{"id":2660,"date":"2026-02-23T16:54:41","date_gmt":"2026-02-23T13:54:41","guid":{"rendered":"https:\/\/neoberidhaber.kahveciyazilim.com\/?p=2660"},"modified":"2026-02-23T16:55:50","modified_gmt":"2026-02-23T13:55:50","slug":"vanda-dunya-rotasina-acilan-bir-sergi","status":"publish","type":"post","link":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/2026\/02\/23\/vanda-dunya-rotasina-acilan-bir-sergi\/","title":{"rendered":"Van\u2019da d\u00fcnya rotas\u0131na a\u00e7\u0131lan bir sergi"},"content":{"rendered":"\t\t
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Seul\u2019deki ilk g\u00f6steriminin ard\u0131ndan, \u0130talya\u2019n\u0131n Seravezza kentindeki sunumu \u00f6ncesinde Tayvanl\u0131 usta sanat\u00e7\u0131 Hsu Yunghsu\u2019nun uluslararas\u0131 gezici sergisi Sisyphos\u2019un \u015e\u00fcphesi, T\u00fcrkiye\u2019de ilk kez Van\u2019daki Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi\u2019nde izleyiciyle bulu\u015fuyor. 14 Mart\u201326 Nisan 2026 tarihleri aras\u0131nda g\u00f6r\u00fclebilecek sergi, Van\u2019\u0131 bu kez yaln\u0131zca co\u011frafi de\u011fil, k\u00fclt\u00fcrel bir kav\u015fak olarak da yeniden d\u00fc\u015f\u00fcnmeye \u00e7a\u011f\u0131r\u0131yor.<\/p>\n\n\n\n

Tariria\u2019n\u0131n bulundu\u011fu zemin, ba\u015fl\u0131 ba\u015f\u0131na g\u00fc\u00e7l\u00fc bir \u00f6nerme ta\u015f\u0131yor: Antik Urartu miras\u0131yla \u00e7a\u011fda\u015f mimari dili ayn\u0131 c\u00fcmlede bulu\u015fturan bir e\u015fik. Bu sergiyle birlikte o e\u015fik daha da geni\u015fliyor. Van, Do\u011fu Asya ile Avrupa aras\u0131nda yaln\u0131zca bir ge\u00e7i\u015f noktas\u0131 de\u011fil; malzeme, emek ve sebat \u00fczerine kurulan ortak bir sanat dilinin de dura\u011f\u0131na d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n\n\n\n

Hsu Yunghsu, \u00e7a\u011fda\u015f seramik sanat\u0131nda uzun s\u00fcredir ayr\u0131ks\u0131 bir yerde duruyor. Kili yaln\u0131zca bi\u00e7imlendirilen bir malzeme olarak de\u011fil, bedenle birlikte \u00e7al\u0131\u015fan, direnen, iz b\u0131rakan bir varl\u0131k gibi ele al\u0131yor. Yakla\u015f\u0131k k\u0131rk y\u0131l \u00f6nce akademik kariyerinin konforunu geride b\u0131rakarak \u00fcretimini b\u00fct\u00fcn\u00fcyle topra\u011fa ve ate\u015fe adayan sanat\u00e7\u0131, bug\u00fcn \u00e7al\u0131\u015fmalar\u0131n\u0131 Tayvan\u2019\u0131n Tainan kentinde, \u00fclkenin en b\u00fcy\u00fck seramik f\u0131r\u0131n at\u00f6lyelerinden birinde s\u00fcrd\u00fcr\u00fcyor.<\/p>\n\n\n\n

FORM DE\u011e\u0130L, GER\u0130L\u0130M<\/strong><\/p>\n\n\n\n

Sergide ilk bak\u0131\u015fta dikkat \u00e7eken \u015fey \u201cg\u00fczellik\u201dten \u00e7ok gerilim. Hsu Yunghsu\u2019nun yap\u0131tlar\u0131 p\u00fcr\u00fczs\u00fczl\u00fc\u011f\u00fc reddediyor; \u00e7atlaklar, bo\u015fluklar, isli tonlar ve katman katman y\u00fckselen y\u00fczeyler, bilin\u00e7li bir estetik tercihe d\u00f6n\u00fc\u015f\u00fcyor. \u00d6zellikle dalgal\u0131, k\u0131vr\u0131ml\u0131, an\u0131tsal formlar izleyiciyi yaln\u0131zca bakmaya de\u011fil, malzemenin a\u011f\u0131rl\u0131\u011f\u0131n\u0131 neredeyse bedende hissetmeye \u00e7a\u011f\u0131r\u0131yor.<\/p>\n\n\n\n

Sanat\u00e7\u0131n\u0131n bu yakla\u015f\u0131m\u0131nda, 2005\u20132006 y\u0131llar\u0131nda New York\u2019ta ger\u00e7ekle\u015ftirdi\u011fi sanat\u00e7\u0131 rezidans\u0131 s\u0131ras\u0131nda Richard Serra\u2019n\u0131n an\u0131tsal \u00e7elik heykelleriyle kar\u015f\u0131la\u015fmas\u0131n\u0131n izleri belirgin. Ama Yunghsu, Serra\u2019n\u0131n metalde kurdu\u011fu a\u011f\u0131rl\u0131k duygusunu serami\u011fin k\u0131r\u0131lganl\u0131\u011f\u0131yla yeniden yaz\u0131yor. Burada k\u00fctle kadar bo\u015fluk da konu\u015fuyor; y\u00fczey kadar oyuklar da anlam ta\u015f\u0131yor.<\/p>\n\n\n\n

Duvar yerle\u015ftirmelerinde ise organik bir \u00e7o\u011falma hissi \u00f6ne \u00e7\u0131k\u0131yor. Kemiksi, kabuksu, biyomorfik \u00e7a\u011fr\u0131\u015f\u0131mlar ta\u015f\u0131yan mod\u00fcler y\u00fczeyler; do\u011fan\u0131n b\u00fcy\u00fcme ritimlerini, tortuyu, birikmeyi ve zamana yay\u0131lan eme\u011fi hat\u0131rlat\u0131yor. Eserler, mek\u00e2na g\u00f6re geni\u015fleyen bir dil kuruyor; sanki her biri bulundu\u011fu yere yeniden k\u00f6k sal\u0131yor.<\/p>\n\n\n\n

S\u0130SYPHOS\u2019U YEN\u0130DEN D\u00dc\u015e\u00dcNMEK<\/p>\n\n\n\n

Serginin ad\u0131 bo\u015funa Sisyphos\u2019un \u015e\u00fcphesi de\u011fil. Hsu Yunghsu, kadim sarmal (coil) tekni\u011fini bug\u00fcn\u00fcn \u00fcretim d\u00fcnyas\u0131na kar\u015f\u0131 neredeyse etik bir \u00f6neri olarak geri \u00e7a\u011f\u0131r\u0131yor. Her par\u00e7a do\u011frudan elin temas\u0131yla y\u00fckseliyor: avu\u00e7 i\u00e7i, parmak izi, bast\u0131rma, \u00e7ekme, bekleme\u2026 Dijital h\u0131z\u0131n ve devredilmi\u015f \u00fcretimin \u00e7a\u011f\u0131nda bu yakla\u015f\u0131m, seramikten \u00e7ok daha fazlas\u0131n\u0131 s\u00f6yl\u00fcyor.<\/p>\n\n\n\n

Sanat\u00e7\u0131 i\u00e7in Sisyphos, yaln\u0131zca sonsuz tekrar\u0131n fig\u00fcr\u00fc de\u011fil. Burada mesele, sonuca ula\u015fmak de\u011fil; yapma eyleminin kendisini bir varolu\u015f bi\u00e7imi olarak savunmak. Her katman, her iz, her yan\u0131k ton; malzemenin i\u00e7ine g\u00f6m\u00fclen bir haf\u0131zaya d\u00f6n\u00fc\u015f\u00fcyor. Bu y\u00fczden sergi, mitolojik bir g\u00f6ndermeden ziyade g\u00fcn\u00fcm\u00fcz insan\u0131na y\u00f6neltilmi\u015f g\u00fc\u00e7l\u00fc bir soru gibi okunuyor: \u00dcretirken h\u00e2l\u00e2 elimizin izini b\u0131rakabiliyor muyuz?<\/p>\n\n\n\n

VAN\u2019DAN SERAVEZZA\u2019YA UZANAN HAT<\/h3>\n\n\n\n

Tariria\u2019daki bulu\u015fman\u0131n bir ba\u015fka \u00f6nemi de serginin uluslararas\u0131 yolculu\u011fundaki yeri. Van\u2019daki sunumun ard\u0131ndan Sisyphos\u2019un \u015e\u00fcphesi, \u0130talya\u2019n\u0131n Seravezza kentinde izleyiciyle bulu\u015farak yoluna devam edecek. B\u00f6ylece sergi, sab\u0131r, malzeme direnci ve bedenle toprak aras\u0131ndaki kadim ili\u015fkiyi farkl\u0131 co\u011frafyalarda yeniden kurmay\u0131 s\u00fcrd\u00fcrecek.Baz\u0131 sergiler yaln\u0131zca eser g\u00f6stermez; bir d\u00fc\u015f\u00fcnme bi\u00e7imi de \u00f6nerir. Hsu Yunghsu\u2019nun Van\u2019daki sergisi tam da b\u00f6yle bir yerde duruyor. Kilin i\u00e7inden ge\u00e7en bu anlat\u0131, \u00e7a\u011fda\u015f sanat\u0131n par\u0131lt\u0131l\u0131 y\u00fcz\u00fcnden \u00e7ok, eme\u011fin a\u011f\u0131r ama diren\u00e7li nefesine bak\u0131yor. Ve iyi ki bak\u0131yor.<\/p>\n\n\n\n

Sergi Bilgisi<\/strong><\/p>\n\n\n\n

Sisyphos\u2019un \u015e\u00fcphesi \u2013 Hsu Yunghsu<\/p>\n\n\n\n

Tarih: 14 Mart \u2013 26 Nisan 2026<\/p>\n\n\n\n

Mek\u00e2n: Tariria K\u00fclt\u00fcr, Sanat ve Gastronomi Merkezi, Van<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tHABER KAYNA\u011eI \u0130\u00c7\u0130N TIKLA<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"Seul\u2019deki ilk g\u00f6steriminin ard\u0131ndan, \u0130talya\u2019n\u0131n Seravezza kentindeki sunumu \u00f6ncesinde Tayvanl\u0131 usta sanat\u00e7\u0131 Hsu Yunghsu\u2019nun uluslararas\u0131 gezici sergisi Sisyphos\u2019un…","protected":false},"author":4,"featured_media":2661,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"csco_display_header_overlay":false,"csco_singular_sidebar":"","csco_page_header_type":"","csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"footnotes":""},"categories":[33],"tags":[91,38,37,93,94,92],"class_list":["post-2660","post","type-post","status-publish","format-standard","has-post-thumbnail","category-sanat-kultur","tag-art","tag-kultur","tag-sanat","tag-sergi","tag-seul","tag-van","cs-entry","cs-video-wrap"],"_links":{"self":[{"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/posts\/2660","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/comments?post=2660"}],"version-history":[{"count":4,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/posts\/2660\/revisions"}],"predecessor-version":[{"id":2667,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/posts\/2660\/revisions\/2667"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/media\/2661"}],"wp:attachment":[{"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/media?parent=2660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/categories?post=2660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/neoberidhaber.kahveciyazilim.com\/index.php\/wp-json\/wp\/v2\/tags?post=2660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}