{"id":74180,"date":"2023-05-23T03:17:24","date_gmt":"2023-05-23T08:17:24","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=74180"},"modified":"2023-05-23T03:17:24","modified_gmt":"2023-05-23T08:17:24","slug":"sonsuza-seyahat","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=74180","title":{"rendered":"\u2018Sonsuz\u2019a seyahat"},"content":{"rendered":"
\"\"<\/div>\n
Neslihan Koyuncu Bali<\/a><\/span> \u00a0<\/span><\/strong><\/div>\n
60\u2019lardan g\u00fcn\u00fcm\u00fcze hi\u00e7 durmadan, incelikle \u00fcreten bir sanat\u00e7\u0131 olarak Sarkis, nice konuyu, insan\u0131, nesneyi, rengi, sesi, mek\u00e2n\u0131 birbirine dokudu; bir\u00e7ok ba\u015fka sanat\u00e7\u0131ya, m\u00fczisyene, besteciye, mimara referanslar\u0131yla dokundu. Sanat\u00e7\u0131ya g\u00f6re, ya\u015f\u0131ndan dolay\u0131 (85) bazen isimleri unutabilse de, \u00fcretti\u011fi her yap\u0131t, a\u00e7t\u0131\u011f\u0131 her sergi, belle\u011finde en ince detay\u0131na kadar, hi\u00e7 bozulmadan berrakl\u0131\u011f\u0131n\u0131 koruyor.<\/span><\/strong><\/em><\/div>\n
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Sanat\u00e7\u0131 Sarkis\u2019i 2019\u2019da, 23,5 Hrant Dink Haf\u0131za Mek\u00e2n\u0131\u2019nda, Hrant Dink\u2019in odas\u0131n\u0131n balkonunda yer alan \u2018Tuz ve I\u015f\u0131k\u2019 adl\u0131 daimi yerle\u015ftirmesinin yap\u0131m s\u00fcrecinde tan\u0131ma \u015fans\u0131na eri\u015ftim. Gen\u00e7 bir sanat\u00e7\u0131 olarak, Sarkis\u2019in yarat\u0131m s\u00fcrecine tan\u0131kl\u0131k etmek, nas\u0131l d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn\u00fc, hangi detaylara \u00f6nem verdi\u011fini, anlam\u0131 ve anlat\u0131y\u0131 nesnelerle nas\u0131l olu\u015fturdu\u011funu g\u00f6rmek benim i\u00e7in \u00e7ok de\u011ferli ve \u00f6\u011fretici bir deneyim oldu. Onu tan\u0131d\u0131ktan sonra diyebilirim ki, Sarkis\u2019e dair beni en \u00e7ok etkileyen \u015fey, eserleriyle kurdu\u011fu \u00f6zenli ve \u015fefkatli ili\u015fki oldu. Sarkis eserlerini genellikle sanat sisteminin tan\u0131mlad\u0131\u011f\u0131 kavramlar ve terimlerle k\u0131s\u0131tlamadan, kendi \u2013\u015fiirsel denebilecek\u2013 kelimeleriyle anlat\u0131r. Sergilerinde eserler ad, y\u0131l, malzeme bilgilerinin yer ald\u0131\u011f\u0131 etiketler olmadan, \u00f6zg\u00fcrce ya\u015farlar. Bu sayede, ziyaret\u00e7i eserle kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda, y\u00f6nlendirici bir metne ya da notlara de\u011fil, eserin kendisine odaklanarak onu anlamaya \u00e7al\u0131\u015fabilir. Sarkis\u2019in eserlerinin bana g\u00f6re en \u00f6nemli \u00f6zelli\u011fi, y\u0131llar \u00f6nce \u2018do\u011fmu\u015f\u2019 olsalar da, d\u00f6n\u00fc\u015ferek, yeni anlamlar kazanarak g\u00fcn\u00fcm\u00fczde yeniden kar\u015f\u0131m\u0131za \u00e7\u0131kabilmeleri. Hi\u00e7biri, sergilenmeden sakland\u0131\u011f\u0131 d\u00f6nemde dahi, zamanda donmu\u015f h\u00e2lde beklemez. Ya\u015fam, farkl\u0131 mek\u00e2nlarda bir sonraki sergilenece\u011fi vakti bekleyen veya o an sergilenmekte olan t\u00fcm eserlerinin i\u00e7inden d\u0131\u015far\u0131 akar.<\/p>\n

\"\u2018Tekerlekli<\/div>\n
\u2018Tekerlekli \u0130skemle, Ku\u015f T\u00fcyleriyle\u2019 ve \u2018\u0130s Siyah\u0131 Parmak \u0130zleri\u2019<\/span><\/em><\/div>\n

60\u2019lardan g\u00fcn\u00fcm\u00fcze hi\u00e7 durmadan, incelikle \u00fcreten bir sanat\u00e7\u0131 olarak Sarkis, nice konuyu, insan\u0131, nesneyi, rengi, sesi, mek\u00e2n\u0131 birbirine dokudu; bir\u00e7ok ba\u015fka sanat\u00e7\u0131ya, m\u00fczisyene, besteciye, mimara referanslar\u0131yla dokundu. Sanat\u00e7\u0131ya g\u00f6re, ya\u015f\u0131ndan dolay\u0131 (85) bazen isimleri unutabilse de, \u00fcretti\u011fi her yap\u0131t, a\u00e7t\u0131\u011f\u0131 her sergi, belle\u011finde en ince detay\u0131na kadar, hi\u00e7 bozulmadan berrakl\u0131\u011f\u0131n\u0131 koruyor. \u0130\u00e7g\u00fcd\u00fclerle \u00fcretilmi\u015f bir eserin bellekten farkl\u0131 bir yerde do\u011fup sakland\u0131\u011f\u0131n\u0131, bu y\u00fczden zaman\u0131n onu silemeyece\u011fini, sonu olamayaca\u011f\u0131n\u0131 s\u00f6yl\u00fcyor. Arter\u2019de, ikinci katta a\u00e7\u0131lan \u2018SONSUZ\u2019 sergisi de, Sarkis\u2019in 2015 y\u0131l\u0131nda, 56. Venedik Bienali T\u00fcrkiye Pavyonu\u2019nda, Defne Ayas k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde g\u00f6sterdi\u011fi ve daha sonra Arter Koleksiyonu\u2019na ba\u011f\u0131\u015flad\u0131\u011f\u0131 \u2018Respiro\u2019 adl\u0131 eserini tekrar nefeslendirme fikriyle do\u011fmu\u015f. Emre Baykal k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde haz\u0131rlanan sergi, Sarkis\u2019in Arter Koleksiyonu\u2019nda yer alan, 80\u2019lerden g\u00fcn\u00fcm\u00fcze uzanan zaman dilimine ait ba\u015fka eserlerini de kaps\u0131yor. Bahar temizli\u011finde t\u00fcm pencerelerin a\u00e7\u0131l\u0131p, hal\u0131lar\u0131n balkona serilip, t\u00fcm evin hava almas\u0131 gibi, bir koleksiyonun par\u00e7as\u0131 olarak korunan i\u015flerin de bazen nefes almas\u0131, izleyici ve farkl\u0131 eserlerle bir araya gelerek canlanmas\u0131, koleksiyon ve eserin \u00f6mr\u00fc i\u00e7in \u00f6nem ta\u015f\u0131yor.<\/p>\n

\"Sergiden<\/div>\n
Sergiden g\u00f6r\u00fcn\u00fcm; \u00f6n tarafta \u2018(Ar\u0131lara) \u00c7a\u011fr\u0131 I\u2019<\/span><\/em><\/div>\n

Sarkis\u2019in eserlerini bir araya getiren sergilerin birer organizma gibi i\u015fledi\u011fi s\u00f6ylenebilir. K\u00fcrat\u00f6r Emre Baykal\u2019\u0131n \u2018SONSUZ\u2019 sergisinin kalbi olarak tan\u0131mlad\u0131\u011f\u0131 \u2018(Ar\u0131lara) \u00c7a\u011fr\u0131 I\u2019 (2013) adl\u0131 eser, i\u00e7i bal pete\u011fiyle kapl\u0131, bak\u0131r bir haznenin \u00fczerinde y\u00fckselip al\u00e7alan bir zilden olu\u015fuyor. Sergi alan\u0131na ad\u0131m\u0131n\u0131z\u0131 att\u0131\u011f\u0131n\u0131z anda, sesin serginin \u00f6nemli bir par\u00e7as\u0131 oldu\u011funu hissediyorsunuz. Sabit bir ritimde, sessizce hareket eden bu zil, serginin geneline h\u00e2kim, di\u011fer eserlere ait Bach ve \u015eostakovi\u00e7 bestelerinin seslerinin \u00fcst \u00fcste geldi\u011fi ortamda, ahengi ve d\u00fczeni sa\u011flayan bir maestroyu and\u0131r\u0131yor.<\/p>\n

Serginin giri\u015findeki duvarda siyah parmak izleriyle olu\u015fturulmu\u015f bir daire ve \u00f6n\u00fcnde beyaz t\u00fcylerle kapl\u0131 bir tekerlekli sandalye bulunuyor. Serginin yap\u0131m\u0131nda eme\u011fi ge\u00e7en \u00e7al\u0131\u015fanlar\u0131n parmak izlerinden olu\u015fan \u2018\u0130s Siyah\u0131 Parmak \u0130zleri\u2019 adl\u0131 eser, yang\u0131n sonras\u0131 k\u00f6m\u00fcrle\u015fmi\u015f e\u015fyalara dokunan ellerin b\u0131rakt\u0131\u011f\u0131 izleri and\u0131r\u0131yor. Do\u011fal afetler, ac\u0131 kay\u0131plar, se\u00e7imlerin getirdi\u011fi gerginlik ve toplumsal kutupla\u015fmalar nedeniyle yang\u0131n yerine d\u00f6nm\u00fc\u015f bu \u00fclkede ya\u015farken de, nereye dokunsak ellerimiz ise bulan\u0131yor \u00e2deta.<\/p>\n

\u2018Respiro\u2019 adl\u0131 eserin bir taraf\u0131nda, yedi renkten olu\u015fan neon g\u00f6kku\u015fa\u011f\u0131 alt\u0131nda, \u00e7ocuklar\u0131n parmak izleriyle aynalar\u0131n \u00fcst\u00fcnde olu\u015fturulmu\u015f yedi adet renkli g\u00f6kta\u015f\u0131, sonsuz seyahatlerinden yery\u00fcz\u00fcne parl\u0131yor. \u00c7ocuklar\u0131n dokunmas\u0131yla, \u00fczerinde, zamansal bir k\u0131r\u0131lman\u0131n yans\u0131mas\u0131 gibi dalgalanmalar\u0131n oldu\u011fu g\u00f6kku\u015fa\u011f\u0131, de\u011fi\u015fime dair umut veriyor. Se\u00e7imlerden bir g\u00fcn \u00f6nce yazd\u0131\u011f\u0131m bu yaz\u0131 okunurken, umar\u0131m biz de, kirli ellerin \u00fcst\u00fcnden \u00e7ekilmesiyle, \u00e7ocuklar\u0131n hak etti\u011fi demokratik bir gelece\u011fe ad\u0131m atm\u0131\u015f oluruz.<\/p>\n

4 \u015eubat 2024\u2019e kadar s\u00fcrecek olan sergide yer alan di\u011fer eserler hakk\u0131nda bilgi almak isteyenlere Arter\u2019in rehberli turlar\u0131n\u0131 ve sesli rehberleri \u00f6neririm.<\/p>\n

https:\/\/www.agos.com.tr\/tr\/yazi\/28646\/sonsuza-seyahat\u00a0<\/strong><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Neslihan Koyuncu Bali \u00a0 60\u2019lardan g\u00fcn\u00fcm\u00fcze hi\u00e7 durmadan, incelikle \u00fcreten bir sanat\u00e7\u0131 olarak Sarkis, nice konuyu, insan\u0131, nesneyi, rengi, sesi, mek\u00e2n\u0131 birbirine dokudu; bir\u00e7ok ba\u015fka sanat\u00e7\u0131ya, m\u00fczisyene, besteciye, mimara referanslar\u0131yla dokundu. Sanat\u00e7\u0131ya g\u00f6re, ya\u015f\u0131ndan dolay\u0131 (85) bazen isimleri unutabilse de, \u00fcretti\u011fi her yap\u0131t, a\u00e7t\u0131\u011f\u0131 her sergi, belle\u011finde en ince detay\u0131na kadar, hi\u00e7 bozulmadan berrakl\u0131\u011f\u0131n\u0131 koruyor. […]<\/p>\n","protected":false},"author":7,"featured_media":74181,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-74180","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler"],"yoast_head":"\n\u2018Sonsuz\u2019a seyahat - 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=74180\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Sonsuz\u2019a seyahat - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Neslihan Koyuncu Bali \u00a0 60\u2019lardan g\u00fcn\u00fcm\u00fcze hi\u00e7 durmadan, incelikle \u00fcreten bir sanat\u00e7\u0131 olarak Sarkis, nice konuyu, insan\u0131, nesneyi, rengi, sesi, mek\u00e2n\u0131 birbirine dokudu; bir\u00e7ok ba\u015fka sanat\u00e7\u0131ya, m\u00fczisyene, besteciye, mimara referanslar\u0131yla dokundu. Sanat\u00e7\u0131ya g\u00f6re, ya\u015f\u0131ndan dolay\u0131 (85) bazen isimleri unutabilse de, \u00fcretti\u011fi her yap\u0131t, a\u00e7t\u0131\u011f\u0131 her sergi, belle\u011finde en ince detay\u0131na kadar, hi\u00e7 bozulmadan berrakl\u0131\u011f\u0131n\u0131 koruyor. 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Sanat\u00e7\u0131ya g\u00f6re, ya\u015f\u0131ndan dolay\u0131 (85) bazen isimleri unutabilse de, \u00fcretti\u011fi her yap\u0131t, a\u00e7t\u0131\u011f\u0131 her sergi, belle\u011finde en ince detay\u0131na kadar, hi\u00e7 bozulmadan berrakl\u0131\u011f\u0131n\u0131 koruyor. 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