G\u00d6RSEL KRED\u0130LER\u0130 | IMAGE CREDITS<\/strong><\/p>\n\n\n\n 1.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f, \u0130stanbul Devlet G\u00fczel Sanatlar Akademisi\u2019ndeki odas\u0131nda, tahmin\u00ee 1970\u2019ler<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n \u00d6zer Kaba\u015f in his room at the Istanbul State Academy of Fine Arts, circa 1970s<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 2.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f ve Semra Germaner, \u0130stanbul Devlet G\u00fczel Sanatlar Akademisi\u2019nde, Haziran 1979<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n \u00d6zer Kaba\u015f and Semra Germaner, Istanbul State Academy of Fine Arts, June 1979<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 3.<\/strong><\/p>\n\n\n\n Robert Kolej Plastik Sanatlar Kul\u00fcb\u00fc\u2019n\u00fcn Amerikan Haberler Merkezi\u2019nde (USIS) a\u00e7t\u0131\u011f\u0131 seramik sergisi, Beyo\u011flu (\u0130stanbul), 1957<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n Ceramics exhibition organized by Robert College Plastic Arts Club at United States Information Service (USIS), Beyo\u011flu (Istanbul), 1957<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 4.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f\u2019\u0131n \u0130stanbul Hat\u0131ras\u0131<\/em> (1967) filminden kare<\/p>\n\n\n\n Still from \u00d6zer Kaba\u015f\u2019s film \u0130stanbul Hat\u0131ras\u0131<\/em> [Memory of Istanbul] (1967)<\/p>\n\n\n\n 5.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f, Bal\u0131k\u00e7\u0131lar<\/em>,1988<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n \u00d6zer Kaba\u015f, Bal\u0131k\u00e7\u0131lar<\/em> [Fishermen],1988<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 6.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f, \u00c7inekop A\u011flar\u0131<\/em>, 1996<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n \u00d6zer Kaba\u015f, \u00c7inekop A\u011flar\u0131<\/em> [Young Bluefish Nets], 1996<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 7.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f, Bal\u0131k\u00e7\u0131 ve K\u0131z\u0131<\/em>, 1996<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n \u00d6zer Kaba\u015f, Bal\u0131k\u00e7\u0131 ve K\u0131z\u0131<\/em> [The Fisherman and His Daughter], 1996<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 8.<\/strong><\/p>\n\n\n\n \u00d6zer Kaba\u015f, Bocurgat<\/em>, 1989<\/p>\n\n\n\n Salt Ara\u015ft\u0131rma, \u00d6zer Kaba\u015f Ar\u015fivi<\/p>\n\n\n\n \u00d6zer Kaba\u015f, Bocurgat<\/em> [The Capstan], 1989<\/p>\n\n\n\n Salt Research, \u00d6zer Kaba\u015f Archive<\/p>\n\n\n\n 9-17.<\/strong><\/p>\n\n\n\n Deniza\u015f\u0131r\u0131: \u00d6zer Kaba\u015f ve Zamanlar\u0131<\/em> sergisinden g\u00f6r\u00fcn\u00fcm, Salt Beyo\u011flu, 2026<\/p>\n\n\n\n Foto\u011fraf: Metean Bars (Salt)<\/p>\n\n\n\n Installation view from the exhibition Across the Seas: \u00d6zer Kaba\u015f and His Times<\/em>, Salt Beyo\u011flu, 2026<\/p>\n\n\n\n Photo: Metean Bars (Salt)<\/p>\n\n\n\n Deniza\u015f\u0131r\u0131: \u00d6zer Kaba\u015f ve Zamanlar\u0131, sanat\u00e7\u0131, e\u011fitimci ve yazar \u00d6zer Kaba\u015f\u2019\u0131n \u00d6\u011eRENC\u0130L\u0130K YILLARI VE Robert Kolej Y\u00fcksek Okulu Makine M\u00fchendisli\u011fi B\u00f6l\u00fcm\u00fc\u2019nden mezun olan repertuvar\u0131ndan \u00e7ok deneyim, g\u00f6zlem ve ele\u015ftiri prati\u011fi olarak ele al\u0131nd\u0131\u011f\u0131 bir \u00d6zer Kaba\u015f, Yale School of Art\u2019ta ald\u0131\u011f\u0131 e\u011fitim s\u0131ras\u0131nda izledi\u011fi New Images of Amerikal\u0131 sanat hamisi ve New York University b\u00fcnyesindeki Grey Art ROBERT KOLEJ<\/p>\n\n\n\n Yale School of Art\u2019taki e\u011fitiminin ard\u0131ndan T\u00fcrkiye\u2019ye d\u00f6nen \u00d6zer Kaba\u015f, \u00d6zer Kaba\u015f bir \u00f6\u011fretim \u00fcyesi olarak Robert Kolej Y\u00fcksek Okulu\u2019nda ders verdi. O y\u0131llarda g\u00f6rsel sanatlara olan sevgim, bilhassa foto\u011fraf ve filme tutkum, ailemin Robert Kolej\u2019de yanl\u0131\u015fl\u0131kla in\u015faat m\u00fchendisli\u011fi okuduktan sonra \u0130talya\u2019da Roma La […] Mimar Sinan \u00dcniversitesi\u2019nde ders veriyordum. Bir g\u00fcn ders \u00e7\u0131k\u0131\u015f\u0131 Mehmet Benim i\u00e7in en \u00f6nemli olay, \u00d6zer Kaba\u015f\u2019\u0131n Amerika\u2019dan geri d\u00f6n\u00fc\u015f\u00fc oldu. \u00d6zer, daha k\u00f6t\u00fc bir karar olamazd\u0131. Bir gece \u0131\u015f\u0131klar\u0131 kapal\u0131, g\u00f6steri\u015fli bir Amerikan teknesi Kaba\u015f, Robert Kolej\u2019deki \u00f6\u011frencilik y\u0131llar\u0131 boyunca tiyatroyla s\u00fcrekli bir ili\u015fki Kaba\u015f\u2019\u0131n 1960\u2019lar\u0131n ikinci yar\u0131s\u0131nda Robert Kolej\u2019de ger\u00e7ekle\u015ftirdi\u011fi faaliyetler, sinema pratiklerinin kesi\u015fiminde, g\u00fcn\u00fcm\u00fcze kadar etkisini s\u00fcrd\u00fcren bir vizyonun 1960\u2019lar, \u00d6zer Kaba\u015f\u2019\u0131n e\u011fitimci ve k\u00fclt\u00fcr insan\u0131 olarak vizyoner rol\u00fcn\u00fc Foto\u011fraf\u00e7\u0131 ve sinemac\u0131 Sedat Pakay, Robert Kolej Y\u00fcksek Okulu\u2019nda m\u00fchendislik Bir g\u00fcn, yapt\u0131klar\u0131m\u0131n tamamen d\u0131\u015f\u0131nda ve biraz da \u00e7izimin tad\u0131n\u0131 \u00e7\u0131karmak i\u00e7in \u00d6zer Kaba\u015f ile aram\u0131zda ger\u00e7ek bir sanat\u00e7\u0131 dostlu\u011fu olu\u015ftu; birbirini a\u00e7an, birbirinin Liseden sonra bir s\u00fcre yurt d\u0131\u015f\u0131nda m\u00fczeleri, sergileri gezme imk\u00e2n\u0131 buldum. Bu bana Di\u011fer bir katk\u0131s\u0131 da, okulda \u00e7al\u0131\u015fmam i\u00e7in bir oda verilmesini sa\u011flam\u0131\u015f olmas\u0131yd\u0131. URART<\/p>\n\n\n\n Urart Sanat At\u00f6lyesi* 1971 y\u0131l\u0131nda Yenik\u00f6y, \u0130stanbul\u2019da \u00d6zer Kaba\u015f ile karde\u015fleri Urart\u2019\u0131n \u00e7\u0131k\u0131\u015f noktas\u0131, Anadolu\u2019nun metal i\u015fleme ve s\u00fcs gelene\u011fine duyulan AKADEM\u0130 VE M\u0130MAR S\u0130NAN \u00dcN\u0130VERS\u0130TES\u0130<\/p>\n\n\n\n Temel Sanat E\u011fitimi, \u0130stanbul Devlet G\u00fczel Sanatlar Akademisi m\u00fcfredat\u0131na \u0130stanbul Devlet G\u00fczel Sanatlar Akademisi\u2019nin Mimar Sinan \u00dcniversitesi\u2019ne EMEK VE RESM\u0130<\/p>\n\n\n\n Kaba\u015f, denizi pasif veya romantik bir arka plan de\u011fil, bal\u0131k\u00e7\u0131n\u0131n g\u00fcndelik MARMARA ADASI<\/p>\n\n\n\n 1969 y\u0131l\u0131nda Kuzgun Acar\u2019la Ayvansaray\u2019dan bir ufak tekne denize indirdik. Kuzgun\u2019la boyalara ve ya\u011fl\u0131 boyalara d\u00f6n\u00fc\u015ft\u00fc. B\u00f6ylece deniz, bir manzara unsurundan 1970 y\u0131l\u0131nda Amerika\u2019dan sanat \u00f6\u011frenimi sonras\u0131 T\u00fcrkiye\u2019ye d\u00f6nd\u00fc\u011f\u00fcmde Marmara Kaba\u015f\u2019\u0131n resimlerinde deniz, Akdeniz d\u00fcnyas\u0131n\u0131n tarihini, mitolojisini ve k\u00fclt\u00fcr ya\u015fam, efsane ile deneyim, ayn\u0131 belle\u011fin i\u00e7 i\u00e7e ge\u00e7mi\u015f katmanlar\u0131 olarak \u00f6ne Marmara Adas\u0131\u2019nda bir y\u00fcksekokul kurma giri\u015fimi, \u00d6zer Kaba\u015f ile sanat gerekti\u011fi vurguland\u0131. En az on \u00f6\u011frenci i\u00e7in bar\u0131nma \u00fcniteleri ve a\u00e7\u0131k hava \u00e7al\u0131\u015fma ARABA RES\u0130MLER\u0130<\/p>\n\n\n\n Araba boyac\u0131l\u0131\u011f\u0131, Kaba\u015f\u2019\u0131n Anadolu\u2019daki halk sanatlar\u0131na y\u00f6nelik ilgisinin \u201cDeniza\u015f\u0131r\u0131: \u00d6zer Kaba\u015f ve Zamanlar\u0131\u201d Salt Beyo\u011flu\u2019nda ziyarete a\u00e7\u0131ld\u0131.Sergi, sanat\u00e7\u0131, e\u011fitimci ve yazar \u00d6zer Kaba\u015f\u2019\u0131n 1960\u2019lardan 1990\u2019lara uzanan\u00fcretimi \u00fczerinden T\u00fcrkiye k\u00fclt\u00fcr tarihinden bir kesit sunuyor.Garanti BBVA taraf\u0131ndan kurulan Salt\u2019\u0131n yeni sergisi Deniza\u015f\u0131r\u0131: \u00d6zer Kaba\u015f ve Zamanlar\u0131,sanat\u00e7\u0131, e\u011fitimci ve yazar \u00d6zer Kaba\u015f\u2019\u0131n (1934\u20131998) resimden sinemaya, tiyatrodantasar\u0131ma uzanan \u00e7ok y\u00f6nl\u00fc prati\u011fini ve T\u00fcrkiye\u2019nin k\u00fclt\u00fcr tarihindeki yerini inceliyor.Kaba\u015f\u2019\u0131n […]<\/p>\n","protected":false},"author":3,"featured_media":4753,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,45,12],"tags":[],"class_list":["post-4735","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-haberleri","category-manset","category-sanat-haberleri"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/posts\/4735","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/anhaber.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4735"}],"version-history":[{"count":2,"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/posts\/4735\/revisions"}],"predecessor-version":[{"id":4756,"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/posts\/4735\/revisions\/4756"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/anhaber.net\/index.php?rest_route=\/wp\/v2\/media\/4753"}],"wp:attachment":[{"href":"https:\/\/anhaber.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/anhaber.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/anhaber.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/anhaber.net\/wp-content\/uploads\/2026\/09\/01-1024x790.jpg\")
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1960\u2019lardan 1990\u2019lara uzanan \u00fcretimini ve T\u00fcrkiye\u2019nin k\u00fclt\u00fcr tarihindeki yerini
inceliyor.
Kaba\u015f, Robert Kolej Y\u00fcksek Okulu\u2019nda (Bo\u011fazi\u00e7i \u00dcniversitesi) m\u00fchendislik
e\u011fitimi ald\u0131ktan sonra 1957\u20131962 y\u0131llar\u0131nda Yale School of Art\u2019ta sanat \u00f6\u011frenimi
g\u00f6rd\u00fc. 1964\u20131974 y\u0131llar\u0131nda Robert Kolej\u2019de \u00f6\u011fretim \u00fcyeli\u011fi yapt\u0131; ayn\u0131
zamanda Social Hall\u2019un direkt\u00f6rl\u00fc\u011f\u00fcn\u00fc ve Robert Kolej Sinema Kul\u00fcb\u00fc\u2019n\u00fcn
dan\u0131\u015fmanl\u0131\u011f\u0131n\u0131 \u00fcstlenerek kamp\u00fcsteki k\u00fclt\u00fcr ortam\u0131n\u0131n geli\u015fmesinde etkin
rol oynad\u0131. 1971\u2019de yar\u0131 zamanl\u0131 ders vermeye ba\u015flad\u0131\u011f\u0131 \u0130stanbul Devlet G\u00fczel
Sanatlar Akademisi\u2019nde (daha sonra Mimar Sinan \u00dcniversitesi) Temel Sanat
E\u011fitimi K\u00fcrs\u00fcs\u00fc\u2019n\u00fcn \u00e7ekirdek kadrosunda yer ald\u0131 ve Yale School of Art\u2019ta
Josef Albers\u2019ten \u00f6\u011frendi\u011fi Bauhaus yakla\u015f\u0131m\u0131n\u0131 bu programa ta\u015f\u0131d\u0131. 1998\u2019deki
vefat\u0131na kadar pek \u00e7ok sanat\u00e7\u0131n\u0131n yolunu \u00e7izmesine rehberlik etti.
Kaba\u015f, metinlerinde geli\u015ftirdi\u011fi \u201csentez\u201d, \u201cmontaj\u201d, \u201cyatay ve dikey etkiler\u201d
gibi kavramlarla yerel g\u00f6rsel k\u00fclt\u00fcr ile k\u00fcresel sanat ortam\u0131 aras\u0131ndaki ili\u015fkiyi
tart\u0131\u015ft\u0131. Ne gelene\u011fi de\u011fi\u015fmeden korunacak bir miras ne de Bat\u0131 sanat\u0131n\u0131
sorgulamadan benimsenecek bir model olarak ele ald\u0131. Ona g\u00f6re sanat; k\u00fclt\u00fcr,
tarih, co\u011frafya ve g\u00fcndelik ya\u015fam aras\u0131ndaki s\u00fcrekli etkile\u015fimle \u015fekilleniyordu.
Resim prati\u011fi ve e\u011fitimcili\u011finin yan\u0131 s\u0131ra kurucular\u0131ndan oldu\u011fu Urart Sanat
At\u00f6lyesi\u2019ndeki tak\u0131 tasar\u0131mlar\u0131, k\u0131sa filmleri ve metinleri de ayn\u0131 d\u00fc\u015f\u00fcnsel
aray\u0131\u015f\u0131n par\u00e7as\u0131yd\u0131.
1970\u2019lerden itibaren Kaba\u015f, resimlerinde deniz, emek ve insan ili\u015fkisine
yo\u011funla\u015ft\u0131. Bal\u0131k\u00e7\u0131lar\u0131n, denizcilerin ve liman i\u015f\u00e7ilerinin d\u00fcnyas\u0131, sanat\u00e7\u0131
i\u00e7in daha geni\u015f bir tarihsel ve toplumsal ba\u011flam\u0131 anlaman\u0131n anahtar\u0131 oldu.
Marmara Adas\u0131 ve deniz yolculuklar\u0131 sanat prati\u011fini \u015fekillendirdi ve ya\u015fam\u0131nda
\u00f6nemli bir yer tuttu.
Sergi, sanat\u00e7\u0131n\u0131n resim, \u00f6zg\u00fcn bask\u0131, tak\u0131 tasar\u0131m\u0131, tiyatro ve sinema
alanlar\u0131ndaki \u00e7al\u0131\u015fmalar\u0131n\u0131 ar\u015fiv belgeleriyle bir araya getiriyor. B\u00f6ylece
Kaba\u015f\u2019\u0131n sanat\u0131n farkl\u0131 disiplinlerine ilgisini, sanat e\u011fitimine yakla\u015f\u0131m\u0131n\u0131 ve
k\u00fclt\u00fcr ortam\u0131na katk\u0131lar\u0131n\u0131 ortaya koyuyor.<\/p>\n\n\n\n
ERKEN D\u00d6NEM RES\u0130MLER\u0130
\u00d6zer Kaba\u015f, 1934 y\u0131l\u0131nda Mersin\u2019de do\u011fdu. Tar\u0131m \u00fcr\u00fcnleri ithalat\u0131 ve ihracat\u0131yla
u\u011fra\u015fan ailesi, o\u011fullar\u0131n\u0131n makine m\u00fchendisi olmas\u0131n\u0131 hedefliyordu. Kaba\u015f,
1957\u2019de Robert Kolej Y\u00fcksek Okulu\u2019ndan mezun olana dek ailesinin bu
beklentisine kar\u015f\u0131 \u00e7\u0131kmad\u0131.
Kaba\u015f\u2019\u0131n 1946 y\u0131l\u0131nda girdi\u011fi Robert Kolej\u2019deki lise y\u0131llar\u0131, disiplinleraras\u0131
prati\u011finin temelini olu\u015fturdu. Yat\u0131l\u0131 \u00f6\u011frenci olarak ge\u00e7irdi\u011fi bu d\u00f6nemde,
okulun sundu\u011fu sosyal ve k\u00fclt\u00fcrel faaliyetlere y\u00f6neldi. \u00d6zellikle tiyatro,
atletizm ve basketbol Kaba\u015f\u2019\u0131n ba\u015fl\u0131ca ilgi alanlar\u0131 aras\u0131ndayd\u0131.
Kaba\u015f, okuldaki se\u00e7meli derslere ve \u00f6\u011frenci kul\u00fcplerine aktif olarak kat\u0131l\u0131yordu.
\u201cDirty Palette Club\u201d [Kirli Palet Kul\u00fcb\u00fc] bunlardan biriydi. Ayr\u0131ca \u201cPlastic Arts
Club\u201d\u0131n [Plastik Sanatlar Kul\u00fcb\u00fc] ba\u015fkanl\u0131\u011f\u0131n\u0131 \u00fcstlenmi\u015fti. Robert Kolej\u2019de
resim \u00f6\u011fretmenli\u011fi yapan \u0130lhami Demirci ile daha sonra ressam ve seramik\u00e7i
Tom Kendall\u2019\u0131n dan\u0131\u015fmanl\u0131\u011f\u0131nda y\u00fcr\u00fct\u00fclen bu kul\u00fcp, \u00f6\u011frencilerin sanatsal
\u00fcretimlerini s\u00fcrd\u00fcrd\u00fckleri bir \u00e7al\u0131\u015fma ortam\u0131yd\u0131. M\u00fcfredat d\u0131\u015f\u0131 bir estetik
e\u011fitim alan\u0131 olu\u015fturan kul\u00fcp, 1957\u2019de Beyo\u011flu\u2019ndaki United States Information
Service [Amerikan Haberler Merkezi] mek\u00e2n\u0131nda, okulda torna dersleri veren
Mithat Tokay\u2019la ortak bir seramik sergisi de d\u00fczenledi.<\/p>\n\n\n\n
Kaba\u015f, ailesinin beklentilerinin aksine, 1957\u20131962 y\u0131llar\u0131nda ABD\u2019de Yale School
of Art\u2019ta e\u011fitim g\u00f6rd\u00fc. Burada Josef Albers\u2019in yan\u0131 s\u0131ra Bernard Chaet, William
H. Bailey, Neil Welliver, Rico Lebrun, Gabor Peterdi gibi sanat\u00e7\u0131 ve e\u011fitimcilerle
\u00e7al\u0131\u015fma olana\u011f\u0131 buldu. 1961\u2019de Resim B\u00f6l\u00fcm\u00fc\u2019nden lisans derecesini; 1962\u2019de
desen dal\u0131nda birincilikle \u00f6d\u00fcllendirildi\u011fi lisans\u00fcst\u00fc derecesini ald\u0131. Ayn\u0131 y\u0131l
Ross-Talalay Gallery\u2019de (New Haven) ilk ki\u015fisel sergisini a\u00e7t\u0131.
Kaba\u015f\u2019\u0131n ABD y\u0131llar\u0131, Bauhaus\u2019tan Black Mountain College\u2019a, oradan Yale\u2019e
uzanan modern sanat e\u011fitimi gelene\u011fiyle do\u011frudan ili\u015fki kurdu\u011fu bir d\u00f6nemdi.
Bauhaus\u2019un \u00f6nemli isimlerinden Josef Albers\u2019in e\u011fitim anlay\u0131\u015f\u0131, \u00f6\u011frenciyi belirli
bir \u00fcsluba y\u00f6nlendirmek yerine g\u00f6rmeyi \u00f6\u011frenmeye; malzeme, bi\u00e7im ve renk
ili\u015fkilerini sorgulamaya dayan\u0131yordu. Albers\u2019in st\u00fcdyosu, sanat\u0131n bir ifade<\/p>\n\n\n\n
\u00f6\u011frenme ortam\u0131yd\u0131.
1950\u2019lerde Yale, Bauhaus miras\u0131n\u0131n etkili oldu\u011fu ve modern sanat, mimarl\u0131k
ile tasar\u0131m tart\u0131\u015fmalar\u0131n\u0131n kesi\u015fti\u011fi uluslararas\u0131 bir \u00e7ekim noktas\u0131yd\u0131. Kaba\u015f\u2019\u0131n
burada ge\u00e7irdi\u011fi y\u0131llar, onu d\u00f6nemin \u00f6nemli e\u011fitim modelleriyle bulu\u015fturdu ve
sanat\u0131 disiplinleraras\u0131 bir d\u00fc\u015f\u00fcnce prati\u011fi olarak kavrayan entelekt\u00fcel \u00e7evrenin
bir par\u00e7as\u0131 h\u00e2line getirdi. Ayn\u0131 y\u0131llarda Soyut D\u0131\u015favurumculuk da ABD\u2019de giderek
kurumsalla\u015f\u0131p yayg\u0131nla\u015fmaktayd\u0131. Kaba\u015f\u2019\u0131n bu ortamdaki deneyimi, sanatta
\u201cmoda\u201d h\u00e2line gelen e\u011filimlere kar\u015f\u0131 mesafeli duru\u015funda belirleyici oldu.<\/p>\n\n\n\n
Man [\u0130nsan\u0131n Yeni G\u00f6r\u00fcnt\u00fcleri] sergisinden etkilendi. 1959\u2019da New York\u2019taki
MoMA\u2019da a\u00e7\u0131lan ve Peter Selz\u2019in k\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlendi\u011fi serginin, Soyut
D\u0131\u015favurumculu\u011fun doruk d\u00f6neminde fig\u00fcratif sanat\u0131 de\u011ferlendirip insan
fig\u00fcr\u00fcn\u00fc varolu\u015fsal kayg\u0131 ve yabanc\u0131la\u015fma ba\u011flam\u0131nda konumland\u0131rmas\u0131,
Kaba\u015f i\u00e7in olduk\u00e7a \u00e7arp\u0131c\u0131yd\u0131. 1962\u2019de T\u00fcrkiye\u2019ye d\u00f6nd\u00fc\u011f\u00fcnde, sanat\u00e7\u0131n\u0131n
prati\u011finde yeni bir d\u00f6nem ba\u015flad\u0131. So\u011fuk Sava\u015f ortam\u0131n\u0131n belirgin oldu\u011fu
bu d\u00f6nemde d\u0131\u015favurumcu bir \u00fcslupla ele ald\u0131\u011f\u0131 resim, desen ve grav\u00fcrlerde
toplumsal yergi \u00f6n plandayd\u0131.
Kaba\u015f\u2019\u0131n erken d\u00f6nem resimlerinde iki unsur dikkat \u00e7eker: \u00d6zlem duyulmayan
ancak h\u00fcz\u00fcnl\u00fc bir Osmanl\u0131 sonras\u0131 ile 1960\u2019lar\u0131n i\u015ftahl\u0131 yeni zenginleri. 18. y\u00fczy\u0131l
Rokoko iskemleleri d\u0131\u015f\u0131nda seyrek dekorlu ve haf\u0131zas\u0131ndan ar\u0131nd\u0131r\u0131lm\u0131\u015f odalarda
Bo\u011faz manzaralar\u0131, genellikle arka planda bir \u00e7er\u00e7eve ya da pencere i\u00e7inde sunulur.
Kompozisyonlarda tek ba\u015flar\u0131na h\u00fcz\u00fcn i\u00e7inde oturan, merasime \u00e7\u0131kar gibi giyinmi\u015f
fesli fig\u00fcrler \u00f6ne \u00e7\u0131kar. Haz\u0131rlanm\u0131\u015f olsalar da gidecekleri bir yer yokmu\u015f izlenimi
veren bu fig\u00fcrler, kalabal\u0131k, me\u015fgul ve co\u015fkulu ortamlarda i\u00e7sel durgunluklar\u0131n\u0131
ve eylemsizlik h\u00e2llerini korurlar. Kimi zaman feslilerin yerini alan f\u00f6tr veya silindir
\u015fapkal\u0131 fig\u00fcrler ise daha hareketli, h\u0131r\u00e7\u0131n ve zamana dairdir. Bo\u015f bir duvar\u0131 s\u00fcsleyen
fesli \u201cbaba\u201d portreleri, bu ele\u015ftirel atmosferi g\u00fc\u00e7lendiren \u00f6gelerdir.
Kaba\u015f\u2019\u0131n desenlerinde, resimlerinden farkl\u0131 olarak, \u00e7ok daha yo\u011fun ve titiz bir
yakla\u015f\u0131m g\u00f6r\u00fcl\u00fcr. Kimi \u00e7izimlerinde karikat\u00fcrist Turhan Sel\u00e7uk\u2019un Abd\u00fclcanbaz
karakterini an\u0131msatan bir estetik hissedilse de Kaba\u015f, Sel\u00e7uk\u2019un k\u00fcbist
e\u011filimlerine mesafeli durur.<\/p>\n\n\n\n
Museum\u2019un kurucusu Abby Weed Grey, 1960\u2019larda Bat\u0131 \u00f6tesi co\u011frafyalardaki
modern sanat \u00fcretimini bir araya getiren kapsaml\u0131 bir koleksiyon olu\u015fturdu.
So\u011fuk Sava\u015f d\u00f6neminde geli\u015fen k\u00fclt\u00fcrel diplomasi a\u011flar\u0131n\u0131n da deste\u011fiyle
Hindistan, T\u00fcrkiye, \u0130ran, M\u0131s\u0131r gibi \u00fclkelere seyahat ederek sanat\u00e7\u0131larla
do\u011frudan ili\u015fki kurdu, eser toplad\u0131. 1961 ile 1969 y\u0131llar\u0131 aras\u0131nda T\u00fcrkiye\u2019ye
yapt\u0131\u011f\u0131 ziyaretler s\u0131ras\u0131nda \u00fclkenin sanat ortam\u0131yla yak\u0131n ili\u015fkiler geli\u015ftirdi.
Modern sanat\u0131n k\u00fclt\u00fcrleraras\u0131 ileti\u015fim ve kar\u015f\u0131la\u015fma i\u00e7in bir ara\u00e7 olabilece\u011fine
inanan Grey\u2019in koleksiyonu, bug\u00fcn erken d\u00f6nem \u201ck\u00fcresel modernizm\u201d
giri\u015fimlerinden biri olarak de\u011ferlendirilmektedir.
[\u00d6zer Kaba\u015f] Robert Kolej\u2019deki at\u00f6lyesini ziyaret etti\u011fimizde, \u00e7e\u015fitli malzemeleri
birle\u015ftirerek \u015fa\u015f\u0131rt\u0131c\u0131 derecede g\u00fczel i\u015fler \u00fcretiyordu. Askerlik g\u00f6revi s\u0131ras\u0131nda sava\u015fla
ilgili bir\u00e7ok eskiz yapm\u0131\u015ft\u0131. Sat\u0131n ald\u0131\u011f\u0131m resimlerden ikisi bu eskizlere dayan\u0131yordu
ve hem taze hem de etkileyiciydi. O g\u00fcn \u015f\u00f6valesinde, uluslararas\u0131 bir ikon olan Charlie
Chaplin\u2019in portresi duruyordu. […] Bir Pazar g\u00fcn\u00fc Mike ile \u00d6zer Kaba\u015f\u2019\u0131n evinde
bulu\u015ftuk. […] \u0130ngilizcesi m\u00fckemmeldi, e\u015fininki de \u00f6yle. Bebek\u2019te bir apartman\u0131n
d\u00f6rd\u00fcnc\u00fc kat\u0131nda ya\u015f\u0131yorlard\u0131 ve geni\u015f \u00e7at\u0131 terasl\u0131 daireleri, bir sanat\u00e7\u0131n\u0131n
koleksiyonuna yak\u0131\u015f\u0131r hal\u0131lar, kitaplar, k\u0131ymetli e\u015fyalar ve sanat eserleriyle doluydu. […]
\u015e\u00f6valenin \u00fczerinde, \u00d6zer\u2019in benim i\u00e7in yapt\u0131\u011f\u0131 bir eskiz vard\u0131: Boynunda fular\u0131, elinde
paletiyle kurukafal\u0131 bir fig\u00fcr, bir sanat\u00e7\u0131. A\u011fz\u0131ndan \u00e7\u0131kan konu\u015fma balonunda ise \u015f\u00f6yle
yaz\u0131yordu: \u201cMerhaba, Bayan Grey, biz gayet \u2018iyiyiz.\u2019\u201d Mesaj a\u00e7\u0131kt\u0131; iyi de\u011fillerdi.*
Kaba\u015f\u2019\u0131n Abby Weed Grey\u2019e ithaf etti\u011fi Merhaba, Mrs. Grey, sanat\u00e7\u0131n\u0131n taklit,
\u00f6zg\u00fcnl\u00fck ve yerellik meselelerine bak\u0131\u015f\u0131n\u0131n erken \u00f6rneklerindendir.
*Abby Weed Grey, The Picture Is the Window\u2014The Window Is the Picture: An Autobiographical
Journey, New York: New York University Press, 1983, ss. 141, 222.
Vas\u0131f Kortun\u2019un \u201cAbby Weed Grey\u2019in Yolculu\u011fu\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131 okumak i\u00e7in:
https:\/\/saltonline.org\/tr\/3089<\/a>.
Abby Weed Grey\u2019in The Picture is the Window\u2014The Window is the Picture [Resim Penceredir,
Pencere Resimdir] adl\u0131 kitab\u0131ndan se\u00e7ili b\u00f6l\u00fcmleri okumak i\u00e7in: https:\/\/saltonline.org\/tr\/3090<\/a>.<\/p>\n\n\n\n
1964 ile 1974 y\u0131llar\u0131 aras\u0131nda Robert Kolej Y\u00fcksek Okulu\u2019nda \u00f6\u011fretim \u00fcyesi
olarak g\u00f6rev yapt\u0131. Ayn\u0131 zamanda Social Hall\u2019un direkt\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlenerekkamp\u00fcs\u00fcn akademik ve k\u00fclt\u00fcrel ya\u015fam\u0131n\u0131n \u015fekillenmesinde etkin rol oynad\u0131.
1960\u2019lar\u0131n ikinci yar\u0131s\u0131nda Robert Kolej, \u00fcniversite \u00f6zerkli\u011fi ve y\u00fcksek\u00f6\u011fretimin
gelece\u011fine ili\u015fkin tart\u0131\u015fmalar\u0131n merkezindeki kurumlardan biriydi. Kurucu
rekt\u00f6r Aptullah Kuran\u2019\u0131n \u00f6nc\u00fcl\u00fc\u011f\u00fcnde \u015fekillenen d\u00f6n\u00fc\u015f\u00fcm s\u00fcrecinde Kaba\u015f,
\u00fcniversite ya\u015fam\u0131na y\u00f6nelik \u00e7al\u0131\u015fmalar\u0131yla \u00f6ne \u00e7\u0131kt\u0131. Be\u015f y\u0131l ba\u011f\u0131ms\u0131z ders
vermesinin ard\u0131ndan 1969\u20131970 \u00f6\u011fretim y\u0131l\u0131nda Bilim ve Edebiyat Fak\u00fcltesi
karar\u0131yla \u201cAssistant Professor\u201d oldu.
Kaba\u015f, sanat\u0131 mimarl\u0131k, resim, tiyatro, sinema, edebiyat ve m\u00fczikle ili\u015fkisi
i\u00e7erisinde ele alan disiplinleraras\u0131 bir e\u011fitim anlay\u0131\u015f\u0131n\u0131 benimsedi. \u201cArt
Appreciation\u201d ve \u201cArt Studio\u201d derslerinin yan\u0131 s\u0131ra Oya Ba\u015fak ve Donald Hoffman
ile geli\u015ftirdikleri \u201cCombined Arts\u201d, kuram ile prati\u011fi, sanat tarihi ile at\u00f6lye
\u00fcretimini bulu\u015fturuyordu. Aptullah Kuran ile birlikte haz\u0131rlad\u0131\u011f\u0131 sanat tarihi
programlar\u0131 da bu yakla\u015f\u0131m\u0131n bir uzant\u0131s\u0131yd\u0131. \u00d6\u011frenci kul\u00fcp ve \u00f6rg\u00fctleriyle yak\u0131n
ili\u015fki kuran Kaba\u015f, \u00f6\u011frencilerin okul y\u00f6netimine kat\u0131l\u0131m\u0131n\u0131 destekledi; senatoda
\u00f6\u011frenci temsilini ve demokratik kat\u0131l\u0131m\u0131 savunan \u00f6\u011fretim \u00fcyeleri aras\u0131nda yer ald\u0131.
1971\u2019de Robert Kolej\u2019in devletle\u015ftirilerek Bo\u011fazi\u00e7i \u00dcniversitesi\u2019ne d\u00f6n\u00fc\u015fmesiyle
birlikte Kaba\u015f, yeni \u00fcniversitenin kurumsal kimli\u011finin olu\u015fumunda da rol
\u00fcstlendi. Aptullah Kuran\u2019\u0131n kavramsal \u00e7er\u00e7evesini olu\u015fturdu\u011fu amblem Kaba\u015f
taraf\u0131ndan tasarland\u0131. Karadeniz ile Marmara Denizi\u2019nin Bo\u011faz\u2019da bulu\u015fmas\u0131n\u0131
simgeleyen tasar\u0131m, zaman i\u00e7inde \u201cBo\u011fazi\u00e7i \u00dcniversitesi\u201d ve \u201c1863\u201d ibarelerinin
eklenmesiyle bug\u00fcnk\u00fc h\u00e2lini ald\u0131.<\/p>\n\n\n\n
\u00c7o\u011fumuzun hocas\u0131 olmu\u015ftu b\u00f6ylece. Benim ondan ald\u0131\u011f\u0131m \u201cArt Appreciation\u201d
dersinde (\u015eubat\u2013May\u0131s 1970) \u00f6zellikle vurgulad\u0131\u011f\u0131 ve s\u00fcrekli tart\u0131\u015ft\u0131\u011f\u0131m\u0131z \u00fc\u00e7 kitap,
\u00d6zer Abi\u2019nin ne denli g\u00fc\u00e7l\u00fc bir k\u00fclt\u00fcr birikimine sahip oldu\u011funun da kan\u0131t\u0131d\u0131r: Ernst
Fischer, The Necessity of Art [Sanat\u0131n Gereklili\u011fi]; George A. Huaco, The Sociology
of Film Art [Film Sanat\u0131n\u0131n Sosyolojisi]; Jos\u00e9 Ortega y Gasset, The Revolt of the
Masses [Kitlelerin Ayaklan\u0131\u015f\u0131].
Mi\u015fel Grunberg, 2022
(Robert Kolej Y\u00fcksek Okulu\u2019ndan \u00f6\u011frencisi)<\/p>\n\n\n\n
bana \u00e7izdi\u011fi gelecek plan\u0131na \u00e7ok ters d\u00fc\u015f\u00fcyordu. M\u00fchendis olmam i\u00e7in bask\u0131
mevcuttu, ama ben bu durumdan beni kurtaracak bir \u201ckoruyucu melek\u201d aramak
gibi bir fanteziye kap\u0131lm\u0131\u015ft\u0131m. Ve o s\u0131rada kar\u015f\u0131ma \u00d6zer Kaba\u015f \u00e7\u0131kt\u0131. Foto\u011fraflar\u0131m\u0131
be\u011fendi, y\u00f6netmenli\u011fini yapt\u0131\u011f\u0131 Social Hall\u2019daki galeride bir sergimi a\u00e7t\u0131. Bir s\u00fcre
sonra da, benden habersiz, Amerika\u2019da sanat \u00f6\u011frenimini yapt\u0131\u011f\u0131 Yale School of Art\u2019\u0131n
dekan\u0131na mektup yaz\u0131p benim orada \u00f6\u011frenim yapmam\u0131 \u00f6nerdi.*
Sedat Pakay, 2007
(Foto\u011fraf\u00e7\u0131 ve sinemac\u0131, Robert Kolej Y\u00fcksek Okulu\u2019ndan \u00f6\u011frencisi)
*Sedat Pakay, \u201cYolculu\u011fumun K\u0131lavuzu \u00d6zer Abi\u201d (New York, Aral\u0131k 2007), \u00d6zer Kaba\u015f:
Retrospektif, \u0130stanbul: Yap\u0131 Kredi Yay\u0131nlar\u0131, 2008, ss. 27\u201328.<\/p>\n\n\n\n
Sapienza \u00dcniversitesi\u2019nde mimarl\u0131k okudum. \u201cYanl\u0131\u015fl\u0131kla\u201d diyorum, zira mimarl\u0131k
b\u00f6l\u00fcm\u00fc olmad\u0131\u011f\u0131 i\u00e7in ona en yak\u0131n in\u015faat m\u00fchendisli\u011fi oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcmden
o b\u00f6l\u00fcm\u00fc se\u00e7mi\u015ftim. \u00d6zer A\u011fabey beni Yale\u2019de mimarl\u0131k b\u00f6l\u00fcm\u00fcnde ders veren bir
arkada\u015f\u0131 vas\u0131tas\u0131yla \u0130talya\u2019ya y\u00f6nlendirdi. Yale\u2019de mimarl\u0131k y\u00fcksek lisans\u0131 i\u00e7in benim
ad\u0131ma giri\u015fimde bulunmu\u015ftu; ancak fak\u00fcltede ders veren o arkada\u015f\u0131 benim \u0130talyan
okullar\u0131ndaki \u00f6zge\u00e7mi\u015fimi g\u00f6r\u00fcp, \u201cBuraya gelece\u011fine neden \u0130talya\u2019ya gitmiyor; biz
master talebelerini oraya g\u00f6nderiyoruz!\u201d deyince ben de zaten koleje girmeden \u00f6nce
akl\u0131mda olan \u0130talya\u2019y\u0131 tercih ettim.
Cavit Sar\u0131o\u011flu, 2022
(Robert Kolej Y\u00fcksek Okulu\u2019ndan \u00f6\u011frencisi)<\/p>\n\n\n\n
G\u00fclery\u00fcz\u2019e rastlad\u0131m, okulun \u00f6n\u00fcnde s\u0131k\u0131 bir tart\u0131\u015fma yapt\u0131\u011f\u0131m\u0131z\u0131 hat\u0131rl\u0131yorum;
o bana yurt d\u0131\u015f\u0131na gitmemi, orada uzun s\u00fcre kalmam\u0131 \u00f6\u011f\u00fctl\u00fcyordu, ben ise daha
burada yapmam gereken ve bu \u00fclkeden almam gereken \u00e7ok \u015fey oldu\u011funu s\u00f6yleyerek
kar\u015f\u0131 \u00e7\u0131k\u0131yordum. Bir de Bo\u011fazi\u00e7i \u00dcniversitesi\u2019ndeki ikinci ders y\u0131l\u0131nda \u00f6nemli
bir teklif alm\u0131\u015ft\u0131m. Bir g\u00fcn \u00d6zer Kaba\u015f okuldaki at\u00f6lyeme Roma G\u00fczel Sanatlar
Y\u00fcksek Okulu\u2019nun y\u00f6neticisini getirdi, resimlerimi g\u00f6rmesini istedi. Bir s\u00fcre sonra
bana Roma\u2019daki okulda burslu olarak okumam i\u00e7in \u00f6neri geldi. \u0130kinci s\u0131n\u0131fta
oldu\u011fumu bahane edince de ikinci s\u0131n\u0131fa ge\u00e7i\u015f yapabilece\u011fim ve daha sonra da
istersem Amerika\u2019da bulunan ayn\u0131 okula transfer olabilece\u011fim s\u00f6ylendi. Pek fazla
d\u00fc\u015f\u00fcnmeden geri \u00e7evirdim. \u00d6zer Kaba\u015f daha sonra beni her g\u00f6rd\u00fc\u011f\u00fcnde bu karar\u0131m\u0131
ba\u011f\u0131\u015flamad\u0131\u011f\u0131n\u0131 s\u00f6ylemi\u015ftir.*
Fatma T\u00fclin, 2010
(Sanat\u00e7\u0131, Bo\u011fazi\u00e7i \u00dcniversitesi\u2019nden \u00f6\u011frencisi)
*Levent \u00c7al\u0131ko\u011flu, \u201cFatma T\u00fclin ile S\u00f6yle\u015fi\u201d, Fatma T\u00fclin, \u0130stanbul: Masa, 2010, ss. 17\u201319.<\/p>\n\n\n\n
di\u011fer pek \u00e7ok y\u00f6n\u00fcn\u00fcn yan\u0131 s\u0131ra d\u00f6nemin \u00f6nde gelen grav\u00fcr sanat\u00e7\u0131lar\u0131ndan biri
olan [Josef] Albers\u2019in \u00f6\u011frencisiydi; Albers de \u00d6zer\u2019in grav\u00fcrlerine duydu\u011fu sayg\u0131y\u0131
gizlemiyordu. […] \u00d6zer\u2019i sevmeyen kimseyle kar\u015f\u0131la\u015fmad\u0131m; onun da beni sevmi\u015f
olmas\u0131na minnettard\u0131m. Ama o herkesi severdi zaten. Yo\u011fun \u00e7al\u0131\u015fma temposuna
ra\u011fmen resim ve grav\u00fcr yapmaya devam etti. Ancak bu durum onun i\u00e7in pek de zorlu
say\u0131lmazd\u0131, zira yard\u0131m i\u00e7in kap\u0131s\u0131n\u0131 \u00e7alan \u00f6\u011frencilerin g\u00fcvenini kazanmak i\u00e7in tek
yapmas\u0131 gereken kendisi gibi olmakt\u0131.
Y\u0131llar sonra, herkesin onu sevdi\u011fi ve takdir etti\u011fi Mimar Sinan \u00dcniversitesi\u2019nde,
rekt\u00f6rl\u00fck teklifini geri \u00e7evirmek durumunda kald\u0131. Teklifi kabul etmedi, \u00e7\u00fcnk\u00fc bu
vazife t\u00fcm vaktini alacakt\u0131 ve \u00e7al\u0131\u015fma hayat\u0131n\u0131n merkezinde resim vard\u0131.
[…] 1960\u2019lar\u0131n ba\u015f\u0131nda \u00d6zer\u2019le beni Marmara Adas\u0131\u2019na g\u00f6t\u00fcren ani bir karard\u0131. \u0130kimiz
de ne Prokonnesos mermer ocaklar\u0131n\u0131 ne de hen\u00fcz \u00e7ok fazla ilgi \u00e7ekmeyen o aday\u0131
g\u00f6rm\u00fc\u015ft\u00fck. […] Orada geni\u015f ve g\u00fczel bir kumluk vard\u0131. \u00d6zer buray\u0131, yaz\u0131l\u0131 tarihten
\u00e7ok \u00f6nce \u015fu ya da bu adla b\u00f6lgeye h\u00fck\u00fcm s\u00fcrm\u00fc\u015f olan tanr\u0131\u00e7an\u0131n t\u00fcrl\u00fc h\u00e2llerini
betimleyen al\u00e7ak kabartma heykellerle dolu bir a\u00e7\u0131k hava sergisine d\u00f6n\u00fc\u015ft\u00fcrd\u00fc.
\u00d6zer, mermer i\u015flemesi kolay bir malzeme oldu\u011fundan burada heykelt\u0131ra\u015flar i\u00e7in bir
yaz okulu kurmay\u0131 planlad\u0131. Ba\u015fyap\u0131t\u0131 da tavsiyem \u00fczerine orada b\u0131rakt\u0131k; bundan<\/p>\n\n\n\n
limana yana\u015ft\u0131; filozof heykellerinin ba\u015flar\u0131n\u0131 s\u00f6k\u00fcp \u00e7ald\u0131lar. Ku\u015fkusuz, onlar\u0131 bir
hayvan pazar\u0131na, yozla\u015fm\u0131\u015f sanat tacirlerinin d\u00fcnyas\u0131na g\u00f6t\u00fcrd\u00fcler.
Adaya geri d\u00f6n\u00fcp burada bir ev in\u015fa edece\u011fimize dair birbirimize s\u00f6z verdik. \u00d6zer,
kendisinden beklenece\u011fi \u00fczere tam da bunu yapt\u0131; hatta kayal\u0131\u011f\u0131n dibine kuyu
bile a\u00e7t\u0131. Ev tamamlanmadan \u00f6nce k\u00f6ydeki kuyuya iner; sebze ve meyveleri orada
y\u0131kard\u0131k. O zamanlar Erdek\u2019e g\u00fcn\u00fcbirlik tekne seferi vard\u0131, et ve i\u00e7ecek al\u0131\u015fveri\u015fi
yapmak i\u00e7in de zaman\u0131m\u0131z oluyordu. Deniz yolculu\u011fu \u00e7o\u011fu zaman sert ge\u00e7erdi, ama
Palatya\u2019dan [Saraylar] d\u00f6n\u00fc\u015fle k\u0131yaslanamazd\u0131.
[…] Mimar [Bo\u011fazi\u00e7i \u00dcniversitesi\u2019nin rekt\u00f6r\u00fc] Aptullah Kuran, \u00d6zer\u2019den ilhamla
hemen yan tarafa kendi evini in\u015fa ettirdi. […] Ayr\u0131ca en lezzetli domatesleri o
yeti\u015ftiriyordu; bunu da evi satmaya karar verdi\u011finde \u00f6\u011frendik.*
Godfrey Goodwin, 2002
(Sanat tarih\u00e7isi, Robert Kolej\u2019de \u00e7al\u0131\u015fma arkada\u015f\u0131)
*Godfrey Goodwin, Life\u2019s Episodes: Discovering Ottoman Architecture, \u0130stanbul: Bo\u011fazi\u00e7i
University Press, 2002, ss. 198\u2013216.<\/p>\n\n\n\n
i\u00e7inde oldu; Cevat \u00c7apan ile K\u00f6\u015feba\u015f\u0131, Engin Cezzar ile J\u00fcl Sezar gibi bir\u00e7ok
\u00f6nemli yap\u0131mda rol ald\u0131. Bu ba\u011fl\u0131l\u0131k, Yale School of Art\u2019taki e\u011fitiminin ard\u0131ndan
T\u00fcrkiye\u2019ye d\u00f6nd\u00fckten sonra da devam etti ve katk\u0131lar\u0131 oyunculukla s\u0131n\u0131rl\u0131
kalmad\u0131. Jean Genet\u2019nin Les N\u00e8gres [Karalar] adl\u0131 oyununun yap\u0131m a\u015famas\u0131na
gelindi\u011finde, Kaba\u015f sahne ve maske tasar\u0131m\u0131n\u0131 da \u00fcstlendi. 1965 y\u0131l\u0131nda
sahnelenen oyunun T\u00fcrk\u00e7e \u00e7evirisini ise Ali Taygun yapm\u0131\u015ft\u0131.
Bu faaliyetler, Kaba\u015f\u2019\u0131 Oya Ba\u015fak, Haldun Dormen, \u00dcst\u00fcn Erg\u00fcder, Genco Erkal,
Ali Pasiner, \u00dclk\u00fc Tamer gibi ilerleyen y\u0131llarda k\u00fclt\u00fcr d\u00fcnyas\u0131n\u0131n \u00f6nemli isimleri
olacak ki\u015filerle ayn\u0131 \u00e7evreye yerle\u015ftirdi. \u00d6nce Hisar Oyuncular\u0131, ard\u0131ndan Robert
Kolej Oyuncular\u0131 \u00e7evresinde geli\u015fen tiyatro gelene\u011fi, edebiyat ve g\u00f6rsel sanatlarla
i\u00e7 i\u00e7e bir \u00fcretim alan\u0131 yaratt\u0131. Bu ortam\u0131n \u015fekillenmesinde, Robert Kolej\u2019de
tiyatro ve be\u015fer\u00ee bilimler alan\u0131nda etkili bir fig\u00fcr olan Hilary Sumner-Boyd\u2019un
da \u00f6nemli bir yeri vard\u0131.<\/p>\n\n\n\n
T\u00fcrkiye\u2019de ba\u011f\u0131ms\u0131z sinema k\u00fclt\u00fcr\u00fcn\u00fcn kurumsalla\u015fmas\u0131 ve entelekt\u00fcel bir
platform olu\u015fturulmas\u0131 a\u00e7\u0131s\u0131ndan belirleyiciydi. Kaba\u015f, sanat\u0131n farkl\u0131
disiplinlerini birle\u015ftiren pedagojik yakla\u015f\u0131m\u0131yla kamp\u00fcs\u00fc hem bir e\u011fitim alan\u0131
hem de alternatif bir k\u00fclt\u00fcrel \u00fcretim merkezi olarak g\u00f6rd\u00fc. Bu s\u00fcrecin en somut
\u00e7\u0131kt\u0131lar\u0131ndan biri, dan\u0131\u015fmanl\u0131\u011f\u0131n\u0131 \u00fcstlendi\u011fi Robert Kolej Sinema Kul\u00fcb\u00fc\u2019nde
y\u00fcr\u00fctt\u00fc\u011f\u00fc \u00e7al\u0131\u015fmalard\u0131. Kul\u00fcp b\u00fcnyesinde, Ye\u015fil\u00e7am\u2019\u0131n ticari ve end\u00fcstriyel
yap\u0131s\u0131ndan farkl\u0131 bir dil aray\u0131\u015f\u0131nda olan gen\u00e7 sinemac\u0131lar\u0131n bir araya gelmesi
sa\u011fland\u0131. Bu vizyon belgesel, animasyon ve deneysel \u00fcretimleri desteklemek
\u00fczere 1967\u2019den 1970\u2019e dek d\u00f6rt kez d\u00fczenlenen Hisar K\u0131sa Film Yar\u0131\u015fmas\u0131 ile
somut bir kar\u015f\u0131l\u0131k buldu. T\u00fcrkiye\u2019nin ilk k\u0131sa film festivali olan etkinlik,
sinemay\u0131 estetik ve d\u00fc\u015f\u00fcnsel bir mecra olarak konumland\u0131rd\u0131 ve d\u00f6nemin
ba\u011f\u0131ms\u0131z sinema anlay\u0131\u015f\u0131n\u0131n filizlendi\u011fi platformlardan biri h\u00e2line geldi. Ancak
12 Mart 1971 asker\u00ee m\u00fcdahalesinin yaratt\u0131\u011f\u0131 siyasi atmosfer ve bask\u0131c\u0131 ortam,
Robert Kolej Sinema Kul\u00fcb\u00fc\u2019n\u00fcn kapat\u0131lmas\u0131na ve yar\u0131\u015fman\u0131n sona ermesine
neden oldu.
Kaba\u015f\u2019\u0131n bu d\u00f6nemdeki \u00fcretimi, teorik \u00e7al\u0131\u015fmalar\u0131n\u0131n pratik kar\u015f\u0131l\u0131\u011f\u0131n\u0131 da
i\u00e7eriyordu. Y\u00f6netmenli\u011fini \u00fcstlendi\u011fi 1967 yap\u0131m\u0131 \u0130stanbul Hat\u0131ras\u0131 adl\u0131 16mm
g\u00f6zlemci belgesel film, kentin k\u00fclt\u00fcrel dokusunu belgelemenin yan\u0131 s\u0131ra d\u00f6nemin
deneysel sinema ve g\u00f6rsel dil aray\u0131\u015flar\u0131n\u0131 yans\u0131tt\u0131. Robert Kolej K\u00fclt\u00fcr Haftas\u0131
kapsam\u0131nda ger\u00e7ekle\u015ftirilen a\u00e7\u0131k oturumlar ise Kaba\u015f\u2019\u0131n disiplinleraras\u0131
pedagojisinin bir di\u011fer aya\u011f\u0131n\u0131 olu\u015fturuyordu. Sanat, sinema ve siyasetin e\u015f
zamanl\u0131 olarak tart\u0131\u015f\u0131ld\u0131\u011f\u0131 paneller, sanat\u0131n toplumsal olaylardan ve politik
konjonkt\u00fcrden kopuk ele al\u0131namayaca\u011f\u0131n\u0131 savunan bir anlay\u0131\u015f\u0131n \u00fcr\u00fcn\u00fcyd\u00fc.
Kul\u00fcb\u00fcn \u00e7evresinde \u015fekillenen entelekt\u00fcel tart\u0131\u015fma iklimi Kuzgun Acar, Tahir
Alangu, \u00d6zcan Arca, \u00dcst\u00fcn Bar\u0131\u015fta, Cihat Burak, Adnan \u00c7oker, Atilla Dorsay, Ay\u015fe
Erbil, Selahattin Hilav, Nurten Kara\u00e7ivi, Onat Kutlar, Aziz Nesin, Tan Oral, Mutlu
Parkan, Faruk Pekin, Kemal Tahir, Sezer Tansu\u011f, Orhan Taylan, \u00d6mer Ulu\u00e7, Artun
Yeres gibi sanat\u00e7\u0131, yazar ve sinemac\u0131lar\u0131 bir araya getirdi. Tart\u0131\u015fmalar genel olarak
devrimci sinema, \u00f6rg\u00fctl\u00fc m\u00fccadele, k\u0131sa filmin estetik potansiyeli ve sanat\u0131n
toplumsal i\u015flevine yo\u011funla\u015f\u0131rken, 1966\u2019da yay\u0131n hayat\u0131na ba\u015flayan G\u00f6r\u00fcnt\u00fc
dergisi de bu entelekt\u00fcel \u00fcretimlerin teorik altyap\u0131s\u0131n\u0131 yans\u0131tan bir mecra olarak
i\u015flev g\u00f6rd\u00fc. Sanat\u00e7\u0131lar ile \u00f6\u011frencileri estetik, politik ve toplumsal meseleler
etraf\u0131nda bulu\u015fturan t\u00fcm bu \u00e7al\u0131\u015fmalar, T\u00fcrkiye\u2019de sanat e\u011fitimi ve ba\u011f\u0131ms\u0131z<\/p>\n\n\n\n
temelini att\u0131.
Deniz Tortum\u2019un \u201cHisar\u2019da Yeni Bir Ger\u00e7ek\u00e7ilik: \u0130stanbul Hat\u0131ras\u0131\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131 okumak
i\u00e7in: https:\/\/saltonline.org\/tr\/2622<\/a>.
B\u00fclent Becan\u2019\u0131n \u201cHisar K\u0131sa Film Yar\u0131\u015fmas\u0131 (1967-1970) \u00dczerine\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131 okumak
i\u00e7in: https:\/\/saltonline.org\/tr\/2624<\/a>.
Hisar K\u0131sa Film Yar\u0131\u015fmas\u0131 \u00fczerine \u015eubat 2024\u2019te Salt Galata\u2019da ger\u00e7ekle\u015ftirilen s\u00f6yle\u015filerin
kayd\u0131na Salt\u2019\u0131n YouTube kanal\u0131ndan eri\u015filebilir.<\/p>\n\n\n\n
belirginle\u015ftiren kritik bir d\u00f6nemdi. Kaba\u015f, Robert Kolej\u2019de \u00f6\u011fretim \u00fcyeli\u011finin
yan\u0131 s\u0131ra Social Hall\u2019un direkt\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlenerek bu mek\u00e2n\u0131 bir sanat
merkezine d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. \u00d6zellikle gen\u00e7 ku\u015fak sanat\u00e7\u0131lara \u00f6nemli bir platform
sunan mek\u00e2nda, 1960\u2019lar\u0131n ortalar\u0131ndan itibaren \u00e7e\u015fitli sergiler d\u00fczenlendi:
\u2219Oktay An\u0131lanmert, Nuray Ata\u015f ve Mehmet G\u00fclery\u00fcz (25 May\u0131s\u20135 Haziran 1964)
\u2219Nil Yalter (5 Ocak 1965)
\u2219Sedat Pakay (1966)
\u2219Ara G\u00fcler (2\u201320 May\u0131s 1966)
\u2219G\u00fcls\u00fcn Karamustafa, Figen Demirel, Mustafa \u015eener ve Komet (6\u201316 Aral\u0131k 1966)
\u2219Saim Bugay (1967)
\u2219Ziya G\u00f6k\u00e7ek (21 Ekim 1968)
\u2219\u015eerefnur Ayiter (6\u201317 Kas\u0131m 1968)
\u2219Kuzgun Acar (takrib\u00ee 1968\u20131969)
\u2219Cem Kabaa\u011fa\u00e7 (tahmin\u00ee 1960\u2019lar)
\u2219Aliye Berger (tahmin\u00ee 1960\u2019lar)
\u2219Zerrin Kehnemuyi (1970)
\u2219Fatma T\u00fclin (1973)
Bu sergiler, o d\u00f6nemde say\u0131l\u0131 konser salonu ve tiyatro mek\u00e2n\u0131n\u0131n bulundu\u011fu
\u0130stanbul\u2019da, Social Hall\u2019u sanat\u00e7\u0131lar\u0131n bulu\u015fma noktas\u0131 h\u00e2line getirdi.
*Robert Kolej\u2019de d\u00fczenlenen sergilere dair ara\u015ft\u0131rma s\u00fcrmektedir. Katk\u0131da bulunmak i\u00e7in
salt.research@saltonline.org<\/a> adresine yazabilirsiniz.<\/p>\n\n\n\n
\u00f6\u011frenimi g\u00f6rd\u00fc\u011f\u00fc s\u0131rada \u00d6zer Kaba\u015f\u2019\u0131n \u00f6\u011frencileri aras\u0131nda yer ald\u0131. Kaba\u015f ile
Pakay aras\u0131ndaki ili\u015fkiyi g\u00fc\u00e7lendiren ortak ilgi alanlar\u0131ndan biri foto\u011fraf\u00e7\u0131l\u0131kt\u0131.
\u0130kili birlikte \u0130stanbul\u2019u dola\u015f\u0131p Kuledibi ve Beyaz\u0131t bitpazarlar\u0131n\u0131 gezdi, foto\u011fraf
\u00fczerine konu\u015ftu. Kaba\u015f\u2019\u0131n \u00e7evreye ve g\u00f6rsel k\u00fclt\u00fcre y\u00f6nelik ilgisi, Pakay\u2019\u0131n erken
1960\u2019lardaki i\u015flerinde de izlenebiliyordu. Bu y\u0131llarda Pakay, \u0130stanbul\u2019un sokaklar\u0131n\u0131,
mahallelerini, k\u0131y\u0131lar\u0131n\u0131, k\u00fc\u00e7\u00fck esnaf\u0131n\u0131 ve g\u00fcndelik hayat\u0131n\u0131 foto\u011fraflad\u0131.
Robert Kolej\u2019de \u00f6\u011fretim \u00fcyesi ve Social Hall direkt\u00f6r\u00fc olan Kaba\u015f, Pakay\u2019\u0131n
\u00e7al\u0131\u015fmalar\u0131n\u0131 yak\u0131ndan takip etti; ilk foto\u011fraflar\u0131n\u0131n Social Hall\u2019da sergilenmesini
destekledi. Dahas\u0131, kendisinin de mezunu oldu\u011fu Yale School of Art\u2019a ba\u015fvuru
yapmas\u0131 i\u00e7in onu te\u015fvik etti. Pakay\u2019\u0131n ba\u015fvurusunda yer alan \u0130stanbul
foto\u011fraflar\u0131, Yale\u2019de \u00f6\u011fretim \u00fcyesi olan ve 20. y\u00fczy\u0131l Amerika\u2019s\u0131n\u0131n ruhu ile
toplumsal ger\u00e7ekli\u011fini ikonik foto\u011fraflar\u0131yla belgeleyen \u00f6nc\u00fc foto\u011fraf\u00e7\u0131 ve foto
muhabiri Walker Evans\u2019\u0131n dikkatini \u00e7ekti. Robert Kolej\u2019den Yale School of Art\u2019a
ge\u00e7i\u015f yapan Pakay, 1968\u2019de buradan y\u00fcksek lisans derecesiyle mezun oldu.
Pakay, Kaba\u015f\u2019\u0131n Robert Kolej y\u0131llar\u0131ndan tan\u0131d\u0131\u011f\u0131 tiyatro oyuncusu ve y\u00f6netmeni
Engin Cezzar arac\u0131l\u0131\u011f\u0131yla James Baldwin ve \u0130stanbul\u2019daki \u00e7evresiyle tan\u0131\u015ft\u0131;
1960\u2019lardan itibaren yazar\u0131 \u0130stanbul\u2019da foto\u011fraflamaya ba\u015flad\u0131. Bu kar\u015f\u0131la\u015fma
daha sonra Baldwin portrelerine ve Pakay\u2019\u0131n y\u00f6netmenli\u011fini \u00fcstlendi\u011fi James
Baldwin: From Another Place [Ba\u015fka Bir Yerden] (1973) filmine uzanan uzun s\u00fcreli
bir ili\u015fkiye d\u00f6n\u00fc\u015ft\u00fc. Pakay\u2019\u0131n \u0130stanbul foto\u011fraflar\u0131n\u0131n, John Freely\u2019nin Stamboul
Sketches (1974) kitab\u0131nda da \u00f6nemli bir yeri vard\u0131.<\/p>\n\n\n\n
bir desen yapt\u0131m. Resme, kendimce koydu\u011fum kurallardan ve meselelerden azade bir
desen. \u00d6zer g\u00f6r\u00fcnce \u201cNiye bunun \u00fcst\u00fcne gitmiyorsun? Burada ortaya koyduklar\u0131n \u00e7ok
ayr\u0131. Sahip oldu\u011fun ifade g\u00fcc\u00fcn\u00fcn \u00f6n\u00fcne ge\u00e7me!\u201d dedi. Gerek Cemal Tollu i\u00e7in derste
alelusul yapt\u0131klar\u0131m\u0131 gerekse \u00d6zer\u2019e g\u00f6sterdi\u011fim deseni ciddiye almam\u0131\u015ft\u0131m. O ise
\u00fczerine resmimi in\u015fa edebilece\u011fim temelin fark\u0131na i\u015faret etmi\u015fti. Bunu ancak ba\u015fkas\u0131
size s\u00f6yleyebiliyor; insan\u0131n g\u00f6z\u00fcnden ka\u00e7abiliyor. Bu y\u00fczden kendi \u00f6\u011frencilerime
hep \u015funu s\u00f6yl\u00fcyorum: \u201c\u00d6nemli bulmad\u0131klar\u0131n\u0131z da d\u00e2hil yapt\u0131\u011f\u0131n\u0131z her \u015feyi bana
g\u00f6sterin; esas olan belki oradad\u0131r.\u201d<\/p>\n\n\n\n
ufkunu geni\u015fleten, birbirine \u00f6\u011freten ve bundan sak\u0131nmayan bir ili\u015fki. \u00dcst\u00fcnl\u00fck
kurmaya \u00e7al\u0131\u015fmad\u0131k. Resmimdeki bu d\u00f6n\u00fcm noktas\u0131n\u0131 \u00d6zer\u2019e bor\u00e7lu oldu\u011fumu
d\u00fc\u015f\u00fcn\u00fcyorum.*
\u00d6zer Kaba\u015f ile Mehmet G\u00fclery\u00fcz aras\u0131ndaki dostluk; sergiler, ortak \u00e7al\u0131\u015fmalar
ve sanat \u00fczerine y\u00fcr\u00fct\u00fclen tart\u0131\u015fmalar etraf\u0131nda \u015fekillendi. Robert Kolej\u2019deki
Social Hall bu ili\u015fkinin ilk bulu\u015fma noktalar\u0131ndand\u0131. Kaba\u015f\u2019\u0131n G\u00fclery\u00fcz\u2019\u00fcn
desenlerinde i\u015faret etti\u011fi ifade olanaklar\u0131, sanat\u00e7\u0131n\u0131n sonraki \u00fcretiminde
belirginle\u015fecek y\u00f6nelimlerin erken izleri aras\u0131ndayd\u0131. \u0130ki sanat\u00e7\u0131 aras\u0131ndaki
diyalog, y\u0131llar boyunca kar\u015f\u0131l\u0131kl\u0131 ele\u015ftiri ve payla\u015f\u0131m \u00fczerinden s\u00fcrd\u00fc.
*Ay\u015feg\u00fcl S\u00f6nmezay, G\u00fcld\u00fc\u011f\u00fcme Bakma: Mehmet G\u00fclery\u00fcz Kitab\u0131, \u0130stanbul: T\u00fcrkiye \u0130\u015f Bankas\u0131
K\u00fclt\u00fcr Yay\u0131nlar\u0131, 2004, s. 165.<\/p>\n\n\n\n
yapt\u0131\u011f\u0131m i\u015fle ilgili farkl\u0131 bir bak\u0131\u015f sa\u011flad\u0131. \u0130lgin\u00e7 olan, G\u00fczel Sanatlar Akademisi
yerine Bo\u011fazi\u00e7i \u00dcniversitesi\u2019ni se\u00e7mi\u015f olmam. S\u0131nav\u0131na bile girmedim Akademi\u2019nin.
Nedenini h\u00e2l\u00e2 sorar\u0131m kendime. San\u0131yorum resmin bende zaten \u201cvar\u201d oldu\u011funu
d\u00fc\u015f\u00fcn\u00fcyordum. Bo\u011fazi\u00e7i \u00dcniversitesi ise bana farkl\u0131 bir \u015fey \u00f6\u011fretecekti.
Orada ald\u0131\u011f\u0131m \u201cHumanities\u201d [K\u00fclt\u00fcrel Tarih] dersinin hocas\u0131 \u00d6zer Kaba\u015f\u2019t\u0131. \u0130yi
bir ressam oldu\u011funu \u00f6\u011frenince resimlerimi g\u00f6rmesini istedim. \u00d6nemsedi, ilgilendi.
B\u00f6ylece ilk ve tek sanat \u00f6\u011fretmenim o oldu. Genelde, yapt\u0131\u011f\u0131m resimler hakk\u0131nda
g\u00f6r\u00fc\u015flerini s\u00f6yl\u00fcyordu. Mimar Sinan \u00dcniversitesi\u2019nde y\u00fcr\u00fctt\u00fc\u011f\u00fc temel sanat e\u011fitimi
derslerinin \u00f6devlerini uygulamam\u0131 istedi bir ara. Amac\u0131n\u0131 \u00e7ok da anlamadan bir s\u00fcre
birtak\u0131m nokta, \u00e7izgi \u00e7al\u0131\u015fmalar\u0131 ger\u00e7ekle\u015ftirdim. Fakat bir g\u00fcn b\u00fct\u00fcn bunlardan
s\u0131k\u0131larak birden elma resmi yapt\u0131m. \u00c7al\u0131\u015ft\u0131\u011f\u0131m odaya geldi, g\u00f6rd\u00fc, durdu, bakt\u0131,
hi\u00e7bir \u015fey s\u00f6ylemeden kap\u0131ya do\u011fru y\u00fcr\u00fcd\u00fc, tam \u00e7\u0131karken \u201csen art\u0131k b\u0131rak o verdi\u011fim
\u00f6devleri\u201d dedi. Bana \u00e7ok katk\u0131s\u0131 olmu\u015ftur. Bu i\u015fin nas\u0131l ciddiye al\u0131nmas\u0131 gerekti\u011fini,
yetene\u011fin tek ba\u015f\u0131na yeterli olmad\u0131\u011f\u0131n\u0131, \u00e7al\u0131\u015fman\u0131n ve disiplinin \u00f6nemini bana
o \u00f6\u011fretmi\u015ftir. Bir s\u00f6z\u00fcn\u00fc \u00f6zellikle hi\u00e7 unutmam: \u201cSe\u00e7ti\u011fin arkada\u015flar\u0131n be\u011feni
d\u00fczeyine dikkat etmelisin, insan ister istemez yapt\u0131\u011f\u0131 i\u015fi yak\u0131n\u0131n\u0131n sevmesini ister;
birden onun g\u00f6z\u00fcne uygun i\u015f yapt\u0131\u011f\u0131n\u0131 fark edebilirsin.\u201d Bu s\u00f6yledi\u011fini bir defa
ya\u015fad\u0131m. Ne kadar hakl\u0131 oldu\u011funu anlad\u0131m.<\/p>\n\n\n\n
Ders aralar\u0131nda bile gidip resim yapabiliyordum. Zamanla, geceleri ve yaz d\u00e2hil t\u00fcm
tatillerde orada kalmaya ba\u015flad\u0131m. Bu bana yo\u011fun ve s\u0131k\u0131 bir \u00e7al\u0131\u015fma imk\u00e2n\u0131 yaratt\u0131.
\u00c7ok ge\u00e7meden ilk sergimi Bo\u011fazi\u00e7i \u00dcniversitesi\u2019nde a\u00e7t\u0131m. Bu kez de, o d\u00f6nem rekt\u00f6r
olan Aptullah Kuran resimlerimi Bedri Rahmi\u2019nin g\u00f6rmesini \u00f6nerdi. \u015eimdi tuhaf
geliyor, fakat ger\u00e7ekten de herkesin g\u00f6z\u00fcnde bir s\u0131nav niteli\u011fi ta\u015f\u0131yormu\u015f o zamanlar
Bedri Hoca. Ve y\u0131llar sonra bu s\u0131nav b\u00f6ylece yine kar\u015f\u0131ma \u00e7\u0131km\u0131\u015f oluyor, pe\u015fimi
b\u0131rakm\u0131yordu.*
\u00d6zer Kaba\u015f, Fatma T\u00fclin\u2019in sanat prati\u011finin erken d\u00f6neminde belirleyici bir rol
oynad\u0131. Bo\u011fazi\u00e7i \u00dcniversitesi\u2019nde \u00f6\u011frenciyken \u00e7al\u0131\u015fmalar\u0131n\u0131 yak\u0131ndan izleyen
Kaba\u015f, sanat\u00e7\u0131n\u0131n okul i\u00e7inde \u00fcretim yapabilece\u011fi ko\u015fullar\u0131n olu\u015fmas\u0131na
katk\u0131da bulundu. T\u00fclin, \u00d6\u011frenci \u0130\u015fleri Ofisi\u2019ni at\u00f6lye olarak kulland\u0131. Bu
d\u00f6nem, sanat\u00e7\u0131n\u0131n daha sonra \u201ci\u015finin ilk ad\u0131mlar\u0131\u201d olarak tan\u0131mlayaca\u011f\u0131 \u00fcretim
s\u00fcrecinin ba\u015flang\u0131c\u0131yd\u0131.
*Levent \u00c7al\u0131ko\u011flu, \u201cFatma T\u00fclin ile S\u00f6yle\u015fi\u201d, Fatma T\u00fclin, \u0130stanbul: Masa, 2010, ss. 15\u201316.<\/p>\n\n\n\n
Mehmet Kaba\u015f ve Vedat Kaba\u015f taraf\u0131ndan kuruldu. Kurulu\u015f amac\u0131, Anadolu\u2019nun
k\u00fclt\u00fcrel, arkeolojik ve estetik birikimini g\u00fcncel tasar\u0131m diliyle yeniden
yorumlamak; antik m\u00fccevher i\u015f\u00e7ili\u011fini ve formlar\u0131n\u0131 modern kuyumculuk ve
nesne tasar\u0131m\u0131yla sentezlemekti. Urart\u2019\u0131n tak\u0131lar\u0131, \u00f6zg\u00fcn sanat nesneleri olarak
\u00f6ne \u00e7\u0131kt\u0131.<\/p>\n\n\n\n
ilginin yan\u0131 s\u0131ra bu gelene\u011fin modernle\u015fme s\u00fcre\u00e7leri i\u00e7inde g\u00f6r\u00fcnmez h\u00e2le
geli\u015fine dair bir fark\u0131ndal\u0131kt\u0131. At\u00f6lyenin \u00fcretimleri, tarihsel bi\u00e7imleri do\u011frudan
tekrar etmek yerine Urartu ve Anadolu \u0130lk\u00e7a\u011f sanatlar\u0131n\u0131n bi\u00e7imsel haf\u0131zas\u0131n\u0131
bir tasar\u0131m dili i\u00e7inde yeniden ele ald\u0131. Bu yakla\u015f\u0131m, d\u00f6nemin h\u00e2kim bijuteri
esteti\u011fi ve seri \u00fcretim anlay\u0131\u015f\u0131na kar\u015f\u0131 da mesafeliydi. Urart i\u00e7in ge\u00e7mi\u015f,
dekoratif bir nostalji nesnesi de\u011fil, canl\u0131 bir k\u00fclt\u00fcrel kaynakt\u0131.
\u00d6zer Kaba\u015f\u2019\u0131n sanat ve k\u00fclt\u00fcr \u00fczerine d\u00fc\u015f\u00fcncelerinde \u00f6nemli yer tutan \u201cyatay\u201d
tarihsel etkiler, Urart\u2019\u0131n \u00fcretimlerinde de kar\u015f\u0131l\u0131k buldu. Co\u011frafya, g\u00fcndelik
ya\u015fam, zanaat pratikleri ve yerel g\u00f6rsel k\u00fclt\u00fcr, ithal edilen estetik y\u00f6nelimlerin
kar\u015f\u0131s\u0131nda \u00fcretken alanlar olarak konumland\u0131r\u0131ld\u0131. Urart Sanat At\u00f6lyesi bu
anlamda yaln\u0131zca bir tasar\u0131m giri\u015fimi de\u011fil, modern sanat ile zanaat, beden ile
nesne, tarih ile g\u00fcncel ya\u015fam aras\u0131nda kurulmaya \u00e7al\u0131\u015f\u0131lan farkl\u0131 bir ili\u015fkinin
par\u00e7as\u0131yd\u0131. Kaba\u015f\u2019\u0131n mini heykel-tak\u0131 tasar\u0131m\u0131na ilgisi Urart\u2019tan ayr\u0131ld\u0131\u011f\u0131 1976
y\u0131l\u0131ndan sonra da devam etti.
*Urart, ad\u0131n\u0131 M\u00d6 9.\u20136. y\u00fczy\u0131llar aras\u0131nda varl\u0131k g\u00f6stermi\u015f Demir \u00c7a\u011f\u0131 uygarl\u0131klar\u0131ndan biri
olan Urartular\u2019dan al\u0131r. G\u00fcn\u00fcm\u00fcz\u00fcn Do\u011fu Anadolu, Ermenistan ve Kuzeybat\u0131 \u0130ran\u2019\u0131na yay\u0131lan
co\u011frafyada \u00f6nemli bir b\u00f6lgesel g\u00fc\u00e7 olan bu krall\u0131k, geli\u015fmi\u015f bronz i\u015f\u00e7ili\u011fi, mimarisi ve
karma\u015f\u0131k sulama sistemleriyle bilinir.<\/p>\n\n\n\n
\u00f6\u011frencilerin 1968\u2019deki Akademi i\u015fgalinin ard\u0131ndan girdi. \u0130ki ay s\u00fcren i\u015fgali takiben
\u00f6\u011frenciler ile asistanlar\u0131n y\u00f6netime kat\u0131l\u0131m\u0131 sa\u011fland\u0131 ve Akademi reformu
\u00fczerinde \u00e7al\u0131\u015f\u0131lmaya ba\u015fland\u0131. 1 Aral\u0131k 1969 tarihli Y\u00fcksek Heykel B\u00f6l\u00fcm\u00fc karar\u0131 ve
Akademi Temsilciler Kurulu\u2019nun onay\u0131 ile Temel Sanat E\u011fitimi K\u00fcrs\u00fcs\u00fc kuruldu.
1969\u20131970 \u00f6\u011fretim y\u0131l\u0131nda Z\u00fcht\u00fc M\u00fcrido\u011flu\u2019nun davetiyle Altan G\u00fcrman, Heykel
B\u00f6l\u00fcm\u00fc\u2019nden yakla\u015f\u0131k on \u00f6\u011frenci ve \u00f6\u011fretim \u00fcyesine k\u00fcrs\u00fcn\u00fcn ilk deneme dersini
verdi. 1970\u2019te k\u00fcrs\u00fcye Erc\u00fcmend Kalm\u0131k atand\u0131. Temel Sanat E\u011fitimi, Akademi\u2019yi
olu\u015fturan Resim, Heykel, Mimarl\u0131k ve Dekoratif Sanatlar b\u00f6l\u00fcmlerinin 140 birinci
s\u0131n\u0131f \u00f6\u011frencisinin birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131 ortak bir at\u00f6lye e\u011fitimine d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc\u011f\u00fcnde,
\u00f6\u011fretim kadrosuna Ali Teoman Germaner ile Erkal G\u00fcng\u00f6ren de kat\u0131ld\u0131. Erc\u00fcmend
Kalm\u0131k\u2019\u0131n 1971\u2019deki vefat\u0131n\u0131n ard\u0131ndan k\u00fcrs\u00fc ba\u015fkanl\u0131\u011f\u0131n\u0131 Z\u00fcht\u00fc M\u00fcrido\u011flu
\u00fcstlendi ve \u00d6zer Kaba\u015f, Bo\u011fazi\u00e7i \u00dcniversitesi\u2019nden gelerek \u00e7ekirdek kadroya
eklendi. Kaba\u015f \u201cY\u00fczey\u201di, G\u00fcrman \u201cRenk\u201di, Germaner \u201cDoku\u201dyu, G\u00fcng\u00f6ren
\u201cStr\u00fckt\u00fcr\u201d\u00fc konu ald\u0131. Dersin asistan\u0131 ise Nuri Temizsoylu\u2019ydu. Ba\u015flang\u0131\u00e7ta k\u00fcrs\u00fc
olarak faaliyet g\u00f6steren Temel Sanat E\u011fitimi \u00f6nce b\u00f6l\u00fcme, sonra fak\u00fclteye
d\u00f6n\u00fc\u015ft\u00fc. 12 Eyl\u00fcl asker\u00ee darbesinin ard\u0131ndan Y\u00fcksek\u00f6\u011fretim Kurulu\u2019nun (Y\u00d6K)
kurulmas\u0131 ve 1982\u2019de Akademi\u2019nin Mimar Sinan \u00dcniversitesi\u2019ne d\u00f6n\u00fc\u015fmesiyle
birlikte bu \u00f6zg\u00fcn ve i\u015flevsel yap\u0131lanma sona erdi.
Akademi\u2019deki Temel Sanat E\u011fitimi\u2019ni kavramsalla\u015ft\u0131ran ana ekipten olan Kaba\u015f,
Yale\u2019de uygulamaya konulan m\u00fcfredat\u0131 yerinde deneyimlemi\u015fti. Yale\u2019de devrim,
Bauhaus\u2019un kapanmas\u0131n\u0131n ard\u0131ndan 1933\u2019te ABD\u2019ye giden Alman sanat\u00e7\u0131 Josef
Albers\u2019in katk\u0131s\u0131yla ger\u00e7ekle\u015fti. Fak\u00fclte dekan\u0131 Charles H. Sawyer, Albers\u2019i eski
Beaux-Arts y\u00f6nteminin terk edilip m\u00fcfredat\u0131n yeniden d\u00fczenlenmesine yard\u0131mc\u0131
olmas\u0131 i\u00e7in davet etmi\u015fti. Albers, 1951 tarihli bir raporda Yale rekt\u00f6r\u00fcne felsefesini
\u015f\u00f6yle a\u00e7\u0131kl\u0131yordu: \u201cSanat\u0131n do\u011frudan \u00f6\u011fretilemeyece\u011fine inan\u0131yorum. Bu nedenle
\u00f6\u011fretimimiz […] g\u00f6zlem ve ifade becerilerinin geli\u015ftirilmesinden ibarettir. […]
Teknik becerilerin geli\u015ftirilmesi, esnek bir hayal g\u00fcc\u00fcn\u00fcn geli\u015ftirilmesine tabi
olmal\u0131d\u0131r.\u201d \u00d6zer Kaba\u015f\u2019a g\u00f6re de \u201c\u2018Basic Design\u2019, Bauhaus eliyle modernizmin
do\u011furdu\u011fu ve adamak\u0131ll\u0131 belgelenmi\u015f tek e\u011fitim y\u00f6ntemidir. Bunun d\u0131\u015f\u0131nda,
\u00e7a\u011fda\u015f e\u011fitim sav\u0131yla yap\u0131lan her deneme \u015fiddetle bocalamaktad\u0131r.\u201d*
*\u00d6zer Kaba\u015f, \u201cSanat E\u011fitiminde Resim\u201d (T\u00fcrkiye\u2019de Sanat, Kas\u0131m\u2013Aral\u0131k 1996),
Sentez ve Montaj: \u00d6zer Kaba\u015f Yaz\u0131lar\u0131, \u0130stanbul: Salt, 2022, ss. 289\u2013296.<\/p>\n\n\n\n
d\u00f6n\u00fc\u015fmesi ve Temel Sanat E\u011fitimi K\u00fcrs\u00fcs\u00fc\u2019n\u00fcn kapat\u0131lmas\u0131n\u0131n ard\u0131ndan
Kaba\u015f, Resim Anasanat Dal\u0131\u2019na ge\u00e7ti. 1984\u2019te do\u00e7ent, 1990\u2019da profes\u00f6r oldu;
yeniden yap\u0131lanma s\u00fcrecinde fak\u00fclte y\u00f6netimindeki g\u00f6revlerinin yan\u0131 s\u0131ra
kurumun sanat programlar\u0131n\u0131n \u015fekillenmesinde etkin rol \u00fcstlendi. 1985\u2019te
\u0130stanbul Sanat Bayram\u0131 kapsam\u0131nda d\u00fczenlenen 5. Yeni E\u011filimler sergisinin
y\u00fcr\u00fctme kurulu ve j\u00fcri ba\u015fkanl\u0131\u011f\u0131n\u0131 yapt\u0131. \u0130stanbul Bienali\u2019nin \u00f6nc\u00fcl\u00fc
say\u0131labilecek Yeni E\u011filimler, sanat ortam\u0131nda uzun y\u0131llar s\u00fcrecek tart\u0131\u015fmalara
ve 1980 sonras\u0131 sanat\u0131n seyrini belirleyecek olu\u015fumlara zemin haz\u0131rlad\u0131.
Ayn\u0131 d\u00f6nemde Kaba\u015f\u2019\u0131n Marmara Adas\u0131\u2019nda uluslararas\u0131 bir ta\u015f yontu
merkezi kurulmas\u0131na y\u00f6nelik giri\u015fimleri de \u00fcniversitenin e\u011fitim ve ara\u015ft\u0131rma
faaliyetlerini kamp\u00fcs d\u0131\u015f\u0131na ta\u015f\u0131ma aray\u0131\u015f\u0131n\u0131n bir par\u00e7as\u0131yd\u0131.
Bu y\u0131llarda Kaba\u015f, T\u00fcrkiye\u2019de fig\u00fcratif resmin yeniden g\u00f6r\u00fcn\u00fcrl\u00fck kazand\u0131\u011f\u0131
tart\u0131\u015fmalar\u0131n merkezinde yer ald\u0131. Ki\u015fisel sergilerinin yan\u0131 s\u0131ra Ne\u015f\u2019e Erdok,
Kemal \u0130skender, H\u00fcsn\u00fc Kolda\u015f, Nedret Sekban gibi sanat\u00e7\u0131larla fig\u00fcr a\u011f\u0131rl\u0131kl\u0131
sergilere kat\u0131ld\u0131. Aralar\u0131nda T\u00fcrk Resminde Ortak Bilin\u00e7 (Yap\u0131 Kredi K\u00e2z\u0131m
Ta\u015fkent Sanat Galerisi, 1989), Fig\u00fcrde Duyarl\u0131l\u0131k (Te\u015fvikiye Sanat Galerisi, 1990)
ve Fig\u00fcr 5\u2019in (Yap\u0131 Kredi K\u00e2z\u0131m Ta\u015fkent Sanat Galerisi, 1990) bulundu\u011fu karma
sergilerde yap\u0131tlar\u0131n\u0131 sergiledi. Ancak Kaba\u015f, fig\u00fcratif resmi soyut sanat\u0131n
kar\u015f\u0131s\u0131na yerle\u015ftiren kutupla\u015ft\u0131r\u0131c\u0131 yakla\u015f\u0131mlara mesafeliydi. Soyut ve fig\u00fcratif
aras\u0131nda mutlak bir ayr\u0131m bulunmad\u0131\u011f\u0131n\u0131; her iki yakla\u015f\u0131m\u0131n da sanat\u0131n farkl\u0131
ifade olanaklar\u0131 oldu\u011funu savunuyordu. Ona g\u00f6re belirleyici olan, se\u00e7ilen
\u00fcslup de\u011fil, sanat\u00e7\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 co\u011frafya ve deneyimden hareketle \u00f6zg\u00fcn bir
dil kurabilmesiydi. Bu yakla\u015f\u0131m, Mimar Sinan \u00dcniversitesi\u2019ndeki e\u011fitim ve
y\u00f6neticilik faaliyetlerine de yans\u0131d\u0131. Kaba\u015f, Akademi\u2019nin desen gelene\u011fini
korurken tasar\u0131m, desen ve resim aras\u0131ndaki s\u00fcreklili\u011fi esas alan bir anlay\u0131\u015f\u0131
benimsedi.
Zeynep Rona\u2019n\u0131n \u201cBana ayakl\u0131 diki\u015f makinesini kullanmay\u0131 \u00f6\u011freten ki\u015fi…\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131
okumak i\u00e7in: https:\/\/saltonline.org\/tr\/3092<\/a>.<\/p>\n\n\n\n
ger\u00e7ekli\u011finin mek\u00e2n\u0131 olarak ele ald\u0131. Ona g\u00f6re deniz, do\u011fa kar\u015f\u0131s\u0131nda insan
eme\u011finin ve hayatta kalma \u00e7abas\u0131n\u0131n g\u00f6r\u00fcn\u00fcr h\u00e2le geldi\u011fi bir m\u00fccadele
alan\u0131yd\u0131. Sanat\u00e7\u0131n\u0131n sosyolojiye, edebiyata ve b\u00f6lge tarihine duydu\u011fu ilgi, deniz
emek\u00e7ili\u011fini daha geni\u015f bir tarihsel ve k\u00fclt\u00fcrel ba\u011flam i\u00e7inde de\u011ferlendirmesine
olanak tan\u0131d\u0131.
Kaba\u015f\u2019\u0131n \u00f6zellikle 1980\u2019lerden itibaren yo\u011funla\u015fan deniz resimleri, \u0130stanbul
Bo\u011faz\u0131\u2019nda a\u011flar\u0131 ay\u0131ran, a\u011f\u0131r halatlar\u0131 \u00e7eken ya da teknelerini dalgalar aras\u0131nda
y\u00f6nlendiren bal\u0131k\u00e7\u0131lar\u0131 konu edinir. Kimi zaman tek bir fig\u00fcre, kimi zaman
birlikte \u00e7al\u0131\u015fan bal\u0131k\u00e7\u0131lara odaklanan bu resimler, g\u00fcndelik eme\u011fin ritmi kadar
deniz insanlar\u0131n\u0131n i\u00e7ine kapan\u0131k ve a\u011f\u0131rba\u015fl\u0131 d\u00fcnyas\u0131n\u0131 da yans\u0131t\u0131r. Kaba\u015f,
ya\u015famdan beslenen bu sahneleri betimleyici bir ger\u00e7ek\u00e7ili\u011fin \u00f6tesine ta\u015f\u0131yarak
emek ile do\u011fa aras\u0131ndaki ili\u015fkiyi resmin temel meselesi h\u00e2line getirir. Halatlar,
a\u011flar, tekneler ve dalgalar, \u00e7evresel ayr\u0131nt\u0131lardan ziyade insan eme\u011fini
somutla\u015ft\u0131ran yap\u0131sal \u00f6gelere d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n
\u00e7ok ciddi konular konu\u015fur, sonra hayalimizde a\u00e7\u0131k denizlere \u00e7\u0131kar ferahlard\u0131k. Kuzgun\u2019a
babas\u0131ndan kalm\u0131\u015f olan ufak yelkenli Avrupa yap\u0131s\u0131 sevimli bir \u201ccatboat\u201d tipi tekneyle
de Bo\u011faz\u2019da birka\u00e7 prova yapt\u0131k. Ankara\u2019daki b\u00fcy\u00fck heykel kabartmay\u0131 yapt\u0131ktan
sonra, Kuzgun baz\u0131 ciddi ya\u015famsal zorluklarla kar\u015f\u0131 kar\u015f\u0131ya kalm\u0131\u015ft\u0131.
Dostlu\u011fumuz s\u0131ras\u0131nda Robert Kolej Y\u00fcksek Okulu k\u0131rm\u0131z\u0131 salonunda bir sergi a\u00e7t\u0131 ve
Kuzgun\u2019a bir de tiyatro salonu i\u00e7in r\u00f6lyef \u0131smarlad\u0131k. Hep biraz d\u00fcze \u00e7\u0131kacakt\u0131k ve
beraber denize a\u00e7\u0131lacakt\u0131k. 12 Mart\u2019tan hemen sonra bir s\u00fcre tutuklan\u0131nca i\u015fler kar\u0131\u015ft\u0131,
\u00e7\u0131kt\u0131, programlar\u0131m\u0131z uymad\u0131 ve ben de ilk Marmara Adas\u0131 mermer ocaklar\u0131na gidip
belgesel film \u00e7ekme tuhaf maceras\u0131na ve ilk deniz seyahatine Altan G\u00fcrman\u2019la giri\u015ftim
(yan\u0131m\u0131zda da Ayma [Kaba\u015f] ve Bilge [G\u00fcrman]). Marmara Adas\u0131\u2019na altm\u0131\u015f be\u015f millik
bir yol giderken yedi\u011fimiz ilk deniz \u015foku, adaya vard\u0131\u011f\u0131m\u0131zda yedi\u011fimiz k\u00fclt\u00fcr, tarih
ve do\u011fa \u015foku, \u00fc\u00e7 bin y\u0131ll\u0131k mermer tarihinin toz toprak i\u00e7inde yat\u0131yor olmas\u0131, tepelerde
mermer tozundan bembeyaz olmu\u015f iki bin i\u015f\u00e7i, dev kamyonlar, f\u0131rt\u0131nalar\u0131n dinmesini
bekleyen mermer y\u00fckl\u00fc \u00e7ektirmeler. Bizim o acemilikte yedi\u011fimiz dalgalar ve f\u0131rt\u0131nalar.
Ve onlardan kurtulmak i\u00e7in Pa\u015faliman\u0131 Adas\u0131\u2019n\u0131n o muhte\u015fem Osmanl\u0131 liman\u0131na
s\u0131\u011f\u0131nma maceras\u0131. R\u00fczg\u00e2rl\u0131 Poyrazl\u0131 (Vori) K\u00f6y\u00fc\u2019n\u00fcn Altan\u2019la beraber ke\u015ffedildi\u011fi y\u0131l.
O y\u0131ldan sonra her y\u0131l Pa\u015faliman\u0131 Adas\u0131\u2019na o ufak tekneyle denizden gittim.*
Marmara ve Pa\u015faliman\u0131 adalar\u0131, Kaba\u015f\u2019\u0131n sanat\u0131nda belirleyici izler b\u0131rakt\u0131.
1960\u2019lar\u0131n ortalar\u0131ndan itibaren yapt\u0131\u011f\u0131 deniz yolculuklar\u0131, Osmanl\u0131 mimarisi ve
yerel k\u00fclt\u00fcr alan\u0131n\u0131n \u00f6nde gelen isimlerinden Godfrey Goodwin ile ger\u00e7ekle\u015ftirdi\u011fi
inceleme gezileri ve sanat\u00e7\u0131 Altan G\u00fcrman ile Saraylar K\u00f6y\u00fc\u2019ndeki mermer
ocaklar\u0131na y\u00f6nelik ara\u015ft\u0131rmalar\u0131, Kaba\u015f\u2019\u0131n deniz, tarih ve co\u011frafya aras\u0131ndaki
ili\u015fkiye duydu\u011fu ilgiyi derinle\u015ftirdi. Saraylar\u2019daki antik mermer ocaklar\u0131, yar\u0131m
kalm\u0131\u015f heykeller, k\u0131y\u0131ya da\u011f\u0131lm\u0131\u015f mimari kal\u0131nt\u0131lar ve binlerce y\u0131ll\u0131k ta\u015f i\u015f\u00e7ili\u011fi
gelene\u011fi, adan\u0131n g\u00fcndelik ya\u015fam\u0131yla yan yanayd\u0131. Kaba\u015f, Marmara Adas\u0131\u2019na
ili\u015fkin yaz\u0131 ve ara\u015ft\u0131rmalar\u0131nda bu tarihsel katmanlar\u0131 bal\u0131k\u00e7\u0131lar, denizciler, ta\u015f
ustalar\u0131 ve deniz yolculuklar\u0131yla birlikte ele ald\u0131.
Bu deneyimler do\u011frudan resme d\u00f6n\u00fc\u015fmedi. 1970\u20131976 y\u0131llar\u0131nda adada ve
denizde ge\u00e7en zaman \u00f6nce bir ya\u015fam deneyimi olarak birikti. Sanat\u00e7\u0131n\u0131n
Pa\u015faliman\u0131 Adas\u0131\u2019n\u0131n Poyrazl\u0131 K\u00f6y\u00fc\u2019nde g\u00f6zlemledi\u011fi denizciler, r\u00fczg\u00e2ra kar\u015f\u0131
yol alan tekneler, k\u0131y\u0131 ya\u015fam\u0131 ve adan\u0131n sert do\u011fas\u0131 zamanla eskizlere, sulu<\/p>\n\n\n\n
ziyade insan, do\u011fa ve tarihin i\u00e7 i\u00e7e ge\u00e7ti\u011fi bir \u201cmek\u00e2n\u201d olarak resimlerinde yer
almaya ba\u015flad\u0131.
Kaba\u015f\u2019\u0131n \u201cdeniz mek\u00e2n\u0131\u201d olarak tan\u0131mlad\u0131\u011f\u0131 bu alan, yaln\u0131zca denizi de\u011fil, ona
ba\u011fl\u0131 ya\u015fam bi\u00e7imlerini, emek ili\u015fkilerini, korkular\u0131, yolculuklar\u0131 ve belle\u011fi de
i\u00e7eriyordu. Marmara Adas\u0131 \u00e7evresinde ya\u015fanan kar\u015f\u0131la\u015fmalar, sonraki y\u0131llarda
resimlerinde belirginle\u015fecek deniz temas\u0131n\u0131n temel kaynaklar\u0131ndan biri oldu.
*\u00d6zer Kaba\u015f, \u201cRessam \u00d6zer Kaba\u015f ve Sanata Bak\u0131\u015f\u201d (Sanat \u00c7evresi, Say\u0131: 174, Nisan 1993,
ss. 28\u201330), Sentez ve Montaj: \u00d6zer Kaba\u015f Yaz\u0131lar\u0131, \u0130stanbul: Salt, 2022, s. 231.<\/p>\n\n\n\n
Adas\u0131 yak\u0131n\u0131ndaki Pa\u015faliman\u0131\u2019nda yeni yapt\u0131rd\u0131\u011f\u0131 eve gittik beraber. Sahildeki
kahvehaneye girdi\u011fimizde kar\u015f\u0131mdaki duvarda t\u00fcm alan\u0131 kaplayan bir \u00e7izgi resim
g\u00f6rd\u00fcm. \u00d6zer Kaba\u015f imzal\u0131, Grek mitolojisinde r\u00fczg\u00e2r tanr\u0131s\u0131 Borias\u2019\u0131n yanaklar\u0131
\u015fi\u015fkin, r\u00fczg\u00e2r \u00fcfleyen bir resmi. Kahvede oturan bal\u0131k\u00e7\u0131 ve yerel halk ile olan dostlu\u011fu
ve onlar\u0131n ya\u015famlar\u0131n\u0131 resimlerine konu etmesiyle, Halikarnas Bal\u0131k\u00e7\u0131s\u0131 Cevat \u015eakir\u2019in
de \u00f6yk\u00fclerini yazd\u0131\u011f\u0131 Anadolu efsane karakterleri ile \u00e7a\u011fda\u015f Anadolu insan\u0131 aras\u0131nda
sentez kuran bir sanat\u00e7\u0131 idi \u00d6zer Kaba\u015f. Kabar\u0131k dalgalarla bo\u011fu\u015fan bal\u0131k\u00e7\u0131lar,
sahildeki insanlar, kay\u0131klar hep onun resimlerine konu oldular. Amerika d\u00f6n\u00fc\u015f\u00fc
New York Ekol\u00fc\u2019nden etkilenerek yapt\u0131\u011f\u0131 soyut resimler ve eskizler sonras\u0131, T\u00fcrkiye\u2019ye
kendini adamas\u0131, Anadolu\u2019nun ba\u011fr\u0131ndan \u00e7\u0131kan bu sanat\u00e7\u0131y\u0131, T\u00fcrkiye insan\u0131n\u0131n zor
\u015fartlar alt\u0131ndaki g\u00fcnl\u00fck u\u011fra\u015f\u0131s\u0131n\u0131 realist (ger\u00e7ek\u00e7i) bir tarzda g\u00f6r\u00fcnt\u00fclemeye
g\u00f6t\u00fcrd\u00fc. Ezilmi\u015f, \u00e7aresiz insanlara hayat verdi, tan\u0131mad\u0131\u011f\u0131m\u0131z isimsiz, cesur
insanlar\u0131 bize tan\u0131tt\u0131. Ve onun deniz sevgisi de yap\u0131tlar\u0131ndan hi\u00e7 eksik olmad\u0131.*
*Sedat Pakay, \u201cYolculu\u011fumun K\u0131lavuzu \u00d6zer Abi\u201d (New York, Aral\u0131k 2007), \u00d6zer Kaba\u015f:
Retrospektif, \u0130stanbul: Yap\u0131 Kredi Yay\u0131nlar\u0131, 2008, s. 30.<\/p>\n\n\n\n
belle\u011fini g\u00f6r\u00fcn\u00fcr k\u0131lan temel unsurlardand\u0131r. Homeros\u2019tan Anadolu
efsanelerine uzanan anlat\u0131lar, k\u0131y\u0131lar, adalar ve deniz yolculuklar\u0131 sanat\u00e7\u0131n\u0131n
resimlerinin d\u00fc\u015f\u00fcnsel zeminini olu\u015fturur. Bu co\u011frafyada tarih ile g\u00fcndelik<\/p>\n\n\n\n
\u00e7\u0131kar.
Resimlerdeki bo\u011fa ve \u00f6k\u00fcz fig\u00fcrleri de k\u00fclt\u00fcrel s\u00fcreklili\u011fin bir par\u00e7as\u0131d\u0131r.
Akdeniz uygarl\u0131klar\u0131n\u0131n en eski imgeleri aras\u0131nda yer alan bu fig\u00fcrler, \u00fcretkenli\u011fi,
bereketi ve insan\u0131n \u00e7evresiyle kurdu\u011fu kadim ili\u015fkiyi \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. Bu y\u00f6n\u00fcyle
Kaba\u015f\u2019\u0131n resimleri, Halikarnas Bal\u0131k\u00e7\u0131s\u0131\u2019n\u0131n Akdeniz co\u011frafyas\u0131na ili\u015fkin
duyarl\u0131l\u0131\u011f\u0131yla da \u00f6rt\u00fc\u015f\u00fcr. Mitolojiyi g\u00fcndelik ya\u015fam\u0131n i\u00e7inde varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcren
canl\u0131 bir k\u00fclt\u00fcrel katman olarak ele alan yakla\u015f\u0131m, Kaba\u015f\u2019\u0131n resim dilini belirler.
De\u011fi\u015fken bak\u0131\u015f a\u00e7\u0131lar\u0131, g\u00fc\u00e7l\u00fc fig\u00fcrler ile \u0131\u015f\u0131k ve rengin birbirini d\u00f6n\u00fc\u015ft\u00fcren
kullan\u0131m\u0131, denizin kesintisiz hareketini kompozisyona ta\u015f\u0131r. Yolculuk, dalga
ve k\u0131y\u0131, resmin ritmini kuran g\u00f6rsel \u00f6gelere d\u00f6n\u00fc\u015f\u00fcr. Denizin \u201cmitolojik
umursamazl\u0131\u011f\u0131\u201d, g\u00fcc\u00fc ve s\u0131n\u0131rs\u0131zl\u0131\u011f\u0131, bu resimlerin ba\u015fl\u0131ca kaynaklar\u0131 aras\u0131ndad\u0131r.<\/p>\n\n\n\n
tarih\u00e7isi Godfrey Goodwin\u2019in 1965 y\u0131l\u0131nda adan\u0131n Saraylar K\u00f6y\u00fc\u2019ne yapt\u0131klar\u0131 bir
seyahat s\u0131ras\u0131nda, b\u00f6lgenin mermer potansiyelini ke\u015ffetmeleriyle \u015fekillenmeye
ba\u015flad\u0131. 1969\u2019da Kaba\u015f, sanat\u00e7\u0131 Altan G\u00fcrman\u2019la birlikte bir belgesel film \u00e7ekerek
k\u00f6ydeki \u00fc\u00e7 bin y\u0131ll\u0131k antik mermer ocaklar\u0131n\u0131 yak\u0131ndan g\u00f6zlemleme olana\u011f\u0131
buldu.
1979 y\u0131l\u0131nda Kaba\u015f, Akademi\u2019nin Heykel B\u00f6l\u00fcm\u00fc ile Temel Sanat ve Bilimler
B\u00f6l\u00fcm\u00fc ortakl\u0131\u011f\u0131nda Saraylar\u2019da bir ara meslek veya yaz okulu kurulmas\u0131n\u0131
\u00f6nerdi; yerel y\u00f6netimle g\u00f6r\u00fc\u015fmeler yapt\u0131. Ama\u00e7lardan biri de, \u0130talya\u2019daki
d\u00fcnyaca \u00fcnl\u00fc Carrara \u00f6rne\u011finde oldu\u011fu gibi adada heykel festivalleri ve
yar\u0131\u015fmalar\u0131 d\u00fczenlenmesiydi. Ancak Akademi\u2019nin Mimar Sinan \u00dcniversitesi\u2019ne
d\u00f6n\u00fc\u015f\u00fcm s\u00fcreci bu giri\u015fimi sekteye u\u011fratt\u0131. Proje, 1988\u2019de Kaba\u015f\u2019\u0131n G\u00fczel
Sanatlar Fak\u00fcltesi Dekanl\u0131\u011f\u0131\u2019na sundu\u011fu dilek\u00e7eyle yeniden g\u00fcndeme geldi.
Ertesi y\u0131l Saraylar\u2019da yaz okulu a\u00e7ma ve uluslararas\u0131 bir sempozyum d\u00fczenleme
\u00f6nerisi benimsendi; hatta \u00fcniversite b\u00fcnyesinde \u201cTa\u015f Yontu Ara\u015ft\u0131rma Merkezi\u201d
kurulmas\u0131 planland\u0131. Kaba\u015f\u2019\u0131n ger\u00e7ekle\u015ftirdi\u011fi \u00f6n ziyaretlerde k\u00f6yl\u00fclerin projeye
yo\u011fun ilgi g\u00f6sterdi\u011fi rapor edildi.
1991\u2019de yap\u0131lan toplant\u0131larda, projenin ba\u015fka \u00fcniversiteler taraf\u0131ndan
sahiplenilmesini \u00f6nlemek amac\u0131yla yaz okulunun bir an \u00f6nce e\u011fitime ba\u015flamas\u0131<\/p>\n\n\n\n
alan\u0131n\u0131n projelendirilmesine karar verildi; at\u0131l durumdaki bir katrak fabrikas\u0131n\u0131n
end\u00fcstri m\u00fczesine d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi de g\u00fcndeme al\u0131nd\u0131.
1991 sonbahar\u0131nda giri\u015fimin seyri de\u011fi\u015fti. A\u011fustos ay\u0131nda olumsuz hava
ko\u015fullar\u0131 nedeniyle adaya ge\u00e7emeyen Kaba\u015f, Erdek\u2019te k\u00f6y muhtar\u0131yla
g\u00f6r\u00fc\u015ft\u00fc\u011f\u00fcnde k\u00f6y halk\u0131n\u0131n m\u00fclkiyet konusundaki tavr\u0131n\u0131n de\u011fi\u015fti\u011fini \u00f6\u011frendi.
Maliye Bakanl\u0131\u011f\u0131 taraf\u0131ndan \u00fcniversiteye tahsis edilen arazinin tapu devrine
raz\u0131 olmayan ve buraya bir hastane kurmay\u0131 planlayan k\u00f6y y\u00f6netimi, aradan
ge\u00e7en s\u00fcrede e\u011fitim faaliyetinin ba\u015flamam\u0131\u015f ve k\u00f6ye hi\u00e7bir heykelt\u0131ra\u015f\u0131n
gelmemi\u015f olmas\u0131n\u0131n projeye duyduklar\u0131 inanc\u0131 sarst\u0131\u011f\u0131n\u0131 ifade etmi\u015fti. Muhtar
alternatif devlet arazilerinin de\u011ferlendirilmesi i\u00e7in yard\u0131mc\u0131 olabileceklerini
belirtmi\u015f olsa da, proje sonu\u00e7suz kald\u0131.<\/p>\n\n\n\n
yo\u011funla\u015ft\u0131\u011f\u0131 alanlardan biriydi. Sanat\u00e7\u0131, araba boyac\u0131l\u0131\u011f\u0131nda akademik sanat\u0131n
d\u0131\u015f\u0131nda geli\u015fmi\u015f, kendine \u00f6zg\u00fc renk, motif ve kompozisyon d\u00fczenine sahip
g\u00fc\u00e7l\u00fc bir dil g\u00f6r\u00fcyordu. Kaba\u015f\u2019\u0131n \u201cyatay etkiler\u201d olarak tan\u0131mlad\u0131\u011f\u0131 tarihsel
ve \u00e7evresel s\u00fcreklilikler, bu pratikte ku\u015faktan ku\u015fa\u011fa aktar\u0131lan g\u00f6rsel bir
da\u011farc\u0131k olarak somutla\u015f\u0131r. Tarihin i\u00e7inde erimi\u015f toplumsal ger\u00e7eklikler ile
geleneksel s\u00fcre\u00e7leri kapsayan yatay etkiler, \u00f6zellikle \u201cdikey etkiler\u201d alt\u0131nda
kalmam\u0131\u015f halk sanat\u00e7\u0131lar\u0131n\u0131n \u00fcretiminde belirleyici bir rol oynar. Ancak
siyaset, medya teknolojileri ve k\u00fcresel k\u00fclt\u00fcr pratikleri gibi yukar\u0131dan a\u015fa\u011f\u0131ya
do\u011fru i\u015fleyen dikey etkiler, yatay ili\u015fkilerin do\u011fal ak\u0131\u015f\u0131n\u0131 kesintiye u\u011fratma
ya da d\u00f6n\u00fc\u015ft\u00fcrme g\u00fcc\u00fcne sahiptir. Kaba\u015f\u2019a g\u00f6re sanat\u00e7\u0131n\u0131n kendine \u00f6zg\u00fc
bir dil geli\u015ftirebilmesinin temel ko\u015fulu, tarihsel ve \u00e7evresel s\u00fcreklilikleri
idrak ederek dikey etkilerin tektiple\u015ftirici \u015fiddetine kar\u015f\u0131 koyabilmesidir.
Bu ba\u011flamda Kaba\u015f, araba boyac\u0131l\u0131\u011f\u0131n\u0131 folklorik bi\u00e7imlerin tekrar\u0131 olarak de\u011fil,
g\u00fcncel sanatla ili\u015fki kurabilecek dinamik bir renk ve bi\u00e7im anlay\u0131\u015f\u0131 olarak ele
ald\u0131. Akhisar\u2019da araba boyac\u0131l\u0131\u011f\u0131 \u00f6rneklerini foto\u011fraflad\u0131 ve 1989\u2019da TRT\u2019de
yay\u0131mlanan Araba Resimleri belgeseline ara\u015ft\u0131rmac\u0131 olarak katk\u0131da bulundu.<\/p>\n","protected":false},"excerpt":{"rendered":"