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Sanat, 19. yüzyıldan itibaren hayattan özerk bir alanda, estetizm ile tanımlanmıştır. Estetiğin tarihine bakıldığında ise kaçınılmaz olarak biçimlerin tarihi görülmüştür. Manifestoların biçimsel karakterleri ile tanımlanan bu dönem burjuvazinin “yeni” olanı öne çıkarması ile belirmiştir. Bu tanıma ilk itiraz Dada tarafından yapılmış, burjuvazinin sanat ile girdiği faydacı ilişkiden hareketle estetik sanat, tümden reddedilmiştir. Dadanın bu tavrı, sanatı bir süreliğine tanım anlamında çerçevesiz bir alana yerleştirmiş, ancak burjuvazinin Duchamp’ın Çeşme’si dâhil birçok Dada eserini müzelerine kabul etmesiyle anti-sanat yeniden sanat etiketi kazanmıştır. Sanat Dada’nın getirdiği kırılma sonrasında sınırlarını genişletmiş, hayat ile kopan ilişkisi farklı sanatsal hareketlerle yeniden sağlanmaya çalışılmıştır. Bunlardan ilki modern estetiğin eser odaklı sanat anlayışından, hayatın sanat ile arasındaki çizginin bulanıklaştırılmasıyla kopan ve yaratım sürecinin öne çıkarıldığı Soyut Dışavurumculuktur. Soyut Dışavurumculuğun işaret ettiği bu yolda Neo-Dada sanatçıları, klasik eser fikrini tamamen aşıp yepyeni sanat üretim olanakları ortaya koymuşlardır. Sıradan malzemelerin vurgulanması, eserlerin kısa ömürlü olarak yaratılması ve sanatçının teknik becerisinin önemsenmemesi gibi tavırlar ile hayata dair söylemler öne çıkarılmıştır. Bu tavır Dada’dakinden farklı olarak, sanata toptan bir itiraz olarak değil, sanat tanımı içinde kalınarak ortaya konulmuştur. Bu doğrultuda Dada’nın sanata yönelttiği eleştiri, bazı eleştirmenler tarafından başarısızlıkla tamamlanmış olarak kabul edilirken, diğer bir tarafta bu durum, sanatın daha geniş bir çerçevede yeniden tanımlanması ile başarı olarak kabul edilmiştir. Dada’nın, sanatın tam karşısından konumlanan, estetiğe alternatif bir sanat tanımı yapmaya dayanan devrimci karakteri, Neo-Dada ve ardından gelen Pop Art, Yeni Gerçekçilik, Olgusalcılık, Junk Sanat, Happening, Fluxus, vb. sanat tavırları tarafından, geniş bir çerçevede estetikleştirilmiştir. Bu estetikleştirme kimi yazarlar tarafından bir hüsran, kimileri tarafından da bir zafer olarak okunmuştur. Bu çalışmanın amacı da tam burada, sanatın Dada’da olduğu gibi sürekli devrim olarak tanımlanıp tanımlanamayacağından hareketle imkân bulan, yeni sanat tavırlarının araştırılması üzerinedir. Araştırmanın sınırı Dada ve Neo-Dada arasındaki 1900 ile 1960 tarihleri olarak belirlenmiştir.
Art has been defined by aesthetism in an area independent of life since the 19th century. When it comes to the history of aesthetics, it is inevitably the history of forms. This period, defined by the formal characteristics of the manifestations, is marked by the "new" of the bourgeoisie. The first objection to this recognition was made by Dada, and the art of aesthetics, with the movement of the beneficial relationship that the bourgeoisie entered with the art, was completely rejected. This attitude of Dadan has placed art for a period of time in a frameworkless area in terms of definition, but with the bourgeois acceptance of many Dada works, including the Fountain, by Duchamp, the anti-art has regained the art label. After the breakthrough brought by Art Dada extended its boundaries, the breakthrough relationship with life was tried to re-establish by different artistic movements. The first of these is the Soyut Extraterrestrial, which is divided from the art-focused concept of modern aesthetics, with the foolishment of the line between life and art and where the process of creation is highlighted. On this path that the Soyut Extraterrestrial has indicated, the Neo-Dada artists have completely overcome the idea of the classical work and revealed new art production possibilities. The emphasis on ordinary materials, the short-lived creation of works, and the artist's technical skills are not concerned with attitudes and life statements have been highlighted. This attitude, unlike Dada, was revealed by staying in the art definition, not as a massive objection to the art. Dada’s criticism of art in this direction is considered failed by some critics, while on the other hand, this situation has been considered a success with the re-definition of art in a wider framework. The revolutionary character of Dada, situated on the opposite of art, based on making an alternative art definition to aesthetics, Neo-Dada and followed Pop Art, New Reality, Reality, Junk Art, Happening, Fluxus, etc. By the art attitudes, it is aesthetized in a wide framework. This aesthetization has been read as a loss by some writers, and by some as a victory. The purpose of this study is to explore the new art attitudes, which are possible by movement, as art is defined as a continuous revolution, as it is in Dada. The limit of the study was determined as the dates between 1900 and 1960 between Dada and Neo-Dada.
Since the 19th century, art has been identified with aestheticism, in an autonomous field from life. When we look at the history of aesthetics, the history of forms has inevitably been seen. This period, defined by the formal characters of the manifestos, emerged with the bourgeoisie's emphasis on the "new". The first objection to this definition was made by Dada, and aesthetic art was completely rejected based on the utilitarian relationship of the bourgeoisie with art. This attitude of Dada placed art in a frameless field for a while in terms of definition, but gained the label of anti-art as art again, with the bourgeoisie accepting many Dada works, including Duchamp's Fountain, into their museums. Art expanded its borders after the break brought by Dada, and its relationship with life was tried to be restored with different artistic movements. The first of these is Abstract Expressionism, which breaks away from the work-oriented understanding of art of modern aesthetics with the blurring of the line between life and art, and emphasizes the creation process. In this way, which is pointed out by Abstract Expressionism, Neo-Dada artists have completely transcended the idea of classical works and revealed brand new art production possibilities. Attitudes such as emphasizing ordinary materials, creating short-lived works, and ignoring the artist's technical skills, and discourses about life were brought to the fore. This attitude, unlike the one in Dada, was put forward by staying within the definition of art, not as a wholesale objection to art. In this direction, while Dada's criticism of art was considered unsuccessful by some critics, on the other hand, this situation was accepted as a success by redefining art in a broader framework. The revolutionary character of Dada, positioned directly opposite to art and based on an alternative definition of art to aesthetics, is influenced by Neo-Dada and subsequent Pop Art, Neo-Realism, Phenomenalism, Junk Art, Happening, Fluxus, etc. It has been aestheticized in a wide framework by artistic attitudes. This aestheticization has been read as a disappointment by some writers and as a victory by others. The aim of this study is right here, on the research of new artistic attitudes, which are possible based on whether art can be defined as a permanent revolution as in Dada. The limit of the research was determined as between 1900 and 1960 between Dada and Neo-Dada.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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