{"id":662,"date":"2026-02-25T17:45:00","date_gmt":"2026-02-25T14:45:00","guid":{"rendered":"http:\/\/www.dbsnewsmedia.com\/?p=662"},"modified":"2026-02-25T17:47:26","modified_gmt":"2026-02-25T14:47:26","slug":"vanda-uluslararasi-arenaya-uzanan-bir-sergi","status":"publish","type":"post","link":"https:\/\/dbsnewsmedia.com\/?p=662","title":{"rendered":"Van\u2019da Uluslararas\u0131 Arenaya Uzanan Bir Sergi"},"content":{"rendered":"\n

Seul\u2019deki ilk g\u00f6steriminin ard\u0131ndan ve \u0130talya\u2019n\u0131n Seravezza kentindeki sunumu \u00f6ncesinde, Tayvanl\u0131 sanat\u00e7\u0131 Hsu Yunghsu\u2019nun uluslararas\u0131 gezici sergisi Sisyphos\u2019un \u015e\u00fcphesi<\/strong>, T\u00fcrkiye\u2019de ilk kez Van\u2019daki Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi\u2019nde sanatseverlerle bulu\u015fuyor.<\/p>\n\n\n\n

14 Mart\u201326 Nisan 2026 tarihleri aras\u0131nda ziyaret edilebilecek sergi, Van\u2019\u0131 yaln\u0131zca co\u011frafi bir nokta olarak de\u011fil, ayn\u0131 zamanda k\u00fclt\u00fcrel bir kesi\u015fim alan\u0131 olarak da yeniden de\u011ferlendirmeye davet ediyor.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi\u2019nin \u00fczerinde y\u00fckseldi\u011fi zemin, ba\u015fl\u0131 ba\u015f\u0131na g\u00fc\u00e7l\u00fc bir anlam \u00f6neriyor: Antik Urartu miras\u0131 ile \u00e7a\u011fda\u015f mimari dili ayn\u0131 potada bulu\u015fturan bir e\u015fik. Bu sergiyle birlikte s\u00f6z konusu e\u015fik daha da geni\u015fliyor. Van, Do\u011fu Asya ile Avrupa aras\u0131nda yaln\u0131zca bir ge\u00e7i\u015f g\u00fczerg\u00e2h\u0131 de\u011fil; malzeme, emek ve sab\u0131r \u00fczerinden kurulan ortak bir sanat dilinin bulu\u015fma noktas\u0131 haline geliyor.<\/p>\n\n\n\n

Hsu Yunghsu ise \u00e7a\u011fda\u015f seramik alan\u0131nda uzun zamand\u0131r kendine \u00f6zg\u00fc bir konumda yer al\u0131yor. Sanat\u00e7\u0131, kili yaln\u0131zca \u015fekil verilen bir materyal olarak de\u011fil; bedenle birlikte var olan, direnen ve iz b\u0131rakan canl\u0131 bir unsur gibi de\u011ferlendiriyor. Yakla\u015f\u0131k k\u0131rk y\u0131l \u00f6nce akademik kariyerinin sundu\u011fu g\u00fcvenli alan\u0131 geride b\u0131rakarak \u00fcretimini tamamen toprak ve ate\u015f eksenine ta\u015f\u0131yan Hsu Yunghsu, \u00e7al\u0131\u015fmalar\u0131n\u0131 bug\u00fcn Tayvan\u2019\u0131n Tainan kentinde, \u00fclkenin en b\u00fcy\u00fck seramik f\u0131r\u0131n at\u00f6lyelerinden birinde s\u00fcrd\u00fcr\u00fcyor.<\/p>\n\n\n\n

FORM DE\u011e\u0130L, GER\u0130L\u0130M<\/strong><\/p>\n\n\n\n

Sergide ilk anda \u00f6ne \u00e7\u0131kan unsur \u201cg\u00fczellik\u201d de\u011fil, yo\u011fun bir gerilim duygusu. Hsu Yunghsu\u2019nun i\u015fleri kusursuz y\u00fczeyleri bilin\u00e7li bi\u00e7imde reddediyor; \u00e7atlaklar, bo\u015fluklar, isli renk ge\u00e7i\u015fleri ve katman katman y\u00fckselen dokular estetik bir tercihe d\u00f6n\u00fc\u015f\u00fcyor. Dalgal\u0131, k\u0131vr\u0131ml\u0131 ve an\u0131tsal \u00f6l\u00e7ekli formlar ise izleyiciyi yaln\u0131zca g\u00f6rmeye de\u011fil, malzemenin a\u011f\u0131rl\u0131\u011f\u0131n\u0131 neredeyse bedensel olarak hissetmeye davet ediyor.<\/p>\n\n\n\n

Sanat\u00e7\u0131n\u0131n bu tavr\u0131nda, 2005\u20132006 y\u0131llar\u0131nda New York\u2019taki sanat\u00e7\u0131 program\u0131 s\u0131ras\u0131nda kar\u015f\u0131la\u015ft\u0131\u011f\u0131 Richard Serra\u2019n\u0131n devasa \u00e7elik heykellerinin etkisi seziliyor. Ancak Yunghsu, Serra\u2019n\u0131n metalde kurdu\u011fu a\u011f\u0131rl\u0131k fikrini serami\u011fin k\u0131r\u0131lgan yap\u0131s\u0131yla yeniden yorumluyor. Burada yaln\u0131zca k\u00fctle de\u011fil, bo\u015fluk da s\u00f6z al\u0131yor; y\u00fczey kadar oyuklar da anlam \u00fcretiyor.<\/p>\n\n\n\n

Duvar yerle\u015ftirmelerinde organik bir \u00e7o\u011falma hissi belirgin. Kemiksi ve kabuksu \u00e7a\u011fr\u0131\u015f\u0131mlar ta\u015f\u0131yan, biyomorfik \u00f6zellikler g\u00f6steren mod\u00fcler y\u00fczeyler; do\u011fan\u0131n b\u00fcy\u00fcme ritmini, tortula\u015fmay\u0131 ve zamana yay\u0131lan eme\u011fi an\u0131msat\u0131yor. Eserler bulunduklar\u0131 mek\u00e2na g\u00f6re geni\u015fleyen bir ifade geli\u015ftiriyor; adeta yerle\u015ftikleri zemine yeniden k\u00f6k sal\u0131yor.<\/p>\n\n\n\n

Sisyphos\u2019u yeniden d\u00fc\u015f\u00fcnmek<\/h3>\n\n\n\n

Serginin ad\u0131 bo\u015funa Sisyphos\u2019un \u015e\u00fcphesi<\/strong> de\u011fil. Hsu Yunghsu, kadim sarmal (coil) tekni\u011fini g\u00fcn\u00fcm\u00fcz \u00fcretim h\u0131z\u0131na kar\u015f\u0131 neredeyse etik bir \u00f6neri olarak yeniden g\u00fcndeme getiriyor. Her form do\u011frudan el temas\u0131n\u0131n izini ta\u015f\u0131yarak y\u00fckseliyor: avu\u00e7 i\u00e7i, parmak izi, bast\u0131rma, \u00e7ekme ve bekleme\u2026 Dijital \u00e7a\u011f\u0131n h\u0131z ve otomasyonuna kar\u015f\u0131 bu yakla\u015f\u0131m, serami\u011fin \u00f6tesine ge\u00e7en bir anlam \u00fcretiyor.<\/p>\n\n\n\n

Sanat\u00e7\u0131 i\u00e7in Sisyphos, yaln\u0131zca sonsuz tekrar\u0131n simgesi de\u011fil. As\u0131l mesele sonuca ula\u015fmak de\u011fil; \u00fcretim eyleminin kendisini bir varolu\u015f prati\u011fi olarak savunmak. Her katman, her iz ve her yan\u0131k tonu, malzemenin i\u00e7ine kaydedilmi\u015f bir haf\u0131zaya d\u00f6n\u00fc\u015f\u00fcyor. Bu nedenle sergi, mitolojik bir referanstan \u00e7ok, bug\u00fcn\u00fcn insan\u0131na y\u00f6neltilmi\u015f g\u00fc\u00e7l\u00fc bir soruya benziyor: \u00dcretirken h\u00e2l\u00e2 elimizin izini b\u0131rakabiliyor muyuz?<\/p>\n\n\n\n

Van\u2019dan Seravezza\u2019ya uzanan yol<\/h3>\n\n\n\n

Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi\u2019ndeki bulu\u015fma, serginin uluslararas\u0131 rotas\u0131nda \u00f6nemli bir durak. Van\u2019daki g\u00f6sterimin ard\u0131ndan Sisyphos\u2019un \u015e\u00fcphesi<\/strong>, \u0130talya\u2019n\u0131n Seravezza kentinde izleyiciyle bulu\u015farak yolculu\u011funu s\u00fcrd\u00fcrecek. B\u00f6ylece sab\u0131r, malzeme direnci ve bedenle toprak aras\u0131ndaki kadim ili\u015fki farkl\u0131 co\u011frafyalarda yeniden kurulacak.<\/p>\n\n\n\n

Baz\u0131 sergiler yaln\u0131zca eser sunmaz; ayn\u0131 zamanda bir d\u00fc\u015f\u00fcnme bi\u00e7imi \u00f6nerir. Hsu Yunghsu\u2019nun Van\u2019daki sergisi de tam olarak b\u00f6yle bir yerde duruyor. Kilin i\u00e7inden y\u00fckselen bu anlat\u0131, \u00e7a\u011fda\u015f sanat\u0131n par\u0131lt\u0131s\u0131ndan ziyade eme\u011fin a\u011f\u0131r ama diren\u00e7li nefesine odaklan\u0131yor \u2014 ve bunu bilin\u00e7li bir \u0131srarla yap\u0131yor.<\/p>\n\n\n\n

Sergi Bilgisi<\/strong>
Sisyphos\u2019un \u015e\u00fcphesi \u2013 Hsu Yunghsu<\/strong>
Tarih: 14 Mart \u2013 26 Nisan 2026
Mek\u00e2n: Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi, Van<\/p>\n\n\n\n

Karde\u015f haber kaynak:https:\/\/opennewsmedia.com\/2026\/02\/23\/vanda-uluslararasi-arenaya-uzanan-bir-sergi\/<\/a><\/p>\n\n\n\n

Kaynak:https:\/\/www.cumhuriyet.com.tr<\/a><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Seul\u2019deki ilk g\u00f6steriminin ard\u0131ndan ve \u0130talya\u2019n\u0131n Seravezza kentindeki sunumu \u00f6ncesinde, Tayvanl\u0131 sanat\u00e7\u0131 Hsu Yunghsu\u2019nun uluslararas\u0131 gezici sergisi Sisyphos\u2019un \u015e\u00fcphesi, T\u00fcrkiye\u2019de ilk kez Van\u2019daki Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi\u2019nde sanatseverlerle bulu\u015fuyor. 14 Mart\u201326 Nisan 2026 tarihleri aras\u0131nda ziyaret edilebilecek sergi, Van\u2019\u0131 yaln\u0131zca co\u011frafi bir nokta olarak de\u011fil, ayn\u0131 zamanda k\u00fclt\u00fcrel bir kesi\u015fim alan\u0131 olarak da yeniden…<\/p>\n","protected":false},"author":5,"featured_media":663,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[10],"tags":[276,275],"class_list":["post-662","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-uluslararasi-arena","tag-van"],"jetpack_featured_media_url":"https:\/\/dbsnewsmedia.com\/wp-content\/uploads\/2026\/02\/70.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/posts\/662","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=662"}],"version-history":[{"count":1,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/posts\/662\/revisions"}],"predecessor-version":[{"id":664,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/posts\/662\/revisions\/664"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=\/wp\/v2\/media\/663"}],"wp:attachment":[{"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=662"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=662"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dbsnewsmedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=662"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}