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Z\u0131rh Ku\u015fanm\u0131\u015f Desenler<\/strong><\/p>\n \u0130brahim Resnelli, \u201cZ\u0131rh\u0131n \u00d6tesinde\u201d ismini verdi\u011fi ilk ki\u015fisel sergisi ile ili\u015fkilendirdi\u011fi ve sanat\u00e7\u0131 kimli\u011finin h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc bireysel felsefi d\u00fcnyas\u0131nda kendine sanatsal yarat\u0131ma dair bir tak\u0131m kavramlar\u0131 hareket noktas\u0131 olarak belirler ve izleyicilerinden yap\u0131tlar\u0131n\u0131 zihinsel ve ruhsal bir yolculuk i\u00e7erisinde okumalar\u0131n\u0131 talep eder.<\/p>\n Resnelli \u00e7er\u00e7eve, cam gibi desenlerini saran \u00f6\u011feleri – hatta desenin kendisini dahi – z\u0131rh olarak tan\u0131mlar. Sanat yap\u0131t\u0131n\u0131n sanat\u00e7\u0131n\u0131n zihninden ayr\u0131l\u0131\u015f\u0131 ve form kazanmas\u0131n\u0131 bir anlamda z\u0131rh ku\u015fanmas\u0131 olarak tarif ederek bu durumu sorunsalla\u015ft\u0131r\u0131r ve izleyici konumundaki bizlere d\u00fc\u015fenin zihinlerimiz, ruhlar\u0131m\u0131z, alg\u0131lar\u0131m\u0131z ve duygular\u0131m\u0131z yoluyla yap\u0131tla ileti\u015fim kurarak bu fiziksel \u201cengelin\u201d, bu koruma kalkan\u0131n \u00f6tesine ge\u00e7mek oldu\u011funu ima eder. Yaln\u0131z b\u00f6yle yapmakla sanat\u00e7\u0131 hem yap\u0131tlar\u0131n\u0131 hem de izleyicilerini sava\u015f\u00e7\u0131 konumuna yerle\u015ftirir. Zira i\u00e7erdi\u011fi anlam\u0131 gizlemek ve korumak i\u00e7in z\u0131rhlara b\u00fcr\u00fcnm\u00fc\u015f desenler ile anlama yakla\u015fmak u\u011fruna m\u00fccadele veren veya vermek arzusunda olan izleyicileri, zihinsel ve duygusal bir sava\u015f\u0131ma davet eder. Bu ba\u011flamda zafer, anlama yak\u0131nla\u015fmak veya ideal olarak anlam\u0131 kavramak \u015feklinde tan\u0131mlanabilir. Sanat\u00e7\u0131, bu kudretli ileti\u015fim an\u0131 i\u00e7in umut beslemekte ve onun olas\u0131l\u0131\u011f\u0131n\u0131 kutsamaktad\u0131r.<\/p>\n Resnelli, yap\u0131tlar\u0131n\u0131n varl\u0131klar\u0131 gere\u011fi zaman\u0131n \u00f6tesinde bir yabanc\u0131l\u0131k ve uzakl\u0131k temsili i\u00e7erdi\u011fini, dahas\u0131 bu uzakl\u0131k meselesinin sadece birbirimiz aras\u0131nda olan uzakl\u0131ktan ibaret olmad\u0131\u011f\u0131n\u0131, ayn\u0131 zamanda kendimize olan uzakl\u0131\u011fa da i\u015faret etti\u011fini ifade eder. Her \u015feye ra\u011fmen bitimsiz bir iyimserlikle sanat\u00e7\u0131, sanat ve duyumsayan bak\u0131\u015f\u0131m\u0131zla sanat\u0131 sorgulamam\u0131z yoluyla bu z\u0131rh\u0131n, mesafenin \u00f6tesine ge\u00e7ebilmemizin olas\u0131 oldu\u011funa teredd\u00fcts\u00fcz inanmaktad\u0131r.<\/p>\n \u00c7al\u0131\u015fmalar\u0131ndaki g\u00f6rsellerin de\u011fi\u015fken yap\u0131lar ta\u015f\u0131mas\u0131n\u0131n (el, ayak, portre, nesne gibi g\u00f6rsel yap\u0131lar\u0131n bir arada olu\u015funun) \u00f6z\u00fcnde ayr\u0131nt\u0131dan \u00f6teye gitmedi\u011fini savunan sanat\u00e7\u0131, anlama, ruha yani z\u0131rh\u0131n \u00f6tesine ula\u015fmaya \u00e7al\u0131\u015fman\u0131n as\u0131l gayret etti\u011fi \u015fey oldu\u011funu vurgular. G\u00f6r\u00fcneni ger\u00e7ek\u00e7i bir \u00fcslupla fotokopi etmenin \u00f6tesinde ve kar\u015f\u0131s\u0131nda bir duru\u015f benimser. Sanat\u00e7\u0131n\u0131n oda\u011f\u0131nda varolu\u015f bi\u00e7imleri bulunmaktad\u0131r ve z\u0131rh\u0131n gerisinde var olan ruhu \/ anlam\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lmak yeg\u00e2ne gayesidir.<\/p>\n Resnelli, desenlerinin daha ilk bak\u0131\u015fta izleyeni yakalayan hiperrealist virt\u00fc\u00f6zitesinin fark\u0131nda olmakla birlikte, yap\u0131tlar\u0131n\u0131n kavramsal alt metinlerinin as\u0131l \u00f6nemi ta\u015f\u0131d\u0131\u011f\u0131n\u0131n alt\u0131n\u0131 \u00e7izer ve bu yakla\u015f\u0131m\u0131 tan\u0131mlamak i\u00e7in \u201ckavramsal ger\u00e7ek\u00e7ilik\u201d ifadesini kullan\u0131r. Zira arzulad\u0131\u011f\u0131 salt g\u00f6r\u00fcnen ger\u00e7ekli\u011fin \u00e7izimsel aktar\u0131m\u0131ndan ziyade, kavramsal d\u00fc\u015f\u00fcn\u00fc\u015fe imk\u00e2n sa\u011flayan ve bu yolla da \u201c\u00e7\u0131plak ger\u00e7ekli\u011fi ve z\u0131rh\u0131 da a\u015farak, \u00e7\u0131plakl\u0131\u011f\u0131n ve z\u0131rh\u0131n gerisinde var olan ruha \/ anlama ula\u015fmay\u0131 ve bu ruhu \/ anlam\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lmay\u0131 ama\u00e7layan, varolu\u015f odakl\u0131 \u00e7al\u0131\u015fmalar\u201d \u00fcretmektir. Benimsedi\u011fi sanatsal yakla\u015f\u0131m onun ruh-beden, bo\u015fluk-madde, fizik-metafizik gibi ikilikleri derin bir \u015fekilde incelemesine olanak sa\u011flar. G\u00f6r\u00fcnen \u00fczerinden g\u00f6r\u00fcnmeyeni if\u015fa etmeye \u00e7al\u0131\u015fan sanat\u00e7\u0131 bu ba\u011flam i\u00e7erisinde z\u0131rh\u0131, \u00f6tesine ula\u015f\u0131lmas\u0131 gereken g\u00f6r\u00fcn\u00fcmler d\u00fcnyas\u0131 olarak a\u00e7\u0131klar. Zamanda akarak yok olu\u015funa ilerleyen her \u015feyin kendisine fiziki varl\u0131\u011f\u0131n \u00f6tesinde bir bak\u0131\u015fla bak\u0131lmas\u0131n\u0131 talep etti\u011fini ifade ederken desenlerinde var olan\u0131n, maddenin \u00f6tesini anlama ve aktarma u\u011fra\u015f\u0131 i\u00e7erisinde oldu\u011fu hissedilir.<\/p>\n T\u00fcm bu d\u00fc\u015f\u00fcnceleri g\u00f6z \u00f6n\u00fcnde bulundurarak Resnelli\u2019nin \u201cZ\u0131rh\u0131n \u00d6tesinde\u201d isimli sergisindeki yap\u0131tlar\u0131na y\u00f6neldi\u011fimizde sanat\u00e7\u0131n\u0131n bak\u0131\u015flar\u0131n\u0131 ve kalemini en yak\u0131n\u0131na, kendi bedenine \u00e7evirdi\u011fini, \u201cMotivasyon \u00c7\u00fcr\u00fcmesi\u201d tripti\u011finde oldu\u011fu gibi zorlu i\u00e7 sorgulamalarla bo\u011fu\u015fan otoportreler, bedensel g\u00f6zlemler \u00fczerinden beden \u00f6tesine ge\u00e7me, g\u00f6zle g\u00f6r\u00fclemeyeni ke\u015ffetme, tan\u0131ma ve anlama gayretine tan\u0131k oluruz. Desenlerinde d\u0131\u015fsal g\u00f6zlemler, izleyicinin de anlamland\u0131rma s\u00fcrecine dahil olmas\u0131yla birer birer i\u00e7sel g\u00f6zlemlere d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n \u201cA\u011f\u0131rl\u0131k ve Hafiflik\u201d adl\u0131 triptik \u00e7al\u0131\u015fmas\u0131nda orta k\u0131s\u0131mda yer alan imgede harekete ge\u00e7mek \u00fczere olman\u0131n verdi\u011fi gerilimli fakat dura\u011fan dinamizm g\u00f6zlenir parmak ucunda duran ayaklarda. Fig\u00fcr\u00fcn niyeti hakk\u0131nda bir fikrimiz olmamakla birlikte hik\u00e2yeyi kurgulamak bize kalm\u0131\u015ft\u0131r. Havalanm\u0131\u015f ayaklar g\u00f6r\u00fcr\u00fcz tripti\u011fin sa\u011f ve sol yanlar\u0131nda. Fig\u00fcr korku veya b\u0131kk\u0131nl\u0131k i\u00e7erisinde bir \u015feylerden mi ka\u00e7maktad\u0131r, yoksa g\u00f6remedi\u011fimiz bir engelin \u00fczerinden mi atlamaktad\u0131r? Belki g\u00f6\u011fe y\u00fckselen bir aziz fig\u00fcr\u00fcd\u00fcr kar\u015f\u0131m\u0131zdaki? An\u0131n \u00f6ncesi ve sonras\u0131n\u0131 kurgulamak bilin\u00e7li bir tercih olarak izleyene b\u0131rak\u0131lm\u0131\u015ft\u0131r.<\/p>\n \u201cBakt\u0131\u011f\u0131m\u0131z ve G\u00f6rd\u00fc\u011f\u00fcm\u00fcz\u201d adl\u0131 diptikte yorgan\u0131n \u00fczerinde zarif\u00e7e uzanan el bizi h\u0131zl\u0131ca ge\u00e7mi\u015fe savurarak Sistina \u015eapeli\u2019nin tavan\u0131ndaki ilk insan\u0131n yarad\u0131l\u0131\u015f ve ruh kazanma an\u0131na g\u00f6t\u00fcrebilir. Dipti\u011fi olu\u015fturan sa\u011f taraftaki desen ayn\u0131 imgenin daha az detay i\u00e7eren yans\u0131mas\u0131d\u0131r, burada desen ile ill\u00fcstrasyonun fl\u00f6rt\u00fcne tan\u0131k oluruz. Di\u011fer yandan yap\u0131t\u0131n ba\u015fl\u0131\u011f\u0131nda da belirtildi\u011fi gibi Resnelli, bakt\u0131\u011f\u0131m\u0131z\u0131n ne kadar\u0131n\u0131 ger\u00e7ekten g\u00f6r\u00fcyoruz, neleri yakalay\u0131p, neleri ka\u00e7\u0131r\u0131yoruz gibi sorular\u0131 kendimize y\u00f6neltebilece\u011fimiz ortam\u0131 sa\u011flar.<\/p>\n Resnelli\u2019nin yap\u0131tlar\u0131na verdi\u011fi isimler hem dil duyarl\u0131l\u0131\u011f\u0131n\u0131n y\u00fcksek oldu\u011funa, dilsel ifadeye inan\u00e7 duydu\u011funa i\u015faret eder hem de kendi yarat\u0131m dilini \u00e7\u00f6zebilmemiz i\u00e7in bizlere sundu\u011fu ipu\u00e7lar\u0131d\u0131r. \u201c\u00c7arp\u0131\u015fma\u201d gibi kimi yap\u0131tlar\u0131nda desene kendi kaleme ald\u0131\u011f\u0131 yaz\u0131lar da e\u015flik eder, imgeyle birle\u015ferek bizi derin duygu ve d\u00fc\u015f\u00fcnce dizgelerine \u00e7eker.<\/p>\n Sanat\u00e7\u0131n\u0131n t\u00fcm \u00e7al\u0131\u015fmalar\u0131nda \u00f6ne \u00e7\u0131kan bir di\u011fer unsur da bo\u015fluktur. Desenleri i\u00e7inde bulunduklar\u0131 beyaz alanlar\u0131n yaratt\u0131\u011f\u0131 bo\u015flu\u011fun saf g\u00fcc\u00fcnden, sonsuzlu\u011fundan, do\u011furganl\u0131\u011f\u0131ndan beslenir. Resnelli, bu dokunulmam\u0131\u015f, beyaz alanlar sayesinde k\u00e2\u011f\u0131d\u0131n \u00fczerine att\u0131\u011f\u0131 \u00e7izgileri \u00f6ld\u00fcrmedi\u011fini ve onlara bir varolu\u015f alan\u0131 da b\u0131rakm\u0131\u015f oldu\u011funu s\u00f6yler. Desenlerinin nefes alabilmesi i\u00e7in bu bo\u015fluklara ihtiya\u00e7 duyduklar\u0131n\u0131 g\u00f6r\u00fcr\u00fcr\u00fcz. Ayn\u0131 zamanda bo\u015flu\u011fun kimi yap\u0131tlar\u0131nda kendi karakterini kazand\u0131\u011f\u0131n\u0131 da g\u00f6zlemleyebiliriz. \u00d6rne\u011fin, \u201cMotivasyon \u00c7\u00fcr\u00fcmesi\u201d adl\u0131 tripti\u011fine geri d\u00f6necek olursak soldan sa\u011fa desenleri incelerken bo\u015flu\u011fun giderek yap\u0131ta egemen oldu\u011funu g\u00f6r\u00fcr\u00fcz. Bo\u015fluk bedeni yava\u015f yava\u015f sar\u0131p adeta yutarken fig\u00fcr\u00fc derin bir uykuya veya yoklu\u011fa, hi\u00e7li\u011fe belki \u00f6l\u00fcme \u00e7ekmesine de tan\u0131k oluruz. Bu yakla\u015f\u0131m yerine tripti\u011fi tersinden okursak, z\u0131t bir yorumla, yokluktan varl\u0131\u011fa \/ bedene ge\u00e7i\u015f veya derin uykudan uyan\u0131\u015f ve hayatla, varolu\u015fla y\u00fczle\u015fme gibi durumlar g\u00f6zlemleriz. Yap\u0131t sonsuz bir d\u00f6ng\u00fc i\u00e7inde varl\u0131k-yokluk, uyku-uyan\u0131\u015f, do\u011fum-\u00f6l\u00fcm, ba\u015flang\u0131\u00e7-son ikiliklerini harekete ge\u00e7irir.<\/p>\n \u0130brahim Resnelli, \u201cZ\u0131rh\u0131n \u00d6tesinde\u201d adl\u0131 sergisinde kimi zaman k\u00e2\u011f\u0131da, g\u00f6r\u00fcnen ger\u00e7ekli\u011fin \u00f6tesindeki hakikate ula\u015fmay\u0131 arzu eden, ger\u00e7ek\u00e7i desenler \u00e7izerek, ya\u015fam\u0131 ve duygular\u0131 mercek alt\u0131na ald\u0131\u011f\u0131 yaz\u0131lar ekleyerek, kimi zaman da verimli bo\u015fluklar b\u0131rakarak bireysel sorgulamalar\u0131n\u0131 somutla\u015ft\u0131r\u0131r. Z\u0131rh olarak tan\u0131mlad\u0131\u011f\u0131 bi\u00e7imsel unsurlar\u0131 a\u015fmak i\u00e7in izleyicilerini zihinsel ve duygusal bir sava\u015f\u0131ma davet eden sanat\u00e7\u0131 galibiyetin k\u0131ymetli bir ileti\u015fim an\u0131 ta\u015f\u0131d\u0131\u011f\u0131n\u0131 vaat etmektedir.<\/p>\n Alev Berbero\u011flu<\/p>\n<\/div>\n [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row][vc_column][vc_custom_heading text=”\u0130brahim Resnelli” font_container=”tag:h2|text_align:left|color:%23cf2065″ use_theme_fonts=”yes”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=”.vc_custom_1578354212561{margin-top: 25px !important;}”] ZIRHIN \u00d6TES\u0130NDE BEYOND THE ARMOUR 17 Ekim – 27 Kas\u0131m 2015 \u0130brahim […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/pages\/383"}],"collection":[{"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/comments?post=383"}],"version-history":[{"count":3,"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/pages\/383\/revisions"}],"predecessor-version":[{"id":388,"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/pages\/383\/revisions\/388"}],"wp:attachment":[{"href":"https:\/\/dairesanat.com\/index.php\/wp-json\/wp\/v2\/media?parent=383"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}