Exhibition strategies of video works at Istanbul Biennials

The introduction of electronic image recording tools in the 1950s provided a unique structure that could affect the production processes of artists. At the beginning, video art was used by artists to criticize television and later on, artists developed new strategies using the possibilities of video from different disciplines and perspectives. Since 1960, artists have started to use video as a means of expression and video has spread rapidly. In Turkey, the spread of video art coincided with the 1990s, and the interest of artists in video art increased in the 2000s. The elements to be considered in the exhibition of video art differed from the exhibition of traditional artworks due to nature of the video. In this respect, in addition to formal concerns, hardware and technical possibilities were decisive, especially until the introduction of the first digital cameras in the mid-1990s. The use of display devices in displaying video art depends on the conceptual and formal relationship with the tool used in the demonstration. The unique space and image relations of the video have transformed the normative viewing conditions in the modernist white cube gallery space. Consequently, art institutions have started to create special spaces, which will be known as the black cube in the future. In this context, within the scope of the study, starting from the origins of video art and after the use of video as an artistic expression have been revealed in order to provide a basis for the interpretation of the approaches used in displaying video art in the editions held until the 17th Istanbul Biennial; the development of video art in the historical process in the world and in Turkey will be examined and the determining factors in the exhibition of video art are discussed. In the last part of the study, video works in the biennials will be detected and the approaches used in the exhibition were presented.

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Eser Adı
(dc.title)
Exhibition strategies of video works at Istanbul Biennials
Yazar [Asıl]
(dc.creator.author)
Demirci, Öykü
Yazar Departmanı
(dc.creator.department)
Yeditepe University Graduate School of Social Sciences
Yazar Departmanı
(dc.creator.department)
Yeditepe University Graduate School of Social Sciences Master's Program in Arts and Culture Management
Yayın Tarihi
(dc.date.issued)
2023
Yayın Turu [Akademik]
(dc.type)
preprint
Yayın Türü [Ortam]
(dc.format)
application/pdf
Konu Başlıkları [Genel]
(dc.subject)
Exhibiting strategies
Konu Başlıkları [Genel]
(dc.subject)
Istanbul biennials
Konu Başlıkları [Genel]
(dc.subject)
Video art
Konu Başlıkları [Genel]
(dc.subject)
Sergileme stratejileri
Konu Başlıkları [Genel]
(dc.subject)
İstanbul bienalleri
Konu Başlıkları [Genel]
(dc.subject)
Video sanatı
Yayıncı
(dc.publisher)
Yeditepe University Academic and Open Access Information System
Dil
(dc.language.iso)
eng
Özet Bilgisi
(dc.description.abstract)
The introduction of electronic image recording tools in the 1950s provided a unique structure that could affect the production processes of artists. At the beginning, video art was used by artists to criticize television and later on, artists developed new strategies using the possibilities of video from different disciplines and perspectives. Since 1960, artists have started to use video as a means of expression and video has spread rapidly. In Turkey, the spread of video art coincided with the 1990s, and the interest of artists in video art increased in the 2000s. The elements to be considered in the exhibition of video art differed from the exhibition of traditional artworks due to nature of the video. In this respect, in addition to formal concerns, hardware and technical possibilities were decisive, especially until the introduction of the first digital cameras in the mid-1990s. The use of display devices in displaying video art depends on the conceptual and formal relationship with the tool used in the demonstration. The unique space and image relations of the video have transformed the normative viewing conditions in the modernist white cube gallery space. Consequently, art institutions have started to create special spaces, which will be known as the black cube in the future. In this context, within the scope of the study, starting from the origins of video art and after the use of video as an artistic expression have been revealed in order to provide a basis for the interpretation of the approaches used in displaying video art in the editions held until the 17th Istanbul Biennial; the development of video art in the historical process in the world and in Turkey will be examined and the determining factors in the exhibition of video art are discussed. In the last part of the study, video works in the biennials will be detected and the approaches used in the exhibition were presented.
Kayıt Giriş Tarihi
(dc.date.accessioned)
2024-01-18
Açık Erişim Tarihi
(dc.date.available)
2024-01-18
Haklar
(dc.rights)
Yeditepe University Academic and Open Access Information System
Erişim Hakkı
(dc.rights.access)
Open Access
Telif Hakkı
(dc.rights.holder)
Unless otherwise stated, copyrights belong to Yeditepe University. Usage permissions are specified in the Open Access System, and "InC-NC/1.0" and "by-nc-nd/4.0" are as stated.
Telif Hakkı Url
(dc.rights.uri)
http://creativecommons.org/licenses/by-nc-nd/4.0
Telif Hakkı Url
(dc.rights.uri)
https://rightsstatements.org/page/InC-NC/1.0/?language=en
Açıklama [Genel]
(dc.description)
Final published version
Açıklama [Not]
(dc.description.note)
Note: This preprint reports new research that has not been certified by peer review and should not be used as established information without consulting multiple experts in the field.
Tanım Koleksiyon Bilgisi
(dc.description.collectioninformation)
This item is part of the preprint collection made available through Yeditepe University library. For your questions, our contact address is openaccess@yeditepe.edu.tr
Tek Biçim Adres
(dc.identifier.uri)
https://hdl.handle.net/20.500.11831/8208
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