{"id":72,"date":"2019-03-11T17:15:07","date_gmt":"2019-03-11T14:15:07","guid":{"rendered":"https:\/\/unite-mag.com\/2019\/03\/11\/blog-post-title-one-gg9zl\/"},"modified":"2026-09-10T21:27:03","modified_gmt":"2026-09-10T18:27:03","slug":"blog-post-title-one-gg9zl","status":"publish","type":"post","link":"https:\/\/unite-mag.com\/en\/blog-post-title-one-gg9zl\/","title":{"rendered":"Provoke: Protesto ile Performans Aras\u0131nda"},"content":{"rendered":"
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Ege Il\u0131cak<\/p>\n<\/div>\n

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1968-69 Y\u0131llar\u0131 aras\u0131nda \u00e7ok k\u0131sa soluklu bir \u015fekilde ya\u015fay\u0131p hala g\u00fcn\u00fcm\u00fczde \u00f6nemini kaybetmemi\u015f olan bir yay\u0131n serisinden bahsedece\u011fim. Konuya detayl\u0131 bir \u015fekilde girmeden \u00f6nce, sizleri birazc\u0131k 20. y\u00fczy\u0131l\u0131n ilk yar\u0131s\u0131na g\u00f6t\u00fcrmek istiyorum. Japon foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131, y\u0131llar i\u00e7inde ortaya \u00e7\u0131kan bir\u00e7ok farkl\u0131 ak\u0131m ve stil ile uzun ve b\u00fcy\u00fcleyici bir tarihe sahip. Japon foto\u011fraf\u00e7\u0131lar, medyumun ilk g\u00fcnlerinden itibaren yenilik ve deneyselli\u011fin \u00f6n saflar\u0131nda yer ald\u0131lar ve \u00e7al\u0131\u015fmalar\u0131 foto\u011fraf d\u00fcnyas\u0131 \u00fczerinde derin bir etkiye sahip oldu. 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda Japonya’da Geijutsushashin (G\u00f6rselcilik), Shink\u014dshashin (Yeni Foto\u011fraf\u00e7\u0131l\u0131k), H\u014dd\u014dshashin (Foto Muhabirli\u011fi) gibi bir dizi farkl\u0131 foto\u011fraf ak\u0131m\u0131 ve tarz\u0131 ortaya \u00e7\u0131kt\u0131. Bu ak\u0131mlar, g\u00fcndelik ya\u015fama ve \u00e7a\u011fda\u015f k\u00fclt\u00fcr\u00fcn belgelenmesine odaklanmalar\u0131yla karakterize edildiler ve Japon foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 i\u00e7in yeni bir y\u00f6n belirlenmesine yard\u0131mc\u0131 oldular. \u0130kinci D\u00fcnya Sava\u015f\u0131’ndaki yenilgisinin ard\u0131ndan Japonya hem ge\u00e7mi\u015fi unutmak hem de onu a\u015fmak i\u00e7in harekete ge\u00e7ti. Amerikal\u0131 galiplerle beklenmedik bir \u015fekilde kucakla\u015fan \u00fclke, kendisini h\u0131zla tarihi bir imparatorluktan rekabet\u00e7i bir ekonomiye sahip demokratik bir ulusa d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. \u00dclke sava\u015f\u0131n hemen sonras\u0131nda a\u015f\u0131r\u0131 yoksulluk ya\u015fam\u0131\u015f olsa da, k\u0131sa s\u00fcre i\u00e7inde sadece Bat\u0131l\u0131 i\u015fgalcilerinin varl\u0131\u011f\u0131n\u0131 kabul etmekle kalmad\u0131, ayn\u0131 zamanda kapitalizm ve demokrasi gibi Amerikan etkilerini ve hatta caz gibi pop\u00fcler k\u00fclt\u00fcr unsurlar\u0131n\u0131 da geni\u015f \u00f6l\u00e7\u00fcde benimsedi. 1960’lara gelindi\u011finde Japonya pek \u00e7ok pop\u00fcler tart\u0131\u015fman\u0131n pen\u00e7esindeydi: Okinawa Adas\u0131nda Amerikan askeri \u00fcslerinin kurulmas\u0131, \u00f6\u011frenciler i\u00e7in \u00fcniversite har\u00e7lar\u0131n\u0131n art\u0131r\u0131lmas\u0131 ve Tokyo’da bir\u00e7ok konutun kamula\u015ft\u0131r\u0131lmas\u0131na yol a\u00e7acak ikinci bir havaalan\u0131 a\u00e7ma plan\u0131. Japon halk\u0131 sokaklara d\u00f6k\u00fclm\u00fc\u015f ve polisle kar\u015f\u0131la\u015fmalar artm\u0131\u015ft\u0131. Foto\u011fraf, h\u0131zla de\u011fi\u015fen bu ortam\u0131 kaydetmek i\u00e7in ideal bir ara\u00e7t\u0131 ve ara\u00e7 \u00f6nemli bir avangart geli\u015fme ya\u015fad\u0131: K\u00fc\u00e7\u00fck bas\u0131n foto\u011fraf dergisi Provoke bu d\u00f6nemde do\u011fdu.<\/p>\n<\/div>\n

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Provoke ilk olarak Kas\u0131m 1968’de dojin-shi veya \u201cself-published\u201d, yani derginin yay\u0131nevi taraf\u0131ndan de\u011fil, sanat\u00e7\u0131lar\u0131n kendi imkanlar\u0131 ile yay\u0131nland\u0131. Ba\u015flang\u0131\u00e7ta sanat ele\u015ftirmeni Koji Taki (1928-2011) ve foto\u011fraf\u00e7\u0131 Takuma Nakahira (1938-2015) taraf\u0131ndan tasarlanan derginin \u00fcyeleri aras\u0131nda \u015fair Takahiko Okada (1939-1997) ve foto\u011fraf\u00e7\u0131 Yutaka Takanashi de vard\u0131. Derginin alt ba\u015fl\u0131\u011f\u0131 ‘D\u00fc\u015f\u00fcnce i\u00e7in K\u0131\u015fk\u0131rt\u0131c\u0131 Malzemeler (Provocative Materials for Thought) idi ve her say\u0131 foto\u011fraf, deneme ve \u015fiirlerden olu\u015fuyordu. Efsane foto\u011fraf\u00e7\u0131 Daido Moriyama ikinci yay\u0131ndan itibaren gruba dahil oldu. \u0130lk iki say\u0131 Summer 1968 ve Eros konular\u0131na adan\u0131rken, son say\u0131, Provoke 3\u2019\u00fcn odakland\u0131\u011f\u0131 bir tema olmad\u0131.<\/p>\n<\/div>\n

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Eros, Provoke 2, 1969 – \u00a9 Daido Moriyama<\/figcaption><\/figure>\n
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Kolektif, yerle\u015fik fotografik geleneklere kar\u015f\u0131 yeni bir ele\u015ftirel pratik olu\u015fturmay\u0131 ama\u00e7layan ortak bir felsefeyi benimsedi. Provoke manifestosu, g\u00f6rsel imgelerin bir fikri kelimeler gibi tam olarak temsil edemeyece\u011fini, ancak foto\u011fraflar\u0131n dili ve fikirleri k\u0131\u015fk\u0131rtarak yeni bir dil ve yeni anlamlar yaratabilece\u011fini; foto\u011fraf\u00e7\u0131n\u0131n kelimelerle ifade edilemeyeni yakalayabilece\u011fini, foto\u011fraflar\u0131 ba\u015fkalar\u0131n\u0131n okumas\u0131 i\u00e7in belgeler olarak sunabilece\u011fini, dolay\u0131s\u0131yla Provoke’un yukar\u0131da da bahsetti\u011fim “d\u00fc\u015f\u00fcnce i\u00e7in k\u0131\u015fk\u0131rt\u0131c\u0131 malzemeler\u201d alt ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131d\u0131\u011f\u0131n\u0131 ilan ediyordu. Foto muhabirli\u011finin anlat\u0131 ve betimleme \u00f6zelliklerine tepki g\u00f6steren Provoke sanat\u00e7\u0131lar\u0131 a\u015f\u0131r\u0131 bir tarz\u0131 benimsediler: Odaktan uzak, grenli, y\u00fcksek kontrastl\u0131 ve siyah beyaz foto\u011fraf kullan\u0131m\u0131. Bu tarz, “p\u00fcr\u00fczl\u00fc, bulan\u0131k, odak d\u0131\u015f\u0131” anlam\u0131na gelen “are, bure, boke” olarak tan\u0131nd\u0131. Bu etkileyici tarz\u0131 benimseyen Provoke ekibi, foto\u011fraf\u0131n ve dilin dokusunu ele\u015ftirel bir g\u00f6zle inceledi. \u00d6zellikle Daido Moriyama ve Yutaka Takanashi, kendi foto\u011fraf\u00e7\u0131l\u0131klar\u0131 ve bir b\u00fct\u00fcn olarak medyumun felsefesi \u00fczerine zorlay\u0131c\u0131 ve k\u0131\u015fk\u0131rt\u0131c\u0131 imgeler sa\u011flad\u0131. Bu g\u00f6r\u00fcnt\u00fcler, modern ya\u015fam\u0131n kaotik ve belirsiz do\u011fas\u0131n\u0131 yans\u0131tman\u0131n yan\u0131 s\u0131ra zaman\u0131n enerjisini ve yo\u011funlu\u011funu yakalamak i\u00e7in ticari bir tarzdan daha ki\u015fisel bir tarza ge\u00e7erek Japon esteti\u011finde bir paradigma de\u011fi\u015fimini ba\u015flatmada etkili oldu.<\/p>\n<\/div>\n

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\u00a9 Takuma Nakahira<\/figcaption><\/figure>\n
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Funabashi City: Health Center, 1965, from the series Tokyo-jin (Tokyoites) – \u00a9 Yutaka Takanashi<\/figcaption><\/figure>\n
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1969 Y\u0131l\u0131nda \u00fc\u00e7\u00fcnc\u00fc say\u0131 yay\u0131nlad\u0131ktan sonra grup, son yay\u0131nlar\u0131 olan ve \u00fc\u00e7 say\u0131n\u0131n genel bir bask\u0131s\u0131 olan \u201cFirst, Abandon the World of Pseudo-Certainty\u201d ile da\u011f\u0131ld\u0131. Grubun da\u011f\u0131lmas\u0131n\u0131n ard\u0131ndan Provoke foto\u011fraf\u00e7\u0131lar\u0131 kendi alanlar\u0131nda foto\u011fraf \u00e7ekmeye devam edip bug\u00fcn hala foto\u011fraf sanat\u0131nda \u00e7ok de\u011ferli yerlere sahip olan foto\u011fraf kitaplar\u0131 yay\u0131nlad\u0131lar. \u00d6zellikle, 1970 y\u0131l\u0131nda yay\u0131nlanan For a Language to Come (Takuma Nakahira) ve 1972 Y\u0131l\u0131nda yay\u0131nlanan The Hunter (Daido Moriyama) kitaplar\u0131 her foto\u011fraf seven sanat\u00e7\u0131 taraf\u0131ndan kesinlikle incelenmelidir. Nispeten k\u0131sa \u00f6mr\u00fcne ra\u011fmen Provoke grubu’nun Japon foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 \u00fczerinde kal\u0131c\u0131 bir etkisi oldu\u011funu s\u00f6ylemek yanl\u0131\u015f olmaz. Bug\u00fcn de g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u00fczere Provoke d\u00f6nemini takip eden on y\u0131llar boyunca Japon foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 geli\u015fmeye ve de\u011fi\u015fmeye devam ediyor. G\u00fcn\u00fcm\u00fczde Japon foto\u011fraf\u00e7\u0131lar, foto\u011fraf sanat\u0131na getirdikleri farkl\u0131 ve yenilik\u00e7i yakla\u015f\u0131mlar\u0131 ile tan\u0131n\u0131yor ve Provoke d\u00f6neminin esin kaynaklar\u0131ndan beslenen \u00e7al\u0131\u015fmalar\u0131 d\u00fcnya \u00e7ap\u0131nda hayranl\u0131k uyand\u0131rmaya ve takdir g\u00f6rmeye devam ediyor.<\/p>\n<\/div>\n

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Derginin i\u00e7inden kesitler<\/figcaption><\/figure>\n
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Derginin i\u00e7inden kesitler<\/figcaption><\/figure>\n
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\u00a9 Takuma Nakahira<\/figcaption><\/figure>\n
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\u00a9 Daido Moriyama<\/figcaption><\/figure>\n
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\u00a9 Koji Taki<\/figcaption><\/figure>\n
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Kaynaklar:<\/p>\n

1. Provoke: A Visual Language of Protest – A paper submitted to Prof. Midori Yamamura, Fordham University, Lincoln Center <\/p>\n

2. \u2018Provoke\u2019 Magazine, Shaking up the Conventions of Photography – Cl\u00e9mence Leleu <\/p>\n

3. Provoke magazine presents rare and haunting photographs of 1960s Japan – Jyni Ong<\/p>\n

Yazar: Ege Il\u0131cak<\/code><\/pre>\n
Ege Il\u0131cak:<\/strong> 1988 Ankara do\u011fumlu Ege Il\u0131cak, Bilkent \u00dcniversitesi CTIS mezunudur ve kendisi 2010 y\u0131l\u0131ndan beri Heidelberg, Almanya’da ya\u015famaktad\u0131r. 2012 y\u0131l\u0131ndan beri d\u00fcnyan\u0131n farkl\u0131 \u015fehirlerini ziyaret edip, sokaklar\u0131n\u0131 ve insanlar\u0131n\u0131 foto\u011fraflamaktad\u0131r. 2021 y\u0131l\u0131nda Paris’te Magnum Photos’da Yeal Martinez’den Master Class dersleri alan Ege’nin \u00e7al\u0131\u015fmalar\u0131 \u0130ngiltere ve Almanya’daki uluslararas\u0131 foto\u011fraf dergilerinde yer alm\u0131\u015ft\u0131r. Foto\u011fraflar\u0131 St. Petersburg, Heidelberg, Stuttgart ve Leonberg’de sergilenmi\u015ftir. 2022 y\u0131l\u0131n\u0131n Aral\u0131k ay\u0131nda, Leica Gallery Frankfurt foto\u011fraf yar\u0131\u015fmas\u0131nda birincilik \u00f6d\u00fcl\u00fc kazanm\u0131\u015ft\u0131r. Portfolyosuna egeilicak.com <\/em>adresinden ve Instagram’da @local.frames<\/em><\/strong> <\/em>kullan\u0131c\u0131 isminden ula\u015fabilirsiniz.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"
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