Cam Sanrısı: Tuhaf Bir Melankoli Türü ve Günümüz Sanatındaki Yansımaları

Year 2024, Issue: 31, 129 - 144, 29.01.2024

Ersoy Yılmaz

https://doi.org/10.17484/yedi.1371210

Abstract

Cam sanrısı, erken modern dönemde, özellikle 15. ve 17. yüzyıllar arasında Avrupa'da oldukça yaygın olan, bir kişinin camdan yapılmış bir bedene veya beden uzuvlarına sahip olduğuna dair saplantılı inançtır. Cam adam figürü yaklaşık 200 yıl boyunca Avrupa'da yaygın olarak görüldükten sonra, camın seri üretim yöntemleriyle sıradan bir malzeme haline geldiği ve büyüsünü yitirdiği 19. yüzyılda neredeyse tamamen ortadan kalkmıştır. 20'nci yüzyıldaki birkaç münferit vaka dışında, cam sanrısının kendisini yeniden hatırlattığı yer 21.yüzyıl çağdaş sanat ortamı gibi görünmektedir. Bazı sanatçılar eserlerinde cam sanrısını doğrudan ya da dolaylı olarak konu edinmiştir. Ayrıca eserler cam olsun ya da olmasın bu hastalığın tema olarak seçildiği bireysel sanat eserleri ve toplu sergi etkinlikleri de vardır. Bunlar, malzeme olarak camın kısmen ya da tamamen öne çıkarıldığı, cam sanrısına güçlü ya da zayıf göndermeler yapan disiplinler aşırı çalışmalardır. Bu çalışmaların pek çoğunda güzellik kavramını sanata geri getirmek isteyen bir estetik kaygı açıkça hissedilirken pek çoğu da muhatabını insan zekâsının ve yaratıcılığının enginliği üzerine düşünmeye ve bunları takdir etmeye mecbur bırakır. Çalışmaların hepsinin 2010 sonrasına tarihlenmesi, birçok insanın kırılganlık, şeffaflık ve kişisel alanla ilgili kaygılar yaşadığı günümüz toplumunda cam sanrısının güçlü bir çağdaş yankıya sahip olduğunu düşündürür. Sebebi ne olursa olsun cam sanrısının yakın geçmişte yeniden dirildiği/hatırlandığı açıktır ve bu diriliş, camın öne çıkarıldığı çağdaş sanat pratikleri alanını zenginleştirmiş, ivmelendirmiş ve güçlendirmiştir. Fakat bu, insanlığın değil Avrupa'nın kolektif hafızasına içkin bir hatırlama gibi görünmektedir. Sanki Avrupalı bir travmatik acı, edebiyat ve çağdaş sanat pratikleri üzerinden bugüne musallat olmuştur.

Keywords

cam sanrısı, cam, çağdaş sanat, kolektif hafıza

Glass Delusion: An Odd Kind of Melancholia and its Reflections in Today's Art

Abstract

Glass delusion is the obsessive belief that a person has a body or body parts made of glass, which was quite common in Europe in the early modern period, especially between the 15th and 17th centuries. The figure of the glass man was widespread in Europe for around 200 years before disappearing almost completely in the 19th century, when glass became a common material and lost its magic through mass production methods. Except for a few isolated cases in the 20th century, the contemporary art scene of the 21st century seems to be a place where the glass delusion is reasserting itself. Some artists have directly or indirectly addressed the glass delusion in their work. There are also individual artworks and group exhibitions in which this disorder is chosen as a theme, whether the works are made of glass or not. These are transdisciplinary works that make strong or weak references to the glass delusion, in which glass as a medium is partially or fully emphasised. In many of these works there is a clear aesthetic concern to restore the notion of beauty to art, while many others force the viewer to reflect on and appreciate the vastness of human intelligence and creativity. The fact that the works are all dated after 2010 suggests that the glass delusion has a strong contemporary resonance in a society where many people are concerned with fragility, transparency and personal space. Whatever the reason, it is clear that the glass delusion has been resurrected in the recent past, and this resurrection has enriched, accelerated and strengthened the field of contemporary art practices that emphasise glass. However, this seems to be a remembrance inherent to the collective memory of Europe, not of humanity. It is as if a European traumatic pain haunts the present through literature and contemporary art practices.

Keywords

glass delusion, glass, contemporary art, collective memory

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