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Garanti BBVA taraf\u0131ndan kurulan Salt\u2019\u0131n yeni sergisi \u00dc\u00e7 \u0130\u00e7 Denizin \u00dclkesi, k\u0131rk y\u0131l\u0131 a\u015fk\u0131n s\u00fcredir kararl\u0131 bi\u00e7imde arkeoloji, tarih ve do\u011fa oda\u011f\u0131nda \u00fcreten sanat\u00e7\u0131 Handan B\u00f6r\u00fcte\u00e7ene\u2019nin bug\u00fcne kadar d\u00fczenlenen en kapsaml\u0131 sergisi olarak kabul ediliyor. \u0130smi, sanat\u00e7\u0131n\u0131n ta\u015f\u0131 topra\u011f\u0131 ve mavilikleri kadar k\u00fclt\u00fcr miras\u0131 ile mitlerinden ilham ald\u0131\u011f\u0131 bir co\u011frafyaya, Anadolu ve Trakya\u2019y\u0131 i\u015faret ediyor. Salt Beyo\u011flu\u2019nda g\u00f6r\u00fclebilecek sergi, sanat\u00e7\u0131n\u0131n mezuniyet projesi i\u00e7in yapt\u0131\u011f\u0131 erken d\u00f6nem i\u015flerinden \u00f6d\u00fcll\u00fc enstalasyonu K\u0131r\/ G\u00f6r\u2019e (1985), 1987\u2019de Urart Sanat Galerisi\u2019nde g\u00f6sterdi\u011fi terracotta serilerinden \u0130stanbul\u2019un kamuya a\u00e7\u0131k mek\u00e2nlar\u0131na yerle\u015ftirilen b\u00fcy\u00fck \u00f6l\u00e7ekli heykellerine bir\u00e7ok eseri g\u00fcndeme getiriyor. Bellek yitimine meydan okuyan bir sanat prati\u011finin izini s\u00fcren sergi, B\u00f6r\u00fcte\u00e7ene\u2019nin tutkular\u0131n\u0131, i\u015fledi\u011fi temalar\u0131, pe\u015fini \u0131srarla b\u0131rakmad\u0131\u011f\u0131 meseleleri ve \u00fcretimindeki yeni a\u00e7\u0131l\u0131mlar\u0131 b\u00fct\u00fcnl\u00fckl\u00fc \u015fekilde ke\u015ffetmeye olanak veriyor. \u0130stanbul Devlet G\u00fczel Sanatlar Akademisi\u2019nde Seramik b\u00f6l\u00fcm\u00fcnde okuyan B\u00f6r\u00fcte\u00e7ene Arykanda Antik Kenti\u2019ndeki ilk kaz\u0131 deneyimi, akademi \u00f6\u011freniminin son d\u00f6nemine denk gelir. \u0130lk ki\u015fisel sergisini Paris\u2019te a\u00e7ar, bir yandan da \u0130stanbul\u2019da d\u00fczenlenen \u00f6nemlisergilere kat\u0131lmay\u0131 s\u00fcrd\u00fcr\u00fcr. Akademi\u2019nin \u0130stanbul Sanat Bayram\u0131 kapsam\u0131ndaki 5. Yeni E\u011filimler<\/p>\n
Sergisi\u2019ne (1985) K\u0131r\/G\u00f6r enstalasyonuyla kat\u0131l\u0131r. Hac\u0131lar ve \u00c7atalh\u00f6y\u00fck\u2019teki Neolitik konutlar\u0131 \u00f6rnek alarak kerpi\u00e7 bir yap\u0131 in\u015fa eder. \u0130\u00e7ini teknolojik aletlerden gazete, banknot ve t\u00fcrl\u00fc g\u00fcndelik nesneye d\u00f6nemin kutsallar\u0131yla donat\u0131r ve izleyiciyi \u00e7ivi yaz\u0131l\u0131 tabletleri k\u0131rmaya davet eder. T\u00fcrkiye g\u00fcncel sanat anlat\u0131s\u0131nda hat\u0131rl\u0131 bir yer edinen i\u015f, 1980\u2019lerin k\u00fclt\u00fcrel deneyimlerine paralel olarak tahribatlarla alt\u00fcst olan \u015fehir manzaras\u0131n\u0131 irdelerken B\u00f6r\u00fcte\u00e7ene\u2019nin sanat \u00fcretiminin iki ana damar\u0131n\u0131 ve sarmal ili\u015fkilerini ortaya koyar:<\/p>\n
K\u00fclt\u00fcrler, \u00e7a\u011flar, t\u00fcrler, insanlar aras\u0131 ileti\u015fim ile bu ileti\u015fimden do\u011fan bilgiyi i\u00e7eren \u201cyery\u00fcz\u00fcn\u00fcn belle\u011fi\u201d. Sanat\u00e7\u0131 Mutfak Ordusu (1984), \u00dct\u00fcc\u00fcler (1985), K\u0131rma\/G\u00f6r (1985-1987) ve Kitle \u0130leti\u015fimsizlik Ara\u00e7lar\u0131 vs vs zzzz\u2026.b\u0131zzzz (1987) gibi i\u015flerinde ge\u00e7mi\u015f, \u015fimdi ve gelece\u011fi ili\u015fkilendirmek \u00fczere Neolitik \u00e7a\u011fdan g\u00fcn\u00fcm\u00fcze biriken imge, nesne, metin ve formlar\u0131 kullan\u0131r. Yery\u00fcz\u00fcn\u00fcn Belle\u011fi (1995) serisinde k\u00fclt\u00fcrel devaml\u0131l\u0131\u011f\u0131 Hititler devrinden beri varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcren Anadolu floras\u0131 \u00fczerinden ele al\u0131r: Hattu\u015fa (Bo\u011fazk\u00f6y) Tabletlerindeki bilgiler do\u011frultusunda K\u0131z\u0131l\u0131rmak yay\u0131 i\u00e7inden toplad\u0131\u011f\u0131 t\u00fcrl\u00fc ot ile tohumun Troya ve Aiolis b\u00f6lgelerinden gelen toprakla i\u00e7 i\u00e7e ge\u00e7ti\u011fi g\u00f6rkemli \u201cbellek kasalar\u0131\u201d \u00fcretir.<\/p>\n
Sanat\u00e7\u0131 y\u0131llar boyu \u0130stanbul, Paris ve Ka\u015f \u00fc\u00e7geninde bir konarg\u00f6\u00e7er olmay\u0131 s\u00fcrd\u00fcr\u00fcr. Bu yer de\u011fi\u015ftirmeler zaman i\u00e7erisinde i\u015fleriyle aras\u0131nda, d\u00fc\u015f\u00fcnsel olmasa da fiziksel bir mesafe yarat\u0131r. Y\u0131llar \u00f6nce koleksiyonlara giren ya da arkada\u015flar\u0131na arma\u011fan etti\u011fi bir grup i\u015f kaybolur, izi bulunamaz veya t\u00fcrl\u00fc sebeple tahrip olur; \u0130stanbul\u2019un a\u00e7\u0131k alanlar\u0131ndaki heykelleri, mek\u00e2nlar\u0131n kullan\u0131mlar\u0131 farkl\u0131la\u015ft\u0131k\u00e7a ama\u00e7lar\u0131ndan uzakla\u015f\u0131r ya da kaderine terk edilir. Kayd\u0131 tutulmam\u0131\u015f, g\u00f6zden \u0131rak kalm\u0131\u015f ve kay\u0131p i\u015flere vurgu yapan sergi, T\u00fcrkiye\u2019deki k\u00fclt\u00fcr miras\u0131 ve sanat eserlerine y\u00f6nelik ihmalk\u00e2r tavra da dikkat \u00e7eker. Salt\u2019tan Amira Akb\u0131y\u0131ko\u011flu taraf\u0131ndan programlanan \u00dc\u00e7 \u0130\u00e7 Denizin \u00dclkesi, 14 Nisan 2024 tarihine kadar Salt Beyo\u011flu\u2019nda \u00fccretsiz g\u00f6r\u00fclebilecek.<\/p>\n<\/p><\/div>\n