Görüntüleme
70
İndirme
8
Batı dünyasında kokunun, görme ve işitme duyularıyla kıyaslandığında uzunca bir süre göz ardı edilmiş olduğu açıktır. 20. yüzyılın başında İtalyan Fütürist ressam Carlo Carra’nın 1913’ te yayınladığı “The Painting of Sounds, Noises and Smells”, Seslerin, Gürültülerin ve Kokuların Resmi”, manifestosuyla kokunun sanata dahil olmaya başladığı söylenebilir. Duchamp’ın, 1938 yılında Paris’te düzenlediği Uluslararası Sürrealist Sergisi’nin de; kokuyu temel alan, kavrulan kahve kokusuyla doldurduğu mekân, koku sanatını tanıtmak için avangard bir girişim olarak kabul edilebilir. Duchamp’ın yolunu açtığı koku sanatı, 1960’lı yıllara gelindiğinde, Fluxus ve Arte Povera gibi hareketlerin içinde yerini almıştır. Jean-Michel Othoniel, Wolfgang Laib, Mario Merz, Valeska Soares, Joseph Beuys gibi sanatçıların kükürt, balmumu, yağ vb. kokulu doğal malzemeleri çalışmalarında kullandığı görülmektedir. 20. ve 21. yüzyıllarda önceleri çoğunlukla tıp ve psikoloji alanında ilgilenilen kokunun, giderek antropoloji, sosyoloji, tarih ve sanat alanlarında da ilgi odağı haline geldiği görülmektedir. Ayrıca gizemli yapısıyla kokunun, popüler, teknolojik ve akademik çalışmalarda da dikkat çektiği görülür. Çalışmada; 2014 yılında Olfactory Art manifestosunu yazan akademisyen sanatçı Peter De Cupere’nin sanatında bir ifade biçimi olarak kokuyu nasıl ele aldığı, sanatçının heykel, resim, enstalasyon, video, performans vb. çeşitli mecralardaki üretimleri üzerinden irdelenmiştir. Sanatçı kokunun da, tıpkı fotoğraf, ses ve video gibi görsel sanatlara entegre edilmesi gerektiğini, böylece koku sanatının yeni bir sanat hareketi olarak kabul görebileceği ve sanatın –izmlerine Olfactism olarak eklenebileceğini, kokunun bağlam olduğu veya bağlam sağladığı sürece sanat eserleriyle ilgili olduğunu, temsilinin mümkün olabileceğini iddia etmektedir. Çalışmada alan yazını incelendiğinden doküman analizi yöntemi kullanılmış, bu yöntemle elde edilen verilerin içerik analizi yapılmıştır. Özel bir alanı kapsayan araştırmada daha çok sanatçının öz kaynakları üzerinden elde edilen bulguları değerlendirilmiş ve eserleri çözümlenmiştir. Sanatçıya ait sanatsal uygulamalarda koku faktörü incelenmiş ve kokunun kimi çalışmalarda yardımcı bir öge olarak yer alırken, kimi çalışmalarda içeriğin kendisine dönüştüğü görülmüştür.
It is clear that in the western world, when compared with the smell of vision and hearing, it has been ignored for a long time. At the beginning of the 20th century, the Italian futuristic painter Carlo Carra published in 1913, "The Painting of Sounds, Noises and Smells", the image of Sounds, Noises and Smells," with the manifesto, it can be said that the smell began to be incorporated into art. The International Surrealist Exhibition, which Duchamp held in Paris in 1938, is also considered an avant-garde initiative to promote the art of smell. The smell art that Duchamp opened the way, when it came to the 1960s, took its place in movements like Fluxus and Arte Povera. Artists such as Jean-Michel Othoniel, Wolfgang Laib, Mario Merz, Valeska Soares, Joseph Beuys are sulfur, balm, oil, etc. It is seen to be used in the work of natural materials. In the twentieth and twenty-first centuries, it appears that the smell, primarily interested in the field of medicine and psychology, has become the focus of interest in the fields of anthropology, sociology, history and art. It also appears that its mysterious structure, the smell, is also attracted in popular, technological and academic studies. In the study; how the academic artist Peter De Cupere, who wrote the 2014 Olfactory Art manifesto, addressed the smell as a form of expression in art, the artist's statue, painting, installation, video, performance, etc. It has been produced in various forms of production. The artist also claims that the smell should be integrated into visual arts like photography, sound and video, so that the smell art can be accepted as a new art movement and that the art can be added to the -isms as Olfactism, that the smell is related to the art works as long as it is context or provides context, and that representation can be possible. Since the field text was studied in the study, the method of document analysis was used, the content analysis of the data obtained by this method was made. In the research that covers a particular field more the findings obtained through the artist’s own resources were evaluated and the works were analyzed. In the artistic applications of the artist, the smell factor has been studied and the smell is included as a helpful object in some studies, while in some studies it has been shown that the content is converted into itself.
It is clear that in the Western world, smell has been ignored for a long time compared to the senses of sight and hearing. At the beginning of the 20th century, with the manifesto of “The Painting of Sounds, Noises and Smells, Picture of Sounds, Noises and Smells”, published in 1913 by the Italian Futurist painter Carlo Carra, it can be said that scent began to be included in art. In the International Surrealist Exhibition organized by Duchamp in Paris in 1938; the exhibition, which is based on smell and filled with the scent of roasted coffee, can be regarded as an avant-garde attempt to promote the art of fragrance. The art of fragrance that Duchamp paved the way, took its place in movements such as Fluxus and Arte Povera in the 1960s. It is seen that he uses scented natural materials in his works. As of the 20th and 21st centuries, it has been observed that the scent, which was mostly focused in medicine and psychology, has become the center of attention in the fields of anthropology, sociology, history and art. In addition, with its mysterious nature, it is witnessed that the scent attracts attention in popular, technological and academic studies. In the study, the process of scent’s becoming a form of expression in the art of academic artist Peter De Cupere, who wrote the Olfactory Art manifest in 2014, was examined through the artist's productions in various media such as sculpture, painting, installation, video, performance. The artist states that scent should be integrated into visual arts, just like photography, sound and video, so that scent art can be accepted as a new art movement and can be added to its –ism as Olfactism. He also claims that fragrance is related to works of art, as long as it is context or provides context, where representation is possible. In this work, document analysis technique has been used because the body of literature has been examined; accordingly, the content of the data that has been gathered by this technique, is analyzed. In the research covering a special field, the findings obtained from the artist's own resources were examined and his works were analyzed. In the artistic practices of the artist, the odor factor was examined and it was seen that while the odor was an auxiliary element in some works, it transformed into content itself in other works.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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