{"id":1018,"date":"2023-06-13T13:10:20","date_gmt":"2023-06-13T10:10:20","guid":{"rendered":"http:\/\/www.galeri-a.com.tr\/?p=1018"},"modified":"2023-06-13T13:10:21","modified_gmt":"2023-06-13T10:10:21","slug":"sergi-kirke-paradoksu","status":"publish","type":"post","link":"https:\/\/www.galeri-a.com.tr\/index.php\/2023\/06\/13\/sergi-kirke-paradoksu\/","title":{"rendered":"Sergi: Kirke Paradoksu"},"content":{"rendered":"\n

Kirke Paradoksu<\/strong><\/p>\n\n\n\n

\u201cnosce te ipsum\u201d<\/em><\/p>\n\n\n\n

Cad\u0131l\u0131\u011f\u0131n kad\u0131n\u0131n k\u00f6t\u00fcc\u00fcll\u00fc\u011f\u00fc ile ili\u015fkilendirilmesi, tarihsel ve k\u00fclt\u00fcrel inan\u00e7lardan kaynaklanan bir yan\u0131lsamad\u0131r. Bu stereotip, toplumsal cinsiyet e\u015fitsizli\u011fi ve kad\u0131nlara y\u00f6nelik ayr\u0131mc\u0131l\u0131\u011f\u0131n bir \u00fcr\u00fcn\u00fcd\u00fcr. Kad\u0131nlar\u0131n g\u00fc\u00e7l\u00fc ve ba\u011f\u0131ms\u0131z fig\u00fcrler olarak g\u00f6r\u00fclmesi, patriyarkal d\u00fczeni sarsar ve cinsiyet e\u015fitli\u011fi idealine katk\u0131da bulunur.<\/p>\n\n\n\n

\u015eifa yetenekleri, i\u00e7sel ke\u015fif becerileri ve bilgelikleri ile \u00f6ne \u00e7\u0131kan g\u00fc\u00e7l\u00fc ve ba\u011f\u0131ms\u0131z kad\u0131n fig\u00fcrler \u00f6zellikle Orta \u00c7a\u011f d\u00f6neminde cad\u0131l\u0131kla su\u00e7lanm\u0131\u015f; onlara k\u00f6t\u00fcc\u00fcl eylemler ve \u015feytani g\u00fc\u00e7ler atfedilmi\u015ftir.<\/p>\n\n\n\n

B\u00fcy\u00fcc\u00fcl\u00fc\u011f\u00fcn ve b\u00fcy\u00fcl\u00fc bitkilerin tanr\u0131\u00e7as\u0131 olarak adland\u0131r\u0131lan Kirke’nin Yunan mitolojisindeki ki\u015fili\u011fi ve nitelikleri cad\u0131l\u0131kla ilgili t\u00fcm temel fikirleri kapsar.<\/p>\n\n\n\n

Bitkiler ve bunlar\u0131n b\u00fcy\u00fc ve \u015fifa i\u00e7in nas\u0131l kullan\u0131laca\u011f\u0131 konusunda bir uzman olan Kirke Yunan mitolojisine g\u00f6re, b\u00fcy\u00fc rit\u00fcellerinde kullan\u0131lacak iksirler i\u00e7in bir\u00e7ok tarif yaratm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Kirke, tanr\u0131lara ba\u015f kald\u0131ran, kar\u0131\u015f\u0131s\u0131na \u00e7\u0131k\u0131lmamas\u0131 gereken yetenekli ama intikamc\u0131 bir b\u00fcy\u00fcc\u00fcd\u00fcr. Antik Yunan mitleri onun g\u00fc\u00e7leri ve kurnazl\u0131klar\u0131yla ilgili hikayelerle doludur. Ama karakterinin temelinde a\u015fk\u0131 u\u011fruna yasak oldu\u011funu bildi\u011fi halde b\u00fcy\u00fcye ba\u015fvuran, tanr\u0131lar\u0131n gazab\u0131n\u0131 \u00fczerine \u00e7ekip bir adaya s\u00fcr\u00fclen, orada do\u011fayla b\u00fct\u00fcnle\u015ferek yeteneklerini geli\u015ftirip bazen kahramanlara yard\u0131m etmekte bazen de cezaland\u0131rmakta kullanan Kirke, kad\u0131n\u0131n ba\u015fkald\u0131r\u0131s\u0131n\u0131 sembolize eden cad\u0131l\u0131k arketipinin g\u00fc\u00e7l\u00fc bir \u00f6rne\u011fidir.<\/p>\n\n\n\n

S\u0131n\u0131rlar\u0131 zorlama, var olan alg\u0131lar\u0131 de\u011fi\u015ftirme ve toplumu d\u00f6n\u00fc\u015ft\u00fcrme potansiyeline sahip olan sanat da Kirke gibi g\u00fc\u00e7l\u00fc bir kad\u0131n kahramandan ald\u0131\u011f\u0131 esin ile d\u00fc\u015f\u00fcnceleri ifade etmek ve tart\u0131\u015fmaya a\u00e7mak i\u00e7in en uygun platformu sa\u011flar.<\/p>\n\n\n\n

Bu g\u00f6rsel anlat\u0131m ba\u011flam\u0131nda Kirke, uzun bir gelenekten gelen kad\u0131na y\u00f6nelik toplumsal s\u0131n\u0131rlamalar, ayr\u0131mc\u0131l\u0131klar, irade k\u0131s\u0131tlamas\u0131 gibi konularda bir ba\u015fkald\u0131r\u0131 sembol\u00fc olarak se\u00e7ilmi\u015f ve yorumlanm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

\u015eule Yi\u011fit & T\u00fclin Yi\u011fit Akg\u00fcl<\/p>\n\n\n\n

\u2026<\/p>\n\n\n\n

\u201cBen do\u011fdu\u011fumda, oldu\u011fum \u015feyin bir ismi yoktu.\u201d<\/p>\n\n\n\n

Tarihin ilk cad\u0131s\u0131\u2026 Mitolojideki b\u00fcy\u00fcc\u00fc tanr\u0131\u00e7a Kirke cad\u0131l\u0131\u011f\u0131n; erkeklerin  kad\u0131nlar\u0131n g\u00fc\u00e7leri konusundaki korkular\u0131n\u0131 simgeler.<\/p>\n\n\n\n

Sesi \u00f6l\u00fcml\u00fclere benzedi\u011fi i\u00e7in alay ettiler, di\u011fer tanr\u0131\u00e7alar gibi e\u015fsiz g\u00fczelli\u011fi yoktu, ke\u015ffedebildi\u011fi bir g\u00fcc\u00fc de yoktu.<\/p>\n\n\n\n

Kirke, g\u00fcc\u00fcn\u00fcn fark\u0131na vararak, onu g\u00fc\u00e7lendirmek i\u00e7in \u00e7al\u0131\u015fan ve g\u00f6rmezden gelinip a\u015fa\u011f\u0131land\u0131\u011f\u0131 zorluklar kar\u015f\u0131s\u0131nda kendini s\u0131f\u0131rdan yaratmak i\u00e7in m\u00fccadele eden, kaderine terk edilmi\u015f yaln\u0131z bir kad\u0131n\u0131n kendinden tanr\u0131\u00e7a yaratmas\u0131n\u0131n hikayesidir.<\/p>\n\n\n\n

Kad\u0131n do\u011fas\u0131n\u0131n diren\u00e7siz oldu\u011fu ve bu nedenle de \u201c\u015feytan\u201da \u00e7abuk aldanabilece\u011fi inanc\u0131 Havva\u2019dan beri s\u00f6ylenir durur. Ondand\u0131r hep cad\u0131l\u0131\u011f\u0131n kad\u0131nlara yak\u0131\u015f\u0131t\u0131r\u0131lmas\u0131. E\u011fer kad\u0131nsan tanr\u0131\u00e7a bile olsan,  acizsin, kolay kand\u0131r\u0131l\u0131rs\u0131n, otorite sahibi olamazs\u0131n ancak b\u00fcy\u00fc ile iradelere m\u00fcdahele edebilirsin!<\/p>\n\n\n\n

Oysa ki o g\u00fc\u00e7; zaten di\u015fil olan her canl\u0131n\u0131n i\u00e7inde bir yerlerde g\u00f6m\u00fcl\u00fcd\u00fcr, uyand\u0131r\u0131lmay\u0131 bekler.<\/p>\n\n\n\n

\u0130\u00e7lerindeki cad\u0131y\u0131 kucaklay\u0131p, onunla temas halinde olmak i\u00e7in \u00f6z\u00fcnde bir kazan kar\u0131\u015ft\u0131rmas\u0131na gerek yoktur kad\u0131nlar\u0131n. Zira her kad\u0131n asl\u0131nda bir sihirdir\u2026<\/p>\n\n\n\n

\u201cKad\u0131nlara haddini bildirmek ozanlar\u0131n en sevdi\u011fi vakit ge\u00e7irme bi\u00e7imidir, yerlerde s\u00fcr\u00fcn\u00fcp a\u011flamazsak ger\u00e7ek bir hikaye olmazm\u0131\u015f gibi!\u201d<\/p>\n\n\n\n

Fatma \u0130lg\u00fcn<\/p>\n\n\n\n

\u2026<\/p>\n\n\n\n

Can\u0131m Kirke!<\/p>\n\n\n\n

Kad\u0131nlar\u0131n varolu\u015funun erkekler taraf\u0131ndan anlat\u0131ld\u0131\u011f\u0131 bu d\u00fcnyan\u0131n tuza\u011f\u0131ndan f\u0131s\u0131ld\u0131yor bizlere hik\u00e2yesini. Homeros’un anlat\u0131m\u0131 ile arada kalm\u0131\u015f s\u00f6n\u00fck, Odysseus’un g\u00fcc\u00fcne kar\u015f\u0131 koyamayan boyun e\u011fen Kirke\u2026<\/p>\n\n\n\n

Oysa bir kad\u0131n ozan anlatsayd\u0131 bizlere \u0130lyada’y\u0131 ya da Odysseria’y\u0131…<\/p>\n\n\n\n

Kad\u0131nlar\u0131 kad\u0131nlardan dinleme zaman\u0131 geldi art\u0131k!<\/p>\n\n\n\n

Kirke \u015f\u0131mar\u0131k ve k\u00f6t\u00fc kalpli bir cad\u0131 tanr\u0131\u00e7a de\u011fil, a\u00e7g\u00f6zl\u00fcl\u00fc\u011f\u00fc cezaland\u0131ran b\u00fct\u00fcn tanr\u0131sal g\u00fc\u00e7lerini bir kenara itip “ol” deyince olduran kolayl\u0131\u011f\u0131na ka\u00e7mayan bir kad\u0131n. \u0130\u00e7inde ya\u015fad\u0131\u011f\u0131 do\u011fa ile b\u00fct\u00fcnle\u015fen, efsunlar\u0131n\u0131 toprakta yeti\u015fen bitkilerden elde eden, en yak\u0131nlar\u0131n\u0131 insano\u011flunun vah\u015fi ad\u0131n\u0131 verdi\u011fi canl\u0131lardan se\u00e7en, sevgisini ve \u015fefkatini da\u011f\u0131tan ama asla da zay\u0131f olmayan bir kad\u0131n. Hem tanr\u0131\u00e7a hem cad\u0131, y\u00fcce Zeus’u bile yenebilecek kudretteyken kendi olma sadeli\u011fini se\u00e7en bir kad\u0131n.<\/p>\n\n\n\n

B\u00fcy\u00fc emek ister, irade ister, fark\u0131ndal\u0131k ister, i\u00e7g\u00f6r\u00fc ister. Sonu\u00e7 alana kadar defalarca denemektir b\u00fcy\u00fc; pes etmemek, d\u00fc\u015f\u00fcp yeniden kalkmakt\u0131r. S\u00f6z de b\u00fcy\u00fcd\u00fcr biraz i\u015fledi mi i\u00e7inize?<\/p>\n\n\n\n

Kirke, bir varl\u0131\u011f\u0131n ya\u015fayabilece\u011fi en cesur yol hik\u00e2yesinin kahraman\u0131d\u0131r. Kendi i\u00e7ine do\u011fru uzun bir yola \u00e7\u0131kar… \u0130\u00e7indeki karanl\u0131\u011f\u0131 da bilir, ayd\u0131nl\u0131\u011f\u0131 da. D\u00fcnya\u2019y\u0131 kapkara yap\u0131p korkudan titretmeyi de bilir bilmesine de Antik \u00c7a\u011flar\u2019dan kalma tap\u0131naklarda Kirke ad\u0131na yap\u0131lan\u0131 g\u00f6remezsiniz. B\u00fcy\u00fck ordular\u0131 y\u00f6netip kan d\u00f6k\u00fclen sava\u015f hik\u00e2yelerinin arkas\u0131ndaki g\u00fc\u00e7 de\u011fildir; bu y\u00fczden u\u011fruna tap\u0131naklar yap\u0131lmaz, adaklar adanmaz, evlatlar kurban verilmez. \u0130nsanlara kurulan tuzaklarla ilgilenmeyecek kadar y\u00fccedir o, onlarla oynamaz. Kirke’nin tek derdi kendisidir, benmerkezci oldu\u011fundan de\u011fil kendini bilme iste\u011finden. Kendini dener, g\u00fcc\u00fcn\u00fcn kayna\u011f\u0131n\u0131, s\u0131n\u0131rlar\u0131n\u0131 neye d\u00f6n\u00fc\u015fece\u011fini, \u00f6z\u00fcn\u00fc merak eder.<\/p>\n\n\n\n

Kendini bilmek ister Kirke! Biz kad\u0131nlar, her birimiz kendi i\u00e7imize do\u011fru bir yolculu\u011fa \u00e7\u0131kma cesareti g\u00f6sterebilirsek e\u011fer fark edece\u011fiz g\u00fcc\u00fcm\u00fcz\u00fc.<\/p>\n\n\n\n

Bu sergi tam da bu y\u00fczden k\u0131z karde\u015flerimize kendini bilme yolculu\u011funda ilham olabilmesi ad\u0131na bir araya getirildi. Erkek karde\u015flerimiz takdir edebilir, gezebilir ama \u00f6z\u00fcn\u00fc g\u00f6remez. \u00c7\u00fcnk\u00fc bu topraklarda hayat bulan Kybele ve Artemis’tir Kirke, G\u0131lgam\u0131\u015f Destan\u0131nda ki Siduri ve \u0130\u015ftar… Biziz Kirke! Yakamad\u0131\u011f\u0131n\u0131z cad\u0131lar\u0131n torunlar\u0131y\u0131z! Ve e\u011fer kendi g\u00fcc\u00fcm\u00fcz\u00fc fark eder hale gelip, kendimizin en iyi haline d\u00f6n\u00fc\u015febilirsek, ba\u015fka bir d\u00fcnya da yaratabilece\u011fiz hep birlikte!<\/p>\n\n\n\n

\u0130lkyaz Mumcu – K\u00fcrat\u00f6r<\/p>\n\n\n\n

B\u0130YOGRAF\u0130LER<\/p>\n\n\n\n

\u015eULE Y\u0130\u011e\u0130T<\/strong><\/p>\n\n\n\n

\u015eule Yi\u011fit, ressam ,heykeltra\u015f…1979 y\u0131l\u0131nda Ankara\u2019da do\u011fdu. \u0130stanbul \u00dcniversitesi iktisat fak\u00fcltesi iktisat b\u00f6l\u00fcm\u00fcn\u00fc bitirdi. \u00dcniversite y\u0131llar\u0131 boyunca \u00f6\u011frenci k\u00fclt\u00fcr merkezinde resim kul\u00fcb\u00fcn\u00fcn aktif \u00fcyesi oldu. Kendi ekol\u00fcne yak\u0131n arkada\u015flar\u0131yla \u00fcniversite ve k\u00fclt\u00fcr merkezlerinde sergilere kat\u0131ld\u0131. Mezuniyeti sonras\u0131 kendi at\u00f6lyesini kurdu. Yurt i\u00e7i ve yurt d\u0131\u015f\u0131nda sanat galerilerinde, grup ve ki\u015fisel sergilerde yer ald\u0131. G\u00f6steri afi\u015fleri, tiyatro aksesuarlar\u0131 ve \u00e7ocuk kitaplar\u0131 i\u00e7in il\u00fcst\u00fcrasyonlar yapt\u0131. 2006 y\u0131l\u0131ndan itibaren kil-ka\u011f\u0131t-metal-polyester malzemeleri a\u011f\u0131rl\u0131kl\u0131 olmak \u00fczere heykel \u00e7al\u0131\u015fmaya ba\u015flad\u0131. 2019 y\u0131l\u0131nda kurulan alternatif sanat alan\u0131 Artmosphere\u2019in kurucular\u0131ndand\u0131r. Farkl\u0131 disiplinlerden sanat\u00e7\u0131larla bir \u00e7ok proje \u00fcreten sanat\u00e7\u0131, \u00e7al\u0131\u015fmalar\u0131na \u0130stanbul Galata\u2019da ve \u0130zmir\u2019in \u015eirince k\u00f6y\u00fcnde bulunan at\u00f6lyelerinde devam etmektedir.<\/p>\n\n\n\n

Ki\u015fisel Sergiler<\/p>\n\n\n\n

2002 – TZT Galeri, \u0130stanbul, T\u00fcrkiye 2009 – Galerie 14, Toucy, Fransa 2012 – Galerie 14, Toucy, Fransa 2018 – Galerie 14, Toucy, Fransa<\/p>\n\n\n\n

Grup Sergileri<\/p>\n\n\n\n

2019 \u2013 G\u00fczelyurt M\u00fcze \u201cKent \u0130nsan Sanat\u201d, G\u00fczelyurt, K\u0131br\u0131s<\/p>\n\n\n\n

2018 – La Capitale Galerie \u2018Kesi\u015fen Bak\u0131\u015flar\u2019, Paris, Fransa<\/p>\n\n\n\n

2017 – \u0130stanbul Sanat Fuar\u0131 T\u00dcYAP Artist 2017, T\u00fcrkiye<\/p>\n\n\n\n

2017 – ‘Kad\u0131n Halleri\u2019 Grup Sergisi, Eski\u015fehir, T\u00fcrkiye<\/p>\n\n\n\n

2016 – HIAA Sergisi, \u2018D\u00f6n\u00fc\u015f\u00fcm\u2019 Caisa K\u00fclt\u00fcr Merkezi, Helsinki, Finlandiya<\/p>\n\n\n\n

2015 – HIAA Sergisi, \u2018Yank\u0131 – Kaikuja\u2019 Caisa K\u00fclt\u00fcr Merkezi, Helsinki, Finlandiya<\/p>\n\n\n\n

2013 – HIAA Sergisi, ‘Yans\u0131malar – Heijastuksia ‘, Stoan Galeri, Helsinki, Finlandiya<\/p>\n\n\n\n

2010 – 2015 \u2013 At\u00f6lyede \u00fcretilen kendi ve sanat\u00e7\u0131 dostlar\u0131na ait eserlerin d\u00fczenli olarak at\u00f6lye ortam\u0131nda sergilemelerini yapt\u0131.<\/p>\n\n\n\n

2009 – HIAA Sergisi,’\u0130yi Dilek\u2019, Vuotalo Galeri, Helsinki, Finlandiya<\/p>\n\n\n\n

 2008 – HIAA Sergisi, ‘Ev’, Punavuoridesign Studio Galeri, Helsinki, Finlandiya 2003 – Galeri X, \u2018Kad\u0131n Sanat\u00e7\u0131lar’ \u0130stanbul, T\u00fcrkiye<\/p>\n\n\n\n

2000 – Bo\u011fazi\u00e7i \u00dcniversitesi K\u0131rm\u0131z\u0131 Salon, ‘Kad\u0131n Sanat\u00e7\u0131lar 8 Mart Bulu\u015fmas\u0131\u2019 \u0130stanbul, T\u00fcrkiye<\/p>\n\n\n\n

2000 – Taksim Sanat Galerisi, ‘Istanbul 1. S\u00fcrrealizm Sergisi’, \u0130stanbul, T\u00fcrkiye<\/p>\n\n\n\n

(sergiye eserleriyle kat\u0131ld\u0131 ve serginin organizasyonunda yer ald\u0131.<\/p>\n\n\n\n

1999 – Marmara \u00dcniversitesi, Gen\u00e7lik Festivali, \u0130stanbul, T\u00fcrkiye<\/p>\n\n\n\n

1998 – 2001 – \u0130stanbul \u00dcniversitesi, ‘\u00d6.K.M. Sanat Kul\u00fcb\u00fc’ Sergileri, \u0130stanbul, T\u00fcrkiye<\/p>\n\n\n\n

T\u00dcL\u0130N Y\u0130\u011e\u0130T AKG\u00dcL<\/strong><\/p>\n\n\n\n

69 do\u011fumlu T\u00fclin Yi\u011fit Akg\u00fcl, moda tasar\u0131m\u0131 e\u011fitimiyle ba\u015flad\u0131\u011f\u0131 kreatif hayat\u0131na kurucusu oldu\u011fu Atelye Seramika\u2019da devam etmi\u015f, desen ve form \u00fczerine yo\u011funla\u015farak uzun y\u0131llar seramikle u\u011fra\u015fm\u0131\u015ft\u0131r. 2002 y\u0131l\u0131nda camla tan\u0131\u015fan sanat\u00e7\u0131, seramik \u00e7al\u0131\u015fmalar\u0131nda edindi\u011fi kal\u0131plama tekniklerini \u00f6ncelikle f\u0131r\u0131n d\u00f6k\u00fcm heykellerinde; ard\u0131ndan da kal\u0131ba \u00fcfleme formlar\u0131nda kullanm\u0131\u015f ve geli\u015ftirmi\u015ftir. YY\u00dc G\u00f6rsel Sanatlar B\u00f6l\u00fcm\u00fc\u2019n\u00fc bitirdikten sonra ve A\u00dc G\u00fczel Sanatlar Enstit\u00fcs\u00fc Cam B\u00f6l\u00fcm\u00fc\u2019nde Y\u00fcksek Lisans Program\u0131n\u0131 tamamlam\u0131\u015f olan Akg\u00fcl, ulusal ve uluslararas\u0131 bir\u00e7ok karma ve solo sergide yer alm\u0131\u015f, 2010\u2019da Anadolu \u00dcniversitesi\u2019nin 1.\u2019sini d\u00fczenledi\u011fi CAMGERAN Uluslararas\u0131 Cam Eser Yar\u0131\u015fmas\u0131\u2019nda Ba\u015far\u0131 \u00d6d\u00fcl\u00fc\u2019ne lay\u0131k g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

Heykellerinde malzeme olarak yo\u011funlukla cam\u0131 se\u00e7en sanat\u00e7\u0131, ba\u015fta s\u0131cak cam \u00fcfleme ve kal\u0131pla \u015fekillendirme olmak \u00fczere birbirinden farkl\u0131 tekniklerde e\u011fitimler alarak malzemeyi farkl\u0131 y\u00f6nleriyle ele almaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. 2008-2013 y\u0131llar\u0131 aras\u0131nda at\u00f6lyesinde \u00f6zellikle so\u011fuk cam heykel ve f\u0131r\u0131n d\u00f6k\u00fcm \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. 2014 tarihinde Glasst\u2019\u0131 a\u00e7m\u0131\u015f ve at\u00f6lyesine s\u0131cak cam potalar\u0131n\u0131 da ekleyerek st\u00fcdyo camc\u0131l\u0131\u011f\u0131na ad\u0131m atm\u0131\u015ft\u0131r. Akg\u00fcl, son d\u00f6nem \u00e7al\u0131\u015fmalar\u0131nda teknik birikimini mesel edindi\u011fi konular \u00fczerine \u00e7a\u011fc\u0131l yorumlamalarla ortaya koyma \u00e7abas\u0131n\u0131 s\u00fcrd\u00fcrmektedir.”<\/p>\n\n\n\n

OR\u00c7UN MASAT\u00c7I<\/strong><\/p>\n\n\n\n

Ankara\u2019da do\u011fdu \u0130zmirli oldu :)) 2006 y\u0131l\u0131nda Bal\u00e7ova Belediye Tiyatrosu genel sanat y\u00f6netmenli\u011fi ile ba\u015flayan Belediye \u00e7al\u0131\u015fma hayat\u0131, Seferihisar Belediyesi, Karaburun Belediyesi, Dikili Belediyesine ve \u00c7e\u015fme Belediyesi iile yapt\u0131\u011f\u0131 festivallerle s\u00fcrd\u00fc. Sema Pekda\u015f d\u00f6neminde Konak Belediyesi K\u00fclt\u00fcr Sanat Koordinat\u00f6rl\u00fc\u011f\u00fcn\u00fc 5 y\u0131l \u00fcstlendi, devam eden Tun\u00e7 Soyer d\u00f6neminde \u0130zmir B\u00fcy\u00fck\u015fehir Belediyesinde Tiyatro a\u011f\u0131rl\u0131kl\u0131 K\u00fclt\u00fcr-Sanat Koordinat\u00f6r\u00fc olarak \u00e7al\u0131\u015ft\u0131. T\u00fcrkiye Tiyatrolar Birli\u011fi\u2019nin 2006 y\u0131l\u0131ndaki kurucular\u0131ndan olup 8 sene ba\u015fkanl\u0131\u011f\u0131n\u0131 y\u00fcr\u00fctm\u00fc\u015ft\u00fcr. 2012 y\u0131l\u0131nda kurulan Tiyatro Platformu\u2019nun ilk d\u00f6nem s\u00f6zc\u00fcs\u00fc olmu\u015ftur. 2015 y\u0131l\u0131nda Uluslararas\u0131 alanda faaliyet y\u00fcr\u00fcten \u0130nterk\u00fclt\u00fcrel Tiyatro Platformu T\u00fcrkiye temsilcili\u011fini \u00fcstlenmi\u015ftir hala g\u00f6revini devam ettirmektedir. Bu sene 16. S\u0131 yap\u0131lacak T\u00fcrkiye Tiyatro bulu\u015fmas\u0131n\u0131n ilk g\u00fcn\u00fcnden beri koordinat\u00f6r\u00fcd\u00fcr. \u201c\u00d6yk\u00fclerden kovulanlar\u201d ve \u201cKim lan bu radyodaki\u201d isimlerinde bas\u0131lm\u0131\u015f 2 kitab\u0131 vard\u0131r. \u201cEtiyopya Kahvecisi\u201d isimli oyunuyla OY\u00c7ED taraf\u0131ndan d\u00fczenlenen Oyun yazma yar\u0131\u015fmas\u0131nda 2.lik derecesi alm\u0131\u015ft\u0131r. Bas\u0131lmayan bekleyen 6 oyunu daha vard\u0131r \ud83d\ude42 \u0130zmir B\u00fcy\u00fck\u015fehir Belediyesi taraf\u0131ndan d\u00fczenlenen Performizm etkinliklerinde 2 ki\u015fisel foto\u011fraf sergisi a\u00e7m\u0131\u015ft\u0131r. Oyuncular Sendikas\u0131 \u00fcyesidir. Be\u015fikta\u015f JK Kongre \u00fcyesidir.<\/p>\n\n\n\n

FATMA \u0130LG\u00dcN<\/strong><\/p>\n\n\n\n

Fatma \u0130lg\u00fcn, 23 Kas\u0131m 1992\u2019de \u0130zmir\u2019de do\u011fdu. Ege \u00dcniversitesi Sanat Tarihi b\u00f6l\u00fcm\u00fcn\u00fc bitirdi. Bizan Sanat\u0131 Anabilim dal\u0131nda y\u00fcksek lisans e\u011fitimi devam etmektedir. \u00d6\u011frencilik hayat\u0131nda arkeolojik kaz\u0131larda g\u00f6rev alm\u0131\u015f, binlerce y\u0131l sonra ortaya \u00e7\u0131kan tarihi buluntulara ilk dokunan olmaktan duydu\u011fu heyecan\u0131 hala i\u00e7inde ta\u015f\u0131maktad\u0131r. \u00c7ocuklu\u011fundan beri sanat\u0131n m\u00fczik ve dans dallar\u0131 ile ilgilense de ger\u00e7ek tutku aray\u0131\u015f\u0131 hala s\u00fcrmektedir.<\/p>\n\n\n\n

Bu sergi vesilesiyle g\u00f6rsel sanatlar\u0131 yorumlayan, tarihleyen ki\u015fi olmaktan \u00e7\u0131k\u0131p sanat\u0131 icra etmek konusunda ilk ad\u0131m\u0131 atman\u0131n co\u015fkusunu ya\u015famaktad\u0131r. Kendini ifade etme dili arayan ve \u201csanat\u00e7\u0131\u201d olarak an\u0131lma umudu ta\u015f\u0131yan hevesli bir kad\u0131nd\u0131r.<\/p>\n\n\n\n

\u0130LKYAZ MUMCU, <\/strong>21 Mart 1986, \u0130zmir<\/p>\n\n\n\n

\u0130lkyaz;  \u0130zmir’de do\u011fmu\u015f olmaktan pek mutludur. Asl\u0131nda \u015fehirle aras\u0131nda kurdu\u011fu tutkulu ba\u011f nedeniyle ya\u015fam \u00e7izgisini defalarca de\u011fi\u015ftirmi\u015ftir. \u0130zmir T\u00fcrk Koleji’nden sonra Ege \u00dcniversitesi \u0130leti\u015fim Fak\u00fcltesi’nden mezun olmu\u015ftur. Yurt d\u0131\u015f\u0131nda da reklam ve halkla ili\u015fkiler e\u011fitimi alm\u0131\u015ft\u0131r. Sanata olan tutkusu \u00e7ocuklu\u011fundan gelir ancak icraa etmek konusunda olduk\u00e7a maymun i\u015ftahl\u0131d\u0131r. M\u00fczik, resim, edebiyat alanlar\u0131nda onlarca e\u011fitime kat\u0131l\u0131p yar\u0131m b\u0131rakm\u0131\u015ft\u0131r. Opera tutkunudur, opera a\u015fk\u0131 nedeniyle ba\u015flad\u0131\u011f\u0131 \u0130talyanca e\u011fitimini de yar\u0131m b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Ancak bu \u00e7ok y\u00f6nl\u00fc sanat ilgisi \u00e7e\u015fitli kurulu\u015flarda \u00e7al\u0131\u015ft\u0131ktan sonra onu kendi \u015firketini kurmaya itmi\u015ftir. \u00d6zg\u00fcrce \u00fcretmek ister, On Point isimli \u015firketiyle \u00fcretmeye ba\u015flar. Pandeminin g\u00f6be\u011finde “Beethoven In Bergama” projesi ile \u0130zmir B\u00fcy\u00fck\u015fehir Belediyesi’ni ve Almanya D\u0131\u015f \u0130\u015fleri Bakanl\u0131\u011f\u0131’n\u0131 arkas\u0131na almay\u0131 ba\u015far\u0131r. S\u00f6zlerini kendi yazd\u0131\u011f\u0131 “Where Do We Go From Here” \u015fark\u0131s\u0131 Birle\u015fmi\u015f Milletlere, Unesco’ya, D\u00fcnya Sa\u011fl\u0131k \u00d6rg\u00fct\u00fcne ula\u015f\u0131r. B\u00f6yle iddial\u0131 bir a\u00e7\u0131l\u0131\u015ftan sonra zorlansa da seviyeyi d\u00fc\u015f\u00fcrmek istemez. Sevdi\u011fi sanat\u00e7\u0131larla sergiler d\u00fczenler, tiyatrolara destek verir, proje bazl\u0131 konserleri dinleyicilerle bulu\u015fturur hatta tarihi bir \u0130zmir kitab\u0131n\u0131n proje y\u00f6netimini \u00fcstlenir.<\/p>\n\n\n\n

Ara ara \u00c7e\u015fme’ye ka\u00e7ar ula\u015f\u0131lmaz olur, orada bir ba\u015fka \u00fcretir.<\/p>\n\n\n\n

\u0130zmir’in tarihine iz b\u0131rakacak i\u015fler yapma hayali vard\u0131r bir de maymun i\u015ftah\u0131na kurban gitmeyen yazar olma arzusu.<\/p>\n\n\n\n

Ka\u011f\u0131t, kalem olmadan fikirlerine hayat veremez ama teknolojiyi de pek sever. Sosyal medya uzmanl\u0131k alan\u0131d\u0131r ancak kendi sosyal medyas\u0131yla u\u011fra\u015famaz bazen olduk\u00e7a tembeldir. D\u00fc\u015f\u00fcnce \u00fcretmeyi sever, uygulamay\u0131 payda\u015flara da\u011f\u0131t\u0131r herkes kazans\u0131n ister.<\/p>\n\n\n\n

Foto\u011fraf \u00e7eker, bol bol sergi gezer, opera derseniz akan sular\u0131 durdurur.<\/p>\n\n\n\n

\u0130zmir’de ya\u015f\u0131yor, \u0130zmir’e meftun, \u0130zmir’e tutsak…<\/p>\n\n

Tweet<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

Kirke Paradoksu \u201cnosce te ipsum\u201d Cad\u0131l\u0131\u011f\u0131n kad\u0131n\u0131n k\u00f6t\u00fcc\u00fcll\u00fc\u011f\u00fc ile ili\u015fkilendirilmesi, tarihsel ve k\u00fclt\u00fcrel inan\u00e7lardan kaynaklanan bir yan\u0131lsamad\u0131r. Bu stereotip, toplumsal cinsiyet e\u015fitsizli\u011fi ve kad\u0131nlara y\u00f6nelik ayr\u0131mc\u0131l\u0131\u011f\u0131n bir \u00fcr\u00fcn\u00fcd\u00fcr. Kad\u0131nlar\u0131n g\u00fc\u00e7l\u00fc ve ba\u011f\u0131ms\u0131z fig\u00fcrler olarak g\u00f6r\u00fclmesi, patriyarkal d\u00fczeni sarsar ve cinsiyet e\u015fitli\u011fi idealine katk\u0131da bulunur. \u015eifa yetenekleri, i\u00e7sel ke\u015fif becerileri ve bilgelikleri ile \u00f6ne \u00e7\u0131kan g\u00fc\u00e7l\u00fc … Okumaya devam et “Sergi: Kirke Paradoksu”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":1019,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-1018","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sergiler"],"_links":{"self":[{"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/1018","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=1018"}],"version-history":[{"count":1,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/1018\/revisions"}],"predecessor-version":[{"id":1020,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/1018\/revisions\/1020"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/media\/1019"}],"wp:attachment":[{"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=1018"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=1018"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=1018"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}