Sanat galerileri mi, Nişart sanat galerisi mi?

Sanat galerileri mi, Nişart sanat galerisi mi?

1.

Bir şeyin duvarda aslı durması o şeyi sanat eseri, bir şeyi asacak o “ışıklandırılmış” duvarı yapan kurum “bir sanat galerisi” olabilir mi? Ya da bir tanım arayarak sorumuzu farklı bir algı içerisinde yenileyelim: Sanat galerisin sorumlulukları nelerdir, duvarları beyaza boyanmış bir alan açıp orayı ışıklandırmak, birkaç tabloya sahip olmak yeterli midir?

Hiç kimse ne der, ünlü müdür güllü müdür diye düşünmeden hemen “sanat galericiliği” olgusuna bir göz atıp vaziyetin izini sürmeye başlayalım: Sanat galerileri ve sanat mı? Bu iki olgunun yan yana gelmeleri artık sanat nedeniyledir, sanat sayesinde değil! Sanat galerileri günümüzde “sanatı sergilemek” ile ilgilenmiyor, sanat galerilerinin temel amacı “sanat taciri” avına çıkmak olmuş durumda, temel felsefe ise büyük oranda tefecilik ile eşdeğer bir yönelimsellik içerisinde işler ve bu yönlimsellik de şudur: eseri ucuza al; müşteri avına çık, satabildiğin kadar yüksek fiyata sat. ( Husserl’in yönelimsellik kavramı burada da işimize yarar. Sanat galerisinin beni olan galeri adını kuran şey paraya nasıl yöneldiği olur.  )

 

Ülkemizde, sanat galerisi deyince akla hemen kontratların gelmesi çok normal, eğer bir sanat galerisi ile çalışıyorsanız: neyi yapacağınızdan nasıl yapacağınıza; sonrasında ne söyleyeceğinizden ne söylemeyeceğinize dair her konuda galeriye teminat vermek zorundasınız…

Belirtmemiz gerekir ki sergi duvarı kiralama-satma ya da “eser sahibi” tarafından para ödenerek buraların satın alınması-kiralanması işlemleri de ülke “sanatının” çok derin! mevcut durumu göstermesi açısından dikkat çekicidir.

Çalışmanıza para verip insanlara ulaştırmak zorunda kalıyorsanız bilin ki orada bir “sanat enflasyonu” vardır.

Lütfen söyler misiniz, bir “sanatçı”dan, “sanatçı adayından” ne tür bir gerekçe ile gösterme kirası alınabilir?

Yarın bahçemdeki bahçe küreğini alır, bir galeriye gider, parasını da öder, ( gördük ki parasını ödeyenin-ödemek zorunda bırakılanın önünde galeriler ardına kadar açılıyor ) önce sergiler sonra da müzayede de bu küreği satar isem gerekçem şu olabilir mi? Bu da Marcel Duchamp’ın yeni bahçe küreği, adı da: Kolun Yeniden Kırılması Olasılığına Karşı.

2.

Tekrar vurgulamak gerek, aslında temel işleri sergi açmak olan galerilerin yaptığı en son şey: sergi açmak, sanatı insanlara ulaştırmaktır.Artık insanlar temel yaşam araçlarına ve gereçlerine önceki asırlara göre daha kolay sahip olduğundan insanlar bu araçları daha fazla insanın yararına kullanmak yerine edindikleri kolay yaşamı başkasına “lüks sanatsal! harcamalar” biçiminde pazarlamakla meşguldürler.

Bu sanatsal gösteriş merakı da günümüzde elbette moda ile iç içe geçmiş olan sanatta kendini bütünüyle gösterir, sanatın sergilendiği alanlar artık bir gösterişe çevrilir, sanat eseri görmek için değil, servetlerini sergileyenlerin servetini görmek için alanlara gitmek zorunda kalırsınız, sergiden bir şey anlamadıysanız bilin ki anlamanıza da gerek yoktur.

Sanat galeriler ile özgürlüğünü yitirmiş haldedir, çünkü galerilerin depolarına inerseniz görebilirsiniz: bir sanat galerisi için sergilemek ile sergilememek arasında pek bir fark yoktur, onların beklentisi: finansal bir yatırım enstrümanına dönüşmüş olan depodaki eserin tam uygun zamanda ( boğa piyasası ) sergiye ve satışa sunulmasıdır. Kimse kusurumuza bakmasın, kara para aklama mı dediniz, kara paranın ardından bizim aklımıza hemen sanat geliyor artık. İtiraz mı ediyorsunuz, günümüzdeki sanat borsaları ve sanat bankacılığı! çalışmalarına bir göz atın deriz.

Sanat galerileri elbette ikinci planda kalmakta. Günümüzde müzayedeler sanat galerilerinden önde gelir ( daha derinlikli bir bakış için The Square filmini öneririz ), müzayedelerin sanat üzerinde söz sahibi olmasının en temel nedeni ise spekülatif atakları diledikleri gibi kontrol edebilmeleri; bir bahçe küreğini size “Kol Kırılması Olasılığında Karşı” yüz bin dolarlara satabilmeleridir.

O nedenle galeriler artık sergileyeceği eserlerden tıpkı elimize ulaşan e-postada bahsedildiği gibi ücret talep edebilmekte, “sergileme ticareti” sonrasında ise ücreti alınmış metayı mümkün olan en kısa yoldan “alıcısına” ulaştırmakta ya da eseri göndermekle dahi uğraşmadan “göndericisinin” gelip alması umuduyla depolarında bekletmektedir.

Bizce artık her şey avangard olduğu için modernizm sonrası sanat galerilerine pek ihtiyaç kalmadı, o nedenle bir sanat galerisinden her türlü avangardlığı beklemek mümkün.

Sanat galerisi patronu-sanat galerisi-küratör üçlemesi konusunda daha fazla sorgulama için AffetmeyenSanat içerisinde biraz dolaşabilirsiniz. Bir takipçimizin gönderdiği epey düşündürücü e-postaya yer vermeden önce Baudrillard’a bir kulak verelim:

Bana fırlatıp attığın şeyi söyle, sana kim olduğunu söyleyeyim. Tüketim Toplumu, Jean Baudrillard

Bir takipçimizden gelen bir e-postaya olduğu gibi yer veriyoruz.

E-posta Nişart Sanat Galerisi’nin karma sergisine katılan “eserlere” yaklaşımı hakkında gayet “umut verici” deneyimler sunuyor:

Merhabalar. Ülkemizde maalesef sık sık karşılaştığımız sanat galerisi facialarından birini yaşadık. Başımıza gelenleri olabildiğince anlatmaya çalıştık. Kolaylıklar, sevgiler.

26 Ocak – 4 Şubat tarihlerinde gerçekleşen “Geçmişin Parmak İzleri” karma sergisinde sergilenmek üzere Teşvikiye Nişart Sanat Galerisi’ne “Ulaş Önder” imzalı “Şahmaran” adlı yağlı boya tablo gönderdik. Korunaklı bir şekilde kargoya verdiğimiz tablo, galeriye sorunsuz olarak ulaşmıştır. Sanatçıların 1 metrekarelik alan için 400 lira ödeyerek yer aldığı sergide eserimiz sergilenmiştir. Sergi bittikten birkaç gün sonra eser, sanatçıya ince bir naylon içerisinde geri kargolanmıştır. Kargoda resim delinmiş, şasesi kırılmış, teslim alındığı an kargo şirketi tarafından alıcının teyidiyle tutanak tutulmuştur. Kargo firmasının kargonun üzerine yapıştırdıkları ibraza göre kargo şirketi göndericiyi “paketlemenin yetersiz olduğu” yönünde uyarmasına rağmen gerekli önlemler gönderici tarafından alınmamıştır. Bu süre içerisinde galeriden bir özür, zararı karşılamaya yönelik bir talep gelmediği gibi telefonlarımıza da geri dönen olmamıştır. Başta Nihat Tokat olmak üzere galeri bünyesinden neden hatalarını kabul edip, telafi etmeye yönelik bir adım atmadıklarını öğrenmek istiyoruz. Sözde çağdaş sanat galerisi olan bu kurum amatör tavırlarının yanı sıra sanatçıyı kibarca başlarından savarak ne yapmak istemektedir? Bir açıklama alabilmek için gerçekleştirdiğimiz tüm girişimlerin ardından muhatap bulamayıp, başımızdan geçenleri sosyal medyada paylaştığımızda yalnız olmadığımızı gördük. @ozguruguz adlı bir Twitter kullanıcısı da, “Nişart Sanat Galerisi’nin Paris’te açtıkları bir sergiye gönderdikleri eserlerinin yıllardır geri gönderilmediğini ve hiçbir açıklama yapmadıklarını” iddia etmiştir. Nişart Galeri, durmadan karma sergilerine katılmaları için sanatçılara çağrı yaparken, kendilerine emanet edilen sanat eserlerine ve sanatçıya karşı olan tutumlarını gözden geçirmeyi düşünmekte midir? Henüz kargoya verilen herhangi bir şeyin nasıl korunaklı paketleneceğini bilmezken (umursamazken), sadece çağdaş Türk plastik sanatlarının erken dönemlerinden birkaç ünlü ressama ait resmin koleksiyonunuzda olması bir sanat galerisi açmak için yeterli midir?

 

 

 

Bu son soruya şöyle bir soru daha eklenmeli: Her türlü yeterliliğe sahip olduğu belirtilen sanat galerileri neden sürekli kapanır?

Yanlış yaşam doğru yaşanmaz. Adorno

 

 

 

 

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