Department of Interdisciplinary Urban Design Programme ISTANBUL

ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SCIENCE ENGINEERING AND TECHNOLOGY THE CONSTRUCTION OF PUBLIC REALM IN CONTEMPORARY ART: READING ON INTERNATIONAL ISTANBUL BIENNIAL M.Sc. THESIS Melike ATICI Department of Interdisciplinary Urban Design Programme Anabilim Dalı : Herhangi Mühendislik, Bilim Programı : Herhangi Program JANUARY 2014 ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SCIENCE ENGINEERING AND TECHNOLOGY THE CONSTRUCTION OF OUBLIC REALM IN CONTEMPORARY ART: READING ON INTERNATIONAL ISTANBUL BIENNIAL M.Sc. THESIS Melike ATICI (519101014) Department of Interdisciplinary Urban Design Programme Thesis Advisor: Assoc. Prof. Dr. İpek AKPINAR Anabilim Dalı : Herhangi Mühendislik, Bilim Programı : Herhangi Program JANUARY 2014 İSTANBUL TEKNİK ÜNİVERSİTESİ FEN BİLİMLERİ ENSTİTÜSÜ ÇAĞDAŞ SANATTA KAMUSAL ALANIN İNŞASI: ULUSLAR ARASI İSTANBUL BİENALİ ÜZERİNE OKUMA YÜKSEK LİSANS TEZİ Melike ATICI (519101014) Disiplinlerarası Anabilim Dalı Kentsel Tasarım Programı Tez Danışmanı: Doç. Dr. İpek AKPINAR Anabilim Dalı : Herhangi Mühendislik, Bilim Programı : Herhangi Program OCAK 2014 Melike ATICI, a M.Sc. student of ITU Graduate School of Science Engineering and Technology student ID 519101014, successfully defended the thesis entitled “The Construction of Public Realm in Contemporary Art: Reading on International Istanbul Biennial”, which she prepared after fulfilling the requirements specified in the associated legislations, before the jury whose signatures are below. Thesis Advisor : Assoc. Prof. Dr. İpek AKPINAR .............................. İstanbul Technical University Jury Members : Assoc. Prof. Dr. Hüseyin KAHVECİOĞLU .......................... İstanbul Technical University Assist. Prof. Dr. Banu TOMRUK .............................. İstanbul Bilgi University Date of Submission : 16 December 2013 Date of Defense : 20 January 2014 v vi To my selfless mom Kadriye Atıcı, vii viii FOREWORD First, I would like to express my deepest gratitude to my supervisor Assoc. Prof. Dr. İpek Akpınar, for her guidance and support. She is one of the most inspiring teachers, who not only supported me with her constructive suggestions, but also encouraged me with her never-ending patience. I would like to offer my special thanks to all my professors and colleagues at Maltepe University for their support throughout my thesis studies. I am particularly grateful to Prof. Dr. Emre Aysu, Prof. Dr. Demet Irklı Eryıldız, Prof. Dr. Tülin Görgülü, Assist. Prof. Dr. Esra Sakınç, Assist. Prof. Dr. Yekta Özgüven and Assist. Prof. Dr. Demet Mutman. I would also like to thank my roommates Bilgen Ataç and Hale Sinirlioğlu not only for lovely and entertaining working environment we shared but also for their invaluable academic support. Besides, I owe special thanks to all my professors at Middle East Technical University for creating passion inside me for my profession. Any thank to them would be an understatement. I owe a great debt to my second family: my friends. They gave me the strength to cope with any kind of discouragement. I would like to thank Ezgi Arslan, Çiğdem Çoban, Hande Çöplü, Berrak Pınar Ünal, Perinur Tuğral, Derya Dinçel, Elif Gürbüz and Görkem Evkaya who have always been there for me without a doubt. I feel the great luck of having such beautiful people in my life. This study would have never been accomplished without the support of my family. My debt to them is far greater than I can find words for. Special thanks to my mother, Kadriye Atıcı, for her endless trust, care, sympathy and love, and my brother, İbrahim Atıcı, who has always been the source of joy and inspiration in my life. Finally, I thank my late father, Murat Atıcı, for being a wonderful role model and for teaching me the value of life. December 2013 Melike ATICI (Architect) ix x TABLE OF CONTENTS Page FOREWORD ............................................................................................................. ix TABLE OF CONTENTS .......................................................................................... xi ABBREVIATIONS ................................................................................................. xiii LIST OF TABLES ................................................................................................... xv LIST OF FIGURES ............................................................................................... xvii SUMMARY ............................................................................................................. xix ÖZET ........................................................................................................................ xxi 1. INTRODUCTION .................................................................................................. 1 1.1 Purpose of Thesis ............................................................................................... 1 1.2 Path of Thesis ..................................................................................................... 2 2. PUBLIC ART = PUBLIC REALM + REALM OF ART ................................... 7 2.1 Public Realm ...................................................................................................... 7 2.2 Way to Public Art ............................................................................................. 13 2.2.1 Modern aspects: public museums ............................................................. 14 2.2.2 Avant-garde movements and galleries ...................................................... 19 2.2.3 Towards new museology .......................................................................... 24 2.2.4 Biennials .................................................................................................... 28 2.3 Public Art ......................................................................................................... 41 2.3.1 Publicity in public art ................................................................................ 46 2.3.2 Spectatorship in public art ......................................................................... 48 2.3.3 Space in public art ..................................................................................... 53 3. READING INTERNATIONAL ISTANBUL BIENNIAL ............................... 57 3.1 International Istanbul Biennial ......................................................................... 57 3.2 Venues of Istanbul Biennials ............................................................................ 62 3.3 Re-reading Istanbul Biennial ............................................................................ 83 3.3.1 Publicity in Istanbul Biennial .................................................................... 84 3.3.2 Spectatorship in Istanbul Biennial ............................................................ 90 3.3.3 Space in Istanbul Biennial ......................................................................... 94 4. CONCLUSION ................................................................................................... 101 REFERENCES ....................................................................................................... 107 APPENDICES ........................................................................................................ 117 APPENDIX A.1 ................................................................................................... 118 CURRICULUM VITAE ........................................................................................ 121 xi xii ABBREVIATIONS IKSV : Istanbul Foundation for Culture and Arts AKM : Atatürk Cultural Center İMÇ : Istanbul Textile Traders’ Market KAHEM : Kadıköy Public Education Center ID : Istanbul Dostları Sq : Square ts : Train Station xiii xiv LIST OF TABLES Page Table 2.1 : Biennials around the world: Initiation Dates, Titles and Countries. ....... 32 xv xvi LIST OF FIGURES Page Figure 2.1 : Public Realm with Dominating Concepts. ............................................ 10 Figure 2.2 : Giovanni Paolo Panini’s “Picture Gallery with Views of Modern Rome”. ................................................................................................... 16 Figure 2.3 : Eugène Delacroix’s Painting “Liberty Leading the People”. ................ 17 Figure 2.4 : Alfred Stieglitz’s Photography, “The Fountain by R. Mutt”................. 23 Figure 2.5 : Interactive Exhibition in MoMA in 2011, “Talk to Me”....................... 27 Figure 2.6 : Crystal Palace, London. ......................................................................... 30 Figure 2.7 : The Chart Showing the Great Increase in the Number of Art Biennials Between 1980 and 2010. ........................................................................ 34 Figure 2.8 : Official Logo of Kassel City. ................................................................ 35 Figure 2.9 : Example of Information Label from 13th Istanbul Biennial. ................. 40 Figure 2.10 : Timeline Demonstrating the Becoming Public Process of Art. .......... 42 Figure 2.11 : Public Realm, Realm of Art and Public Art with Major Related Concepts................................................................................................. 45 Figure 2.12 : Three Main Concepts Related to Public Art: Publicity, Spectatorship and Space. .............................................................................................. 46 Figure 2.13 : Comparison of Conventional Art and Public Art. ............................... 56 Figure 3.1 : Cultural Timeline

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