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Kültürel, ekonomik, sosyal ve toplumsal konular tarih içerisinde gelişim göstermekle birlikte sanayi devrimi ile hız kazanmış, üretim-tüketim ilişkisi ve yaşam biçimindeki değişim ile bireyin hayatına tüketim kavramı girmiştir. Güven (2009)’in ifade ettiği gibi haz almayı gündelik yaşamın en temel amacı olarak gören, “tüketimden zevk ve haz almak” olarak tanımlanabilecek hedonik (hazcı) tüketim davranışı bireyin önceliği olmuştur. İnsanlar zamanla tüketim ve ardında bıraktığı etkiler için farkındalık geliştirmiş ve bu farkındalık sanatçılar için ifade diline dönüşmüştür. Neolitik dönemde kap gereksinimi ile ortaya çıkan seramik, başlangıçta dini simgelerde, mimari yapılarda, süs ve mutfak eşyalarında, vitrifiye ve sağlık gereçlerinde kullanılmakla birlikte günümüzde otomotiv ve silah sanayinde, uzay teknolojilerinde, tıp alanında tercih edilen bir malzeme olmuştur. İnsanlık tarihi ile yaşıt olan seramik bilim ve teknoloji için önemli bir malzeme olurken sanat üreticileri içinde ifade aracı olmuştur.
Sanatın galerilerden ve müzelerden çıkıp sokakta hayat bulması ile de kamusal alanda yer alan sanat yapıtı kent hayatının bir parçası haline gelmiş ve seramik, sanatçılar için ifade dili olmasının yanı sıra kamusal alanda sanat nesnesine dönüşmüştür. “Kamusal sanatın amacı; bireyleri çevresinde gerçekleşen olayları, ilişkileri ve çeşitli olguları pasif izleyen olmaktan çıkararak, sürece katılan, eserle aktif uyum içinde bir farkındalık oluşturmaktır” (Parlakkalay, 2020). 21.yy’da, sanatta, ifade dilinin değişmesiyle sanatçılar disiplinlerarası çalışmalara yönelmişler, farklı malzemeleri sanatsal üretimlerinde kullanmışlar ve sergileme konusunda da alan sınırlamasının dışına çıkmışlardır. Teknoloji ve artistik üretimler için özel olan seramik, kırıldığı zaman işlevini yitirmekte ve atığa dönüşmektedir. Geri dönüşümü son derece zahmetli ve masraflı olan bu atık malzemeyi sanatçılar estetik kaygı ve mesaj amacı ile çalışmalarında kullanmaktadır. Sanatçıların atık seramik/çini/porselen parçalar ile oluşturduğu eserlerde, izleyiciye vermek istediği mesaj; sürdürülebilirlik, farkındalık, dikkat çekmek, yok doğan doğaya vurgu yapmak gibi kavramlar olmuştur. Kırık seramik/çini/porselen parçaların yeniden üretilmesinin ve malzemenin sanatsal ifade olanaklarının incelendiği bu çalışma, nitel bir araştırma olup durum çalışması desenindedir. Araştırmada literatür taraması sonucunda atık seramik/çini/porselen malzemenin yeniden üretilebilir olduğu sonucuna ulaşılmış ve bunu ifade dili olarak seçen sanatçılar ile kamusal alanlarda yer alan sanat nesneleri incelenmiştir.
Cultural, economic, social and social issues have evolved throughout history while the industrial revolution has accelerated, the production-consumption relationship and the change in the way of life and the concept of consumption has entered the individual’s life. As expressed by Trust (2009) the main purpose of everyday life is to see enjoyment as the individual’s priority, the hedonic (prepared) consumption behavior, which can be defined as “consumption enjoyment and enjoyment”. People have developed awareness of consumption and the effects they leave behind over time, and this awareness has become a language of expression for artists. The ceramics that emerged with the need for covers in the Neolithic era, originally used in religious symbols, in architectural structures, in decorations and kitchen items, in vitrification and health equipment, today has become a preferred material in the automotive and weapons industry, in space technologies, in the medical field. The history of mankind has become an important material for science and technology while the age of ceramic has become an instrument of expression within art producers.
With the art coming out of the galleries and museums and finding life in the street, the artwork in the public area has become part of the city life and the ceramics has become the language of expression for artists as well as the art object in the public area. “The purpose of public art is to create awareness in active harmony with the work, by taking away individuals from being passively monitoring the events, relationships and various events that occur around them” (Parlakkalay, 2020). In the 21st century, with the change in art, the language of expression, the artists turned to interdisciplinary works, used different materials in art production, and also out of the limitation of the field in exhibition. The ceramic, which is specialized in technology and artistic production, loses its function when it is broken and turns into waste. This waste material, which is extremely difficult and expensive in recycling, is used by artists in their work for aesthetic concern and message purposes. In the works that the artists create with waste ceramic/cylinder/porcelan pieces, the message they want to give to the audience has been concepts such as sustainability, awareness, attracting attention, emphasizing the unborn nature. This study, in which the re-production of broken ceramic/cylinder/porcelan parts and the artistic possibilities of the material are studied, is a qualitative research and is in the model of the state study. In the study, literary scan results have found that waste ceramic/cylinder/porcelan material can be re-produced and the artists who chose it as a language of expression and the art objects located in public spaces have been studied.
Although cultural, economic, social and social issues have developed throughout history, they gained momentum with the industrial revolution, and the concept of consumption entered the life of the individual with the change in the production-consumption relationship and lifestyle. As Güven (2009) states, hedonic (hedonistic) consumption behavior, which sees pleasure as the most basic purpose of daily life and can be defined as "to get pleasure and pleasure from consumption", has been the priority of the individual. Over time, people have developed awareness for consumption and the effects it leaves behind, and this awareness has turned into a language of expression for artists. Ceramic, which emerged with the need for pots in the Neolithic period, was initially used in religious symbols, architectural structures, ornaments and kitchenware, sanitary ware and sanitary ware, but today it has become a preferred material in the automotive and weapon industry, space technologies, and medicine. While ceramic, which is as old as the history of humanity, is an important material for science and technology, it has become a means of expression for art producers.
With the emergence of art out of galleries and museums and coming to life on the street, the artwork in the public space has become a part of the city life and ceramics has turned into an art object in the public space as well as being the language of expression for the artists. “The purpose of public art; It is to create an awareness in active harmony with the work by removing individuals from being passive observers of the events, relationships and various phenomena taking place around them” (Parlakkalay, 2020). In the 21st century, with the change in the language of expression in art, artists have turned to interdisciplinary studies, used different materials in their artistic productions, and went beyond the limitations of space in terms of exhibition. Ceramic, which is special for technology and artistic productions, loses its function when broken and turns into waste. Artists use this waste material, which is extremely laborious and costly to recycle, in their works for aesthetic concern and message. The message that the artists want to convey to the audience in the works created with waste ceramic/tile/porcelain pieces; There have been concepts such as sustainability, awareness, drawing attention, and emphasizing the extinct nature. This study, which examines the reproduction of broken ceramic/tile/porcelain pieces and the artistic expression possibilities of the material, is a qualitative research and has a case study pattern. In the research, as a result of the literature review, it was concluded that the waste ceramic/tile/porcelain material is reproducible, and the artists who chose this as the language of expression and the art objects in public spaces were examined.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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