This study is a complementary text that offers a reading of the works I produced in an intensive ... more This study is a complementary text that offers a reading of the works I produced in an intensive two year period and indicates the textual substructure them. The main theme of my projects has been the exploration of one’s relationship with its surrounding space, which carries central importance in the construction of identity. In an epoch where the static four walled private space has been liquidated into a more performative sense of personal space, I investigated how people perform in the space and personalize it. I take the space as a playground where the two distinctive, different realms undulate, a ground for practicing the limits of two separate realms: public and private. With the tactics the subject develops, the space is tamed, domesticated, surmounted, and so called outside is incorporated into the territory of the subject; on the other hand, the surrounding environment also follows a similar path and responds to the subject’s incorporation tactics.
Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden bir araç olarak... more Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden bir araç olarak kullanılmaya başlandığı 1960'lardan farklı olarak teknolojik/bürokratik dokümantasyonunun (Groys) yaşamı biçimlendirdiği günümüzde sanat dökümantasyonu farklı bir anlam kazanır. Yaşamla arasında başka türlü bir ilişki kurmaya çalışan sanat üretiminin başvurduğu araç / aracı olarak "belgelemek" ve "sunmak" arasındaki farkta temellenen günümüz sanatında dökümantasyon belgenin ikincil statüsünde bir kaymaya işaret eder. Bu metin, sanatta belge kullanımının, belgesel retoriğin aldığı bu yeni biçimi Francis Alÿs'in pratiği üzerinden incelemeyi amaçlar. Alÿs'in "Döngü" isimli işini referans noktası olarak alarak sanatta belge kullanımının sanat nesnesi, sanat üretimi, sanat ve yaşam arasındaki ilişkiyi göz önüne alarak irdeler.
The International Journal of Interdisciplinary Cultural Studies, 2014
The shifting axis of art from a "medium specific practice" towards a "discourse sp... more The shifting axis of art from a "medium specific practice" towards a "discourse specific" one marks the expansion of the field of art towards culture (Foster 1996, 199) and consequently the emerging dialogues with disciplines that study culture. In 1996, art critic Hal Foster defined the shifting position of the art within the expanded field of art as "ethnographic turn," which primarily manifested itself in the peculiar appropriations of ethnographic methods and tropes by artists. Meanwhile, the practitioners of ethnography seem to be willing to open their disciplinary boundaries to the undisciplined means artistic practices deal with cultural issues (see Marcus 1995, 2008; Schneider and Wright, 2006, 2010). In this paper I explore the dialogue between these distinctive practices of inquiry by teasing out the parallel trajectories as well as the incommensurable differences that stand as resistance points between the practices of art and ethnography, in order to investigate the possibility of a new kind of inquiry that could emerge at this juncture.
The movement of people and the fluxes of the world create complex topographies and destabilise th... more The movement of people and the fluxes of the world create complex topographies and destabilise the location of our homes. In this practice-based PhD, I explore the shifting sense of home that this manifests. The dramatic transformation of the boundaries of home that demarcates the borders between 'here' and 'there', "us" and
The history of visualization technologies remarks the relentless human endeavor to picture the wo... more The history of visualization technologies remarks the relentless human endeavor to picture the world we inhabit, in order to understand our surrounding conditions and devise strategies of survival in its unforeseen vagaries. Nonetheless, the technologies that allow us to do so are ruled within an asymmetry of visibility. The accessibility of technical images is governed by the allseeing gaze of power secured by legal acts with immediate effects on the ground reality. In this sense, the limits of an image are not simply an outcome of the capacities of visualization technologies but also judicial regulations circumscribing the threshold of visibility in regards to security concerns as well as personal privacy rights. Under the current regime of visibility, in which the ability to see without being seen is the ultimate form of power, this techno-judicial image economy establishes an uneven order across subjects and objects, law-abiding citizens, and security threats. This article focuses on the works of Hito Steyerl and the Forensic Architecture (FA) team, which strives to discuss power relations sustained within the current image regime and redress the limit of the visible under the techno-judicial image regime. While FA aims to unravel the spatial strategies of urban warfare and technologies of aerial vision at work in the forming of political borders, Hito Steyerl investigates the materiality of the technological image and its implications on human life. Through a close reading of respective works, in this paper, I analyze the agency of the images in their capacity to produce the world we live in and grounded strategies employed against the asymmetry of visibility.
Anadolu Üniversitesi Sanat & Tasarım Dergisi, 2021
Recent debates on art education focus on an agenda that questions the position of arts education ... more Recent debates on art education focus on an agenda that questions the position of arts education within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the concept of artistic research proposes an experimental and process-oriented practice, within a university model with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease of accessing information triggers questions about the function of the university as a medium that provides experience and knowledge transfer. The excessive proliferation of information leads to undermining the access to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and material thinking within the language of art.
Recent debates on art education focus on an agenda that questions the position of arts education
... more Recent debates on art education focus on an agenda that questions the position of arts education within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the concept of artistic research proposes an experimental and process-oriented practice, within a university model with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease of accessing information triggers questions about the function of the university as a medium that provides experience and knowledge transfer. The excessive proliferation of information leads to undermining the access to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and material thinking within the language of art.
Özet Abstract Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden b... more Özet Abstract Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden bir araç olarak kullanılmaya başlandığı 1960'lardan farklı olarak teknolojik/bürokratik dokümantasyonunun (Groys) yaşamı biçimlendirdiği günümüzde sanat dökümantasyonu farklı bir anlam kazanır. Yaşamla arasında başka türlü bir ilişki kurmaya çalışan sanat üretiminin başvurduğu araç / aracı olarak " belgelemek " ve " sunmak " arasındaki farkta temellenen günümüz sanatında dökümantasyon belgenin ikincil statüsünde bir kaymaya işaret eder. Bu metin, sanatta belge kullanımının, belgesel retoriğin aldığı bu yeni biçimi Francis Alÿs'in pratiği üzerinden incelemeyi amaçlar. Alÿs'in " Döngü " isimli işini referans noktası olarak alarak sanatta belge kullanımının sanat nesnesi, sanat üretimi, sanat ve yaşam arasındaki ilişkiyi göz önüne alarak irdeler. While the discussions on dematerialisation of art in 1960s, indicated the use of documentation as a tool for displacing art object, art documentation retains a different meaning today as a consequence of technological/bureaucratic documentation shaping our lives. Today, the act of documentation in art is founded on the difference between " documenting " and " presenting " as a consequence of establishing a different relationship with life. In that sense, this particular use of documentation marks a shift from the secondary status of the document. This article aims to anAlÿse this new form of documentation and documentary rhetoric through the practice of Francis Alÿs. With reference to Alÿs' work " The Loop " , the text explores the use of document in relation to art object, art practice and life.
This study is a complementary text that offers a reading of the works I produced in an intensive ... more This study is a complementary text that offers a reading of the works I produced in an intensive two year period and indicates the textual substructure them. The main theme of my projects has been the exploration of one’s relationship with its surrounding space, which carries central importance in the construction of identity. In an epoch where the static four walled private space has been liquidated into a more performative sense of personal space, I investigated how people perform in the space and personalize it. I take the space as a playground where the two distinctive, different realms undulate, a ground for practicing the limits of two separate realms: public and private. With the tactics the subject develops, the space is tamed, domesticated, surmounted, and so called outside is incorporated into the territory of the subject; on the other hand, the surrounding environment also follows a similar path and responds to the subject’s incorporation tactics.
Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden bir araç olarak... more Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden bir araç olarak kullanılmaya başlandığı 1960'lardan farklı olarak teknolojik/bürokratik dokümantasyonunun (Groys) yaşamı biçimlendirdiği günümüzde sanat dökümantasyonu farklı bir anlam kazanır. Yaşamla arasında başka türlü bir ilişki kurmaya çalışan sanat üretiminin başvurduğu araç / aracı olarak "belgelemek" ve "sunmak" arasındaki farkta temellenen günümüz sanatında dökümantasyon belgenin ikincil statüsünde bir kaymaya işaret eder. Bu metin, sanatta belge kullanımının, belgesel retoriğin aldığı bu yeni biçimi Francis Alÿs'in pratiği üzerinden incelemeyi amaçlar. Alÿs'in "Döngü" isimli işini referans noktası olarak alarak sanatta belge kullanımının sanat nesnesi, sanat üretimi, sanat ve yaşam arasındaki ilişkiyi göz önüne alarak irdeler.
The International Journal of Interdisciplinary Cultural Studies, 2014
The shifting axis of art from a "medium specific practice" towards a "discourse sp... more The shifting axis of art from a "medium specific practice" towards a "discourse specific" one marks the expansion of the field of art towards culture (Foster 1996, 199) and consequently the emerging dialogues with disciplines that study culture. In 1996, art critic Hal Foster defined the shifting position of the art within the expanded field of art as "ethnographic turn," which primarily manifested itself in the peculiar appropriations of ethnographic methods and tropes by artists. Meanwhile, the practitioners of ethnography seem to be willing to open their disciplinary boundaries to the undisciplined means artistic practices deal with cultural issues (see Marcus 1995, 2008; Schneider and Wright, 2006, 2010). In this paper I explore the dialogue between these distinctive practices of inquiry by teasing out the parallel trajectories as well as the incommensurable differences that stand as resistance points between the practices of art and ethnography, in order to investigate the possibility of a new kind of inquiry that could emerge at this juncture.
The movement of people and the fluxes of the world create complex topographies and destabilise th... more The movement of people and the fluxes of the world create complex topographies and destabilise the location of our homes. In this practice-based PhD, I explore the shifting sense of home that this manifests. The dramatic transformation of the boundaries of home that demarcates the borders between 'here' and 'there', "us" and
The history of visualization technologies remarks the relentless human endeavor to picture the wo... more The history of visualization technologies remarks the relentless human endeavor to picture the world we inhabit, in order to understand our surrounding conditions and devise strategies of survival in its unforeseen vagaries. Nonetheless, the technologies that allow us to do so are ruled within an asymmetry of visibility. The accessibility of technical images is governed by the allseeing gaze of power secured by legal acts with immediate effects on the ground reality. In this sense, the limits of an image are not simply an outcome of the capacities of visualization technologies but also judicial regulations circumscribing the threshold of visibility in regards to security concerns as well as personal privacy rights. Under the current regime of visibility, in which the ability to see without being seen is the ultimate form of power, this techno-judicial image economy establishes an uneven order across subjects and objects, law-abiding citizens, and security threats. This article focuses on the works of Hito Steyerl and the Forensic Architecture (FA) team, which strives to discuss power relations sustained within the current image regime and redress the limit of the visible under the techno-judicial image regime. While FA aims to unravel the spatial strategies of urban warfare and technologies of aerial vision at work in the forming of political borders, Hito Steyerl investigates the materiality of the technological image and its implications on human life. Through a close reading of respective works, in this paper, I analyze the agency of the images in their capacity to produce the world we live in and grounded strategies employed against the asymmetry of visibility.
Anadolu Üniversitesi Sanat & Tasarım Dergisi, 2021
Recent debates on art education focus on an agenda that questions the position of arts education ... more Recent debates on art education focus on an agenda that questions the position of arts education within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the concept of artistic research proposes an experimental and process-oriented practice, within a university model with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease of accessing information triggers questions about the function of the university as a medium that provides experience and knowledge transfer. The excessive proliferation of information leads to undermining the access to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and material thinking within the language of art.
Recent debates on art education focus on an agenda that questions the position of arts education
... more Recent debates on art education focus on an agenda that questions the position of arts education within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the concept of artistic research proposes an experimental and process-oriented practice, within a university model with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease of accessing information triggers questions about the function of the university as a medium that provides experience and knowledge transfer. The excessive proliferation of information leads to undermining the access to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and material thinking within the language of art.
Özet Abstract Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden b... more Özet Abstract Sanatta maddesizleşme tartışmaları sonucunda, belgenin sanat nesnesini ikame eden bir araç olarak kullanılmaya başlandığı 1960'lardan farklı olarak teknolojik/bürokratik dokümantasyonunun (Groys) yaşamı biçimlendirdiği günümüzde sanat dökümantasyonu farklı bir anlam kazanır. Yaşamla arasında başka türlü bir ilişki kurmaya çalışan sanat üretiminin başvurduğu araç / aracı olarak " belgelemek " ve " sunmak " arasındaki farkta temellenen günümüz sanatında dökümantasyon belgenin ikincil statüsünde bir kaymaya işaret eder. Bu metin, sanatta belge kullanımının, belgesel retoriğin aldığı bu yeni biçimi Francis Alÿs'in pratiği üzerinden incelemeyi amaçlar. Alÿs'in " Döngü " isimli işini referans noktası olarak alarak sanatta belge kullanımının sanat nesnesi, sanat üretimi, sanat ve yaşam arasındaki ilişkiyi göz önüne alarak irdeler. While the discussions on dematerialisation of art in 1960s, indicated the use of documentation as a tool for displacing art object, art documentation retains a different meaning today as a consequence of technological/bureaucratic documentation shaping our lives. Today, the act of documentation in art is founded on the difference between " documenting " and " presenting " as a consequence of establishing a different relationship with life. In that sense, this particular use of documentation marks a shift from the secondary status of the document. This article aims to anAlÿse this new form of documentation and documentary rhetoric through the practice of Francis Alÿs. With reference to Alÿs' work " The Loop " , the text explores the use of document in relation to art object, art practice and life.
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Papers by Esra Oskay
within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the
concept of artistic research proposes an experimental and process-oriented practice, within a university model
with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research
becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease
of accessing information triggers questions about the function of the university as a medium that provides
experience and knowledge transfer. The excessive proliferation of information leads to undermining the access
to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new
imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of
thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this
epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant
in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic
thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and
sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and
material thinking within the language of art.
within the university structure (Borgdorff, 2012; Busch, 2009; Elkins, 2009; Slager, 2012). In this context, the
concept of artistic research proposes an experimental and process-oriented practice, within a university model
with limited ideas on knowledge production and transfer of this knowledge. Today, the concept of research
becomes one of the focal points of an epistemological transformation (Latour, 1998), while the relative ease
of accessing information triggers questions about the function of the university as a medium that provides
experience and knowledge transfer. The excessive proliferation of information leads to undermining the access
to knowledge and to determine the process of classifying, analyzing, and laying the groundwork for new
imaginations as the dominant skills. The concept of research becomes crucial with its emphasis on the flow of
thought rather than finite knowledge, and the experimental process that is integrated with its object. Within this
epistemological transformation, this review article aims to reflect on the particular mode of thinking relevant
in artistic production, which is open to experience and experimentation. In this framework, it discusses artistic
thinking, which is traditionally excluded from the scientific knowledge field due to its intuitive, emotional and
sensational nature. Within this context, the paper aims to examine the potentials of experimental practice and
material thinking within the language of art.