Performans sanatında cinsiyet bağlamında kadın teması
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Dosyalar
Tarih
2022
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Necmettin Erbakan Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Tez çalışmasının odağında kadına yüklenen toplumsal cinsiyet rollerini eleştiren irdeleyen ve açığa çıkaran bir sanatsal üretim pratiği yer almaktadır. Performans sanatını ifade dili olarak benimseyen sanatçı, toplumdaki geleneksel yapının kendisine dayattığı kimlik rollerini reddederek, toplumsal gerçekliğinden sıyrılıp kendi özüne yönelir. Sanatçı Performanslarını kurgularken, kadına dayatılan psikolojik baskının kadın üzerindeki ruhsal bulanım ve cinsiyetçi yapısını da irdeler. Bu çalışma, kadın imajı temsil pratiklerine eleştirel olarak bakmak için performans sanatında kadın temsilini yorumlayan ve yeni bir boyutta inceleyen sanatçıların pratiklerini kullanmaktadır. Sanayi devriminin 19. Yüzyılın ilk yarısından biçimlenerek ikinci çeyreğinde bütün Avrupa'yı kapsayacak nitelikte dönüşümler gerçekleşmiştir. Bunun sonucunda Avrupa eskisinden çok farklı bir toplum yapısı sergilemeye başlamıştır. Endüstriyel toplumların gelişimi sonucunda büyüyen şehirler, teknolojik gelişme ile yeni yaşam formu ortaya çıkarmıştır. Toplumun her alanında meydana gelen değişmeler sanatta da kendini göstermiştir. Sanatın estetik ölçütleri biçimsel oluşumu ve anlamı değişerek mordernizm temellerini ortaya çıkarmıştır. Modern sanatçılar maddenin doğası üzerine, farklı fikirlerle sanatın işlevselliği üzerine yeni bir bakış açısı geliştirmişlerdir. Sanatın nesneye olan ihtiyacının sorgulanması 1960'lı yıllar sonrasında sanat ortamında yaşanmış en büyük dönüşüm noktalarından biri olmuş düşüncenin maddenin önüne geçtiği bir sanat çağı başlamıştır. Başlarda ''Düşünce Sanatı'' olarak tanımlanan bu sanat türü daha sonraları Kavramsal sanat olarak ifade edilmiştir. Sanatçının bedenini kullanarak uyguladığı ''happening'' (oluşum) ya da performans tarzındaki gösteriler; heykel ve resim gibi geleneksel biçimlerin ötesine geçer. Sanatçılar, ''Environment'' (çevre) ya da ''Enstalasyon'' gibi düzenlemelerle; müzelerin ve galerilerin hem ideolojik hem de fiziksel sınırlarını ortadan kaldırmıştır. 1960'lı yıllarda yaşanan bu gelişmeler neredeyse bütün akımlarla beraber performans sanatında da etkisini göstermiştir. Performans sanatı 20.yüzyılın ikinci yarısında disiplinler arası özelliğiyle dikkat çekmiş olsa da 1970'lerde ancak bir tür olarak kabul görmüştür. Performans sanatının çok çeşitlerde örnekleri, sanatçılar tarafından bağımsız olarak ya da çeşitli gruplaşmalar dahilinde uygulanmıştır. Buna örnek olarak fluxus'un neredeyse bütünüyle performans kökenli bir oluşum olmasını göstermek mümkündür. 1960-70'lerin feminist sanatçıları sanatsal ifade biçimi olarak performans sanatını benimsemişlerdir. 20. Yüzyılda batı sanat dünyasında göz ardı edilmiş sanatçılar, bu yüzyıldan itibaren bienaller, sergiler ve çeşitli sanat etkinliklerinde yavaş yavaş kendilerini göstermeye başlamıştır. Kavramsal sanatın ifade biçiminin bir uzantısı olarak, birçok sanatçı kimlik politikalarına yönelmiştir. Irk, kültür, sınıf, cinsiyet ve cinsel kimlik gibi kavramlar üzerine yoğunlaşan sanatçılar böylelikle kişisel deneyimlerini ifade etmişlerdir. Sanatçılar toplumsal kimlik rollerinin kadınlar üzerinde bıraktığı psikolojik etkileri gün yüzüne çıkaracak kurgusal performanslar gerçekleştirmişlerdir.
The focus of the thesis is an artistic prodiction pratice that criticizes, scrutinizes and reveals the gender roles imposed on women. Adopting performance art as the language of expression, the artist rejects the identity roles imposed on him by the traditional structure in society, and turns to his ownessence by gettingrid of his social reality. While constructing his performances, the artist, also examines the psychological distress and sexist structure of the psychological pressure on women. This study the practices of artist who interpret women's representation in performance art and examine it in a new the representation practices. In the second quarter of the industrial revolution, shaped from the first half of the 19th century, transformations that would encompass the whole of Europe took place. As a result, Europe began to exhibit a very different social structure than before. Growing cities as a result of the development of industrial societies have revealed a new life form with technological development. Changes in all areas of society have also manifested themselves in art. The aesthetic criteria of art, its formal formation and meaning have changed, revealing the foundations of mordernism. Modern artists have developed a new perspective on the nature of matter and the functionality of art with different ideas. Questioning the need of art for an object has been one of the biggest transformation points experienced in the art environment after the 1960s, and an art age has begun in which thought precedes matter. This type of art, which was defined as the "Art of Thought" at the beginning, was later expressed as Conceptual art. "happening" (formation) or performance style shows that the artist uses using his body; goes beyond traditional forms such as sculpture and painting. Artists, with arrangements such as "Environment" or "Installation"; it has removed both the ideological and physical boundaries of museums and galleries. These developments in the 1960s had an impact on performance art, along with almost all movements. Although performance art attracted attention with its interdisciplinary feature in the second half of the 20th century, it was only accepted as a genre in the 1970s. Various examples of performance art have been practiced by artists independently or in various groupings. As an example, it is possible to show that fluxus is almost entirely a performance-based formation. Feminist artists of the 1960s-70s adopted performance art as a form of artistic expression. Artists who were ignored in the western art world in the 20th century have started to show themselves in biennials, exhibitions and various art events since this century. As an extension of conceptual art's form of expression, many artists have turned to identity politics. Artists who focused on concepts such as race, culture, class, gender and sexual identity thus expressed their personal experiences. Artists have performed fictional performances that will reveal the psychological effects of social identity roles on women.
The focus of the thesis is an artistic prodiction pratice that criticizes, scrutinizes and reveals the gender roles imposed on women. Adopting performance art as the language of expression, the artist rejects the identity roles imposed on him by the traditional structure in society, and turns to his ownessence by gettingrid of his social reality. While constructing his performances, the artist, also examines the psychological distress and sexist structure of the psychological pressure on women. This study the practices of artist who interpret women's representation in performance art and examine it in a new the representation practices. In the second quarter of the industrial revolution, shaped from the first half of the 19th century, transformations that would encompass the whole of Europe took place. As a result, Europe began to exhibit a very different social structure than before. Growing cities as a result of the development of industrial societies have revealed a new life form with technological development. Changes in all areas of society have also manifested themselves in art. The aesthetic criteria of art, its formal formation and meaning have changed, revealing the foundations of mordernism. Modern artists have developed a new perspective on the nature of matter and the functionality of art with different ideas. Questioning the need of art for an object has been one of the biggest transformation points experienced in the art environment after the 1960s, and an art age has begun in which thought precedes matter. This type of art, which was defined as the "Art of Thought" at the beginning, was later expressed as Conceptual art. "happening" (formation) or performance style shows that the artist uses using his body; goes beyond traditional forms such as sculpture and painting. Artists, with arrangements such as "Environment" or "Installation"; it has removed both the ideological and physical boundaries of museums and galleries. These developments in the 1960s had an impact on performance art, along with almost all movements. Although performance art attracted attention with its interdisciplinary feature in the second half of the 20th century, it was only accepted as a genre in the 1970s. Various examples of performance art have been practiced by artists independently or in various groupings. As an example, it is possible to show that fluxus is almost entirely a performance-based formation. Feminist artists of the 1960s-70s adopted performance art as a form of artistic expression. Artists who were ignored in the western art world in the 20th century have started to show themselves in biennials, exhibitions and various art events since this century. As an extension of conceptual art's form of expression, many artists have turned to identity politics. Artists who focused on concepts such as race, culture, class, gender and sexual identity thus expressed their personal experiences. Artists have performed fictional performances that will reveal the psychological effects of social identity roles on women.
Açıklama
Yüksek Lisans Tezi
Anahtar Kelimeler
Kadın, Performans Sanatı, Psikoloji ve Toplumsal Cinsiyet, Gender, Performance Art, Woman as Object and Psychology
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Değet, G. (2022). Performans sanatında cinsiyet bağlamında kadın teması. (Yayınlanmamış Yüksek Lisans Tezi). Necmettin Erbakan Üniversitesi, Sosyal Bilimler Enstitüsü, Resim Anabilim Dalı, Konya.
