Yayınlar | fulyaturanresimler

ÖZET

Bu çalışmada görsel planda, iktidar ve iktidarın baskıcı özelliklerine, boğa gibi bir güç ve iktidar imi ile yer verilirken, kavramsal boyutta, baskıcı bir iktidarın yönetimi altında tanınma mücadelesi veren ya da vermeyen halklar konu edilir.
Sanat ve siyaset Rönesans’dan beri propagandadan avangard protesto sanata kadar geniş bir yelpazede, iç içedir. Bugün de boğa ve boğa çağrışımları ile görselleştirilen güç ve iktidar imlerine yer veren “Son İnsan” ve “Afiş” serilerindeki resimler ve bu çalışma ile günümüz belgelenmiştir. Afiş serisiyle şekillenen kavramsal yönü güçlü yeni anlatım diline “Materyalist Sentetik Gerçeklik” adı verilmiştir. Anlatım olarak kolaj, materyal olarak genellikle tuval üzeri yağlıboya kullanılmıştır.
Halklar için tanınma arzusu (thymos) nefes ve kan gibidir. Bu arzu ideallere dayalı olduğu zaman mucizeler yaratacaktır. Ancak, sistematik olarak kötü eğitilmiş, bilimsel rasyonaliteden uzak halklar için ideallerden kalan boşluk dogmalar ile doldurulduğunda, sonuçları kestirilemez olacak, bu şartlar altında tarih birden çok ve her seferinde daha trajik olarak tekerrür edecektir.
Anahtar Sözcükler : Güç, boğa, iktidar, thymos, son insan, kolaj, afiş, sentetik gerçeklik

ART AND FIGHT FOR RECOGNITION
ABSTRACT
This study is about people who fight for recognition on its conceptual background, while visualizing rulership and oppressive practices of rulers via the signs of power and governance like bull.
Since the Renaissance, art and politics have been in the span of propaganda - avant-garde protest art. Likewise our time has been documented by the images of the "Last Human" and "Poster" series and this study that contain power and governance symbols visualized by the bull and its associations.
The conceptually strong new narrative language that has shaped by the poster series is named as "Materialist Synthetic Reality". Collage is used as a narration, and oil painting on canvas is used as material.
For people, desire for recognition is like blood and breath. When this desire is based on ideals, there shall be miracles. However, when systematically poor educated people who are far from scientific rationality fill the emptiness left behind lack of ideals by dogmas, the consequences shall be unpredictable and under these circumstances, history shall repeat more than twice and more tragically every time.

Key Words: Governance, bull, power, thymos, last human, collage, poster, synthetic reality

ÖZET
Bu çalışmada, iktidar ve iktidarın baskıcı özellikleri, boğa ve çağrışımları ile görselleşmektedir. Tarih boyunca ilgi gören bir güç ve iktidar imi olan boğa, güçlü bazı hayvanlara ismini vermiş, gücüyle doğayı yerle bir eden iş makineleri ismini ondan esinlenmiştir. Boğa sanat tarihinde ilgi görmüş, kendisine eril iktidar simgesi ve zulmeden olarak yer verilmiştir. Bu çalışmada, sanat tarihinde pek çok boğa çalışması ve onları yapan pek çok sanatçı olmasına rağmen sadece Picasso’ya ve özellikle Suit Vollard’a yer verilmiştir. Boğa ve boğa çağrışımları ile görselleştirilen güç ve iktidar imlerine yer veren, “Yıkım” ve İyi “Uykular” serilerindeki resimlerle günümüz belgelenmiştir. Yıkım serisi ile başlayan ve şekillenen kavramsal yönü güçlü yeni anlatım diline “Materyalist Sentetik Gerçeklik” adı verilmiştir. Anlatım olarak genellikle kolaj, materyal olarak tuval üzeri yağlıboya kullanılmıştır.
1986 da UNESCO tarafından Şiddet üzerine yapılmış olan Seville Bildirisinde aranan umut bulunmuştur. Sonuç olarak, iktidarın yıkıcı özelliklerini boğanın özellikleri ile meşrulaştırmak reddedilmiş ve uyanmak sorumluluğun taşınması hatırlatılmıştır.
Anahtar Sözcükler : Güç, boğa, iktidar, kolaj, yıkım, Seville Bildirisi, Sentetik Gerçeklik

Rulers Destructive Practices Via Bull Symbol

ABSTRACT
In this study, power and rulers oppressive practices are visualized with “bull” and its associations. Throughout the history, bull has been an attractive figure of power and governance and has named some powerful animals; the names of equipment that razes nature to the ground are inspired by it. Bull has been an interesting figure in art history as a symbol of power; and has also been mentioned as oppressive in addition to symbolizing masculine power.
Although there have been many artworks and artists related with bull in art history, this study examines only Suit Vollard of Picasso. Our time has been documented by the images of the "Demolition" and "Good Night" series that contain power and governance symbols visualized by the bull and its associations.
The conceptually strong new narrative language that has started and shaped with the demolition series is named as "Materialist Synthetic Reality". Collage is used as narration, and oil painting on canvas is used as material.
The hope sought was found in the Seville Declaration on Violence by UNESCO in 1986. Finally, legitimating rulers oppressive practices via association with attributes of bulls has been rejected and a call for wake up and responsibility has been made.

Key Words: Governance, bull, power, rulership, collage, demolition, Seville Statement, Synthetic Reality

Abstract:

Before the invention of the camera, it was possible to document beauty through art. For centuries, art and beauty were inseparable. Different meanings were attributed to the “beautiful” in history. Sometimes noble simplicity and calm sublimity were accepted as beauty; sometimes moral beauty was at the forefront.
Among the beauties, a special place and importance was given to female beauty in the history of art. The untouched, desired, hopelessly loved woman of the Middle Ages later became the main subject of a painting genre. Nudes, which were first made for religious reasons such as a specific scene from bible, later diversified under the subject of Venus. The female body has become the object of sensual consumption.
In addition to female beauty, the beauty of nature has always been among the subjects of art.
Art imitated nature for a while; because it was beautiful. It was the background to which man was exposed during his natural evolution. The proportions of nature were good for people, they were found beautiful. Nature, which was previously handled only with a style based on imitation, was handled with an abstract expression in time, thanks to the avant-garde artists of the 20th century. It was a period in which different styles of expression were tried.
Modernism, where wisdom, beauty, and refinement were seeked, was for elite audiance who was idealizing the nature; has left its place to postmodernism in which sensual stimulation was seeked rather than an intellectual admiration, which is for mass media and where craftsmanship is idealized.
The individual of the 21st century consumer society, who is passionately attracted to the beauty of his own image that is presented to the gaze of others on social media, resembles to the nobles of the Renaissance period, when the charm of the wealth obtained through overseas trade was depicted with a similar passion.

Key Words: Possession, nude, virtual environment, instagram, avatar, consumerist, simulation, beautiful