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Bu çalışmanın amacı Dada’nın ve temsilcilerinden Marcel Duchamp’ın radikal sanat anlayışının kendisinden önceki belli başlı bazı sanat akımlarıyla olan ilişkisini, kendisinden sonraki sanata nasıl etki ettiğini ve günümüz sanat üretimlerinde yarattığı olumlu ve olumsuz etkileri araştırmaktır. Bu amaçla I. Dünya savaşı yıllarında ortaya çıkan bir akım olan Dada’nın sanat anlayışı ve sanatçı profili, buna bağlı olarak Dada’nın ilk akla gelen isimlerinden biri olan Marcel Duchamp’ın üretme ve düşünme pratiği ve de Duchamp’ın üretimlerinin yarattığı etkiyle ortaya çıktığı ve ilişkili olduğu düşünülen tekrara dayalı ve yaratıcılıktan uzak olduğu ispat edilmeye çalışılan bazı örnekler üzerinde durulmuştur. Örnekler analiz edilirken -her defasında Duchamp’ı referans göstererek- Andy Warhol, Jeff Koons ve Yayoi Kusama’nın üretimlerinde nelerin görünür olduğuna, Duchamp’tan sonra birçok sanatçıda görülebilen aynının tekrarına dayalı biçim odaklı bir dil geliştirildiğine ve buna bağlı olarak her defasında kendini yineleyen ve dolayısıyla kısır hale gelen üretim alışkanlıklarının sanatsal söylemi çökerttiğine işaret edilmiştir. Duchamp’ın sanatta birçok sınırı ortadan kaldırdığı, geleneksel kalıplara meydan okuduğu, üretme biçimlerine dair potansiyelleri arttırdığı, sanatta biriciklik, kutsallık gibi kültleri yıktığı ve aynı zamanda malzeme ve tekniğe dair yeni bir bakış açısı getirdiği görülmüştür. Böylece her şeyin sanat olabilme potansiyeli ve sonsuz bir özgürlük alanı ortaya çıkmıştır. Ancak bu anlayış, -genelleme yapmak mümkün olmasa da- bugün sanatta tekrara dayalı ve sıradan bir dili beraberinde getirmiştir. Bu anlamda bu makalede Duchamp önemli bir noktaya konulurken “günah” bir metafor olarak kullanılmış ve günümüz sanatının suçlusu olduğu ima edilerek Duchamp’a işaret edilmiştir. Bu süreçte basılı ve elektronik kaynaklardan faydalanılmış, sanata ve tarihine dair çeşitli görüşlere yer verilmiş ve bazı ikonik sanat yapıtları üzerinde durulmuştur.
The aim of this study is to explore the relationship of Dada and his representatives, Marcel Duchamp’s radical art understanding with certain main art flows before him, how it influenced the art after him and the positive and negative effects it created in today’s art productions. For this purpose, Dada's art understanding and artist profile, a stream that emerged in the years of World War I, is based on some examples of the production and thinking practice of Marcel Duchamp, one of Dada's first-minded names, as well as the effects of Duchamp's productions, which is thought to be re-based and relating to, and trying to prove that he is far from creativity. When the examples are analyzed – each time referring to Duchamp – what is apparent in the productions of Andy Warhol, Jeff Koons and Yayoi Kusama, a form-oriented language is developed on the basis of the repetition of the same that can be seen in many artists after Duchamp, and therefore the artistic speech of the production habits that repeat themselves and thus becomes untouched. It has been seen that Duchamp has removed many boundaries in art, challenged traditional patterns, increased the potential for its forms of production, destroyed cults such as unicity, holiness in art, and also brought a new perspective on material and technology. Thus, the potential of everything to be art and an infinite sphere of freedom has emerged. But this understanding, although it is not possible to generalize, has brought together a language that is re-based and ordinary in art today. In this sense, in this article, Duchamp is placed on an important point while the "sins" is used as a metafor and is indicated to Duchamp as the guilty of today's art. During this process, the use of printed and electronic resources, various views on the art and history were placed, and some iconic artworks were focused.
The aim of this study is to investigate the relationship between Dada and one of its representatives, Marcel Duchamp's radical artistic understanding, with some major art movements before him, how it affected the art after him, and its positive and negative effects on today's art productions. For this purpose, the artistic understanding and artist profile of Dadaism, a trend that emerged during the years of World War I, was focused on. Accordingly, the practice of producing and thinking of Marcel Duchamp, one of the first names to come to mind of Dadaism, and some examples that are thought to have emerged with the effect of Duchamp's productions and which are thought to be related and based on repetition and that is tried to prove that they are far from creativity were emphasized. While the samples were analyzed, it was pointed out what was visible in the productions of Andy Warhol, Jeff Koons, and Yayoi Kusama - each time referring to Duchamp. It was pointed out that a form-oriented language based on the repetition of the same, which can be seen in many artists after Duchamp, was developed and accordingly, the production habits that repeat themselves each time and became sterile, destroying the artistic discourse. It has been observed that Duchamp has eliminated many boundaries in art, challenged traditional patterns, increased the potentials of production forms, demolished cults such as uniqueness and holiness in art, and also brought a new perspective on materials and technique. However, this understanding-though it is not possible to generalize- has brought a repetitive and ordinary language in art today. In this sense, while Duchamp is made an important figure in this article; "Sin" has been used as a metaphor and has been pointed out by implying that he was the culprit of contemporary art. During this process, printed and electronic resources were used, various views on art and its history were included, and some iconic artworks were emphasized.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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