{"id":1535,"date":"2026-11-02T13:13:25","date_gmt":"2026-11-02T13:13:25","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1535"},"modified":"2026-11-02T13:13:25","modified_gmt":"2026-11-02T13:13:25","slug":"bir-koleksiyondan-daha-fazlasi-artweeks-istanbul-collectors-edition","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1535","title":{"rendered":"Bir Koleksiyondan Daha Fazlas\u0131: Artweeks Istanbul Collector\u2019s Edition"},"content":{"rendered":"
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\"Halil-Altindere-1997-Tabularla-Dans-edited-1024x655
Halil Alt\u0131ndere – Tabularla Dans 1997<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

Bir sanat eserine bakarken \u00e7o\u011fu zaman sanat\u00e7\u0131n\u0131n d\u00fcnyas\u0131na odaklanmaktay\u0131z. Peki ya o eseri y\u0131llar boyunca saklayan, onunla ki\u015fisel bir ba\u011f kuran ve ba\u015fkalar\u0131n\u0131n da g\u00f6rmesini sa\u011flayan koleksiyonerlerin hik\u00e2yesi? Artweeks Istanbul\u2019un Collector\u2019s Edition<\/em> se\u00e7kisi, benim i\u00e7in tam da bu soruyu d\u00fc\u015f\u00fcnme f\u0131rsat\u0131 sunmaktad\u0131r. 2018\u2019den bu yana sanat\u0131 geleneksel galeri ortam\u0131n\u0131n d\u0131\u015f\u0131na ta\u015f\u0131yan Artweeks Istanbul, bu edisyonda Banu ve Hakan \u00c7arm\u0131kl\u0131, \u00d6ner Kocabeyo\u011flu ve Tansa Mermerci\u2019nin koleksiyonlar\u0131n\u0131 Akaretler S\u0131raevler\u2019de bir araya getirmektedir.<\/p>\n\n\n\n

Koleksiyonerlerin her biri sanatla farkl\u0131 bir ili\u015fki kurmaktad\u0131r. Banu ve Hakan \u00c7arm\u0131kl\u0131\u2019n\u0131n 1988\u2019de klasik resimler ve Osmanl\u0131 d\u00f6nemine ait cam, tekstil ve porselen objelerle ba\u015flayan koleksiyonlar\u0131, zamanla modern ve \u00e7a\u011fda\u015f sanata y\u00f6nelmektedir. Banu \u00c7arm\u0131kl\u0131\u2019n\u0131n sanat tarihi \u00fczerine ald\u0131\u011f\u0131 e\u011fitimler ve sanat yazarl\u0131\u011f\u0131 da koleksiyonun arkas\u0131ndaki ara\u015ft\u0131rmac\u0131 yakla\u015f\u0131m\u0131 desteklemektedir. \u00d6ner Kocabeyo\u011flu\u2019nun Tutku ve Sab\u0131r<\/em> ba\u015fl\u0131kl\u0131 se\u00e7kisi, farkl\u0131 ku\u015faklardan ve co\u011frafyalardan sanat\u00e7\u0131lar\u0131 bir araya getirerek geni\u015f bir g\u00f6rsel ve d\u00fc\u015f\u00fcnsel alan a\u00e7maktad\u0131r. Tansa Mermerci ise Brown \u00dcniversitesi\u2019nde uluslararas\u0131 ili\u015fkiler ve ekonomi e\u011fitiminin ard\u0131ndan m\u00fccevher tasar\u0131m\u0131yla ilgilenmi\u015f; g\u00fcncel sanata duydu\u011fu ilgiyi gen\u00e7 sanat\u00e7\u0131lar\u0131 destekleme yakla\u015f\u0131m\u0131yla birle\u015ftirmi\u015ftir. Bu \u00fc\u00e7 koleksiyonun ortak noktas\u0131, eser edinmenin \u00f6tesinde sanatla zaman i\u00e7inde geli\u015fen bir ili\u015fki kurmalar\u0131d\u0131r.<\/strong><\/p>\n\n\n\n

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\"I-hate-my-gallerist-edited-1024x921<\/figure>\n\n\n\n
\"Guido-Casaretto-1-edited-1024x942<\/figure>\n<\/figure>\n\n\n\n

Sergide kar\u015f\u0131la\u015ft\u0131\u011f\u0131m eserler aras\u0131nda beni ilk durduranlardan biri, duvarda k\u0131rm\u0131z\u0131 \u0131\u015f\u0131\u011f\u0131yla \u00f6ne \u00e7\u0131kan \u201cI HATE MY GALLERIST\u201d<\/em> neon yaz\u0131s\u0131 oldu. Sanat d\u00fcnyas\u0131n\u0131n sanat\u00e7\u0131, galeri ve ticari ili\u015fkileri \u00fczerine ironik bir yorum olarak okunabilecek bu \u00e7al\u0131\u015fma, daha ilk kar\u015f\u0131la\u015fmada izleyiciyi d\u00fc\u015f\u00fcnd\u00fcrmektedir. Sanat\u0131n yaln\u0131zca estetik bir deneyim olmad\u0131\u011f\u0131n\u0131; ayn\u0131 zamanda emek, g\u00f6r\u00fcn\u00fcrl\u00fck ve piyasa ili\u015fkileriyle \u00e7evrili bir alan oldu\u011funu hat\u0131rlatmaktad\u0131r. Di\u011fer tarafta yer alan Guido Casaretto imzal\u0131 parlak siyah \u00e7al\u0131\u015fma ise y\u00fczeyindeki dalgalanmalar ve \u0131\u015f\u0131\u011f\u0131 yans\u0131tma bi\u00e7imiyle dikkatimi \u00e7ekti. Karanl\u0131k, neredeyse s\u0131v\u0131ym\u0131\u015f gibi g\u00f6r\u00fcnen y\u00fczey, malzemenin fiziksel \u00f6zellikleri ile izleyicinin alg\u0131s\u0131 aras\u0131nda ilgin\u00e7 bir gerilim kurmaktad\u0131r. <\/p>\n\n\n

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\"Kazim-Simsek-Moral-edited-1024x725
Kaz\u0131m \u015eim\u015fek – Moral 2022<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

Artweeks Istanbul\u2019un bu edisyonu, koleksiyonculu\u011fu yaln\u0131zca eserleri sat\u0131n almak ve muhafaza etmek \u00fczerinden de\u011fil, sanat\u0131 payla\u015fmak ve k\u00fclt\u00fcrel haf\u0131zan\u0131n bir par\u00e7as\u0131 h\u00e2line getirmek \u00fczerinden de d\u00fc\u015f\u00fcnmeye davet etmektedir. Benim i\u00e7in serginin en g\u00fczel taraf\u0131, farkl\u0131 sanat\u00e7\u0131lar\u0131n \u00fcretimleri aras\u0131nda dola\u015f\u0131rken koleksiyonerlerin d\u00fcnyas\u0131na da yakla\u015fabilmekti. \u00c7\u00fcnk\u00fc bir koleksiyon, zamanla yaln\u0131zca eserlerin de\u011fil, se\u00e7imlerin, meraklar\u0131n ve de\u011fi\u015fen bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131n da kayd\u0131n\u0131 tutmaktad\u0131r. Belki de bir koleksiyonu as\u0131l anlaml\u0131 k\u0131lan, i\u00e7inde saklad\u0131\u011f\u0131 eserlerden \u00e7ok, onlar\u0131n bir araya gelmesini sa\u011flayan hik\u00e2yedir.<\/strong><\/p>\n\n\n\n

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More Than a Collection: Artweeks Istanbul Collector\u2019s Edition<\/h2>\n\n\n\n

When looking at a work of art, we often focus on the artist’s world. But what about the stories of the collectors who preserve these works for years, develop personal connections with them, and make them accessible to others? Artweeks Istanbul’s Collector\u2019s Edition<\/em> offered me an opportunity to reflect on precisely this question. Since 2018, Artweeks Istanbul has been bringing art beyond the traditional gallery environment. In this edition, it brings together the collections of Banu and Hakan \u00c7arm\u0131kl\u0131, \u00d6ner Kocabeyo\u011flu, and Tansa Mermerci at Akaretler S\u0131raevler.<\/p>\n\n\n\n

Each collector has developed a different relationship with art. The collection of Banu and Hakan \u00c7arm\u0131kl\u0131, which began in 1988 with classical paintings and Ottoman-era glass, textile, and porcelain objects, gradually expanded towards modern and contemporary art. Banu \u00c7arm\u0131kl\u0131’s education in art history and her work as an art writer also contribute to the research-oriented approach behind the collection. \u00d6ner Kocabeyo\u011flu’s selection, titled Passion and Patience<\/em>, brings together artists from different generations and geographical backgrounds, creating a broad visual and intellectual landscape. Tansa Mermerci, on the other hand, developed an interest in jewellery design after studying international relations and economics at Brown University. She has combined her interest in contemporary art with a commitment to supporting young artists. What these three collections have in common is the development of a relationship with art that goes beyond acquiring artworks and evolves over time.<\/strong><\/p>\n\n\n\n

Among the works I encountered in the exhibition, one of the first to catch my attention was a neon sign reading \u201cI HATE MY GALLERIST\u201d<\/em>, standing out on the wall with its red glow. This work, which can be interpreted as an ironic commentary on the relationships between artists, galleries, and commercial interests in the art world, immediately encourages viewers to reflect. It reminds us that art is not merely an aesthetic experience, but also a field shaped by labour, visibility, and market dynamics. On the other side, a glossy black work by Guido Casaretto caught my attention through the ripples across its surface and the way it reflected light. Its dark, almost liquid-looking surface creates an intriguing tension between the physical properties of the material and the viewer’s perception.<\/p>\n\n\n\n

This edition of Artweeks Istanbul invites us to consider collecting not merely as the act of purchasing and preserving artworks, but also as a way of sharing art and making it part of our cultural memory. For me, one of the most enjoyable aspects of the exhibition was being able to explore the world of collectors while moving among the works of different artists. After all, over time, a collection preserves not only artworks but also the choices, curiosities, and changing perspectives behind them. Perhaps what truly gives a collection its meaning is not so much the artworks it contains, but the stories that bring them together.<\/strong><\/p>\n\n\n\n