{"id":1883,"date":"2026-11-02T13:11:38","date_gmt":"2026-11-02T13:11:38","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1883"},"modified":"2026-11-02T13:11:40","modified_gmt":"2026-11-02T13:11:40","slug":"the-square-filminde-sanatin-kamusalligi-ve-toplumsal-sorumluluk-sorunu","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1883","title":{"rendered":"The Square Filminde Sanat\u0131n Kamusall\u0131\u011f\u0131 ve Toplumsal Sorumluluk Sorunu"},"content":{"rendered":"\n

Ruben \u00d6stlund\u2019un The Square<\/em> filmi, kara komedi t\u00fcr\u00fcn\u00fcn imk\u00e2nlar\u0131n\u0131 kullanarak sanat d\u00fcnyas\u0131n\u0131n ve modern toplumun \u00e7eli\u015fkilerini ortaya koyuyor. Filmdeki durumlar yer yer abs\u00fcrt ve ironik olsa da mizah\u0131n ard\u0131nda rahats\u0131z edici bir ger\u00e7eklik var. Sanat kurumlar\u0131n\u0131n savundu\u011fu de\u011ferlerle kendi uygulamalar\u0131 aras\u0131ndaki mesafe, insanlar\u0131n ba\u015fkalar\u0131na kar\u015f\u0131 sorumluluklar\u0131 ve toplumsal duyars\u0131zl\u0131k, filmin \u00fczerinde durdu\u011fu temel meseleler aras\u0131nda. Beni \u00f6zellikle d\u00fc\u015f\u00fcnd\u00fcren ise sanat d\u00fcnyas\u0131n\u0131n kendisini nas\u0131l konumland\u0131rd\u0131\u011f\u0131 ve savundu\u011fu de\u011ferlerle ne kadar \u00f6rt\u00fc\u015ft\u00fc\u011f\u00fc oldu. <\/p>\n\n\n

\n
\"the-square-film-hk-1
G\u00f6rsel 2: The Square: The X-Royal museum of modern and contemporary art. Kaynak: A-One Films<\/figcaption><\/figure>\n<\/div>\n\n\n

Filmin merkezindeki The Square<\/em> adl\u0131 sanat eseri, \u201cbir g\u00fcven ve \u00f6zen s\u0131\u011f\u0131na\u011f\u0131\u201d olarak tan\u0131mlan\u0131yor. Bu alan\u0131n i\u00e7inde herkesin e\u015fit haklara ve y\u00fck\u00fcml\u00fcl\u00fcklere sahip oldu\u011fu s\u00f6yleniyor. Ancak film ilerledik\u00e7e bu e\u015fitlik fikrinin yaln\u0131zca bir sanat eserinin i\u00e7inde kalmad\u0131\u011f\u0131n\u0131, m\u00fczenin ve toplumun i\u015fleyi\u015finde de sorgulanmas\u0131 gerekti\u011fini g\u00f6r\u00fcyoruz. M\u00fcze, herkese a\u00e7\u0131k bir kurum olma iddias\u0131na ra\u011fmen, kulland\u0131\u011f\u0131 dil ve benimsedi\u011fi k\u00fclt\u00fcrel kodlarla belirli bir \u00e7evreye hitap ediyor. Sanat\u0131n herkes i\u00e7in oldu\u011funu s\u00f6ylemek, onu herkesin anlayabilece\u011fi ve kendine yak\u0131n hissedebilece\u011fi bir h\u00e2le getirmekle ayn\u0131 \u015fey de\u011fil.<\/p>\n\n\n\n

Filmin sanat ele\u015ftirisi \u00fczerine d\u00fc\u015f\u00fcnd\u00fcren b\u00f6l\u00fcmlerinden biri de sanat d\u00fcnyas\u0131n\u0131n kulland\u0131\u011f\u0131 dil. Eserleri a\u00e7\u0131klamak i\u00e7in kurulan karma\u015f\u0131k c\u00fcmleler, bazen eserin kendisinden daha fazla yer kapl\u0131yor. Bu dil, sanat hakk\u0131nda d\u00fc\u015f\u00fcnmeyi kolayla\u015ft\u0131rmak yerine onu belirli bir kesimin anlayabilece\u011fi kapal\u0131 bir alana d\u00f6n\u00fc\u015ft\u00fcrebiliyor. Sanat\u0131n her zaman kolay anla\u015f\u0131lmas\u0131 gerekti\u011fini d\u00fc\u015f\u00fcnm\u00fcyorum ancak bir eserin anlam\u0131n\u0131 tart\u0131\u015fmakla, onu anla\u015f\u0131lmaz bir dilin arkas\u0131na saklamak aras\u0131nda fark var. Film, sanat d\u00fcnyas\u0131n\u0131n kendi i\u00e7inde \u00fcretti\u011fi bu mesafeyi g\u00f6steriyor asl\u0131nda.<\/p>\n\n\n\n

Bu \u00e7eli\u015fki, m\u00fczenin The Square<\/em> i\u00e7in haz\u0131rlad\u0131\u011f\u0131 tan\u0131t\u0131m kampanyas\u0131nda daha belirgin h\u00e2le geliyor. \u0130nsanlar\u0131 duyarl\u0131 olmaya ve birbirlerine kar\u015f\u0131 sorumluluk almaya \u00e7a\u011f\u0131ran bir eserin tan\u0131t\u0131m\u0131nda, evsiz insanlar\u0131n birer araca d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi, savunulan de\u011ferlerle uygulama aras\u0131ndaki mesafeyi fark ettiriyor. Burada mesele yaln\u0131zca tart\u0131\u015fmal\u0131 bir reklam haz\u0131rlamak de\u011fil; ba\u015fkalar\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 zorluklar\u0131n, kurumsal bir ama\u00e7 u\u011fruna nas\u0131l kullan\u0131labildi\u011fi. Empatiyi anlatan bir sanat kurumu, empati kurdu\u011funu iddia etti\u011fi insanlara kar\u015f\u0131 da sorumluluk ta\u015f\u0131mal\u0131.<\/p>\n\n\n\n

Yemek davetindeki performans sahnesi ise sanat ile ger\u00e7ek hayat aras\u0131ndaki s\u0131n\u0131r\u0131 ba\u015fka bir a\u00e7\u0131dan ele al\u0131yor. Bir sanat\u00e7\u0131n\u0131n vah\u015fi bir hayvan\u0131 taklit ederek davetlilerin aras\u0131nda dola\u015fmas\u0131, ba\u015flang\u0131\u00e7ta g\u00f6sterinin bir par\u00e7as\u0131 olarak kabul ediliyor. Fakat davran\u0131\u015flar\u0131 tehditk\u00e2r bir h\u00e2l ald\u0131\u011f\u0131nda, davetlilerin \u00f6nemli bir b\u00f6l\u00fcm\u00fc m\u00fcdahale etmekte teredd\u00fct ediyor. Sanat\u0131n s\u0131n\u0131rlar\u0131n\u0131 sorgulayan bu sahne, izleyicinin sorumlulu\u011funu da g\u00fcndeme getiriyor: Bir durum g\u00f6steri olarak sunuldu\u011funda, ger\u00e7ek bir tehlikeyle kar\u015f\u0131la\u015f\u0131ld\u0131\u011f\u0131nda bile seyirci kalmaya devam edebilir miyiz?<\/p>\n\n\n\n

Filmde evsizlere ve yard\u0131m isteyen insanlara y\u00f6nelik kay\u0131ts\u0131zl\u0131k da sanat kurumunun ele\u015ftirisinden ba\u011f\u0131ms\u0131z de\u011fil. G\u00fcnl\u00fck hayatta \u00e7o\u011fu zaman g\u00f6rmezden gelinen insanlar, bir tan\u0131t\u0131m videosunun par\u00e7as\u0131 olduklar\u0131nda veya sosyal medyada tart\u0131\u015fma konusu h\u00e2line geldiklerinde g\u00f6r\u00fcn\u00fcrl\u00fck kazan\u0131yor. Fakat g\u00f6r\u00fcn\u00fcr olmak, ger\u00e7ekten \u00f6nemsenmek anlam\u0131na gelmiyor. Bir sorunu payla\u015fmak ya da ona tepki g\u00f6stermek, o sorun kar\u015f\u0131s\u0131nda sorumluluk almakla ayn\u0131 \u015fey de\u011fil.<\/p>\n\n\n\n

The Square<\/em>, sanat d\u00fcnyas\u0131n\u0131 yaln\u0131zca eserler ve sergiler \u00fczerinden de\u011fil, bu d\u00fcnyay\u0131 olu\u015fturan kurumlar\u0131n kararlar\u0131 ve insanlarla kurdu\u011fu ili\u015fkiler \u00fczerinden sorguluyor. Filmdeki kare, e\u015fitlik ve g\u00fcven vaadini temsil ediyor; ancak bu vaadin ger\u00e7ek hayatta ne kadar kar\u015f\u0131l\u0131k buldu\u011fu s\u00fcrekli tart\u0131\u015fmal\u0131 kal\u0131yor. Bence filmin as\u0131l meselesi de sanat\u0131n savundu\u011fu de\u011ferler, yaln\u0131zca eserlerin i\u00e7inde mi kal\u0131yor, yoksa sanat kurumlar\u0131n\u0131n davran\u0131\u015flar\u0131na da yans\u0131yor mu?<\/p>\n\n\n\n

Filmi izledikten sonra geriye yaln\u0131zca sanat\u0131n ne oldu\u011fu de\u011fil, kimin i\u00e7in var oldu\u011fu sorusu da kal\u0131yor.<\/p>\n\n\n\n

Kaynak\u00e7a<\/p>\n\n\n\n

\u00d6stlund, R. (Y\u00f6netmen). (2017). The Square<\/em> [Film]. Plattform Produktion.<\/p>\n\n\n\n

G\u00f6rsel1: IMDb. (t.y.). The Square (2017)<\/em> [Film g\u00f6rselleri]. https:\/\/www.imdb.com\/title\/tt4995790\/<\/a><\/p>\n\n\n\n

G\u00f6rsel 2.: https:\/\/www.researchgate.net\/figure\/The-Square-The-X-Royal-museum-of-modern-and-contemporary-art-Courtesy-A-One-Films_fig5_331231720 <\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/h2>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Ruben \u00d6stlund\u2019un The Square filmi, kara komedi t\u00fcr\u00fcn\u00fcn imk\u00e2nlar\u0131n\u0131 kullanarak sanat d\u00fcnyas\u0131n\u0131n ve modern toplumun \u00e7eli\u015fkilerini ortaya koyuyor. Filmdeki durumlar yer yer abs\u00fcrt ve ironik olsa da mizah\u0131n ard\u0131nda rahats\u0131z edici bir ger\u00e7eklik var. Sanat kurumlar\u0131n\u0131n savundu\u011fu de\u011ferlerle kendi uygulamalar\u0131 aras\u0131ndaki mesafe, insanlar\u0131n ba\u015fkalar\u0131na kar\u015f\u0131 sorumluluklar\u0131 ve toplumsal duyars\u0131zl\u0131k, filmin \u00fczerinde durdu\u011fu temel meseleler aras\u0131nda. […]<\/p>\n","protected":false},"author":15,"featured_media":1885,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[84,1],"tags":[41,98],"class_list":["post-1883","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gorsel-sanatlar","category-sinema","tag-film","tag-sanat"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1883","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1883"}],"version-history":[{"count":3,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1883\/revisions"}],"predecessor-version":[{"id":2419,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1883\/revisions\/2419"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/1885"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1883"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1883"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1883"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}