Nasılsın? İlmek İlmek Kadın Buluşması”: Malatya’da Katılımcı Sanatın Mikro-Ütopik Deneyimi

Öz

Gelenekselden çağdaşa, sanat pratiklerindeki değişim, izleyicinin katılımını ve işbirliğini gerekli kılan bir özellikte gerçekleşmiştir. Katılımcı sanat pratikleri, günümüzde mikro-ütopik ve eylem barındıran sanatsal projelere dönüşmektedir. Bu tür projeler, geleneksel sanatçı-izleyici ilişkisini yıkarak sanatın iyileştirici ve yaşam kalitesini arttırıcı etkilerine odaklanmaktadır. Katılımcı sanat, bireye geleneksel sanat uygulamalarından farklı olarak hiyerarşik olmayan, özgürleşebileceği mekânsal pratikler sağlamaktadır. Bu mekânlar insanların bir araya gelip etkileşime geçtiği yerler olduğu gibi sanat mekânlarına da dönüşmektedir. Bu araştırmada katılımcı sanat pratiğinin bu potansiyel iletişim şekilleri, olanaklılıkları, demokratikliği ve mikro-ütopik evren tasarımları dikkate alınarak deprem felaketinin hemen ardından terapötik bir niyetle Malatya ilinde 1-4 Aralık 2023 tarihleri arasında gerçekleştirilen “Nasılsın” adlı sanat projesinin etkileri ve sonuçları değerlendirilmiştir. Proje için seçilen mekânlarda kollektif bilince vurgu yapan örgü etkinlikleri gerçekleştirilerek toplumsal buluşma anlarında ilişkisel estetik ve katılımcı sanat vurgularıyla kendini gösteren bir mikro-ütopyanın açılımı yapılmıştır. Bunun yanında katılımcı sanatın bireylerde psikolojik dayanıklılığı artırma potansiyeline ve yaşama anlam katan bir deneyim sunma yeteneğine odaklanan projede; sosyal bağları güçlendirme ve kolektif bilinç oluşturma süreçlerine nasıl katkıda bulunabileceğine odaklanılmış, ayrıca özellikle yaşamı kesintiye uğratan olumsuzluklar karşısında bireylerin iyileşme süreçlerini nasıl destekleyebileceği de ele alınmıştır.

Anahtar Kelimeler

• İlişkisel estetik
• Performans
• Katılımcı sanat.

“How Are You? “Stick By Stick Women Meeting”: Micro-Utopic Experience of Participant Art in Malatya

Öz

to explore and experience art in every aspect of their lives. This change is tracked by the rise of collaborative experiences that feature greater audience participation. Participatory practices inspired by past art movements are today turning into micro-utopian and action-oriented artistic projects. Such projects break down the traditional artist-audience relationship and focus on the healing and quality-enhancing effects of art today. The concept of micro-utopia was first used by Nicolas Bourriaud for temporary and small-scale participatory art projects in interpersonal relationships. This concept refers to an approach to making art called "relational aesthetics", in which art moves away from the abstract and social life includes theoretical and practical, concrete micro-dimensional human relations. Bourriaud sees utopia as a tool for the detection of daily life. In this approach, the artist is positioned as a 'facilitator' or 'catalyst', transforming ordinary materials into tools that convey meaning. Participatory art, unlike traditional art practices, turns into a space where individuals can be free by providing a non-hierarchical environment. Various places such as shopping malls, chat rooms and movie theaters are not only places where people come together and interact, but also turn into art venues. This study aims to investigate how participatory art practices can contribute to the processes of strengthening social bonds and creating collective consciousness, focusing on their potential to increase psychological resilience in individuals and their ability to provide an experience that adds meaning to life. Particularly through the knitting event called "How are you? Stitch by Stitch Women's Meeting" held in Malatya after the earthquake, it is discussed how such participatory art events can support the recovery processes of individuals after the negativities experienced (earthquake). The knitting materials used in the event are sensitive to both individuality and collectivity and have the power to transform into objects that have meaning for the participants. The blanket created as a result of the event was determined as the appropriate object to complete this meeting. The project was carried out at three points in Malatya between 1-4 December 2023, with the support of Malatya Metropolitan Municipality Department of Health and Social Services, and aimed to improve access and participation opportunities in cultural life and deepen social interactions. In this event, knitting has been incorporated into art from daily life, turning into an important element that expands the boundaries of art and encourages people to directly participate in their daily lives. Although knitting seems like a simple activity usually done at home, the knitting materials and process used in this activity have turned into a tool of artistic expression with deep meaning for the participants. Knitting served as a tool to strengthen the emotional and social bonds of the participants. While each stitch symbolizes the participants' bonds with each other and with the society they live in, the resulting blankets have become a concrete indicator of these bonds. This process has gained importance as an experience that strengthens not only the aesthetic dimension of art, but also human relations and social ties. The idea that knitting is good for people is supported in many psychological and emotional aspects, and it is also known that knitting is directly related to creativity. Because this activity allows people to improve their design, color selection, technique use and problem-solving skills. This process supports personal development as well as artistic expression and allows individuals to create their own original works. Today, many artists use knitting as a means of expression beyond traditional art forms. Knitting; It is also included in modern art practices such as installation art, performance art or street art. Such applications expand the boundaries of knitting, allowing the art to reveal its innovative and experimental aspects. Therefore, participatory art projects such as the knitting activity show that art can exist in all areas of life and play an important role in giving meaning to people's daily experiences.

Anahtar Kelimeler

• Relational aesthetics
• Performance
• Participation art.

Kaynakça

1. Bassnett, S. 2014. Come Together: An Explor Together: An Exploration of Contemporation of Contemporary Participat ticipatory Art Practices Karly A. McIntosh, The University of Western Ontario Supervisor: The University of Western Ontario A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Visual Arts © Karly A. McIntosh.
2. Bishop, C. 2006. Participation. Massachusetts: Whitechapel London The MIT Press Cambridge.
3. Bishop, C. 2018. Yapay Cehennemler Katılımcı Sanat ve İzleyici Politikası: İstanbul.
4. Bourriaud, N. 2005. İlişkisel Estetik (çev. S. Özen). İstanbul: Bağlam Yayıncılık.
5. Fischer-Lichte, E. 2016. Performatif Estetik. İstanbul: Ayrıntı Yayınları.
6. URL-1, (2024). https://participedia.net/method/4862, (accessed in: 06.06.2024), (In Turkish).
7. URL-2, (2024). https://journals.openedition.org/cadernosaa/1017, (accessed in: 06.06.2024), (In Turkish).
8. URL-3, (2024). https://participedia.net/method/4451. (accessed in: 06.06.2024), (In Turkish).