{"id":4547,"date":"2024-08-09T00:23:23","date_gmt":"2024-08-08T22:23:23","guid":{"rendered":"https:\/\/nudeartworkshops.com\/?p=4547"},"modified":"2026-07-16T17:02:22","modified_gmt":"2026-07-16T15:02:22","slug":"1970lerde-nu-sanat-fotografciliginin-cagdas-donemi-derinlemesine-bir-kesif-sunuyor","status":"publish","type":"post","link":"https:\/\/nudeartworkshops.com\/tr\/the-contemporary-era-of-nude-art-photography-1970s-present-an-in-depth-exploration\/","title":{"rendered":"N\u00fc Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n \u00c7a\u011fda\u015f D\u00f6nemi (1970'ler-g\u00fcn\u00fcm\u00fcz): Derinlemesine Bir Ara\u015ft\u0131rma"},"content":{"rendered":"

Sava\u015f Alan\u0131 Olarak Beden: \u00c7a\u011fda\u015f D\u00f6nemde \u00c7\u0131plak Foto\u011fraf\u00e7\u0131l\u0131k (1970\u2019ler\u2013G\u00fcn\u00fcm\u00fcz)<\/h1>\n

1970\u2019lerden itibaren \u00e7\u0131plakl\u0131k, g\u00fczel olmak yerine sesini duyurmak istemeye ba\u015flad\u0131. \u0130kinci dalga feminizm, LGBTQ+ haklar\u0131 hareketi, AIDS krizi ve kimlik siyasetinin y\u00fckseli\u015finden beslenen foto\u011fraf\u00e7\u0131lar, \u00e7\u0131plak bedeni, cinsiyet, \u0131rk, arzu, hastal\u0131k ve iktidar gibi d\u00f6nemin en acil tart\u0131\u015fmalar\u0131n\u0131n ten \u00fczerinde sahnelendi\u011fi, \u00e7eki\u015fmeli bir alana d\u00f6n\u00fc\u015ft\u00fcrd\u00fcler. Bu d\u00f6nemi tan\u0131mlayan en belirgin \u00f6zellik, seslerin ve bedenlerin radikal bir \u015fekilde geni\u015flemesidir: kimin foto\u011fraf \u00e7ekti\u011fi, kimin foto\u011frafland\u0131\u011f\u0131 ve foto\u011fraf\u0131n neyi ifade etmesine izin verildi\u011fi. Bu m\u00fccadeleler mahkeme salonlar\u0131na, kongre tart\u0131\u015fmalar\u0131na ve m\u00fcze y\u00f6netim kurullar\u0131na kadar uzand\u0131; bunlardan bir\u00e7o\u011fu h\u00e2l\u00e2 devam ediyor.<\/p>\n

I Berlin\u2019de \u00e7\u0131plak model foto\u011fraflamak ve ders vermek<\/a>, bu da bu d\u00f6nemin benim i\u00e7in do\u011frudan ge\u00e7erli oldu\u011fu anlam\u0131na geliyor; a\u015fa\u011f\u0131da yer alan arg\u00fcmanlardan birden fazlas\u0131, benim st\u00fcdyo haftam\u0131n da bir par\u00e7as\u0131.<\/p>\n\n

Robert Mapplethorpe (1946-1989): K\u00fclt\u00fcr Sava\u015flar\u0131n\u0131n Provokat\u00f6r\u00fc<\/h2>\n
\"Foto\u011fraf\u00e7\u0131

Robert Mapplethorpe<\/p><\/div>\n

Hi\u00e7bir foto\u011fraf\u00e7\u0131, Amerikan sanat tan\u0131m\u0131n\u0131 Mapplethorpe kadar alenen sorgulamam\u0131\u015ft\u0131r. \"The Perfect Moment\" adl\u0131 retrospektif sergisi, k\u00fclt\u00fcr sava\u015flar\u0131n\u0131 alevlendirdi: Corcoran Sanat Galerisi, federal fonlarla desteklenen i\u00e7eri\u011fi nedeniyle siyasi bask\u0131 alt\u0131nda kalarak 1989\u2019da Washington\u2019daki sergiyi iptal etti; sergi 1990\u2019da Cincinnati \u00c7a\u011fda\u015f Sanat Merkezi\u2019ne ula\u015ft\u0131\u011f\u0131nda ise m\u00fcze ve m\u00fcd\u00fcr\u00fc Dennis Barrie m\u00fcstehcenlik su\u00e7lamas\u0131yla yarg\u0131land\u0131; bu, bir sergi nedeniyle bir Amerikan m\u00fczesine kar\u015f\u0131 a\u00e7\u0131lan ilk dava oldu. J\u00fcri beraat karar\u0131 verdi ve bu karar, k\u0131\u015fk\u0131rt\u0131c\u0131 sanat\u0131n hukuki stat\u00fcs\u00fcnde h\u00e2l\u00e2 temel bir dayanak noktas\u0131 olarak kalmaktad\u0131r. Mapplethorpe ise, eserleri hakk\u0131ndaki tart\u0131\u015fmalar\u0131n doruk noktas\u0131na ula\u015fmas\u0131ndan birka\u00e7 ay \u00f6nce, 1989 y\u0131l\u0131nda AIDS\u2019e ba\u011fl\u0131 bir hastal\u0131k nedeniyle hayat\u0131n\u0131 kaybetmi\u015fti.<\/p>\n\n

Klasik Beden, Queer Bak\u0131\u015f<\/h3>\n

Eserlerindeki patlay\u0131c\u0131 etki, kas\u0131tl\u0131 bir \u00e7arp\u0131\u015fmadan kaynaklan\u0131yordu: R\u00f6nesans heykel sanat\u0131n\u0131n bi\u00e7imsel m\u00fckemmelli\u011finin, ana ak\u0131m taraf\u0131ndan \"s\u00f6ylenemez\" olarak s\u0131n\u0131fland\u0131r\u0131lan konulara uygulanmas\u0131; her \u015feyden \u00f6te, New York\u2019un BDSM alt k\u00fclt\u00fcr\u00fcn\u00fc belgelemesi. Y\u00fcksek sanat\u0131n me\u015frula\u015ft\u0131r\u0131c\u0131 dilini kullanarak queer arzuyu ge\u00e7erli k\u0131l\u0131yordu ve \u201cMan in Polyester Suit\u201d (1980) adl\u0131 eseri, bu \u00e7at\u0131\u015fmay\u0131 t\u00fcm \u015fiddetiyle sergiliyordu; eserin dar kadraj\u0131, ele\u015ftirmenlerin o g\u00fcnden beri tart\u0131\u015ft\u0131\u011f\u0131 \u0131rk, cinsellik ve bak\u0131\u015f\u0131n politikas\u0131 hakk\u0131nda sorular sormaya zorluyordu.<\/p>\n

\"Robert

\"Robert Mapplethorpe\u2019un \"Polyester Tak\u0131m Elbiseli Adam\u201d (1980) adl\u0131 eseri<\/p><\/div>\n\n

Meydan Okuyan Kad\u0131nl\u0131k: Lisa Lyon Serisi<\/h3>\n

1979\"da d\u00fczenlenen ilk kad\u0131nlar d\u00fcnya v\u00fccut geli\u015ftirme \u015fampiyonas\u0131n\u0131n galibi Lisa Lyon ile yapt\u0131\u011f\u0131 i\u015fbirli\u011fi, farkl\u0131 bir geleneklere meydan okudu. Erkek \u00e7\u0131plaklar\u0131na g\u00f6sterdi\u011fi klasik sayg\u0131yla onun kasl\u0131 v\u00fccudunu foto\u011fraflayan ve bu projeyi 1983 y\u0131l\u0131nda \"Lady\u201d adl\u0131 kitapta yay\u0131nlayan Mapplethorpe, sanat tarihinde yer bulamayan bir kad\u0131n g\u00fcc\u00fcn\u00fc ortaya koydu. Bu g\u00f6r\u00fcnt\u00fcler, o on y\u0131l\u0131n feminist sorusunu g\u00f6rsel bir bi\u00e7ime d\u00f6n\u00fc\u015ft\u00fcrd\u00fc: G\u00fc\u00e7 ile kad\u0131ns\u0131l\u0131\u011f\u0131n z\u0131t kavramlar oldu\u011funa kim karar verdi?<\/p>\n

\"V\u00fccut

Robert Mapplethorpe\u2019un \u201cLisa Lyon (1982)\u201d adl\u0131 eseri<\/p><\/div>\n\n

Nan Goldin (1953\u2013g\u00fcn\u00fcm\u00fcz): Ki\u015fisel Olan Siyasidir<\/h2>\n
\"Foto\u011fraf\u00e7\u0131

Nan Goldin<\/p><\/div>\n

Mapplethorpe galerinin bi\u00e7imsel dilinde m\u00fccadele ederken, Goldin bu m\u00fccadeleyi yatak odas\u0131na ta\u015f\u0131d\u0131. \"The Ballad of Sexual Dependency\" (1986), Boston, New York ve Berlin\u2019in bohem yeralt\u0131 \u00e7evrelerinde ya\u015fad\u0131\u011f\u0131, kendi se\u00e7ti\u011fi ailesinin g\u00f6rsel g\u00fcnl\u00fc\u011f\u00fcd\u00fcr: sevgililer, arkada\u015flar, drag krali\u00e7eleri, ba\u011f\u0131ml\u0131lar; a\u015fk, \u015fiddet ve kay\u0131plar aras\u0131nda, anl\u0131k foto\u011fraflar\u0131n d\u00fcr\u00fcstl\u00fc\u011f\u00fcyle foto\u011fraflanm\u0131\u015flard\u0131r. Ballad\u2019daki \u00e7\u0131plakl\u0131k hi\u00e7bir zaman bir performans de\u011fildir; bu, samimiyetin i\u00e7inden nas\u0131l g\u00f6r\u00fcnd\u00fc\u011f\u00fcn\u00fcn bir yans\u0131mas\u0131d\u0131r ve AIDS, belgeledi\u011fi toplulu\u011fu mahvederken, bu g\u00fcnl\u00fck bir neslin yeri doldurulamaz bir ar\u015fivi haline geldi. Goldin\u2019in m\u00fccadelesi burada bitmedi: 2017\"de, kendisini neredeyse \u00f6ld\u00fcren opioid krizinden Sackler ailesini sorumlu tutmak amac\u0131yla P.A.I.N.\"i kurdu; m\u00fczelerdeki protestolar\u0131 ise Sackler isminin d\u00fcnya \u00e7ap\u0131ndaki kurumlardan silinmesine katk\u0131da bulundu; bu hik\u00e2ye, 2022\u2019de Venedik\u2019te Alt\u0131n Aslan \u00f6d\u00fcl\u00fcn\u00fc kazanan \"All the Beauty and the Bloodshed\" adl\u0131 filmde anlat\u0131l\u0131yor. Ki\u015fisel olan\u0131n politik oldu\u011funu bu kadar kesin bir \u015fekilde ortaya koyan \u00e7ok az kariyer vard\u0131r.<\/p>\n

\"Nan

Nan Goldin\u2019in \"Cinsel Ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n Balad\u0131\" adl\u0131 eserinden<\/p><\/div>\n\n

Sally Mann (1951\u2013g\u00fcn\u00fcm\u00fcz): Tart\u0131\u015fmal\u0131 Aile Reisi<\/h2>\n
\"Amerikal\u0131

Sally Mann<\/p><\/div>\n

Mann\u2019\u0131n ailesini ve Amerika\u2019n\u0131n G\u00fcneyini konu alan \u0131slak plaka foto\u011fraflar\u0131, i\u00e7eriklerinin kabul etmedi\u011fi resimsel bir zamans\u0131zl\u0131\u011f\u0131 yans\u0131t\u0131yor. Ailesinin Virginia\u2019daki \u00e7iftli\u011finde k\u00fc\u00e7\u00fck \u00e7ocuklar\u0131n\u0131n \u00e7\u0131plak foto\u011fraflar\u0131n\u0131 i\u00e7eren \"Immediate Family\" (1984\u20131994) serisi, k\u00fclt\u00fcr\u00fc ikiye b\u00f6ld\u00fc: Baz\u0131lar\u0131 i\u00e7in g\u00f6zetimsiz bir \u00e7ocuklu\u011fun idilini, di\u011ferleri i\u00e7in ise rahats\u0131z edici bir if\u015fay\u0131 temsil ediyordu; bu seriyle birlikte, annelik, masumiyet ve izleyicinin kendi yans\u0131malar\u0131 \u00fczerine on y\u0131l s\u00fcren bir tart\u0131\u015fma ba\u015flad\u0131. Daha sonraki d\u00f6nemde, \"Proud Flesh\" serisinde bak\u0131\u015f\u0131n\u0131 kocas\u0131n\u0131n v\u00fccuduna y\u00f6neltmesi, \u015fu makalede incelenmektedir: \u00c7\u0131plakl\u0131k kavram\u0131n\u0131 yeniden tan\u0131mlayan kad\u0131nlar \u00fczerine yaz\u0131m\u0131z<\/a>; bu iki dizi bir araya geldi\u011finde, tek bir sars\u0131lmaz bak\u0131\u015f\u0131n aile ve beden meselelerini ne kadar ileriye ta\u015f\u0131yabilece\u011fini ortaya koyuyor.<\/p>\n

\"Sally

Sally Mann\u2019\u0131n \"Immediate Family\" adl\u0131 eserinden<\/p><\/div>\n\n

Joel-Peter Witkin (1939\u2013g\u00fcn\u00fcm\u00fcz): Grotesk ve \u0130\u011fren\u00e7<\/h2>\n

Bu t\u00fcr\u00fcn en karanl\u0131k s\u0131n\u0131rlar\u0131nda Witkin, varolu\u015fun en u\u00e7 kenarlar\u0131ndan \u2013 cesetler, interseks bedenler, fiziksel farkl\u0131l\u0131klar \u2013 Goya ve Bosch\u2019un kompozisyonlar\u0131ndaki ciddiyetle sahnelenen ve g\u00f6r\u00fcnt\u00fcleri bir kabus medeniyetinin kal\u0131nt\u0131lar\u0131 gibi hissettiren, \u00e7izik ve y\u0131pranm\u0131\u015f negatiflere bas\u0131lm\u0131\u015f \u00fcrk\u00fct\u00fcc\u00fc tablolara imza at\u0131yor. Eserleri, filozof Julia Kristeva\u2019n\u0131n \"i\u011fren\u00e7\" olarak adland\u0131rd\u0131\u011f\u0131, kimli\u011fi, sistemi ve d\u00fczeni sarsan unsurlarla y\u00fczle\u015fir ve izleyiciyi, kutsal ile dayan\u0131lmaz aras\u0131ndaki kendi s\u0131n\u0131r\u0131n\u0131 belirlemeye zorlar. Eserin grafik niteli\u011fi nedeniyle burada hi\u00e7bir g\u00f6r\u00fcnt\u00fc yer almamaktad\u0131r; \u201c\u00d6p\u00fcc\u00fck\u201d gibi eserler, tam da rahat bir izleme deneyimini reddettikleri i\u00e7in s\u0131n\u0131rlar\u0131 a\u015fan sanat\u0131n simgeleri olarak kalmaktad\u0131r.<\/p>\n\n

Cindy Sherman (1954-g\u00fcn\u00fcm\u00fcz): Yap\u0131s\u00f6k\u00fcm\u00fcne U\u011frayan Postmodern Beden<\/h2>\n

Sherman\u2019\u0131n \u00e7a\u011fda\u015f d\u00f6neme yapt\u0131\u011f\u0131 d\u00f6n\u00fc\u015f, imgenin dekonstr\u00fcksiyonunu kendi bedeninin \u00f6tesine tamamen ta\u015f\u0131d\u0131. \"Sex Pictures\" (1992) adl\u0131 \u00e7al\u0131\u015fmas\u0131nda t\u0131bbi mankenleri ve protez par\u00e7alar\u0131 m\u00fcstehcen, klinik tablolara d\u00f6n\u00fc\u015ft\u00fcrd\u00fc: kad\u0131n bedeni, kelimenin tam anlam\u0131yla bile\u015fenlerin bir araya getirilmesiydi; fanteziden ar\u0131nd\u0131r\u0131lm\u0131\u015f bir \u015fekilde sergilenen pornografinin par\u00e7alanmas\u0131. Kendini resimden \u00e7ekerek, o d\u00f6nemin tart\u0131\u015fmas\u0131n\u0131 postmodern son noktas\u0131na ta\u015f\u0131d\u0131; burada \"do\u011fal\" beden kadrajdan \u00e7\u0131km\u0131\u015f, geriye yaln\u0131zca kurgulanm\u0131\u015f beden kalm\u0131\u015ft\u0131r; bu sonu\u00e7, sentetik g\u00f6r\u00fcnt\u00fclerin \u00e7a\u011f\u0131nda yine farkl\u0131 bir anlam kazanmaktad\u0131r.<\/p>\n\n

\n

\u00c7\u0131plak Sanat At\u00f6lyeleri \u00b7 Berlin ve \u0130stanbul<\/p>\n

G\u00fcn\u00fcm\u00fcz\u00fcn en \u00f6nemli dersi, \u00e7\u0131plakl\u0131\u011f\u0131n bir mesaj verebilece\u011fidir. At\u00f6lyelerimiz tam da bu noktadan yola \u00e7\u0131kar: Her bir at\u00f6lye, ger\u00e7ek bir \u00f6nemi olan bir konsept \u00fczerine kurulur ve cinsellik, tema, bi\u00e7im ve i\u015fbirli\u011finin gerisinde kas\u0131tl\u0131 olarak \u00fc\u00e7\u00fcnc\u00fc ya da d\u00f6rd\u00fcnc\u00fc s\u0131raya indirilir; b\u00f6ylece \u00fcretti\u011finiz g\u00f6r\u00fcnt\u00fcler bir \u015feyler anlat\u0131r.<\/p>\n

Yakla\u015fan at\u00f6lyelere g\u00f6z at\u0131n<\/a>\u00a0\u00a0\u00a0ya da \u00f6ncelikli eri\u015fim i\u00e7in bize e-posta g\u00f6nderin \u2192<\/a><\/p>\n<\/div>\n\n

Bedeni Geri Kazanmak: Kimlik, Irk ve Queerlik<\/h2>\n

Marjinalle\u015ftirilmi\u015f topluluklardan gelen sanat\u00e7\u0131lar i\u00e7in, politik n\u00fc sanat\u0131<\/strong> tarihsel bir d\u00fczeltmenin arac\u0131 haline geldi: beden, kendisini d\u0131\u015flayan, egzotikle\u015ftiren ya da silen bir kanondan geri kazan\u0131ld\u0131 ve kendi iradesiyle yeniden ortaya kondu.<\/p>\n\n

Rotimi Fani-Kayode (1955\u20131989): S\u00f6m\u00fcrgecilik Sonras\u0131 Beden<\/h3>\n

Nijeryal\u0131 Yoruba miras\u0131 ile Londra\u2019da e\u015fcinsel bir erkek olarak s\u00fcrd\u00fcrd\u00fc\u011f\u00fc ya\u015fam aras\u0131nda bir denge kuran Fani-Kayode, siyah erkek bedenini s\u00f6m\u00fcrgeci bak\u0131\u015f\u0131n elinden kurtaran sembolik portreler ortaya koydu. \"Bronze Head\" (1987) adl\u0131 eserinde, sanat\u00e7\u0131 canl\u0131 bedenini klasik bir Afrika eseri ile kar\u015f\u0131 kar\u015f\u0131ya getirerek k\u00f6keni ve bedeni tek bir karede birle\u015ftirmi\u015f; maneviyat ile arzunun birbirinden ayr\u0131lamayaca\u011f\u0131n\u0131 ortaya koymu\u015ftur. Mapplethorpe\u2019u da aram\u0131zdan alan o veba y\u0131llar\u0131nda, 1989\u2019da vefat eden sanat\u00e7\u0131n\u0131n geride b\u0131rakt\u0131\u011f\u0131 az say\u0131daki eserinin \u00f6nemi, o g\u00fcnden bu yana giderek artm\u0131\u015ft\u0131r.<\/p>\n

\"Rotimi

\"Rotimi Fani-Kayode\u2019nin \"Bronz Ba\u015f\u201d (1987) adl\u0131 eseri<\/p><\/div>\n\n

Ajamu X (1963\u2013g\u00fcn\u00fcm\u00fcz): Joy\u2019un Queer Ar\u015fivi<\/h3>\n

\u0130ngiliz sanat\u00e7\u0131 Ajamu X, Siyah queer ya\u015fam\u0131n\u0131 bir vaka \u00e7al\u0131\u015fmas\u0131 de\u011fil, bir kutlama olarak foto\u011frafl\u0131yor. \"Black Bodyscapes\" adl\u0131 serisi, arzu, zevk ve kendine hakimiyeti, ba\u015fl\u0131 ba\u015f\u0131na siyasi bir eylem olan bir \u00f6zg\u00fcvenle sergiliyor: silinme tarihine kar\u015f\u0131, ne\u015fe ar\u015fivi sesini sonuna kadar a\u00e7m\u0131\u015f bir direni\u015ftir. Bu \u00e7al\u0131\u015fma, ba\u015fkas\u0131n\u0131n belirledi\u011fi sayg\u0131nl\u0131k de\u011fil, ki\u015finin kendi \u015fartlar\u0131na g\u00f6re g\u00f6r\u00fcn\u00fcr olman\u0131n as\u0131l \u00f6d\u00fcl oldu\u011funu vurguluyor.<\/p>\n

\"Ajamu

Ajamu X\u2019in \"Black Bodyscapes\" adl\u0131 eserinden<\/p><\/div>\n\n

Laura Aguilar (1959\u20132018): Manzarada Yer Kazanmak<\/h3>\n

Aguilar\u2019\u0131n otoportreleri, birer i\u015fgal eylemi niteli\u011findeydi. \u0130ri yap\u0131l\u0131, i\u015f\u00e7i s\u0131n\u0131f\u0131ndan bir Latin lezbiyen olarak, \"Nature Self-Portrait\" (1996) serisinde \u00e7\u0131plak bedenini Amerika\u2019n\u0131n g\u00fcneybat\u0131s\u0131ndaki kayal\u0131klar\u0131n aras\u0131na yerle\u015ftirdi; manzaras\u0131 sanki onu yaratm\u0131\u015f gibi g\u00f6r\u00fcnene kadar bedeni, kayalarla ve toprakla uyum i\u00e7indeydi. Bu g\u00f6r\u00fcnt\u00fcler, ana ak\u0131m sanat\u0131n resmetmeyi reddetti\u011fi bedenler i\u00e7in aidiyeti g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor ve bunu, d\u0131\u015flamay\u0131 utand\u0131racak kadar bi\u00e7imsel bir sakinlikle yap\u0131yor.<\/p>\n

\"Laura

Laura Aguilar\u2019\u0131n \"Nature Self-Portrait\" serisinden (1996)<\/p><\/div>\n\n

Bi\u00e7im \u00dczerine Yeni Bak\u0131\u015f A\u00e7\u0131lar\u0131: \u00d6l\u00e7ek ve Samimiyet<\/h2>\n\n

Spencer Tunick (1967\u2013g\u00fcn\u00fcm\u00fcz): Cinsellikten Ar\u0131nd\u0131r\u0131lm\u0131\u015f Kolektif<\/h3>\n

Tunick\u2019in enstalasyonlar\u0131, binlerce g\u00f6n\u00fcll\u00fcy\u00fc \u00e7\u0131plak olu\u015fumlar halinde bir araya getirerek kolektif bedeni canl\u0131 bir heykele, kamusal alan\u0131 ise onun kaidesine d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. 2007 y\u0131l\u0131nda Meksiko'nun Z\u00f3calo meydan\u0131nda ger\u00e7ekle\u015ftirdi\u011fi ve yakla\u015f\u0131k on sekiz bin kat\u0131l\u0131mc\u0131yla en b\u00fcy\u00fck \u00f6l\u00e7ekli \u00e7al\u0131\u015fmas\u0131, tarihi meydan\u0131 ge\u00e7ici bir bedenler alan\u0131na d\u00f6n\u00fc\u015ft\u00fcrd\u00fc; burada hi\u00e7bir bireysel beden cinsel bir anlam ta\u015f\u0131maz, \u00e7\u00fcnk\u00fc hi\u00e7bir bireysel beden tek ba\u015f\u0131na alg\u0131lanmaz. Bu t\u00fcr projelerin ard\u0131ndaki hukuki s\u00fcre\u00e7ler \u2013 tutuklamalar, temyizler ve nihayetinde belediyeyle i\u015fbirli\u011fi \u2013 \u015fu \u015fekilde ortaya konmaktad\u0131r: kamusal alanda \u00e7\u0131plakl\u0131k \u00fczerine yaz\u0131m\u0131z<\/a>.<\/p>\n

\"Spencer

\"Spencer Tunick\u2019in \"Mexico City 4 (Z\u00f3calo)\u201d (2007) adl\u0131 eseri<\/p><\/div>\n\n

Mona Kuhn (1969\u2013g\u00fcn\u00fcm\u00fcz): Ruhani ve Samimi<\/h3>\n

Kuhn, o d\u00f6nemin en sakin \u00fcslubunu kullan\u0131r. \"Evidence\" (2007) adl\u0131 \u00e7al\u0131\u015fmas\u0131 i\u00e7in, y\u0131llard\u0131r tan\u0131d\u0131\u011f\u0131 bir Frans\u0131z naturist toplulu\u011funun sakinlerini foto\u011fraflad\u0131 ve bu samimiyet, onun tekni\u011fidir: modelleri, bir yabanc\u0131n\u0131n kameras\u0131n\u0131n yakalayamayaca\u011f\u0131 kadar do\u011fal bir rahatl\u0131kla \u00e7\u0131plakl\u0131klar\u0131n\u0131 ya\u015f\u0131yor ve bu, s\u0131cak, r\u00fcya gibi bir \u0131\u015f\u0131kla aktar\u0131l\u0131yor. On y\u0131ll\u0131k bir \u00e7at\u0131\u015fma d\u00f6nemine kar\u015f\u0131n, Kuhn\u2019un foto\u011fraflar\u0131 samimiyetin de bir duru\u015f oldu\u011funu ortaya koyuyor.<\/p>\n

\"Mona

Mona Kuhn\u2019un \"Evidence\" serisinden (2007)<\/p><\/div>\n\n

Beden Pozitifli\u011fi ve Kendini \u0130fade Etmenin Y\u00fckseli\u015fi<\/h2>\n

Bu d\u00f6nemin en yeni ak\u0131m\u0131, kameray\u0131 ticari g\u00fczellik standartlar\u0131n\u0131n kendisine y\u00f6neltiyor ve her v\u00fccut tipinin, sanat tarihinde yaln\u0131zca birka\u00e7\u0131 i\u00e7in ayr\u0131lm\u0131\u015f olan resmi ciddiyeti hak etti\u011fini vurguluyor.<\/p>\n\n

Yossi Loloi (1979\u2013g\u00fcn\u00fcm\u00fcz) ve \"Full Beauty\"<\/h3>\n

Loloi\u2019nin \"Full Beauty\" projesi, klasik \u0131\u015f\u0131kland\u0131rma ve tela\u015fs\u0131z, zarif pozlarla b\u00fcy\u00fck beden kad\u0131nlar\u0131 foto\u011fraflayarak, modeline klasik g\u00fczellik standartlar\u0131n\u0131n sadece ince v\u00fccutlara ay\u0131rd\u0131\u011f\u0131 g\u00f6rsel sayg\u0131nl\u0131\u011f\u0131 tam olarak sunuyor. Siyasi mesaj tamamen estetik i\u00e7inde yat\u0131yor: Bir bedenin nas\u0131l ayd\u0131nlat\u0131ld\u0131\u011f\u0131n\u0131 ve kadraja al\u0131nd\u0131\u011f\u0131n\u0131 de\u011fi\u015ftirirseniz, izleyicinin bir bedenin ne i\u00e7in oldu\u011funa dair inanc\u0131n\u0131 da de\u011fi\u015ftirirsiniz.<\/p>\n

\"Yossi

Yossi Loloi\u2019nin \"Full Beauty\" projesinden<\/p><\/div>\n\n

Polly Penrose (1974\u2013g\u00fcn\u00fcm\u00fcz) ve Uzaydaki Beden<\/h3>\n

Penrose, kendi v\u00fccudunu ev mimarisine katlayarak sandalyelere sark\u0131t\u0131yor, k\u00f6\u015felere s\u0131k\u0131\u015ft\u0131r\u0131yor, radyat\u00f6rlere yasl\u0131yor ve b\u00f6ylece hem soyut, hem komik, hem de i\u00e7ten i\u00e7e tedirgin edici \u015fekiller ortaya \u00e7\u0131kar\u0131yor. Otoportreleri, mekanlar\u0131n i\u00e7inde ya\u015fayan bedenleri nas\u0131l \u015fekillendirdi\u011fini sorguluyor ve ilk bak\u0131\u015fta fark edilenden daha fazla melankoli bar\u0131nd\u0131ran bir fiziksel komedi ile bu soruya yan\u0131t veriyor.<\/p>\n

\"Polly

Polly Penrose<\/p><\/div>\n\n

Bir K\u00fcrat\u00f6r Notu: Bedenin Co\u011frafyas\u0131<\/h2>\n

Bu d\u00f6nemin en derin sorusu, yani \u201ckimin bedenleri g\u00f6r\u00fcn\u00fcr hale gelir ve kimin \u015fartlar\u0131na g\u00f6re?\u201d sorusu, kimlikle s\u0131n\u0131rl\u0131 kalmaz; co\u011frafyay\u0131 da kapsar. Bu inan\u00e7, [serginin ad\u0131] sergisinin k\u00fcrat\u00f6r\u00fc olarak benim katk\u0131m\u0131 \u015fekillendirdi. \u0130stanbul\u2019un \u00c7\u0131plaklar\u0131<\/em>, 2026 y\u0131l\u0131nda T\u00fcrkiye\u2019den on d\u00f6rt foto\u011fraf\u00e7\u0131n\u0131n beden odakl\u0131 \u00e7al\u0131\u015fmalar\u0131n\u0131 Berlin\u2019deki Die Akt Galerie\u2019ye ta\u015f\u0131yan ve Mijuk Papers Berlin taraf\u0131ndan ciltli olarak yay\u0131nlanan bir sergi: bir dizi k\u00fclt\u00fcrel bask\u0131 alt\u0131nda \u00fcretilen, ba\u015fka bir k\u00fclt\u00fcrel ba\u011flamda sergilenen ve bu t\u00fcr\u00fcn haritas\u0131nda silik kalm\u0131\u015f bir co\u011frafyan\u0131n g\u00f6r\u00fcn\u00fcr olmas\u0131n\u0131 \u0131srarla savunan bir g\u00f6r\u00fcnt\u00fc koleksiyonu. Kendi st\u00fcdyo prati\u011fim de ayn\u0131 d\u00f6neme aittir ve bu d\u00f6nemin en yeni m\u00fccadelesinde bir pozisyon almaktad\u0131r: \u00fcretti\u011fim her \u015fey, ger\u00e7ek bir insan, ger\u00e7ek kuma\u015f ve ger\u00e7ek \u0131\u015f\u0131kla, kameran\u0131n i\u00e7inde olu\u015fturulur; \u00e7\u00fcnk\u00fc bir g\u00f6r\u00fcnt\u00fcdeki bedenin hi\u00e7 var olmam\u0131\u015f olabilece\u011fi bir d\u00f6nemde, iki insan aras\u0131ndaki i\u015fbirli\u011finin kendisi politik bir i\u00e7erik haline gelmi\u015ftir. A\u015fa\u011f\u0131daki 'Gelin\" adl\u0131 eser her iki konuyu da bar\u0131nd\u0131r\u0131yor: tek bir sahne \u00f6\u011fesi, her izleyicinin kendi ba\u015f\u0131na sonland\u0131rmas\u0131 gereken rit\u00fcel, r\u0131za ve reddetme \u00fczerine bir anlat\u0131y\u0131 ba\u015flat\u0131yor.<\/p>\n

\"Gelin

Gelin \u2014 Burak Bulut Y\u0131ld\u0131r\u0131m<\/a><\/p><\/div>\n\n

Bir \u0130fade Olarak Beden<\/h2>\n

\u00c7a\u011fda\u015f d\u00f6nemin miras\u0131, gramerdeki kip de\u011fi\u015fikli\u011fidir: \u00c7\u0131plakl\u0131k, betimleyici olmaktan \u00e7\u0131k\u0131p bildirimsel hale gelmi\u015ftir. Bir bedenin foto\u011fraf\u0131 art\u0131k bir ba\u015fkald\u0131r\u0131 eylemi, bir toplulu\u011fun ar\u015fivi, tarihsel kayd\u0131n d\u00fczeltilmesi ya da kamusal alanda ortaya konan bir iddia olabilir; izleyiciler de bunu bilerek bu foto\u011frafa yakla\u015f\u0131r. Bu d\u00f6nemi miras alan foto\u011fraf\u00e7\u0131lar, kadrajda bir \u015feyin s\u00f6z konusu olmas\u0131 gereklili\u011fini de miras al\u0131rlar. Bu beyan\u0131 m\u00fcmk\u00fcn k\u0131lan denemelerin izleri modernist d\u00f6nem<\/a>, ve bu t\u00fcr\u00fcn en \u00f6nemli d\u00f6n\u00fc\u015f\u00fcm\u00fcn\u00fc ger\u00e7ekle\u015ftiren yazarlar ise \u00c7\u0131plakl\u0131k kavram\u0131n\u0131 yeniden tan\u0131mlayan kad\u0131nlar<\/a>.<\/p>\n\n

Okuyucular\u0131n sordu\u011fu sorular<\/h2>\n

Mapplethorpe m\u00fcstehcenlik davas\u0131 neydi?<\/h3>\n

1990 y\u0131l\u0131nda, Cincinnati \u00c7a\u011fda\u015f Sanat Merkezi ve m\u00fcd\u00fcr\u00fc Dennis Barrie, \"The Perfect Moment\" adl\u0131 eseri sergiledikleri gerek\u00e7esiyle yarg\u0131land\u0131lar; bu, bir Amerikan m\u00fczesine kar\u015f\u0131 a\u00e7\u0131lan ilk m\u00fcstehcenlik davas\u0131yd\u0131. Beraat karar\u0131, Amerika Birle\u015fik Devletleri\u2019nde k\u0131\u015fk\u0131rt\u0131c\u0131 sanat eserlerinin sergilenmesi konusunda temel bir emsal te\u015fkil etti.<\/p>\n

Siyasi \u00e7\u0131plak sanat nedir?<\/h3>\n

\u00c7\u0131plak bedenin esteti\u011fin \u00f6tesinde bir mesaj ta\u015f\u0131d\u0131\u011f\u0131 eserler: kimli\u011fi geri kazanmak, bir toplulu\u011fu belgelemek, silinmeye kar\u015f\u0131 \u00e7\u0131kmak ya da g\u00fczellik standartlar\u0131na itiraz etmek. \u00c7a\u011fda\u015f d\u00f6nem, bunu bu t\u00fcr\u00fcn bask\u0131n bir \u00f6zelli\u011fi haline getirdi.<\/p>\n

G\u00fcn\u00fcm\u00fczde \u00e7\u0131plak sanat h\u00e2l\u00e2 sans\u00fcrleniyor mu?<\/h3>\n

Evet, ancak m\u00fccadele alan\u0131 mahkeme salonlar\u0131ndan dijital platformlara kayd\u0131: Algoritmik denetim art\u0131k hi\u00e7bir savc\u0131n\u0131n ba\u015faramad\u0131\u011f\u0131 bir \u00f6l\u00e7ekte sanatsal \u00e7\u0131plakl\u0131\u011f\u0131 bast\u0131r\u0131yor ve profesyonel foto\u011fraf\u00e7\u0131lar g\u00f6r\u00fcn\u00fcrl\u00fcklerini buna g\u00f6re planl\u0131yor. 1850\u2019lerin Paris\u2019indeki devlet ar\u015fivi ile g\u00fcn\u00fcm\u00fcz\u00fcn i\u00e7erik politikas\u0131, g\u00fcncellenmi\u015f haliyle ayn\u0131 ara\u00e7t\u0131r.<\/p>\n

Kavram odakl\u0131 bir \u00e7\u0131plak resim prati\u011fini nas\u0131l geli\u015ftirebilirim?<\/h3>\n

Bir metinden de\u011fil, bir arg\u00fcmandan yola \u00e7\u0131k\u0131n. Bizim Berlin ve \u0130stanbul\u2019daki at\u00f6lye \u00e7al\u0131\u015fmalar\u0131<\/a> tam da bu e\u011fitim anlay\u0131\u015f\u0131 do\u011frultusunda kurgulanm\u0131\u015ft\u0131r: her say\u0131 tek bir kavram\u0131 ele al\u0131r; cinsellik, bu makalenin izledi\u011fi d\u00f6nemin do\u011frudan gelene\u011fi do\u011frultusunda, tema, bi\u00e7im ve i\u015fbirli\u011finin gerisinde kas\u0131tl\u0131 olarak ikinci plana itilmi\u015ftir.<\/p>\n\n

\n

E\u011fer bu d\u00f6nem \u00e7\u0131plakl\u0131\u011f\u0131n bir arg\u00fcman olu\u015fturabilece\u011fini kan\u0131tlad\u0131ysa, at\u00f6lyelerimizin varl\u0131k nedeni de bu arg\u00fcman\u0131 \u00f6\u011fretmektir: Cinselli\u011fin, tema, bi\u00e7im ve model ile foto\u011fraf\u00e7\u0131 aras\u0131ndaki i\u015fbirli\u011finin arkas\u0131nda kas\u0131tl\u0131 olarak \u00fc\u00e7\u00fcnc\u00fc veya d\u00f6rd\u00fcnc\u00fc s\u0131raya yerle\u015ftirildi\u011fi, her g\u00f6r\u00fcnt\u00fcn\u00fcn fiziksel olarak, kamera i\u00e7inde olu\u015fturuldu\u011fu \u201ckonsept \u00f6ncelikli\u201d seriler. Liderli\u011finde Burak Bulut Y\u0131ld\u0131r\u0131m<\/strong>, 2005 y\u0131l\u0131ndan bu yana Berlin\u2019de faaliyet g\u00f6steren foto\u011fraf\u00e7\u0131 ve k\u00fcrat\u00f6r: 14 y\u0131l\u0131 a\u015fk\u0131n s\u00fcredir devam eden \u00e7\u0131plak sanat at\u00f6lyeleri, 50\u2019den fazla bask\u0131, 300\u2019den fazla foto\u011fraf\u00e7\u0131, Berlin, Z\u00fcrih, Barselona, Roma, Selanik ve Heilbronn\u2019da d\u00fczenlenen sergiler, \u015funun k\u00fcrat\u00f6r\u00fc: \u0130stanbul\u2019un \u00c7\u0131plaklar\u0131<\/em> (Die Akt Galerie Berlin, 2026; Mijuk Papers Berlin taraf\u0131ndan bas\u0131lm\u0131\u015f ciltli kitap).<\/p>\n

Yakla\u015fan at\u00f6lyelere g\u00f6z at\u0131n<\/a>\u00a0\u00a0\u00a0\u0130lk eri\u015fim i\u00e7in bize e-posta g\u00f6nderin \u2192<\/a><\/p>\n

Portf\u00f6y: burakbulut.org<\/a> \u00b7 S\u0131n\u0131rl\u0131 say\u0131da \u00fcretilen \u00fcr\u00fcnler Saatchi Sanat<\/a> ve Artsper<\/a> \u00b7 \u0130leti\u015fim: hello@nudeartworkshops.com<\/a><\/p><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":4661,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ai_generated_summary":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-4547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-2"],"_links":{"self":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4547","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/comments?post=4547"}],"version-history":[{"count":0,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4547\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media\/4661"}],"wp:attachment":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media?parent=4547"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/categories?post=4547"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/tags?post=4547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}