After Contemporary Istanbul | PolitikYol News Site
While visiting contemporary Istanbul, Aylin Seçkin also paints a depiction of moving away from Istanbul’s art centre. Considering the effects of the greed and anti-democracy of private trade in Turkey in this art.
This year’s 17th arrangement, Istanbul’s oldest modern art work was organized for the second time this year in Tersane Istanbul. Of course, as an academician who has been dealing with the art industry for 17 years, and as a member of the meeting board of contemporary Istanbul between 2010-212, I would like to make my observations and observations on the culture “capital” and “art in the public sphere” in this fair organization. It can be purchased from Hayalperest Publishing House in June 2021 for those who want to have any ideas in the art market Economics of the Arts I suggest you read my book.
Let’s come to the fair. 22- well exhibited in 65 galleries from 15 to 22 September. The two first days were closed to visitors for VIP use. Since the problem of transportation and parking on the platform is targeted, neither word to be solved has taken on an even more problematic one. You enter with so many foreign guests to host 50 thousand people.
Dust, construction trucks, motorcycle lands, Mercedes VIP minibuses with vehicles, “private vehicle trying to get in and out of the road. It’s a complete cutoff. It comes from this fair when something is organized on the construction site. It could be arranged, a more tidy entrance and parking, but it is possible to spend this money.” However, the things spent are collected very quickly, you wait for 80 liras with your car.
After the park at the fairground, a surprise awaits him, who was born and raised in Istanbul. A booth awaits you just to the left of the entrance. Who knows, it is the stand of his million-hour residence project, which will consist of two or three buildings that will increase when the Golden Horn shipyard will be built from the Ottoman Empire, a public park and a museum block. Very stylish, glossy paper (you think art books) catalogs are printed.
Obviously, the fair is a marketing tool for this residence project. Actually, the idea is good. In our article, Atuker and Seçkin (2012) examined and applied this in terms of real estate and art purchases. Actually, this project is taking place in a public fair in the area, and we would not have any problems. However, while the square centimeter of the Golden Horn could be preserved with its natural structure, flora and all its lower and higher education, it became the subject of some commercial calculations, commodified and now “public” emerged. Next year a seaside mall, being able to enjoy the restaurant and paying for the experience (this year the only ticket will be the same as this year). Why? However, this should be less than a referendum, and people from Istanbul should vote and plan these projects. With this in mind, you are entering the fair. We were already sad at the beginning.
In 2018, I studied Art Economics at Istanbul Bilgi University and one of the trainings was the Contemporary Istanbul Survey project. The survey project, the first claim of which was so ambitious, was drawn on the audience, and it was announced in the press with breakfast in January 2019 with the management of Contemporary Istanbul. One of the images obtained from the face-to-face meeting with the fair around 1450 was an art school for Istanbul and its surroundings. Particular attention should be paid to it, which should be particularly good at being favored by the university’s enthusiasts, and therefore to be particularly targeted for a great opportunity for “pleasure capital”. That Lütfi Kırdar Congress can easily happen as it is close to an easy-to-think metro exit.
I would like to guess a few things about Turkish Art. Maybe these are elements that need to be developed and discussed within each of them. The first one is the development status of portrait and Western painting about whether it would be religious to draw the picture in the Western Ottoman Empire. This gap has never closed over time. Some of the soldiers who were sent to the Ottoman army to design ships in the 1770s formed the first categories of Turkish painters who preferred to paint civilian paintings, civilian paintings and landscapes.
Art education and practices, thought and emotion teaching can be taught in the course. Even by expressing this as “art system elasticity”.
Then why those painters in Paris, why didn’t those painters meet and befriend impressionist masters such as Renoir Dégas, Manet, Monet in Paris?
This was perhaps the starting point of the distance that could not be closed with Western art. When 230 230 is finished for intermittent use, Greek and Armenian prepared, unprepared, serious and prepared, as if my writings before it was used politically were not properly completed.
Because it was not just a population exchange but a transfer of cultural capital from their choice of Western art, from people to be bought. The distance between the West and the center, which has closed in time, is the best example of the Turkish Contemporary today in the most important museums of the West.
Art education and practices, thought and emotion teaching can be taught in the course. Even by expressing this as “art system elasticity”. A jump in the league of democracy can’t question our questions about the art production process. After all, what I’m saying is that we have a much smaller tool in the world in art production and education. Of course, let me say what I mean when I say art, this is not plastic arts. If the gain of world art education is at the level of 55-60 billion dollars, how does Turkish art own like two-thousandths of this pasta?
But perhaps there will be a chance to come to positive points. Designs related to the most different different designs. This is the way in which the material increase will be related to the public, even if it is to grow (the fair is a public-public-private product), because the unbearable strains that will not be preferred will be beneficial.
Talking about this year’s fair, the strangest visit for me was that we were about to design a BMW in the pipeline of famous American artist Jeff Koons. While he has his world-famous work, we invite you to participate in the design of a car that is identical to the patterns of self-sourced Pop up worker Roy Lichtenstein.
Beyoğlu-Taksi, where cultural activities are intense, has now turned into a show where baklava sellers, hookahs, perfume shops are enthusiastic, so we are not enthusiastic arabesques.
Whereas, when Jeff Koons was coming, it could be designed from a small selection of giant steel rabbit balloons, sculptures, tulips, various paintings, it could be made publicly demanded at a university. those not found. Jeff Koons, who studied art from High School and University, came to them from good programs and it was aggravated. Served on porcelain dishes, one of the designs of our pop up artist Bur Doğançay, which is not on these plates for him. All that spending did not benefit our culture, only with food and organization based on “culture consumption”. Jeff Koons is not in Turkey to pretend to yearn for BMW, Mercedes, rather than cars that can afford art in Turkey.
Actually, fairs are a bit of a lazy business. This is a list that we can’t reach when it’s not yet complete when we have capitalized on it for our pleasure. After all, galleries hold maybe 7-8 exhibitions throughout the year. SAS disposable chairs and large-scale trolleys.
As I finish my article, I would also like to talk about the use of İKSV and the 17th Istanbul Biennial, which has been “” for the first time this year, in a few words. Actually, my next post will be just a biennial. But what’s to be done here is about someone who is and is at a show who can attend an art event that is not related to the show in a place like the Biennale.
The Istanbul Biennial is selected from a selection of sculptures, videos by many artists, and different visuals from the art exhibited in numerous venues all over Istanbul, where they produced different tools. On the other hand, there is the Contemporary Istanbul project, which is a commercial activity and a kind of art work that the galleries aim for in a week. For this, you should say that you need to be called both to fight for the biennial and to think, and not to read the polls. For a time-filled trip organized from invitation to invitation for a fun entertainment, it invites the message of art events to a tour. Of course, this is the only period of Biennial Istanbul when it is loaded with vitamins and new cells. The Pandemic is actually a year already, and the Biennial curiosity will continue.
One of the important things about this is that one person spreads to different neighborhoods of Istanbul with a slightly planned, Afghan and even nationality style, and they want their capital and customs from different cultures. For this, the good and bad sides should be considered separately. The Beyoğlu-Taksi line, where culture is heavily exhibited and galleries were once eroded to take up space, has now turned into an unfamiliar face where baklava sellers, hookah sellers, perfume shops, and desired sounds for today are sought. There are very rare concerts and operas in the demolished and rebuilt Atatürk Cultural Center. The appearance of the box office no longer appears as before. It’s as if we’ve opened up to the delights of larger machines that are within our systems and we’re otherwise commercial.
However, perhaps the main thing is going on a holiday with a non-login and a beginner, maybe going to the trips in the city center. Contemporary artist Genco Gülan all “is what we see really or not?” I will not answer before I start the evaluation: Art criticism cannot be fully understood for fear of “we may not be what we have”, artists should not accept it, in a self-censorship, how much it cannot be discussed with its candidates, how original it is, how much the audience thinks, and how much the audience thinks. degrees can also be arts. Art will be produced as long as life continues in this land, and for better art, the insistent answer is “democracy first”.
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Source:
Atukeren E. Ve A. Seçkin (2012), “The determinants of sales rates in Turkish art auctions”, Acta
Economy, vol. 62(4), pp.489-503.
Seçkin A, (2021) Economy of Art, Hayalperest Publishing House, Istanbul.