The Square Film in the Context of Postmodern Art Criticism: The Transformation and Loss of Art

Nurselin Aker

Makale detayları

The Square Film in the Context of Postmodern Art Criticism: The Transformation and Loss of Art

Yazarlar:

Nurselin Aker

Yayıncı:

Selcuk University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Selçuk İletişim Vol.18 Issue 2, pp.873-898

Belge Tipi:

Makale

Yayın Tarihi:

10/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001360161

pISSN:

2148-2942

Anahtar kelimeler:

Özet:

 In the nineteenth century, modern fine artsArtwhich, by assuming the sublimity of aesthetics and spirituality, transformed the values of the old artistic tradition and dismissed craftsmanship, turned the field of art into a kind of domain of religiosity through the ideal of the artist as creator. The works born as spiritual creations of the artists imagination, in the state of aesthetic thought and behavior, open the doors of a magical universe through which the viewer can interact. However, in the process extending from the twentieth century to the present, with the counter-art movement opposing the structure that reduces artistic creation to aesthetics, the boundaries and institutional structure of Art expand and transform. The most significant transformation occurs with postmodern art, which, beyond aesthetics, prefers spirituality to price tags; Art suffers a loss of meaning. This study is positioned on the structural problem created in the field of Art by postmodern art, which prioritizes market economy and popular culture over aesthetic and spiritual values, and it aims to render visible, through cinema, the critical practice of the postmodern art market. It is significant in that it focuses on clarifying, from a cinematic perspective, the ambiguity concerning whether the loss of meaning constitutes a genuine Art experience. In this context, using qualitative data collection techniques and data obtained through literature review, the film The Square Ruben Östlund, 2017, deliberately selected from within the film universe that enables a critical perspective on the ambiguous meaning and nature of postmodern art, is examined in accordance with the principles of descriptive analysis method to make this condition visible from a cinematic standpoint. Through this analysis, it is concluded that the institutional structure and artist figure constructed by postmodern art with values replacing aesthetic and spiritual ideals fail to establish a direct connection with the viewer through the artwork; that the artworks always require unconventional explanations by the artist or institutional representatives in order to possess meaning; and that Art is reified and transformed into something else.

 In the nineteenth century, modern fine artsArtwhich, by assuming the sublimity of aesthetics and spirituality, transformed the values of the old artistic tradition and dismissed craftsmanship, turned the field of art into a kind of domain of religiosity through the ideal of the artist as creator. The works born as spiritual creations of the artists imagination, in the state of aesthetic thought and behavior, open the doors of a magical universe through which the viewer can interact. However, in the process extending from the twentieth century to the present, with the counter-art movement opposing the structure that reduces artistic creation to aesthetics, the boundaries and institutional structure of Art expand and transform. The most significant transformation occurs with postmodern art, which, beyond aesthetics, prefers spirituality to price tags; Art suffers a loss of meaning. This study is positioned on the structural problem created in the field of Art by postmodern art, which prioritizes market economy and popular culture over aesthetic and spiritual values, and it aims to render visible, through cinema, the critical practice of the postmodern art market. It is significant in that it focuses on clarifying, from a cinematic perspective, the ambiguity concerning whether the loss of meaning constitutes a genuine Art experience. In this context, using qualitative data collection techniques and data obtained through literature review, the film The Square Ruben Östlund, 2017, deliberately selected from within the film universe that enables a critical perspective on the ambiguous meaning and nature of postmodern art, is examined in accordance with the principles of descriptive analysis method to make this condition visible from a cinematic standpoint. Through this analysis, it is concluded that the institutional structure and artist figure constructed by postmodern art with values replacing aesthetic and spiritual ideals fail to establish a direct connection with the viewer through the artwork; that the artworks always require unconventional explanations by the artist or institutional representatives in order to possess meaning; and that Art is reified and transformed into something else.

 In the nineteenth century, modern fine artsArtwhich, by assuming the sublimity of aesthetics and spirituality, transformed the values of the old artistic tradition and dismissed craftsmanship, turned the field of art into a kind of domain of religiosity through the ideal of the artist as creator. The works born as spiritual creations of the artists imagination, in the state of aesthetic thought and behavior, open the doors of a magical universe through which the viewer can interact. However, in the process extending from the twentieth century to the present, with the counter-art movement opposing the structure that reduces artistic creation to aesthetics, the boundaries and institutional structure of Art expand and transform. The most significant transformation occurs with postmodern art, which, beyond aesthetics, prefers spirituality to price tags; Art suffers a loss of meaning. This study is positioned on the structural problem created in the field of Art by postmodern art, which prioritizes market economy and popular culture over aesthetic and spiritual values, and it aims to render visible, through cinema, the critical practice of the postmodern art market. It is significant in that it focuses on clarifying, from a cinematic perspective, the ambiguity concerning whether the loss of meaning constitutes a genuine Art experience. In this context, using qualitative data collection techniques and data obtained through literature review, the film The Square Ruben Östlund, 2017, deliberately selected from within the film universe that enables a critical perspective on the ambiguous meaning and nature of postmodern art, is examined in accordance with the principles of descriptive analysis method to make this condition visible from a cinematic standpoint. Through this analysis, it is concluded that the institutional structure and artist figure constructed by postmodern art with values replacing aesthetic and spiritual ideals fail to establish a direct connection with the viewer through the artwork; that the artworks always require unconventional explanations by the artist or institutional representatives in order to possess meaning; and that Art is reified and transformed into something else.

 On dokuzuncu yüzyılda, estetik ve tinselliğin yüceliğini üzerine alarak, eski sanat geleneğinin değerlerini dönüştüren ve zanaatı kapı dışarı eden modern güzel sanatlar Sanat-, yaratıcı olarak sanatçı idealiyle sanat alanını bir tür dinsellik alanı haline getirir. Sanatçının hayal gücünün, tinsel yaratıları olarak doğan eserler, estetik düşünce ve davranış haliyle, izleyiciye etkileşim kurabileceği büyüsel bir evrenin kapılarını aralar. Ancak yirminci yüzyıldan günümüze uzanan süreçte, sanatsal yaratımı estetiğe indirgeyen yapıya karşı çıkan karşı-sanat hareketiyle, Sanatın sınırları ve kurumsal yapısı genişleyip dönüşür. En büyük dönüşüm, estetiğin yanı sıra tinselliği fiyat etiketine tercih eden postmodern sanatla gerçekleşirken; Sanat, anlam yitimine uğrar. Çalışma, anlam yitimine neden olan postmodern sanatın, estetik ve tinsel değerlerden ziyade piyasa ekonomisini ve popüler kültürü önceleyerek Sanat alanında yarattığı yapı problemi üzerine konumlandırılmakta; postmodern sanat piyasasının eleştirel pratiğini sinema üzerinden görünür kılmayı amaçlamakta ve anlam yitiminin gerçek bir Sanat deneyimi yaratıp yaratmadığıyla ilgili muğlaklığı, sinemasal açıdan anlaşılır kılmaya odaklandığı için önem arz etmektedir. Bu doğrultuda, nitel veri toplama tekniklerinden, literatür taraması yöntemiyle elde edilen verilerle, postmodern sanatın muğlak anlam ve doğasına eleştirel bakış sunmayı olanaklı kılan film evreni içinden maksatlı olarak seçilen The Square Kare, Ruben Östlund, 2017 filmi, betimsel analiz yönteminin ilkelerine bağlı kalınarak söz konusu durumu sinemasal açıdan görünür kılmak üzere incelenmektedir. İncelemeyle, postmodern sanatın, estetik ve tinsel ideallerin yerine yerleştirdiği değerlerle inşa ettiği kurumsal yapısının ve sanatçı figürünün, izleyiciyle eser üzerinden aracısız olarak bağ kuramadığı; eserlerin anlama sahip olmak için daima sanatçının ya da kurumsal temsilcilerin alışılmışın dışında açıklamalarına ihtiyaç duyduğu ve Sanatı şeyleştirerek başka bir şeye dönüştürdüğü sonucuna varılmaktadır.

Makale detayları

The Square Film in the Context of Postmodern Art Criticism: The Transformation and Loss of Art

Yazarlar:

Nurselin Aker

Yayıncı:

Selcuk University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Selçuk İletişim Vol.18 Issue 2, pp.873-898

Belge Tipi:

Makale

Yayın Tarihi:

10/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001360161

pISSN:

2148-2942

Modern Fine Arts

Anti-Art

Modern Art

Postmodern Art

The SquareModern Güzel Sanatlar

Karşı Sanat

Modern Sanat

Postmodern Sanat

The Square

Sayı

Makale detayları

Yazarlar: Nurselin Aker

Yayıncı: Selcuk University

Ana Başlıklar: Radyo-Televizyon

Dergi: Selçuk İletişim Vol.18 Issue 2, pp.873-898

Belge Tipi: Makale

Yayın Tarihi: 10/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001360161

pISSN: 2148-2942

Sayı

Yazarlar:

Nurselin Aker

Yayıncı:

Selcuk University

Ana Başlıklar:

Radyo-Televizyon

Dergi:

Selçuk İletişim Vol.18 Issue 2, pp.873-898

Belge Tipi:

Makale

Yayın Tarihi:

10/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001360161

pISSN:

2148-2942