they were originally thinking when creating that piece versus when one is seeing it
again twenty years later? How does that work for pieces within biennials?
The interconnection between the cities and the biennial is something that I think as
far as I know has not happened as much as we would all like it to be in terms of the
biennial and what it has left to the city. Obviously, for the two to three months that
the biennials are on whether in Sao Paulo, Havana, Moscow, Venice, or Istanbul they
naturally enrich the cultural scene and the number of activities (discussions,
performances, symposia, talks, workshops, etc.) created and executed in the cities.
How the city handles the increase in tourism as well as the placement and the
reception of the artworks that are within the city is also another matter to consider.
The wonderful input coming into the city-- let it be in terms of the works of art,
artists, curators and art lovers, presumably diminishes once the biennial is over, or
does it?
Remnants of the 1995 Istanbul Biennial linger in our city in the forms of art works
purchased by local art patrons beginning to collect contemporary art. In cities such
as Lyon, Athens and Istanbul, there are acquisitions triggered by the biennials that
definitely enrich the cultural capital of the city. Art works that are seen and
experienced at the biennials are acquired and then became a constant in the city.
And we should also not forget that as the biennials and the artists presented are
informed by the identity of the city, they are also giving back to the collective
memory of the city.
As Rosa Martinez said, “The biennials are making a radical interpretation of the
present to envisage the future developments of arts.” And it is also through their
SESSION 1 / 1. OTURUM / LORA SARIASLAN 35
belli fleyler var. Bu; sanatç›, onun sanat seçimi ve o yap›t› yarat›rken bafllang›çta ne
düflündücurrency1ü karfl›s›nda birisinin onu yirmi y›l sonra tekrar görmesi durumu ile nas›l
bacurrency1lant›l›? Bu, bienallerdeki yap›tlar için nas›l iflliyor?
Kentler ve bienalin birbiri aras›ndaki bacurrency1 öyle bir fley ki, -bildicurrency1im kadar›yla- bienal
ve kente b›rakt›klar› aç›s›ndan, henüz hepimizin olmas›n› istedicurrency1i noktaya gelemedi
diye düflünüyorum. fiu muhakkak ki, sürdükleri bir iki ay boyunca biennaller, ister
Sao Paulo’da, Havana’da, Moskova’da, Venedik’te veya ‹stanbul’da olsun, docurrency1al
olarak kültür dünyas›n› zenginlefltiriyor ve kentlerde yarat›l›p gerçeklefltirilen
etkinlik say›s›n› (tart›flmalar, performanslar, sempozyumlar, sohbetler, çal›fltaylar,
vs.) çocurrency1alt›yorlar. Kentin, artan turizm ve bunun yan›s›ra kentin içindeki sanat
yap›tlar›n›n yerlefltirmesi ve kabulü konular›n›n nas›l üstesinden gelececurrency1i, ele
al›nmas› gereken bir baflka husus. Kentin içine akan harika bir girdi – sanat yap›t›,
sanatç›, küratör olsun, sanatsever olsun, bienal sona erdicurrency1inde olas›l›kla azal›yor, ya
da azal›yor mu?
1995 ‹stanbul Bienali’nin kal›nt›lar›, kentimizde çacurrency1dafl sanat toplamaya bafllayan
yerel sanat destekçileri taraf›ndan sat›n al›nan sanat yap›tlar› biçiminde sürüp
gidiyor. Lyon, Atina ve ‹stanbul gibi flehirlerde, flehrin kültür baflkentini kesinkes
zenginlefltiren bienallerin tetikledicurrency1i kazan›mlar var. Bienallerde görülen ve
deneyimlenen sanat yap›tlar› kazan›l›yor ve kentte kal›c› duruma geliyor. Ve
unutmamal›y›z ki, bienaller ve sunulan sanatç›lar, kentin kimlicurrency1i hakk›nda
bigilendirilirse, onlar da kentin ortak bellecurrency1ine katk›da bulunur.
Rosa Martinez’in dedicurrency1i gibi, “Bienaller, sanatlar›n gelecekteki geliflimlerini
düfllemek üzere flimdinin, var olan›n köktenci bir yorumunu yap›yor.” Ve yaflamlar›n›
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