Abstract
The aim of this article is to present and study contemporary video practices since the 2000s in Turkey through the representation of time and collective memory. The article features the four video artists who have structured the video art scene in Turkey: Ali Kazma, Halil Altındere, Erkan Özgen and Seza Paker. This research addresses two interconnected issues: firstly, the purpose is to examine how the distinct technical parameters of video production shape a synthesized temporality. This inquiry naturally gives rise to a secondary purpose: in what manner does this constructed temporality facilitate the exploration of memory and historical discourse? The hypothesis is that the video image, both as a technical artifact and a conceptual construct, inherently possesses its unique framework for temporal construction, thereby actively contributing to novel reinterpretations of collective memory and historiography The methodology involves conducting a formal analysis of the video content. This approach focuses on examining the visual elements, composition, use of color, sound, editing techniques, and overall aesthetics of the video to gain deeper insights into its artistic significance and meaning. By employing formal analysis, the aim of this article is to decipher the visual language employed by the video artists and uncover nuanced layers of interpretation.
Keywords
References
- Altındere, H. (Director). (2016). Space refugee [Video]. In M. Lorenz (Curator), Space Refugee Exhibition. Neuer Berliner Kunstverein. http://www.nbk.org/en/ausstellungen/space_refugee.html
- Agamben, G. (1998). Image et mémoire. Hoebeke.
- Akay, A. (2001). Video art üzerine bir tartışma. Sanat Dünyamız, 104, 139-169. Yapı Kredi Yayınları.
- Akay, A. (2015). Seza Paker refleksif akışkanlıklar. Minör Yayınları.
- Barthes, R. (2014). Camera lucida – Fotoğraf üzerine düşünceler. 6:45 Yayınları.
- Berensel, E. (2016, February). Personal interview [Tape recording]. İstanbul, Turkey.
- Birkan, İ. (2012). L’autre peut cacher un Nous. Transcontinentales, 12/13. https://doi.org/10.4000/transcontinentales.1363
- Block, R. (2007). Introduction. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Deleuze, G., Guattari, A. (1975). Kafka: Pour une littérature mineure. Editions de minuit.
- Kazma, A. (Director). (2006). Clock master [Video]. In M. Gioni (Curator), 55th Venice Biennale. La Biennale di Venezia. http://www.labiennale.org/en/art/archive/55th-exhibition
- Madra, B. (2007). Visual Art as a field of complication. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Paker, S. (Director). (1999). The long march [Video]. 25th Ankara Film Festival.
- Pilevneli, M. (2007). Introduction. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Roustan, F. (2009). Les acteurs de l’art contemporain à Marseilles et à Istanbul [Master’s Thesis, Université Paul Cézanne Aix- Marseille III].
- Scorida, C. (2017). Ali Kazma. The intution of the instant. Happening Media. https://www.happening.media/category/magazine/en/articles/3067/ali-kazma-the-intuition-of-the-instant (18.07.2024)
- Stiegler, B. (1998). La Techique et le temps: La Faute d’Epiméthée. Galilée.
- Sönmez, A. (2007). Introduction. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Tezkan, M. (2014). Vidéo et identité. Pratiques d’artistes au Brésil, en France et en Turquie, L’Harmattan.
- Truffaut, F. (Director). (1959). The 400 blows [Film]. Les Films de Carrosses.
- Tutal, N. (2014). Istanbul: Un modèle de développement et de tourisme urbain tiraillé entre l’Occident et l’Orient. Dynamiques métropolitaines et développement touristique. Presses de l’Université du Québec.
- Warburg, A. (2012). L’Atlas mnémosyne. INHA.
Abstract
The aim of this article is to present and study contemporary video practices since the 2000s in Turkey through the representation of time and collective memory. The article features the four video artists who have structured the video art scene in Turkey: Ali Kazma, Halil Altındere, Erkan Özgen and Seza Paker. This research addresses two interconnected issues: firstly, the purpose is to examine how the distinct technical parameters of video production shape a synthesized temporality. This inquiry naturally gives rise to a secondary purpose: in what manner does this constructed temporality facilitate the exploration of memory and historical discourse? The hypothesis is that the video image, both as a technical artifact and a conceptual construct, inherently possesses its unique framework for temporal construction, thereby actively contributing to novel reinterpretations of collective memory and historiography The methodology involves conducting a formal analysis of the video content. This approach focuses on examining the visual elements, composition, use of color, sound, editing techniques, and overall aesthetics of the video to gain deeper insights into its artistic significance and meaning. By employing formal analysis, the aim of this article is to decipher the visual language employed by the video artists and uncover nuanced layers of interpretation.
Keywords
References
- Altındere, H. (Director). (2016). Space refugee [Video]. In M. Lorenz (Curator), Space Refugee Exhibition. Neuer Berliner Kunstverein. http://www.nbk.org/en/ausstellungen/space_refugee.html
- Agamben, G. (1998). Image et mémoire. Hoebeke.
- Akay, A. (2001). Video art üzerine bir tartışma. Sanat Dünyamız, 104, 139-169. Yapı Kredi Yayınları.
- Akay, A. (2015). Seza Paker refleksif akışkanlıklar. Minör Yayınları.
- Barthes, R. (2014). Camera lucida – Fotoğraf üzerine düşünceler. 6:45 Yayınları.
- Berensel, E. (2016, February). Personal interview [Tape recording]. İstanbul, Turkey.
- Birkan, İ. (2012). L’autre peut cacher un Nous. Transcontinentales, 12/13. https://doi.org/10.4000/transcontinentales.1363
- Block, R. (2007). Introduction. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Deleuze, G., Guattari, A. (1975). Kafka: Pour une littérature mineure. Editions de minuit.
- Kazma, A. (Director). (2006). Clock master [Video]. In M. Gioni (Curator), 55th Venice Biennale. La Biennale di Venezia. http://www.labiennale.org/en/art/archive/55th-exhibition
- Madra, B. (2007). Visual Art as a field of complication. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Paker, S. (Director). (1999). The long march [Video]. 25th Ankara Film Festival.
- Pilevneli, M. (2007). Introduction. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Roustan, F. (2009). Les acteurs de l’art contemporain à Marseilles et à Istanbul [Master’s Thesis, Université Paul Cézanne Aix- Marseille III].
- Scorida, C. (2017). Ali Kazma. The intution of the instant. Happening Media. https://www.happening.media/category/magazine/en/articles/3067/ali-kazma-the-intuition-of-the-instant (18.07.2024)
- Stiegler, B. (1998). La Techique et le temps: La Faute d’Epiméthée. Galilée.
- Sönmez, A. (2007). Introduction. In H. Altındere & S. Evren (Eds.), User’s Manual: Contemporary art in Turkey 1986-2006. Art-Ist.
- Tezkan, M. (2014). Vidéo et identité. Pratiques d’artistes au Brésil, en France et en Turquie, L’Harmattan.
- Truffaut, F. (Director). (1959). The 400 blows [Film]. Les Films de Carrosses.
- Tutal, N. (2014). Istanbul: Un modèle de développement et de tourisme urbain tiraillé entre l’Occident et l’Orient. Dynamiques métropolitaines et développement touristique. Presses de l’Université du Québec.
- Warburg, A. (2012). L’Atlas mnémosyne. INHA.
Details
| Primary Language | English |
|---|---|
| Subjects | Video Art, Art Theory |
| Journal Section | Research Articles |
| Authors | |
| Publication Date | August 1, 2024 |
| Submission Date | April 18, 2024 |
| Acceptance Date | July 26, 2024 |
| Published in Issue | Year 2024 Volume: 3 Issue: 2 |
