{"id":1185,"date":"2026-01-17T16:23:13","date_gmt":"2026-01-17T13:23:13","guid":{"rendered":"https:\/\/www.galeri-a.com.tr\/?p=1185"},"modified":"2026-01-17T17:23:48","modified_gmt":"2026-01-17T14:23:48","slug":"sessiz-alanlar-cekilen-yeryuzu-silent-spaces-the-retreating-earth","status":"publish","type":"post","link":"https:\/\/www.galeri-a.com.tr\/index.php\/2026\/01\/17\/sessiz-alanlar-cekilen-yeryuzu-silent-spaces-the-retreating-earth\/","title":{"rendered":"ENG\u0130N ASLAN Sessiz Alanlar \u2013 \u00c7ekilen Yery\u00fcz\u00fc \/ Silent Spaces- The Retreating Earth"},"content":{"rendered":"\n

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Sessiz Alanlar \u2013 \u00c7ekilen Yery\u00fcz\u00fc \/ Silent Spaces- The Retreating Earth<\/em><\/strong><\/p>\n\n\n\n

Yery\u00fcz\u00fc, modern d\u00fc\u015f\u00fcnce tarihinde \u00e7o\u011fu zaman s\u00fcreklilik ve dayan\u0131kl\u0131l\u0131k ile ili\u015fkilendirilmi\u015f bir kavram olarak ele al\u0131nm\u0131\u015ft\u0131r. Dipesh Chakrabarty, insan\u0131, jeolojik s\u00fcre\u00e7lerle i\u00e7 i\u00e7e ge\u00e7mi\u015f bir fail olarak d\u00fc\u015f\u00fcn\u00fcr ve insan ediminin d\u0131\u015f\u0131nda konumlanamayan yery\u00fcz\u00fc, maddi ve jeolojik zamanlarla birlikte kavramsalla\u015fm\u0131\u015ft\u0131r. Bu d\u00fc\u015f\u00fcnme bi\u00e7imi, \u201cAntroposen \u00c7a\u011f\u0131\u201d tart\u0131\u015fmalar\u0131yla temas ederek, Paul J. Crutzen\u2019in insan pratiklerinin yery\u00fcz\u00fc \u00f6l\u00e7e\u011finde belirleyici etkiler yaratt\u0131\u011f\u0131 y\u00f6n\u00fcndeki yakla\u015f\u0131m\u0131 \u00fczerinden bir zaman e\u015fi\u011fine i\u015faret eder. Sergi kapsam\u0131nda bir araya gelen \u00fcretimler, a\u00e7\u0131klay\u0131c\u0131 bir tutum benimsemek yerine, do\u011frudan temsil etmeyen; y\u00fczeyde beliren izler \u00fczerinden ilerleyen bir yakla\u015f\u0131m sunar. \u0130z kavram\u0131, burada ge\u00e7mi\u015fte ger\u00e7ekle\u015fmi\u015f bir temas\u0131n maddi kar\u015f\u0131l\u0131\u011f\u0131 olarak ortaya \u00e7\u0131kmakta ve tekil zaman anlay\u0131\u015f\u0131yla s\u0131n\u0131rl\u0131 okumalar yerine farkl\u0131 zaman katmanlar\u0131n\u0131n birlikte ele al\u0131nmas\u0131na olanak tan\u0131maktad\u0131r. Antroposen kavram\u0131 ba\u011flam\u0131nda yery\u00fcz\u00fcn\u00fc, insan ve insan-d\u0131\u015f\u0131 varl\u0131klar\u0131n olu\u015fturdu\u011fu \u00e7ok katmanl\u0131 a\u011flar \u00fczerinden d\u00fc\u015f\u00fcnmeyi \u00f6neren Donna Haraway ise insan\u0131; s\u00f6z konusu a\u011f i\u00e7inde ayr\u0131cal\u0131kl\u0131 bir konumdan \u00e7ok, etkile\u015fimlerin kesi\u015fti\u011fi bir d\u00fc\u011f\u00fcm noktas\u0131 olarak ele al\u0131r. Bu a\u00e7\u0131dan, \u00fcretim mecralar\u0131n\u0131n sundu\u011fu olanaklar, yery\u00fcz\u00fcyle kurulan temas\u0131n farkl\u0131 boyutlar\u0131n\u0131 g\u00fcndeme ta\u015f\u0131r. Y\u00fczey, bu temas\u0131n izlerinin yo\u011funla\u015ft\u0131\u011f\u0131 bir e\u015fik olarak, tarihsel, maddi ve jeolojik s\u00fcre\u00e7lerin kesi\u015fiminde konumlan\u0131r; zaman ise do\u011frusal bir ilerleme de\u011fil, katmanl\u0131 bir yap\u0131 olarak d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Resim, foto\u011fraf, video ve enstalasyon \u00e7al\u0131\u015fmalar\u0131; fiziksel m\u00fcdahalelerin ve ge\u00e7ici h\u00e2llerin s\u00fcreklili\u011fine dair bir d\u00fc\u015f\u00fcnme alan\u0131 kurarken, kullan\u0131lan malzemelerin, yery\u00fcz\u00fcyle temas etmi\u015f olman\u0131n izlerini tekrar, duraksama ve s\u00fcre\u00e7 duygusuyla mek\u00e2na ta\u015f\u0131r. Dolay\u0131s\u0131yla bu yakla\u015f\u0131m, sergiyi; y\u00fczeyler, malzeme, zaman, insan ve \u00e7evre aras\u0131ndaki ba\u011flant\u0131n\u0131n maddi kar\u015f\u0131l\u0131klar\u0131n\u0131 ta\u015f\u0131yan, tekil bir \u00f6zneye ba\u011flanmayan ve \u00e7ok y\u00f6nl\u00fc etkile\u015fimler \u00fczerinden d\u00fc\u015f\u00fcn\u00fclebilen bir alan olarak kurar.<\/p>\n\n\n\n

Serginin kavramsal atmosferinde sessizlik, belirgin bir nitelik olarak \u00f6ne \u00e7\u0131kmaktad\u0131r ve bu y\u00f6n\u00fcyle sessizlik, bir eksiklik ya da bo\u015fluk duygusu yerine a\u00e7\u0131klaman\u0131n geri \u00e7ekildi\u011fi bir alan olarak belirir. \u00c7ekilme olgusu, yery\u00fcz\u00fcn\u00fcn ve do\u011fan\u0131n geri \u00e7ekilmesiyle birlikte d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde ise g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcn y\u00f6n de\u011fi\u015ftirmesi ba\u011flam\u0131na i\u015faret eder. Bu y\u00f6n de\u011fi\u015fimi, daha \u00e7ok do\u011fan\u0131n stratejik bir diren\u00e7 alan\u0131 \u00fcretmesiyle belirginle\u015fir; bu \u00e7er\u00e7evede do\u011fa, dolayl\u0131 izler ve maddi kal\u0131nt\u0131lar \u00fczerinden okunur h\u00e2le gelir. A\u00e7\u0131k bi\u00e7imde sunulan imgeler yerini, dolayl\u0131 izlere ve katmanlara b\u0131rakarak, ya\u015fanm\u0131\u015f s\u00fcre\u00e7lerin maddi \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131 olarak varl\u0131k kazan\u0131r. Bu bak\u0131mdan, s\u00f6z konusu imgeler ya da eserin kendisi kesin bir sonuca i\u015faret etmez; d\u00fc\u015f\u00fcncenin s\u00fcreklili\u011fini besleyen bir anlam aral\u0131\u011f\u0131 olu\u015fturur ve izleyici, yorumunu mek\u00e2nla ve y\u00fczeylerle kurdu\u011fu bireysel temas \u00fczerinden bi\u00e7imlendiren etkin bir \u00f6zne h\u00e2line gelir.<\/p>\n\n\n\n

Engin Aslan<\/em><\/p>\n\n\n\n

2026<\/p>\n\n\n\n

Engin Aslan<\/p>\n\n\n\n

1980 y\u0131l\u0131nda Sivas\u2019ta do\u011fdu. 2008 y\u0131l\u0131nda \u00c7ukurova \u00dcniversitesi G\u00fczel Sanatlar E\u011fitimi B\u00f6l\u00fcm\u00fc Resim Anasanat Program\u0131\u2019ndan mezun oldu. 2013 y\u0131l\u0131nda ayn\u0131 \u00fcniversitenin Sosyal Bilimler Enstit\u00fcs\u00fc Resim-\u0130\u015f E\u011fitimi Anabilim Dal\u0131\u2019nda y\u00fcksek lisans e\u011fitimini tamamlad\u0131. 2017 y\u0131l\u0131nda Hacettepe \u00dcniversitesi G\u00fczel Sanatlar Enstit\u00fcs\u00fc Resim Anasanat Dal\u0131\u2019ndan Sanatta Yeterlik (Doctor of Fine Arts) derecesini ald\u0131. Dokuz Eyl\u00fcl \u00dcniversitesi G\u00fczel Sanatlar Fak\u00fcltesi Resim B\u00f6l\u00fcm\u00fc\u2019nde Do\u00e7ent olarak g\u00f6rev yapan sanat\u00e7\u0131; IV. Sanat D\u00fcnyas\u0131 Resim Yar\u0131\u015fmas\u0131 ve International Biennial of Miniature Art-Timi\u0219oara \/ Romanya Bienali Resim \u00d6d\u00fcl\u00fc ba\u015fta olmak \u00fczere, ulusal ve uluslararas\u0131 yar\u0131\u015fmalarda toplam 11 \u00f6d\u00fcle lay\u0131k g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Y\u00fcz\u00fcn \u00fczerinde yurt i\u00e7i ve yurt d\u0131\u015f\u0131 sergide eserleriyle yer alan sanat\u00e7\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131; Amerika Birle\u015fik Devletleri, Fransa, \u0130ngiltere, Rusya, Hollanda, Almanya, Brezilya, Romanya, Macaristan ve T\u00fcrkiye\u2019deki resm\u00ee ve \u00f6zel koleksiyonlarda bulunmaktad\u0131r. Sanat\u00e7\u0131, \u00e7al\u0131\u015fmalar\u0131n\u0131 \u0130zmir\u2019de s\u00fcrd\u00fcrmektedir.<\/p>\n\n

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Sessiz Alanlar \u2013 \u00c7ekilen Yery\u00fcz\u00fc \/ Silent Spaces- The Retreating Earth Yery\u00fcz\u00fc, modern d\u00fc\u015f\u00fcnce tarihinde \u00e7o\u011fu zaman s\u00fcreklilik ve dayan\u0131kl\u0131l\u0131k ile ili\u015fkilendirilmi\u015f bir kavram olarak ele al\u0131nm\u0131\u015ft\u0131r. Dipesh Chakrabarty, insan\u0131, jeolojik s\u00fcre\u00e7lerle i\u00e7 i\u00e7e ge\u00e7mi\u015f bir fail olarak d\u00fc\u015f\u00fcn\u00fcr ve insan ediminin d\u0131\u015f\u0131nda konumlanamayan yery\u00fcz\u00fc, maddi ve jeolojik zamanlarla birlikte kavramsalla\u015fm\u0131\u015ft\u0131r. Bu d\u00fc\u015f\u00fcnme bi\u00e7imi, \u201cAntroposen … Okumaya devam et “ENG\u0130N ASLAN Sessiz Alanlar \u2013 \u00c7ekilen Yery\u00fcz\u00fc \/ Silent Spaces- The Retreating Earth”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-1185","post","type-post","status-publish","format-standard","hentry","category-sergiler"],"_links":{"self":[{"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/1185","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=1185"}],"version-history":[{"count":3,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/1185\/revisions"}],"predecessor-version":[{"id":1189,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/1185\/revisions\/1189"}],"wp:attachment":[{"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=1185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=1185"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.galeri-a.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=1185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}