RİRKRİT TİRAVANİJA’NIN KİM KORKAR KIRMIZI, SARI VE YEŞİLDEN? ADLI YAPITI ÜZERİNDEN İLİŞKİSEL ESTETİK VE KATILIMCI SANATIN SINIRLARI

Year 2025, Issue: 53, 525 - 543, 30.11.2025

Ramazan Ertuğrul

https://doi.org/10.61742/sanatyazilari.1740029

Abstract

Sanat, geleneksel tanımlamalardan, kaosun yarattığı belirsizlikten ve finansal beklentilerden sıyrıldıkça yeni bir dönüşüm geçirir. Bu dönüşüm; Tiravanija ‘nın sanat pratiğinde açıkça gözlemlenir. Nicolas Bourrıaud, bu değişimi ilk kez 1996’ da CAPC Musee d’art Contemporain de Bordeaxu’ da düzenlenen “Trafik” adlı sergide “İlişkisel Estetik” olarak nitelendirir. Bu makalenin konusu, ilişkisel estetik ve katılımcı sanatın anlamlarına ilişkin güncel karşılıkları Tiravanija ‘nın “Kırmızı, Sarı ve Yeşilden Kim Korkar” adlı yapıtı üzerinden incelemektedir. Makalede bu karşılıklar, Tiravanija’ nın tarihsel olaylar ekseninde ele aldığı toplumsal görüntüler üzerinden bir okuma yapılmaktadır. Literatür ve teorik okuma yöntemine dayanan bu çalış-manın amacı, Bourrıaud’ un ilişkisel estetik tanımını Tiravanija’ nın pratiği bağlamında yeniden irdelemek ve ilgili literatür-deki kuramsal zemine katkı sunmaktır. Makalede, katılımcı sanat ve Bourrıaud’ un ilişkisel estetik anlayışı birlikte değerlendi-rilmiştir. Bu iki yaklaşım, izleyicinin katılımını öncelese de hangi ilişkilerin sanat sayılacağı ve bu ilişkilerin kimler için üretildiği sorularına ilişkin açık bir sınır çizmediği sonucuna varılmıştır.

Keywords

İlişkisel Estetik , Katılımcı Sanat , Yemek , Anlam , Renkler.

THE LIMITS OF RELATIONAL AESTHETICS AND PARTICIPATORY ART THRO-UGH RIRKRİT TİRAVANİJA’S “WHO IS AFRAID OF RED, YELLOW AND GREEN”

Abstract

Art undergoes a new transformation as it breaks free from traditional definitions, the uncertainty created by chaos and financial expectations. This transformation is clearly observed in Tiravanija's art practice. The smells and flavors of Curry and Pad Thai dishes, which the artist learned to cook in her grandmother's kitchen, show that art has evolved into not only a visual but also a sensory experience. Food becomes a fundamental element of participatory art as a means of cultural transmission and individual representation. This new art form connects with the viewer not only through the eye, but also through the senses. In this way, it combines art with everyday life and creates a social space of experience. Nicolas Bourrı-aud first characterized this change as “Relational Aesthetics” in the exhibition “Traffic” at the CAPC Musee d'art Contem-porain de Bordeaxu in 1996. Relational aesthetics, which embodies the state of continuity, creates an infinite regime that emphasizes the individuality of every individual and every natural action. The subjective intentionality of this state of continuity is to revitalize the faculties and aesthetic values in the subject, to establish a free play of relationships in the world of actions and to provide relationships that will reinforce this state of revitalization. Moreover, the unification achie-ved by the liberation of the spectator as spectator, that is, learning and relating from what is known to what is not known through the elimination of distance, brings together elements beyond subjective intentionality into a common permanent form. At first glance, this form brought together the collective structures of the time - Dada, Futurism, the Situationist international - the propagandist and the spectator in the face of beautiful landscapes. Observed as members of a collective thought, the members of this understanding aimed to expand the boundaries of art in the center they created. However, they could put the audience's expectations of emancipation on the back burner. Because the expectations of the artists of the 60s and 70s generation were to strengthen the definition of art, its global resistance and sphere of influence. For this reason, serving the social and cultural life of the society was as important as its compulsory needs. By symbolizing itself with a privileged power, it reinforced both society and itself in its own light. In this way, it allowed for the radicalization of social life and brought it to a formal plane that severed and destroyed economic and political ties. For this reason, the common form created by bringing these subjects together was the main problem for the artists of the 60s and 70s. The artists of the nineties generation reconsidered this problematic, and the common relationships and dialogues that broke this form served against the strengthening of more common, that is, sensible emotions based on life. This new art regime, carried out with a common aesthetic concern, created new forms of coming together by providing the sensible aspects of life through the new forms of relationship it established. The new proposal that emerges from this shows us the new face of coming together by focusing on the relationship between the art forms of the 60 generations and the everyday forms of social and cultural activity. Therefore, it offers a model of life in which everyone can share in the event by including the audience in the event beyond the audience positioned around specific art forms. The subject of this paper examines contemporary responses to the meanings of relational aesthetics and participatory art through Tiravanija's “Who's Afraid of Red, Yellow and Green”. In this article, these responses are read through Tiravanija's social images on the axis of historical events. The aim of this study, based on qualitative research method, is to re-examine Bourrıaud's definition of relational aesthetics in the context of Tiravanija's practice and to contribute to the theoretical ground in the relevant literature. In the article, participatory art and Bourrıaud's relational aesthetics are evaluated together. It is concluded that although these two approaches prioritize the participation of the viewer, they do not draw a clear boundary regarding the questions of which relations are considered art and for whom these relations are produced.

Keywords

Relational Aesthetics , Participatory Art , Food , Meaning , Colors.

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