Fountain at the Intersection of Feminist Art and Psychoanalytic Feminism

Burcu Nur Cengiz; Murat Ateşli

Makale detayları

Fountain at the Intersection of Feminist Art and Psychoanalytic Feminism

Yazarlar:

Burcu Nur Cengiz | Murat Ateşli

Yayıncı:

Ankara University

Ana Başlıklar:

Sosyoloji (Diğer)

Dergi:

Fe Dergi Vol.16 Issue 2, pp.123-159

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001333703

pISSN:

1309-128X

Anahtar kelimeler:

Özet:

 Feminist art ecofeminist art, activist art, which was organised in the 1960s to emphasise womens identity and values against the dynamics of patriarchal society, to dismantle and balance male domination, deconstructs the existing despotic language in the art community through creative activist actions that draw attention to the sexism created by the white male-dominated art hegemony and the lack of representation of women. In a similar practice of deconstruction, psychoanalytic feminists, in the formation of female gender-sexual identity and subjectivity, put forward a mother breast-centred counter-discourse to the father-fallus-centred understanding of psychic culture: With the Oresteia myth antihero, which is positioned as an alternative theory to Oedipus, a woman and mother moves from object status to subject status, thus the re-symbolism produced by matricide creates a matriarchal fantasy, expression and representation system. Canan Şenols CANAN video art work ÇeşmeFountain 2000, which is discussed in this research at the intersection of feminist art and psychoanalytic feminism, creates a subjective and feminist counter-discourse to the image of fountain by referring to Duchamps Fountain 1917 and Bruce Naumans Self-Portrait as a Fountain 1966. In this research, the discourse created by CANAN in ÇeşmeFountain is analysed in relation to Melani Kleins Oresteia theory and art-culture criticism is carried out through examples from the history of painting.

 Feminist art ecofeminist art, activist art, which was organised in the 1960s to emphasise womens identity and values against the dynamics of patriarchal society, to dismantle and balance male domination, deconstructs the existing despotic language in the art community through creative activist actions that draw attention to the sexism created by the white male-dominated art hegemony and the lack of representation of women. In a similar practice of deconstruction, psychoanalytic feminists, in the formation of female gender-sexual identity and subjectivity, put forward a mother breast-centred counter-discourse to the father-fallus-centred understanding of psychic culture: With the Oresteia myth antihero, which is positioned as an alternative theory to Oedipus, a woman and mother moves from object status to subject status, thus the re-symbolism produced by matricide creates a matriarchal fantasy, expression and representation system. Canan Şenols CANAN video art work ÇeşmeFountain 2000, which is discussed in this research at the intersection of feminist art and psychoanalytic feminism, creates a subjective and feminist counter-discourse to the image of fountain by referring to Duchamps Fountain 1917 and Bruce Naumans Self-Portrait as a Fountain 1966. In this research, the discourse created by CANAN in ÇeşmeFountain is analysed in relation to Melani Kleins Oresteia theory and art-culture criticism is carried out through examples from the history of painting.

 Feminist art ecofeminist art, activist art, which was organised in the 1960s to emphasise womens identity and values against the dynamics of patriarchal society, to dismantle and balance male domination, deconstructs the existing despotic language in the art community through creative activist actions that draw attention to the sexism created by the white male-dominated art hegemony and the lack of representation of women. In a similar practice of deconstruction, psychoanalytic feminists, in the formation of female gender-sexual identity and subjectivity, put forward a mother breast-centred counter-discourse to the father-fallus-centred understanding of psychic culture: With the Oresteia myth antihero, which is positioned as an alternative theory to Oedipus, a woman and mother moves from object status to subject status, thus the re-symbolism produced by matricide creates a matriarchal fantasy, expression and representation system. Canan Şenols CANAN video art work ÇeşmeFountain 2000, which is discussed in this research at the intersection of feminist art and psychoanalytic feminism, creates a subjective and feminist counter-discourse to the image of fountain by referring to Duchamps Fountain 1917 and Bruce Naumans Self-Portrait as a Fountain 1966. In this research, the discourse created by CANAN in ÇeşmeFountain is analysed in relation to Melani Kleins Oresteia theory and art-culture criticism is carried out through examples from the history of painting.

 1960lı yıllarda ataerkil toplum dinamiklerine karşılık kadının kimlik ve değerlerini vurgulama, eril tahakkümü dağıtma ve dengeleme amaçlı örgütlenen feminist sanat ekofeminist sanat, aktivist sanat, beyaz erkek egemen sanat hegemonyasının yarattığı cinsiyetçilik zeminine, kadının temsil eksikliğine dikkat çeken yaratıcı aktivist eylemlerle sanat camiasında mevcut despotik dili yapıbozuma uğratmaktadır. Benzer bir yapıbozum pratiği içinde psikanalitik feminizm tarafından kadın cinsiyet-cinsel kimliğinin ve öznelliğin oluşumunda baba-fallus merkezli psişik kültür anlayışına anne meme merkezli bir karşıt söylem öncüllenir: Oedipus karşısına alternatif bir teori olarak konumlanan Oresteia miti antikahraman ile kadın ve anne, nesne statüsünden özne durumuna geçer, böylece anne katlinin ürettiği yeniden-sembolizm anaerkil bir fantezi, ifade ve temsil sistemleri yaratır. Araştırmada feminist sanat ve psikanalitik feminizmin kesişiminde ele alınan Canan Şenolun CANAN ÇeşmeFountain 2000 isimli video art çalışması, Duchampın Çeşmesine 1917 ve Bruce Naumanın Çeşme Olarak Otoportre 1966 adlı eserine gönderme yaparak çeşme imgesine öznel ve feminist bir karşıt söylem oluşturmaktadır. Bu araştırmada CANANın Çeşme çalışmasında yarattığı söylem; Melani Kleinın Oresteia teorisi ile ilişkisinde ele alınmakta, resim sanatı tarihinden örneklemeler üzerinden sanat-kültür eleştirisi gerçekleştirilmektedir.

Makale detayları

Fountain at the Intersection of Feminist Art and Psychoanalytic Feminism

Yazarlar:

Burcu Nur Cengiz | Murat Ateşli

Yayıncı:

Ankara University

Ana Başlıklar:

Sosyoloji (Diğer)

Dergi:

Fe Dergi Vol.16 Issue 2, pp.123-159

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001333703

pISSN:

1309-128X

fountain

Canan Şenol

Oresteia

mythic transformation

matriarchal imageçeşme

Canan Şenol

Oresteia

mitik dönüşüm

matriarkal imge

Sayı

Makale detayları

Yazarlar: Burcu Nur Cengiz | Murat Ateşli

Yayıncı: Ankara University

Ana Başlıklar: Sosyoloji (Diğer)

Dergi: Fe Dergi Vol.16 Issue 2, pp.123-159

Belge Tipi: Makale

Yayın Tarihi: 12/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001333703

pISSN: 1309-128X

Sayı

Yazarlar:

Burcu Nur Cengiz | Murat Ateşli

Yayıncı:

Ankara University

Ana Başlıklar:

Sosyoloji (Diğer)

Dergi:

Fe Dergi Vol.16 Issue 2, pp.123-159

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001333703

pISSN:

1309-128X