mentioned curatorial names, don’t curate artworks anymore but present attitudes
and how the character of artwork changed and this is basically what majority of
exhibitions consist of.
This exactly follows the direction of what our colleague Giuliana Carbi from Trieste
Contemporanea was quoting today in her speech - When attitude becomes form - we
witness the situation in which the form is also becoming attitude. Change in the
character of art works makes them now not only less and less material, but also
less and less durable. I am not mentioning this from the point of view of any kind of
collecting art, be it private or public, neither I am viewing it not in the prospective
about how to store, conserve or keep the art objects alive during the course of time.
I just wish to stress that art works which are documentation of events,
documentation of some thoughts and ideas, do present that ideas’ matter, events’
matter, but not of the art work itself. It is for a long time not any more the clash that
was known at the time of conceptual art rising. This time it has many other
implications, which, unfortunately here we do not have time to discuss. Another
thing we learn from what we see at current exhibitions is that the art system is
making a pressure to art works in order to place them in the exhibition spaces, but
art often happens somewhere else and later it comes to art galleries adapted to the
rules of presentation.
So, being at home in Zagreb during this summer and not really being busy with
travelling around the globe observing the biggest exhibitions, I was around the city
photographing what is called “street art”, having in mind a help to a friend of mine
who prepares a book of those small art interventions throughout the city.
SESSION 3 / 3. OTURUM / JANKA VUKMIR 105
konuflmamda küratörlerin, özellikle en s›k ad› geçen isimlerin art›k sanat
yap›tlar›n›n küratörlücurrency1ünü yapmak yerine, nas›l olup da tav›r sunduklar›ndan, sanat
yap›t›n›n nitelicurrency1inin nas›l decurrency1iflticurrency1inden, sergilerin büyük çocurrency1unlucurrency1unun da asl›nda
yaln›z bundan olufltucurrency1undan bahsetmifltim.
Bu, tam anlam›yla Trieste Contemporanea’dan meslekdafl›m›z Giuliana Carbi’nin
bugünkü konuflmas›nda dile getirdicurrency1i fleyi takip ediyor – “tav›r biçime dönüflünce” –
biz biçimin de tav›ra dönüfltücurrency1ü duruma tan›kl›k ediyoruz. Sanat yap›tlar›n›n
nitelicurrency1indeki decurrency1iflim, günümüzde onlar› sadece gittikçe azalan flekilde maddi hale
getirmekle kalm›yor, ayn› zamanda da dayan›kl›l›klar›n› gitgide azalt›yor. Bunu özel
ya da genel, herhangi bir sanat koleksiyonerinin bak›fl aç›s›ndan ya da sanat nes-
nelerinin zaman›n ak›fl› içinde nas›l saklanacacurrency1›, korunacacurrency1› veya canl› tutulacacurrency1›
hakk›ndaki ileriye yönelik bak›fl aç›s›ndan belirtmiyorum. Sadece flunun alt›n› çizmek
istiyorum ki; olaylar›n, baz› düflünce ve görüfllerin belgelenmifl hali olan sanat
yap›tlar›; görüfllerin, olaylar›n önem tafl›d›currency1›n›, fakat sanat yap›t›n›n kendisinin
tafl›mad›currency1›n› gösteriyor. Bu, uzun süredir art›k kavramsal sanat›n yükseldicurrency1i
zamanlardan bilinen çat›flma decurrency1il. Bu kez bir çok baflka sakl› anlam› var, ne yaz›k ki
bunlar› burada tart›flmak için zaman›m›z yok. fiimdiki sergilerde gördüklerimizden
öcurrency1rendicurrency1imiz bir baflka fley de; sanat sisteminin sanat yap›tlar›n› sergi mekanlar›na
koyabilmek için onlar üzerinde bask› uyguluyor olmas› ama sanat, s›kl›kla baflka bir
yerde olufluyor ve daha sonra sunum kurallar›na uygun hale getirilmifl flekilde sanat
galerilerine geliyor.
Bu yaz› Zagrep’te evimde geçirirken ve tüm dünyada seyahat ederek en büyük
sergileri gözlemlemekle meflgul decurrency1ilken, akl›mda kentin her taraf›ndaki küçük
sanat müdahaleleri hakk›nda bir kitap haz›rlayan arkadafl›ma yard›m etmek
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