Yazar: Arif Esen BAYKURT
Cilt: 1 Sayı: 2 Sayfa: 90-99
Özet: Artists serve as spokespersons by incorporating social issues and facts into their works. Culture influences the artist through this transfer, and the artist, in turn, influences culture and society. Artistic expression extends beyond the representation of societal issues to encompass engagement with the third circle, which comprises the realm of politics. Artists choose to create art in a political context using one of three aesthetic approaches: idealistic aesthetics (art for the sake of art), dogmatic aesthetics (political art), or “doing art politically.” The artist’s most consistent response in this exchange is doing art politically, as in the case of Picasso’s “Guernica.” Similarly, Thomas Hirschhorn proposed the “Community of Fragments” installation, a universal and realistic model in his work, in accordance with this understanding. Hirschhorn’s installation model is examined to illustrate this unity between politics and art and to differentiate between politically made art and political art. “What are the aesthetic context of the installation, the criteria, attitude, and criteria an artist will take towards the work?” defines the problem of the research. The artist’s aesthetic stance towards the work has been synthesized and integrated in “Doing Art Politically” through a literature review that focused on the Hirschhorn installation. The research is restricted to the artist’s “Community of Fragments” installation work. The research findings show that the political perspective on art identifies three critical components: The work of art has a universal character, expresses reality, and is not influenced by any specific group with political ideology, including art market forces and capitalism.
Anahtar Kelimeler: Hirschhorn, Politically Art, Propaganda3, Political Art, Installation.