SANAT
NEW
PAZARININ
ACTORS OF
YEN‹
THE ART
AKTÖRLER‹
MARKET
A
k›nc› Türklerin, Viyana Kuflatmas›ndaki hezimetinden sonra bir daha toparlanamadan,
or at least 200 years and since the defeat of
F
Raider Turkish Raiders in Vienna Siege, without
Bat›da gidebilecekleri son noktay› hayaledebilme gücü
gathering their strength, it has continually been on
yerine; uygarl›¤›n-de¤er hükmü tafl›yan anlam›yla-
the agenda of this society to reach the west on the
bat›ya ulaflabilme, bir seviye ve ideal ve hatta bir
context of civilisation as a level, as an ideal and even
kompleks olarak; hedeflerine bir ölçü olarak bat›y›
as a complex instead of imagining the last point they
örnek alma tutumu, kesintisiz en az bir 200 y›ld›r bu
could reach.
toplumun gündemindedir. Bilmem söylemeye gerek varm›? ‹nkilaplar›n›n
It is not necessary to mention but natural results of French Revolution did not only affect the
do¤al sonucu, ‹lerlemeci düflünceleriyle sadece
Ottomans with its progressive ideas but they were also
Osmanl›y› de¤il tüm dünyay› kendine hayran b›rakan
admired by the rest of the world. However Ottomans
1789 Frans›z ‹htilali’nin s›n›fsal temeli, Osmanl›
did not understand the class basis of this revolution.
taraf›ndan hiç anlafl›lamam›flt›r. Dolay›s›yla
As far as the innovation attempts could be
monarflinin bahçesinden kavranabildi¤i kadar›yla
understood from the garden of monarch, when the
yenileflme çabalar›n› , bir tren yolununun son
last station of a railway had to pass through Sur-u
istasyonu, sur-u sultani’ nin içinden geçece¤i zaman,
Sultani (the walls around Topkap› Palace), with his
Sultan Abdülaziz, trenyolu için ‘gelsin de isterse yatak
longing for technology Sultan Abdülaziz was
odamdan geçsin ‘ diyerek teknolojiye olan hasretiyle,
expressing abnegation with these words "it could pass
fedakarl›¤› ifade ediyordu.
through my bedroom".
Onun döneminde Ahmet Ali (fieker Ahmed
In his period Ahmed Ali (fieker Ahmed Pafla)
Pafla) 1867 Paris sergisine bir karakalem Abdülaziz
joined 1867 Paris exhibition with an Abdülaziz
portresiyle kat›lm›flt›r. 1869-1870 y›lar›ndaki Salon
drawing. By the inquiring attempts of Adnan Çoker
V
d’Exposition sergilerine Gerome ve Boulangerin
we have recently learnt that he joined Salon
ö¤rencisi olarak kat›ld›¤›n› da yak›n bir geçmiflte
d’Exposition exhibitions between 1869-1870 as a
Adnan Çoker’in merakl› çabalar› sonucu ö¤renmifl
student of Gerome and Boulanger. fieker Ahmed Pafla
bulunuyoruz. Mesele Bat›y› fethetmek, bat›yla afl›k
is a first, a pioneer in this subject on a context to
atmak, yada ilerlemek ; nas›l ifade edeceksek
conquer and compete with the west or to proceed.
bilmiyorum , fieker Ahmet Pafla bu konuda bir ilktir, bir öncüdür. ‹kincisi Paris Salon sergisine kabul edilen son
The second is the last caliph heir apparent Abdülmecit Efendi who was accepted to Paris Hall exhibition. This very special caliph, a Tanzimat
halife veliaht Abdülmecid Efendi’dir. Bu çok flahs›na
intellectual is presented in the painting ‘La leçon
mahsus halife, bir tanzimat münevveri,’ La leçon
Histoire’ while he is giving history lessons to his
Histoire’ adl› tabloda, çocuklar›na bir masa üzerine
children on a map laid on a table. The year is 1914. It is
serili harita da tarih dersi verirken gösteriliyor. Sene
possible that the Ottomans (Osman Hamdi, Süleyman
1914. 1870 den 1914 e Osmanl›lar›n (Osman Hamdi,
Seyyid, Halil Pafla, Hoca Ali R›za) joined other
Süleyman Seyyid, Halil Pafla, Hoca Ali R›za) Pariste
exhibitions from 1870 to 1914 as they were in Paris.
bulunmalar› nedeniyle baflka sergilere de kat›lm›fl olmalar› muhtemeldir.
1918 2. Turkish Siege of Vienna Celal Esat (Arseven) makes a painting atelier built in
VI
1918 Türklerin 2. Viyana Ç›kartmas›
fiiflli Bulgarian Bazaar in 1917. Celal Esad is the son of
1917’de Celal Esat (Arseven) fiiflli’de Bulgar
Ahmet Esad Pasha who worked as the director of
pazar›nda ahflaptan bir resim atölyesi kurdurur. Celal
Mekteb-i Osmani (Ottoman School) which was
Esad, Pariste aç›lan Mekteb-i Osmani’nin
founded in Paris. His closeness to the Palace and his
müdürlü¤ünü yapm›fl olan Ahmed Esad Pafla’n›n
background works were guarantors for his future
o¤ludur. Saraya yak›nl›¤› ve yapt›¤› ifller yapacaklar›na
studies. The aim was to show Turkish power not only
kefil bir flahsiyettir. Dolay›s›yla bir atölye kurdurup,
in the war but also in art by founding an atelier,
burada çal›flacak sanatç›lar›n ve dahi d›flardan
opening an art exhibition by the contribution of
kat›l›mlarla oluflturulacak bir sanat sergisinin, Avrupa
artists working in this atelier and others and showing
merkezlerinde sergilenerek, Türkün gücünün sadece
this exhibition in European centres. In the difficult
savaflta de¤il, sanatta da gösterilmesi hedeflenmifltir. Bu
atmosphere of war, ‹brahim Çall›, Nam›k ‹smail,
atölyede savafl›n zorlu ortam›nda , her türlü devlet
Hikmet Onat, Mehmet Sami Yetik, Ali Sami Boyar,
deste¤iyle ‹brahim Çall›, Nam›k ‹smail, Hikmet Onat,
Mehmet Ruhi Bey, Ali Cemal Benim painted large
Mehmet Sami Yetik, Ali Sami Boyar, Mehmet Ruhi Bey,
paintings with the support of the state. Mehmet Ali
Ali Cemal Benim büyük boyutlu tablolar yapar. Bunlara
Laga, Feyhaman Duran, Avni Lifij ve Abdülmecit
d›flardan kat›lan Mehmet Ali Laga, Feyhaman Duran,
Efendi , Harika Sirel han›m (Lifij), Ömer Adil bey,
Avni Lifij ve Abdülmecid Efendi, Harika Sirel Han›m
Cevat Bey, Halil Pafla, ‹smail Hakk› Bey, Mahmut Bey,
(Lifij), Ömer Adil Bey, Cevat Bey, Halil Pafla, ‹smail
fievket Da¤, Seyit Bey, Tahsin Diyarbak›rl›, Ruflen
Hakk› Bey, Mahmut Bey, fievket Da¤, Seyit Bey,
Zamir Han›m joined this group with their works
Diyarbak›rl› Tahsin, Ruflen Zamir Han›m, 1918 de
which were created outside the atelier and the
Viyana Üniversitesi salonlar›nda sergilenmifl ve çok da
exhibition in Vienna University in 1918 attracted
alaka toplam›flt›r. Fakat 1. Dünya savafl› sona ererken
attentions. However the project to take the exhibition
sergiyi Berlin’e götürme projesi gerçekleflememifltir.
to Berlin could not be realised during the ending of
Sanat Tarihine fiiflli Atölyesi ismini hediye eden Adnan
the 1. World War. According to Adnan Çoker, who
Çoker’e göre sanat tarihimiz bu sayede büyük boyda
added the name fiiflli Atelier to the History of Art, our
çoklu figürleriyle kompozisyonlar kazanm›flt›r. ‹lkler
art history acquired large and multiple figure
aras›nda 1918 Viyana Sergisi, Türklerin ilk toplu
compositions by this way. 1918 Vienna Exhibition,
Avrupa ç›kartmas›d›r.
which is among the firsts, in the first total European landing of Turks.
1923-1945 Cumhuriyetin Kurulufl y›llar› ve Kemal’in ‹nflaî Program›*
1923-1945 Founding Years of the Republic and
Cumhuriyetin ilk y›llar› 6 dönem CHP tek parti dönemi,
Kemal’s Constructive Program*
sanata devlet deste¤inin devam etti¤i zorlu y›llard›r.
The first years of the Republic, 6 periods of CHP
Fakat bat›ya ö¤renci gönderme kesintisiz devam eder.
single party period were difficult years when the state
Bu kez elitler de¤il halk›n çocuklar› bu nimetten
continued to support art. They continue to send
yararlanmaya bafllam›flt›r. ‘Güzel Sanatlar› sevmek ve
students to the west. This time not the upper class,
onda yükselmek ‘ ülküsü cumhuriyetin 10. Y›l›ndan
but the children of the public used this opportunity.
itibaren meyvelerini vermeye bafllar. Adnan Çoker’in
The ideal of “Loving Fine Arts and rising in them”
‘Cumhuriyetin Çocuklar›’ olarak isimlendirdi¤i d grubu
started to give its fruits beginning with the 10. Year of
sanatç›lar› devlet deste¤inin d›fl›nda kendi bafllar›n›n
the Republic. Group D artists, who were named as
çaresine bakacak yollar deniyorlard›. Bu sanatç›lar
“The Children of Republic” by Adnan Çoker, were
flunlard›r: Baflta kurucular› Zeki Faik ‹zer, Nurullah
trying on their own without state support. These
Berk, Elif Naci, Zühtü Mürido¤lu, Cemal Tollu, Abidin
artists: their founders are Zeki Faik ‹zer, Nurullah
Dino olmak üzere, Cemal Nadir Güler, Bedri Rahmi
Berk, Elif Naci, Zühtü Mürido¤lu, Cemal Tollu,
Eyübo¤lu, Turgut Zaim, Eflref Üren, Arif Kaptan, Eren
Abidin Dino and the other members are Cemal Nadir
Eyübo¤lu, Halil Dikmen, Salih Urall›, fieref Akdik, Sabri
Güler, Bedri Rahmi Eyübo¤lu, Turgut Zaim, Eflref
Berkel, Leopold Levy, Pierre Bonnard, Nusret Suman,
Üren, Arif Kaptan, Eren Eyübo¤lu, Halil Dikmen,
Fahrünnisa Zeyd, Hakk› Anl›, Zeki Kocamemi’dir. Bu
Salih Urall›, fieref Akdik, Sabri Berkel, Leopold Levy,
sanatç›lar sanatta izlenimcili¤in d›fl›nda baflka e¤ilimlere
Pierre Bonnard, Nusret Suman, Fahrünnisa Zeyd,
bakarken ayn› zamanda sergilemelerini de resmi
Hakk› Anl›, Zeki Kocamemi. The artists were looking
salonlar›n d›fl›nda arayarak, flartlar› zorluyorlard›. Aç›l›fl
towards inclinations other than impressionism in art
sergisi Beyo¤lu’ndaki 388 numaral› boflalt›lm›fl Mimoza
and they were also challenging the conditions by
flapka dükkan› kiralanarak yap›ld›. Di¤er sergilerde buna
searching exhibitions out of official halls. The
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benzer tecimsel olamayan, Beyo¤lu Halkevi, Tenis
opening exhibition was opened by renting Mimoza
Eskrim Da¤c›l›k Klübü, Taksim; Galatasarayl›lar Klübü,
hat store on Beyo¤lu number 388. Other exhibitions
Eski Frans›z Tiyatrosu gibi mekanlarda olmufltur.
were also in non-commercial places like Beyo¤lu
Bu dönem d grubu üyelerinin bir k›sm›n›n kat›l›m›yla yurt d›fl› sergiler de yap›lm›flt›r. Bunlar
Climbing Club Taksim, Galatasarayl›lar Club and Old
1934 Moskova, Leningrat, 1937 Atina, 1946 Paris, 1950
French Theatre.
tekrar Atina sergileridir. Bu sergileri, Cumhuriyetin
In this period there were also some exhibitions
kurulufl y›llar›ndaki geliflkinli¤i Bat›ya gösterme ve
abroad with the attendance of d group members.
paylaflma gayretleri olarak tarihleyebiliriz.
These are 1934 Moscow, Leningrad, 1937 Athens,
Ölmeden bir y›l önce, Cumhuriyetin ilk kurulufl
1946 Paris and again 1950 Athens exhibitions. We can
y›llar›na rastlayan 1937 y›l›nda Mustafa Kemal, ivedilikle
describe these exhibitions as the attempts to show
Resim Heykel Müzesini kurdurarak, Meflrutiyet
and share the development in the founding years of
y›llar›nda bafllayan ileri bat›l› sanat hamlelerini baflka
the Republic with the West.
ileri bir noktaya tafl›m›flt›r. Ça¤dafl Türk sanat› için yer
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Community Centre, Tennis Fencing Mountain
Mustafa Kemal made the State Museum of Fine
olarak da Dolmabahçe Saray›’n›n veliaht dairesini uygun
Arts founded in 1937 in the first years of the
görmüfltü. Böylece Osman Hamdi Bey’in Güzel Sanatlar
Republic, one year before he died and added much
Akademisini kurmas›ndan yaklafl›k 50 y›l sonra Resim
to western art movements beginning with
Heykel Müzesi aç›lm›flt›r. Müzenin ilk koleksiyonu için
Constitutional years. Heir apparent room of
1936 a¤ustosunda Akademi salonlar›nda aç›lm›fl olan
Dolmabahçe Palace was found an appropriate place
Türk Sanat›n›n 50 y›l› sergisi baz al›nm›flt›r (Elvah-›
for Contemporary Turkish art. Thus, 50 years after
Nakfliye Koleksiyonu). Bu sergide d grubu sanatç›lar› 3.
the founding of Fine Arts Academy by Osman Hamdi
Katta yer al›yorlard›. 1939 y›l›ndan itibaren, mütemadi
Bey, the State Museum of Fine Arts was opened. For
olarak her y›l aç›lan sergilerden devletin kurumlar› için
the first collection of the museum, the exhibition
devlet eliyle sat›n al›mlarla, sanat ve sanatç› desteklendi.
named 50 Years of Turkish Art (Elvah-I Nakfliye
Zaten Cumhuriyetin ilk y›llar›nda tüm kurumlar devlet
Collection), which was opened in Academy halls in
deste¤i görmenin d›fl›nda bizzat devlet eliyle
August 1936, was taken as a basis. Group d artists were
oluflturulmufltu. Bunun güzel bir örne¤i olan ‹fl
on the 3. floor in this exhibition. After 1939, art and
Bankas›’da, 1940 dan itibaren bu sergilerden eser
artist have been supported by the state by yearly
almaya bafllad›. Ayr›ca Merkez Bankas›’n›n, önemli
exhibitions and state purchases. In the first years of
koleksiyonunun temelleri de, 1930’lu y›llarda at›lm›flt›r.
the Republic, all the institutions were founded by the
Bu bir devletin kültür ve sanat politikas›d›r.
state itself. ‹flbank, as a good example of these
1938-1943 aras› CHP nin program›yla sanatç›lar
institutions, began to purchase pieces from
Anadolu nun muhtelif köflelerine gönderilerek eser
exhibitions after 1940. Besides, the basis of the
üretmeye teflvik edildiler. 1944 de bu alt› y›ll›k program›n
important collection of Central Bank was also created
ürünü olan 675 tablo Ankara Sergievi’nde sergilenmifltir.
in 1930s. This is the culture and art politics of a state.
Her y›l aç›lan sergilerden devlet, resim heykel
Between 1938 and 1943, with the program of
müzesine ve di¤er devlet kurumlar›na sat›n almayla
CHP, artists were sent to various parts of Anatolia and
sanata destek oldu ve yap›lara ve kamusal alanlara
they were encouraged to produce works of art. 675
sipariflleriyle tek al›c› konumunu uzun y›llar
paintings, as the product of this 6 years program,
muhafaza etti.
were exhibited in Ankara Exhibition Centre in 1944. State continued to support art by purchasing
Demokratikleflme çabalar› ve sanat piyasas› için
pieces from the exhibitions every year for State
denemeler
Museum of Fine Arts and other state institutions and
Demokratikleflme ve ekonomide liberalleflme
preserved its position as the sole purchaser with its
çabalar›n› kapsayan 1950’li y›llarda Maya Sanat
orders to buildings and public areas.
Galerisi de¤iflen konjuktüre ayak uydurma gayretiyle ortaya ç›km›fl ilk önemli figürdür. Ondan önce de bir
Democratization struggles and attempts for art
tak›m sergileme imkanlar› Beyo¤lu ve Taksim
market
etraf›nda vard›r ama ticari olarak sanat›n serbest
In 1950s which cover democratization and
piyasa ekonomisine sunuluflu Maya Galerisi ile
liberalisation attempts Maya Art Gallery is the first
olmufltur. Di¤er birkaç k›sa süreli denemeden de
important figure to keep up with the changing
bahsetmek mümkün.
conjecture. There had been a few exhibition
Sanat tarihimiz incelendi¤inde, sanatç› ile
possibilities before this gallery around Beyo¤lu and
sanat al›c›s› aras›ndaki iliflkinin oldukça geç bir
Taksim but the presentation of art to free market in a
dönemde ortaya ç›kt›¤› görülüyor. Bir anlamda
commercial meaning began with Maya Gallery. It is
sanatç›lar, uzun y›llar yaln›z bafl›na büyük bir sanat
possible to state a few other short term attempts.
tutkusu ile olmayan bir pazara ürettiler. Asl›nda
It is seen that the relation between artist and art
postmodern bir deyifl olan üretmeyi, 50li y›llar›n
purchaser emerged very late in our history of art.
sanatç›lar› kullanmaktan imtina ederlerdi eminim.
Artists produced for a non-existing market for long
Onlar›n para kazanma de¤il sadece geçinme dertleri
years with their artistic passion. In fact I am sure the
vard›. Sanat bir ülküydü ve ülkeyi ileri götürecek
artists of 1950s would refuse to use the term produce
ülküydü. Cumhuriyet devrimlerine canla baflla omuz
which is a postmodern saying. They did not care to
vermekten kimse yüksünmedi. Hikmet Onat 80
earn money, they cared to manage their living. Art
yafl›nda açt›¤› ilk sergisiyle yaflama veda etti. Üstelikte
was an ideal which would take the country forward.
bu galeri de sanat› desteklemek üzere programlar›n›
Nobody saw supporting Republican revolutions
yapm›fl olan bir banka galerisiydi. K›sacas›
burdensome. Hikmet Onat died with his first
profesyonel bir galeri de¤ildi. Buna benzer örnekleri
exhibition which was opened at the age of eighty.
ço¤altmak mümkün.
This gallery was also a bank gallery programmed to
Maya bu anlamda ilk profesyonel galeridir. Profesyonel fakat ticari olmayan. Maya genç
support art. In short it was not a professional gallery. It is possible to give more similar examples.
IX
avangartlar›n s›¤›na¤› olur. ‹lk sergilerini Maya da aç›p da bugüne gelmeyi baflarabilenlerden ilk akl›ma
(professional but non-commercial) on this context.
gelenler, Bedri Rahmi Eyübo¤lu, Nedim Günsür,
Maya becomes the shelter of young avant-gardes.
Zühtü Mürido¤lu, Avni Arbafl, Füreya Koral, Ferruh
Bedri Rahmi Eyübo¤lu, Nedim Günsür, Zühtü
Bafla¤a, Alofl (Ali Teoman Germaner), Nuri ‹yem,
Mürido¤lu, Avni Arbafl, Füreya Koral, Ferruh Bafla¤a,
Kuzgun Acar, Ömer Uluç, Sadi Diren, Adnan Çoker,
Alofl (Ali Teoman Germaner), Nuri ‹yem, Kuzgun
Lütfü Günay, Yüksel Aslan. Maya dört y›l yaflayabildi ve
Acar, Ömer Uluç, Sadi Diren, Adnan Çoker, Lütfü
17 May›s 1955’de Adnan Çoker-Ali Durukan’›n Non-
Günay, Yüksel Aslan are some of the artists who had
Objektif resim sergisiyle kapand›.
opened their first exhibitions in Maya and succeeded
Benzeri bir sivil davran›fl, 1952 ocak ay›nda ,
to reach today. Maya could live for four years and it
Ankarada, Hasan Kaplan’›n sergisiyle Helikon
was closed with Adnan Çoker-Ali Durukan's Non-
Derne¤i’nin faaliyete geçmesidir. 6-7 Eylül 1955
Objective painting exhibition on 17th May 1955.
Beyo¤lu provakasyonu ve ya¤malama olaylar›ndan
X
Maya is the first professional gallery
A similar civil behaviour was activated by Helikon
sonra baflka bir sanatç› s›¤›na¤› olan Helikon
association in Ankara in January 1952 with the
kovuflturmaya u¤rayarak kapat›ld›. Daha sonra
exhibition of Hasan Kaplan. After September 6-7th 1955
aç›lmas›na izin verilse bile karakoldaki memleket
Beyo¤lu provocation and depredation events, another
durumlar›n› yaflam›fl olan Ecevit, sanatla de¤il siyasetle
artist shelter, Helikon was closed. It is permitted to be
ilgilenmek gere¤ine inanarak derne¤i, sanat›, ve sanat
opened later but Ecevit, who lived the conditions of the
elefltirilerini bir kenara b›rakarak siyasete at›l›r.
country in police headquarters, believed that it was
Yabanc› misyon, salonlar›n› her zaman sergilere ve Türk sanatç›lara açm›flt›r. Ancak bir tanesinin Türk sanat tarihinde çok önemli ve seçkin bir yeri vard›r.
necessary to deal with politics instead of art and left his artistic criticism and joint politics. Foreign missions have always opened their halls
Damat Robert Anhagger (Mualla Eyubo¤lu ile
to exhibitions and Turkish artists. But one has an
evliydi), Maya’n›n misyonunu yüklenerek 1959
important and special place in Turkish history of art.
y›l›ndan 72 y›l›na kadar Türk Alman Kültür
Groom Robert Anhagger (was married to Mualla
Derne¤i’nin bünyesinde, önce Alyon sokakta, sonrada
Eyubo¤lu), has taken the mission of Maya and worked
Müeyyet Han’da galericilik yapm›flt›r. Kesin bir rakam
gallery first in Alyon street then in Müeyyet Han in
verme olana¤› belgelerin kaybolmas› sebebiyle
the body of Turkish-German Culture Association from
mümkün olmasa da, 200’e yaklaflan sanatç›dan, 104
1959 to 1972. It is not possible to give an exact
sanatç›n›n sergileyebilme imkan› buldu¤unu
number as the documents were lost but 104 artist of
belgeleme imkan› var.
200 could exhibit their works.
Bu sanatç›lar›n bir k›sm›na Maçka Sanat Galerisi
Maçka Art Gallery, which was opened in 1976,
sahip ç›karak 1976 y›l›nda aç›ld›. K›sacas› 50’lerden
shelterd some of these artists. Shortly those who
yetmifllere nefesi yetenler diyebiliriz, bu galeride
could reach from 50s to 70s, conceptualists,
kendilerine yer bulabildiler ve kavramc›lar ve
performance artists and avant-gardes who did not
yerlefltirmeciler ve performans sanatç›lar› ve satma
have the purpose and even possibility to sell, could
telafl› ve hatta flans› hiç olamayan avangartlar bu
express themselves in this gallery. Maçka Art Gallery is
galeride kendini ifade edebildiler. Maçka Sanat
going to celebrate its 35. Year and it is the 2. gallery
Galerisi, 35. Y›l›n› kutlama haz›rl›klar› içinde Türk
with the longest life in Turkish Art.
Sanat› içinde uzun sürmüfl galercilik ünvan›n› elinde tutan 2. galeridir ayn› zamanda. 1964 de de Yine Melda Kaptana’n›n Niflantafl› buti¤inin bir k›sm›n› sanata ay›rmayla bafllayarak giderek buti¤i galeriye çevirmesiyle 74 y›l›na kadar galericili¤ini
In 1964, Melda Kaptana started to transform Niflantafl› boutique into an art gallery and again took the mission of Maya until 1974. There was also an attempt to collect Maya documents to form a book. In the private gallery line of 60 years from 1950s
Maya misyonu eksenine oturtuyor. Ve hatta Maya
to 2010, we see that the ideal of founding the artistic
belgelerini toplayarak bir kitap yapmas› da cabas›.
values of Republican Principles in the foreground and
1950’leri 2010’a ba¤layan 60 y›ll›k özel galericilik
commercial attempts in the background connect these
çizgisinde, bu dört galeriyi birbirine ba¤layan ve
four galleries to each other. With the understanding of
cumhuriyetin ilkelerini, onun sanat de¤erlerini
these four galleries only the museums can open
oluflturma ülküsü ön planda, tecimsel çabalarsa daha
exhibitions today. Maçka Art Gallery has developed
geri planda olmak üzere kristalize oldu¤unu
relationships with the West (France), it opened
görüyoruz. Bu dört galerinin çal›flma anlay›fl›yla bugün
exhibitions of French artists in its body and organized
sadece ve sadece müzeler sergi açabilir. Maçka Sanat
an exhibition with its artists in Cholet museum in 2004.
Galerisi bu anlamda Bat› (Fransa) ile iliflkileri
1970s are the years when Banks employed artistic
gelifltirmifl Frans›z sanatç›lar› kendi galerisinde
counsellors, opened culture centres, galleries and
sergiledi¤i gibi, 2004’de Cholet müzesine de kendi
collections in their advertisement budgets. In 1930
sanatç›lar›n› tafl›yan bir sergi tertip etmifltir.
banks like Central Bank and ‹flbank started these
1970’li y›llar bankalar›n, reklam bütçeleri içinde
support programs and then private banks continued this
sanat› da ele alarak bünyelerine sanat dan›flmanlar›
support. In 1964 Yap› Kredi and in 1970 Akbank have
ald›¤›, kültür merkezleri, galeriler, koleksiyonlar
began their art investments and continued up to now.
oluflturduklar› bir dönemdir. Dolay›s›yla 1930’lu
‹stanbul Culture and Art Foundation, which was
y›llarda Merkez Bankas› ve ‹fl Bankas› gibi bankalar›n
founded by businessmen in 1973, is another civil
bafllatt›¤› sanata destek programlar› yan›nda, özel
medium for artistic investment of private capital.
bankalar, baflta Yap› Kredi 1964’de olmak üzere,
Baraz Gallery, which was opened in Kurtulufl in
Akbank’da 1970 den bafllayarak sanat yat›r›mlar›n›
1975, made people like contemporary art and created
günümüze kadar art›rarak sürdürdüler.
new collectioners with its commercial successes. Baraz
1973 y›l›nda ifl adamlar›n›n kurdu¤u ‹stanbul
Gallery has reached today with an American
Kültür ve Sanat Vakf› özel sermayenin sanata yat›r›m
tendency, without an imposing behaviour and by
yapaca¤› baflka bir sivil mecra olarak ortaya ç›kt›.
presenting all artistic values at the same time. From
1975 y›l›nda Kurtulufl’ta aç›lan Baraz Galerisi
this point of view, we can connect International Art
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daha tecimsel baflar›lar›yla paran›n girmeye ve
Center gallery to this behaviour with their crystallized
dönmeye bafllad›¤› ortamda, ça¤dafl sanat› sevdirerek
gallery understanding. With a difference,
yeni kolleksiyonerler yaratt›. Daha çok Amerikan
International Art Center seems to be programmed to
tandansl› bir galericilikle, ayn› zamanda sanat
invade the west beginning with its name.
tarihinde empozan bir tav›r tak›nmadan, tüm sanatsal de¤erleri ayn› anda sunarak günümüze kadar geldi.
prepares itself as the new centre of art. And Vehbi
Bu bak›mdan International Art Center galerisini
Koç Foundation also opened a gallery in Berlin too.
kristalize olan galericilik anlay›fllar› içinde bu tavra
(www.tanasberlin.de)
ba¤layabiliriz. Bir farkla; ‹nternational Art Center
Biennales which were prepared until 1987
isminden bafllayarak kendini bat›y› fethetmeye haz›r
brought the west to Turkish artists. Due to
olarak programlam›fl görünüyor.
connections during these biennales and also with
Kendini sanat›n yeni merkezi olarak haz›rlayan Berlinde bir galeri açan Galeri Artist’in peflinden Vehbi Koç Vakf›’da Berlin’de bir galeri açm›fl bulunuyor. (www.tanasberlin.de) 1987 y›l›ndan itibaren ‹KSV’nin öncülü¤ünde XII
Gallery Artist opened a gallery in Berlin which
other reasons 40-50 artists are moving in global circulation web now. Art Fairs have begun to be prepared in the leadership of International Plastic Artists Association which was founded in 1989. The numbers and
bienaller in düzenlenmesi sürekli bat›ya do¤ru
varieties of new actors of the art market and fairs have
hareket eden Türklerin aya¤›na bat›y› getirmifltir. Bu
increased in the last twenty years. Now Turkish
bienaller esnas›nda ki tan›fl›kl›klar sebebiyle ve baflka
galleries are in international fairs too. Tour
sebeplerle 40-50 sanatç› flu an dünya dolafl›m a¤›
companies prepare special tours to these fairs and
içinde hareket ediyor.
these companies have even specialization branches.
1989 da kurulan Uluslararas› Plastik Sanatç›lar
Auctioneer understanding about the
Derne¤i öncülü¤ünde sanat fuarlar› düzenlenmeye
presentation of art to market has been showing a rapid
bafllam›flt›r. Son yirmi y›l içinde sanat piyasas›n›n yeni
inclination from "antic" painting to contemporary
aktörleri, fuarlar›n, say›s› artm›fl ve çeflitlenmifltir. Ve
since 2000. Now old works are not seen and antique
art›k Türk galerileri de uluslararas› fuarlarda boy
stores are like contemporary art museums. As a result
gösteriyor. Bu fuarlara özel turlar düzenleyen seyahat
of this rapid revolution, the attempts of foreign
flirketlerinin ihtisas kollar› bile var.
auction companies for marketing Turkish art abroad
Sanat›n pazara sunumuyla ilgili müzayedecilik anlay›fl›nda ise 2000’li y›llardan bu yana ‘antika’
have become very successful. Turkish collectioners have an important role in this, too.
resimden ça¤dafla son sürat bir kay›fl var. Art›k eskiler tümüyle ortadan kalkm›fl ve antikac›lar ça¤dafl hatta güncel sanat müzeleri görünümünde. Bu h›zl› devinimin
Does art have borders?
sonucu yabanc› müzayede flirketlerinin son iki y›ld›r
An important characteristic of 2000s is that private
yurtd›fl›nda Türk sanat›n› pazarlama gayretleri gayet
collectionership interest was transformed to modern
baflar›l› oldu. Bunda Türk sanat›n›n yan›nda olmay› ilke
art centers and museums. We will see that 3.
edinmifl koleksiyoner Türklerin de üzerlerine düflen
generation industrialists will invest more money in
vazifeyi lay›k›yla yapm›fl olmalar›n›n pay› var.
art. It is not difficult to predict that art will benefit from crisis years. The place of Turkish art is still
Sanat s›n›r tan›r m›?
marginal in large, complex and multi centred art
2000li y›llar›n belirgin özelli¤i, 70’li y›llarda bafllam›fl
market but on the other hand ‹stanbul seems to
olan özel koleksiyonerlik merak›n›n müzelere, ça¤dafl
complete its preparations as the gates of the east to
sanat merkezlerine dönüflmesidir. Hergün 3. kuflak tan
the west.
sanayicilerin sanata daha fazla para yat›rd›¤›n›
Kemal’s Constructive Program is the name
görece¤iz. Krizli y›llar›n sanata yarayaca¤›n› tahmin
given to black and white collage by Polish artist
etmek hiç zor de¤il. Büyük, karmafl›k, çok merkezli
Mieczyslaw Szczuka in 1924. (discovery of Prof. Adnan
sanat piyasas›nda Türk sanat›n›n yeri halen marjinal
Çoker)
ama öte yandan ‹stanbul tüm do¤unun bat›ya aç›lacak kap›s› olarak, tüm haz›rl›klar›n› tamamlam›fl gibi gözüküyor. Kemal’s Constructive Program Polonyal› sanatç› Mieczyslaw Szczuka’n›n 1924 tarihli siyah beyaz kolaj›na verdi¤i isim. (Prof Adnan Çoker’in keflfi)
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