months, you would have to be there all the time. This is completely unrealistic. I
think this fact is significant as it establishes a certain relationship to the work of art
which has to be characterized as superficial. There is no way you can establish an
intimate dialogue with a work of art, a give and take between the work and the
viewer.
We have already heard from the previous speaker how priorities have shifted and
how art is becoming more and more an instrument for something else than
aesthetic experience. You see this trend of instrumentalization everywhere. Art is
used by corporations, cities, politicians to inscrease their status, to polish their
image, to contribute to the city’s economy. It’s not about art, it’s about something
else. I have talked to a number of artists and they have complained about this trend.
They say: “I’m not going to see Documenta anymore, because it’s about something
else.” I think we have to find different forms of presentation and engagement, the
question is where and how, because the situation is very different than 20 years ago
when there was still a kind of illusion of independence. When artists spaces started,
they seemed to be seperate from commercial galleries, but not anymore. You go to
Basel and other big art fairs and these artist spaces have their presentation there.
Among their board members, there are often collectors and art consultants, if not
dealers. Everything is part of one big machine.
The question of location is also very important as it has to do with the relation
between the work of art and the viewer. It has been already mentioned by some of
the previous speakers how well the Istanbul Biennial engages the city. In my view
the Istanbul Biennial is one of the most successful projects in that respect and that
is probably the main reason for its big international success. Perhaps there are also
SESSION 3 / 3. OTURUM / JAROSLAV ANDEL 101
sanat yap›t›yla yüzeysel olarak tan›mlanabilecek kaç›n›lmaz bir iliflki kurducurrency1u için
dikkate decurrency1er. Sanat yap›t›yla mahrem bir diyalog, yap›t ve izleyici aras›nda bir
al›flverifl kurman›z mümkün olmuyor.
Bir önceki konuflmac›dan, önceliklerin nas›l decurrency1iflticurrency1ini ve sanat›n gittikçe nas›l
estetik deneyimden baflka bir fleyin arac› haline geldicurrency1ini dinledik. Bu
araçsallaflt›rma ecurrency1ilimini her yerde görüyorsunuz. Sanat; kurulufllar, kentler,
politikac›lar taraf›ndan, statülerini yükseltmek, imajlar›n› cilalamak, kentin
ekonomisine katk›da bulunmak için kullan›l›yor. Amaç sanat decurrency1il, baflka bir fley.
Birkaç sanatç›yla konufltum ve onlar, bu ecurrency1ilimden yak›nd›lar. Diyorlar ki: “Bir daha
Documenta’ya gitmeyececurrency1im çünkü o, baflka bir fley hakk›nda.” San›r›m farkl› sunum
ve ucurrency1rafl biçimleri bulmam›z gerekiyor, ama as›l soru, bunu nerede ve nas›l
bulacacurrency1›m›z, çünkü durum, 20 y›l öncesinin bir tür bacurrency1›ms›zl›k yan›lsamas›na sahip
durumundan çok farkl›. Sanatç› mekanlar› ilk ç›kt›klar›nda, ticari galeriden farkl›
görünüyorlard› ama art›k öyle decurrency1iller. Basel ve dicurrency1er büyük sanat fuarlar›na
gidiyorsunuz ve bu sanatç› mekanlar›n›n tan›t›m›yla karfl›lafl›yorsunuz. Yönetim
Kurullar›nda sat›c›lar decurrency1ilse de s›kl›kla koleksiyonerler ve sanat dan›flmanlar›
oluyor. Her fley büyük bir makinan›n parças›.
Sanat yap›t› ve izleyici aras›ndaki iliflkiyle ilgili olducurrency1u için konum sorunu da çok
önemli. Önceki kouflmac›lar›n baz›lar› taraf›ndan ‹stanbul Bienali’nin kent ile ne
kadar da iyi iliflkilendirildicurrency1inden zaten söz edildi. Benim görüflüme göre ‹stanbul
Bienali, bu bak›mdan en baflar›l› projelerden biri ve olas›l›kla bu da, büyük
uluslararas› baflar›s›n›n temel nedeni. Belki biraraya gelerek, bu ortaya ç›k›fla
katk›da bulunan baflka nedenler de vard›r. fiimdilerde Prag’da bulunducurrency1um için bu
dinamik, benim aç›mdan çok ilgi çekici, çünkü Prag da, kendini gösterebilme
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