Ayse Erek
Kadir Has University, Faculty of Art and Design, Faculty Member
- Contemporary Art, Histories and theories of modernity, Urban History, Visual Studies, Urban Studies, Art Theory and Criticism, and 6 moreHistory of art and design, Urban Studies: Constantinople/Istanbul, contemporary art in Turkey, Digital Culture, Digital Humanities, and Urban Image and Urban Analysisedit
- Associate Professor at Kadir Has University, Faculty of Art and Design in Istanbul. She conducted her PhD at Istanbu... moreAssociate Professor at Kadir Has University, Faculty of Art and Design in Istanbul. She conducted her PhD at Istanbul Technical University Art History Department, spending a research year at Amsterdam University. She has been a post-doctoral research fellow at Georg-Simmel Center for Metropolitan Studies of Humboldt University (HU) in Berlin (Oct 2012 - Jan. 2014), a visiting lecturer at the European Ethnology Faculty at HU and an Associate Professor at Yeditepe University. Her research interests are interdisciplinary studies on urban imaginaries and urban space in art, design and exhibiting practices, contemporary art, visual culture, history of modernity, cultural heritage, history of Istanbul and theories and histories of art, design and the city. In addition to academic research, writes for various media on art and urban issues.edit
Sunuş Yazısı Prof. Dr. Ayla Ödekan, disiplinler ve kültürler arası yaklaşımı ile Türkiye’de sanat tarihinin öncü akademisyenlerinden biri olmuştur. Farklı alanlarda üretmiş olduğu çok sayıdaki yayını ile çeşitli bilimsel ve kültürel... more
Sunuş Yazısı
Prof. Dr. Ayla Ödekan, disiplinler ve kültürler arası yaklaşımı ile Türkiye’de sanat tarihinin öncü akademisyenlerinden biri olmuştur. Farklı alanlarda üretmiş olduğu çok sayıdaki yayını ile çeşitli bilimsel ve kültürel faaliyetleri, Ödekan’ın bilime ve kültüre yaptığı katkıların ne denli önemli olduğunu göstermektedir. İstanbul Üniversitesi, Mimar Sinan Güzel Sanatlar Üniversitesi ve özellikle de İstanbul Teknik Üniversitesinde uzun yıllar görev yapmış olan Prof. Ödekan, çok sayıda öğrenci yetiştirmiş, sanat tarihi eğitimine önemli katkılarda bulunmuştur.
Yetiştirdiği öğrencileri onun sanat tarihi disiplinine yaklaşımını ve bilimsel metodunu özümsemiş, kendi akademik yaşamlarında bu anlayışı sürdürmektedirler. Bu kitap Prof. Dr. Ayla Ödekan’ın lisansüstü danışmanlığını yaptığı veya tezlerini yakından takip ettiği öğrencilerinin makalelerinden oluşmaktadır. Ayla Hoca için bir armağan kitabı hazırlayan sevgili Aslıhan Erkmen, Ayşe Erek, Ayşe H. Köksal, Esra Güzel Erdoğan, Hande Subaşılar ve Nazlı Eda Noyan’a, Hoca’nın ilk öğrencilerinden biri olarak teşekkür ederim. Benim uzun zamandır düşündüğüm ancak bir türlü hayata geçiremediğim armağan kitabını, onlar bir araya gelerek başarılı bir biçimde gerçekleştirdiler. Elbette bu kitabın ortaya çıkmasında eşi Nuri Ödekan’ın çabalarının da önemli rolü olmuştur. Emeği geçen herkese teşekkür ederim.
Engin Akyürek
GABAM Direktörü
Prof. Dr. Ayla Ödekan, disiplinler ve kültürler arası yaklaşımı ile Türkiye’de sanat tarihinin öncü akademisyenlerinden biri olmuştur. Farklı alanlarda üretmiş olduğu çok sayıdaki yayını ile çeşitli bilimsel ve kültürel faaliyetleri, Ödekan’ın bilime ve kültüre yaptığı katkıların ne denli önemli olduğunu göstermektedir. İstanbul Üniversitesi, Mimar Sinan Güzel Sanatlar Üniversitesi ve özellikle de İstanbul Teknik Üniversitesinde uzun yıllar görev yapmış olan Prof. Ödekan, çok sayıda öğrenci yetiştirmiş, sanat tarihi eğitimine önemli katkılarda bulunmuştur.
Yetiştirdiği öğrencileri onun sanat tarihi disiplinine yaklaşımını ve bilimsel metodunu özümsemiş, kendi akademik yaşamlarında bu anlayışı sürdürmektedirler. Bu kitap Prof. Dr. Ayla Ödekan’ın lisansüstü danışmanlığını yaptığı veya tezlerini yakından takip ettiği öğrencilerinin makalelerinden oluşmaktadır. Ayla Hoca için bir armağan kitabı hazırlayan sevgili Aslıhan Erkmen, Ayşe Erek, Ayşe H. Köksal, Esra Güzel Erdoğan, Hande Subaşılar ve Nazlı Eda Noyan’a, Hoca’nın ilk öğrencilerinden biri olarak teşekkür ederim. Benim uzun zamandır düşündüğüm ancak bir türlü hayata geçiremediğim armağan kitabını, onlar bir araya gelerek başarılı bir biçimde gerçekleştirdiler. Elbette bu kitabın ortaya çıkmasında eşi Nuri Ödekan’ın çabalarının da önemli rolü olmuştur. Emeği geçen herkese teşekkür ederim.
Engin Akyürek
GABAM Direktörü
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Parallel to its reconstitution as a global city, Istanbul has experienced an expansion of the arts through the foundation of new institutions, such as museums and galleries, and the dissemination of art events and exhibitions related to... more
Parallel to its reconstitution as a global city, Istanbul has experienced an expansion of the arts through the foundation of new institutions, such as museums and galleries, and the dissemination of art events and exhibitions related to the city. The role of the arts and arts institutions in Istanbul's renewal is central to understanding the relationship between the material and immaterial dynamics of this process. The contemporary art world has both invented new strategies for the city's representation, where issues, such as tourism, consumerism, public space, democracy, and identities, are tightly interwoven, while simultaneously revealing conflicts and contestations. In the hands of contemporary artists and arts professionals, the city's “urban imaginary” has become an analytical vehicle that both exposes the tensions of global dynamics and presents the city as spectacle. Thus, this imaginary also serves to document the forces that affect the arts and the city, and a close study of it can enrich our understanding of the reconditioning process.
Research Interests:
Research Interests:
The book : Since Unification and the end of the Cold War, Berlin has witnessed a series of uncommonly intense social, political, and cultural transformations. While positioning itself as a creative center populated by young and... more
The book :
Since Unification and the end of the Cold War, Berlin has witnessed a series of uncommonly intense social, political, and cultural transformations. While positioning itself as a creative center populated by young and cosmopolitan global citizens, the “New Berlin” is at the same time a rich site of historical memory, defined inescapably by its past even as it articulates German and European hopes for the future. Cultural Topographies of the New Berlin presents a fascinating cross-section of life in Germany’s largest city, revealing the complex ways in which globalization, ethnicity, economics, memory, and national identity inflect how its urban spaces are inhabited and depicted.
Since Unification and the end of the Cold War, Berlin has witnessed a series of uncommonly intense social, political, and cultural transformations. While positioning itself as a creative center populated by young and cosmopolitan global citizens, the “New Berlin” is at the same time a rich site of historical memory, defined inescapably by its past even as it articulates German and European hopes for the future. Cultural Topographies of the New Berlin presents a fascinating cross-section of life in Germany’s largest city, revealing the complex ways in which globalization, ethnicity, economics, memory, and national identity inflect how its urban spaces are inhabited and depicted.
Research Interests:
Parallel to its reconstitution as a global city, Istanbul has experienced an expansion of the arts through the foundation of new institutions, such as museums and galleries, and the dissemination of art events and exhibitions related to... more
Parallel to its reconstitution as a global city, Istanbul has experienced an expansion of the arts through the foundation of new institutions, such as museums and galleries, and the dissemination of art events and exhibitions related to the city. The role of the arts and arts institutions in Istanbul’s renewal is central to understanding the relationship between the material and immaterial dynamics of this process. The contemporary art world has both invented new strategies for the city’s representation, where issues, such as tourism, consumerism, public space, democracy, and identities, are tightly interwoven, while simultaneously revealing conflicts and contestations. In the hands of contemporary artists and arts professionals, the city’s “urban imaginary” has become an analytical vehicle that both exposes the tensions of global dynamics and presents the city as spectacle. Thus, this imaginary also serves to document the forces that affect the arts and the city, and a close study of it can enrich our understanding of the reconditioning process.
Kentleşme süreçleri, kenti sosyal bilimler ve sanatsal üretim için güncel bir konu haline getirmiştir. Yeni ekonomik ve siyasi yapılanmalar, kentlerin fiziksel yapısında olduğu kadar kenti imgeleme biçimlerinde de yeni yaklaşımları... more
Kentleşme süreçleri, kenti sosyal bilimler ve sanatsal üretim için güncel bir konu haline getirmiştir. Yeni ekonomik ve siyasi yapılanmalar, kentlerin fiziksel yapısında olduğu kadar kenti imgeleme biçimlerinde de yeni yaklaşımları beraberinde getirmektedir. Günümüz sanatında mekân ve yer tartışması, bugün bize sanatın dili içinde günümüz kentini ve kent deneyimini anlamak için yol göstermektedir. Bu makale Aydan Murtezaoğlu, Banu Cennetoğlu ve Sarkis’in işleri aracılığıyla, günümüzde kentsel mekânla kurulan ilişkileri araştırmaktadır.
Signs Taken in Wonder: Searching for Contemporary Istanbul, which took place in the Museum for Applied Arts and Contemporary Art (Museum für Angewandte Kunst, MAK) realized in Vienna in early 2013, is the most recent example of the vogue... more
Signs Taken in Wonder: Searching for Contemporary Istanbul, which took place in the Museum for Applied Arts and Contemporary Art (Museum für Angewandte Kunst, MAK) realized in Vienna in early 2013, is the most recent example of the vogue for city exhibitions over the past decade. Pondering the representation of the city the exhibition is engaged with questions about the representation of Istanbul in contemporary art, drawing attention to such issues as urban transformation, conflicted spaces, utopian perspectives of modernization, the past as an invented space, and architectural representation, in terms of spatial concerns both personal and political.
Design and Cinema: Form Follows Film Book Description Why has cinema become so closely acquainted with the design disciplines, and vice versa? What valuable or significant experience can come out from this brotherhood, both in terms of... more
Design and Cinema: Form Follows Film
Book Description
Why has cinema become so closely acquainted with the design disciplines, and vice versa? What valuable or significant experience can come out from this brotherhood, both in terms of substantial and in terms of representative means? What seems to be more promising in terms of theory making both in design and in cinema is the substantial dimension of their relationship, since it points to an essential change in our conception of existence and space: The timelessness of optic space replaced by the time-bounded experientiality of haptic space. This also brings about different theoretical elements for analysis by leaving the subject and the object aside and looking into what their relations have produced, the outcome being patterns of experience which exist somewhere between the lived and the made, i.e. being abstract and concrete at the same time. And, finally, this is where cinema becomes a poetic medium and an important tool for representing the so-called patterns.
Design and Cinema: Form Follows Film is interested in seeing those patterns in terms of formal categories, thought to be representation of certain experiences. The book is organized in two parts, Discourse on Form and Film and Works on Form and Film. The first part of the book – discourse – is intended to give a picture of current thought on the formal categories, introduced here as, existential, narrative, structural, constructive, temporal, digital, social, and fragmental. The second part of the book presents works, conducted either in the form of workshops or films, as expressive media of the formal categories discussed in the first part.
The volume presents works of Juhani Pallasmaa, Gül Kale, Ayşe N.Erek, Ayşe E.C. Orlandi, Andong Lu, François Penz, Marshall Deutelbaum, Ferenc Boné, Dilek Altuntaş, Halit Refiğ, Arthur Lizie, Tuğyan A.Dural, Fatoş Adiloğlu, Seçkin Kutucu, Lutz Robbers, Türker Armaner, Feride Çiçekoğlu, Alex McDowell, Gül K.Erk, Joaquim Moreno, Aydın H. Polatkan, Helmut Weihsmann, Ayşe Şentürer, Julie Talen, Olga Vásques-Ruano, Otto von Busch, Henric Benesch, Belkıs Uluoğlu and Işıl B.Serim.
Book Description
Why has cinema become so closely acquainted with the design disciplines, and vice versa? What valuable or significant experience can come out from this brotherhood, both in terms of substantial and in terms of representative means? What seems to be more promising in terms of theory making both in design and in cinema is the substantial dimension of their relationship, since it points to an essential change in our conception of existence and space: The timelessness of optic space replaced by the time-bounded experientiality of haptic space. This also brings about different theoretical elements for analysis by leaving the subject and the object aside and looking into what their relations have produced, the outcome being patterns of experience which exist somewhere between the lived and the made, i.e. being abstract and concrete at the same time. And, finally, this is where cinema becomes a poetic medium and an important tool for representing the so-called patterns.
Design and Cinema: Form Follows Film is interested in seeing those patterns in terms of formal categories, thought to be representation of certain experiences. The book is organized in two parts, Discourse on Form and Film and Works on Form and Film. The first part of the book – discourse – is intended to give a picture of current thought on the formal categories, introduced here as, existential, narrative, structural, constructive, temporal, digital, social, and fragmental. The second part of the book presents works, conducted either in the form of workshops or films, as expressive media of the formal categories discussed in the first part.
The volume presents works of Juhani Pallasmaa, Gül Kale, Ayşe N.Erek, Ayşe E.C. Orlandi, Andong Lu, François Penz, Marshall Deutelbaum, Ferenc Boné, Dilek Altuntaş, Halit Refiğ, Arthur Lizie, Tuğyan A.Dural, Fatoş Adiloğlu, Seçkin Kutucu, Lutz Robbers, Türker Armaner, Feride Çiçekoğlu, Alex McDowell, Gül K.Erk, Joaquim Moreno, Aydın H. Polatkan, Helmut Weihsmann, Ayşe Şentürer, Julie Talen, Olga Vásques-Ruano, Otto von Busch, Henric Benesch, Belkıs Uluoğlu and Işıl B.Serim.