Piramit Sanat\u2019ta 26 Mart tarihinden beri g\u00f6sterimde olan \u201cLes Demoiselles Revisited\u201d sergisi Baykam\u2019\u0131n, Picasso\u2019nun \u201cLes Demoiselles d\u2019Avignon\u201d adl\u0131 eseriyle s\u00fcrekli bir diyalog halinde olu\u015fuyla \u00f6n plana \u00e7\u0131k\u0131yor. Picasso\u2019nun \u00f6zg\u00fcrl\u00fc\u011f\u00fcyle, sanat anlay\u0131\u015f\u0131yla ve bu eserle \u00f6zellikle ilgilenen Baykam bu eseri kendisiyle birlikte yeniden kurgularken onu analiz ediyor ayn\u0131 zamanda Picasso\u2019yu g\u00f6rerek Picasso\u2019ya meydan okuma yap\u0131yor adeta. Sergide Bedri Baykam\u2019\u0131n ve Picasso\u2019nun birbirini izledi\u011fi eserleri g\u00f6r\u00fcyoruz. <\/p>\n\n\n\n
Baykam bu sergide kendi \u00e7a\u011fda\u015f sanat yorumlamas\u0131ndan harekete \u00e7\u0131k\u0131yor. Sanat\u0131n d\u00fc\u015f\u00fcncenin ve bilginin uzant\u0131s\u0131 olmas\u0131 gerekti\u011fi ancak bunun \u201cg\u00fczelli\u011fi\u201d bozmadan yap\u0131lmas\u0131 gerekti\u011fine inan\u0131r.<\/p>\n\n\n\n
Baykam k\u00fcbizm ve Picasso hakk\u0131nda Picasso ile konu\u015fuyor sanki. Sergide Baykam\u2019\u0131n k\u00fcbizm ve Picasso ile ilgili \u015f\u00f6yle bir yaz\u0131s\u0131 var: \u201cTarz\u0131m\u0131n onunkiyle bir ilgisi oldu\u011fundan de\u011fil\u2026 Ne ben k\u00fcbist bir sanat\u00e7\u0131y\u0131m ne de f\u0131r\u00e7a darbelerimiz ve y\u00fczeye yakla\u015f\u0131m\u0131m\u0131z benziyor. Picasso\u2019da beni en \u00e7ok cezbeden \u015fey hi\u00e7 bir zaman tek bir imgeye ya da stile ba\u011fl\u0131 kalmadan, tam anlam\u0131yla \u00f6zg\u00fcr bir zihin olmas\u0131\u2026T\u00fcm kariyerlerini tek imge ya da stil etraf\u0131nda yo\u011funla\u015ft\u0131rmay\u0131 tercih eden sanat\u00e7\u0131lar\u0131 tabi ki su\u00e7lam\u0131yorum. Ama bu kesinlikle ben de\u011filim.Sanat\u0131n ticari, tekrara dayal\u0131 bir s\u0131k\u0131c\u0131l\u0131\u011fa d\u00f6n\u00fc\u015fmesinden nefret ederim. Pablo\u2019nun da bir tarzdan di\u011ferine atlayabilmesini, hi\u00e7 birinin i\u00e7inde t\u00fckenmeden ilerleyebilmesini her zaman sevdim.Bunun yan\u0131 s\u0131ra kariyeri boyunca kad\u0131nlardan bu kadar etkilenmi\u015f olmas\u0131 da benim sanat ve hayata bak\u0131\u015f a\u00e7\u0131mla paralel bir ili\u015fki kurmam\u0131 sa\u011flad\u0131. Bu yakla\u015f\u0131m fig\u00fcratif, ekspresyonist, tarihsel, politik resimler yapabilmemi, multimedya enstalasyonlar \u00fcretmemi ve hatta ayn\u0131 zamanda videolar yap\u0131p kitaplar yazabilmemi m\u00fcmk\u00fcn k\u0131ld\u0131.\u201d<\/p>\n\n\n\n
\u201cLes Demoiselles d\u2019Avignon\u201d be\u015f kad\u0131n fahi\u015feden olu\u015fmaktad\u0131r. Picasso ilk ba\u015flarda esere <\/p>\n\n\n\n
\u201cFelsefi Genelev\u201d ismini vermeyi d\u00fc\u015f\u00fcnseden sonradan ismi t\u00fcrk\u00e7esi \u201cAvignon\u2019lu Kad\u0131nlar\u201d anlam\u0131na gelen bu isim tercih edilmi\u015ftir. Picasso bu eserde Afrika masklar\u0131n\u0131n etkisini reddetse de tamamlanm\u0131\u015f tuvalin sa\u011f\u0131ndaki iki fig\u00fcr\u00fcn\u00fcn y\u00fczleri a\u00e7\u0131k\u00e7a bu etkileri yans\u0131tmaktad\u0131r.Picasso Trocadero\u2019da, m\u00fcze ziyaretinde b\u00fcy\u00fck bir etnografik ilgi ve ayinsel bir amaca sahip olan karma\u015f\u0131k nesnelerle kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda siyah kadifeler \u00fcst\u00fcnde, cam kutularda, solgun renkli hal\u0131dan bir fon \u00f6n\u00fcnde, zevkli bir bi\u00e7imde sergilenmemi\u015f ve bak\u0131ms\u0131z, sand\u0131klara t\u0131k\u0131lm\u0131\u015f k\u00f6t\u00fc bir \u0131\u015f\u0131kland\u0131rmayla ayd\u0131nlat\u0131lm\u0131\u015f olan masklar\u0131n bulundu\u011fu mekan, ayn\u0131 zamanda bak\u0131ms\u0131zl\u0131\u011f\u0131ndan dolay\u0131 \u00e7ok pis kokmaktad\u0131r. Bu pis koku, Picasso\u2019nun burnunu s\u0131zlat\u0131r ve bu pis kokunun etkisi Avignonlu K\u0131zlar resminde ayna gibi g\u00f6sterir kendini. Genelevin pis kokusuyla maskelerin bulundu\u011fu mekan\u0131n pis kokusunu ba\u011fda\u015ft\u0131r\u0131l\u0131r. <\/p>\n\n\n\n
Baykam bu sergide Madame Claude ve VAROL mekanlar\u0131 ile bir ili\u015fki kurmu\u015f. Serginin mekan tasviri de bir genelev \u015feklinde yap\u0131lm\u0131\u015f. \u0130zleyici kendisini 1960\u2019larda bir genelev lobisinden bekliyor gibi hissediyor. Picasso\u2019nun eserinde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz be\u015f fig\u00fcr bu sergide \u00e7ok\u00e7a kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Baykam\u2019\u0131n eserlerinde de g\u00f6rd\u00fc\u011f\u00fcm\u00fcz bu Afrika masklar\u0131 da eserin par\u00e7alara ayr\u0131larak analiz edilmesini g\u00f6zler \u00f6n\u00fcne seriyor. <\/p>\n\n\n\n
Bedri Baykam\u2019\u0131n \u201cLes Demoiselles Revisited\u201d sergisi Piramit Sanat\u2019ta 5 Eyl\u00fcl 2026 tarihi e kadar a\u00e7\u0131k olacak. Picasso, \u00e7a\u011fda\u015f sanat, Bedri Baykam ve yukar\u0131da bahsetti\u011fim analiz ve yorumlar\u0131 merak edenler gezip deneyimleyebilirler.<\/p>\n\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Piramit Sanat\u2019ta 26 Mart tarihinden beri g\u00f6sterimde olan \u201cLes Demoiselles Revisited\u201d sergisi Baykam\u2019\u0131n, Picasso\u2019nun \u201cLes Demoiselles d\u2019Avignon\u201d adl\u0131 eseriyle s\u00fcrekli bir diyalog halinde olu\u015fuyla \u00f6n plana \u00e7\u0131k\u0131yor. Picasso\u2019nun \u00f6zg\u00fcrl\u00fc\u011f\u00fcyle, sanat anlay\u0131\u015f\u0131yla ve bu eserle \u00f6zellikle ilgilenen Baykam bu eseri kendisiyle birlikte yeniden kurgularken onu analiz ediyor ayn\u0131 zamanda Picasso\u2019yu g\u00f6rerek Picasso\u2019ya meydan okuma yap\u0131yor adeta. […]<\/p>\n","protected":false},"author":6,"featured_media":704,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[129,22,128,98],"class_list":["post-703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sergiler","tag-bedri-baykam","tag-istanbul","tag-picasso","tag-sanat"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/703","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\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=703"}],"version-history":[{"count":1,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/703\/revisions"}],"predecessor-version":[{"id":705,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/703\/revisions\/705"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/704"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}