Light Art Biennial contemporary art design architecture

4. BERLIN… Berlin is a city with serious contemporary art. There seems to be so many new and exciting projects kicking off in Berlin, with many international artists flocking to the city. Its history involving the former Berlin Wall, is one of the city’s artistic highlights. The art on the wall section is protected and called the East Side Gallery. It is one of the largest open air galleries in the world and shows some iconic works of art. Berlin also hosts the Festival of Lights, bringing together, art, sculpture, lighting and architecture. I think Berlin is set to become a really prominent place for contemporary art. There is not a great deal of traditional or classical art in the city, so if that is your thing just be aware you WILL find yourself staring at white walls and predominantly stark, modernist exhibitions. Germany is the home of Bauhaus after all and that sharp, futurist work is what they seem to do best.

Manfred Kielnhofer (kielnhofer.at) Ivo Gretner (ivogretener.net) Michael Sailstorfer (sailstorfer.de) Katharina Grosse (katharinagrosse.com)
Bruderkuss – Dmitri Vrubel – East Side Gallery
http://urbantimes.co/magazine/2013/12/european-capital-of-culture-art/

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Burroughs René Daniëls Inka Essenhigh Isabell Heimerdinger Yang Shaobin Tony Smith Alessandro Pessoli Valery Koshlyakov Mike Parr Jean-Jacques Lebel Henry Darger Philippe Cognée Richard Kern Dirk Braeckman Harrell Fletcher Ursula Mayer Charlie White Maria Loboda Liz Larner Elodie Pong Kay Rosen Erik Bulatov Nigel Cooke Johannes Itten Pauline Boudry & Renate Lorenz Adi Nes William Cordova Sylvia Plimack Mangold Heribert C. Ottersbach Jota Castro Lyubov Popova Lisl Ponger Richard Aldrich Janice Kerbel Destiny Deacon Dorothy Iannone Juan Downey Stephen Vitiello Angela de la Cruz Martin Disler Michael Morgner Saskia Olde Wolbers Sophie Ristelhueber Pavel Büchler Robert F. Heinecken Lisa Ruyter Ricky Swallow Henning Bohl Daan van Golden Mrzyk & Moriceau Christiane Baumgartner Enrico Baj K.O. 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Festival of Lights Berlin, Guardians of Time / Wächter der Zeit by Manfred Kielnhofer 2013

The most famous faceless sculptures
Mourners
Muriel Castanis
Charles Albert Szukalski
Anna Chromy
Kader Attia
Manfred Kielnhofer

Festival of Lights Berlin Guardians of Time / Wächter der Zeit Manfred Kielnhofer 2013
Photography: Britta Pedersen

Winterleuchten in Dortmund, Westfalenpark
07.12.2013 – 12.01.2014
Florianstr. 1, 44137 Dortmund

Abends wird es wieder hell im Westfalenpark

Das Winterleuchten naht: Ab dem 7. Dezember wird der Westfalenpark wieder täglich ab 17 Uhr zum Lichtermeer. Es ist zwar noch ein paar Wochen hin, aber die Besucher können sich schon auf neue Illuminationsideen von Lichtkünstler Wolfgang Flammersfeld (F&H Event Company) freuen. Erstmals präsentiert Flammersfeld neben eigenen Lichtinszenierungen auch Werke eines weiteren innovativen Künstlers.

Die letzten acht Jahre haben gezeigt: Der Westfalenpark bietet eine abwechslungsreiche Kulisse für eine großflächige Illumination aus Lichtern, Projektionen, LEDs und Leuchtfasern. Diesmal ergänzen Skulpturen des österreichischen Künstlers Manfred Kielnhofer die Lichtinszenierung. Seine „Guardians“ sind aus Kunststoff gegossene Gewänder, die dem Betrachter als mönchsartige Figuren erscheinen. „Es ist faszinierend, wie ausdrucksstark und mystisch diese mannshohen beleuchteten Kunstwerke wirken“, ist Wolfgang Flammersfeld von seinen österreichischen „Neuzugängen“ begeistert. Vor kurzem standen die „Guardians“ noch bei den Stadtlichtern in Unna und bei der Biennnale in Venedig.

Ein spektakulärer Programmhöhepunkt ist natürlich wieder das Höhenfeuerwerk am 11.19 Januar 2014. Beim Winterleuchten-Feuerwerk werden neuste Effekte gezeigt. Ruhige Bilder und Musik wechseln sich mit Power-Sequenzen ab. So erzeugen die unterschiedlichen Feuerwerkskörper eine mitreißende Dynamik und ein Wechselspiel der Emotionen – und beim Zuschauer Gänsehaut-Feeling.

Die wichtigsten Infos auf einen Blick

Winterleuchten: 7.12.13-12.1.14; So-Do 17-20 Uhr, Fr-Sa 17-22 Uhr, Heiligabend geschlossen

Jeden Tag: 17 Uhr Kindermärchen, 20 Uhr Märchen für Erwachsene

Eintritt: 7.12.13-12.01.14: 5 € Erwachsene, 1,5 € Kinder von 7-12 Jahren, Kinder bis 6 Jahre Eintritt frei; freier Eintritt für Jahreskarteninhaber (außer Sonderveranstaltungen und 11.1.14).

Eintritt Feuerwerk: 11.1.14: 8 € ab 12 Jahre, 2 € Kinder von 7-12 Jahren, Kinder bis 6 Jahre Eintritt frei

Mehr Infos: F&H Event Company, Telefon: 02303 – 86 381, www.facebook.com/worldoflightseu — in Dortmund.
http://world-of-lights.eu
http://kielnhofer.com

Estimated Price:  €1,800

Description: Kielnhofer, Manfred – Wächter der Zeit – (Haslach/Österreich 1967 geb., lebt in Linz) Ein im Schneidersitz hockender Wächter der Zeit mit faltenreich fallendem Umhang. Kunststoffguss, grau und grün patiniert. Rücks. handsign. „Kielnhofer 2013″. 73 x 75 x 83 cm. – Die „timeguards” – „Wächter der Zeit” stehen an der Spitze einer langen Entwicklung und Auseinandersetzung Kielnhofers mit Raumkonzepten, Skulpturen und Installationen sowie Beschäftigung mit Mystik und Urreligionen. 2006 entstand die erste großformatige Figur dieser Serie, ein stehender, in sich gekehrter Mönch. Seine „Wächter” lässt Kielnhofer gerne an spannenden Schauplätzen wie in alten Burganlagen oder vor Klöstern erscheinen, von wo aus sie uns beobachten. Der Künstler ist vertreten bei zahlreichen internationalen Kunstausstellungen, u.a. auf der Art Basel oder der Documenta (13) in Kassel.

Auction House
by Auktionshaus Schlosser
Auction Title
62nd Auction of Fine Art & Antiques
Auction Date
November 23, 2013, 11:00 AM CET
Location
Karolinenstraße 11
Bamberg, 96049 Germany
Phone: (+49) 0951-20850-0
http://www.kunstauktionshaus-schlosser.de/
http://kielnhofer.com
http://timeguards.com

The christmas auction starts at December 7th.
http://www.ginhart.de/auktionen.html
http://kielnhofer.com
http://kunstgiesserei-krismer.at

Sensationelle Eröffnung der WIKAM
Kunst und Antiquitätenmesse Wien 8-17. Nov. 2013
im Palais Ferstel und Palais Niederösterreich
Galerie Kunst und Handel Graz Wien Gerhard Sommer
Wächter der Zeit Manfred Kielnhofer
http://wikam.at/?content=gardenofdreams.htm
http://kunstundhandel.com
http://kielnhofer.com

Toplumsal Sanat ve Güncel Dinamikleri İstanbul bir Laboratuvar mı? Hasan Bülent Kahraman 20. yüzyıldan 21. yüzyıla geçiş sadece zamansal bir sürekliliğe işaret etmiyor ve bir doğallıkla gerçekleşmiyordu. Zamanın kendi sürekliliği doğal olarak bizi 21. yüzyıla taşıyacaktı. Kaldı ki, 21. yüzyıl aynı zamanda Batı metafiziğinde çok önemli bir yeri olan “bin yıl” kavramına da açılıyordu. İnsan ilişkileri doğallığın kültürel bir platformda ve zihinsel çabalarla dönüştürülmesine dayandığından ve bütün insanlık çabası o doğallığı bu düzlemlerde aşmak, hatta dizginlemek olduğundan 20. yüzyıl yerini 21. yüzyıla çok derin bir düşünsel kırılmanın eşiğinde bıraktı. 21. yüzyıla girilirken en önemli olgu modernite düşüncesinin aldığı büyük eleştiri ve yaşadığı büyük parçalanmaydı. Bir manada insanlığı homojenleştirme olarak geliştirilmiş ve Batı metafiziğinin “dışarıdaki” toplumlara yerleştirilmesi olarak özetlenebilecek bu modernleşme anlayışını, her ulus 20. yüzyıl boyunca belki farklı yöntemlerle kabul etti ama sonuç aynıydı: devlet öncelikli ve devlet önderliğinde sistematik bir dönüşüm. Bu dönüşüm iki büyük taşıyıcı üstüne oturacaktı: geçmişin, gerekirse bütün kültürel bagajla birlikte reddi ve öznenin yani insan tekinin devletin güdümü doğrultusunda yeniden kurgulanması. Öznenin ortadan kaldırılması olarak da adlandırılabilecek bu metot büyük totaliter rejimlerin çıkmasını doğallaştırıyordu. 20. yüzyıl o rejimler tarafından ortadan kaldırılmış milyonlarca insan demektir. 21. yüzyıla evrilirken ilk itiraz bu sistematiği kuran radikal rasyonalitenin hegemonyasına yönelikti. Çünkü, Weber sonrasında devlet ve organon’u olan bürokrasi rasyonalitenin temerküz noktasıydı. Descartesçı radikal rasyonalite son kertede insan bilincinin, gene insan bilincine tutsak edilmesiydi. Doğayı kontrol aracı olarak öne çıkan bilim bu anlayışta bireyin öznelliğine yer bırakmayan bir üst kategoriye dönüşmüştü. Öznenin yeniden ortaya çıkması ve kendisinde saklı olan değerler bütününü öne almak istemesi bir kimlik problemidir. Buna elbette hafıza ve mekan politikaları eklenebilir. “Bugünde hatırlamak” olan Proustgil hafıza ve onun işlemesine olanak sağlayan tesadüfler, kendiliğindenlikler, yeni anlayışta çok seçmeci ve çok bilinçli bir anımsama politikasıyla terk ediliyordu. Artık Bergsoncu bir zaman bütünlüğüne de gerek yoktu. Özne kendi varlığını kendi iradesiyle kuracak kişiydi yeni algı içinde. Böyle bir kabul sadece devlet kavramının hızla geri itilmesine yol açmakla kalmadı. Publicum yani toplumsallık (Türkçedeki yanlış çevirisiyle ‘kamusallık’) olgusunu da yeniden öne itti. Bu yenilenme daha önceki anlayışta tek olan toplum/kamu kavramının yerini toplumlar kavramına bırakmasıyla başlar. toplumlar dediğimiz şeye topluluklar (communities) demek de mümkündür. Topluluklar bir kere ortaya çıktı mı ilk elde mekan politikaları değişecekti. Mekanın homojen ve üniform insanı barındıran dikey derinliği şimdi yerini farklılıkların bir arada bulunması anlamına gelen bir yatay genişliğe bırakacaktı. Dar bir alanda birbiriyle çatışmayan ama birbiriyle “sürtünen”, öylelikle de etkileşen farklılıkların bir arada bulunması toplumsal alanın yeni formlarını meydana getiriyor şimdi. Buna mukabil toplumsalın oluştuğu mekan artık sadece topolojik, doğrudan doğruya “yere”/zemine ait bir olgu değil. 21. yüzyıl hiç beklemediği bir şekilde kendisini elektronik medyanın sağladığı yeniliklerle birlikte neredeyse ürküntü veren bir sanallık içinde buldu. Plato’nun “tiyatrosallık” bağlamında, son diyaloğu Nomo’ide şiddetle eleştirdiği “güruh” şimdi sadece amfitiyatroda veya agora’da değil. Her yerde. Sadece tiyatroya gidenler arasında değil iletişim ve ortak düşünce oluşturma yetisi. Her yerde. Üstelik üretilen artık “ortak düşünce” değil “ortak olmayan” düşüncelerdir. Böyle bir yapı içinde sanat ne ifade eder? Sorunun cevabı iki noktada gizli. Birincisi, bu stadium demokrasiyle ilgili bir meseledir. Çoğulcu, farklılıklara dayalı, karşılıklı etkileşimlerden beslenen bir demokrasi 21. yüzyılın ütopyası değil realitesidir. İkincisi, eğer böyle bir demokratik durumdan söz açılabiliyorsa, o takdirde, sanat- toplumsallık ilişkisi de yeni bir evreye geçecektir. Sanat-toplumsallık ilişkisinin yeni evresi sanatın görünürlüğünü kaçınılmazlaştırıyor. Kendisi çoğulcu, kendi içinde farklılığa dayalı bir üretim olan sanat, bu özellikleriyle, yeni toplumsallığın nirengi noktasıdır. Yeni toplumsallık kendi kendine, doğal bir şekilde gelişemez. İki önemli hiza ve istikamet aracına ihtiyaç duyar. Zihinsel üretim ve ona bağlı düzeltmeler, yol göstermelerle sanatsal ifadenin saptayıcı gücü. Yani, yeni demokrasi her aşamada demokratik kuram ve düşünceden bazı esinler almak zorundadır. Aynı şekilde sanatın dinamik ve sürekli değişen dokusu statik olmayan bir demokratik platformun oluşması bakımından zaruridir. Böyle bir arayışın yeni kentsel doku içinde can bulması başlı başına bir konu olacaktır. Yeni ve küresel sermaye yeni kentler inşa ediyor. Sermayenin iç hareketini sağlayacak, akışkanlığını sürekli kılacak bir yeni kentsel dokudur bu. Yeni kentin en önemli özelliği mutenalaşmasıdır. Bu bir tercih değil yeni sermaye bakımından ihtiyaçtır. Çünkü, yeni kent aynı zamanda belli bir estetik görselliğin realizasyonudur. Mutenalaşmanın yeni sanatsal kurumlar üstünden yapılması akıllıca bir iştir. Yeni müzelerin, yeni sanat kurumlarının, galerilerin meydana getirdiği alanların ürettiği rant planlı ve sistematik bir uygulamadır. Bu sanatın kentsel zeminde yeni bir dolaşım politikası yaratmasına tekabül ediyor. Daha üst sınıfların ve daha güçlü sermaye kesiminin beklentilerine yanıt veren bu sanat her şeye rağmen kendisine ait bir eleştirel, toplumsal kimliğe sahiptir. Ama ondan daha önemlisi sanatın geniş toplumsallıklarla ilişki kurmasıdır. Asıl eleştirel güç o sanattın elinde olacaktır. Bu özelliği taşıyan sanatın kendisi bir direniş alanıdır. Böylesi bir özelliğiyle sanat ve toplumsallık ilişkisinin muhalefet ve direniş olarak belireceği muhakkak. “Gerçek” bir demokrasi de muhalefet ve direniş olanağı sağladığı ölçüde hakikattir. Bu bakımdan sanatın toplumsallıkla/kamusallıkla ilişkisi bugün her zamankinden daha ziyade bir ihtiyaç, bir zaruret ve bir beklentidir. Yeni metropol özelliklerini her bakımdan taşıyan İstanbul bu açıdan önemli bir laboratuvar bugün. Bir yandan çektiği sermaye, diğer yandan yaşadığı dönüşüm, nihayet bunlarla eklemlenmiş sanatsal etkinlik ve üretim İstanbul’u ayrı bir gözle bakılması gereken bir odağa dönüştürüyor. Sermaye siyaset ilişkilerinin şimdi sermaye-sanat ilişkilerine dönüştüğü bir evreye tanıklık ettiğimiz muhakkak. Ama asıl soru yaşadığı soylulaşma içinde İstanbul’un kentsel mekan olarak ne ölçüde sanatsal söyleme yer vereceğidir. Küresel bir mimarlık dilinin öne çıktığı büyük dönüşüm alanlarından arta kalan toplumsal zeminde mi bu sanat bir direniş platformu oluşturacaktır; yoksa bizatihi o “yeni” mekanlar da çoğulcu, değişken, tahrik eden bir sanata kapı aralayacak mıdır? Hiçbir biçimde, bugün dahi, toplumsal sanat diline ve gerçeğine yakın durmamış, onu tanımamış bir kent, küreselleşirken bu soruları cevapladığı oranda karakterini tayin edecektir.
Hasan Bülent Kahraman
http://icemagazine.contemporaryistanbul.com/files/document/ice-10-arsiv-k_69470.pdf
http://contemporaryistanbul.com
http://kundtundhandel.com
http://licht-christoph.at
http://kielnhofer.com

Contemporary Istanbul art fair
ice magazine Social Art and Its Contemporary Dynamics
Is Istanbul a Laboratory
Guardians of Time by Manfred Kielnhofer

Social Art and
Its Contemporary Dynamics
Is Istanbul a Laboratory?
Hasan Bülent Kahraman

The transition from the twentieth to twenty-first century did not only refer to a temporal continuity and it wasn’t happening by nature. Continuity of time was going to bring us to the twenty-first century anyway. On the other hand, the twenty-first century was also bringing us to the concept of “millennium,” which had an importance in Western metaphysics. Since human relationships are based on transforming nature on a cultural platform through intellectual effort, and humanity struggles to overcome and restrain the nature on these levels, the twentieth century gives way to the twenty-first century on the verge to a profound intellectual break. During the transition to the twenty-first century, the most important issue was the great criticism against the idea of modernity and the grand split it undergoes. During the twentieth century, using different methods, all nations agreed on the notion of modernization that was in some sense developed as the homogenization of humanity and can be summarized as installing Western metaphysics into ‘outsider’ societies but the result was the same: a systematic formation that prioritizes and is led by the government. This transformation would be based on two big pillars: refusal of the past, along with the complete cultural baggage if necessary, and the reconstruction of the subjects, the human beings towards the guidance of the government. This method, which can be described as the abolition of the subject, made it natural for the great totalitarian regimes to appear. The twentieth century means millions of people abolished by those regimes. During the evolution towards the twenty-first century, the first protestations were against the hegemony of the radical rationality that had built this system. Because, post-Weber bureaucracy with a government and organon was the concentration point of rationality. In the end, the Cartesian radical rationality was the imprisonment of human consciousness in the human consciousness itself. With this appreciation, science as a tool to control nature had turned into a superior category that left no space for the subjectivity of the individual. The re-emergence of the subject, and its desire to bring forward the sum of values hidden inside it is a problem of identity. Of course, politics of memory and space can be added to that. The Proust-esque memory as ‘remembering today’ and the coincidences and spontaneities that makes it work was replaced by a remembering policy that offered multiple choices and multiple consciousnesses. A Bergsonian integrity of time was no longer needed either. Within this new appreciation, subjects were the individuals who would build their own existence with their own willpower.
Such an assent did not only drive back the notion of state, but it also brought forward the notion of publicum, the sense of community. This innovation begins with the replacement of the notion of society with societies. We can also call these communities. Once the communities emerged, spatial politics changed firstly. The vertical depth of the space that contained the homogeneous and uniform humans now was going to be replaced with a horizontal span that meant varieties living together. These varieties living together in a narrow area without conflicting but “rubbing” to each other created the new forms of social space. On the other hand the space the communities have been created is now only topological, it’s not a notion that directly belongs to the “ground.” The twenty-first century has unexpectedly found itself in an almost scary virtuality with the innovations electronic media has created. The “crowd” Plato heavily criticized in the context of “theatricality” in his last dialogue Nomo, is not only in the amphitheatre or agora anymore. It is everywhere. Furthermore, what’s produced now is not “common thoughts” anymore; it is the “uncommon” thoughts. What does art represent in this structure? The answer is hidden in two points. First, this stadium is a matter of democracy. A pluralist democracy that is based on varieties and nourished by interaction is not a utopia but a reality for the twenty-first century. Secondly, if we can talk about this kind of democracy, then the relationship between art and community will also turn into another phase. The new phase of the relationship between art and community makes the visibility of art inevitable. As a form of production that is pluralist and based on varieties, art is the reference point of this new sense of community. This new sense of community cannot evolve naturally by itself. It needs to important devices to align and direct. Intellectual production and its alignments and directions are the constative powers of artistic expression. The new democracy has to be inspired by democratic theory and though on every step. Similarly the dynamic and constantly changing texture of art is necessary for the formation of an astatic democratic platform. This pursuit emerging within the new urban texture is a matter in itself. The new global capital is building new cities. This is a new urban texture that allows the inner movement and liquidity of the capital. The most important aspect of the new city is that it is gentrified. This is not a choice but a need in terms of the new capital, because the new city is also the realization of a certain aesthetic visuality. Performing gentrification through new artistic institutions is a wise choice. The income produced by new museums, art spaces and galleries is a planned and systematic application. This means that art creates a new policy of circulation on the grounds of the city. This art that meets the expectations of upper classes still has its own critical, social identity. More importantly, art should interrelate with large communities. That kind of art will have the real critical power. That kind of art is a field of resistance itself. With this aspect, it is sure that the relationship between art and community will appear as opposition and resistance. A “real” democracy is only real as long as it gives the opportunity to oppose and resist. This is why the relationship between art and community is a necessity and expectation today, more than ever. Having the characteristics of a metropolis in any aspect, Istanbul is an important laboratory in this sense. The capital it attracts, the transformation it undergoes, and finally the artistic activity and production articulated to these turns Istanbul into a new focal point that needs to be observed in a new way. It is sure that we are witnessing a phase that the relations between capital and politics are turning into the relations between capital and art. But the real question is, within the gentrification it undergoes, how much place Istanbul will give to artistic discourse. Will this art form a platform of resistance in the social grounds that remains from the transformation areas with a global architectural language; or will those “new” areas actually open a door for the pluralist, variable, provocative art? A city, which has never been close to the language of social art in any way, even today, is going to determine its character as much as it answers these questions while it globalizes.

http://icemagazine.contemporaryistanbul.com/files/document/ice-10-arsiv-k_69470.pdf

http://contemporaryistanbul.com
http://kundtundhandel.com
http://licht-christoph.at
http://kielnhofer.com

Toplumsal Sanat ve Güncel Dinamikleri
İstanbul bir Laboratuvar mı?
Hasan Bülent Kahraman

20. yüzyıldan 21. yüzyıla geçiş sadece zamansal bir sürekliliğe işaret etmiyor ve bir doğallıkla gerçekleşmiyordu. Zamanın kendi sürekliliği doğal olarak bizi 21. yüzyıla taşıyacaktı. Kaldı ki, 21. yüzyıl aynı zamanda Batı metafiziğinde çok önemli bir yeri olan “bin yıl” kavramına da açılıyordu. İnsan ilişkileri doğallığın kültürel bir platformda ve zihinsel çabalarla dönüştürülmesine dayandığından ve bütün insanlık çabası o doğallığı bu düzlemlerde aşmak, hatta dizginlemek olduğundan 20. yüzyıl yerini 21. yüzyıla çok derin bir düşünsel kırılmanın eşiğinde bıraktı. 21. yüzyıla girilirken en önemli olgu modernite düşüncesinin aldığı büyük eleştiri ve yaşadığı büyük parçalanmaydı. Bir manada insanlığı homojenleştirme olarak geliştirilmiş ve Batı metafiziğinin “dışarıdaki” toplumlara yerleştirilmesi olarak özetlenebilecek bu modernleşme anlayışını, her ulus 20. yüzyıl boyunca belki farklı yöntemlerle kabul etti ama sonuç aynıydı: devlet öncelikli ve devlet önderliğinde sistematik bir dönüşüm. Bu dönüşüm iki büyük taşıyıcı üstüne oturacaktı: geçmişin, gerekirse bütün kültürel bagajla birlikte reddi ve öznenin yani insan tekinin devletin güdümü doğrultusunda yeniden kurgulanması. Öznenin ortadan kaldırılması olarak da adlandırılabilecek bu metot büyük totaliter rejimlerin çıkmasını doğallaştırıyordu. 20. yüzyıl o rejimler tarafından ortadan kaldırılmış milyonlarca insan demektir. 21. yüzyıla evrilirken ilk itiraz bu sistematiği kuran radikal rasyonalitenin hegemonyasına yönelikti. Çünkü, Weber sonrasında devlet ve organon’u olan bürokrasi rasyonalitenin temerküz noktasıydı. Descartesçı radikal rasyonalite son kertede insan bilincinin, gene insan bilincine tutsak edilmesiydi. Doğayı kontrol aracı olarak öne çıkan bilim bu anlayışta bireyin öznelliğine yer bırakmayan bir üst kategoriye dönüşmüştü. Öznenin yeniden ortaya çıkması ve kendisinde saklı olan değerler bütününü öne almak istemesi bir kimlik problemidir. Buna elbette hafıza ve mekan politikaları eklenebilir. “Bugünde hatırlamak” olan Proustgil hafıza ve onun işlemesine olanak sağlayan tesadüfler, kendiliğindenlikler, yeni anlayışta çok seçmeci ve çok bilinçli bir anımsama politikasıyla terk ediliyordu. Artık Bergsoncu bir zaman bütünlüğüne de gerek yoktu. Özne kendi varlığını kendi iradesiyle kuracak kişiydi yeni algı içinde. Böyle bir kabul sadece devlet kavramının hızla geri itilmesine yol açmakla kalmadı. Publicum yani toplumsallık (Türkçedeki yanlış çevirisiyle ‘kamusallık’) olgusunu da yeniden öne itti. Bu yenilenme daha önceki anlayışta tek olan toplum/kamu kavramının yerini toplumlar kavramına bırakmasıyla başlar. toplumlar dediğimiz şeye topluluklar (communities) demek de mümkündür. Topluluklar bir kere ortaya çıktı mı ilk elde mekan politikaları değişecekti. Mekanın homojen ve üniform insanı barındıran dikey derinliği şimdi yerini farklılıkların bir arada bulunması anlamına gelen bir yatay genişliğe bırakacaktı. Dar bir alanda birbiriyle çatışmayan ama birbiriyle “sürtünen”, öylelikle de etkileşen farklılıkların bir arada bulunması toplumsal alanın yeni formlarını meydana getiriyor şimdi. Buna mukabil toplumsalın oluştuğu mekan artık sadece topolojik, doğrudan doğruya “yere”/zemine ait bir olgu değil. 21. yüzyıl hiç beklemediği bir şekilde kendisini elektronik medyanın sağladığı yeniliklerle birlikte neredeyse ürküntü veren bir sanallık içinde buldu. Plato’nun “tiyatrosallık” bağlamında, son diyaloğu Nomo’ide şiddetle eleştirdiği “güruh” şimdi sadece amfitiyatroda veya agora’da değil. Her yerde. Sadece tiyatroya gidenler arasında değil iletişim ve ortak düşünce oluşturma yetisi. Her yerde. Üstelik üretilen artık “ortak düşünce” değil “ortak olmayan” düşüncelerdir. Böyle bir yapı içinde sanat ne ifade eder? Sorunun cevabı iki noktada gizli. Birincisi, bu stadium demokrasiyle ilgili bir meseledir. Çoğulcu, farklılıklara dayalı, karşılıklı etkileşimlerden beslenen bir demokrasi 21. yüzyılın ütopyası değil realitesidir. İkincisi, eğer böyle bir demokratik durumdan söz açılabiliyorsa, o takdirde, sanat- toplumsallık ilişkisi de yeni bir evreye geçecektir. Sanat-toplumsallık ilişkisinin yeni evresi sanatın görünürlüğünü kaçınılmazlaştırıyor. Kendisi çoğulcu, kendi içinde farklılığa dayalı bir üretim olan sanat, bu özellikleriyle, yeni toplumsallığın nirengi noktasıdır. Yeni toplumsallık kendi kendine, doğal bir şekilde gelişemez. İki önemli hiza ve istikamet aracına ihtiyaç duyar. Zihinsel üretim ve ona bağlı düzeltmeler, yol göstermelerle sanatsal ifadenin saptayıcı gücü. Yani, yeni  demokrasi her aşamada demokratik kuram ve düşünceden bazı esinler almak zorundadır. Aynı şekilde sanatın dinamik ve sürekli değişen dokusu statik olmayan bir demokratik platformun oluşması bakımından zaruridir. Böyle bir arayışın yeni kentsel doku içinde can bulması başlı başına bir konu olacaktır. Yeni ve küresel sermaye yeni kentler inşa ediyor. Sermayenin iç hareketini sağlayacak, akışkanlığını sürekli kılacak bir yeni kentsel dokudur bu. Yeni kentin en önemli özelliği mutenalaşmasıdır. Bu bir tercih değil yeni sermaye bakımından ihtiyaçtır. Çünkü, yeni kent aynı zamanda belli bir estetik görselliğin realizasyonudur. Mutenalaşmanın yeni sanatsal kurumlar üstünden yapılması akıllıca bir iştir. Yeni müzelerin, yeni sanat kurumlarının, galerilerin meydana getirdiği alanların ürettiği rant planlı ve sistematik bir uygulamadır. Bu sanatın kentsel zeminde yeni bir dolaşım politikası yaratmasına tekabül ediyor. Daha üst sınıfların ve daha güçlü sermaye kesiminin beklentilerine yanıt veren bu sanat her şeye rağmen kendisine ait bir eleştirel, toplumsal kimliğe sahiptir. Ama ondan daha önemlisi sanatın geniş toplumsallıklarla ilişki kurmasıdır. Asıl eleştirel güç o sanattın elinde olacaktır. Bu özelliği taşıyan sanatın kendisi bir direniş alanıdır. Böylesi bir özelliğiyle sanat ve toplumsallık ilişkisinin muhalefet ve direniş olarak belireceği muhakkak. “Gerçek” bir demokrasi de muhalefet ve direniş olanağı sağladığı ölçüde hakikattir. Bu bakımdan sanatın toplumsallıkla/kamusallıkla ilişkisi bugün her zamankinden daha ziyade bir ihtiyaç, bir zaruret ve bir beklentidir. Yeni metropol özelliklerini her bakımdan taşıyan İstanbul bu açıdan önemli bir laboratuvar bugün. Bir yandan çektiği sermaye, diğer yandan yaşadığı dönüşüm, nihayet bunlarla eklemlenmiş sanatsal etkinlik ve üretim İstanbul’u ayrı bir gözle bakılması gereken bir odağa  dönüştürüyor. Sermaye siyaset ilişkilerinin şimdi sermaye-sanat ilişkilerine dönüştüğü bir evreye tanıklık ettiğimiz muhakkak. Ama asıl soru yaşadığı soylulaşma içinde İstanbul’un kentsel mekan olarak ne ölçüde sanatsal söyleme yer vereceğidir. Küresel bir mimarlık dilinin öne çıktığı büyük dönüşüm alanlarından arta kalan toplumsal zeminde mi bu sanat bir direniş platformu oluşturacaktır; yoksa bizatihi o “yeni” mekanlar da çoğulcu, değişken, tahrik eden bir sanata kapı aralayacak mıdır? Hiçbir biçimde, bugün dahi, toplumsal sanat diline ve gerçeğine yakın durmamış, onu tanımamış bir kent, küreselleşirken bu soruları cevapladığı oranda karakterini tayin edecektir.

http://icemagazine.contemporaryistanbul.com/files/document/ice-10-arsiv-k_69470.pdf

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