Kültürel Nesnenin Coğrafi İlişkisinin Sanat Bağlamında İrdelenişi

Abstract

Okşin, Ezgi Ecem. Evaluation of Cultural Object’s Geographical Relations in the Context of Art. MA Artwork Report, Ankara, 2017. In this report titled as ‘Evaluation of Cultural Object’s Geographical Relations in the Context of Art’, ontological and discoursive attributions of the relations between cultural object’s self, culture as a referential system, history and present on the platform of art is emphasized. Cultural object, always carries the bringins of belonging along with the bringins of being an object; However, the belonging of the object must not be evaluated only in the context of its geography with the analogical nature of the qualities of its being and the continuing or standardized practical possibilities brought forth, but also the different possibilities of being brought about by its temporality. The geographical relation of the cultural object may represent a physical position on the earth but primarily it represents a presence platform for/of object because of the cultural object’s and even the culture’s changeable or transformational relations with time existence possibilities, principals and perceptions change on the spacetime platform which is called the present. Therefore it can be said that cultural object’s geographical relation can be explained today by its belonging to a physical location and also evaluating its positions and expansions in different platforms of presence (eg. Art platform, cyber space). In the first part of the report, the cultural object has been examined as objectified by living in context of culture and in the context of culture and object, cultural object’s states of being have been evaluated. Semantics, semiological, anthropological and socio-psychological conditions have been explained in terms of understanding its effect and bringing to the art platform. The cultural object has been examined with a comparative manner in terms of today’s potentials, contemporary optics and perceptual practices as 'a referent to a different temporal and spatial presence'. With examples from the platform of art, the semantic change between the cultural object’s object being and the cultural being is explored. In the second part, ontological emphasis of the art platform was first made in order to determine the expansions of the object being studied in the first part of the report by its associative and existential states; The discursive possibilities of the cultural object on the art level have been evaluated in the context of the examples compiled from artists' works that have adopted different approaches to cultural being and its possibilities. By approaching the cultural object’s own internality as a geographical location and taking into consideration its contemporary perceptual state, the way it is experienced in present is experimented and examined with artworks in the context of art.