COVID-19 PANDEMİSİ KARANTİNA DÖNEMİNDE SPENCER TUNICK’İN SANATINDA BİR ARADA OLMAK

Yıl 2022, Cilt: 12 Sayı: 3, 655 - 665, 01.07.2022

Ezgi Araratcüceoğlu

Öz

Bu araştırma, fotoğraf sanatçısı Spencer Tunick’in, Kovid-19 pandemisinin en zorlu geçen 2020 yılının karantina döneminde gerçekleştirdiği “Stay Apart Together” projesine odaklanmaktadır. Kamusal alanlarda, çok sayıda insanın katılımıyla gerçekleştirdiği nü beden enstalasyonları ile bilinen Tunick bu projede, evde kalma zorunluluğu nedeniyle dünyanın farklı bölgelerinde karantinada olan katılımcıları çevrimiçi konferans platformları aracılığıyla bir araya getirmiştir. Katılımcılar, sanatçının yönlendirmeleri doğrultusunda kendi kameralarına poz vermişlerdir. Farklı sayılarda insanın katılımıyla kurgulanan ekran görüntüleri Tunick tarafından alınmış ve birer fotoğraf olarak sergilenmiştir. Bu projede, katılımcıların çıplak bedenlerinin yanı sıra; evleri, yaşadıkları oda, kullandıkları eşyalar da çevrimiçi olarak görüntüye dahil olmaktadır. Dolayısıyla bu proje “özel” ve “kamusal” kavramlarını sanatsal çerçevede değerlendirmeye olanak sağlamaktadır. Bu açıdan proje, mahremiyetin sanat nesnesine dönüştüğü bir pratik olarak değerlendirilmiştir. Ayrıca, “Stay Apart Together”projesi, sanat eserinin bir parçası olmanın olumlu etkilerini açığa çıkarmaktadır. Bu anlamda araştırmada, küresel ve ölümcül bir salgın sırasında gerçekleştirilen sanatsal bir buluşmanın, karantinada olan insanlar ve proje kapsamında ortaya çıkan fotoğraflara bakan izleyiciler üzerindeki sosyolojik ve psikolojik etkileri incelenmiştir. Sanatsal yaratımın bir parçası olma durumu “karantina ve sanat” birlikteliği bağlamında ele alınmıştır. Bu bağlamda dijital dünyada gerçekleştirilen nü proje “Stay Apart Together” kapsamında sergilenen fotoğraflar, insanlar arası kolektivizme katkı sağlayan sanatsal formlar olarak değerlendirilmiştir.

Anahtar Kelimeler

Kovid-19, Karantina, Sanat, Beden, Mahremiyet

BEING TOGETHER IN SPENCER TUNICK’S ART IN A TIME OF SELF-ISOLATION DURING COVID-19 PANDEMIC

Öz

This study focuses on the “Stay Apart Together” project, which was carried out by photographer Spencer Tunick during the self-isolation period of 2020, which was the most difficult year of the Covid-19 pandemic. Known for his nude body installations in public spaces with the participation of many people, Tunick brought together the participants, who were in quarantine in different parts of the world due to the necessity of staying at home, through online conference platforms in this project. The participants posed for their own cameras in line with the directions of the artist. Screenshots of the display windows formed with the participation of different numbers of people were taken by Tunick and these were exhibited as photographs. In this project, in addition to the naked bodies of the participants; their houses, the room they live in and their belongings are also included in the image. Therefore, this project form a basis to evaluate the concepts of "private" and "public" in an artistic framework. In this respect, the project has been considered as a practice in which privacy is transformed into an art object. In addition, the “Stay Apart Together” reveals the positive effects of being a part of art. In this sense, the sociological and psychological effects of an online meeting for art held during a global and deadly epidemic both on people in quarantine and the audience were examined in this study. Being a part of artistic creation is discussed in the context of "self-isolation and art". In this regard, the photographs exhibited within the scope of the nude project “Stay Apart Together” realized in the digital world were evaluated as artistic forms that contribute to "inter-human collectivism".

Anahtar Kelimeler

Covid-19, Self-isolation, Art, Body, Privacy

Kaynakça

• Berger, J. (1972). Ways of seeing, London: Penguin Books.
• Bourriaud, N. (2002). Relational aesthetics, Dijon: Les presses du réel.
• Hein, H. (2006). Public art: Thinking Museums Differently, Oxford: Altamira Press.
• Williams, R. (1985). Keywords, New York: Oxford University Press.
• Zausner, T. (2007). Artist and audience: Everyday creativity and visual art. (Ed. Ruth Richards), Everyday creativity and new views of human nature: Psychological, social, and spiritual perspectives: 75-89, Washington, DC: American Psychological Association. Smith, J. Malamud, (1997). Private Matters: in defense of the personal life, United States of America; Adison-Wesley Publishing Company.
• Westin, F. Alan, (2014). Privacy and Freedom, United States of America: International Association of Privacy Professionals.
• Barthes, R, (1981). Camera Lucida: reflections on photography, New York: Hill and Wang.
• Colomina, B. (1996). Privacy and publicity: modern architecture as mass media. The MIT Press.
• Benjamin, W., Arendt, H., & Zohn, H. (1968). Walter Benjamin: Illuminations. Trans. Harry Zohn New York: Schocken. Print.
• Montagu, A. (1986). Touching: The Human Significance of the Skin, New York: Harper & Row.
• Han, B. C. (2015). The transparency society. Stanford University Press.
• Pallasmaa, J. (2005). The eyes of the skin: Architecture and the senses. Great Britain: John Wiley & Sons.
• ELECTRONIC REFERENCES URL-1 Tunick, S. (2012). https://libquotes.com/spencer-tunick/quote/lbf5j1r. Access Date: (18.04.2022)
• URL-2 https://www.instagram.com/p/CCyW2pgB-qN/. (Access Date: 11.04.2022)
• URL-3 https://www.instagram.com/p/B_k05b6hWoM/. (Access Date: 11.04.2022)
• URL-4 https://www.instagram.com/p/CCwBWtRhL45/. (Access Date: 11.04.2022)
• URL- 5 https://www.instagram.com/p/CBOIUdjBEPJ/. (Access Date: 11.04.2022)
• URL-6 https://www.instagram.com/p/CCBzZoDhGOa/. (Access Date: 11.04.2022)
• URL-7 Tunick, S. (2020a). https://www.youtube.com/watch?v=2IMIH0YPwCQ. (Access Date: 15.04.2022)
• URL-8 https://www.instagram.com/p/CB_sq2UhHIy/. (Access Date: 15.04.2022)
• URL-9 Tunick, S (2020b). https://www.9news.com.au/national/coronavirus-spencer-tunick-nude-photography-australia-video-conferencing/a85d31fd-82f9-48b3-ad9a-00e3e2f726ce. (Access Date: 15.04.2022)