Contemporary Art Discourses in the Context of the Publi̇c Space

Abstract

Cities, as common living spaces, are areas away from individuality, based on collective consciousness, retional, interactive and where various forms of social movement exist. In urban spaces where cultural interaction is intense and the sense of belonging increases, art practices appear as a visual expression of the city's identity and reach changing/transforming new meanings as exhibiton spaces accessible to people from all walks of life. In this framework, it is aimed to discuss varios expressions of art shaped on the integrative structure of the public sphere that bring together different individual identities. The research was carried out with the descriptive method. Within the scope of the research, the projects of Inges Idee who is an artist collective in Germany, in the public space, the installations by Doris Salcedo and Tomas Saraceno, the labyrinth Project of Pieterjan Gijs ve Arnout van Vaerenbergh, which focuses on the space and space and Tauba Auerbach's distinctive design fort he public space Project called Flow Seperation, is evaluated in terms of content and form. As a result of the research, original perdpectives of different public art projects were evaluated.

Postmodern Sanat Anlayışının Kamusal Alana Yansıması Üzerine Bir İnceleme

“…Bu makalenin kapsadığı konu çerçevesindeki literatür incelendiğinde, heykel sanatının biçim, estetik ve mekânların organizasyonu ile olan ilişkisi üzerine çok sayıda bilimsel yayına rastlanmaktadır (Ergin, 1998;Fırat, 2002;Göle, 2003;Kurtaslan, 2005;Erdoğan, 2006;Shamsi-Zadeh Malki, 2012;Ocvirk et al, 2015;Koçay, 2015;Hicks, 2015;Alp, 2016;Şahan, 2017;Canbek, 2019;Arslantürk, 2019;Daşkesen, 2020;Özgenç Eroğdu et al, 2020;Wang, 2022). Ayrıca kamusal alan sanat çalışmaları kapsamında da çok sayıda bilimsel yayın bulunmaktadır (Beardsley, 1981;Bayram, 2007;Altıntaş ve Eliri, 2010;Garcia-Domenech, 2015;Selvi, 2017;Toy ve Görgülü, 2018;Kenan, 2019;Parlakkalay, 2020;Çevik ve Bingöl, 2021). Buna karşın, kamusal alanların estetik kullanımı heykel sanatı kapsamında ele alan çalışmaların daha sınırlı olduğu görülebilmektedir (Senie, 1992;Yılmaz, 1997;Kedik, 2011;Huntürk, 2011;Kilimci, 2012;Yalçın, 2012;Çakar, 2014a;Çakar, 2014b;Altıntaş, 2016;Altunöz, 2019;Ergün, 2021;Duydu, 2021;Şirin Çelik, 2022;Larsen, 2023).…”