01.03.2026 17:00<\/p>\n\n\n\n
Baz\u0131 sergiler vard\u0131r; ad\u0131n\u0131 not edersiniz, \u201cilk f\u0131rsatta\u201d dersiniz. Sonra g\u00fcnler h\u0131zlan\u0131r, \u015fehir kendini g\u00fcndeme kapt\u0131r\u0131r, insan kendi ko\u015fusunun i\u00e7inde erteler. K\u00fcrat\u00f6r Attila G\u00fcll\u00fc\u2019n\u00fcn anlat\u0131m\u0131nda \u015fekillenen ve son g\u00fcnlerinde gezmek f\u0131rsat\u0131 yakalad\u0131\u011f\u0131m eni:\u015eimdi \/ New:Now \u2013 S\u00fcr\u00fcm 3.0 sergisi, bende tam da bu duyguyla a\u00e7\u0131ld\u0131: Bir yeti\u015fme sevinci, bir de \u201cke\u015fke daha erken gelseydim\u201d s\u0131z\u0131s\u0131.<\/strong><\/p>\n\n\n\n CerModern\u2019in y\u00fcz y\u0131ll\u0131k \u201cCer\u201d mek\u00e2n\u0131 zaten ba\u015fl\u0131 ba\u015f\u0131na bir haf\u0131za alan\u0131. Raylar\u0131n, demirin, \u00fcretimin disiplinli sertli\u011finin ta\u015f\u0131d\u0131\u011f\u0131 o eski enerji, bug\u00fcn \u00e7a\u011fda\u015f sanat\u0131n \u00e7o\u011ful dilleriyle yeniden hareketleniyor. \u201cCer\u201din \u00e7a\u011f\u0131rd\u0131\u011f\u0131 hareket, canl\u0131l\u0131k ve d\u00f6n\u00fc\u015f\u00fcm fikri, serginin omurgas\u0131na yaln\u0131zca kavram olarak de\u011fil, mek\u00e2n\u0131n dokusuna sinmi\u015f bir ger\u00e7eklik gibi yerle\u015fiyor. Bu y\u00fczden \u201cNew:Now\u201d ba\u015fl\u0131\u011f\u0131, basit bir g\u00fcncellik iddias\u0131 de\u011fil; \u201c\u015fimdi\u201dyi bir e\u015fik, bir ge\u00e7i\u015f, bir d\u00f6n\u00fc\u015fme h\u00e2li olarak ele alan bir \u00f6nerme.<\/p>\n\n\n\n Sergi, gen\u00e7 sanat\u00e7\u0131lar\u0131n zaman, d\u00f6n\u00fc\u015f\u00fcm, yarat\u0131c\u0131l\u0131k, \u00f6zg\u00fcnl\u00fck ve s\u00fcrd\u00fcr\u00fclebilirlik \u00fczerine d\u00fc\u015f\u00fcncelerini bir araya getiriyor. Ama serginin as\u0131l g\u00fcc\u00fc, bu kavramlar\u0131 bir \u201ctez\u201d gibi sunmas\u0131nda de\u011fil; i\u015flerin birbirine de\u011fdi\u011fi yerlerde, izleyiciyle kurdu\u011fu ili\u015fkide \u00e7o\u011falmas\u0131nda. G\u00fcn\u00fcm\u00fcz\u00fcn belirsizlikleri ve krizleri d\u0131\u015far\u0131da duruyor; i\u00e7eride ise buna ra\u011fmen \u00fcretmeyi s\u00fcrd\u00fcren bir diren\u00e7 var: Disiplinleraras\u0131 yakla\u015f\u0131m, \u00e7o\u011ful ifade bi\u00e7imleri, geleneksel ve yeni mecralar aras\u0131nda kurulan ge\u00e7irgenlik\u2026<\/p>\n\n\n\n Bir y\u0131la yay\u0131lan yo\u011fun ara\u015ft\u0131rma s\u00fcrecinin ard\u0131ndan davet edilen sanat\u00e7\u0131lar, y\u00fcksek estetik duyarl\u0131l\u0131k, s\u00fcrece dayal\u0131 \u00e7al\u0131\u015fma, yenilik ve cesaret gibi nitelikleriyle \u00f6ne \u00e7\u0131k\u0131yor. Sergi, eserler aras\u0131nda oldu\u011fu kadar izleyiciyle de aktif bir diyalog kurmay\u0131 ama\u00e7l\u0131yor. Bu \u201cdiyalog\u201d s\u00f6z\u00fc burada bir s\u00fcs de\u011fil; ger\u00e7ekten de sergi, izleyiciyi yaln\u0131zca dola\u015ft\u0131rm\u0131yor, konumland\u0131r\u0131yor: Bak\u0131\u015f\u0131n ritmini de\u011fi\u015ftiriyor, d\u00fc\u015f\u00fcnmenin y\u00f6n\u00fcn\u00fc ba\u015fka bir koridora \u00e7eviriyor.<\/p>\n\n\n\n G\u00fcll\u00fc\u2019n\u00fcn sergi metninde alt\u0131n\u0131 \u00e7izdi\u011fi c\u00fcmle, ak\u0131lda bir e\u015fik ta\u015f\u0131 gibi duruyor: \u201cBug\u00fcn\u00fcm\u00fcz\u00fc g\u00f6rselle\u015ftirebilirsek, yar\u0131n\u0131m\u0131z\u0131 \u015fekillendirebiliriz.\u201d <\/strong>Bunu, bir slogan gibi de\u011fil; bir sorumluluk \u00e7a\u011fr\u0131s\u0131 gibi okumak m\u00fcmk\u00fcn. \u00c7\u00fcnk\u00fc \u201cg\u00f6rselle\u015ftirmek\u201d yaln\u0131z estetik bir mesele de\u011fil: Bug\u00fcn\u00fcn karma\u015fas\u0131n\u0131, tedirginli\u011fini, arzusunu, gerilimini ve umut par\u00e7alar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lmak\u2026 G\u00f6r\u00fcn\u00fcr olan\u0131n tart\u0131\u015fmaya, d\u00f6n\u00fc\u015fmeye, yeniden kurulmaya daha a\u00e7\u0131k h\u00e2le gelmesi\u2026<\/p>\n\n\n\n Se\u00e7kide farkl\u0131 y\u00f6nlere a\u00e7\u0131lan \u00fcretimler, ortak bir iklimde bulu\u015fuyor. Kimi i\u015fler mek\u00e2n\u0131 yeniden d\u00fc\u015f\u00fcnmeye \u00e7a\u011f\u0131r\u0131yor; kimi temsili sorguluyor, kimi ger\u00e7eklikle ger\u00e7ek\u00fcst\u00fc aras\u0131ndaki bo\u015flukta yeni bir anlat\u0131 kuruyor, kimi beden haf\u0131zas\u0131na ve iyile\u015fme s\u00fcre\u00e7lerine yakla\u015f\u0131yor. Burada \u201cyenilik\u201d \u00e7o\u011fu zaman y\u00fcksek sesle de\u011fil; y\u00f6ntemde, s\u00fcre\u00e7te, malzemeyle kurulan ili\u015fkide belirginle\u015fiyor. Bir i\u015ften di\u011ferine ge\u00e7erken yaln\u0131z bi\u00e7im de\u011fi\u015ftirmiyorsunuz; d\u00fc\u015f\u00fcnme bi\u00e7iminiz de k\u00fc\u00e7\u00fck kaymalar ya\u015f\u0131yor.<\/p>\n\n\n\n Bu geni\u015f se\u00e7kiden birka\u00e7 sanat\u00e7\u0131 \u00fczerinden bak\u0131nca serginin damarlar\u0131 daha iyi g\u00f6r\u00fcn\u00fcyor:<\/p>\n\n\n\n Ece Duran<\/strong>, mek\u00e2n\u0131 \u201ckullan\u0131m\u201d ve \u201ci\u015flev\u201d s\u0131n\u0131rlar\u0131na s\u0131k\u0131\u015ft\u0131ran ak\u0131lc\u0131 \u00e7er\u00e7eveyi gev\u015fetip, \u00e7izimin \u00f6zerk alan\u0131nda ba\u015fka bir derinlik ar\u0131yor. Prati\u011finde mek\u00e2n; \u00f6l\u00e7\u00fclen, hesaplanan bir \u015fey olmaktan \u00e7\u0131k\u0131p sezgiyle, \u00e7a\u011fr\u0131\u015f\u0131mla, r\u00fcyaya benzeyen bir tasar\u0131m sezgisiyle geni\u015fliyor. Bu yakla\u015f\u0131m, CerModern\u2019in end\u00fcstriyel belle\u011fi i\u00e7inde \u00f6zellikle \u00e7arp\u0131c\u0131: Sert bir altyap\u0131n\u0131n i\u00e7inde, \u00f6l\u00e7\u00fcs\u00fcz bir i\u00e7 alan a\u00e7\u0131l\u0131yor.<\/p>\n\n\n\n Ay\u015fe Ulu\u00e7ay<\/strong>\u2019\u0131n \u00fcretiminde ise \u00f6znenin temsilini kuran \u015fey \u00e7o\u011fu zaman \u201ctaml\u0131k\u201d de\u011fil; eksiklik, yar\u0131lma, kadraj\u0131n d\u0131\u015f\u0131na itilen ayr\u0131nt\u0131lar\u2026 Siyah giysilerle \u00f6rt\u00fcl\u00fc bedenler, kesilmi\u015f kadrajlar, silikle\u015fen y\u00fczler; temsilin ideolojik s\u0131n\u0131rlar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131larken izleyiciyi de \u201cg\u00f6rmenin\u201d s\u0131n\u0131r\u0131nda tutuyor. Fig\u00fcr anlam\u0131n merkezi olmaktan \u00e7ekiliyor; bo\u015fluk ve mu\u011flakl\u0131k, resmin as\u0131l y\u00fck\u00fcn\u00fc ta\u015f\u0131maya ba\u015fl\u0131yor.<\/p>\n\n\n\n Ece Haskan<\/strong>, ger\u00e7ek\u00fcst\u00fc imgelerle g\u00fcndeli\u011fin tutars\u0131zl\u0131klar\u0131n\u0131 ironik bir dille yeniden kuruyor. Zaman ve mek\u00e2n duygusunu ask\u0131ya alan bu d\u00fcnya, \u201calternatif bir ger\u00e7eklik\u201d kap\u0131s\u0131 a\u00e7\u0131yor; izleyiciyi de oraya davet ediyor. Haskan\u2019\u0131n i\u015fleri, ger\u00e7ek ile ger\u00e7ek\u00fcst\u00fc aras\u0131ndaki a\u00e7\u0131kl\u0131\u011f\u0131 kapatmak yerine o a\u00e7\u0131kl\u0131\u011f\u0131 b\u00fcy\u00fct\u00fcp \u00e7o\u011falt\u0131yor: tek bir anlama raz\u0131 etmeyen, katman katman a\u00e7\u0131lan bir anlat\u0131\u2026<\/p>\n\n\n\n Merve At\u0131lgan<\/strong>\u2019da ise \u00fcretimi besleyen damar, yolculuklar\u0131n ki\u015fisel iziyle rit\u00fcel ve arketiplerin ortak haf\u0131zas\u0131 aras\u0131nda gidip geliyor. Bitki formlar\u0131ndan ezoterik sembollere uzanan g\u00f6rsel d\u00fcnya, bale disiplininin bedene kaz\u0131d\u0131\u011f\u0131 haf\u0131zayla birle\u015fince \u201ciyile\u015fme\u201d duygusu belirginle\u015fiyor. Yar\u0131 saydam, d\u00fc\u015fsel fig\u00fcrler; bedenin travmas\u0131n\u0131 da iyile\u015fme ihtimalini de ayn\u0131 anda ta\u015f\u0131yor.<\/p>\n\n\n\n Bu d\u00f6rt hat bile, serginin neyi hedefledi\u011fini a\u00e7\u0131k ediyor: \u201c\u015eimdi\u201dyi tek bir g\u00f6r\u00fcnt\u00fcye s\u0131k\u0131\u015ft\u0131rmak yerine, \u00e7o\u011faltmak; bug\u00fcn\u00fcn a\u011f\u0131rl\u0131\u011f\u0131n\u0131 yaln\u0131z anlatmak de\u011fil, bi\u00e7imlere d\u00f6n\u00fc\u015ft\u00fcrmek.<\/p>\n\n\n\n Serginin son g\u00fcnlerinde gezmenin tuhaf bir yo\u011funlu\u011fu var: Zaman darald\u0131k\u00e7a insan daha dikkatli bak\u0131yor. Ayr\u0131nt\u0131lar\u0131n hakk\u0131n\u0131 vermek istiyor; \u00e7\u00fcnk\u00fc \u201cson g\u00fcn\u201d hissi, bak\u0131\u015f\u0131 h\u0131zland\u0131rm\u0131yor, tersine keskinle\u015ftiriyor. Bu sergi de bende b\u00f6yle kald\u0131: yaln\u0131zca g\u00f6rd\u00fcklerimle de\u011fil, g\u00f6rd\u00fcklerimin bende a\u00e7t\u0131\u011f\u0131 sorularla.<\/p>\n\n\n\n Yeni:\u015eimdi \/ New:Now \u2013 S\u00fcr\u00fcm 3.0<\/em>, gen\u00e7 sanat\u00e7\u0131lar\u0131n \u00fcretim azmini bir \u201ciyi haber\u201d gibi sunmuyor; daha \u00e7ok bir emek h\u00e2li gibi g\u00f6steriyor. Umudu, parlak bir vaat olarak de\u011fil, \u00e7al\u0131\u015fman\u0131n i\u00e7inden \u00e7\u0131kar\u0131lan bir diren\u00e7 olarak\u2026 Belki de serginin en k\u0131ymetli yan\u0131 burada: bug\u00fcn\u00fcn a\u011f\u0131rl\u0131\u011f\u0131na ra\u011fmen yeni bir dil arayan, yeni bir bi\u00e7im deneyen, yeni bir d\u00fc\u015f\u00fcnme hatt\u0131 kuran bir toplulu\u011fun birlikte d\u00fc\u015f\u00fcnme \u00e7a\u011fr\u0131s\u0131.<\/p>\n\n\n\n Sergiden \u00e7\u0131karken insan\u0131n i\u00e7ine \u015fu soru d\u00fc\u015f\u00fcyor: \u201c\u015eimdi\u201d dedi\u011fimiz \u015fey ger\u00e7ekten ge\u00e7ip giden mi, yoksa d\u00f6n\u00fc\u015ft\u00fcr\u00fclebilir bir malzeme mi? CerModern\u2019in belle\u011fiyle yan yana duran bu se\u00e7ki, bana ikinci ihtimali g\u00fc\u00e7l\u00fc bi\u00e7imde hat\u0131rlatt\u0131: \u015eimdi, \u015fekillendirilebilir. Yeter ki bakmay\u0131, g\u00f6rmeyi ve yeniden kurmay\u0131 ciddiye alal\u0131m.<\/p>\n\n\n\n Sergi bilgileri:<\/strong><\/p>\n\n\n\n Yeni:\u015eimdi \/ New:Now \u2013 S\u00fcr\u00fcm 3.0<\/em><\/p>\n\n\n\n Tarih: 9 Ocak \u2013 1 Mart 2026<\/em><\/p>\n\n\n\n Mek\u00e2n: CerModern (Ankara)<\/em><\/p>\n\n\n\n K\u00fcrat\u00f6r: Attila G\u00fcll\u00fc<\/em><\/p>\n\n\n\nSE\u00c7K\u0130DEN SANAT\u00c7I NOTLARI: D\u00d6RT FARKLI HAT, TEK B\u0130R ORTAK \u0130TK\u0130<\/h3>\n\n\n\n