{"id":3035,"date":"2020-08-23T13:00:31","date_gmt":"2020-08-23T10:00:31","guid":{"rendered":"http:\/\/mordayanisma.org\/?p=3035"},"modified":"2020-08-22T13:00:26","modified_gmt":"2020-08-22T10:00:26","slug":"aksam-yemegi-daveti-kadinlarin-aniti","status":"publish","type":"post","link":"https:\/\/www.mordayanisma.org\/en\/2020\/08\/23\/aksam-yemegi-daveti-kadinlarin-aniti\/","title":{"rendered":"Ak\u015fam Yeme\u011fi Daveti: Kad\u0131nlar\u0131n An\u0131t\u0131"},"content":{"rendered":"

K\u00fclt\u00fcrel hegemonya alt\u0131nda sanat tarihi, tarafs\u0131z, bilimsel, nesnel pratiklere dayanmaz, o t\u00fcm\u00fcyle bir ideolojik pratiktir. Tepeden t\u0131rna\u011fa erkek hegemonyas\u0131 alt\u0131nda in\u015fa edilmi\u015f bu d\u00fcnya de\u011fi\u015fmelidir.<\/p><\/blockquote>\n\n\n\n

Sanat\u0131n de\u011ferlendirilmesinde ba\u015fat etken nedir?<\/p>\n\n\n\n

Yetenek mi?<\/p>\n\n\n\n

Deha m\u0131?<\/p>\n\n\n\n

Belki hepsi, belki de hi\u00e7biri… Ama bildi\u011fimiz bir \u015fey var ki, sanat\u0131n de\u011ferlendirilmesinde ba\u015frole sahip olan bu birka\u00e7 esas kurumsalla\u015fm\u0131\u015f erkek egemen bak\u0131\u015f a\u00e7\u0131s\u0131ndan ba\u015fka bir \u015fey de\u011fil. Bu bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n nezdinde ortaya \u00e7\u0131kanlar da, erkeklerin \u00fcrettikleri eserlerin, onlar\u0131n d\u00fc\u015f\u00fcnce ve d\u00fcnyalar\u0131n\u0131n \u00f6l\u00e7\u00fct\u00fcd\u00fcr. Bu sebepledir ki, erkek d\u00fcnyas\u0131nda kurgulanm\u0131\u015f sanat ortam\u0131 ya kad\u0131nlar\u0131 d\u0131\u015flam\u0131\u015f, d\u0131\u015far\u0131da b\u0131rakm\u0131\u015ft\u0131r ya da kad\u0131nlar zaten kendilerini ve eserlerini \u00fcrettikleri bu ortam\u0131n onlara hitap etmedi\u011finin bilincine varm\u0131\u015flard\u0131r.<\/p>\n\n\n\n

Bahsi ge\u00e7en bu d\u00fcnya kad\u0131nlar\u0131n ya\u015fam pratiklerini yoksayar, kad\u0131n de\u011ferlerinin k\u00f6klerine \u00f6ylesine uzakt\u0131r ki bu ko\u015fullar alt\u0131nda varolmak m\u00fcmk\u00fcn de\u011fildir.<\/p>\n\n\n\n

Kad\u0131n\u0131n, sanatsal ve sosyal yap\u0131larla ili\u015fkisinin erkek sanat\u00e7\u0131n\u0131nkinden farkl\u0131 olageldi\u011fi, kad\u0131nlar\u0131n prati\u011fini analiz ederken bu \u00f6znel konumunun ko\u015fullar\u0131na nas\u0131l meydan okuduklar\u0131n\u0131 ke\u015ffetmek gerekir.1<\/sup><\/a><\/p>\n\n\n\n

K\u00fclt\u00fcrel hegemonya alt\u0131nda sanat tarihi, tarafs\u0131z, bilimsel, nesnel pratiklere dayanmaz, o t\u00fcm\u00fcyle bir ideolojik pratiktir. Tepeden t\u0131rna\u011fa erkek hegemonyas\u0131 alt\u0131nda in\u015fa edilmi\u015f bu d\u00fcnya de\u011fi\u015fmelidir.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Feminist Sanat\u00e7\u0131lar<\/strong><\/p>\n\n\n\n

1960’lardan sonra bir grup feminist sanat\u00e7\u0131, sanat tarih\u00e7i, ele\u015ftirmen kad\u0131nlar\u0131n m\u00fczelerde ve sanat kurumlar\u0131 i\u00e7erisinde yeterli oranda temsil edilmeyi\u015fine kar\u015f\u0131 m\u00fccadeleye giri\u015ftiler. \u0130lk on y\u0131l\u0131nda feminist sanat\u0131n biricik esin kayna\u011f\u0131 \u00f6fke de\u011fil feminist sanat, yeni bir cemaat duygusundan, yeni bir anlat\u0131m\u0131na y\u00f6nelik bir sanat olu\u015fturma giri\u015fimlerinden ve sanat\u0131n feminist bilinci geli\u015ftirebilece\u011fi, hatta yaratabilece\u011fi y\u00f6n\u00fcndeki iyimser inan\u00e7tan esinlenir.2<\/sup><\/a><\/p>\n\n\n\n

Feminist sanat\u00e7\u0131lar 70’lerin ba\u015f\u0131nda sanat\u0131n cinsiyet\u00e7i, erkek egemen y\u00f6n\u00fcn\u00fc te\u015fhir eder ve buna kar\u015f\u0131 m\u00fccadele ederler. Nancy Spero ve Mary Stevens ataerkil bask\u0131y\u0131, Sylvia Sleigh, Joan Semmel ve Hannah Wilke kad\u0131n bedeninin manip\u00fclasyonu ve metala\u015fmas\u0131n\u0131 ele\u015ftirir, olumlu bir beden alg\u0131s\u0131 yaratmaya \u00e7al\u0131\u015f\u0131r.<\/p>\n\n\n\n

Miriam Schapiro, Joyce Kozloff ve Harmony Hammond sanat ve zanaat aras\u0131ndaki hiyerar\u015fiyi bozmaya \u00e7abalar.<\/p>\n\n\n\n

Mary Beth Edelsen kad\u0131n arketiplerini incelerken, Judy Chicago’nun da i\u00e7inde oldu\u011fu sanat tarih\u00e7iler kad\u0131nlar\u0131n tarihini yeniden ele al\u0131r.<\/p>\n\n\n\n

Judy Chicago Bizi \u015e\u00f6lene Davet Ediyor<\/strong><\/p>\n\n\n\n

Judy Chicago ataerkil toplumlarda kad\u0131n sanat\u00e7\u0131lar\u0131n namevcut ve \u00f6teki haline getirildiklerini ve kad\u0131n sanat\u00e7\u0131n\u0131n, kad\u0131nl\u0131\u011f\u0131 hakk\u0131nda daha y\u00fcksek sesle konu\u015fmas\u0131 gerekti\u011fini s\u00f6ylemi\u015ftir.<\/p>\n\n\n\n

Tarih ve k\u00fclt\u00fcrde kad\u0131n\u0131n ger\u00e7ek konumunu ke\u015ffetmeyi ve kad\u0131na dair basmakal\u0131p d\u00fc\u015f\u00fcnceleri yok etmeyi hedefledi. Feminist sanat\u0131n en etkili \u00f6rnekleri olan yap\u0131tlar \u00fcretti. Ayr\u0131ca ba\u015f\u0131nda oldu\u011fu Feminist Sanat Program\u0131\u2019nda y\u00fcr\u00fctt\u00fc\u011f\u00fc dersler arac\u0131l\u0131\u011f\u0131yla da \u00f6\u011frencilerinin, erkek egemen ideolojinin g\u00f6rsel kodlar\u0131na kar\u015f\u0131 \u00e7\u0131karak kendilerini temsil etmesinin yollar\u0131n\u0131 ara\u015ft\u0131rmalar\u0131n\u0131 sa\u011flad\u0131.<\/p>\n\n\n\n

Kad\u0131n tarihi a\u00e7\u0131s\u0131ndan an\u0131tsal bir \u00f6zellik ta\u015f\u0131yan Ak\u015fam Yeme\u011fi Daveti en \u00f6nemli \u00e7al\u0131\u015fmalar\u0131ndan birisidir. Kad\u0131nlar\u0131n tarih boyunca yok say\u0131lan itibar\u0131n\u0131 iade etme \u00e7abas\u0131n\u0131 i\u00e7eren bu enstalasyonda 999 kad\u0131n\u0131n sembolik imzalar\u0131 olan Miras Zemini ad\u0131n\u0131 verdi\u011fi seramik bir zemin \u00fczerinde e\u015fkenar \u00fc\u00e7gen bir yemek masas\u0131 vard\u0131r. E\u015fkenar \u00fc\u00e7genden olu\u015fan bu masan\u0131n her bir kenar\u0131nda 13 kad\u0131n i\u00e7in yer ayr\u0131lm\u0131\u015ft\u0131r. Her bir kad\u0131n i\u00e7in yald\u0131zl\u0131 bir kadeh, \u00e7atal, b\u0131\u00e7ak, porselen tabak ve nak\u0131\u015flarla bezenmi\u015f bir yemek tak\u0131m\u0131 bulunur.<\/p>\n\n\n\n

Masan\u0131n ilk kanad\u0131 d\u00fcnyan\u0131n olu\u015fumundan Roma \u0130mparatorlu\u011funa kadar olan d\u00f6neme aittir. \u0130kinci kanatta H\u0131ristiyanl\u0131\u011f\u0131n ba\u015flang\u0131c\u0131ndan Reformanyon d\u00f6nemine, \u00fc\u00e7\u00fcnc\u00fc kanat ise 17. y\u00fczy\u0131l ile 20. y\u00fczy\u0131l aras\u0131na aittir.<\/p>\n\n\n\n

\u0130lk kanatta Primordiyal Tanr\u0131\u00e7alar, Kibele, \u0130\u015ftar, Kali, Y\u0131lan Tanr\u0131\u00e7a, Sophia, Amazonlar, Hat\u015fepsut, Judith, Sappho, Aspasia, Boadicea ve Hypatia yer almaktad\u0131r.<\/p>\n\n\n\n

\u0130kinci kanatta Marcella, Saint Bridget, Theodora, Hrosvitha, Trotula Salerno,Aquitaine\u2019l\u0131 Eleanor, Bingenli Hildegarde, Petronilla de Meath, Christine de Pizan, Isabella d\u2019Este, I.Elizabeth, Artemisia Gentileschi, Anna Maria van Schurman, \u00fc\u00e7\u00fcnc\u00fc kanatta ise Anne Hutchinson, Sacagawea, Caroline Herschel, Mary Wollstonecraft, Sojourner Truth, Susan B. Anthony, Elizabeth Blackwell, Emily Dickinson, Ethel Smyth, Margaret Sanger, Natalie Barney, Virginia Woolf, Georgia O\u2019Keeffe yer almaktad\u0131r.<\/p>\n\n\n\n

Tarih ve k\u00fclt\u00fcrde kad\u0131n\u0131n ger\u00e7ek konumunu ke\u015ffetmeyi ve kad\u0131na dair basmakal\u0131p d\u00fc\u015f\u00fcnceleri yok etmeyi hedefledi. Feminist sanat\u0131n en etkili \u00f6rnekleri olan yap\u0131tlar \u00fcretti. Ayr\u0131ca ba\u015f\u0131nda oldu\u011fu Feminist Sanat Program\u0131\u2019nda y\u00fcr\u00fctt\u00fc\u011f\u00fc dersler arac\u0131l\u0131\u011f\u0131yla da \u00f6\u011frencilerinin, erkek egemen ideolojinin g\u00f6rsel kodlar\u0131na kar\u015f\u0131 \u00e7\u0131karak kendilerini temsil etmesinin yollar\u0131n\u0131 ara\u015ft\u0131rmalar\u0131n\u0131 sa\u011flad\u0131.<\/p><\/blockquote>\n\n\n\n

Haydi Sofraya<\/strong><\/p>\n\n\n\n

Chicago’nun kulland\u0131\u011f\u0131 t\u00fcm nesneler ve semboller kad\u0131nlar\u0131n ya\u015famlar\u0131na, deneyimlerine dair bir\u00e7ok unsuru bar\u0131nd\u0131r\u0131r. Semboller bak\u0131m\u0131ndan olduk\u00e7a ince d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fcr. E\u015fkenar \u00fc\u00e7gen bi\u00e7iminde kurulan masa e\u015fit d\u00fcnya idealini sembolize etmektedir. Her kanatta 13 kad\u0131n\u0131n yer almas\u0131 ise cad\u0131lara atfedilmi\u015ftir, cad\u0131lar konseyi say\u0131s\u0131n\u0131 temsil eder.<\/p>\n\n\n\n

Her kad\u0131n i\u00e7in \u00f6zel olarak tasarlanan tabaklar\u0131n i\u00e7indeki resim ve r\u00f6lyefler taba\u011f\u0131n atfedildi\u011fi kad\u0131n i\u00e7in tasarlanm\u0131\u015f vulva ve kelebek motiflerinden olu\u015fur. Tabaklar\u0131n altlar\u0131nda yer alan \u00f6rt\u00fcler ise her kad\u0131n i\u00e7in \u00f6zel olarak i\u015flenmi\u015ftir.<\/p>\n\n\n\n

\"-\"<\/figure><\/div>\n\n\n\n

“Enstalasyonun birinci kanad\u0131ndaki tarih \u00f6ncesi anaerkil\/matriarkal d\u00f6nemi temsil eden tanr\u0131\u00e7alara ayr\u0131lan yedi yerde, bu tanr\u0131\u00e7alar\u0131n (Primordiyal Tanr\u0131\u00e7a, Bereket Tanr\u0131\u00e7as\u0131, \u0130\u015ftar, Kali, Y\u0131lan Tanr\u0131\u00e7a, Sophia, Amazon) diki\u015f\/i\u011fne becerilerini kad\u0131nlara kazand\u0131rd\u0131\u011f\u0131na ve kutsad\u0131\u011f\u0131na inan\u0131ld\u0131\u011f\u0131 i\u00e7in \u00e7e\u015fitlimotifler ve basit dokuma teknikleri bir arada sunuldu.”<\/p>\n\n\n\n

\"-\"<\/figure>\n\n\n\n

\u0130lk k\u0131sm\u0131n ayr\u0131ld\u0131\u011f\u0131 Primordial Tanr\u0131\u00e7a’n\u0131n sofras\u0131 kad\u0131n\u0131n varl\u0131\u011f\u0131n\u0131 temsil eder. Ya\u015fam\u0131n kayna\u011f\u0131 olan Toprak Ana’d\u0131r ve onun taba\u011f\u0131 toprak rengindedir, resim bir ma\u011fara giri\u015fini and\u0131r\u0131r. Masa \u00f6rt\u00fcs\u00fc, deriden yap\u0131lm\u0131\u015ft\u0131r, \u00fczerinde spiral ma\u011fara motifli par\u00e7alar Paleolitik d\u00f6nem insan\u0131n\u0131n do\u011fal ya\u015fam ortam\u0131n\u0131 ifade eder.<\/p>\n\n\n\n

Hypatia i\u00e7in ayr\u0131lan k\u0131s\u0131mda kullan\u0131lm\u0131\u015f materyaller, motif ve masa \u00f6rt\u00fcs\u00fcn\u00fcn dokumas\u0131 ya\u015fad\u0131\u011f\u0131 \u00f6nemin tarz\u0131 olan K\u0131pti tarz\u0131ndad\u0131r. Onun taba\u011f\u0131nda yer alan resim u\u00e7maya haz\u0131rlanan bir kelebe\u011fin hareketini yans\u0131t\u0131r. \u00d6rt\u00fcs\u00fcnde ise do\u011fumundan \u00f6l\u00fcm\u00fcne kadarki d\u00f6nemleri sembolize eder a\u011flayan d\u00f6rt kad\u0131n bulunur. Bu kad\u0131nlar Hypatia’n\u0131n ya\u015fam\u0131nda zorlu d\u00f6nemleri ve vah\u015fice \u00f6ld\u00fcr\u00fclmesinin sembol\u00fc olarak d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n\n\n\n

Bir di\u011fer misafir ise \u015fair, yazar ve besteci olan Azize Bilgenli Hildegard. Onun sofras\u0131nda yer alan unsurlar Gotik d\u00f6nem katedrallerinden esinlenilerek tasarlanm\u0131\u015ft\u0131r. Taba\u011f\u0131 vitray pencere tarz\u0131nda boyanm\u0131\u015ft\u0131r. Yo\u011funluklu olarak kullan\u0131lan alt\u0131n yald\u0131z ise Orta\u00e7a\u011f boyunca kutsall\u0131\u011f\u0131n rengi say\u0131lm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

\"-\"<\/figure><\/div>\n\n\n\n
\"-\"<\/figure><\/div>\n\n\n\n

Masan\u0131n bir konu\u011fu da Artemisia Gentileschi’dir. Masa d\u00fczenlemesinin ana fikri onun Judith Holofernes’in Kafas\u0131n\u0131 Kesiyor adl\u0131 eseridir. Judith’in giydi\u011fine benzer bir kuma\u015fla \u00e7evrelenmi\u015f olan tabak yer almaktad\u0131r. Bu kuma\u015f\u0131n ismi Gentileschi ile \u00f6zde\u015fle\u015fmi\u015ftir ve onun ad\u0131yla an\u0131lmaktad\u0131r. Kuma\u015fa i\u015flenen ba\u015f harfler G ve J harfleri Judith ve Gentileschi’nin duygusal ve psikolojik ortakl\u0131klar\u0131n\u0131 ifade eder. Judith \u00fclkesini i\u015fgal eden bir erke\u011fi, Gentileschi ise kendisine tecav\u00fcz eden erke\u011fi \u00f6lm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n

\"-\"<\/figure><\/div>\n\n\n\n
\"-\"<\/figure><\/div>\n\n\n\n

Masan\u0131n tek Afro- Amerikan davetlisi ise eski bir k\u00f6le olan Sojourner Truth’tur. Truth \u00e7ok g\u00fc\u00e7l\u00fc bir k\u00f6lelik kar\u015f\u0131t\u0131 m\u00fccadele vermi\u015ftir. Di\u011fer tabaklardan farkl\u0131 olarak onun taba\u011f\u0131nda vulva ya da kelebek de\u011fil Afrika masklar\u0131n\u0131 \u00e7a\u011fr\u0131\u015ft\u0131ran \u00fc\u00e7 kad\u0131n y\u00fcz\u00fc kullan\u0131lm\u0131\u015ft\u0131r. Portrelerden biri a\u011flayarak di\u011fer ise yumru\u011fu s\u0131k\u0131l\u0131 \u015fekilde havaya kald\u0131r olarak resmedilmi\u015ftir. \u00dc\u00e7 portrenin alt k\u0131s\u0131mlar\u0131 memelere d\u00f6n\u00fc\u015ferek sonlanm\u0131\u015ft\u0131r. Bu imgenin sebebi ise Truth’un “Ben Kad\u0131n De\u011fil Miyim” ba\u015fl\u0131kl\u0131 konu\u015fmas\u0131n\u0131 yapt\u0131\u011f\u0131 s\u0131rada erkek seyircilerden birinin kad\u0131nl\u0131\u011f\u0131n\u0131 ispatlamas\u0131 i\u00e7in memelerini g\u00f6stermesini istedi, ” memelerim kendi bebeklerim d\u0131\u015f\u0131nda, beyaz bebekleri de emzirdi” dedi\u011fi konu\u015fmas\u0131d\u0131r. Truth ayn\u0131 zamanda kad\u0131n oy hakk\u0131 m\u00fccadelesini temsilen de masada yerini alm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

\"-\"<\/figure><\/div>\n\n\n\n

*Ve masan\u0131n \u00f6nemli konuklar\u0131ndan biri Georgia O\u2019Keeffe\u2019e ayr\u0131lm\u0131\u015ft\u0131r. O’Keeffe feminist sanat i\u00e7in \u00f6nemli isimlerden biridir. Judy Chicago’nun Ak\u015fam Yeme\u011fi Daveti \u00e7al\u0131\u015fmas\u0131n\u0131n merkezinde yer alan vulvalar onun eserlerinden esinlenirek olu\u015fturulmu\u015ftur.<\/p>\n\n\n\n

\"-\"<\/figure><\/div>\n\n\n\n

Ak\u015fam Yeme\u011fi Daveti ayr\u0131nt\u0131l\u0131 bi\u00e7imde kad\u0131n tarihinin unsurlar\u0131 \u00fczerine yo\u011funla\u015fm\u0131\u015ft\u0131r. Evrenin olu\u015fumundan ba\u015flayarak 20. y\u00fczy\u0131la gelene kadarki kad\u0131n tarihinin birle\u015ftirildi\u011fi an\u0131tsal bir \u00e7al\u0131\u015fmad\u0131r.<\/p>\n\n\n\n

Masadaki her bir kad\u0131n\u0131n varolu\u015funu; onun kendi tarihi, i\u015flemeli \u00f6rt\u00fc ve Miras Zemini\u2019ndeki kad\u0131nlarla destekledi. \u2018Tek\u2019 bir malzeme ve teknikle de\u011fil \u2018\u00e7o\u011ful\u2019 malzeme ve teknik kullan\u0131m\u0131yla olu\u015fturulan bu yap\u0131tta bask\u0131n olan zanaatt\u0131r. Bu enstelasyon, kad\u0131n tarihine yeni bir de\u011fer kazand\u0131rmak i\u00e7in, kad\u0131n zanaatlar\u0131 olarak kabul edilen tekniklerde bi\u00e7imlendirilmi\u015f \u00e7emberler, vulvalar, titre\u015fen konturlar, \u00e7i\u00e7ekler, ayd\u0131nlat\u0131lm\u0131\u015f merkezi \u00e7ekirdekler gibi \u00e7e\u015fitli kad\u0131nl\u0131k sembolleriyle donat\u0131lm\u0131\u015f bir an\u0131tt\u0131r.3<\/sup><\/a><\/p>\n\n\n\n

Ayr\u0131ca \u00f6nemli bir ayr\u0131nt\u0131 olarak, kad\u0131nlar kendilerine bi\u00e7ilmi\u015f cinsiyet normalar\u0131ndan biri olan sofra kurmay\u0131, davete haz\u0131rlanmay\u0131 bu kez kendileri i\u00e7in ve kendi ya\u015famsal de\u011ferleriyle yapm\u0131\u015flard\u0131r. Tarih boyunca yak\u0131lan cad\u0131lardan, \u00f6tekile\u015ftirilerek bilimsel \u00e7al\u0131\u015fmalar\u0131na el konan kad\u0131nlara, i\u015fgal ve s\u00f6m\u00fcr\u00fc alt\u0131nda direnen Toprak Ana’dan, kalemiyle direnenlere kadar erkek egemen tarih yaz\u0131m\u0131n\u0131n bizlere unutturmak istedi\u011fi t\u00fcm kad\u0131nlar bu sofrada yerini al\u0131r. \u015e\u00fcphesiz ki bu masa isimleri olmasa dahi milyonlarca kad\u0131n\u0131 a\u011f\u0131rlamaktad\u0131r.<\/p>\n\n\n\n

Tarih boyunca direnmi\u015f, direnmeye devam eden t\u00fcm kad\u0131nlar\u0131n i\u00e7in… \u015eEREFE!<\/p>\n\n\n\n

1<\/a>Thalia Gouma- Peterson, Patricia Mathews, Sanat Tarihinin Feminist Ele\u015ftirisi, Sanat ve Cinsiyet (D\u00fczenleyen: Ahu Antmen)<\/p>\n\n\n\n

2<\/a>a.g.m<\/p>\n\n\n\n

3<\/a>\u0130. Keser, N. Keser, Kad\u0131n Tarihi \u0130\u00e7in Bir An\u0131t: Ak\u015fam Yeme\u011fi Partisi, Humanitas Dergisi Say\u0131 5\/ Bahar, 2015<\/p>","protected":false},"excerpt":{"rendered":"

K\u00fclt\u00fcrel hegemonya alt\u0131nda sanat tarihi, tarafs\u0131z, bilimsel, nesnel pratiklere dayanmaz, o t\u00fcm\u00fcyle bir ideolojik pratiktir. Tepeden t\u0131rna\u011fa erkek hegemonyas\u0131 alt\u0131nda in\u015fa edilmi\u015f bu d\u00fcnya de\u011fi\u015fmelidir. Sanat\u0131n de\u011ferlendirilmesinde ba\u015fat etken nedir? Yetenek mi? Deha m\u0131? Belki hepsi, belki de hi\u00e7biri… Ama bildi\u011fimiz bir \u015fey var ki, sanat\u0131n de\u011ferlendirilmesinde ba\u015frole sahip olan bu birka\u00e7 esas kurumsalla\u015fm\u0131\u015f erkek…<\/p>","protected":false},"author":66,"featured_media":3036,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_eb_attr":"","inline_featured_image":false,"footnotes":""},"categories":[98],"tags":[211,212,210],"ppma_author":[578],"class_list":["post-3035","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-aksam-yemegi-daveti","tag-feminist-sanat","tag-judy-chicago","author-gozde-celik"],"authors":[{"term_id":578,"user_id":7,"is_guest":0,"slug":null,"display_name":"G\u00f6zde \u00c7elik","avatar_url":"https:\/\/www.mordayanisma.org\/wp-content\/litespeed\/avatar\/cc1bd5ca0619297bfc78a290e0d4bbfe.jpg?ver=1784369366","author_category":"","first_name":"G\u00f6zde","last_name":"\u00c7elik","user_url":"","job_title":"","description":"gozdecelik@mordayanisma.org"}],"_links":{"self":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/3035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/users\/66"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/comments?post=3035"}],"version-history":[{"count":0,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/3035\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media\/3036"}],"wp:attachment":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media?parent=3035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/categories?post=3035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/tags?post=3035"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/ppma_author?post=3035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}