Editr/Editor: Frat ARAPOLU

Metinler/Texts: Frat ARAPOLU, MUSTAFA AVCI, BERNA KURT

Tasarm/Design: znur IIR
eviriler/Translations: Kardelen ERKMEN

Artist 2017 27. stanbul Sanat Fuar TOPYA/

Artist 2017 27th stanbul Art Fair UTOPIA

Tyap Fuar ve Kongre Merkezi Cumhuriyet Mahallesi Eski Hadmky

Yolu Caddesi 9/1, 34500 Bykekmece, STANBUL
Tel: 0212 867 11 00
Fax: 0212 886 66 98 websitesi: www.tuyap.com.tr
sergi websitesi: https://tuyaputopya.wordpress.com

Bask/Print: Doruk Yaynlar

Bu kitapk 4-12 Kasm 2017 tarihleri arasnda Frat ARAPOLU kratrlnde

Artist 2017 27. stanbul Sanat Fuar topya Projesi kapsamnda dzenlenen
Dleyebilecein Tek Yer adl sergi iin 500 adet baslmtr. Tm yayn haklar
sakldr. zin almadan oaltlamaz, yaynlanamaz veya datlamaz.

This booklet is printed 500 copies for The Only Place Where You Can Dream
exhibition curated by Frat ARAPOLU as part of Artist 2017 27th stanbul Art
Fair Utopia Project on November 4 12, 2017. All copyrights belong to the
exhibition team. This booklet cannot be copied, re-printed or distributed without
permission of the exhibition team.
Dleyebilecein Tek Yer

Frat ARAPOLU

Var olan toplumsal koullarn deiimi zerine olan in-

antr, topya.
O halde ideal bir corafyay iaret eden topya ka-
vram zerine neler sylenebilir? topyann aktel bir
gerekliinin olmad ve yakn vadede ele geirilmesinin
mmkn olmad iddia edilmekte. Peki, ya aslnda to-
pyalarda hayal edilen geleceklerin henz oluum halinde
olduu bir zamanda yayorsak?

Thomas More kapitalizmin ina srecinin banda 1516da

Yunancann olumsuzluk belirten ou n taks ve yer an-
lamna gelen topos szcnden topya szcn
t/retmiti. Bu olmayan yer eitliki ve zgrlky-
d; hayali, olmas gereken, zlenen bir yer Peki, bu
ayn zamanda, var olana, yani aktel dnyaya dair bir
tespiti de iinde barndrmaz m? amzda daha da net
grebildiimiz gibi insanln durumuna, insan emeinin
smrlmesi ve yeryznde yaanan vahetlere baklr-
sa, bu olmayan yer zlem ve arzusunun nemini tekrar
tekrar anmsamal.

topya, insanln huzur ve bar iinde yaad, bu

yaamn deerli olduu ve srdrlebilir olduu bir ge-
lecei imler. Bu gelecekte aclar ve adaletsizlik, cehalet ve
iddet olmayan bir yaam arzulanr ve snfsal ayrmlar da
ortadan kalkar. Bu, insanolunun btncl potansiyeline
ulat bir zamandr ve bundan dolay topyalarn mesaj,
insanln geleceine dair umut ve inanc ierir. O halde,
topyann mevcut olmayan ve tasarlanm olan ideal bir
toplum anlam tamasnn yanna, sadece gelecekle il-
gili deil, kurguland dneme dair problemleri ele alan
ve bunlara dair zmler gelitiren bir sistem olduu an-
lamn da eklemek gerekir. Peki ya tam tersi bir kurgu, nasl
bir toplum yapsn iaret eder?

Distopya, her bir yeni felsefi nermenin kart kutbuna ihti-

ya duymas gibi, kendisini biraz da topyay olumsuzlayp,
var ederek, gelecee dair ktye doru gidii gsterir ve
izleyicisini/okuyucusunu/dinleyicisini uyarr. Burada her iki
kavramn karsnda bulunan alan da unutmamak gere-
kir: Bu otorite ve iktidardr. nk iktidarlar topyay da
distopyay olumsuz kodlar, her ikisini de ieren yaptlar
basklamalar ve hedef gstermelerinin nedeni budur.
Distopya, bu anlamyla genellikle topik bir toplum ka-
vraynn antitezini tanmlar, distopik bir toplum otorit-
er, totaliter bir devlet modeli ya da benzer bir baka
baskc sistem altnda karakterize edilir. nsanln altn
a asla gelmeyecektir, bu a fersah fersah derinlerde
gmldr. Distopya, bylece insanln d ve ykm
aamasna getii, yaamn ve doann smrld ve
yok edildii bir gelecei gsterir.

lgin ada yayoruz. Bugn bir kavan zerinde durur

gibiyiz; bir ayamz, Aydnlanma andan bu yana in-
sanla aydnlk gnleri getiren bilimsel gelimeler ve
toplumsal dokunun zerinde duruyor, dieriyse lkel-
erin smrgeci yaylmacl, iktidar ve g kullanm ile
hrslarnn rtt karanlk bir ufka basyor. topya ve dis-
topya arasnda bir yerdeyiz, bir tarafta tnelin sonundaki
gryoruz ve oraya nasl gideceimizi biliyoruz. te
yandan karanlktayz, bu maaraya zincirliyiz. Eit deiliz,
snf kavgalar devam ediyor Ayn yne doru komuy-
oruz, karanln iinde tartyor ve kavga ediyoruz. Evet,
karanlktayz.

Speklatif bir gelecek kurgusunun iki ucu: topya ve Dis-

topya. Bu iki alan, modern gereklikle daimi bir eliki
yaratrken, te yandan toplum nezdinde hep bir vizyonu
da izmektedir. Herkes, ister bilimkurgusal bir tasarm is-
ter temsili bir dnme pratiini iaret etsin, bu hikayele-
rden etkilendi/etkilenmekte. Hepimiz yle ya da byle bu
kurgular merak ettik ve bunlarn her birini okuduumuz-
da, hayalimizde bu kurguyla hayatn nasl olacana dair
dncelerle dolduk. Ka farkl gelecek tr bizi etkile-
medi ki? topik dnyalarn ama ve anlamlaryla distopik
olanlarn farklar nedir ve birbirlerinden nasl ayrlrlar? te
bu sorular, bu serginin ortaya kmasna neden oldu. Sahi,
her yapt bir topya ya da distopya deil midir?
The Only Place Where You Can Dream

Frat Arapolu

Utopia is the belief about the change of the existing con-

ditions.

In that case, what can be said about the concept of uto-

pia referring to an ideal geography? It is claimed that
utopia doesnt have any actual reality and that it isnt pos-
sible to carry it out in the near future. So, what if we live
in a time when the tomorrows imagined in utopias are in
the formation process?

In 1516, during the emergence of capitalism, Thomas

More created the word utopia by combining the Greek
prefix ou, indicating negativity, with the word topos
meaning place. This non-existing place was equalitari-
an and libertarian; imagined and long-awaited; and it was
also a place that had to exist. Then, doesnt the concept
of utopia contain an observation about the existent,
meaning the actual world, within itself? As we can see
the worldthrough the exploitation of human labor and
other atrocities that are experienced by humansmore
clearly than before, the importance of our desire, longing
and need for this non-existing place should always be
remembered again and again.

Utopia refers to a future in which humanity lives in peace

and tranquility, and it also refers to a time in which this
kind of life is regarded to be precious and sustainable.
This future, will be a life without sufferings, injustice, ig-
norance, violence and social classes. This will also be a
time in which humanity will reach its full potential! There-
fore, the message of the utopias contain a hope and a
belief about the future of humanity. In that case, besides
the meaning utopia has, as a non-existing and ideally de-
signed society, it should be added that utopia is not only
about the future but it is also about a system addressing
and looking for solutions to the problems of the period
during which it is fictionalized. Then, what kind of a social
structure does a total opposite fiction refer to?

As every philosophical proposition needs an opposition,

dystopia points to the poor course of events leading to
a disastrous future: to the creation of a counter-utopia.
At this point, the space, namely authority and power, fac-
ing each concept shouldnt be disregarded. Power places
and defines itself vis-a-vis utopia and dystopia, and is also
the reason why it represses and targets both dystopian
and utopian artworks.
A Dystopian society is the antithesis of an utopian soci-
ety, and a dystopian society is generally characterized by
an oppressive, authoritarian and totalitarian state mod-
el. The golden age of humanity might never arrive, and
this age seems to be buried very deep. Dystopia shows a
future when humanity reaches a phase of downfall and
destruction, when life and nature are exploited and de-
structed.

We live in an interesting age. Today, it is as if we were

standing on a crossroad; as on of our foot stands on the
social fabric and scientific developments providing hu-
manity with bright days since the Enlightenment Age; the
other one steps on a dark horizon veiled by countries
exploitative expansionism, and abuse of power. It seems
like we are somewhere in between a utopia and a dysto-
pia; on the one hand, we see the light at the end of the
tunnel and we know how to get there. On the other hand,
we are chained in a dark cave. We arent equal and class
conflicts continue. We dont walk in the same direction;
we argue and fight in the dark. Yes, we are in darkness.

Two edges of a speculative fiction of the future: Utopia

and Dystopia. These two spaces create a permanent con-
flict with modern reality, while determining a vision in the
presence of society. Everyone was/is influenced by these
stories whether it refers to a science-fictional design or
representative thinking practice. We all wonder about
these fictions in one way or another and when we read
each of them, we are filled with thoughts about how life
would be like with these fictions. We have been influ-
enced by many types of future, havent we? What are the
differences between the aims and meanings of utopic and
dystopic worlds and how do they differ from each other?
These are the questions that inspired this exhibition. Real-
ly, isnt every work a utopia or a dystopia?
nsel NAL

Skm topyalar,
enstalasyon, 2017.
nsel naln, Cumhuriyet tarihindeki eitli bireysel to-
pyalar grselletiren bu almas, 1950 ve sonrasnda,
kltr-sanat alanndaki reformist ve toplumcu yazar ak-
trlerin oluturduu klliyat, bugnn bakndan deer-
lendirmeyi deneyimliyor. eitli metaforlarla ykl ikence
aletleri ile bu corafyaya ait kltr-sanat klliyat arasnda-
ki balamsal ilikiler, bu deneyin odakland konu.
Kiisel topyalarla dolu mzik, edebiyat, tiyatro ve dier
sanat gruplarna ait retimlerde kolektif olmamann,
rgtszln gnmze yansyan skntlarn vurgulayan
bu deneysel alma, bugne ait byk bir eletiriyi de
iinde barndryor. Gnmzde baar kriterlerinin byk
bir lde sata endekslendii sanat, topyaszlyla ve
kaygan zeminleriyle kayd tutulmasa da, ekilleniyor.
Sanatnn isyanlarla dolu tankl ile oluan bu alma,
ideolojiyle donanan topyann, sanat retim modellerinin
ayrlmaz bir paras olduunu srarla vurgulamaktadr.

(Teekkrler/Acknowledgement: Emre Zeytinolu, Lt-

fiye Bozda, Ouz Halakolu, ar Saray, Rafet Arslan,
Burak zmkesici).
nsel NAL

Compressed Utopias,
installation, 2017.
nsel nals work, which visualizes various individualistic
utopias in the history of the Republic of Turkey, experi-
ences the body of works created by the reformist and
socialist writer-actors of the arts and culture field from
1950 onward, with todays perspective. The contextual
relationships between clamps (which literally means tor-
ture in Turkish) with various metaphors and the body of
journals belonging to this geography are the subjects that
this experiment focuses on.
This experimental work harbors a critique of today by em-
phasizing the problems in works that are full of personal
utopias (i.e. creations of musical, literary, theatrical, and
artistic groups) and problems which are created by not
acting in a collective and an organized way.
Even though it is not recorded, todays art, in which suc-
cess is largely based on sales figures, is shaped by the slip-
pery ground of being utopialess.
Through the artists rebellious testimony, this work per-
sistently emphasizes that utopias equipped with ideolo-
gy, are an inseparable part of art production models.
Krassimir TERZIEV

simsiz (Ay Cenneti)/Untitled (Moon Paradise), duvar kad/

wallpaper, deien ller/dimensions variable, 2013-2017
Fotoraf/Photograph: Krassimir Terziev, Untitled (Moon Paradise), 2013,
enstalasyon/installation, One Design Week Festival, Being Post-Digital Exhibition,
Plovdiv; kratr/curator Rene Beekman
Krassimir TERZIEV

ocukluumda fotoraftan yaplan duvar ktlar,

i-tasarmda revata olan bir trd (Kesin konumak
gerekirse, 1970ler Sosyalist Bulgaristan dneminden
bahsediyorum). En popler ablonlardan bazlar, palmiye
aalaryla egzotik manzaralardan grntlerdi. Oturma
odandan veya mutfandan ayrlmadan uzak diyarlara
seyahat etme frsatn veren bu duvar ktlarna hayran
kalmtm. Ayn dnemde, bilim kurgu da yerkrenin
snrlarnn dnda, baka dnyalara seyahat etmemi
salamt. Bugn, ikinci dnyann (szde Sosyalist lkel-
er) varlnn sonlanmasnn birka on yl ardndan, Dn-
yada gittike artan sayda yer, ekolojik felaketler ve askeri
atmalar nedeniyle aydaki llere benzerken, turizm hala
tropikal diyarlara kaamak frsatlaryla bizleri kkrtyor ve
uzay teknolojilerinin geliimi, hala bize yeni gezegenlerin
keiflerini vadediyor.
Photo wallpapers were a fashionable genre in interior
design in my childhood (to be precise I am talking about
Socialist Bulgaria in 1970s). Some of the most popular
templates were the sceneries from exotic landscapes
with palm threes. I was fascinated by the opportunity
such wallpaper gave to travel to faraway lands without
leaving your kitchen or living room. During the same peri-
od science fiction allowed me to travel to worlds outside
the earth confines. Today, a few decades after the second
world (the so called Socialist countries) seized to exist,
tourism still seduces with opportunities for temporal
escape to tropical paradises, and development of space
technologies still promise the conquests of new planets,
while more and more spots on Earth resemble lunar des-
ert due to ecological disasters or military conflicts.
Berna KURT

Btn bedenler zgr olsa/ All bodies being free...

propaganda yaz/propaganda vinyls, 2017
Hayaller Kar klar Alternatifler
Dans topyalar?

Berna Kurt

Eer topya bir eit daha iyi bir dnya tasavvuru ise,
baka bir dnyann mmkn olduunu dnenlerin ilk
yapaca ey hayal etmek deal yerleri/halleri/durumlar,
bir eit dler lkesini Sadece hayal kurmak da, o haya-
li gerekletirmeye almak da; var olana kar kmak da,
onun yerine baka birey koymaya almak da mmkn

topya ve dans dendiinde, ben de hemen bir hayal kur-

maya baladm Tabii ki kiisel deneyimlerimle, benim-
le balantl idi bu hayaller: dans yazmlm/koreografi
yapmlmla, dans etmiliim/sahneye kmlmla,
dans aratrmlm/yazmlmla, dans evirmiliim-
le, dans seyretmiliimle/dans eletirisi yazmlmla
mlmla da mlmla

Kafamda oluan ilk imge fazlasyla yereldi: hem yer-

el danslar uramla hem de isyan etmiliimle/isyan
grmlmle ilgili: el ele, omuz omuza bedenler
ok farkl bedenler kadn erkei, gzeli irkini, yals
genci, salkls salksz vd. yok kar koyuunu be-
denselletiren insanlar, bir eit kolektivite? ekip
ba-sonu yok komut veren ve onu takip eden yok
herkes farkllklarnn farknda, yine de eit horon da
olur, halay da, hora da yeri-yresi vs. nemli deil

Bir baka imge de, ak halinde bir grseller eridi: dans

tarihinin devrimci? isimlerinin fotoraflar, videolar
ne grdysem ben, ne gsterdiysem derslerde tabii
ki grsel sanatlarda olduu gibi dans sanatnda da, tar-
ihi yazanlar/yazlm olanlar muktedirlermuktedir
dnyalarn danslar akyor zihnimde nk dans tarihi
Batl tiyatral danslarn; balenin, modern dansn, ada
dansn tarihi Ne siyahlarn sokak danslar ne de yerlile-
rin ritelleri var bu anlat(lar)da Zihnimdekiler ise kar
kanlar... Yvonne Rainern No Manifestosu mese-
la Gsteriye hayr virtoziteye hayr star imgesine
hayrkahramana hayr hayr da hayr

No Manifestoda manifest edilen ya da ortaya konan

meseleleri dndke soruyorum: peki benim meselel-
erim/dertlerim ne? ne(lere) kar kyor da, ne(leri) istiy-
orum? Eh tabii d lkem dertlerimle alakal biraz da: ben
yine hayr demeyeyim de, d kurmaya devam edeyim
bilin ak, olsa, hayat bayram olsa kvamnda ilk
aklma gelenleri manifest edeyim ben de, manifesto
yazmasam da dlerimi yle bir alt alta dizeyim:
Btn bedenler zgr olsa
Her tr beden sahneye (daha da ok) ksa
Kimse dans etmekten utanmasa Mesela danstr, tayttr
erkei bozmasa

Kadn-erkek dans-hareketi gibi anlamsz ayrmlar olma-

sa
Kadnlar da ekip ba olsa yok yok kimse ekip ba ol-
masa, ya da ekip ba hep deise, kimse birbirinden rol
kapmasa

Sahnede merkez olmasa, herkes seyredilebilse Aslnda

keke seyretmeden ok katlma olsa

Danslar a kalmasa, her trl iini kendi yapmak duru-

munda kalmasa
Dans stdyolar, bamsz dans sanatlar srekli artsa
dayansalar, birlikte hareket etseler

Dans trleri arasnda hiyerari kalmasa

Herkesin danslar/btn danslar aratrlsa, yazlsa,
izilse hepsinin tarihi yazlsa
Danslara etnisite, kimlik vb. atfedilmese
niversitelerde dans, mziin, tiyatronun vb. alt dal ol-
masa
Memleketimde dans aratrmacs i bulabilse/deer gre-
bilse dans blmleri kapanmasa
Hocalar enerjilerini kendilerine ya da birbirlerine kar
deil de bu snrl alan gelitirmek iin harcasa

Dans yapmak gibi yazmak da deer grse

Bana kimse artk dans, tarih, siyaset ne alaka? demese
Kendimi tekrar tekrar anlatmaktan kurtulsam
Dans aratrmaya vaktim kalsa Ya da dans etmek, oku-
mak, yazmak, paylamak imdiki gibi lksm ya da hobim
deil de, mesleim olsa

Ya evet keke hayat bayram olsa ya da biz(ler) hayat

bayram klsak
Dreams Objections Alternatives
Dance Utopias?

Berna Kurt

If utopia is a kind of better world conception, first thing

to do by people who think that another world is possi-
ble is dreaming of ideal places/situations /states, imagin-
ing a kind of dreamland... Its both possible to just imagine
or try to realize the dream; just oppose the existing situa-
tion or try to put something else in its place...

When I was asked to do something about utopia and

dance, I immediately began dreaming... Of course, those
dreams were related to me or my personal experienc-
es: my experiences of making choreographies, perform-
ing/dancing on stage, dance writing/criticism, making
research on dance, translating dance writings, watching
dance pieces so on and so forth

The first image in my mind was a more local one: relat-

ed to my experiences of both performing local dances
and participating in/seeing of revolts: multiple bodies
all together hand in hand, shoulder to shoulder... very
different ones ... male or female, beautiful or ugly, old or
young, healthy or unhealthy doesnt matter... people
embodying their resistance, people building a kind of
collectivity? ... no dance leader/commander and his/
her followers everyone is aware of their differences,
still equal ... horon, halay, hora ... place-region etc. of the
dance does not matter at all

Another image is a flow of visual images: photographs and

videos of the revolutionary? people of dance history ...
those that I have seen/read or shown in my courses... very
similar with the situation in visual arts, whoever has the
power write their dances... the dancers of the ruling
world are flowing in my mind because the dance history is
the history of Western theatrical dances like ballet, mod-
ern dance and contemporary dance ... neither the street
dances of blacks nor the rituals of the indigenous people
are included in those narratives ... The ones in my mind
are the dissidents ... Yvonne Rainers No Manifesto
for example ... No to spectacle no to virtuosity ... no to
the star image no to the heroic no to so on and so
forth

When contemplating about the issues manifested in No

Manifesto, Im asking to myself: what about my issues/
concerns? What do I oppose and what do I want? Well,
my dreamland is of course related to my real life issues:
But I dont say no to, I just keep dreaming ... even if
not writing a manifesto, I put in line or manifest my first
thoughts/dreams coming into my mind as a stream of
consciousness I dream:

-All bodies being free...

-All kind of bodies performing (much more) on the dance
scene...
-No one being ashamed of dancing ... For example, no one
thinking that the dance or the leotards may break up
the manhood

-Having no meaningless distinctions like male/female

dance/movement ...
-Women being dance leaders... no, its better to have no
dance leader at all or s/he can always change during the
collective dance or nobody takes the role of another
one to be more visible on stage ...

-Having no focus point on stage, as everyone can be

watched ... Actually, having more participating in than
watching the dance

-Dancers being able to earn their living and not having to

do all the work -other than performing or making chore-
ographies.
-The quantity and quality of dance studios and indepen-
dent dance artists constantly increasing... all acting in sol-
idarity...

-Having no hierarchy between dance genres ...

-Having research/writing/historiography on everyones
dances / all dance genres...
-Having no attribution of ethnicity, nationaletc. identity
to the dances

-Dance departments being no sub-units of music or the-

ater departments at universities, but independent ones
-Dance researchers being able to work and be appreci-
ated in my country... dance departments being no more
closed ...
-Dance teachers not focusing on getting personal victo-
ries or fighting against each other but on contributing to
develop this limited space

-Dance writing being as appreciated as dancing itself...

-Nobody asking me again: But whats the relation be-
tween dance, history and politics?... Getting rid of telling
myself again and again ...
-My real job being performing, reading about, writing
on dance having enough time for each of them

Yessome nice dreams waiting to come true and make

our world a better one some nice dreams that we may
make true...
Yusuf Murat EN

simsiz,
kark teknik & yerletirme, deien ller, 2017.
stanbul ve zmirde 19.yy balarnda kurulmu birka fo-
toraf stdyosunun sahipleri birbirleri ile usta rak ilikil-
eri ile baldr. Ortak zellikleri ise o zamanlarda yeerme-
kte olan milliyetilik akmndan etkilenmi olmalardr. Bu
milliyeti yaklamn izleri kimi zaman stdyo dekorlarnda
aka grlr. Farkl atmosferler iinde ekilen portreler,
zengin tonlar ve idealize edilmi bir gzellik anlay ile ve
mutlaka rtulanarak retilirlerdi. Belki gzel ama aslnda
gereklikle ok da ba kurmayan portrelerdir.
Bu stdyolardan zellikle stanbuldaki bir tanesi uzun
yllar ak kalr ve byk ticari baar elde eder. Fakat,
sunduu ideal ve topik grntlerin aksine, ektii fo-
toraflarn negatif filmlerini ideal koullarda koruyamaz.
Zaman iinde bozulan filmlerin zerindeki grntler
de dnme urar ve yepyeni imgeler oluturur. Bu
dnme hem tanklk etmek, hem de srece mdahil
olarak yeni bir grsel topya alan yaratmak bu projenin
temel amacdr.
Yusuf Murat EN

Untitled,
mixed-media & installation, dimensions variable, 2017.
The owners of the first photography studios that are
founded in stanbul and zmir at the beginning of the 19th
century, were connected to each other through a series of
master-apprentice relationships. All the photographers of
these studios were influenced by the emergent national-
ist movements of the time. The traces of this nationalistic
approach can sometimes be seen clearly especially in the
studio decorations. Portraits, which are taken in different
atmospheres, used to be produced with rich shades and
with the standards of an idealized beauty in mind, and cer-
tainly with retouches. They were possibly beautiful but
not exactly connected with reality.
Among these studios, especially the one in stanbul stays
open for quite a long time and gains a great business suc-
cess. However, on the contrary to the ideal and utopian
images it presents, it cant preserve the negative films in
ideal conditions. Because of this, the images on the dam-
aged films underwent a change and totally new images
are formed during this phase. Thus, the main object of
this project is creating a new visual utopia space, by both
witnessing and taking an active part in this transforma-
tion phase.
Maria PAPADMTROU

Ulus-TES
video-yerletirme, 2550, 2017
TRANS-nationality 1974 ncesi ve sonrasnda, Kbrsn
Trk ve Yunan tarafndaki iskan konusunu ele alyor. G-
zelyurt/Morphoudaki farkl sosyal ve entelektel snflar-
dan insanlarn yer ald ve 10 saatlik bir rportaj ekimin-
den ortaya kan video, 1950lerden 1970lere kadar olan
srece dair anlar ve gnlk yaama ait detaylar ieriyor.

alma, adada yer alan her iki nfusun da tarihsel olgular

nasl algladklarn ve gelecee dair inanlarnn neler old-
uunu gsterirken, Kbrs konusunda, tarihsel propagan-
dalarn rettii bilgilerinin dndaki hakikatlere iaret edi-
yor. Ayrca bu almada, radikal milliyetiliin insanlarn
ilikilerine ve hayatlarna nasl zarar verdii ve insanlarn
bu durumdan nasl zarar grd de gzlemlenebilir.
Maria PAPADMTROU

TRANS-Nationality
video-installation, 2550, 2017
TRANS-nationality addresses the housing issue of Turkish
and Greek part of Cyprus before and after 1974. The vid-
eo, in which people from different social and intellectual
classes in Morphou take part and which was developed
out of 10 hours long interview shooting, includes memo-
ries about the period between 1950s and 1970s and de-
tails about daily life.

While the work shows how each population on the island

perceives historical facts and what their beliefs about
the future are, it also indicates the facts apart from what
historical propaganda produced about Cyprus issue. Be-
sides, in the work, radical nationalism and how people de-
stroy their relations, lives and how they suffer from this
situation can be observed.
Dilan BOZYEL
Dilan BOZYEL
topya kavram, insanolunda bir aray olarak tekabl
etmekte. Aray ise ancak grebileni sonuca gtrmek-
te. Grebilme mertebesine henz ulalmadnda; beyin,
bulunduu yerden ve zamandan baka topik kavramlar
yaratmakta. ehirdekilerin taraya, tarann ehre varma-
ya almas misali. Oysa topya; grmek isteyene ister
yemyeil bir tarada, ister trafiin ve kalabaln nefes-
siz brakt bir metropolde, ister sessizlikte, ister kaos-
ta; karanlk ya da aydnlkta farketmeksizin herhangi bir
zaman veya mekansz halde grene hazr durumdadr.

The concept of utopia corresponds to a quest. This quest

yields results for only those who have the ability to see.
If one has not reached to the level of seeing; the brain
then starts creating other utopian visions from its own
location. As it is the case with countrysiders who are
trying to reach to the city and vice versa. Yet, utopia is
available for those, whose vision is unbound by time and
space, dark or daylight, silence or chaos: whether it be a
verdant countryside, or a polluted, crowded, and jammed
metropol.
Mustafa AVCI

K()topya,
ses enstelasyonu/sound installation, 2017.
Yaptmz her ey mziktir
-John Cage (20.yy)

Mzik bizim ylesine doal bir paramzdr ki, arzu etsek

bile onsuz yapmayz.
-Boethius (6.yy)

Ezhr- bahrn yerine berf-i sefdi;

Elhn- tuyrun yerine samt- umdi!...
Cenap ahabettin (19-20.yy)

Music is so naturally a part of us that we cannot be with-

out it, even if we so wished
-Boethius (6th cc)

Everything we do is music
-John Cage (20th cc)

White snow, instead of spring flowers

Silence of hope, instead of the birds singing!
-Cenap ahabettin (19-20th cc)
topyann Sesleri ve Mzikleri

Mustafa Avc (mavcefendi)

Herkesi iine alabilecek genilikte bir topya olabilir mi?

Bu kadar farkl insani deneyimi iine alabilecek tekil ve
mstakil bir topyann varlndan ya da toplumsal ka-
bulnden sz etmek henz mmkn deil. Halihazrda
byle bir topyann snrlar iinde yaamadmz ve
topik koullara sahip bir yeri ilk elden bilmediimiz iin,
topyalara olan uzaklmz da bilemiyoruz. Hal byle ol-
unca da yokyer anlamna gelen topya ayn zamanda bir
tr zamanszl yani yokzaman da simgeliyor.

topyann bu belirsizliine karn, eer tketim alkan-

lklarmz deitirmezsek, hepimiz iin eit derecede
karanlk ve korku dolu bir distopya olduka yakn bir ge-
lecekte bizi bekliyor. Kapitalizm ve dolaysyla kresel
snmann dnyay insanlar iin tamamen yaanmaz kld
byle bir distopyadan kurtulabilmek iin, tm insanlar
birletirebilecek bir topyaya ve hatta topyalara acil bir
ekilde ihtiyacmz var.

nsanlk tarihinde, insanlarn hayalini kurduu eitli

topik tasavvurlardan bahsedebiliriz. Metnin banda
bahsettiim uzaklk ve ulalmazlk, neredeyse btn bu
topyalarn hepsinde ortak bir noktadr ve bu yzden de
topya bizim (yani bu metnin okuyucularnn) birinci elden
tank olmadmz, hatta olamayacamz bir deneyimi if-
ade eder: Yeni dnyada kimsenin bilmedii topya adnda
bir ada, yldzlar, denizlerin fersah fersah alt, yahut tarihin
derinliklerindeki ya da gelecekteki bir uygarlk, baka bir
gezegen (mesela Merih), tarih ncesi ilkel kabileler, ya da
lmden sonraki hayat vs...

***
Peki, etnomzikolojik olarak en geni anlamyla MZK
asndan baktmzda topya nasl bir yer olurdu? Bu
sorunun en geni anlamyla cevab mziin serbeste
dolaabildii bir yer olurdu. Byle bir yerde mzik btn
insanlarn ortak mal ve kltrel miras olarak kabul edilir-
di. Mziin serbeste dolaabilmesi mziin telif haklary-
la korunmad, isteyenin istedii mzik eserini istedii
ekilde kullanabildii ve arzu edenin bu eserden ak bir
ekilde etkilenerek ya da bu mzik yaptn olduu gibi
kullanarak yeni arklar yapabildii bir yer olurdu.

Mziin serbeste dolaabilmesi, ayn zamanda hibir

mziin sansrlenmemesi ve yasaklanmamas demek de
olurdu. Halihazrda yksek bir bilincin egemen olduu bu
topyada insanlar, distopyalarda olduu gibi sadece pro-
paganda amacyla yaplm, insanlara zorla dinlettirilen, ez-
berlettirilen ve syletilen ya da rk veya seksist mzikler
yapmazlard ve bu tr mzikleri dinlemeye tenezzl dahi
etmezlerdi. Sonra ibu yokyerde hibir mzik ya da ses in-
sanlara zorla dinletilmez ve bir ikence arac olarak da kul-
lanlmazd. Yani bu tr sorunlar, yasak vs. gibi serbestlii
kstlayan kurallarn kapsamna dahi girmeden halledilmi
olurdu.

nsanlar bir arada tutan en iyi yaptrc olan mzik ve

dans, insanlar arasndaki toplumsal ak yeniden retmek
iin en temel iletiim aralarndan birisi olurdu bu topya-
da. nsanlarn yaayabilecei en gzel hazlardan birisi olan
aknln ve esrikliin tadn alan insanlar beraberce ark
sylemeden ve birbirleriyle dans etmeden bir an dahi du-
ramazlard bylece.

Platoncu ve mdahaleci bir mzik algsnn tesinde, her

mziin farkl bir lezzeti olduunun kabul grd, ve in-
sanlarn bu farkl lezzetleri diledikleri gibi, serbeste tad-
abildikleri bir topya olurdu bu. Ve aslnda bu da, mzikte
snrsz bir yaratc ve dinleyici serbestisi demek olurdu.
Hatta bir adm ileri gidersek mzikal bir topyada, mzik
ve dans ne kavramsal olarak ne de pratikte birbirinden
kesin izgilerle ayrlmazd. Ayrca mziin yaratcs, icracs
ve dinleyicisinin de kesin snrlarla birbirinden ayrlmad
egalitaryan, yani her bireyin mziin aamasnda da yer
alabildii, bir yokzaman olurdu buras. Mzikte virtzit-
enin ls gnmzdeki gibi sratli olmak, teknik kapa-
sitenin ve repertuarn sonsuzluu ile deil de, sadece ve
sadece lezzetle ve mzii sosyal klan katlmc aksak-
lklar ve enileri bilmekle llrd.

te byle bir topyada, insan huzurlu bir ses ikliminin

iinde yayor olurdu ve bu bir orman, deniz kenar, ya
da pekala bir l bile olabilirdi. nsanlar burada, dnyann
doal, bozulmam ve huzurlu seslerini dinleyerek gnler-
ini geirebilir; grltden, yksek sesli kakafoniden kay-
nakl stresten, uzak hayatlar srebilirlerdi. zetlemek ge-
rekirse mzik asndan topya insanlara anne rahminde
her eyden nce duyduklar gvenli uultunun ve huzurlu
ses dnyasnn rahatln sunan bir yer olurdu.
Sounds and Musics of a Utopia

Mustafa Avci (mavcefendi)

Can there be a utopia that will fit everyone in? It is not yet
possible to speak of a single utopia that can answer all the
possible human needs and experiences. Since we are not
living in a utopia or know first-hand a place that has a cer-
tain utopian conditions, we also dont know how far away
we are from a utopia. Thus, utopia which means no-place,
also symbolizes a kind of timelessness, a no-time.

In spite of the uncertainty of the utopia, if we do not

change our consumption habits, a dark and fearful dys-
topia will definitely find us in the near future. In order to
escape this imminent dystopia of global warming, which
is created by capitalism, we need a utopia, and/or utopias
that can unite all humanity together.

There are a variety of utopic imaginations throughout the

history of humanity. The inaccessibility of these utopias,
turns the utopia into an experience in which, we (the
readers of this text) can not witness them first hand. Think
about the inaccessibility of; the island called Utopia, stars,
a utopic future/past civilization, another planet (such as
Mars), a prehistoric primitive tribe, life after death, etc.
***
How would the utopia be a place for music? With music I
mean, in the broadest possible sense of MUSIC? The an-
swer to this question would probably be, free circula-
tion in its broadest sense. In such a utopia, music would
be regarded as public property. Thus, in a place like this, a
musician could easily use any piece of music to create new
compositions, without the fear of copyright!

Free circulation would also mean that no music would be

banned or censored! There would be no need to ban any
music, because the conscious inhabitants of the utopia
would never create (and/or listen to) racist and sexist mu-
sics. In this utopia one would also not find any propagan-
da music. Furthermore, here music would never be used
to torture people, let alone no one would ever force any-
one to listen to any kind of music.

In a utopia, music and dance, the best glue that holds peo-
ple together, would be one of the most basic means of
communication, and would be used to reproduce commu-
nal love among people. People who enjoy this constant
joy and ecstasy of music, one of the most beautiful plea-
sures that people can experience, would not stop singing
and dancing together.
Here, every music would be accepted as a different kind
of flavor and people would be free to taste any of them,
as they wish. And in fact this would indicate an unlimited
creator and listener freedom!

In a musical utopia, music and dance would neither con-

ceptually nor practically be separated from each other.
This would be a place where the creator, performer and
listener are not separated from each other by clearly de-
fined boundaries. Thus, in the utopia every single individ-
ual could easily take part in all the three stages of music.
The measure of virtuosity in music would not be measured
by agility and an infinite technical capacity and an infinite
repertoire, but by knowing how to play tastefully and
mastering the necessary participatory discrepancies.

Such a utopian world would thus have a peaceful sonic en-

vironment and natural soundscapes (like a forest, jungle,
sea side and without the disturbing sounds of our mod-
ern city soundscapes) that are comfortable to humans.
The comfort that the utopic soundscape provides to its
inhabitants would probably be best described as a sonic
and musical world that is as comfortable as the mothers
womb.