{"id":11828,"date":"2026-02-10T07:30:00","date_gmt":"2026-02-10T05:30:00","guid":{"rendered":"https:\/\/baraka.cc\/?p=11828"},"modified":"2026-01-30T11:58:23","modified_gmt":"2026-01-30T09:58:23","slug":"neoliberalizm-kiskacinda-sanat-mustafa-batak","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=11828","title":{"rendered":"Neoliberalizm K\u0131skac\u0131nda Sanat – Mustafa Batak"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

K\u0131skaca Al\u0131nan Ger\u00e7eklik<\/strong><\/p>\n\n\n\n

Sanat, insanl\u0131k tarihi boyunca d\u00fc\u015f\u00fcnmenin, \u00fcretmenin ve birlikte ya\u015faman\u0131n ayr\u0131lmaz bir par\u00e7as\u0131 olmu\u015ftur. \u0130lk topluluklardan bug\u00fcne, ya\u015fam\u0131n do\u011fal ak\u0131\u015f\u0131 i\u00e7inde kendisine her zaman bir yer bulan sanat; ya egemen s\u0131n\u0131flar\u0131n ideolojisini yeniden \u00fcreten bir ara\u00e7 haline gelmi\u015f ya da halk\u0131n e\u015fitlik, adalet ve \u00f6zg\u00fcrl\u00fck m\u00fccadelesinin sesi olmu\u015ftur. Sanat\u0131n bu d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc potansiyeline ra\u011fmen, onun \u201cmasum\u201d ve \u201ctarafs\u0131z\u201d oldu\u011fu iddias\u0131yla y\u00fcr\u00fct\u00fclen \u201csanat, sanat i\u00e7in mi; toplum i\u00e7in mi?\u201d tart\u0131\u015fmalar\u0131, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde egemen s\u0131n\u0131flar\u0131n sanat\u0131 dar bir estetik kal\u0131ba hapsederek kendi tahakk\u00fcmlerini g\u00f6r\u00fcnmez k\u0131lma \u00e7abas\u0131ndan ibarettir. Bu yakla\u015f\u0131m, sanat\u0131n toplumsal ba\u011flam\u0131ndan kopar\u0131lmas\u0131n\u0131 ve etkisizle\u015ftirilmesini hedefler.<\/p>\n\n\n\n

Elinizdeki dergi ve yazarlar\u0131n\u0131n bu konudaki tutumu nettir: Toplumcu sanat\u0131 sahipleniyor, sanat\u0131n halkla bulu\u015fan ve toplumsal ger\u00e7ekli\u011fe temas eden bi\u00e7imine yaslan\u0131yoruz. Nitekim sanat tarihine bak\u0131ld\u0131\u011f\u0131nda, d\u00fcnyay\u0131 betimlemekle yetinmeyip onu de\u011fi\u015ftirme iradesine katk\u0131 sunan \u00fcretimlerin daha kal\u0131c\u0131 ve etkili oldu\u011fu g\u00f6r\u00fcl\u00fcr. Bug\u00fcn geriletilen pek \u00e7ok ya\u015famsal olgu gibi sanat da k\u0131skaca al\u0131nm\u0131\u015f, derin bir de\u011fi\u015fim ve d\u00f6n\u00fc\u015f\u00fcm s\u00fcrecine itilmi\u015ftir. Bu s\u00fcrecin hangi dinamikler \u00fczerinden \u015fekillendi\u011fini gelin birlikte tart\u0131\u015fal\u0131m.<\/p>\n\n\n\n

Metala\u015fan sanat ve k\u00fclt\u00fcrel yoksu(n)lla\u015fma<\/strong><\/p>\n\n\n\n

Kapitalizmin neoliberal d\u00f6neminden ge\u00e7ti\u011fimiz bu s\u00fcre\u00e7te, halktan, g\u00f6t\u00fcr\u00fclmek istenen -ve b\u00fcy\u00fck oranda g\u00f6t\u00fcr\u00fclen- sadece ekonomik ve demokratik kazan\u0131mlar\u0131 de\u011fildir; k\u00fclt\u00fcr, sanat ve d\u00fc\u015f\u00fcnce alanlar\u0131n\u0131n da piyasaya a\u00e7\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Kamusal haklar\u0131n tasfiyesiyle e\u015f zamanl\u0131 olarak sanat, kamusal bir ihtiya\u00e7 olmaktan \u00e7\u0131kar\u0131lm\u0131\u015f; \u00f6deme g\u00fcc\u00fc olanlar\u0131n eri\u015febilece\u011fi ayr\u0131cal\u0131kl\u0131 bir t\u00fcketim nesnesine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

Bu keskin d\u00f6n\u00fc\u015f\u00fcm ile sergi salonlar\u0131, konser alanlar\u0131, edebiyat vitrinleri ve daha bir\u00e7ok sanatsal \u00fcretimin bulu\u015ftu\u011fu mekanlardan geni\u015f halk kesimleri uzakla\u015fm\u0131\u015f, buralar halk\u0131n u\u011frak noktas\u0131 olmaktan \u00e7\u0131km\u0131\u015ft\u0131r. Gelinen noktada sanat, sermayenin ve onu e\u011fip b\u00fckebilenlerin g\u00f6lgesine itilmi\u015f; sanat emek\u00e7ilerinin eme\u011finin kar\u015f\u0131l\u0131\u011f\u0131n\u0131 alamamas\u0131 ve \u00fcretim maliyetlerinin a\u011f\u0131rla\u015fmas\u0131 ka\u00e7\u0131n\u0131lmaz hale gelmi\u015ftir.<\/p>\n\n\n\n

Sanat emek\u00e7ilerinin ekonomik anlamda da di\u011fer bir\u00e7ok anlamda da tatmin olacaklar\u0131 bir yap\u0131n\u0131n kurulmas\u0131 ihtiyac\u0131 elzemdir. Bu yap\u0131n\u0131n kal\u0131c\u0131 bi\u00e7imde kurulamamas\u0131ndaki sorunu; ortaya \u00e7\u0131kan kazan\u00e7ta de\u011fil, sanat\u0131n halktan kopar\u0131lmas\u0131nda ve i\u00e7eri\u011finin bilin\u00e7li bi\u00e7imde bo\u015falt\u0131lmas\u0131nda aramak gerekir. Postmodern anlay\u0131\u015f\u0131n, anlam\u0131 par\u00e7alayan, ger\u00e7ekli\u011fi reddeden, kolektif akl\u0131 yok sayan \u00e7izgisi; toplumcu ger\u00e7ek\u00e7i bak\u0131\u015f\u0131 itibars\u0131zla\u015ft\u0131rm\u0131\u015f, kopu\u015fun ideolojik zemini olu\u015fturulmu\u015ftur.<\/p>\n\n\n\n

Halk\u0131n \u00f6n\u00fcne konan sanat ya \u015fok edici ama i\u00e7eriksiz bi\u00e7imlere indirgenmekte ya da bireysel yabanc\u0131la\u015fman\u0131n estetize edilmi\u015f anlat\u0131lar\u0131na s\u0131k\u0131\u015ft\u0131r\u0131lmaktad\u0131r. Bu sonu\u00e7 kar\u015f\u0131s\u0131nda, tutulan akl\u0131n yerine akl\u0131; bo\u015f fikrin yerine fikri; kaybolan kolektif akl\u0131 ve \u00f6rg\u00fctl\u00fc bi\u00e7imi koyacak bir y\u00f6nelime fazlas\u0131yla ihtiya\u00e7 duyulmaktad\u0131r. Bu ihtiyac\u0131 kar\u015f\u0131layacak entelekt\u00fcel akl\u0131n geri \u00e7ekilme nedenlerini, bu \u00e7ekilmenin yaratt\u0131\u011f\u0131 bozulmay\u0131 ve sanat\u0131n halk ile kurdu\u011fu ba\u011f\u0131n kopar\u0131lmas\u0131 i\u00e7in koyulan \u00e7abay\u0131 ele alaca\u011f\u0131z. Ama \u00f6nce sorunun temeline inmekte, s\u0131n\u0131f yan\u0131lsamas\u0131na bakmakta fayda var.<\/p>\n\n\n\n

\u201cOrta S\u0131n\u0131f\u201d Yan\u0131lsamas\u0131 ve \u0130\u015f\u00e7ile\u015fme<\/strong><\/p>\n\n\n\n

Marksizm, basit\u00e7e, \u201corta s\u0131n\u0131f,\u201d \u00fcretim ili\u015fkileri temelinde ba\u011f\u0131ms\u0131z bir s\u0131n\u0131f de\u011fildir; toplum, \u00fcretim ara\u00e7lar\u0131na sahip olanlar ile olmayanlar aras\u0131nda ikiye b\u00f6l\u00fcnm\u00fc\u015ft\u00fcr der. Ya\u015famsal prati\u011fe bakt\u0131\u011f\u0131m\u0131zda, orta s\u0131n\u0131f olarak tan\u0131mlanan kesimler de emek g\u00fcc\u00fcn\u00fc satarak ya\u015fayanlard\u0131r. Neoliberalizm, kapitalizmden ald\u0131\u011f\u0131 moment ile mimar\u0131ndan m\u00fchendisine, hukuk\u00e7usundan akademisyene, zanaatk\u00e2r\u0131ndan sanat\u00e7\u0131s\u0131na kadar geni\u015f bir kesimi h\u0131zla g\u00fcvencesiz, esnek ve d\u00fc\u015f\u00fck \u00fccretli \u00e7al\u0131\u015fma ko\u015fullar\u0131na itmi\u015ftir.<\/p>\n\n\n\n

Bu durum, bir yandan orta s\u0131n\u0131f olarak adland\u0131r\u0131lan kesimlerin \u00f6n\u00fcne konan perdenin kalkmas\u0131na yarasa da di\u011fer yandan fiilen i\u015f\u00e7ile\u015ftirilen bu kesimlerin g\u00fcvencesini elinden alm\u0131\u015f; sermaye ile emek aras\u0131ndaki makas\u0131 daha da a\u00e7m\u0131\u015f; zenginin servetine servet katt\u0131\u011f\u0131, yoksulun daha da yoksulla\u015ft\u0131\u011f\u0131 d\u00fczeni var etmi\u015ftir. Bug\u00fcn sanat alan\u0131nda ya\u015fanan gerileme, genel toplumsal gerilemeden ba\u011f\u0131ms\u0131z de\u011fildir. Ancak bu tablo, entelekt\u00fcel akl\u0131n geri \u00e7ekili\u015fini b\u00fct\u00fcn\u00fcyle a\u00e7\u0131klamaz.<\/p>\n\n\n\n

Sanat\u0131n \u00d6rg\u00fctl\u00fc S\u00f6zden Kopu\u015fu<\/strong><\/p>\n\n\n\n

\u015eimdi gelelim entelekt\u00fcel akl\u0131n geri \u00e7ekilme nedenlerine. Tarihsel arka plana d\u00f6n\u00fcp bakt\u0131\u011f\u0131m\u0131zda, bu geri \u00e7ekili\u015fin genelde sanat \u00fcretimiyle ha\u015f\u0131r ne\u015fir olan orta s\u0131n\u0131f ekseninde yo\u011funla\u015ft\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Oysa sanat emek\u00e7ileri ile emek\u00e7iler aras\u0131nda kurulan k\u00f6pr\u00fc sayesinde edebiyat, tiyatro, m\u00fczik ve sinema, s\u0131n\u0131f bilincinin yay\u0131lmas\u0131nda ve kolektif m\u00fccadele deneyimlerinin aktar\u0131lmas\u0131nda etkili olabilmi\u015ftir.<\/p>\n\n\n\n

Ancak neoliberal d\u00f6nemde bu kesimlerin kayda de\u011fer bir b\u00f6l\u00fcm\u00fc, bu k\u00f6pr\u00fcden ge\u00e7mek yerine bireysel kurtulu\u015f aray\u0131\u015flar\u0131na, kariyerizme ve politik suskunlu\u011fa y\u00f6nelmi\u015f; sanat \u00fcretiminin bu y\u00f6n\u00fcn\u00fc b\u00fcy\u00fck \u00f6l\u00e7\u00fcde bo\u015f b\u0131rakm\u0131\u015ft\u0131r. Y\u00fckselen fa\u015fizmin yaratt\u0131\u011f\u0131 etki ve konu\u015fturma zorunlulu\u011fu; \u201cbe\u011feni\u201d toplama arzusu; sans\u00fcr, oto sans\u00fcr\u00fcn \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 bu \u00e7a\u011fda, sanat\u0131n \u00f6rg\u00fctl\u00fc s\u00f6zle kurdu\u011fu diyalektik ba\u011f\u0131n zay\u0131flamas\u0131na; m\u00fccadeleye koydu\u011fu ruhun a\u015f\u0131nmas\u0131na neden olmaktad\u0131r. Bu da yaln\u0131zca sanat\u0131 de\u011fil, m\u00fccadelenin kendisini de k\u00fclt\u00fcrel ve ideolojik olarak sekteye u\u011fratmaktad\u0131r.<\/p>\n\n\n\n

Sanat\u0131n Kazan\u0131m Sa\u011flayan \u201cYol\u201du<\/strong><\/p>\n\n\n\n

Bug\u00fcn orta s\u0131n\u0131f yan\u0131lsamas\u0131n\u0131n \u00e7\u00f6z\u00fclmesi ve sanat emek\u00e7ilerinin i\u015f\u00e7ile\u015fmesi, sanat\u0131n yeniden halkla ve \u00f6rg\u00fctl\u00fc m\u00fccadeleyle bulu\u015fmas\u0131 i\u00e7in tarihsel bir olanak sunmaktad\u0131r. G\u00f6zlerimiz \u00e7\u00f6z\u00fclmenin daha g\u00f6r\u00fcn\u00fcr halini ve emek\u00e7ilerin g\u00fcndelik ya\u015fam\u0131ndan, s\u00f6m\u00fcr\u00fc ili\u015fkilerinden ve direni\u015f deneyimlerinden beslenen toplumcu ger\u00e7ek\u00e7i sanat\u0131 aramaktad\u0131r. Ya\u015far Kemal\u2019in edebiyat\u0131nda, Vedat T\u00fcrkali\u2019nin \u015fiirlerinde ve Ken Loach\u2019un sinemas\u0131nda v\u00fccut bulan bu anlay\u0131\u015f, yeniden \u00fcretilmeli ve sahiplenilmelidir.<\/p>\n\n\n\n

Ancak bu da yeterli de\u011fildir. M\u00fccadele ile sanat\u0131n i\u00e7 i\u00e7e ge\u00e7mesi gerekmektedir. Direni\u015fin sanat\u0131 halk\u0131 sadece bir \u2018izleyici\u2019 ya da \u2018konu\u2019 olarak g\u00f6rmez onu \u00fcretimin \u00f6znesi k\u0131lar. Bu sanat, sergi salonlar\u0131n\u0131n steril duvarlar\u0131ndan, se\u00e7kinlerin vitrinlerinden ta\u015farak soka\u011f\u0131n diline kar\u0131\u015fan bir sanatt\u0131r.<\/p>\n\n\n\n

Toplumcu ger\u00e7ek\u00e7i sanat durum tespiti yap\u0131yorsa, direni\u015fin sanat\u0131 bu tespiti bir eylem \u00e7a\u011fr\u0131s\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Esteti\u011fi, egemenlerin \u2018be\u011feni\u2019 kal\u0131plar\u0131ndan kurtar\u0131p, m\u00fccadelenin yarat\u0131c\u0131 co\u015fkusuyla yeniden tan\u0131mlar. Yani k\u0131skaca al\u0131nm\u0131\u015f ger\u00e7ekli\u011fi par\u00e7alayacak olan \u00f6rg\u00fctl\u00fc iradenin estetik dilini kurar.<\/p>\n\n\n\n

Sanat, m\u00fccadelenin ard\u0131ndan gelen bir g\u00f6lge de\u011fil, karanl\u0131\u011f\u0131 yaran \u00f6nc\u00fc bir fener olmal\u0131d\u0131r. Kurtulu\u015f tek ba\u015f\u0131na m\u00fcmk\u00fcn olmad\u0131\u011f\u0131 gibi, sanat da tek ba\u015f\u0131na \u00f6zg\u00fcrle\u015femez. \u00d6yleyse rotam\u0131z nettir: Sanat\u0131 halka g\u00f6t\u00fcrmek de\u011fil, sanat\u0131 halk\u0131n ellerinde bir direni\u015f mevzisine d\u00f6n\u00fc\u015ft\u00fcrmek!<\/p>\n","protected":false},"excerpt":{"rendered":"

K\u0131skaca Al\u0131nan Ger\u00e7eklik Sanat, insanl\u0131k tarihi boyunca d\u00fc\u015f\u00fcnmenin, \u00fcretmenin ve birlikte ya\u015faman\u0131n ayr\u0131lmaz bir par\u00e7as\u0131 olmu\u015ftur. \u0130lk topluluklardan bug\u00fcne, ya\u015fam\u0131n do\u011fal ak\u0131\u015f\u0131 i\u00e7inde kendisine her<\/p>\n","protected":false},"author":17,"featured_media":11829,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[40,38,42,1,39],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2026\/01\/image-4.png","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-34M","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11828"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11828"}],"version-history":[{"count":1,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11828\/revisions"}],"predecessor-version":[{"id":11830,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/11828\/revisions\/11830"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/11829"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11828"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11828"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}