actually read ALL of his well known book Orientalism, I assumed the title of an
exhibition in Istanbul had some sort of reference to the concept orientalism. So in
the press conference of the biennial I asked René Block to elaborate on that. Only to
find out that he wasn’t at all familiar with Said. Well, that’s OK, it can be... But guess
what. The concept text distributed to the press contained several referenced quotes
from the book.
As for these big events called biennials. Couple of quick remarks.
As I web-hopped, one thing that I noticed is that now there are so many 1st and 2nd
international biennials all around the world from Uzbekistan to Philippines. Their
statements, their objectives, their concerns and hopes appear amazingly similar.
They all want to be Venice and Sao Paulo when they grow up. Good... the more the
merrier. However, we all know the art fairs now are becoming serious competition
to biennials. So just watch out!
1. Just as Tom Morton’s analogy of the curator to the advertising copywriter, these
events most of the time have a public visibility, hence public relations objective.
Naturally so. Anytime a sponsor transfers resources, the sponsor expects public
visibility in return. These days, the companies that provide the support for the public
visibility are not called advertising companies, nor are they called PR companies.
They are called communication partners. They create the resources, sponsorships
as well as the necessary public visibility.
2. I am not going to say that all of this, the events, the producers, the editors, the
communicators have nothing to do with art, however the relationship to art is quite
ambiguous. The distance of these events to the realm of PR is much shorter than
SESSION 3 / 3. OTURUM / ERDA⁄ AKSEL 95
kitab› Oryantalizm’in TÜMÜNÜ okumufltum, ‹stanbul’daki bu bafll›kta bir serginin,
oryantalizm kavram›na bir tür göndermesi olducurrency1unu sanm›flt›m. Dolay›s›yla, bienalin
bas›na tan›t›m konferans›nda René Block’tan bu hususu ayr›nt›land›rmas›n› rica
ettim. Sadece Said’e hiç aflina olmad›currency1›n› öcurrency1rendim. Tamam, bu olabilir... Ama bilin
bakal›m ne? Bas›na dacurrency1›t›lan konsepte iliflkin metin, kitaptan bir çok referans›
verilmifl al›nt› içeriyordu.
Bienaller olarak adland›r›lm›fl büyük etkinlikler hakk›nda bir-iki h›zl› yorum.
‹nternette gezerken fark›na vard›currency1›m bir dicurrency1er fley, günümüzde dünyan›n her yerinde
Özbekistan’dan Filipinler’e, bir çok birinci ve ikinci uluslararas› bienal olducurrency1uydu.
Söylemleri, hedefleri, kayg›lar› ve umutlar› flafl›rt›c› bir flekilde birbirini and›r›yor.
Hepsi de büyüdüklerinde Venedik ve Sao Paulo olmak istiyorlar. Pekala... Ne kadar
çok, o kadar keyif verici. Ancak, hepimiz biliyoruz ki, art›k sanat fuarlar› bienallere
ciddi biçimde rakip olmaya bafll›yor. Yani dikkatli olun!
1. T›pk› Tom Morton’un küratörle reklam metni yazar› aras›ndaki örneksemesi gibi,
bu etkinliklerin çocurrency1u zaman genel bir görünürlücurrency1ü, bu yüzden de bir halkla iliflkiler
hedefi olur. Bu docurrency1al. Ne zaman bir sponsor kaynaklar›n› tahsis etse, karfl›l›currency1›nda
genel görünürlük bekler. Bugünlerde, genel görünürlük için destek sacurrency1layan
flirketler art›k reklam flirketleri veya halkla iliflkiler flirketleri olarak adland›r›lm›yor.
Onlara iletiflim ortacurrency1› deniyor. Onlar kaynaklar› ve sponsorluklar› yarat›yor, dahas›
gerekli olan genel görünürlücurrency1ü de.
2. Tüm bunlar›n; etkinlikler, üretenler, editörler, ileticilerin sanatla hiç alakalar›
olmad›currency1›n› söylemeyececurrency1im, ancak sanatla olan iliflkileri oldukça belirsiz. Bu
etkinliklerin halkla iliflkiler dünyas›na olan mesafesi, sanat yap›m›na olan
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