gesture up to some point – but then it did not work anymore. It gradually became
clear in the 40’s probably the 50’s when modernism was accepted in museums.
Glossy commodity was not a critique of a glossy commodity anymore – it was just a
glossy commodity. At the turn of the 60’s and the 70’s art took a different way, which
we all know as contemporary art “per se” now – performances, installations, videos,
collective creations, social projects, land art. It worked as a counterbalance to both
market and museum which was part of the market already. This was art which “did
not fit” anywhere, and so it was intended. Up to the point the art world actually found
a place where this art WOULD fit, even physically – big outdoor sculptures, huge film
screens. And this was biennial.
Biennials play the role of anti-museums for works done according to anti-aesthetics,
for unusually big, or provocative, or unusually short-living art works. In this sense,
biennials want to create an anti-museal space which is conceived as natural rather
than cultural. It was mentioned already that many biennials now have different
venues and they’re spread all over the city. It’s what makes these biennials
attractive because we are in search of art, in a kind of interesting pastime. The first
exhibition which showed this process critically was Documenta 10, where for the
first time we witnessed not a global museum, not even a global village, but a kind of
global forest or park where we actually had to FIND artworks like mushrooms.
Being a journalist who had to cover this Documenta and discovering that some of the
everyday objects I saw were actually artworks, but discovering it on my way back
while reading the catalogue - this was frustrating. Catherine David was maybe the
only one who showed to us that multiplicity is actually frustrating. She also made a
big space where many big screen TV’s on which TV presenters of different countries
were saying “Good evening” simultaneously in different languages. This space was
SESSION 2 / 2. OTURUM / EKATERINA DEGOT 63
Sanat›n nesnelefltirilmesini belirginlefltirme hareketi, bir yere kadar güçlü bir
elefltirel hareket olarak devam etti –ama daha sonra ifllememeye bafllad›. 40’larda
olas›l›kla 50’lerde modernizm, müzelerde kabul gördücurrency1ü s›ralarda, bu belirginleflti.
Cilal› meta, cilal› bir metan›n elefltirisi decurrency1ildi art›k -sadece cilal› bir metayd›.
60’lar›n ve 70’lerin dönemecinde sanat; farkl› bir yola sapt›, hepimizin flimdi “kendi
bafl›na” çacurrency1dafl sanat olarak bildicurrency1imiz üzere -performanslar, yerlefltirmeler,
videolar, kolektif yarat›lar ve sosyal projeler. Hem pazar, hem de zaten pazar›n
parças› haline gelmifl müze için bir dengeleyici görevi gördü. Bu “hiç bir yere
uymayan” sanatt›, zaten amaç da buydu. Sanat dünyas› bu sanat›n ‹Ç‹NE
UYAB‹LECE⁄‹ bir yer bulana kadar, hatta fiziksel anlamda da –büyük aç›k hava
heykelleri, devasa film ekranlar›. Ve bu da bienaldi.
Bienaller, estetik karfl›t› olarak yap›lm›fl, al›fl›lm›fl›n d›fl›nda büyüklükte veya
k›flk›rt›c› veya olacurrency1and›fl› k›sa ömürlü sanat yap›tlar› için, müze karfl›t› bir rol
üstleniyor. Bu bacurrency1lamda bienaller, kültürelden ziyade docurrency1al olarak tasarlanm›fl,
müze karfl›t› bir mekan yaratmak istiyorlar. Birçok bienalin flimdilerde farkl›
mekanlara sahip olducurrency1undan ve kentin her bir yerine yay›ld›currency1›ndan, zaten bahsedildi.
Bu da, bu bienalleri çekici k›lan fley, çünkü bir tür ilginç ucurrency1raflla sanat›n aray›fl›
içindeyiz. Bu süreci çözümsel olarak gösteren ilk sergi, Documenta 10’du; burada ilk
kez küresel bir müzeye decurrency1il, küresel bir köye bile decurrency1il, mantar bulur gibi sanat
yap›t› BULMAMIZ gereken bir tür küresel orman veya parka tan›k olduk. Ben bir
gazeteci, Documenta’y› izlemesi gereken biri olarak, gördücurrency1üm gündelik nesnelerin
baz›lar›n›n sanat yap›tlar› olducurrency1unu keflfettim, ama bunu geri dönüfl yolunda
katalocurrency1u okurken keflfettim – bu moral bozucuydu. Belki de Catherine David bize
çeflitlilicurrency1in gerçekten sinir bozucu bir fley olducurrency1unu gösteren tek kifliydi. Farkl›
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