representing Mohammad visually; lost the capacity of laughing to an entire religion
and the same time that cannot accept jokes on Holocaust. Somewhere between
these two someone has dared to search for optimism. But is it optimistic? Actually,
in the current world circumstances it seems to be only a small hybrid break.
BERAL MADRA: You are touching a very very delicate issue, actually it is the
content of the biennial and we have been seeing since almost ten years in also many
other exhibitions how artists are interpreting or observing or kind of criticizing the
war and its traumatic effects. So maybe you will see some examples in the Istanbul
biennial also. What is the effect of these scenes particularly that video which showed
a fake skull being used as a football in Venice Biennial it was in Serbia?
ANA PERAICA: It was in front of the bombed building. The discourses of the
interpretation of the work were quite different. It was at the same time a place which
looked like damaged by the war but if it was not subtitled or annotated deeper as
some would recognize, they wouldn’t know that actually it was a military object. The
context was changing every time that a new information would arrive to the
interpretation of the work. So one of them was the place and the other one that the
skull was actually not real but a fake which was even worse, as if someone is trying
to make a fake one, it was morbid even in this fakeness and then it was more and
more displacing this problem of using the images of that.
A LISTENER: It was written that the location was sort of like Yugoslavian army head-
quarters bombed during the NATO bombing and actually I found this work really illustrat-
ing what Ana Peraica is saying kind of criticizing the same thing and I liked it very much.
SESSION 1 / 1. OTURUM / ANA PERAICA 45
savafl zamanlar›nda küçük bir iyimserlik” kavram› alt›na konmufltu, tabiri caizse tüm
dicurrency1erlerinin düzeyine indirilmiflti.
Muhammed’i görsel olarak resmetmeyi yasaklamay›, bütün bir dine gülmeyi ciddi bir
flekilde ele alma yetenecurrency1ini kaybetmifl ve ayn› zamanda Yahudi Soyk›r›m› üzerine
flakalar› sindiremeyen bir dünyaya biraz flaka. Bu ikisi aras›nda bir yerlerde birisi
iyimserlik aray›fl›na girmeye cüret etmifl. Ama gerçekten iyimser bir durum var m›?
Asl›na bakarsan›z, varolan dünya koflullar›nda sadece küçük melez bir molaya
benziyor.
BERAL MADRA: Çok çok hassas bir konuya decurrency1iniyorsunuz gerçekten, asl›na
bakarsan›z bu ayn› zamanda bienalin de içericurrency1ini oluflturuyor ve biz de, neredeyse on
y›ld›r birçok baflka sergide, sanatç›lar›n savafl› ve onun travmatik etkilerini nas›l
yorumlad›klar›n›, gözlemlediklerini ya da bir bak›ma elefltirdiklerini görüyoruz. Belki
‹stanbul Bienali’nde de baz› örneklerini göreceksiniz bunun. Bu sahnelerin etkisi
nedir? Özellikle sahte bir kafatas›n›n futbol topu olarak kulllan›ld›currency1›n› gösteren
Venedik Bienali’ndeki video, S›rbistan’da m›yd›?
ANA PERAICA: Bombalanm›fl bir binan›n önündeydi. ‹flin yorumuna iliflkin
söylemler oldukça farkl›yd›. Ayn› zamanda savafl nedeniyle hasarlanm›fl gibi gözüken
bir yerdi, fakat baz›lar›n›n da farketticurrency1i üzere altyaz›yla veya aç›klay›c› notlarla, daha
detayl› bir flekilde izah edilmeseydi, asl›nda askeri bir nesne olducurrency1u farkedilmeye-
cekti. ‹flin yorumuna dair her yeni bilgi ak›fl›nda bacurrency1lam decurrency1ifliyordu. Bunlardan biri
yere iliflkindi, dicurrency1eri de, kafatas›n›n gerçek decurrency1il sahte olducurrency1uydu, ki bu daha da
kötüydü, sanki birisi sahtesini yapmaya çal›fl›yor gibi, kendi sahtelicurrency1i içinde bile
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