Türkiye'de Çağdaş Sanat Müzeleri ve Müzecilik Anlayışları
Özet
In this study, which aims to investigate contemporary art museums in Turkey, the conditions of their formation and their museological approaches, it is aimed to discuss the process by analyzing the collection formations of contemporary art museums opened before and after 2000, along with the journeys of these collections, their visions and missions, and their activities, together with the political, economic and social variables of the period. In this context, initiatives in this field since the Ottoman period are presented and the conditions that made this possible are included.
In the first part of the thesis, under the title "Historical Development of Modern/Contemporary Art Museology", museum initiatives and the culture and art environment in the relevant periods are analyzed under two subheadings as "Ottoman Period" and "Contemporary Art Museum Initiatives in the Republican Period (1923-1980)". In the second part of the thesis, under the title "Globalizing Turkey and Contemporary Art Museums (1980-2000)", contemporary art museums are analyzed in terms of their conditions of formation. In the third part, the modern/contemporary art museums opened since the 2000s are discussed with the questions and problematics we addressed in our thesis by documenting them with current periodicals of the period and interviews with contemporary experts. In this direction, with the data obtained from museum experts and sources and archives, the contributions/effects of the museums subject to on-site examinations and studies on Turkish society and contemporary museology, and their place and importance in Turkish museology are analyzed. It has been determined that the concept of art museology has emerged in the 2000s, especially with private initiatives, and that it is related to its own challenging and delayed conditions that overlap with global variables. The thesis examined in detail the Suna and İnan Kıraç Foundation Pera Museum, Istanbul Modern, Sabancı University Sakıp Sabancı Museum and Elgiz Museum, and in the relevant chapters, the formation process and stories of these museums were documented and discussed through periodicals of the period and interviews with current museum experts.
It is possible to say that contemporary art museums in Turkey, as in the rest of the world, are structured in different models of operation, management and institutionalization as much as the number of institutions established, even though they share common functions and values. These museums, which were opened as late as the 2000s in Turkey compared to other countries, have brought dynamism to the art scene and, through the international relations they have established, have been instrumental in establishing strong ties based on trust between Turkish art and the art scene and the art circles of the world.
