culture, has no developed market for contemporary art and has no big audience, still
grow? Although the increasing number of visitors is just a relative and local success
if you compare it with the number of people who live in Istanbul, or compare it with
Kassel and its Documenta, we realize a positive progress. Anyway, the reason for
the popularity of the Istanbul Biennial is the city itself. If it would be an Ankara
Biennial, which was organized once upon a time, it would not be so famous. Visitors
and especially the foreign artists love Istanbul for its creative chaos, its clash of
history and modernism, and the mixture of orient and occident with the Bosphorus
as its symbol. Actually, they do not love Istanbul but Beyoglu, but this is another
issue.
A second reason for the popularity of the Istanbul Biennial is the use of historical
places from the Byzantine and Ottoman time, which functioned as exhibition spaces
until the 9th Biennial. Due to the lack of any suitable exhibition space for
contemporary art, the Istanbul Biennial had always huge problems of finding venues
for the exhibitions. The biennial turned this disadvantage into one of its biggest
advantages by creating the exhibition strategy of showing contemporary art in
historical places. Lüpertz or Pistoletto e.g. would have never come to Istanbul in
1987 if they could not have showed their works in the Byzantine church St. Irene.
The 10th Istanbul Biennial – Optimism?
The 10th Biennial is following the 9th Biennial in concept and form. Like the previous
biennials, it abandoned the former strategy of showing contemporary art in
historical places. This meant a big risk, because the Istanbul Biennial cancelled one
72 SESSION 2 / 2. OTURUM / MARCUS GRAF
gereken yayg›n bir çeliflkiyi görebiliyorsunuz: Bu bienal, ecurrency1er sponsorluklara
dayan›yorsa, kapitalizm ve liberalizme karfl› gerçek anlamda nas›l elefltirel olabilir?
Bu kadar çok siyasal ve ekonomik sorunla yüzleflmek zorunda kalan, kapsaml› bir
sanat ve kültür altyap›s›na sahip olmayan, çacurrency1dafl sanat için geliflmifl bir pazar› ve
büyük bir izleyici kitlesi olmayan ‹stanbul Bienali’nin popülerlicurrency1i nas›l olur da hala
büyür? Artan ziyaretçi say›lar›n› ‹stanbul’da yaflayan insan say›s›yla veya Kassel ve
oradaki Documenta’yla karfl›laflt›rd›currency1›m›zda göreceli ve yerel bir baflar› olsa da,
olumlu bir geliflmenin fark›na var›yoruz. Her durumda, ‹stanbul Bienali’nin
popülerlicurrency1inin nedeni, kentin kendisidir. Ecurrency1er bu bienal, bir zamanlar düzenlenmifl
olan Ankara Bienali olsayd›, bu kadar ünlü olmazd›. Ziyaretçiler ve özellikle yabanc›
sanatç›lar, ‹stanbul’u sahip olducurrency1u yarat›c› karmafla, tarih ve modernizm aras›ndaki
çat›flmas› ve simgesi Bocurrency1az olan docurrency1u ile bat›n›n kar›fl›m› haliyle seviyorlar. Asl›nda
onlar ‹stanbul’u decurrency1il, Beyocurrency1lu’nu seviyorlar, ama bu baflka bir konu.
‹stanbul Bienali’nin popülerlicurrency1inin ikinci bir nedeni ise, Bizans ve Osmanl›
dönemlerinden kalma tarihi mekanlar›n kullan›m›d›r, ki bunlar 9. Bienal’e kadar
sergi mekanlar› olarak ifllev görmüfltür. Çacurrency1dafl sanat için uygun bir sergi mekan›n›n
yoklucurrency1una bacurrency1l› olarak ‹stanbul Bienali, her zaman sergiler için yer bulma
konusunda büyük sorunlar yaflam›flt›r. Bienal çacurrency1dafl sanat› tarihi yerlerde sunmak
gibi bir sergi stratejisi gelifltirerek, bu zarar› kendisi için en büyük yararlardan biri
haline dönüfltürdü. Bir Lüpertz veya Pistoletto, örnecurrency1in, ecurrency1er ifllerini bir Bizans
kilisesi olan Aya ‹rini’de sunma olanacurrency1›na sahip olmasalard›, asla 1987’de ‹stanbul’a
gelmezdi.
10. ‹stanbul Bienali - ‹yimserlik?
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