SOKAK SANATININ KURUMSALLAŞMASI VE BAĞLAMINDAN KOPARILAN YAPITIN DEĞİŞEN DOĞASI

Year 2022, Volume: 12 Issue: 3, 734 - 749, 01.07.2022

İpek Ergen

Abstract

Sokakta gelişen alternatif ifade ve iletişim biçimleri olan graffiti ve sokak sanatı, kısıtlı bir grubun ilgisine yönelik yasa dışı uygulamalardan, geniş kitlelerin ilgi ve beğenisine hitap eden, kabul edilmiş sanatsal ifade biçimlerine evrilmiştir. Bu dönüşüm, akademik onay ve kurumsallaşmayı beraberinde getirmiş, pek çok sanatçı bu yeni ilgi ve talebe karşılık verirken, galeri ve müzeler de programlarında bu yapıtlara yer açmıştır. Böylece bir zamanlar suç unsuru olarak kabul edilen bu uygulamalar; yerinden edilerek, çoğaltılarak veya atölyelerde yeniden üretilerek kurumlar dahilinde sergilenir, el değiştirir olmuştur. Bu makalede, sokak sanatının kurumsallaşmasına dair bu tartışmalı durum yapıt ve yapıtın doğasında gerçekleşen olası değişimler bağlamında ele alınmaktadır. Bu amaçla post-graffiti şeklinde adlandırılan dönem ve sonrasına odaklanılmakta, sanatsal bir ifade biçimine evrilen sokak kültürü bağlantılı yaratımların galeri, müze, müzayede evi gibi kurumlara girişinin altını çizdiği çelişkili durumlar; yapıtın kendisi, çevresi, izlerkitlesi ve izleyicinin deneyiminde gerçekleşen dönüşümler aracılığıyla ortaya koyulmaktadır.

Keywords

Graffiti, Sokak Sanatı, Kurumsallaşma, Post-graffiti, Çağdaş Sanat

INSTITUTIONALIZATION OF THE STREET ART AND THE CHANGING NATURE OF THE ARTWORK TAKEN AWAY FROM ITS CONTEXT

Abstract

Graffiti and street art, which are alternative forms of expression and communication developed on the street, have evolved from illegal practices intended for the attention of a limited group, to accepted forms of artistic expression that appeal to the interest and taste of large masses. This transformation brought along academic approval and institutionalization, while many artists responded to this new interest and demand, galleries and museums also made room for these works in their programs. Thus, these practices, which were once considered a criminal element; have been exhibited and sold within institutions by being displaced, reproduced or recreated in studios. In this article, this controversial situation regarding the institutionalization of street art is discussed in the context of the work and possible changes in its nature. For this purpose, focusing on the period called post-graffiti and its aftermath; contradictory situations underlined by the entry of works related to street culture which has evolved into an artistic expression, to institutions such as galleries, museums, and auction houses, are revealed through the transformations that take place in the work itself, its environment, audience, and the audience's experience.

Keywords

Graffiti, Street Art, Institutionalization, Post-graffiti, Contemporary Art

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