Sanat mı, kara para mı, küratör mü, alıntı mı, çalıntı mı, varsayın-tı mı?

Soğuk ve yağışlı bir geceydi, dostum sanat dedektifi Mellini Nomüzikoloni pencerenin puslu camına düşen iri yağmur damlalarına bakarken; şöminenin yanındaki kırık beyaz koltukta oturmuş oraletini içiyordu, o sırada kapı çalındı:

“Geldi sanırım, gelen kişi dostuma göre bir küratördü, Guy Wildenstein diye birisiyle bağlantıları vardı, nedir bu küratör pek anlamış değildim, aslında gelen kimse bildiğin kara para aklayan bir İsviçre bankası, bunu biliyordum ama sesimi çıkarmadım, gidip kapıyı açtım;

Şimdi, bu gelen kimseyi biraz tarif etsem; sakız parasının üstünün beklendiği kadar ‘uzun bir sürede’ bir faili meçhule çok rahat kurban gideceğim için bu kara para küratörünü size şöyle tarif etmem daha uygun: İki gözü, bir de burnu vardı, sahi; iki tane de o kulak dediğiniz şeylerden vardı başının iki yanında, kafanızda böyle birisini canlandırmaya çalışın, bunun zor olmadığına eminim, sağ elinde bir de büyük bir çanta var.

Sonuçta onu bilen biliyor!

 

Hadi ismi ve soy ismi olduğunu da söyleyeyim, çıkardınız hemen değil mi?

İstanbul’da ‘sanat işi’ yapıyor. Sürekli ‘sanat dışı’ işler için Ankara’ya gidiyor.

Size onun bir süre yakın temasta olduğu, sonra anlaşamadığı birisini söyleyeceğim, işte:

Sanat avukatları ile ‘Sanat işleri’ üzerinde çalışırken:

Soldan Sağa: Avukat 1, Kara Para Aklama Kanunları Çantası, Avukat 2, Büyük Sanat Koruyucusu, Avukatiye 3, Avukatzade 4, Avukat 5-6-7-8, ( Fotoğrafta tam çıkmasa da ) Diğer Avukatlar!

“Buyrun efendim, sizi bekliyorduk…Pek karanlık geldiniz.”

“Teşekkür ederim, o sizin karanlığınız… Mellini içeride mi?”

“İçeride efendim, oralet içip tavana bakıyor, epey meşgul, bir saat önce istasyondan geldi, siz geleceksiniz diye çıkmadı dışarıya, zaten bu yağmurda dışarıya çıkmak pek akıl karı değil…”

“Öyle, öyle…”

“Verin çantanızı alayım efendim.”

“İstemez, ne taraftan gidiyoruz?”

“Çanta ağır gibi ama, verin yardım edeyim.”

“İstemez, içinde önemsiz şeyler var…”

“Ne gibi?”

“Modern sanat diyelim.”

Sonra dostumun yanına geçti, pencere önündeki masanın karşı ucuna oturdu dostumun işaret etmesiyle, çantayı da duvardan tarafa koydu.

Dostum bir göz işareti yaptı:

“Affedersiniz, ne içersiniz?”

“Viski olsun…”

“Sadece oralet var efendim, bir bardak getireyim mi, sizi çocukluğunuzdaki saflığa götürür meret…”

“İstemez, kalsın…”

Mutfağa gidip kendime bir oralet hazırladım ve içeriye girip kapının yanındaki koltuğuma oturarak günlük gazeteleri okumaya başladım:

Aklımdan geçen bir gazete ilanı:

Değerli sanat eserleriniz mi var, hemen şimdi bizi arayın, sizin için bu sanat ticaretini en fazla gizem ve en az düzenlemeye takılma imkanı ile gerçekleştiriyoruz. Haydi ne duruyorsunuz, vergi kaçırmak hatta kara para aklamak isteyenler için firmamız emrinizde. Unutmayın, bu ilanı burada yayınlatabiliyorsak bu iş yasaldır.

Kaç çeşit SANAT AKLAMA yöntemi bulunmakta? ( Çok zor soru! )

Bir sayı vermek mümkün değil, burada bütün yaratıcılığınızı kullanmanız ve”karmaşanın içindeki ‘spesifik’ sadelik arayışında” yoğunlaşmış olmanız; hatta nesnenin anlamını nesneden bağımsız olarak kurmak gibi basit denebilecek hünerlerinizin de olmuş olması gerekir, bunu yaparsanız  akla gelmeyecek yöntemler bulabilir ve kullanabilirsiniz. O nedenle sınırsız sayıda ‘sanat aklama’ yöntemi vardır denebilir. Aklama yöntemleri sanatçıdan-sanatçıya, küratörden-sanatçıya, sanatçıdan-küratöre, küratörden-küratöre, küratörden-ikinci el eşya dükkanlarına ve küratörden galeri sahibine; geniş bir çeşitlilik gösterir. Burada finansal sistemlerde kullanılan araçların çeşitliliği de önemli olmaktadır. Artık çağımızda ‘sanatçılar’ ve onların çoğu zaman çok yakınında olan yasadışı gelir elde edenler kendi paralarını kendileri aklamıyor, bunu yapan ‘sanat galerileri’ eksenli firmalar var. Bu kimseler hizmetlerine karşılık olarak ya komisyon, prim adı altında gelir elde ediyorlar ya da yakın zamanda fiyatı ikiye katlanacak ‘modern sanat’ eserlerinin bazılarını koleksiyonlarına katarak ellerinde tutmayı tercih ediyorlar.

“Karmaşanın içindeki ‘spesifik’ sadelik arayışında” olunuz azizim, hayat ve havyar burada!”

 

Kara paracı küratör ile dostum Modi’nin bir tablosunun akıbetini konuşuyorlardı, tablo çok milyon dolara satılmış; ama bu kayıtdışı bir satışmış.

“Bunu araştırabilir misiniz sayın Mellini, kaça mal olacağı önemli değil, ödemeniz peşin olacak…”

“Tam olarak ne istediğinizi anlayamadım…”

Kara para küratörü sırtını iyice koltuğa yaslayıp aceleci bir tavırla:

“Telefon ile görüşmüştük sayın Mellini, onlara ek olarak şu an size söylecyeceğim tek şey şu: sanat galerimiz bu işlerin nasıl yapıldığını öğrenmek istiyor, biliyorsunuz galeriyi yeni açtık ve işler kesat, birkaç çalıntı işi modern sanat diye sergileyen sanatçılar dışında elimizde pek para kazandıracak sanatçı yok.”

“Tam olarak ne yapmalıyım?”

Kara para küratörü ceketinin cebinden bir uçak bileti çıkarıp masaya bıraktı:

“Sizden Cenevre’ye gitmenizi istiyoruz sayın Mellini, bunu bir tatil olarak düşünün, tüm masraflarınız karşılanacak…”

“Ne karşılığında?”

“Orada bize bir sığınak bulacaksınız…”

Dostum oralatinden iki yudum alıp düşünceli bir tavırla sordu:

“Nasıl bir sığınak?”

“Bizim şu an on beş tane modern sanatçımız var, aslında bir yirmi-yirmi beş  tane daha var da henüz onları iş görüşmesine çağıramadık, bu on beş modern sanatçımızın eserlerine milyon dolar verecek kimseler de hazır. Sizden istediğimiz bu eserler Cenevre’deki serbest limanlarda nasıl muhafaza ediliyor.”

“Neden limanda saklayacaksınız?”

“Çünkü bunun ne olduğunu kimse bilmemeli. Bir sürü modern sanat ıvır zıvırı sonuçta. Ne olduğunun bilinmesine ne gerek var?”

“Vergi mi kaçıracaksınız?”

“Biz değil sayın Mellini, vergi kaçırmak isteyen müşterilerimiz var, biz de hem para aklayacak hem aracılık edeceğiz…”

Bu yaptığınız kara para aklamak, diye öne atıldım.

Kara para küratörü yan gözle bulunduğum tarafa bakıp:

“Burada iş yapıyoruz, sanatın bir bedeli var mı?”

“Elbette, bir bedel belirlemek güç ama…” diyecek oldum,

“O halde, bu işe kara para aklama diyemezsiniz, biz modern sanatı satmak zorunda olan sanat galericileriyiz… O galeriler su yakmıyor. ”

“Galerileriniz de epey hoşmuş, tıpkı oto galeri gibi…”

“Nasıl düşünürseniz, bilin ki bu iş yasal, ortada modern sanat var, bu paraya dönüştürülmeyi bekliyor, bunu neden ülkemize kazandırmayalım?”

Dostum Mellini oraletinden kısa bir yudum alıp korku veren bakışlarını kara para küratörüne çevirerek:

“Tepeden birisi vasıtasıyla sizle görüşüyorum azizim,” dedi, ” tavsiye ile geldiniz, o yüzden sorduğum için bağışlayın,  Cenevre’de liman bulmak dışında yapmam gereken işler neler?”

“Bize şeffaf olmayan liman bulun sayın Mellini…”

“Ne şeffafı, ne limanı?”

“Çağdaş sanatı pazarlayabileceğimiz bir serbest bölge diyelim…”

“Bunun ülkeye faydası nedir?”

“Modern sanatçılarımız havyar yiyecekler, şampanya içecekler sayın Mellini, bundan iyi getiri mi olur, tüm dünyada yapılan şeyi biz neden yapmıyoruz?”

“Siz sanat galerisinde çalışıyorsunuz değil mi?”

“Tam öyle denemez, biz canlı para üzerinden efektif çalışan bir modern sanat kurumuyuz…Sizden istediğim galerimizi nasıl para basar hale getirebileceğimizdir.”

 

“Çağdaş sanat, estetik yargıları temellendirmenin imkansızlığından yararlanır ve onu anlamayanların ya da orada anlaşılacak bir şey olmadığını idrak edemeyenlerin suçluluk duyguları üzerinden spekülasyon yapar.”

Jean Baudrillard

 

 

Kültür tüketicisi, “kendini feda etmeyi seven”, “moda ve çağdaş olanı izleyen” ve bu nedenle, dün kendinden geçercesine bağlandığı şeye, o zaman kendinden geçerek bağlandığı için öfke duyan, bu şekilde kendinden öc alan davranış özelliğine sahiptir.

Adorno diye biri

 

O sırada dostum Mellini, bir kağıt çıkarıp bir şeyler yazmaya başlayınca içerisi sessizleşti.

Şu kara para küratörüne de bak sen, yaptıkları sanat galericiliği mi, sanat dolandırıcılığı mı, belli değil…

Bir kara para küratörü olsam yapabileceğim işler aklımdan geçmeye başlamıştı:

1. Ayda ne kadar kazanç elde ettiği kolay kolay tespit edilemeyen ve sürekli nakit paranın döndüğü işletmelerden birisini sanat galerimin bünyesine katabilirim.

2. Paravan şirket kurabilirim, bu şirket otel ya da restoran işletmesi olursa en uygunu; çünkü vergi oranı %8’dir.

3. Kumarda para kazanmış gibi görünebilirim, on defa kırmızıya bastım ve kazandım, hep siz kazanacak değilsiniz ya!

4. Al Capone gibi çamaşırhane açabilirim, adını: Çamaşırhanesanatı ya da daha modern olması için Launderingart koyabilirim ve modern sanatçıların kirli çamaşırlarını toplatır, sonra temizletmeden onlara geri bırakır, komisyonumu alır kenara çekilirim.

5. Modern sanat alım satımı işinde uzman bir şirketi bünyemize katabilirim, bire bin kazanabilirim. ( İşte buuuuu dostum, tam aradığım şey )

Launderingart!

A-HEY HEYY Launderingart!

Ne kadar da havalı değil mi, bunun bir çamaşırhane olduğunu söylesen; inan kimse inanmaz!

Laundering ( Money Laundering ): Aslında çamaşırhane kelimesinden geliyor, ünlü sanat dostu Al Capone’un literatüre kazandırdığı bir sanat terimi.

Kara paraya, yasa dışı elde edilen paranın, vergilendirilmiş ve yasal dolaşıma sokularak kaynağının hiçbir biçimde belirlenemez yapılması, der isek Launderingart için de şunu demeliyiz:

Launderingart: Yasa dışı elde edilen paranın vergilendirilmiş sanat galerileri ve koleksiyoncu avlama, fonlama şirketleri tarafından yasal dolaşıma sokulması ve kaynağının ‘modern sanat’ üreten ‘sanat eseri’ yapılması. Bu yöntem, Al Capone zamanında, kendisinin çamaşırhaneler üzerinden para aklaması fikrinin gelişmiş biçimi.

Öneriler:

Bir sanat sever olarak yüz  milyon dolara bir çağdaş sanat eseri satın alın, bunu limanda bekletin, beş yıl sonra diğer sanat severlere iki katına satın.

 

Bir çakmağa en fazla iki çakmak parası vererek parayı aklayabilirsiniz ama bir tabloya değer biçilemediği için bir milyon çakmak parası vermiş gibi de görünebilirsiniz.

Bunlar gayet uygun şeylermiş aslında…

Devlet soruyor:

Bu parayı nereden buldun?

 

Kara para küratörü olarak sen cevaplıyorsun:

Kör müsün! Elbette modern sanattan.

 

Devlet susuyor:

Anladım anladım, zaten modern sanattan pek anlamam.

 

 

O sırada kara para küratörü bir gazete çıkardı çantasından, bir gazete haberi gösterdİ:

“Bize bu kişiyi bulmanızı istiyorum sayın Mellini Nomüzikoloni, kendisiyle büyük işler yapabiliriz, siz Cenevre’ye indiğiniz günün ertesinde o da orada olacak, bakın:

“Koleksiyonundaki sanat eserlerini gizlice yurtdışına çıkarmakla suçlanan Fransız banker Wildenstein’ı 10 yıl hapse sokabilecek duruşma bugün Paris’te başlıyor.

Dünyanın en önemli sanat eseri koleksiyoncularından biri olan Wildenstein ailesi bugün Paris’te hâkim karşısına çıkıyor. 1800’lü yılların sonundan beri sanat eserleri toplayan ailenin başındaki isim olan Guy Wildenstein ve kurmayları “vergi kaçırmak, kara para aklamak ve sanat eserlerini gizlice yurtdışına çıkarmakla” suçlanıyor. 70 yaşındaki Guy Wildenstein’ın 10 yıl hapis cezası alabileceği belirtildi. Wildenstein ailesine ise cezalarla birlikte 550 milyon euroluk (1 milyar 750 milyon lira) bir vergi borcu çıkarılabilir. New York’ta ve Paris’te sanat galerileri bulunan ve aralarında Fragonard ve Bonnard tablolarının da bulunduğu milyarlarca dolarlık esere sahip olduğu söylenen ailenin gerçek mal varlığının bu dava sayesinde ortaya çıkması bekleniyor.”

Sanata Fransız kalmadı!

Haberin alındığı yer: burası

“Haberi dikkatle okudunuz değil mi, sadece haberin başlığı dahi ne kadar büyük birisi olduğunu gösteriyor bizim için.”

Haberin kara para küratörüne göre başlığı:

“Koleksiyonundaki sanat eserlerini, yurtdışında ki sanata muhtaç bir avuç insanın yaşadığı çok küçük bir adaya sergi amacıyla gönderen Fransız banker Wildenstein, belki 10o yıl boyunca unutulmayacak büyük bir sanat hamlesine ve ‘insanlık’ örneğine imza attı. Paris kendisiyle gurur duyuyor. “

 

Kara para küratörü çantasını masanın üzerine koydu, çantayı açıp içinden bir tane su şişesi çıkardı, şişenin içinde bir poşetin içine koyulmuş halde biraz da su vardı: şişe içinde poşet, poşet içinde de su…

Bu da nedir efendim, diye ileriye atıldım,

“Bu çağdaş sanat eseri azizim, yarın galeriye görücüye çıkacak.”

“Bu su şişesini modern sanat diye sergileyeceğinize inanamıyorum…”

“Neden?”

“Ama bu su şişesi…”

“Siz bir de bunu yoğun spot ışıkları altında görün…”

“Öyle tabii, arka fonu da beyaz yapın ki iyice göze batsın…”

“Çok doğru, şimdi size iki fotoğraf göstereceğim sayın Mellini…”

Bunları dedikten sonra çantasından iki fotoğraf çıkarıp masanın sağ tarafına bıraktı, işte ilk adamımız:

 

Masanın kenarına gidip fotoğrafa baktım:

“Bu avukat değil mi?”

Kara para küratörü kısık gözlerle yüzüme baktı:

“Yanlışınız var, kendisi bir art smurfing uzmanıdır, herhalde boynundaki fulardan avukata benzettiniz, ve şu da ikinci adamımız sayın Mellini, işte bakın:”

art smurfing uzmanı: modern sanatçıyı her şeye karşı ama banka cüzdanına karşı olmayan bir şirine dönüştüren kişi.

Siz ne kadar da smurfingsiniz hanfendi, rica ederim; o sizin smurfingliğiniz, gördüğümü söyledim sadece, hele ‘ressam piyasasına’ yön ve emir veren o ressam eşinizin tabloları yok mu, siz ‘sanat a.ş.’ olarak o kadar smurfingsiniz ki: siyah para çantalı şirin mi şirin bir smurfingsiniz!

 

Aaaaaa, ama bu da avukat, şu soldakini diyorsunuz değil mi?

“Yine tutturamadınız, o soldaki adamımızın sol kolu, kendisi art structuring uzmanı. Bu iki kişi de orada olacak sayın Mellini, eğer kendisine ulaşamazsanız ikinci bağlantınız bu iki kişiden birisi olmalı.”

art structuring uzmanı: modern sanatı parçalara ayırıp toplumu ve ‘sanatçıyı’ belleksizleştiren kişi.

 

Dostum Mellini, bir süre tavana baktı; pencereye baktı, sonra gözlerini kara para küratörüne çevirdi:

“Affetmiyorumaffet küratör…”

O sırada dostum Mellini Nomüzikoloni’nin de oraleti bitmişti, ona baktım, oralet içebileceğine dair başıyla bir işaret yaptı, bir oralet daha getirmek için dışarıya çıktım…

GÜNCELLENİYOR…

Ve ZOONUS:

 Şebnem Ferah -Don’t Talk To Strangers – 2003

Ronnie James Dio -Mayın Tarlası – 1983

 

Ve ZOONUS 2:

Wildenstein Institute’ de sanat tarihine ‘yön’ ( daha doğrusu ters yön ) veren ‘sahte ama orjinal tablo’ davası… güncelleniyor…

Ve ZOONUS 3:

SORU:

Resim yapıyorum, acaba içimden sanatçı çıkar mı?

CEVAP:

Çıkmaz hanfendi.

VARAN 2: Resim yapıyor olmanız ‘sanatçı’ olduğunuz anlamına gelmez; sadece resim yapıyor olduğunuz anlamına gelir.

 

 

 

 

Başka bir vaziyet: Sanat mı, kara para mı, küratör mü, alıntı mı, çalıntı mı, varsayın-tı mı?

Başka bir vaziyet: Sanat mı, müzik mi, alıntı mı, çalıntı mı, varsayın-tı mı?

Bölüm 6 AffetmiyorumAffet Raskolnikov!
Bölüm 7 AffetmiyorumAffet Raskolnikov! Ve o balta: 
Bölüm 8 AffetmiyorumAffet Raskolnikov! Ve o rehin kutusu: 
Bölüm 9 AffetmiyorumAffet Rakolnikov! Ve Lizaveta Ivanovna:

Diğer vaziyetler:

AffetmiyorumAffet Derrida!

AffetmiyorumAffet Wittgenstein!

AffetmiyorumAffet Modi e Jeanne!

AffetmiyorumAffet Modi!

AffetmiyorumAffet Alexander Scriabin!

AffetmiyorumAffet Tarkovski!

AffetmiyorumAffet Olivier Messiaen’in Kayıt Cihazı!

Ve:

AffetmiyorumAffet Olivier Messiaen!

GÜNCELLENİYOR…

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