In general, we can say that biennials in the periphery have the function of being
cultural political motors, which propel the developing of contemporary art and
installing an infrastructure for the local and international scene. During this Istanbul
Biennial for instance, over 40 art events have been organized.
About the Popularity of the Istanbul Biennial:
The Istanbul Biennial developed in the last 20 years from a mainly local art event
with a few foreign artistic contributions to one of the most popular biennials in the
world. Today, after the Venice Biennial and Sao Paolo Biennial, it is one of the
biennials you have to be in, in order to be a part of the global art circuit. The
increasing number of visitors – around 10.000 visited the first Istanbul Biennial in
1987 and around 100.000 came this year – as well as the expanding national and
international press coverage are indicators of its growing importance. According to
Beral Madra, just a few international and even less local journalists attained the first
press conference. This year, around 300 journalists came.
What is the reason for this popularity in spite of being still a biennial of the
periphery, which has a very poor budget? It would not be possible to organize this
event without the extensive support of sponsors and foreign cultural institutions.
Here, you can see a common paradox biennials have to deal with: How can this
biennial be really critical towards capitalism and liberalism if it is depending on
sponsorships? How can the popularity of the Istanbul Biennial, which has to face so
many political and economical problems, has no extensive infrastructure of art and
SESSION 2 / 2. OTURUM / MARCUS GRAF 71
araçlard›r. Dolay›s›yla, ‹stanbul’un çacurrency1dafl sanat ve kültür dünyas›n›n olumlu ünü,
‹stanbul Bienali ile yak›ndan bacurrency1lant›l› olducurrency1u halde, resmi konumlardan gelen
destecurrency1in çok s›n›rl› olmas› oldukça tuhaf.
Genel olarak flunu söyleyebiliriz ki, çeperdeki bienaller, kültürel siyasi motor ifllevi
görür, çacurrency1dafl sanat›n gelifliminin ve yerel ve uluslararas› alanda bir altyap›
kurulmas›n›n itkisi olur. Örnecurrency1in bu ‹stanbul Bienali kapsam›nda, 40’tan fazla sanat
etkinlicurrency1i gerçeklefltirildi.
‹stanbul Bienali’nin Popülaritesi Hakk›nda:
‹stanbul Bienali, son 20 y›lda, esasen az say›da yabanc› sanatsal katk›ya sahip yerel
bir sanat etkinlicurrency1i olmaktan ç›k›p, dünyadaki en popüler bienallerden biri haline
geldi. Bugün art›k Venedik ve Sao Paulo bienallerinden sonra, küresel sanat
çevresinin bir parças› olabilmek için mutlaka içinde bulunman›z gereken
bienallerden biri. Artan ziyaretçi say›lar› (1987’deki ilk ‹stanbul Bienali’ni yaklafl›k
10,000 kifli ziyaret ederken, bu y›lkine yaklafl›k 100,000 kifli geldi) kadar, geniflleyen
ulusal ve uluslararas› bas›nda yer alma s›kl›currency1› rakamlar› da, bienalin büyüyen
öneminin göstergesi. Beral Madra’n›n dedicurrency1ine göre; ilk bas›n toplant›s›na sadece
birkaç uluslararas› ve hatta daha da az say›da yerel gazeteci kat›lm›fl. Bu y›l yaklafl›k
300 gazeteci geldi.
Halen çeperin çok fakir bir bütçeye sahip bienali olunmas›na racurrency1men bu popülerlicurrency1in
sebebi ne? Bu etkinlicurrency1i düzenlemek, sponsorlar›n ve yabanc› kültür kurumlar›n›n
kapsaml› destecurrency1i olmasayd› mümkün olamazd›. Burada bienallerin ucurrency1raflmas›
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