5 Nisan 2017 Çarşamba

Cunda Hatırası



canım annem ile.. 

24 Şubat 2017 Cuma

bir 'zafer' sergisi; Hayat Kazandı



Leyla Gediz 
'Broken', 2016 
oil on canvas, 38x60x4 cm 


Önce Balat’a şaşırdım, sonra Leyla’ya. 

Son iki senedir içinden çıkamadığım bir konu var. Peki şimdi hayata hiçbir şey olmamışçasına devam mı etmeli, yoksa durdurmalı mı gündelik olanın akışını, hayatı? İkilem, çünkü bir yanın ‘hayat senin elbette doyasıya ...’ falan diyor. Diğer yandan adımların geri gidiyor, istemiyorsun, çünkü bu kadarı çok fazla.

Son iki senedir bu işin içinden çıkabilenleri ve çıkamayanları izliyorum. Yani elinde bir ‘hayat’ ile kalakalanların, bu saatten sonra o ‘hayat’ ile acaba ne yapacaklarını merak ediyorum. ‘Beyhude bir çaba’ ile ‘şimdi değilse ne zaman?’ fikirleri arasında gidip gelip gidiyorum... Son iki senedir ‘zamanlama’ hiç olmadığı kadar önemli tabi.

Leyla’nın hep kendine dair bir zaman dilimi vardı. Ben o zaman diliminden tanırım Leyla'yı. Sanırım bugüne kadar yaptığı sergilerin tamamını gördüm. Göremediğim bir kaçına ise görmüş kadar hakimim. Koşullar ve mekanlar daima değişti, onun kendine özgü zamanı hiç değişmedi. Fakat şimdi o zaman beni farklı zamanlarla meç ediyor. Nostalji diyemeyeceğim, melankoli hiç değil, başka türlü bir yüzleşme. Hayata dair.

Gemmayzeh’de savaş yıkıntıları arasında filizlenen sanat galerilerini gezerken şöyle düşünüyordum; bu insanlar sanat yaparak sanat dışında bir şeyi daha mümkün kılıyorlar, hayatın her şeye rağmen devam edebileceği gerçeğiyle yüzleşmemizi sağlıyorlar... Balat bir süredir bana Gemmayzeh kadar yakın/uzak. Şimdi aynı sokaklarda yürümemin bir nedeni var.   

Yaptığı her sergide iki adım geri, üç adım ileri gitmeyi sever Leyla. Lineer zamanı kırar, başka türlü yer açamaz kendi zamanına. Asla ‘kendini aşma’ hevesine düşmez, pratiğine ihanet etmez. Bugün yaptığı resim, on sene önce yaptığı resmi çürütmez, böyle bir kaygı da gütmez. Kendi zamanına duyduğu sadakat, onun eserleriyle haşır neşir olan izleyiciye ayrı bir haz verir. Her şeyin yerli yerinde olduğuna dair, sanatçıya duyulan bir tutkuya dönüşür. Tarih gibi.   

‘Loş Bahçe’ serisi gibi doğrudan mekana odaklandığı serilerini ve bazı istisnaları saymazsak genellikle mekan yoktur Leyla’nın resminde. Mekan boşluktur. İmge ve mekan arasındaki ilişkiyi gölge/ışık oyunlarıyla yansıtır tuvale. Perspektifi kurar fakat imgeyi en doğru noktaya yerleştirmeyi izleyiciye bırakır. Buraya kadar olan tuvalin kapladığı alanla ilgili.

Bir de tuvalin dışı var ki, ikinci bir katman olarak sergi mekanını düşünmemizi gerektiriyor. Uzunca süredir resim asmıyor Leyla, resim koyuyor. Ardışık formüller arasında konumlanan her bir tuval, imgenin mekanla, izleyiciyle ve bir diğer imgeyle olan ilişkisini yeniden tarifliyor. Tüm bu formüler arasında ‘sergi’ bir bütün olarak konuşuyor. Son senelerde yaptığı neredeyse tüm sergilerde bu bütünü bozdu ve baştan kurdu.  

Serpilen, hem tuvalin içerdiği hem de mekanda ürettiği içerik bağlamında bana kalırsa bir zirve. Fakat dikey anlaşılmamalı, uzun zamandır kurmakta olduğu yatay denklem içerisinde bir köşe taşı... Üstelik bu kez hiç olmadığı kadar ‘biz’e doğru. Sanatçının ‘serpilişi’, hem bireysel pratiğinin tarihine, hem de bugünkü tarihe yansıttığı ışığın (yer yer ters yüz ettiği gölge oyunlarının) örgüsünde.

Bir süredir çok büyük prodüksiyonlu sergilerle pek ilgilenmiyorum. O gibi sergilerde özgül soru(n)larıma dair yanıtlar yakalayamıyorum. Asıl açılımın kamuya yönelik olduğunu görüyorum ve doğrusu o kamusal hengameden bana ışık doğmuyor. Esasen uzunca bir süredir lokalde neler olup olamayacağının merakındayım. O beklenmedik çıkışı bekliyorum. Biraz da bu beklentiden olsa gerek, (başa dönersek) önce Balat’a şaşırdım, sonra Leyla’ya. WOW!  

Ve buradan bize gelirsek;

Hayatta bazı konular vardır, onlardan bahsederken adını telaffuz etmeye asla lüzum görmeyiz... Cümlenin renginden iki taraf da anlar bahsedileni. Harbiye yönüne giden halk otobüsüyle eve dönerken içgüdüsel olarak dökülüverdi ağzımdan o en içimi kemiren soru;

“Tamam ama, peki sen bunu nasıl başardın?”

tereddütsüz yanıtladı Leyla;

“Anka kurtardı beni...”

Şaşırmadım, ama ben yapamazdım. Dakikalar önce yolun kenarında taksi beklerken, koca otobüsü çevirip “hadi atla bunla gidelim” diye biniverdi Leyla... Ben tek başıma artık o otobüse de binemezdim.

Leyla aynı Leyla.
Leyla daima.    

18 Ocak 2017 Çarşamba

The Beauty of Concept @ PLATO SANAT




The Beauty of Concept

Artists: Burak Arıkan, Elçin Ekinci, Özlem Günyol & Mustafa Kunt, Yasemin Özcan, Sümer Sayın, Tayfun Serttaş, Eda Soylu, Cemre Yeşil 

Curator: Marcus Graf
Assistant Curator: Melike Bayık

Exhibition: 18 January - 16 April 2017 
Cocktail: 18 January - 18.00

The Beauty of Concept is the third and last exhibition in a series that investigates various strategies within three major fields of contemporary art in Turkey at Plato Sanat. After The Power of Form reviewed the situation of abstract art and formalism, The Mystery of Figure reflected the state of figurative art. Now, The Beauty of Concept presents different notions and forms of conceptual art and research based art.

For around 100 years, art constantly increased the importance of thought in the artistic process, so that finally in in the 1960’s, conceptual art freed the artist from the obligation of creating objects. Since then, the development of ideas and their minimal representation became one of the primary goals in the art world. Today, after numerous forms of concept based art occurred, research based art became an important approach for analyzing social as well as political issues within the field of conceptualism. Being close to scientific analysis, and using academic-like methods, the artist often resembles a researcher. Still, the outcome of these long-term investigations are always artworks, and therefore differ from traditional intellectualism and on formal knowledge based theses. 

In current conceptual art, aesthetic and formal considerations seem to be of importance. Different from the classic conceptual artist of the 1960’s, for whom aesthetic was a term to overcome in order to destroy the formalist and decorative aspects of art, in today’s understanding, form, media, visuality and aesthetic became parts of a rather eclectic and pluralist notion of conceptual art. 

The Beauty of Concept gives attention to this tendency and reveals the power, and beauty of artistic conceptualism and artistic research through the presentation of strong artists who are able to balance aesthetic and thought in order to comment on today’s world. The show proves that visuality matters, and aesthetic can be an important part of the conceptual work. Therefore, within this field, beauty as well as aesthetic are not dead, and they can merge with conceptual frameworks and research based strategies. The Beauty of Concept underlines this in an aesthetically appealing and intellectually challenging way.



18 Ekim 2015 Pazar

"Tayfun Serttaş reimagines the Ottoman Natural History Museum" / Kaya Genç - DAILY SABAH


For LINK


Tayfun Serttaş reimagines the Ottoman Natural History Museum

In his Studio-X Istanbul exhibition ‘Le Musee d'Histoire Naturelle de Constantinople,' Turkish artist Tayfun Serttaş explores the history of Istanbul's first natural history museum.

Kaya Genç

In 1871, the Austrian scientist Karl Eduard Hammerschmidt founded the Ottoman Empire's first natural history museum. Born in Vienna in 1800, Hammerschmidt had taken shelter in Istanbul in 1848, following the uprising of the masses against Austrian troops in Vienna. In his new life here Hammerschmidt came to be known as Dr. Abdullah Bey and founded a museum, established as part of the Tıbbiye-i Askeriye-i Şahane (The Royal Military Medical School located in Marmara University's Haydarpaşa Campus). This historic space fulfilling the scientific desire to classify all natural creatures is the starting point of Turkish artist Tayfun Serttaş's new exhibition "Le Musee d'Histoire Naturelle de Constantinople, " which is on display in Studio-X Istanbul until Nov. 1

"Because of my background in anthropology, I have a thorough interest in natural history. Before the invention of photography, the first generation of naturalists and artists had to collaborate. Some natural history collections are also magnificent collections of art. I have always been interested in the shared history of artists and naturalists," Serttaş said.

Located on Istanbul's Meclis-i Mebusan street and run by Columbia University's Graduate School of Architecture, Planning and Preservation, Studio-X Istanbul's gallery space is a perfect fit for this ambitious, witty and oftentimes hilarious exhibition. On display here are meticulously produced lifelike models of numerous animals that Serttaş has transformed into uncanny objects of contemporary art. In an interview with Daily Sabah last week, Serttaş described his preparations for this exhibition. "I have travelled to New York, London and Paris to visit all the leading natural history museums of Europe," he said. "Because of my background in anthropology, I have a thorough interest in natural history. Before the invention of photography, the first generation of naturalists and artists had to collaborate. Some natural history collections are also magnificent collections of art. I have always been interested in the shared history of artists and naturalists."

Serttaş first came across Dr. Abdullah Bey's name whilst visiting the French National Museum of Natural History in Paris. "In his lifetime Dr. Abdullah Bey sent 400 fossils from Anatolia to Paris," he said. "Some of those fossils are still on display in Paris. Once I was certain about the existence of Istanbul's Natural History Museum, I continued with my research in Istanbul."

The scientific mentality displayed in those museums fascinated Serttaş. "The pioneers of the French Enlightenment and the first encyclopedists had an unshakable belief in the classifiable nature of all things." Serttaş described the role of natural history museums as crucial in turning people into subjects and pointed to parallels between the rise of those museums and the era of colonialism in Europe.

"What if there was a natural history museum in Turkey today? What kind of a collection would it have?" Serttaş had these questions in mind while preparing for this show which, he said, provides an ironic answer. "The collection of the actual museum was burned during the Vefa Fire in 1918. Today the remains of that fire, all the official correspondence of the museum that serve as the sole proof of its existence, are stored in the Ottoman Archives of the prime minister's office. My previous exhibitions have focused on different archives. But with "Le Musee d'Histoire Naturelle de Constantinople" I used a new approach; I conceived a narrative using official correspondence. The archival data created the ground for the production of new works."

More than 40 works are on display here, many of them produced in completely different media. The works include video installations, sculptures, drawings, taxidermies, paintings and Ottoman era prints about natural history. "My collection can be viewed as a metaphoric waypoint amidst historical and contemporary debates about museums," Serttaş said. "The museum archives include a two-headed baby from Kayseri who died immediately after birth. They have tried to preserve the baby's body. A goat with seven legs was born in Cyprus and there are letters about its transfer to the Istanbul Natural History Museum. I have used such correspondence while recreating the museum from scratch. There are also works about contemporary issues such as the Anatolian Leopard that was seen after 64 years in Turkey before it was shot dead."

Among the most curious works in the museum are cabinets of curiosities, which the artist describes as "the first free spaces of curation thanks to which the idea of creating private collections in the pre-Enlightenment era came into being."

"Those can be seen as the ancestors of modern museums," Serttaş said. There are around 10 works in this exhibition that directly reference those cabinets of curiosity. Each of these modern cabinets feature various reference points concerning popular culture, be it Kafka's most famous protagonist Gregor Samsa or the dreams of the cartoon character Bambi. "They all ask questions about the process of transformation," the artist said. In the video room Serttaş displays a film titled "Eftalia's Atlantis" that features him as its main character. "In that video I am searching for a legend in Istanbul, 40 meters beneath the Sea of Marmara," he explained. Here, dressed as a mermaid, the artist explores the legend of Eftalia Georgiadi, the first female singer to have her voice recorded in Ottoman era. "According to the legend, the girl was so beautiful that her father rowed her on a boat only during night time on the Bosphorus. Locals would come together to the shore to listen Eftalia's voice. The story of this woman who has had a sad end is recreated through this performance video in the form of a lost legend of Istanbul history." On Nov. 13, the last day of the exhibition, Serttaş will launch his new book "Le Musee d'Histoire Naturelle de Constantinople" that features his commentary on the data obtained throughout his research on this once forgotten natural history museum that is now brought back to life.

Kaynak: "Tayfun Serttaş reimagines the Ottoman Natural History Museum
Kaya Genç - DAILY SABAH, 16 Ekim 2015 

3 Ekim 2015 Cumartesi

"Tayfun Serttaş uncovers forgotten İstanbul Natural History Museum" / Rumeysa Kiger - TODAY'S ZAMAN


For LINK



TAYFUN SERTTAŞ UNCOVERS FORGOTTEN 
ISTANBUL NATURAL HISTORY MUSEUM

Known for his ambitious archival projects, artist Tayfun Serttaş is currently showcasing an exhibition at Studio-X Istanbul discussing the first and only Natural History Museum in Turkish history, which was founded in 1871 but destroyed in a fire in 1918.

Rumeysa Kiger

Serttaş, who is fond of visiting natural history museums in the cities he goes to, one day encountered 400 fossils in the Paris Natural History Museum's mineralogy section that were sent by Abdullah Bey in the Ottoman Empire in exchange for 900 other pieces for İstanbul's Natural History Museum at the time. When he came back to Turkey, he looked for information about Abdullah Bey and the museum, but couldn't find anything at first.

In an interview with Today's Zaman, Serttaş explained that in the beginning, he was only able to find a stamp issued with a picture of Abdullah Bey, a symbolic headstone placed by the Turkish Red Crescent because he was its founder and an ugly bust of him in Kızılay in Ankara. Later on, he looked at the formal documents of the museum in the Ottoman archives of the Prime Ministry and learned that Abdullah Bey was an Austria-origin scientist named Karl Eduard Hammerschmidt who took shelter in the Ottoman Empire due to the Vienna uprising in 1848. When he wanted to continue his efforts in the field of zoology in the empire, he was assigned to build the first natural history museum at the Royal Military Medical School, which was located on the Haydarpaşa campus of today's Marmara University.


In 1870, Abdullah Bey -- who converted to Islam and changed his name of his own will -- started to gather a large collection using his worldwide connections. A year later, the first natural history museum of the empire was opened to the public with the name “Le Musée d'Histoire Naturelle d'École Impériale de Médecine de Constantinople.” The collection featured around 50,000 pieces, Serttaş says. They included 11,891 mineralogy and geology pieces, 2,725 plants, around 5,900 insects and around 2,500 other animals, together with 249 rare books Abdullah Bey brought from Vienna. In 1871, the museum was opened to the public and Abdullah Bey was given the title “Numunehane Müdürü” -- which could be translated as “museum director” -- due to his efforts to found such an institution at the same time period as its contemporaries in Europe.


Following the sudden death of Abdullah Bey in 1874, the museum's activities slowed down and the collection was transferred to the newly established İstanbul University's Geology Faculty. Unfortunately, the collection was burned during the notorious Vefa Fire in 1918 and the first and only natural history museum of İstanbul vanished forever.


“While constructing my relationship with this archive for this exhibition, I chose a new method rather than showcasing these archival materials I found. Using my own humble interest in natural history, I started to produce artworks. The museum itself turned entirely into a metaphor here. What I do is to question the current power regimes through the irony of a museum. Where do I stand among these power regimes and what are the scientific or other methodologies I will lean on to are some of the questions I had in mind,” he says. The exhibition, which took five years to prepare, features a large number of works using mounted animals Serttaş bought from taxidermists living abroad since it is illegal to mount animals in Turkey. They include a baby goat that was born with Down's syndrome, antelopes, raccoons, pigs and various insects. “These are all animals that died in zoos and were mounted later on; they were not killed on purpose,” he specifically underlines.


“Le Musée d'Histoire Naturelle de Constantinople” continues until Nov. 13 at Studio-X in the Fındıklı neighbourhood.

Kaynak: "Tayfun Serttaş uncovers forgotten İstanbul Natural History Museum"
Rumeysa Kiger - TODAY'S ZAMAN 30 Eylül 2015

20 Eylül 2015 Pazar

French Revolution's projection on the Ottomans and Tayfun Serttaş / Huo is Asking @ ARTUNLIMITED







French Revolution's projection on the Ottomans 
and Tayfun Serttaş

 
Huo is Asking

Huo is Asking, is an active personal blog, made out of interviews of five questions, five answers. Artist Huo Rf, by asking these questions to other artists, institutions or art professionals, aims to be aware of the effect and perception of different geographies and art fields. After the appearance of the Huo is Asking interview series in Art Unlimited, the artist expands his field, and asks his art related questions to not only art professionals but also people from different work fields and names he wants to put a spotlight on.

Huo Rf: In our days, art is not evaluated on a career scheme regarding a technical or educational aspect. Once a work is completed, defined as striking, and touching for the audience, only then we look at its history. I am asking
this question, ruling out the fact that
it has previously been asked multiple times: Your academic background is
in anthropology, you produce utilizing various mediums, you do research and archive work. You started producing stories, aspects, situations and persons that you’ve already been looking inside intensely. How did this process evolve? How were your initial works, and the following interactions you experienced shaped?

Tayfun Serttaş: Let me first correct one thing; my academic background is in art. I have an undergraduate degree in anthropology. But I completed my graduate degree in interdisciplinary arts that I still pursue. My graduate thesis includes visual archives. I have often been associated with anthropology.

The reason for this is because my works were often and fairly been
read with regards to sociology, yet even before anthropology, I have
been heavily equipped with art. I haven’t discovered art subsequently; instead art was always present in my life. Then I wanted to evolve on a different platform by incorporating anthropology, and to apply scientific methodology. But it wasn’t long before I continued from where I left off therefore my story is not so hilly. Even in primary school, I was programmed to be an artist. It’s just that everyone was hoping I would become an artist, and I surprised everyone by focusing on archives. Obviously, in order to explain this to the art world, I often gave reference to sociology and philosophy. I think that’s how the concept of “anthropologist/artist” was perceived (laughs).

H.R.: Based on my experience, during high school and university, I took technically adequate/inadequate workshop trainings. As a result of a very common problem in Turkey, there were workshops in the curriculum
that I could not take due to academic inability. Long story short, in a way, I was exposed –even though not fully- to the material. We observe that in your works, the fiction, the textual part
of the status, is rather strong. How 
do you blend the reflection of these statuses on you with the technical aspect? How much do you get involved in the technical production stage and how much responsibility do you take from the technical point of view?

T.S.: Academic education is overrated if you’re not pursuing a really scientific training. Academic education can only establish a profound background if it is scientific, and that is very dependent on the mentality, and the school the person is affiliated with. For instance, it creates a special feeling of affiliation. In all the other academic educations, you are the actor, and you get how ever much you want to receive, and advance thereon... Especially in fields like art and philosophy, the burden is on the student rather than the teacher. I did everything I could to fulfill myself academically but in the end I was the decision maker. No one decided for me.

If we get to plastic arts from this point on, there, you are not as free
as you think you are. Because every context and material you work on have certain necessities. If you aim
to visualize an archive consisted of 200 thousand layers of film, in the
end of the day you cannot make a tower out of these. With the first
rain that comes, your tower will be demolished. You are entitled to act
in accordance with the memory and independent necessities of the material you work with. For instance, if you attempt to fictionalize a fantasy museum like “Le Musee d’Histoire Naturelle de Constantinople” from scratch, then other responsibilities
are activated. There are over 40
works exhibited at the museum; it
is an utterly different, completely personal plastic experience with a five-year background. “Cemetery of Architects” is a whole different plastic experience; limestone, one of Istanbul’s oldest architectural elements since
the Byzantines, was brought from the last quarry in the Marmara region, and the limestone-marble relationship in the architecture of the period was symbolically fictionalized afresh. It is of course possible to produce the same work from Plexiglas, but the medium is the relationship the artist forms with culture. I prefer completely different mediums at each of my exhibitions. These preferences do not disregard
the culture, rather, are involved in the process distilled from the memory of culture production.

H.R.: Reading about you, I saw 
that you are very interested in history, especially recent history. In parallel with the political agenda, the art scene in Turkey is very dynamic. You too are involved in some discussions. Artists and curators reflect their opinions on the agenda. The readers are sometimes convinced, sometimes not. Looking at art history, we observe that criticism in the mid-20th century is very rough, and very influential at the same time in determining the interest shown to some exhibitions and the sale rates of some works. How do you think this happens? Could you elaborate on this as an artist and a writer?

T.S.: In the 90’s, there was a battlefield atmosphere to make space for artists of the following generation. If we owe anything to history, this is it: the result of the battle in those years. The generation in the early 2000’s found itself in a different battlefield, making space for the other generation. We’re in 2015, and the battle will keep on going. I just have a general intuition that the artist generation following mine has a high opinion of “avoiding re so as not to burn hands”. They
act with the courtesy of a company secretary instead of an artist. When
the fight with the government stops, so does art. I feel like they are preparing for their own ends.

Today, the world and conditions
we live in are not as malleable as the artists’ general stance. While the blacks were given all the rights during the last century, today they’re hunted down in the streets like birds. The new world has no west or east; we’re shaking with news of “betrayal of history” from all over the world. Today, culture producers undertake a very serious mission, that, if they can realize.

The “criticism-sale ratio” duo that you mentioned in your question is really none of my business, as I don’t create with that motivation in mind. Yet at the end of the day you are
face to face with your work; there’s good work, there’s bad work, there’s work that you try to t, and those
that t you very well. Criticism can only overtake to a degree, because in the end, the mechanism that we call “human brain” works there too. To me the greatest determinant is history. If you can call a criticism that you wouldn’t bear hearing one day, and the next you think it is actually valuable, this means history will eventually lead everyone to confront themselves.

H.R.: The story of Dr. Abdullah Bey is remarkable, and reading from the interviews you gave, very important. The kind that you wouldn’t hear about, if you weren’t to uncover until someone else would. At the same time, we encounter it in various visual languages via various mediums in your works. How did you meet Dr. Abdullah Bey and how did you decide he was a good starting point? Do you believe your choice or encounter is a coincidence?

T.S.: I can’t call it a coincidence
since the Age of Enlightenment, and the currents developed thereafter, specifically the French Revolution –that I read together with the 1871 Paris Commune- and its projection
on the Ottomans, are some of my favorite topics of study. But the person that it all comes down to is a pure coincidence. I met Dr. Abdullah Bey when I read his name on a small brass plaque, in front of a small display where some of the 400 fossils that he had sent from Anatolia to Paris at the time were exhibited at the mineralogy room that I had entered by coincidence at the Paris Natural History Museum. It was written that he had died in Istanbul... I was then following the stories of the Young Turks. When they first went to Paris, the Young Turks were organizing special meetings, gathering at squares, and observing sculptures. I mean any sculptures in the streets of Paris, next to fountains for instance, not necessarily those of artistic value. Their purpose was to observe these. Because at the time, sculptures were banned in the public sphere, and this appeared to them very strange.

I was so involved with the Young Turks that at first I thought Dr. Abdullah Bey was a Young Turk. Because I didn’t believe any other entrepreneur but Young Turks could gather fossils from Anatolia and send it to Paris in those years. Then the reality about him started to unfold, and I couldn’t digest his story as the truth unveiled. The intellectual dynamics that someone as important as Osman Hamdi had created with his refugee identity, had to correspond to something. The subject then became bigger than Dr. Abdullah Bey’s personal being, and expanded to the museum. The result was more impressive then I had imagined; I wasn’t sure that an exhibition
about these early encyclopedists and naturalists would arouse such interest. I thought this was an issue that only I cared about, yet it wasn’t. Students rushed to the exhibition, many academies are trying to make
an appointment to give lectures at the exhibition space, and I see that the subject was of matter to most of them.

H.R.: Water found on Mars, the technological advancement process, USA, China, Russia, ISIS... What future awaits us? And could you share your future works, research, and events?

T.S.: This is not a very suitable time to make manifestations about the future; it is a transition period, and we shall start by forgetting everything we know of, we believe in, and think of. If anyone can say “tomorrow such will happen %100”, believe me he/she himself/herself does not believe in
it and tries to fool you. Whatever we thought we knew and believed would happen; we saw the fall of during these past five years. The Great Middle East Project collapsed, and Arab Nightmare created out of the Arab Spring, European Union is having its most depressing times ever, and those actors we had high hopes of like China did not surprise us intellectually...

Where to start fictionalizing such a world? We should start by not losing hope. Because the history of the same men involved days of enlightenment, and we see that those periods were started following heavy pressure times. People always have the action-reaction re ex, a common re ex of all humans, not specific to a culture or society. Let’s believe in action-reaction, it will definitely have its effects. My own personal life, works, personal history, preferences, adoptions will be no different than this. There is no world independent of us, wherever it goes we will follow. At the point when we think we’re the strongest opposition, we actually give our voice to mainstream.

Kaynak: French Revolution's projection on the Ottomans and Tayfun Serttaş
Huo is Asking ARTUNLIMITED Sayı: 33 Eylül / 20015