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Bienalin bu y\u0131lki temas\u0131 olan \u201cDaha uzaklara\u201d bakmaya elbette hepimizin ihtiyac\u0131 var ama yak\u0131ndaki ses duyulmazsa \u201cuza\u011fa d\u00fc\u015fme\u201d ihtimali de bulunuyor. Hele ki Asena Hayal\u2019in \u201c[Mardin\u2019de] K\u00fcrt\u00e7e ve Arap\u00e7a m\u00fczik \u00e7ald\u0131\u011f\u0131m i\u00e7in bir markan\u0131n halkla ili\u015fkilerini yapan bir kad\u0131n taraf\u0131ndan sahneden indirildim\u201d a\u00e7\u0131klamas\u0131 g\u00f6z \u00f6n\u00fcne al\u0131n\u0131nca\u2026<\/strong><\/em><\/p>\n Serdar Korucu<\/strong><\/p>\n \u201cUlusal burjuvazi, Bat\u0131 burjuvazisini e\u011flendirmek i\u00e7in tatil beldeleri ve oyun alanlar\u0131 kurar. Bu faaliyetlere turizm ad\u0131 verilir ve tam da bu ama\u00e7la ulusal bir sanayi haline gelir.\u201d<\/em><\/p>\n Frantz Fanon<\/em><\/p>\n Mardin turistik bir \u015fehir. Veriler de bunu g\u00f6steriyor. T\u00fcrkiye\u2019nin en \u00e7ok ziyaret edilen, hem i\u00e7 turizmi hem d\u0131\u015f turizmi kendine \u00e7ekmeyi ba\u015faran nadir kentlerinden. U\u00e7aklarda yer bulmak, hele de bu mevsimde neredeyse imkans\u0131z.<\/p>\n Eski \u015fehre gelmeyi ba\u015faranlarsa ana caddedeki trafikle kar\u015f\u0131la\u015ft\u0131klar\u0131nda kendi metropollerini \u00f6zler hale geliyor. Fakat buna ra\u011fmen buraya gelmekten vazge\u00e7miyor, Mardin\u2019in her soka\u011f\u0131nda, her merdiven basama\u011f\u0131nda foto\u011fraf \u00e7ektiriyorlar. Ya da yerel lezzetleri tad\u0131yor, yanlar\u0131nda g\u00f6t\u00fcrmek i\u00e7in sat\u0131n al\u0131yorlar.<\/p>\n Mardin\u2019de en turistik hediyenin ne oldu\u011funu s\u00f6ylemek g\u00fc\u00e7 ama ilk kelime hi\u00e7 de\u011fi\u015fmiyor: S\u00fcryani. \u0130\u015fyeri sahipleri durdurup \u201cS\u00fcryani \u015farab\u0131 i\u00e7er misiniz?\u201d diye soruyor, bir ba\u015fkas\u0131 S\u00fcryani lik\u00f6r\u00fcn\u00fc \u00f6neriyor. Bir f\u0131r\u0131n\u0131n yan\u0131ndan ge\u00e7ti\u011finizde mutlaka ilk teklif \u201cS\u00fcryani \u00e7\u00f6re\u011fini tatt\u0131n\u0131z m\u0131?\u201d diye oluyor. Ayr\u0131ca S\u00fcryani nazar boncu\u011fu ve S\u00fcryani g\u00fcm\u00fc\u015fleri de vazge\u00e7ilmezlerden\u2026<\/p>\n Bu manzarayla ilk kez kar\u015f\u0131la\u015fan bir turist, kendini S\u00fcryani kimli\u011fiyle bar\u0131\u015f\u0131k bir yerde sanabilir. Ama ya\u015fanan bu kimlikle \u201cbar\u0131\u015fmak\u201d de\u011fil. S\u00fcryanice k\u0131l\u0131\u00e7 anlam\u0131na gelen \u201cSayfo\u201d yani soyk\u0131r\u0131m nedeniyle bug\u00fcn \u015fehirde say\u0131lar\u0131 \u00e7ok az kalan S\u00fcryani n\u00fcfus \u201cegzotikle\u015ftirildi.\u201d T\u0131pk\u0131 \u0130mroz\/G\u00f6k\u00e7eada\u2019da Rumlu\u011fun, Vak\u0131fl\u0131\u2019da Ermenili\u011fin s\u00f6m\u00fcr\u00fc d\u00fczeni i\u00e7inde \u201cegzotikle\u015ftirilmesi\u201d gibi\u2026<\/p>\n \u201cGelenek g\u00f6reneklere ve adetlere vurgu yapar, ama ac\u0131l\u0131 zoraki aray\u0131\u015f\u0131 baya\u011f\u0131 bir egzotiklik aray\u0131\u015f\u0131ndan ba\u015fka bir \u015fey olamaz. (\u2026) \u00c7i\u00e7ekli bubu elbisesi kutsal g\u00f6r\u00fcl\u00fcr ve Paris ya da \u0130talya\u2019dan gelen ayakkab\u0131lar yerini M\u00fcsl\u00fcman terli\u011fi babu\u015f\u2019lara b\u0131rak\u0131r.\u201d<\/em><\/p>\n Franz Fanon<\/em><\/p>\n S\u00fcryani kimli\u011finin Mardin\u2019in turizminin oda\u011f\u0131nda olmas\u0131, bug\u00fcnlerde \u201cKa\u011f\u0131t Kesi\u011fi\u201d isimli bir serginin afi\u015finin dalgaland\u0131\u011f\u0131 Mardin M\u00fczesi\u2019nin ger\u00e7ek sahiplerine yani S\u00fcryani Katolik cemaatine iadesini sa\u011flam\u0131yor, sa\u011flayam\u0131yor. Ve bu, Patrikhane binalar\u0131na kavu\u015fmak isteyen toplumda \u201cka\u011f\u0131t kesi\u011fi\u201dnden \u00e7ok \u00e7ok daha derin bir yara b\u0131rak\u0131yor. \u00dcstelik b\u00f6lgenin tek \u201ckesi\u011fi\u201d bu de\u011fil.<\/p>\n Mardin\u2019in merkezinde bir ki\u015fi, tam kar\u015f\u0131s\u0131na ald\u0131\u011f\u0131 bo\u015f bir taburenin kar\u015f\u0131s\u0131na oturuyor. Sokaktan gelen ge\u00e7eni durduruyor, oturtup konu\u015fmaya ba\u015fl\u0131yor ama k\u0131s\u0131k, \u00e7ok k\u0131s\u0131k bir sesle. Cevaplar\u0131 duyulmasa da kar\u015f\u0131s\u0131ndaki oturmay\u0131 s\u00fcrd\u00fcr\u00fcyor. Ona soru soruyor. D\u0131\u015far\u0131dan sohbet eder gibi g\u00f6r\u00fcnen ama ileti\u015fimin kesik, kopuk kald\u0131\u011f\u0131 bu sahne birka\u00e7 dakika sonra son buluyor.<\/p>\n Bu asl\u0131nda bir performans. Sokaktan gelen ge\u00e7eni ikna edip kar\u015f\u0131s\u0131na oturttuktan sonra \u201cileti\u015fim kesi\u011fiyle\u201d ileti\u015fim kuran ki\u015fiyse Adem Bulut. 6. Mardin Bienali\u2019ni ele\u015ftirmek i\u00e7in 9. Mardin Bienali adl\u0131 performans\u0131n\u0131, bienalin ana mekanlar\u0131ndan Alman Karargah\u0131\u2019n\u0131n \u00f6n\u00fcnde ger\u00e7ekle\u015ftiriyor, T\u00fcrk\u00e7e\u2019nin yan\u0131 s\u0131ra \u201cK\u00fcrt\u00e7e, Ermenice, Arap\u00e7a ve S\u00fcryanice gibi yerel dillere yer vermemesi\u201d nedeniyle\u2026 \u00dcstelik bu \u00e7abas\u0131nda yaln\u0131z da de\u011fil.<\/p>\n Fatih Tan yakla\u015f\u0131k bir y\u0131l \u00f6nceki makalesinde \u201cBana kal\u0131rsa ufak da olsa bu d\u00f6n\u00fc\u015f\u00fcm bir yerlerden ba\u015flamal\u0131d\u0131r. \u00d6rne\u011fin afi\u015f, bro\u015f\u00fcr, katalog vs. gibi materyallere \u201cK\u00fcrt\u00e7e\u201d eklenmelidir\u201d demi\u015fti.<\/p>\n Enver Basravi ise 6. Mardin Bienali\u2019nin ba\u015f\u0131ndan itibaren T\u00fcrk\u00e7e, K\u00fcrt\u00e7e, \u0130ngilizce ve Arap\u00e7a, \u00e7okdilli afi\u015flerini as\u0131yor duvarlara. Bunlar resmi olmayan afi\u015fler. Ve bienalin a\u00e7\u0131l\u0131\u015f g\u00fcn\u00fcnde, o da Alman Karargah\u0131\u2019nda elindeki bro\u015f\u00fcrleri kat\u0131l\u0131mc\u0131lara da\u011f\u0131t\u0131yordu. Bu performans\u0131, bu kar\u015f\u0131 duru\u015fu Naz\u0131m Dikba\u015f\u2019\u0131n da dedi\u011fi gibi \u201czarif bir m\u00fcdahale\u201d.<\/p>\n Zaten Adem Bulut\u2019un da Fatih Tan\u2019\u0131n da Enver Basravi\u2019nin de iste\u011fi Mardin\u2019deki bienalin sona ermesi de\u011fil. Bulut ve Basravi\u2019nin \u00e7abas\u0131 sadece anadilleri olan K\u00fcrt\u00e7e\u2019nin de\u011fil, Mardin\u2019in di\u011fer dillerinin de kullan\u0131lmas\u0131 ve b\u00f6ylece bienalin Mardinlilerle daha da birle\u015fmesi, b\u00fct\u00fcnle\u015fmesine dair. Bu kapsamda bir ba\u015fka \u00e7aba daha var: \u201cHangi Sergi Nerede?\u201d platformu. Platform, \u201cYerelde ya\u015fayan ve a\u011f\u0131rl\u0131kl\u0131 olarak gen\u00e7 sanat\u00e7\u0131lar taraf\u0131ndan d\u00fczenlenen m\u00fcstakil sergileri\u201d \u00f6ne \u00e7\u0131karmaya, \u201cparalel sergileri duyurmaya, izleyiciyle bulu\u015fturmaya\u201d \u00e7al\u0131\u015f\u0131yor.<\/p>\n G\u00f6r\u00fcn\u00fcrl\u00fck a\u00e7\u0131s\u0131ndan da ba\u015far\u0131l\u0131 oluyor. Platformdakiler burada bir parantez a\u00e7\u0131p Mardin Bienali\u2019nin direkt\u00f6r\u00fc D\u00f6ne Otyam\u2019\u0131n bu sene ba\u011f\u0131ms\u0131z sergilere verdi\u011fi deste\u011fin alt\u0131n\u0131 \u00e7iziyor. \u201cHangi Sergi Nerede?\u201dnin payla\u015f\u0131mlar\u0131n\u0131 Otyam\u2019\u0131n da sosyal medyadan duyurdu\u011funu belirtiyorlar. Bu bulu\u015fmalar, kavu\u015fmalar \u00f6nemli. Bienalin kopuk olmamas\u0131 i\u00e7in elzem. T\u0131pk\u0131 a\u00e7\u0131l\u0131\u015f\u0131na K\u00fcrt hareketinin ad\u0131n\u0131 tarihe yazd\u0131rm\u0131\u015f isimlerinden Ahmet T\u00fcrk\u2019\u00fcn de kat\u0131lmas\u0131, bizzat D\u00f6ne Otyam taraf\u0131ndan kendisinin kar\u015f\u0131lanmas\u0131 ve bu s\u0131rada b\u00fcy\u00fck bir heyecan dalgas\u0131 yaratmas\u0131 gibi\u2026<\/p>\n Bienalin bu y\u0131lki temas\u0131 olan \u201cDaha uzaklara\u201d bakmaya elbette hepimizin ihtiyac\u0131 var ama yak\u0131ndaki ses duyulmazsa \u201cuza\u011fa d\u00fc\u015fme\u201d ihtimali de bulunuyor. Hele ki Asena Hayal\u2019in \u201c[Mardin\u2019de] K\u00fcrt\u00e7e ve Arap\u00e7a m\u00fczik \u00e7ald\u0131\u011f\u0131m i\u00e7in bir markan\u0131n halkla ili\u015fkilerini yapan bir kad\u0131n taraf\u0131ndan sahneden indirildim\u201d a\u00e7\u0131klamas\u0131 g\u00f6z \u00f6n\u00fcne al\u0131n\u0131nca\u2026<\/p>\n Ya\u015fananlara, ge\u00e7en bienalin \u00f6nde \u00e7\u0131kan i\u015flerinden biri olan, Diyarbak\u0131r Cezaevi\u2019nde kald\u0131\u011f\u0131 \u00fc\u00e7 y\u0131l boyunca, kad\u0131n arkada\u015flar\u0131n\u0131n sa\u00e7lar\u0131n\u0131 toplay\u0131p \u00f6rerek iplerini olu\u015fturdu\u011fu \u201cKad\u0131nlar i\u00e7in G\u00fcvenlik A\u011f\u0131\u201d \u00e7al\u0131\u015fmas\u0131yla kat\u0131lan Fato\u015f \u0130rwen\u2019in \u201cMardin Bienali, K\u00fcrt\u00e7eyi d\u0131\u015flayarak ve T\u00fcrk elitlerini getirerek kendi kolonyal g\u00fcc\u00fcn\u00fc topraklar\u0131m\u0131zda kutluyor\u201d s\u00f6zlerini payla\u015ft\u0131\u011f\u0131n\u0131 da not etmek gerek. Halbuki \u00e7ok de\u011fil, 2018 y\u0131l\u0131nda Zeynep Okyay, Sanatatak\u2019taki yaz\u0131s\u0131nda \u015f\u00f6yle diyordu: \u201cMardin\u2019de bienal a\u00e7\u0131l\u0131\u015f\u0131ndan iki g\u00fcn \u00f6nce restoranday\u0131z, canl\u0131 m\u00fczik T\u00fcrk\u00e7e, Arap\u00e7a ve K\u00fcrt\u00e7e olarak devam ediyor. Yan\u0131mda oturan ki\u015fi soruyor: Neden Arap\u00e7a \u015fark\u0131 s\u00f6yl\u00fcyor ki? Hangi dilde s\u00f6ylemesini isterdin diye soruyorum, cevab\u0131 \u201cT\u00fcrk\u00e7e\u201d oluyor. Bulundu\u011fu co\u011frafyadan bu kadar kopuk bir s\u00f6ylem daha var m\u0131d\u0131r?\u201d<\/p>\n 14 y\u0131l \u00f6nce do\u011fan ve bin bir emekle b\u00fcy\u00fcyerek art\u0131k uluslararas\u0131 alanda da kabul g\u00f6ren bienalin her daim Mardin\u2019den, Mardinlilerden kopuk olmama sorumlulu\u011fu var. Varl\u0131\u011f\u0131n\u0131n \u015fu aralar \u015fehirdeki Sak\u0131p Sabanc\u0131 Mardin Kent M\u00fczesi\u2019nde sergilenen Halil Alt\u0131ndere\u2019nin \u201cStar Wars Mardin\u2019de\u201d i\u015finin g\u00f6rselle\u015ftirdi\u011fi gibi i\u015fgal topraklar\u0131nda bir g\u00f6steriye d\u00f6nmemesi i\u00e7in\u2026<\/p>\n (SK\/EMK)<\/p>\n\n