the nuclear power plant, we reflected those that were not presented to the public
onto the booklet by using both the publications done on the subject and the
remarkable data obtained by environmentalist institutions. Secondly, we made an
intervention by putting toothpick flags on the food that was served in restaurants.
The flags were bearing the slogans “For the time being no nuclear energy” and “I
don’t want a nuclear power plant in Sinop!” We were intending to irritate the local
public or tourists dining with amusement in the restaurants along the coast, to
inform them about the process that was going on. Similarly we designed coasters
bearing the slogan “I don’t want a nuclear power plant in Sinop!” to be served
together with beer in bars. The message of this entire production was that it was not
time for relaxing but time for action. We carried out all these actions together, with
the involvement and support of local tradesmen and restaurant owners. In this
respect, I can say that our action was a success.
Sinopale; organized in the city of Sinop, a city that has been used as the base of USA
during the cold war period, a city still carrying the traces of its past and a city with a
historical prison where the sanction power of the center can obviously be tracked,
has made a contribution to the rehabilitation of the local public who has undergone
a sociological and psychological trauma. In this regard, the most important thing I
can define, related to the participation of both artists from the international arena
and the local public in this event, is that Sinopale took place as a result of the power
of a collective spirit. And after all, “living a life under more humanly conditions”, the
hope of all the people of developing countries and -maybe- the main issue of art and
design “humanizing life itself” meet and intersect at the center of the productions of
communication channel.
SESSION 1 / 1. OTURUM / M. S‹NAN N‹YAZ‹O⁄LU 51
düzenlenen Sinopale’nin, sosyolojik ve psikolojik aç›dan travma geçirmifl yerel halk›n
rehabilitasyonuna katk› sacurrency1lad›currency1›n› söyleyebilirim. Bu bak›mdan, gerek uluslararas›
alandan sanatç›lar›n, gerek yerli halk›n etkinlicurrency1e kat›l›m›yla ilgili tan›mlayabilececurrency1im
en önemli fley, Sinopale’nin kollektif bir ruhun gücüyle gerçekleflticurrency1idir. Ve
herfleyden sonra, tüm geliflmekte olan ülke insanlar›n›n “hayat› daha insanca
yaflama” ümidiyle, sanat›n ve tasar›m›n belki de en temel meselesi olan “hayat›n
kendisini insanlaflt›rma” olgular›n›n, birer iletiflim mecras› olan üretimler
merkezinde buluflmas›, kesiflmesidir.
BERAL MADRA: Sn Niyaziocurrency1lu size, gelecek bienaller için bir model olabilececurrency1ini
düflündücurrency1üm alternatif ve yerel bir bienali sundu. Bu yaz gerçekleflen bir dicurrency1er
bienalden söz etmedik, 1. Selanik Bienali. Bu bienali ziyaret etticurrency1imde, Sinopale’deki
gibi ayn› ruhu ve düzenleme kararl›l›currency1›n› gördüm. Belki de, bunun flehrin
büyüklücurrency1üyle bir ilgisi vard›r, zira Selanik de, küçük ve derlitoplu, bir bölgeden
dicurrency1erine gidip birbirine komflu sergileri gezerken, insan›n kendisini çok rahat
hissetticurrency1i bir flehir. Orada gözlemledicurrency1im bir baflka husus ise, halk›n kültür
kurumlar›yla bienalle çok ilgili olmas›yd›, sokaktaki insanlar bile flehirde ne olup
bitticurrency1inin fark›ndayd›. Tart›flma bölümüyle devam edebiliriz.
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