{"id":4550,"date":"2024-08-09T00:33:55","date_gmt":"2024-08-08T22:33:55","guid":{"rendered":"https:\/\/nudeartworkshops.com\/?p=4550"},"modified":"2026-07-16T17:00:03","modified_gmt":"2026-07-16T15:00:03","slug":"nu-sanat-fotografciliginda-kadinlar-bakis-acilarina-meydan-okuyor-ve-turu-yeni%cc%87den-tanimliyor","status":"publish","type":"post","link":"https:\/\/nudeartworkshops.com\/tr\/women-in-nude-art-photography-challenging-perspectives-and-redefining-the-genre\/","title":{"rendered":"N\u00fc Sanat Foto\u011fraf\u0131nda Kad\u0131nlar: Perspektiflere Meydan Okumak ve T\u00fcr\u00fc Yeniden Tan\u0131mlamak"},"content":{"rendered":"

Kamera Kad\u0131n\u0131n Elinde: Kad\u0131nlar N\u00fc Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131 Nas\u0131l Yeniden Tan\u0131mlad\u0131?<\/h1>\n

\u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n tarihi, bir bak\u0131\u015f tarihidir ve bu tarihin b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcnde bak\u0131\u015f tek y\u00f6nl\u00fcyd\u00fc. Erkekler kad\u0131n bedenlerini d\u00fczenler, ayd\u0131nlat\u0131r ve kadraja al\u0131rd\u0131; kad\u0131nlar ise sadece g\u00f6r\u00fcn\u00fcrd\u00fc. Bu makalede ele al\u0131nan foto\u011fraf\u00e7\u0131lar bu d\u00f6ng\u00fcy\u00fc k\u0131rd\u0131. Bir as\u0131r boyunca, kendilerini d\u0131\u015flamak \u00fczere kurulmu\u015f kurumlara kar\u015f\u0131 m\u00fccadele ederek, \u00e7\u0131plak foto\u011fraf\u00e7\u0131l\u0131kta kad\u0131nlar<\/strong> bedeni, bak\u0131\u015f\u0131n al\u0131c\u0131 ucundan yarat\u0131c\u0131 ucuna kayd\u0131rd\u0131 ve bunu yaparak bu t\u00fcr\u00fcn amac\u0131n\u0131 de\u011fi\u015ftirdi. Bu, bu tersine d\u00f6n\u00fc\u015f\u00fcn hik\u00e2yesidir; onu zorlayan imgeler arac\u0131l\u0131\u011f\u0131yla anlat\u0131l\u0131r.<\/p>\n

Bunu, bir erkek foto\u011fraf\u00e7\u0131 olarak yaz\u0131yorum; Berlin\u2019de \u00e7\u0131plak resim dersleri veriyor<\/a>, yani bu tarih benim i\u00e7in soyut bir kavram de\u011fildir. Bu, s\u00fcrekli bir d\u00fczeltme s\u00fcrecidir ve y\u00fcr\u00fctt\u00fc\u011f\u00fcm her oturumun \u00e7al\u0131\u015fma disiplininin bir par\u00e7as\u0131d\u0131r.<\/p>\n\n

Kanon ve Ona Kar\u015f\u0131 Olanlar: \"Erkek Bak\u0131\u015f\u0131\"<\/h2>\n

Bu sorunun \u00e7\u00f6z\u00fclebilmesi i\u00e7in \u00f6nce bir isme ihtiyac\u0131 vard\u0131 ve Laura Mulvey bu ismi verdi. 1975 tarihli \"G\u00f6rsel Zevk ve Anlat\u0131 Sinemas\u0131\" ba\u015fl\u0131kl\u0131 denemesinde, g\u00f6rsel k\u00fclt\u00fcr\u00fcn kad\u0131nlar\u0131 pasif bir malzeme olarak konumland\u0131rd\u0131\u011f\u0131n\u0131 ve bunlar\u0131n varsay\u0131lan erkek, heteroseks\u00fcel izleyicinin zevki i\u00e7in d\u00fczenlendi\u011fini savundu: Bat\u0131 imge \u00fcretiminin derinliklerine i\u015flenmi\u015f bir \"aktif\/erkek, pasif\/kad\u0131n\" ikili\u011fi. On dokuzuncu y\u00fczy\u0131l ve yirminci y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda \u00e7ekilen \u00e7\u0131plak foto\u011fraflar tam da bu d\u00f6ng\u00fc i\u00e7inde i\u015fliyordu. Kad\u0131nlar, isimsiz odal\u0131klar ve mitolojik sahne aksesuarlar\u0131 olarak g\u00f6r\u00fcn\u00fcyordu; bireysellikleri bir ideal u\u011fruna silinip yok ediliyordu ve kameran\u0131n g\u00f6r\u00fcn\u00fcrdeki ger\u00e7ek\u00e7ili\u011fi, bu d\u00fczenlemeyi bir yorumdan \u00e7ok bir ger\u00e7ekmi\u015f gibi hissettiriyordu. A\u015fa\u011f\u0131da bahsedilen foto\u011fraf\u00e7\u0131lar o odaya girip mobilyalar\u0131 yeniden d\u00fczenlediler.<\/p>\n\n

Imogen Cunningham (1883\u20131976): Modernizmin \u00d6nc\u00fc Ismi<\/h2>\n
\"Amerikal\u0131

Imogen Cunningham<\/p><\/div>\n

Cunningham, \u00e7\u0131plak foto\u011fraf\u00e7\u0131l\u0131kta ger\u00e7ek bir etki yaratan ilk kad\u0131nlardan biriydi ve onun yakla\u015f\u0131m\u0131, bu t\u00fcr\u00fcn o zamana kadar temsil etti\u011fi her \u015feye y\u00f6nelik sessiz bir reddiydi. 1932 y\u0131l\u0131nda kurulan ve Pikt\u00f6ryalist ak\u0131m\u0131n bulan\u0131kl\u0131\u011f\u0131na kar\u015f\u0131 keskin odakl\u0131 \"d\u00fcz foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131\" savunan Group f\/64\u2019\u00fcn kurucu \u00fcyelerinden biri olan Cunningham, bu netli\u011fi v\u00fccuda ta\u015f\u0131d\u0131 ve bu s\u00fcre\u00e7te v\u00fccuttan erotik anlat\u0131y\u0131 s\u0131y\u0131rd\u0131.<\/p>\n\n

Pikt\u00f6ryalizm\u2019den f\/64\u2019e: Saf Bi\u00e7ime Do\u011fru D\u00f6n\u00fc\u015f\u00fcm<\/h3>\n

Onun \"\u00dc\u00e7genler\" (1928) adl\u0131 eseri, bu y\u00f6ntemi b\u00fct\u00fcn olarak ortaya koyar. S\u0131k\u0131 bir kadrajla \u00e7ekilmi\u015f hamile bir g\u00f6vde, kesi\u015fen d\u00fczlemlerden olu\u015fan bir yap\u0131ya d\u00f6n\u00fc\u015f\u00fcr: kar\u0131n, g\u00f6\u011f\u00fcs ve kol, davetkar olmaktan ziyade geometrik unsurlar olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Konunun kimli\u011fi meselenin \u00f6z\u00fc de\u011fildir; as\u0131l mesele bi\u00e7imdir ve izleyiciden eseri t\u00fcketmek yerine incelemesi istenir. Oysa sanat\u00e7\u0131 hi\u00e7bir zaman sadece bir bi\u00e7imci olmad\u0131. \"Two Sisters\" (1928) adl\u0131 eserinde, yumu\u015fak bir odakla yan yana duran iki \u00e7\u0131plak kad\u0131n resmedilmi\u015ftir; ancak eserin konusu bu bedenlerin hi\u00e7biri de\u011fildir: konu, aralar\u0131ndaki samimiyettir; \u00e7a\u011fda\u015f erkek sanat\u00e7\u0131lar\u0131n izole edilmi\u015f, poz vermi\u015f \u00e7\u0131plak fig\u00fcrlerinde kesinlikle bulunmayan, g\u00f6steri\u015ften uzak bir yak\u0131nl\u0131kt\u0131r.<\/p>\n

\"Imogen

\"Imogen Cunningham\u2019\u0131n \"\u00dc\u00e7genler\u201d (1928) adl\u0131 eseri<\/p><\/div>\n\n

Diane Arbus (1923\u20131971): Glamour\u2019un Reddi<\/h2>\n
\"Diane

Diane Arbus<\/p><\/div>\n

Arbus, daha sonra par\u00e7alara ay\u0131raca\u011f\u0131 bu sistemin i\u00e7inden yola \u00e7\u0131kt\u0131; \u00f6nce kocas\u0131yla birlikte moda \u00e7ekimleri yapt\u0131, ard\u0131ndan bu sekt\u00f6r\u00fcn yapayl\u0131\u011f\u0131n\u0131 terk ederek tam tersine y\u00f6neldi. Kare formatl\u0131, do\u011frudan fla\u015fl\u0131 portrelerinde, geleneksel g\u00f6rsellerin g\u00f6z ard\u0131 etti\u011fi insanlar\u0131 arad\u0131; modelleri \u00e7\u0131plak oldu\u011funda ise \u00e7\u0131plakl\u0131k asla as\u0131l konu de\u011fildi.<\/p>\n\n

Sars\u0131lmaz Bak\u0131\u015f ve Banal \u00c7\u0131plak<\/h3>\n

\"Bir sabah, New Jersey\u2019deki bir \u00e7\u0131plaklar kamp\u0131nda evlerinde bulunan emekli bir adam ve e\u015fi\" (1963) ba\u015fl\u0131kl\u0131 foto\u011fraf, tezin ana g\u00f6rselidir. S\u0131radan bir ya\u015fl\u0131 \u00e7ift, s\u0131radan ve da\u011f\u0131n\u0131k bir oturma odas\u0131nda oturmaktad\u0131r; giyinik de\u011fillerdir \u00e7\u00fcnk\u00fc hayatlar\u0131n\u0131 b\u00f6yle s\u00fcrd\u00fcr\u00fcrler ve foto\u011fraf da bu durumdan ba\u015fka bir anlam \u00e7\u0131karmay\u0131 reddeder. Arbus, \u00e7\u0131plakl\u0131\u011f\u0131 hem erotizmden hem de idealizasyondan ar\u0131nd\u0131rarak kadraj\u0131 geni\u015fletti: ya\u015flanan bedenler, ev hayat\u0131na ait bedenler, s\u0131radan bedenler; hepsi me\u015fru konular haline geldi ve onun \u00f6nc\u00fcl\u00fck etti\u011fi belgesel d\u00fcr\u00fcstl\u00fck, o zamandan beri \u00fcretilen eserlerin yar\u0131s\u0131nda kendini g\u00f6steriyor.<\/p>\n

\"New

\"Diane Arbus\u2019un \"Emekli Adam ve Kar\u0131s\u0131...\u201d (1963) adl\u0131 eseri<\/p><\/div>\n\n

Francesca Woodman (1958\u20131981): Uzayda Beden<\/h2>\n
\"Sanat\u00e7\u0131

Francesca Woodman<\/p><\/div>\n

Woodman, yirmi \u00fc\u00e7 ya\u015f\u0131na basmadan \u00f6nce t\u00fcm eserlerini ortaya koydu ve bu eserler o g\u00fcnden bu yana her nesli etkiledi. Kendisini ana konu olarak ele alan sanat\u00e7\u0131, \u00e7\u0131plakl\u0131\u011f\u0131 sergileme yerine sorgulaman\u0131n bir alan\u0131 haline getirdi: Fig\u00fcr\u00fc, uzun pozlama nedeniyle bulan\u0131kla\u015fm\u0131\u015f, mobilyalar\u0131n arkas\u0131nda yar\u0131 gizlenmi\u015f, soyulan duvar ka\u011f\u0131d\u0131na kar\u0131\u015fm\u0131\u015f, \u00e7er\u00e7evesinden ka\u00e7ma halindeki bir varl\u0131k olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor.<\/p>\n\n

Performans, S\u00fcrrealizm ve Yakalanmas\u0131 Zor Benlik<\/h3>\n

\"Self-deceit 1, Rome\" (1978) adl\u0131 eserinde, sanat\u00e7\u0131 kendisine sadece bir par\u00e7as\u0131n\u0131 yans\u0131tan bir aynaya do\u011fru emekler; kendini alg\u0131lama bi\u00e7imi, par\u00e7alanm\u0131\u015f ve g\u00fcvenilmez bir \u015fey olarak sahnelenmi\u015ftir. \"Providence\" serisinde (1976) sanat\u00e7\u0131n\u0131n silueti, etraf\u0131ndaki \u00e7\u00fcr\u00fcyen mimariyle birle\u015fir; beden, \u00e7evresi taraf\u0131ndan yutulur. Eser, yakalanm\u0131\u015f bir pozdan ziyade belgelenmi\u015f bir performans olarak okunur ve bu kayma \u2013 modelin kendi ortadan kaybolu\u015funun ve ortaya \u00e7\u0131k\u0131\u015f\u0131n\u0131n yarat\u0131c\u0131s\u0131 olmas\u0131 \u2013 o g\u00fcnden bu yana otoportre sanat\u00e7\u0131lar\u0131n\u0131n i\u00e7inden ge\u00e7ti\u011fi bir kap\u0131 a\u00e7m\u0131\u015ft\u0131r.<\/p>\n

\"Francesca

\"Francesca Woodman\u2019\u0131n \"Self-deceit 1\u201d (1978) adl\u0131 eseri<\/p><\/div>\n\n

Cindy Sherman (1954\u2013g\u00fcn\u00fcm\u00fcz): Pozun Siyaseti<\/h2>\n
\"\u00c7a\u011fda\u015f

Cindy Sherman<\/p><\/div>\n

Sherman her zaman hem sanat\u00e7\u0131 hem de modeldir ve bu ikili rol, eserin ana temas\u0131d\u0131r. Kendisini kad\u0131n arketiplerinden olu\u015fan sonsuz bir katalo\u011fa \u2013 B s\u0131n\u0131f\u0131 film y\u0131ld\u0131z\u0131, sosyete e\u015fi, pin-up k\u0131z\u0131 \u2013 d\u00f6n\u00fc\u015ft\u00fcrerek, g\u00f6r\u00fcnt\u00fclerdeki \"kad\u0131nl\u0131k\"\u0131n, talep \u00fczerine sergilenen, senaryosu olan bir kost\u00fcm oldu\u011funu ortaya koymu\u015ftur.<\/p>\n\n

Orta Sayfay\u0131 Y\u0131kmak<\/h3>\n

Onun \"Centerfolds\" (1981) adl\u0131 eseri bu noktay\u0131 tam anlam\u0131yla ortaya koydu. Artforum\u2019un sipari\u015fi \u00fczerine, bir erkek dergisinin \u00e7ift sayfa yay\u0131n\u0131n\u0131n geni\u015f yatay format\u0131n\u0131 benimsedi ve ard\u0131ndan bu format\u0131n kurallar\u0131n\u0131 \u00e7i\u011fnedi: karakterleri, ula\u015f\u0131lamaz ancak endi\u015feli, savunmas\u0131z ve d\u00fc\u015f\u00fcncelere dalm\u0131\u015f bir halde orta sayfada uzan\u0131yorlard\u0131; dergi sonunda bu seriyi hi\u00e7 yay\u0131nlamay\u0131 reddetti. \u0130zleyici r\u00f6ntgenci beklentilerle gelir, beklentisi kar\u015f\u0131lanmaz ve bu beklentileri \u0131\u015f\u0131\u011fa tutarak kal\u0131r; as\u0131l ama\u00e7 da budur. Kendi seanslar\u0131m da bu dersi operasyonel bi\u00e7imiyle devral\u0131r: her poz \u00f6nerisinde \"bunu kim yap\u0131yor, kimin i\u00e7in yap\u0131yor?\" diye sorulur; ve d\u00fcr\u00fcst cevap \u201cmodel, hayali bir t\u00fcketici i\u00e7in\u201d ise, konseptten ba\u015flayarak her \u015feyi yeniden in\u015fa ederiz.<\/p>\n

\"Cindy

Cindy Sherman\u2019\u0131n \"Centerfolds\" serisinden (1981)<\/p><\/div>\n\n

\n

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

Bu makalede bahsedilen foto\u011fraf\u00e7\u0131lar\u0131n \u00e7o\u011fu, \u00e7al\u0131\u015fmak i\u00e7in kendi mekanlar\u0131n\u0131 kendileri olu\u015fturmak zorunda kald\u0131. At\u00f6lyelerimiz ise ba\u015f\u0131ndan itibaren tam da bu mek\u00e2n\u0131 yans\u0131tacak \u015fekilde tasarlanm\u0131\u015ft\u0131r: Konseptin \u00f6n planda oldu\u011fu oturumlarda 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 indirgenir; burada kad\u0131nlar, yarat\u0131lmas\u0131na katk\u0131da bulunduklar\u0131 g\u00f6r\u00fcnt\u00fcler \u00fczerinde tam bir yarat\u0131c\u0131 kontrol sahibi olarak hem foto\u011fraf\u00e7\u0131 hem de model olarak \u00e7al\u0131\u015f\u0131rlar.<\/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

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

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

Mann, geni\u015f format kameralar ve 19. y\u00fczy\u0131ldan kalma \u0131slak plaka kolodyon tekni\u011fi ile \u00e7al\u0131\u015f\u0131r; bu tekni\u011fin yaratt\u0131\u011f\u0131 \u00e7izgiler ve kusurlar, foto\u011fraflar\u0131na hayalet gibi, zamandan kopuk bir g\u00f6r\u00fcn\u00fcm kazand\u0131r\u0131r. Virginia\u2019daki \u00e7iftliklerinde \u00e7ekilmi\u015f k\u00fc\u00e7\u00fck \u00e7ocuklar\u0131n\u0131n \u00e7\u0131plak foto\u011fraflar\u0131n\u0131 i\u00e7eren \"Immediate Family\" (1984\u20131994) adl\u0131 serisi, sanat, masumiyet ve bir annenin bakma hakk\u0131 \u00fczerine d\u00f6nemin en hararetli tart\u0131\u015fmalar\u0131ndan birini ate\u015fledi.<\/p>\n\n

Anne Bak\u0131\u015f\u0131 ve Erkek Formu<\/h3>\n

Y\u0131llar sonra bu gelene\u011fi tamamen tersine \u00e7evirdi. \"Proud Flesh\" (2003\u20132009), ge\u00e7 ba\u015flang\u0131\u00e7l\u0131 kas distrofisinin kocas\u0131 Larry\u2019nin v\u00fccudunu yeniden \u015fekillendirdi\u011fi s\u00fcre\u00e7te, onun \u00e7\u0131plak halini ele alan kapsaml\u0131 bir \u00e7al\u0131\u015fmad\u0131r ve erkek bedenine sanat tarihinin neredeyse hi\u00e7 izin vermedi\u011fi bir \u015fey sunar: kahramanl\u0131k i\u00e7ermeyen \u015fefkat. Bir kad\u0131n\u0131n, bir erke\u011fin ya\u015flanan, savunmas\u0131z bedenini sars\u0131lmaz bir sevgiyle foto\u011fraflamas\u0131, tek bir seride be\u015f as\u0131rl\u0131k varsay\u0131lan kal\u0131plar\u0131 tersine \u00e7eviriyor ve bu g\u00f6r\u00fcnt\u00fcler, hi\u00e7bir zaman so\u011fukla\u015fmadan bak\u0131\u015flar\u0131n\u0131 sabit tutuyor. Bu tersine \u00e7evirme, elimdeki kamera k\u0131r\u0131lganl\u0131\u011fa y\u00f6neldi\u011finde g\u00f6z\u00fcm\u00fcn \u00f6n\u00fcnden hi\u00e7 ay\u0131rmad\u0131\u011f\u0131m bir \u00f6l\u00e7\u00fct olu\u015fturdu: mesele asla sadece g\u00f6r\u00fcnt\u00fcn\u00fcn neyi g\u00f6sterdi\u011fi de\u011fil, bak\u0131\u015f\u0131n kendisinin neyden olu\u015ftu\u011fudur.<\/p>\n

\"Sally

Sally Mann\u2019\u0131n \"Proud Flesh\" serisinden (2003\u20132009)<\/p><\/div>\n\n

Rineke Dijkstra (1959\u2013g\u00fcn\u00fcm\u00fcz): S\u0131n\u0131r Durumu<\/h2>\n
\"Hollandal\u0131

Rineke Dijkstra<\/p><\/div>\n

Dijkstra, insanlar\u0131 hayatlar\u0131n\u0131n d\u00f6n\u00fcm noktalar\u0131nda foto\u011frafl\u0131yor ve \"Yeni Anneler\" (1994) adl\u0131 serisi, bu d\u00f6n\u00fcm noktalar\u0131n\u0131n en ham halini yans\u0131t\u0131yor. Her kad\u0131n, do\u011fumdan birka\u00e7 saat ya da g\u00fcn sonra, belden a\u015fa\u011f\u0131s\u0131 \u00e7\u0131plak halde, yeni do\u011fmu\u015f bebe\u011fini kuca\u011f\u0131nda tutarken foto\u011fraflanm\u0131\u015f: do\u011fum sonras\u0131 beden, tam olarak oldu\u011fu gibi g\u00f6sterilmi\u015f; bitkin, izlerle dolu, dik duran bir halde. Y\u00fczy\u0131llard\u0131r s\u00fcren sakin \u201cMeryem ve \u00c7ocuk\u201d imgelerinin aksine, bu seri insanl\u0131\u011f\u0131n yar\u0131s\u0131n\u0131n ya\u015fayabilece\u011fi, ancak sanat\u0131n neredeyse tamamen tasvir etmekten ka\u00e7\u0131nd\u0131\u011f\u0131 bir deneyimi g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor. Bu d\u00fcr\u00fcstl\u00fck, esere bir \u00f6vg\u00fc niteli\u011findedir.<\/p>\n

\"Rineke

Rineke Dijkstra\u2019n\u0131n \"Yeni Anneler\" serisinden (1994)<\/p><\/div>\n\n

\u00c7a\u011fda\u015f \u00d6nc\u00fc: Kesi\u015fimsellik ve K\u00fcresel Perspektifler<\/h2>\n

G\u00fcn\u00fcm\u00fcz kad\u0131nlar\u0131 ve ikili cinsiyet sistemine uymayan sanat\u00e7\u0131lar, bu alg\u0131y\u0131 daha da geni\u015fleterek, cinsiyet deneyimlerinin \u0131rk, s\u0131n\u0131f, cinsellik ve k\u00fclt\u00fcrden ayr\u0131lamayaca\u011f\u0131n\u0131 ve kadrajdaki bedenin t\u00fcm bunlar\u0131 ayn\u0131 anda bar\u0131nd\u0131rd\u0131\u011f\u0131n\u0131 vurguluyorlar.<\/p>\n\n

Zanele Muholi (1972-g\u00fcn\u00fcm\u00fcz): G\u00f6rsel Aktivizm ve Siyah Queer Beden<\/h3>\n
\"G\u00fcney

Zanele Muholi<\/p><\/div>\n

Kendisi i\u00e7in \"they\/them\" zamirlerini kullanan G\u00fcney Afrikal\u0131 g\u00f6rsel aktivist Zanele Muholi, kariyerini Siyah LGBTQIA+ bireylerin g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcne adam\u0131\u015ft\u0131r. \"Somnyama Ngonyama\" (Ya\u015fas\u0131n Karanl\u0131k Di\u015fi Aslan) adl\u0131 otoportre serisinde Muholi, \u00e7ama\u015f\u0131r mandallar\u0131, ovma s\u00fcngerleri, \u015fi\u015firilmi\u015f eldivenler gibi g\u00fcndelik nesnelerden asil ve y\u00fcksek kontrastl\u0131 imgeler yarat\u0131yor; ev i\u015flerinde kullan\u0131lan malzemeler, ni\u015fanlar olarak yeniden \u015fekilleniyor. Bu eser, izleyiciyi silinme tarihiyle y\u00fczle\u015ftiriyor ve buna meydan okuyan, kurgulanm\u0131\u015f bir ihti\u015famla yan\u0131t veriyor; burada beden hem ar\u015fiv hem de arg\u00fcman i\u015flevi g\u00f6r\u00fcyor.<\/p>\n

\"Zanele

Zanele Muholi\u2019nin \"Somnyama Ngonyama\" serisinden<\/p><\/div>\n\n

Lalla Essaydi (1956\u2013g\u00fcn\u00fcm\u00fcz): Kanona Kar\u015f\u0131 Yazmak<\/h3>\n

Fas do\u011fumlu Lalla Essaydi, kameras\u0131n\u0131 do\u011frudan Oryantalist fanteziye \u00e7eviriyor: Ingres ve Delacroix gibi 19. y\u00fczy\u0131l Avrupal\u0131 erkek sanat\u00e7\u0131lar taraf\u0131ndan resmedilen harem ve odal\u0131k sahneleri; erken d\u00f6nem foto\u011fraf\u00e7\u0131l\u0131kla yapt\u0131\u011f\u0131 i\u015fbirli\u011fi, bu t\u00fcr\u00fcn \u00f6nc\u00fcleri ve tarihi<\/a>. \"Les Femmes du Maroc\" adl\u0131 eserinde, bu kompozisyonlar\u0131, ciltleri, giysileri ve \u00e7evreleri k\u0131na kaligrafisiyle kapl\u0131 Fasl\u0131 kad\u0131nlarla yeniden sahneliyor; k\u0131na kaligrafisi, erkek fantezisinin \u00fczerine bir metin gibi uygulanan, geleneksel olarak kad\u0131nlara \u00f6zg\u00fc bir sanatt\u0131r. Kad\u0131nlar\u0131n kendi anlat\u0131lar\u0131 sahneye kelimenin tam anlam\u0131yla yaz\u0131lm\u0131\u015f durumda ve pasif odal\u0131k, c\u00fcmlenin ortas\u0131nda bir yazara d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n

\"Lalla

Lalla Essaydi\u2019nin \"Les Femmes du Maroc\" serisinden<\/p><\/div>\n\n

Nesneden Yazara<\/h2>\n

Y\u00fczy\u0131l\u0131 s\u0131rayla inceledi\u011finizde ortaya \u00e7\u0131kan e\u011fri \u00e7ok net: Cunningham bi\u00e7imi, Arbus ger\u00e7ekli\u011fi, Woodman benli\u011fi, Sherman senaryoyu, Mann bak\u0131\u015f\u0131n kendisini, Dijkstra e\u015fi\u011fi sahiplendi; \u00e7a\u011fda\u015f \u00f6nc\u00fc ak\u0131m ise kanonun d\u0131\u015far\u0131da b\u0131rakt\u0131\u011f\u0131 her \u015feyi sahipleniyor. \u00c7\u0131plakl\u0131k, kad\u0131nlarla ilgili bir t\u00fcr olmaktan \u00e7\u0131kt\u0131 ve onlar\u0131n elinde, kimlik, annelik, g\u00fc\u00e7, keder ve direni\u015f \u00fczerine, onlar taraf\u0131ndan yarat\u0131lan bir t\u00fcr haline geldi. Art\u0131k bedeni konu alan her ciddi foto\u011fraf\u00e7\u0131, cinsiyeti ne olursa olsun, bu tersine d\u00f6n\u00fc\u015f\u00fcn izinden gidiyor; aksini iddia edenler ise daha zay\u0131f foto\u011fraflar \u00fcretiyor. Hikaye \u015f\u00f6yle devam ediyor: g\u00fcn\u00fcm\u00fcz \u00e7a\u011f\u0131nda beden \u00fczerine s\u00fcren m\u00fccadeleler<\/a>, ve \u201cg\u00fc\u00e7l\u00fc duru\u015f\u201dun pratik p\u00fcf noktalar\u0131 \u015fu kitapta ayr\u0131nt\u0131l\u0131 olarak ele al\u0131nmaktad\u0131r: poz vermenin bedensel dili<\/a>.<\/p>\n\n

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

\u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131k alan\u0131nda ilk etkili kad\u0131nlar kimlerdi?<\/h3>\n

Anne Brigman, 1908 y\u0131l\u0131na gelindi\u011finde Sierra Nevada\u2019da kendi \u00e7\u0131plak v\u00fccudunun foto\u011fraflar\u0131n\u0131 \u00e7ekiyordu; Imogen Cunningham ise 1920\u2019lerden itibaren \u00e7\u0131plakl\u0131k temas\u0131n\u0131 modernizme ta\u015f\u0131d\u0131. Onlar\u0131n a\u00e7t\u0131\u011f\u0131 yollar, bu makalenin izledi\u011fi gelene\u011fin temelini olu\u015fturdu.<\/p>\n

Foto\u011fraf\u00e7\u0131l\u0131kta \"erkek bak\u0131\u015f\u0131\" nedir?<\/h3>\n

Laura Mulvey\u2019in 1975 y\u0131l\u0131nda ortaya att\u0131\u011f\u0131, kad\u0131nlar\u0131 varsay\u0131lan bir erkek izleyicinin zevki i\u00e7in d\u00fczenlenmi\u015f pasif bir malzeme olarak konumland\u0131ran g\u00f6rsel bir kli\u015feyi tan\u0131mlayan terim. Bu kli\u015feye bir isim verilmesi onu g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131; g\u00f6r\u00fcn\u00fcr kli\u015feler ise reddedilebilir, alt\u00fcst edilebilir ya da tersine \u00e7evrilebilir.<\/p>\n

Kad\u0131n foto\u011fraf\u00e7\u0131lar \u00e7\u0131plakl\u0131k kavram\u0131n\u0131 nas\u0131l de\u011fi\u015ftirdiler?<\/h3>\n

Sergilemeden yarat\u0131c\u0131l\u0131\u011fa do\u011fru bir kayma: davet yerine bi\u00e7im \u00e7al\u0131\u015fmas\u0131, idealle\u015ftirme yerine belgesel d\u00fcr\u00fcstl\u00fck, irade olarak otoportre ve bak\u0131\u015f\u0131n kendisinin konu haline gelmesi. Bu t\u00fcr\u00fcn sordu\u011fu sorular, \"ne kadar g\u00fczel\"den \"kim bak\u0131yor ve neden\"e d\u00f6n\u00fc\u015ft\u00fc.\"<\/p>\n

At\u00f6lyeleriniz, foto\u011fraf\u00e7\u0131 ya da model olarak kad\u0131nlar i\u00e7in uygun bir ortam m\u0131?<\/h3>\n

\u00d6yle olmalar\u0131 i\u00e7in tasarlanm\u0131\u015flard\u0131r. Bizim Berlin ve \u0130stanbul\u2019daki at\u00f6lye \u00e7al\u0131\u015fmalar\u0131<\/a> \u201c\u00f6nce konsept\u201d yakla\u015f\u0131m\u0131 benimsenir ve a\u00e7\u0131k r\u0131za ilkesi uygulan\u0131r; modeller, kendi g\u00f6rselleri \u00fczerinde telif hakk\u0131 ve veto yetkisine sahiptir; kad\u0131nlar ise yap\u0131land\u0131r\u0131lm\u0131\u015f ve sayg\u0131l\u0131 bir ortamda kameran\u0131n her iki taraf\u0131nda da yer al\u0131rlar.<\/p>\n\n

\n

Bu makalenin izledi\u011fi, nesneden yazara do\u011fru ger\u00e7ekle\u015fen bu d\u00f6n\u00fc\u015f\u00fcm, at\u00f6lyelerimizin \u00e7al\u0131\u015fma standard\u0131d\u0131r: cinselli\u011fin kas\u0131tl\u0131 olarak tema, bi\u00e7im ve i\u015fbirli\u011finin arka plan\u0131na itildi\u011fi, modelin asla bir sahne aksesuar\u0131 de\u011fil, ortak yazar oldu\u011fu \u201c\u00f6nce kavram\u201d odakl\u0131 yay\u0131nlar. 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":4603,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ai_generated_summary":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-4550","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\/4550","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=4550"}],"version-history":[{"count":0,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4550\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media\/4603"}],"wp:attachment":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media?parent=4550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/categories?post=4550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/tags?post=4550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}