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CARTOGRAPHIES OF MEMORY: 14TH ISTANBUL BIENNIAL: SALTWATER: A THEORY OF THOUGHT FORMS (2015) AND ABY WARBURG’S MNEMOSYNE ATLAS (1924-1929)

Yıl 2018, Cilt: 16 Sayı: 4, 413 - 442, 30.12.2018

Öz

Bellek sorunsalı son otuz yıllık süreç içerisinde, güncel sanat platformunda önemli bir tartışma konusu haline geldi. Bu sorunsalın tam anlamıyla ifade edildiği anların incelenmesi önemlidir. Bu çalışmada, birbirinden yaklaşık yüz sene aralıkla üretilmiş olan  Aby Warburg’un Mnemosyne Atlas’ı ve Carolyn Christov-Bakargiev’in  14. İstanbul Bienali: Tuzlu Su: Düşünce Biçimleri Üzerine Bir Teori (2015) ele alınacaktır. Bu projeler farklı amaçlarla üretilmiş olsalar da  yapısal olarak benzerlikler taşımaktadır. Her iki proje de  bellek ya da “görülmeyen’’ bellek sorunsalını kendilerine has bir yöntemle ele almaktadır. Bu makalede, çalışmaların sinematik ve fotografik iletişim yöntemleriyle oluşturulan nasıl  dinamik birer  harita modeli ortaya koyduğu tartışılacaktır.

Kaynakça

  • 14th Istanbul Biennale, The Flesh is Yours, The Bones are Ours . Retrieved from http://14b.iksv.org/works.asp?id=30> 14th Istanbul Biennale, Family Memoirs on the end of Ottoman Empire. Retrieved from http://14b.iksv.org/works.asp?id=82 14th Istanbul Biennale, Abysall Pain. Retrieved from http://14b.iksv.org/works.asp?id=95 Agamben, G. (1996). Potentialities: Collected Essay in Philosophy Stanford: CA: Stanford University Press. Blassnigg, M. (2011). ‘Ekphrasis and a Dynamic Mysticism in Art: Reflections on Henri Bergson’s Philosophyand Aby Warburg’s MnemosyneAtlas’, Trans technologyResearchReader Retrieved 2 August 2017from. http://www.transtechresearch.net/wpcontent/uploads/2015/05/TTReader2011_003_Blassnigg.pdf Bloomfield, J. (Ed.) (1996). Aby Warburg: The Renewal of Pagan Antiquity LosAngeles: Getty Research Institute for the History of Art and the Humanities. Bredekamp, H. (2003). A Neglected Tradition? Art History as “Bildwissenschaft” ,Critical Inquiry, 29: 3,418-428. Brown, L & Green, C. (2009). Robert Smithson's Ghost in 1920s Hamburg: Reading Aby Warburg's Mnemosyne Atlas as a Non-Site, VisualResources,18,167-181. http://dx.doi.org/10.1080/01973760290011824 Bruno, G. (2014) Surface: Matters of Aesthetics, Materiality and Media. Chicago: The Unviersity of Chicago Press. ---,(2002). Atlas of Emotion: Journey in Art, Architecture and Film. New York: Verso. Christov-Bakargiev, C. (2015). ‘Introduction’ in Carolyn Christov-Bakargiev(ed.) SALTWATER Catalogue (pp. pp. XLIII-LXIII). Istanbul: Istanbul Foundation of Culture and Arts: Yapıkredi Publications. Connoly, M. (2009) The Place of Artist’s Cinema. Bristol: Intellect. Didi- Huberman, G.(2007).Knowledge: Movement in Aby Warburg and the Image in Motion. New York: Zone Books. Eisenstein, S. (1957) The Film Sense. New York: NY: Meridan Books. ---,(1969) Film Form. New York: NY: London: HBJ Books. ---,(1989)Yve Alain Bois, Michael Glenny, Montage and Architecture. Assemblage, 10. 110-131. Forster, K. W. (1996). Introduction in Julia Bloomfield Aby Warburg: The Renewal of Pagan Antiquity, (pp.1-77) Los Angeles: Getty Research Institute for the History of Art and the Humanities. Forster, K. W & Britt, D. (1996) Aby Warburg: His Study of Ritual and Art on Two Continents, October, 775-24. Grasskampf, W. (1996). For Example, DOCUMENTA, or, How is Art History Produced in (ed.) Reesa Greenberg, Bruce W. Ferguson&Sandy Nairne, Thinking About Exhibitons(pp.67-80) New York: NY: Routledge. Gombrich, E. (1970) Aby Warburg: An Intellectual Life. London: The Warburg Institute. Johnnson, C. D. (2013), About the Mnemosyne Atlas, Retrieved from https://warburg.library.cornell.edu/about Kelly, M.(1981).Reviewing Modernist Criticism, Screen, 22: 3. 41-52. Le Grice, M. (2011).Time and the Spectator in the Experience of Expanded Cinema in A. L Rees, David Curtis, Duncan White&Steven Ball, Expanded Cinema: Art, Performance, Film (pp. 160-170). London: Tate Publishing. Lundemo, T. (2012) Quoting Motion in Angela dalle Vacche Film, Art and New Media: Museum Without Walls? (pp.103-105). New York: NY: Palgrave Macmillan Mcewan, D. (2006)Aby Warburg's (1866-1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs, Art History, German Studies Review,29, 243-268. Megill, A. (2011). History, Memory and Identity in Jeffrey K.Olick (ed.) Collective Memory Reader. (pp. 193-197) Oxford: New York: Oxford University Press. Meijers, D. J. (1996) The Museum and The ‘Ahistorical’ Exhibition: The latest gimnick by the arbiters of taste, or an important cultural phenomenon in Reesa Grenberg(ed.) Thinking About Exhibitions. (pp. 7-20) New York: NY: Routledge. Michaud, P. (2007). Aby Warburg and the Image in Motion. New York: Zone Books. Nora, P. (1989). Between Memory and History Representations, 26, 7-24. Penz, F. (2012)Museum as Laborotaries of Change: The Case fort he Moving Image in Angela Dalle Vacche(ed.) Film ,Archive New media: Museum Without Walls? 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O’Neill, Paul, ‘Curatorial Turn: From Practice to Discourse’ in Biennale Reader, ed. by Elena Filipovic, and others (Bergen: Bergen Kunsthal: 2010) Osborne, P. (2013). Anywhere or Not at All: Philosophy of Contemporary Art, London: NewYork: Verso. The Oxford Companion to World Mythology, ed.by David Leeming (2014), Retrieved 18 June 2017 from http://0-www.oxfordreference.com.wam.leeds.ac.uk/view/10.1093/acref/9780195156690.001.0001/acref-9780195156690 Wiegel, S. (1995) Aby Warburg’s Schlangenritual: Reading Culture and Reading WrittenTexts, New German Critique, 65, 135-153. Woodfield, R. (2001). Warburg’s Method’ in Richard Woodfield(ed.) Art History as Cultural History: Warburg’sProjects. (pp.259-293)Singapore: G+B Arts.
Toplam 1 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makaleler
Yazarlar

Mehmet Berkay Sülek

Yayımlanma Tarihi 30 Aralık 2018
Yayımlandığı Sayı Yıl 2018 Cilt: 16 Sayı: 4

Kaynak Göster

APA Sülek, M. B. (2018). CARTOGRAPHIES OF MEMORY: 14TH ISTANBUL BIENNIAL: SALTWATER: A THEORY OF THOUGHT FORMS (2015) AND ABY WARBURG’S MNEMOSYNE ATLAS (1924-1929). Manisa Celal Bayar Üniversitesi Sosyal Bilimler Dergisi, 16(4), 413-442.