A Materialistic Analysis of the Contemporary Art Market

Yıl 2019, , 162 - 177, 31.01.2019

Kerem Güman

https://doi.org/10.25295/fsecon.2019.s1.008

Öz

One can only imagine what if Marx lived till today and see the consequences of the late capitalism and think if his approach was indeed actual through all those ages. To see if the system evolved to a fateful catastrophe like Benjamin had predicted and if those populist turns in contemporary art have ever reached to a totality, a totality that which is rotten to the core but stands as a beacon of hope; a personification of the Angelus Novus itself. This article discusses those questions via a contemporary perspective and aims to open many spaces within.

Anahtar Kelimeler

Contemporary Art, Historical Materialism, Culturalism, Meta-fetishism, Dialectical Image

Kaynakça

• Açık Pozisyonlar. (2016, 12 19). İstanbul Kültür Sanat Vakfı: http4://www.iksv.org/tr/insankaynaklari/acikpozisyonlar adresinden alındı
• Adorno, T. W. (2002). Aesthetic Theory. Londra: Continuum Publishing.
• Adorno, T., & Horkheimer, M. (2002). Dialectic of Enlightenment. Stanford: Stanford University Press.
• Arendt, H. (1961). Between Past and Future: Six Excercises in Political Thought. New York: The Viking Press.
• Baker, U. (2010). Kanaatlerden İmajlara: Duygular Sosyolojisine Doğru. İstanbul: Birikim Yayınları.
• Batycka, D. (2016, 06 28). The 9th Berlin Biennale: A Vast Obsolescent Pageant of Irrelevance. Hyperallergic: http://hyperallergic.com/306932/the-9th-berlin-biennale-a-vast-obsolescent-pageant-of-irrelevance/ adresinden alındı
• Benjamin, W. (2002). Exposés III: Grandville, or the World Exhihitions. H. E. Rolf Tiedemann içinde, The Arcades Project (s. Cambridge, Massachusetts, Londra). 2002: The Belknap Press of Harvard University Press.
• Benjamin, W. (2016, 08 02). On the Concept of History. Theses on History: http://members.efn.org/~dredmond/Theses_on_History.html adresinden alındıBocock, R. (2014). Tüketim. Ankara: Dost Kitabevi.
• Buck-Mors, S. (2010). Görmenin Diyalektiği. İstanbul: Metis Yayıncılık Ltd.
• Buck-Morss, S. (2004). Rüya Alemi ve Felaket. İstanbul: Metis Yayınları.
• Curtis, A. (2016, 12 12). Is the Art World Responsible for Trump? Filmmaker Adam Curtis on Why Self-Expression Is Tearing Society Apart. (L. Abrams, Röportaj Yapan) Artspace. adresinden alındı
• , B. Ö., & Bakçay, E. (2012, 12 20). Çağdaş Sanattan Radikal Siyasete, Estetik-Politik Eylem. Toplum ve Bilim, Sayı: 125, 41-62. e-skop: http://www.e-skop.com/skopbulten/cagdas-sanattan-radikal-siyasete-estetik-politik-eylem/1384 adresinden alındı
• Floris, B. (2012). Kamusal Alan ve Ekonomik Alan. É. Dacheux içinde, Kamusal Alan (s. 65-74). İstanbul: Ayrıntı Yayınları.
• Fukuyama, F. (2016, 08 09). At the 'End of History' Still Stands Democracy. The Wall Street Journal: http://www.wsj.com/articles/at-the-end-of-history-still-stands-democracy-1402080661 adresinden alındı
• Harvey, D. (2001). Spaces of Capital. New York: Routledge.
• Jake Bernstein. (2016, 07 14). The Art of Secrecy. The Panama Papers ICIJ: https://panamapapers.icij.org/20160407-art-secrecy-offshore.html adresinden alındı
• Kompatsiaris, P. (2014). Curating Resistances: Ambivalences and Potentials of Contemporary Art Biennials. Communication, Culture & Critique 7, 76–91.
• Lawler, A. (2016, 04 12). Iraq Is Turning Saddam Hussein’s Palace Into a Museum. National Geographic: http://news.nationalgeographic.com/2016/04/160411-iraq-saddam-palace-basra-art-museum/ adresinden alındı
• Monothetic. (2016, 12 21). Oxford Dictionaries: https://en.oxforddictionaries.com/definition/monothetic adresinden alındı
• Orwell, G. (tarih yok). Nineteen Eighty-four. Boston New York: Boston Mifflin Harcourt.
• Phantasmagoria. (2016, 12 28). Oxford Dictionaries: https://en.oxforddictionaries.com/definition/phantasmagoria adresinden alındı
• Professionalism. (2017, 03 01). Merriam-Webster: https://www.merriam-webster.com/dictionary/professionalism adresinden alındı
• Randy Kennedy. (2016, 12 19). Marian Goodman, Art’s Quiet Matriarch, Hopes the Market Cools. New York Times: http://www.nytimes.com/2016/12/16/arts/design/marian-goodman-arts-quiet-matriarch-hopes-the-market-cools.html?ribbon-ad-idx=5&rref=arts/design&module=Ribbon&version=context&region=Header&action=click&contentCollection=Art%20%26%20Design&pgtype=article adresinden alındı
• Searle, A. (2016, 03 29). Venice Biennale: the world is more than enough . The Guardian: http://www.theguardian.com/artanddesign/2015/may/11/venice-biennale-all-the-worlds-futures-review adresinden alındı
• Sholette, G. (2015). Art out of Joint. A. Ross içinde, The Gulf: High Culture/Hard Labor (s. 64-86). Londra: OR Books.
• Skylakakis, S. (2005). The Vision of a Guggenheim Museum in Bilbao. Massachusetts: Harvard University Graduate School of Design.
• Srdjan Cvjeticanin. (2017, 02 15). Biography. European Graduate School: http://www.egs.edu/faculty/michael-hardt adresinden alındı
• Supervisors. (2017, 02 15). PhDArts: https://www.phdarts.eu/Supervisors/PascalGielen adresinden alındı
• Şefik Özcan. (2016, 12 27). İletişimin Ötekiliği: Kültüralizm ve Yeni Medya. e-skop: http://www.e-skop.com/skopbulten/iletisimin-otekiligi-kulturalizm-ve-yeni-medya/2436 adresinden alındı
• Thornton, S. (2012). Sanat Dünyasında Yedi Gün. İstanbul: Yapı Kredi Yayınları.
• Titus Stahl. (2016, 07 27). Georg [György] Lukács. Stanford Encyclopedia of Philosophy: http://plato.stanford.edu/entries/lukacs/#ReiThe adresinden alındı
• Żmijewski, A. (2016, 12 21). 7th Berlin Biennale For Contemporary Politics. Berlin Biennale: http://blog.berlinbiennale.de/en/allgemein-en/7th-berlin-biennale-for-contemporary-politics-by-artur-zmijewski-27718 adresinden alındı