeki olumlay\u0131c\u0131 irade, serginin genel tonunu belirleyen unsur. <\/i><\/b><\/p>\n

Tarihteki k\u0131r\u0131lma anlar\u0131n\u0131 hat\u0131rlamak, zamanla eklenmi\u015f olan bilgilerin, verilerin e\u015fli\u011finde yeniden de\u011ferlendirmek, eksikleri kapamak i\u00e7in \u00f6zel y\u0131ld\u00f6n\u00fcmleri vesile olurlar. Hem vakan\u0131n tarihsel ba\u011flam\u0131n\u0131 daha incelikli bi\u00e7imde a\u00e7\u0131klayabilmek, hem de g\u00fcncellikle nas\u0131l ili\u015fkilendi\u011fine dair s\u00f6yleyecek \u015feyler bulabilmek i\u00e7in geriye d\u00f6n\u00fc\u015fl\u00fc bir bak\u0131\u015f \u00f6ne \u00e7\u0131kar.<\/p>\n

Bir yandan ya\u015fananlar\u0131n y\u00fcz y\u0131l \u00f6ncesinin ko\u015fullar\u0131 alt\u0131nda belgelenmesinde kar\u015f\u0131la\u015f\u0131lm\u0131\u015f zorluklar, bir yandan da T\u00fcrkiye Cumhuriyeti\u2019nin resmile\u015fen ink\u00e2r siyasetinin getirdi\u011fi perdelemeler sonucunda, y\u00fcz\u00fcnc\u00fc y\u0131l vesilesiyle 1915 Soyk\u0131r\u0131m\u0131\u2019n\u0131 i\u015fleyen sergilerde de, neler ya\u015fanm\u0131\u015f oldu\u011funu daha fazla g\u00f6r\u00fcn\u00fcr k\u0131lmak gereksinimi \u00f6ne \u00e7\u0131km\u0131\u015f g\u00f6r\u00fcn\u00fcyor.<\/p>\n

Bunun yan\u0131 s\u0131ra Ermeni k\u00fclt\u00fcr\u00fcne dair Anadolu\u2019daki izlerin t\u00fcm bir as\u0131r boyunca silinmeye tabi tutulmu\u015f olmas\u0131 da 1915\u2019te ya\u015fananlar\u0131n yan\u0131 s\u0131ra y\u00fcz y\u0131la yay\u0131lan bir s\u00fcrecin de retrospektif de\u011ferlendirmelere dahil edilmesi sonucunu beraberinde getiriyor. T\u00fcrkiye\u2019de d\u00fczenlenen etkinlikler aras\u0131nda da, Anadolu\u2019daki Ermeni tarihinden geriye kalan izlerin, bizzat tehcir ertesinde hayatta kalan ve d\u00fcnyaya yay\u0131lanlar\u0131n \u00fc\u00e7\u00fcnc\u00fc, d\u00f6rd\u00fcnc\u00fc ku\u015faktan torunlar\u0131n\u0131n \u00f6znel perspektifleriyle bir araya getirdikleri foto\u011fraf sergilerinin a\u011f\u0131rl\u0131kl\u0131 bir yeri oldu\u011fu g\u00f6r\u00fcl\u00fcyor.<\/p>\n

DEPO\u2019nun evsahipli\u011fini \u00fcstlendi\u011fi Torunlar: Aidiyetin Yeni Co\u011frafyalar\u0131<\/i> ba\u015fl\u0131kl\u0131 sergide retrospektif bak\u0131\u015f\u0131n \u00f6tesine ge\u00e7erek farkl\u0131la\u015fan bir yakla\u015f\u0131m g\u00f6zleniyor. Tabii ki Soyk\u0131r\u0131m\u2019\u0131n yaratt\u0131\u011f\u0131 travmatik bo\u015flu\u011fun, muazzam ac\u0131n\u0131n, adalet talebinin zorunlu k\u0131ld\u0131\u011f\u0131 gerid\u00f6n\u00fc\u015fl\u00fc bak\u0131\u015f\u0131 \u00f6nemsiz k\u0131lmaks\u0131z\u0131n \u2013bug\u00fcne tutunma, ya\u015fam\u0131 sahiplenme, gelece\u011fe ve umuda kap\u0131y\u0131 a\u00e7\u0131k b\u0131rakma y\u00f6n\u00fcndeki olumlay\u0131c\u0131 irade, serginin genel tonunu belirleyen unsur konumunda.<\/p>\n

Serginin diyasporan\u0131n co\u011frafi \u00e7oklu\u011funu yans\u0131t\u0131r bir kat\u0131l\u0131m yelpazesine sahip olmas\u0131 ve net bir bi\u00e7imde \u00e7izgileri \u00e7ekilmi\u015f bir tematik \u00e7er\u00e7eveden ka\u00e7\u0131n\u0131lm\u0131\u015f olmas\u0131 bu olumlay\u0131c\u0131 tona vurgu katmakta. Belki de daha belirleyici olan, projenin kat\u0131l\u0131mc\u0131lar aras\u0131nda uzun zamana yay\u0131lan bir etkile\u015fim ve tasar\u0131m s\u00fcreciyle birlikte \u015fekillenmi\u015f olmas\u0131 ki, b\u00f6ylelikle bir y\u0131ld\u00f6n\u00fcm\u00fc etkinli\u011finin \u00f6tesine ge\u00e7en, derinlik ve s\u00fcreklilik i\u00e7eren bir ba\u011f\u0131tlan\u0131m\u0131n, ilginin, yo\u011funla\u015fman\u0131n yolu a\u00e7\u0131lmakta.<\/p>\n

52. Venedik Bienali \u00e7er\u00e7evesindeki Ermeni Ulus-\u00f6teli\u011finde Kimlikler \u00dczerine Konu\u015fmak<\/i> ba\u015fl\u0131kl\u0131 sergiyle 2007 y\u0131l\u0131nda ba\u015flayan bu s\u00fcre\u00e7, ba\u015fka isimlerin dahil olmas\u0131yla birlikte bug\u00fcne uzanm\u0131\u015f durumda. Farkl\u0131 co\u011frafyalarda d\u00fczenlenen etkinlik ve sergilerle ilerleyen ve \u015fimdilik son halka olarak Torunlar <\/i>sergisiyle devam eden bu kolektif s\u00fcreklili\u011fin sa\u011flanmas\u0131nda k\u00fcrat\u00f6r ve sanat\u00e7\u0131 olarak katk\u0131 veren Silvina Der-Meguerditchian\u2019\u0131n rol\u00fc b\u00fcy\u00fck.<\/p>\n

Soyk\u0131r\u0131m sonras\u0131nda Anadolu\u2019dan Arjantin\u2019e g\u00f6\u00e7en bir ailenin torunu olan sanat\u00e7\u0131 Berlin\u2019e yerle\u015fmesinin ertesinde farkl\u0131 vesilelerle ailenin ge\u00e7mi\u015fi, miras\u0131, Anadolu ile olan ba\u011flar\u0131 \u00fczerine d\u00fc\u015f\u00fcnme ve \u00e7al\u0131\u015fma f\u0131rsat\u0131 bulmu\u015f. Kolektif \u00e7al\u0131\u015fmaya olan yatk\u0131nl\u0131\u011f\u0131n\u0131 Osmanl\u0131 Ermenileri\u2019nin kentsel ve k\u0131rsal k\u00fclt\u00fcr\u00fcn\u00fc canland\u0131rma konusunda ara\u015ft\u0131rmalar yapan Houshamadyan<\/i> adl\u0131 projeye de kanalize etmi\u015f. Berlin\u2019de T\u00fcrkiyeli n\u00fcfusla ya\u015fanan temaslar\u0131n yan\u0131 s\u0131ra, davet ald\u0131\u011f\u0131 \u0130stanbul ve T\u00fcrkiye temal\u0131 sergilere olan kat\u0131l\u0131mlar\u0131n\u0131 takiben Der-Meguerditchian \u0130stanbul\u2019a gidip gelmeye ba\u015flam\u0131\u015f. Bug\u00fcne dek d\u00fczenledi\u011fi iki ki\u015fisel sergi ve \u00e7e\u015fitli etkinlikler sonucunda sanat\u00e7\u0131n\u0131n \u00fcrettikleri, elde etti\u011fi deneyim ve temaslar Torunlar<\/i> sergisinin de altyap\u0131s\u0131n\u0131 olu\u015fturmakta.<\/p>\n

Der-Meguerditchian\u2019\u0131n insanlar aras\u0131nda kolayl\u0131kla s\u0131cak ili\u015fkiler, a\u011flar kurma ve bunlar\u0131 ortak projelere havale etme becerisi ilgin\u00e7 bi\u00e7imde sanat\u00e7\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131nda yap\u0131sal bir akis buluyor: birbirinden ayr\u0131\u015f\u0131k duran tarihi ki\u015filikler, foto\u011fraflar, s\u00f6zc\u00fckler iplik, y\u00fcn ve \u00e7e\u015fitli ba\u011f ara\u00e7lar\u0131yla hem bi\u00e7imsel hem de i\u00e7eriksel \u00f6r\u00fcnt\u00fcler kuruyor.<\/p>\n

Sanat\u00e7\u0131 k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlendi\u011fi Torunlar<\/i> sergisinin yap\u0131land\u0131r\u0131lmas\u0131nda da ayr\u0131\u015f\u0131k par\u00e7alar\u0131, yani farkl\u0131 sanat\u00e7\u0131lara ait yap\u0131tlar\u0131 birbirine ba\u011flayacak yard\u0131mc\u0131 unsurlar kullanm\u0131\u015f. DEPO\u2019nun sergi mek\u00e2n\u0131na yay\u0131lan ta\u015f\u0131y\u0131c\u0131 kolonlar \u00e7evresinde ve biti\u015fi\u011finde konumlanan sanat\u00e7\u0131 kat\u0131l\u0131mlar\u0131 aras\u0131nda hamak, okuma k\u00f6\u015fesi, \u00e7ay k\u00f6\u015fesi gibi, izleyiciyi rahatlamaya, okumaya davet eden ge\u00e7i\u015f alanlar\u0131 olu\u015fturulmu\u015f. Bu tercih ayn\u0131 zamanda i\u00e7eri\u011fin de bir aksi olarak i\u015flemekte: farkl\u0131 co\u011frafyalardan, farkl\u0131 dillerden gelen ve ayr\u0131\u015f\u0131k gibi duran Ermenili\u011fe ait sesler, s\u00f6zler, imgeler -mesafeler \u00fczerinden de olsa- \u00e7oklu bir birliktelik kurmakta.<\/p>\n

Sergi DEPO\u2019nun giri\u015f kap\u0131s\u0131 taraf\u0131ndaki \u00f6ny\u00fcz\u00fcne yay\u0131lan bir duvar resmiyle a\u00e7\u0131l\u0131yor. Maria Bedoian serginin genel tonunu birebir izleyen bir kompozisyon kurmakta: k\u00f6kleri derinlere uzanan, kimi yerlerinde hoyrat kesintilere, budamalara maruz kalm\u0131\u015f, ama g\u00f6\u011fe y\u00fckselmeyi ve tepedeki dallar\u0131ndan birbirinden farkl\u0131 meyveler vermeyi ba\u015faran yar\u0131-organik, yar\u0131-mimari bir varl\u0131k kar\u015f\u0131lamakta izleyiciyi ve mahalleliyi. A\u011fa\u00e7 ile Babil Kulesi aras\u0131ndaki bu melezlenme ku\u015fkusuz Ermeni k\u00fclt\u00fcr\u00fcn\u00fcn bug\u00fcne uzanan hik\u00e2yesine denk gelmekte.<\/p>\n

Binan\u0131n i\u00e7ine girildi\u011finde merdivenlerde kar\u015f\u0131la\u015f\u0131lan Der-Meguerditchian\u2019\u0131n videosu da benzer bi\u00e7imde iyimser ve ya\u015fam\u0131 olumlayan bir bak\u0131\u015fa sahip. 70\u2019li y\u0131llarda Arjantin\u2019de g\u00f6steri g\u00fcre\u015fi m\u00fcsabakalar\u0131yla \u00fcn salm\u0131\u015f olan ve Latin Amerika\u2019daki Ermenilere kurban de\u011fil de \u00f6zde\u015fle\u015filecek, sahiplenilecek bir kahraman modeli sunan Martin Karadagian\u2019\u0131n d\u00f6v\u00fc\u015flerinden birini seyrediyoruz \u00e7al\u0131\u015fmada. Kar\u015f\u0131s\u0131nda mumyalan\u0131p bandajlara sar\u0131lm\u0131\u015f bir rakip var. Rakibe e\u015flik eden \u00e7ocu\u011fu da benzer bir g\u00f6r\u00fcn\u00fcme sahip. Tam hesapla\u015f\u0131lamam\u0131\u015f, huzura erememi\u015f bir \u00f6l\u00fcm var sanki ortada. Fakat Karadagian\u2019\u0131n d\u00f6v\u00fc\u015f\u00fc ge\u00e7mi\u015ften gelen hayaletlerle i\u00e7 huzurun sa\u011flanmas\u0131yla sonu\u00e7lan\u0131yor ve m\u00fcsabaka sonunda hem Karadagian, hem mumya, hem de mumyan\u0131n \u00e7ocu\u011fu hep birden galip ilan ediliyor.<\/p>\n

Mumya gibi bezlerle sar\u0131lm\u0131\u015fl\u0131\u011f\u0131na ra\u011fmen maharetlerini, canl\u0131l\u0131\u011f\u0131n\u0131, \u00e7evikli\u011fini g\u00f6steriyor; d\u00f6v\u00fc\u015f s\u0131ras\u0131nda kendisi gibi mumya g\u00f6r\u00fcn\u00fcm\u00fcne sahip \u00e7ocu\u011funun deste\u011fini al\u0131yor ve ma\u00e7\u0131n neticesinde kendisi, \u00e7ocu\u011fu ve hatta rakibi hep birlikte galip ilan ediliyor.<\/p>\n

Der-Meguerditchian\u2019\u0131n \u00fcst kattaki di\u011fer video yerle\u015ftirmesinde, bir s\u00fctun etraf\u0131nda \u00fcst\u00fcste dizilen \u00e7ok say\u0131da ekranda d\u00fcnyan\u0131n farkl\u0131 k\u00f6\u015felerinden, birbirine \u00e7ok uzak \u015fehirlerde ya\u015fayan gen\u00e7 insanlar\u0131n benzer v\u00fccut dinamizmiyle Ermeni folkl\u00f6r\u00fcne ait dans fig\u00fcrleri icra etti\u011fi g\u00f6r\u00fcl\u00fcyor. Dansa kaynakl\u0131k eden co\u011frafyalardan binlerce kilometre uzakta olunmas\u0131na, belki o topraklarla hi\u00e7 kar\u015f\u0131la\u015f\u0131lmayacak olmas\u0131na ra\u011fmen bu gen\u00e7 bedenler k\u00fclt\u00fcrel kodlar\u0131 \u00fczerlerine al\u0131yor ve bedenleriyle \u00f6rd\u00fckleri bu performatif aidiyeti sonraki ku\u015faklara aktar\u0131yorlar.<\/p>\n

Yine mek\u00e2n\u0131n ta\u015f\u0131y\u0131c\u0131 s\u00fctunlar\u0131ndan biri etraf\u0131na dizilen foto\u011fraflar\u0131nda Scout Tufankjian d\u00fcnyan\u0131n fark\u0131 b\u00f6lgelerinde ya\u015fayan Ermeni cemaatlerin hayat\u0131na bak\u0131yor, aidiyetin \u00fcretildi\u011fi alanlar\u0131, ailenin mahrem mek\u00e2n\u0131n\u0131, dinsel, e\u011fitsel ama\u00e7larla ya da e\u011flenmek i\u00e7in bir araya gelinen bulu\u015fmalar\u0131 g\u00f6r\u00fcnt\u00fcl\u00fcyor.<\/p>\n

Di\u011fer yandan kimlikle \u00f6zde\u015fle\u015fme s\u00fcrecine daha d\u0131\u015far\u0131dan ve aidiyete dair temkinli yap\u0131tlar da sergide yer al\u0131yor. Arman Tadevosyan\u2019\u0131n yanyana sergiledi\u011fi ikili video d\u00fczenlemesinde bir tarafta T\u00fcrkiye\u2019nin Ermeni s\u0131n\u0131r\u0131na yak\u0131n Kars \u015fehrinde \u00e7ocuklar\u0131n s\u00f6yledi\u011fi milli mar\u015f\u0131, di\u011fer yanda sanat\u00e7\u0131n\u0131n kendi aile ar\u015fivinden ald\u0131\u011f\u0131 bir g\u00f6r\u00fcnt\u00fcy\u00fc, kendisinin \u00e7ocukken bir toplant\u0131da s\u00f6yledi\u011fi ve T\u00fcrklere kar\u015f\u0131 Ermeni direni\u015fini \u00f6ven mar\u015f\u0131 dinliyoruz \u2013 c\u00fcmlelerin a\u011f\u0131r, a\u011fdal\u0131 y\u00fck\u00fc ile \u00e7ocuklar\u0131n naif co\u015fkusu aras\u0131ndaki mesafe her iki videoda da g\u00f6ze \u00e7arp\u0131yor.<\/p>\n

Mikayel Ohanjanyan\u2019\u0131n heykel d\u00fczenlemesi sanat\u00e7\u0131n\u0131n 1915 Soyk\u0131r\u0131m\u0131\u2019n\u0131 ink\u00e2r eden T\u00fcrkiyeli bir arkada\u015f\u0131yla yapt\u0131\u011f\u0131 sohbet sonras\u0131nda ortaya \u00e7\u0131km\u0131\u015f. Sanat\u00e7\u0131 herhangi bir yarg\u0131da bulunmaks\u0131z\u0131n belirli bir konu \u00fczerinde taban tabana z\u0131t iki d\u00fc\u015f\u00fcnce aras\u0131ndaki gerilimi g\u00f6rselle\u015ftiriyor. Metalik renkteki y\u00fczeyi ve k\u00fcbik \u015fekliyle sertlik ve sabitlik hissi veren iki obje aras\u0131nda gerilmi\u015f olan ipler, ortada k\u0131r\u0131lgan bi\u00e7imde duran dokuyu dengede tutuyor; ama her an bu hassas dengenin bozulabilece\u011fi hissi de izleyiciye veriliyor.<\/p>\n

Di\u011fer yandan Achot Achot\u2019un olduk\u00e7a \u00e7arp\u0131c\u0131 ve ayinsel bir g\u00f6rselli\u011fe sahip video \u00e7al\u0131\u015fmas\u0131nda yerde yatan birinin ayak tabanlar\u0131n\u0131 ekrana d\u00f6n\u00fck bi\u00e7imde seyrediyoruz; tabanlar \u00f6nce balla, daha sonra da beyaz t\u00fcylerle kaplan\u0131yor. Bal\u0131n a\u011f\u0131r bi\u00e7imde a\u015fa\u011f\u0131ya akan s\u0131v\u0131s\u0131, aya\u011f\u0131n \u00e7\u0131plakl\u0131\u011f\u0131yla, v\u00fccudun yatay pozisyonuyla birlikte travmatik bir deneyimi ima ediyor, bir yandan da dengeli ak\u0131\u015f\u0131yla ve sonradan \u00fczerine yap\u0131\u015fan beyaz dokuyla bir t\u00fcr sa\u011falt\u0131m olana\u011f\u0131na da i\u015faret ediyor.<\/p>\n

Talin B\u00fcy\u00fckk\u00fcrkciyan Demirci\u2019nin performans\u0131nda ayn\u0131 mek\u00e2na giren, o mek\u00e2nla ili\u015fkilenmeye \u00e7al\u0131\u015fan ve birbirlerinin mek\u00e2nda b\u0131rakt\u0131klar\u0131 izlerle, nesnelerle oynayan, bozan \u00fc\u00e7 fig\u00fcr\u00fc izliyoruz. Duvara farkl\u0131 dillerde yaz\u0131lm\u0131\u015f olan \u201cBen Buradayd\u0131m\u201d c\u00fcmlesi ve performansa e\u015flik eden fabl, toprak ile o toprak \u00fczerinde (bir s\u00fcreli\u011fine) m\u00fclkiyet iddias\u0131nda bulunan insanlar aras\u0131ndaki abs\u00fcrd ili\u015fkiye g\u00f6ndermede bulunuyor. Maria Bedoian\u2019\u0131n bir sehpa \u00fczerinde sergiledi\u011fi ve deniz kabuklar\u0131n\u0131 and\u0131ran fakat yakla\u015f\u0131nca tamamen kurgulanm\u0131\u015f, kimliksiz karaktere sahip olduklar\u0131n\u0131 farketti\u011fimiz objeler otomatik olarak kabul etti\u011fimiz tan\u0131mlar\u0131n, kimlik kal\u0131plar\u0131n\u0131n genelleyici ve yan\u0131lt\u0131c\u0131 do\u011fas\u0131na i\u015faret ediyor.<\/p>\n

Olumlay\u0131c\u0131 co\u015fkuya ya da temkinli mesafeye dayanan bu i\u015flerin yan\u0131nda ac\u0131n\u0131n, h\u00fczn\u00fcn s\u0131zd\u0131\u011f\u0131 \u00e7al\u0131\u015fmalar da \u00e7\u0131k\u0131yor kar\u015f\u0131m\u0131za ka\u00e7\u0131n\u0131lmaz bi\u00e7imde. Ani Setyan\u2019\u0131n enstalasyonunda \u00fc\u00e7 farkl\u0131 spot alt\u0131nda sergilenen ve kendi ba\u015f\u0131na ayakta duran ah\u015fap bastonu g\u00f6r\u00fcyor; e\u015flik eden ses d\u00fczeninde, yere s\u00fcrt\u00fcnmeyle \u00e7\u0131kan iki h\u0131\u015f\u0131rt\u0131y\u0131 ve takip eden tok bir temas\u0131 dinliyoruz. Baston sanat\u00e7\u0131n\u0131n b\u00fcy\u00fckannesine ait ve ses de evin zili her \u00e7al\u0131nd\u0131\u011f\u0131nda onun kap\u0131ya kadar y\u00fcr\u00fcrken \u00e7\u0131kard\u0131\u011f\u0131 ve d\u0131\u015far\u0131dan duyulan ses. Bir obje olarak baston belirli bir zorlu\u011fa g\u00f6ndermede bulunuyor; ayakta durmakta, y\u00fcr\u00fcmekte zorlan\u0131lan bir duruma…<\/p>\n

Tehcir s\u0131ras\u0131ndaki y\u00fcr\u00fcy\u00fc\u015f\u00fcn kolektif belle\u011fe kaz\u0131nan zorlu\u011fu; T\u00fcrkiye\u2019de Ermeni kimlikli bir vatanda\u015f olarak ya\u015faman\u0131n zorlu\u011fu; yak\u0131n ge\u00e7mi\u015fte tan\u0131k oldu\u011fumuz ve halen s\u00fcrmekte olan, s\u00fcrecek olan zorunlu yer de\u011fi\u015ftirmeler… Di\u011fer yandan baston bir \u00e7a\u011fr\u0131y\u0131 da i\u00e7inde bar\u0131nd\u0131r\u0131yor; destek olmay\u0131, yan\u0131nda durmay\u0131. Bir di\u011fer \u0130stanbullu sanat\u00e7\u0131 Hera B\u00fcy\u00fckta\u015f\u00e7\u0131yan\u2019\u0131n \u00f6zenli sergi sehpalar\u0131nda g\u00f6sterdi\u011fi resimler ise tarihi belgelerden al\u0131nm\u0131\u015f imgeler \u00fczerine kurulu.<\/p>\n

H\u0131ristiyan ikonografisine ba\u011fl\u0131 oldu\u011funu hissettiren fakat yar\u0131 silinmi\u015f halleriyle tam olarak tan\u0131mlanamayan, flu g\u00f6r\u00fcnt\u00fcye sahip ikonik fig\u00fcrler tarihsel anlat\u0131lar\u0131n zaman i\u00e7indeki ya\u015fad\u0131klar\u0131 y\u0131pranmay\u0131, silinmeleri, tahribat\u0131 hat\u0131rlat\u0131yor. Di\u011fer yandan onlar\u0131 resimler \u00fczerinde birbirine ba\u011flayan k\u0131rm\u0131z\u0131 \u00e7izgiler b\u00fct\u00fcn bu y\u0131pranmaya ra\u011fmen anlat\u0131lar aras\u0131nda s\u00fcreklilik sa\u011flanabildi\u011fine, -ku\u015faklar \u00fczerinden \u015fekil de de\u011fi\u015ftirseler- bug\u00fcne uzanabildiklerine i\u015faret ediyor.<\/p>\n

Kimi \u00e7al\u0131\u015fmalarda da h\u00fcz\u00fcnselli\u011fin bireysel d\u00fcnyaya yans\u0131malar\u0131n\u0131n ele al\u0131nd\u0131\u011f\u0131n\u0131, psikolojik boyut \u00fczerine yo\u011funla\u015f\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Karine Matsakyan\u2019\u0131n video \u00e7al\u0131\u015fmas\u0131nda elinde ya\u015fl\u0131 bir y\u00fcze sahip oyuncak bebek tutan ve ona sevgi mi, nefret mi duydu\u011funu tam anlayamad\u0131\u011f\u0131m\u0131z bir \u015fekilde yakla\u015fan yeti\u015fkin bir kad\u0131n\u0131 seyrediyoruz. Kad\u0131n\u0131n b\u00fcy\u00fcyememi\u015fli\u011fi ve bebe\u011fin erken ya\u015flanm\u0131\u015fl\u0131\u011f\u0131 \u00fczerinden geli\u015fen ikili ters-zamanl\u0131l\u0131k izleyici \u00fczerinde tedirgin edici bir his b\u0131rakmakta.<\/p>\n

Marie Zolamian\u2019\u0131n resim dizisinde ise, verdikleri pozla bir aile alb\u00fcm\u00fcnden al\u0131nd\u0131\u011f\u0131n\u0131 hissettiren d\u00f6rtl\u00fc bir fig\u00fcr kompozisyonunu g\u00f6r\u00fcyoruz s\u00fcrekli olarak; ayn\u0131 grup b\u00fct\u00fcn\u00fcyle farkl\u0131 ortamlarda, farkl\u0131 renklerde s\u00fcrekli olarak tekrarlanmakta. Co\u011frafyalar aras\u0131nda bir s\u00fcr\u00fcklenme, yeryurt edinememe hissi seziliyor. Melankolik ton fig\u00fcr kompozisyonunda bir baba fig\u00fcr\u00fcn\u00fcn olmamas\u0131yla birlikte g\u00fc\u00e7leniyor; bir kay\u0131p duygusu diziye e\u015flik ediyor.<\/p>\n

\u015eiddete incelikli bi\u00e7imde yer veren i\u015fler de \u00e7\u0131k\u0131yor kar\u015f\u0131m\u0131za. Archi Galentz\u2019in duvar yerle\u015ftirmesinde, ba\u015fka bir sergi ortam\u0131ndan, arkas\u0131ndaki duvar da zorla s\u00f6k\u00fclerek al\u0131nm\u0131\u015f sanat ve k\u00fclt\u00fcr objeleri g\u00f6r\u00fcyoruz. Sanat\u00e7\u0131 ba\u011flamlar\u0131ndan kopar\u0131lan, siyaset ya da ticaret arac\u0131l\u0131\u011f\u0131yla kay\u0131ts\u0131zca el de\u011fi\u015ftiren, keyfi bi\u00e7imde yanyana getirilen ve istenen anlat\u0131 i\u00e7ine zorla yerle\u015ftirilen yap\u0131tlar\u0131 konu al\u0131yor a\u00e7\u0131k\u00e7a.<\/p>\n

Sergilenen yap\u0131tlardan birinin 1915\u2019ten canl\u0131 kurtulan bir Ermeni sanat\u00e7\u0131ya ait oldu\u011fu bilgisi, Galentz\u2019in \u00e7al\u0131\u015fmas\u0131n\u0131 Torunlar\u2019<\/i>\u0131n \u00e7er\u00e7evesine yakla\u015ft\u0131r\u0131yor: el konulan, kimi zaman da tahrip edilen yap\u0131tlar, milli sanat tarihi anlat\u0131lar\u0131ndan silinen isimler, yeni kurulan anlat\u0131lar… Linda Ganjian\u2019\u0131n tablolar\u0131nda Osmanl\u0131 sanat\u0131na ait geometrik s\u00fcsleme \u00e7er\u00e7evelemeleri i\u00e7inde \u0130znik \u00e7inilerine ait \u00e7i\u00e7ek motiflerinin i\u00e7i\u00e7e girdi\u011fi g\u00f6r\u00fclmekte. Yaln\u0131z, \u00e7i\u00e7ekler armonik ve d\u00fczenli hallerinden olduk\u00e7a uzaktalar; ait olduklar\u0131 bah\u00e7elerin bak\u0131ms\u0131z hale geldi\u011fini d\u00fc\u015f\u00fcnd\u00fcr\u00fcrcesine yapraklanm\u0131\u015f, uzam\u0131\u015f, \u00fcst\u00fcste binmi\u015f bir haldeler. Bah\u00e7elerin sahiplerine ne oldu\u011funu \u00e7\u0131karsamak pek zor de\u011fil.<\/p>\n

Sergiyle ilgili olarak Agos<\/i> gazetesine verdi\u011fi r\u00f6portaja \u201c\u0130lgilendi\u011fimiz Tek Konu Soyk\u0131r\u0131m De\u011fil\u201d ba\u015fl\u0131\u011f\u0131n\u0131n verilmesini tam olarak uygun bulmad\u0131\u011f\u0131n\u0131 s\u00f6ylemi\u015fti Silvina Der-Meguerditchian sergi a\u00e7\u0131l\u0131\u015f\u0131nda. Do\u011frudan Soyk\u0131r\u0131m\u2019a i\u015faret etmese de, belgelemeye \u00e7al\u0131\u015fmasa da, konu hakk\u0131ndaki m\u00fccadelenin hakl\u0131l\u0131\u011f\u0131n\u0131 vurgulamaya giri\u015fmese de bir \u015fekilde ya\u015fananlar\u0131 i\u00e7inde ta\u015f\u0131yarak ilerliyor Torunlar<\/i> sergisi: ya\u015famda kalm\u0131\u015fl\u0131\u011f\u0131 kutlayarak, h\u00fczn\u00fc sahiplenerek, geriye \u00e7ekilip bakarak, ruhsal dalgalanmalara kendini b\u0131rakarak, ince titre\u015fimlerle isyan ederek…<\/p>\n

Ayr\u0131ca, sergideki sanat\u00e7\u0131lar\u0131n 1915 ile ya da kendi travmalar\u0131 ile ili\u015fkilenen birer i\u015flerini sergiledikleri H\u00fcz\u00fcn Odas\u0131 da bu ba\u011flant\u0131n\u0131n vazge\u00e7ilmezli\u011fini ortaya koyuyor. Ani Setyan\u2019\u0131n video r\u00f6portajlar\u0131nda i\u015faret etti\u011fi kaybolup giden gayrim\u00fcslim esnaf\u0131n, zanaatk\u00e2r\u0131n yaratt\u0131\u011f\u0131 bo\u015fluk, medeniyet kayb\u0131; Silvina Der-Meguerditchian\u2019\u0131n yast\u0131k k\u0131l\u0131f\u0131 i\u00e7ine doldurdu\u011fu ta\u015flarla hissettirdi\u011fi yersizlik, evsizlik, uykusuzluk ya da ancak ac\u0131yla birlikte uyuyabilme hali; Achot Achot\u2019un videosundaki karanl\u0131k sokaklarda gece vakti dolanan otomobil ve yolculuk bitti\u011finde ortal\u0131\u011f\u0131 kaplayan sessizlik ve onu t\u0131rmalayan silecek sesi; Arman Tadevosyan\u2019\u0131n k\u00fc\u00e7\u00fck tablolar\u0131nda belirsiz bir uzama s\u0131k\u0131\u015f\u0131p kalm\u0131\u015f cans\u0131z bedenler; Hera B\u00fcy\u00fckta\u015f\u00e7\u0131yan\u2019\u0131n uzaktaki ya da ge\u00e7mi\u015fteki insanlarla ili\u015fkiyi sa\u011flayan i\u015faret parmaklar\u0131, s\u00f6ylenemez olana temas etmeye \u00e7al\u0131\u015fan i\u015fler olarak yer al\u0131yorlar bu odada.<\/p>\n

Bu ekip \u00e7al\u0131\u015fmas\u0131 ilerde ba\u015fka a\u015famalara ge\u00e7ecek mi, sergilere devam edecek mi hen\u00fcz belli de\u011fil gibi g\u00f6r\u00fcn\u00fcyor. Ama halihaz\u0131rda uzun zamana yay\u0131lm\u0131\u015f oldu\u011funa g\u00f6re bu kolektif deneyimin dallan\u0131p budaklanarak zenginle\u015fece\u011fini, farkl\u0131 anlat\u0131lar\u0131, yakla\u015f\u0131mlar\u0131 i\u00e7ine alarak geni\u015fleyece\u011fini beklemek yanl\u0131\u015f olmaz san\u0131r\u0131m.<\/p>\n

DEPO’da devam eden Torunlar<\/i> sergisini 1 Kas\u0131m’a kadar ziyaret edebilirsiniz.<\/p>\n

* Foto\u011fraflar: P\u0131nar Gedik\u00f6zer<\/i><\/b><\/p>\n

http:\/\/bianet.org\/biamag\/toplum\/168411-torunlar-sergisi<\/i><\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

Erden Kosova Torunlar sergisinde Soyk\u0131r\u0131m\u2019\u0131n yaratt\u0131\u011f\u0131 travmatik bo\u015flu\u011fun, muazzam ac\u0131n\u0131n, adalet talebinin zorunlu k\u0131ld\u0131\u011f\u0131 gerid\u00f6n\u00fc\u015fl\u00fc bak\u0131\u015f\u0131 \u00f6nemsiz k\u0131lmaks\u0131z\u0131n \u2013bug\u00fcne tutunma, ya\u015fam\u0131 sahiplenme, gelece\u011fe ve umuda kap\u0131y\u0131 a\u00e7\u0131k b\u0131rakma y\u00f6n\u00fcndeki olumlay\u0131c\u0131 irade, serginin genel tonunu belirleyen unsur. Tarihteki k\u0131r\u0131lma anlar\u0131n\u0131 hat\u0131rlamak, zamanla eklenmi\u015f olan bilgilerin, verilerin e\u015fli\u011finde yeniden de\u011ferlendirmek, eksikleri kapamak i\u00e7in \u00f6zel y\u0131ld\u00f6n\u00fcmleri vesile olurlar. […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,1],"tags":[],"class_list":["post-37009","post","type-post","status-publish","format-standard","hentry","category-ermeni-soykirimi","category-haberler"],"yoast_head":"\nTorunlar Sergisi - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/akunq.net\/tr\/?p=37009\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Torunlar Sergisi - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Erden Kosova Torunlar sergisinde Soyk\u0131r\u0131m\u2019\u0131n yaratt\u0131\u011f\u0131 travmatik bo\u015flu\u011fun, muazzam ac\u0131n\u0131n, adalet talebinin zorunlu k\u0131ld\u0131\u011f\u0131 gerid\u00f6n\u00fc\u015fl\u00fc bak\u0131\u015f\u0131 \u00f6nemsiz k\u0131lmaks\u0131z\u0131n \u2013bug\u00fcne tutunma, ya\u015fam\u0131 sahiplenme, gelece\u011fe ve umuda kap\u0131y\u0131 a\u00e7\u0131k b\u0131rakma y\u00f6n\u00fcndeki olumlay\u0131c\u0131 irade, serginin genel tonunu belirleyen unsur. Tarihteki k\u0131r\u0131lma anlar\u0131n\u0131 hat\u0131rlamak, zamanla eklenmi\u015f olan bilgilerin, verilerin e\u015fli\u011finde yeniden de\u011ferlendirmek, eksikleri kapamak i\u00e7in \u00f6zel y\u0131ld\u00f6n\u00fcmleri vesile olurlar. 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