Research Article


DOI :10.26650/artsanat.2019.11.0008   IUP :10.26650/artsanat.2019.11.0008    Full Text (PDF)

A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist

Özlem Gök

This study focused on Necla Rüzgar’s productions called Metaphysic Murders, Other Forms of Perception, and Jewelries at her Fauna exhibition that was opened in 2014 in Galeri Nev. The meanings of the works in this exhibition apart from those attached by the artist were deciphered through semiology with the claim that they produced other meanings in the context of feminist and antispeciesist vegan thought. The myths that were constructed with the imagination of the people after the cognitive revolution initiated the formation of the sacred in the sexist and speciesist context. Shaped by tradition based on hunting still-life in art history and reflected in family portraits, the meaning of animal based on metaphorical gender hierarchy shows the great masculine structure of man. The male human displaced by post-humanitarianism is a concept that is at the center of everything and the founder of the interspecies hierarchy. A negative identification between women and animals constructed under the sovereignty of the male human points to the common destiny, neither of which is taken seriously as moral beings. In this study, the birds in Metaphysic Murders that was considered within the feminist and antispeciesist context were discussed as the metaphorical reflections of the animal that was encountered in multi-layered meaning pattern and based on hunting still-life. As for the Other Forms of Perception that gave clue about the perception created by anthropocentrism, the statues in the forms of shoes and gloves were considered as the indicators of speciesist approach between human and animal within a vegan context. Composed of the stones in meat shapes, Jewelries showed the absent referent of meat when considered from Carol J. Adams’ concept of absent referent. The meat, whose absent referent is the animal, was positioned as an indicator of sexist and speciesist approach. In conclusion, although these productions were not given such meanings by Necla Rüzgar, it can be stated that the works produced meanings that were independent from and outperformed their artist within feminist and antispeciesist context.

DOI :10.26650/artsanat.2019.11.0008   IUP :10.26650/artsanat.2019.11.0008    Full Text (PDF)

Sanatçısını Aşan Yapıt Bağlamında Necla Rüzgar’ın Fauna Sergisine Bakış

Özlem Gök

Bu araştırma Necla Rüzgar’ın, Galeri Nev’de 2014 yılında açmış olduğu Fauna sergisinde yer alan Metafizik Cinayetler, Algının Diğer Formları ve Mücevherler adı altında şekillenen üretimlerine odaklanır. Bu üretimlerin sanatçısının yüklediği anlamların dışında, feminist ve türcülük karşıtı vegan düşünce bağlamında başka anlamları da ürettiği iddiasıyla bu anlamların göstergebilim üzerinden deşifre etme yoluna gidilmiştir. İnsanın bilişsel devrim sonrası hayal gücüyle kurguladığı mitler, cinsiyetçi ve türcü bağlamda kutsalların oluşumunu başlatır. Sanat tarihinde avcılık natürmortlarına dayanan gelenekle şekillenen ve aile portrelerine yansıyan hayvanın metaforik; cinsiyet hiyerarşisine dayalı anlamları, insanın büyüklenici eril yapısını gösterir. İnsanmerkezcilik sonrasının yerinden ettiği erkekinsan, her şeyin merkezinde ve türler arası hiyerarşinin kurucusu olan bir kavramdır. “Erkekinsan”nın egemenliğinde kurgulanan kadınlar ve hayvanlar arasında olumsuz bir özdeşleştirme, her ikisinin de ahlaki varlıklar olarak ciddiye alınmadığı ortak bir kaderi işaret eder. Bu araştırmada feminist ve türcülük karşıtı vegan bağlamda ele alınan Metafizik Cinayetler’deki kuşların, çok katmanlı anlam örgüsünde karşılaşılan, kökeni avcılık natürmortlarına dayanan hayvanın metaforik yansımaları olarak tartışılması amaçlanmaktadır. İnsan merkezci bakışın yarattığı algının açık edildiği, Algının Diğer Formları başlığında ayakkabılar ve eldivenlerden oluşan heykeller, vegan bağlamda insan ve hayvan arasında oluşan türcü yaklaşımın göstergeleri olarak ele alınmıştır. Et parçaları şeklinde düzenlenmiş taşlardan oluşan Mücevherler yerleştirmesi, Carol J. Adams’ın kayıp gönderge kavramı üzerinden bakıldığında ise etin kayıp göndergesi ortaya çıkmaktadır. Kayıp göndergesi hayvan olan et, cinsiyetçi ve türcü yaklaşımın göstergesi olarak konumlandırılır. Sonuç olarak Necla Rüzgar tarafından bu üretimlere böyle bir anlam tam olarak yüklenmemiş olsa bile araştırmada odaklanılan bu yapıtlar ile kurulan diyalogda, yapıtların feminist ve türcülük karşıtı vegan bağlamda sanatçısından bağımsız, sanatçısını. 


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APA

Gök, Ö. (2019). A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist. Art-Sanat, 0(11), 187-206. https://doi.org/10.26650/artsanat.2019.11.0008


AMA

Gök Ö. A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist. Art-Sanat. 2019;0(11):187-206. https://doi.org/10.26650/artsanat.2019.11.0008


ABNT

Gök, Ö. A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist. Art-Sanat, [Publisher Location], v. 0, n. 11, p. 187-206, 2019.


Chicago: Author-Date Style

Gök, Özlem,. 2019. “A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist.” Art-Sanat 0, no. 11: 187-206. https://doi.org/10.26650/artsanat.2019.11.0008


Chicago: Humanities Style

Gök, Özlem,. A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist.” Art-Sanat 0, no. 11 (Feb. 2023): 187-206. https://doi.org/10.26650/artsanat.2019.11.0008


Harvard: Australian Style

Gök, Ö 2019, 'A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist', Art-Sanat, vol. 0, no. 11, pp. 187-206, viewed 1 Feb. 2023, https://doi.org/10.26650/artsanat.2019.11.0008


Harvard: Author-Date Style

Gök, Ö. (2019) ‘A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist’, Art-Sanat, 0(11), pp. 187-206. https://doi.org/10.26650/artsanat.2019.11.0008 (1 Feb. 2023).


MLA

Gök, Özlem,. A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist.” Art-Sanat, vol. 0, no. 11, 2019, pp. 187-206. [Database Container], https://doi.org/10.26650/artsanat.2019.11.0008


Vancouver

Gök Ö. A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist. Art-Sanat [Internet]. 1 Feb. 2023 [cited 1 Feb. 2023];0(11):187-206. Available from: https://doi.org/10.26650/artsanat.2019.11.0008 doi: 10.26650/artsanat.2019.11.0008


ISNAD

Gök, Özlem. A Look At Necla Rüzgar’s Fauna Exhibition Within The Context Of The Work Outperforming Its Artist”. Art-Sanat 0/11 (Feb. 2023): 187-206. https://doi.org/10.26650/artsanat.2019.11.0008



TIMELINE


Submitted16.11.2018
Accepted10.01.2019

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