Nesli GÜL DURUKAN
University of Amsterdam, Amsterdam School of Heritage, Memory and Material Culture, Former Visiting Scholar
Nesli Gül Duruan is a researcher, curator, and art writer, based in Amsterdam, the Netherlands. Her academic and curatorial research areas include the intersections of memory, archives, and artistic identity/legacy in contemporary art, transcultural art history, exhibition/curatorial practices in the context of institutional transformations and criticism, and interactivity in contemporary museology.Gül Durukan earned her PhD degree in Evaluation of the Use of Archive and Memory in Exhibition Practices of Contemporary Art Institutions in Turkey in Art and Design at Yıldız Technical University and was a PhD researcher in Amsterdam School for Heritage, Memory and Material Culture at the University of Amsterdam funded by TUBITAK. She holds an MA in Interactive Spaces in Art Museums in Museum Studies and a BA in Art Management at YTU.She worked as an academician in the Art Management (BA)/Museum Studies (MA) at YTU and also worked at SALT Galata, İstanbul. She contributes to several research-based art and culture projects and curates exhibitions such as Point Counter Point (Space Debris), Fictional Narratives (Yuksel Sabanci Art Center), and Hidden Screenplays (Sazmanab) in Turkey, the Netherlands, and Iran. Besides being published articles in conference proceedings, her articles have been published in both academic journals and art magazines, such as Archives and Records, Metropolis M, Framer Framed, Sanat Dünyamız, Argonotlar, P/////AKT, and RH Art Magazine, among others. She is a member of the International Association of Art Critics (AICA), the International Council of Museums (ICOM), and Platform Beeldende Kunst.Nesli Gül curated the exhibition Hidden Narratives Through Archives (2023) which takes place from 2 March to 16 April at Framer Framed, Amsterdam.
less
InterestsView All (26)
Uploads
Articles/Journals by Nesli GÜL DURUKAN
DEKOLONİZASYONUN YAPISAL OLARAK EKSİK DEĞERLENDİRİLDİĞİNE DAİR YENİ BİR TARTIŞMAYI GÜNDEME GETİRİYOR. BU TARTIŞMANIN KAYNAĞI, HOLLANDA’NIN HOŞGÖRÜLÜ VE IRKÇI OLMAYAN BENLİK İMAJIYLA MEVCUT KURUMSAL IRKÇILIK MEKANİZMALARI ARASINDAKİ ÇATIŞMADAN İLERİ GELİYOR. BU BAKIMDAN, HOLLANDA’DAKİ BLACK LIVES MATTER SONRASI GÜNDEME GELEN TARTIŞMALAR, KURUMLARIN NASIL POZİSYON ALDIKLARI VE HANGİ SERGİLERİN NASIL, NE ŞEKİLDE GÖRÜNÜR OLDUĞUNA DAİR GENEL BİR BAKIŞ SUNMAK BU YAZININ KONUSU.
The Inclusive stance of institutions in today's conjuncture brings up a new debate about the structural underestimation of decolonization. The reason for this debate stems from the conflict between the Netherlands' tolerant and non-racist self-image and the existing institutional mechanisms. In this regard, this article aims to provide a general overview of how institutions position themselves and how certain exhibitions are perceived following the Black Lives Matter discussions in the Netherlands.
Check out this link:
https://framerframed.nl/en/dossier/article-the-way-of-change-digital-reflex-and-the-connected-world-of-nam-june-paik/
One area of increasing interest in contemporary art is the reconsideration and reinterpretation of archives to convey historical knowledge based on memory through exhibitions, organized by institutions. The aim of this paper is to contribute to a better understanding of how and why contemporary art institutions use archives in their exhibition practices. Six art institutions, which are members of L’Internationale, were sampled. Data from research demonstrated that contemporary art institutions organize archive-based art exhibitions to reinterpret the widely-known history; to reveal the lesser-known history; to fill in the gaps between artist, artwork, and institution; as a result of artists` archives and archive-based artworks and as an output of their research function. The paper argues that archive-based exhibitions provide a foundation for the new institutional activities and alternative interpretations out of the canonical history of art.
Institutions are the structures that consist of systemic repetitions, which regulate the population or society, but also systematize the actions of the individual. Therefore, it is one of the main research topics for social sciences. The institutions include the habit as a repeated action, the traditions shared by the members of the community, and the traditions that provide social reconciliation, and they shape the institutions. Institutionalism is a concept with a broad definition in many disciplines such as social sciences, economics, and political science, sociology, psychology, and anthropology. Analyzing the structures and transformations in institutions is important for understanding the activities of the institutions which are the building blocks of the contemporary art environment in which we are today and why they are doing, what changes they have and how they can evolve in the future. The article aims to examine the researches on the relationship between contemporary art institutions and the new institutionalism from a historical perspective since the institutionalization of art. This paper presents the approaches of contemporary art institutions, which are the subject of institutional criticism, in relation to contemporary art, which has turned into criticism institutions, and these approaches that exhibit similar orientations with the theory of new institutionalism. Within the scope of the study, the institutionalization process of the art, institutional criticism against institutional hegemony in art practices, the beginning of institutional criticism in institutions, and the modern art institutions that are transformed with these practices are examined. As a result of the study, it is determined that the new institutionalism theory is visible with the curatorial intentions and the experimental, radical, researcher and critical structures of contemporary art institutions in contemporary art institutions.
*Kurumlar, nüfusun ya da toplumun düzenlenini sağlayan, sistemli tekrarlardan oluşan ancak bireyin eylemlerini de sistematize eden yapılardır. Bu nedenle de sosyal bilimler için temel araştırma konularından biridir. Kurumlar, tekrarlanan bir eylem olarak alışkanlığı, topluluğun üyeleri tarafından paylaşılan geleneği ve sosyal mutabakatı sağlayan görenekleri içinde barındırır ve bunlar, kurumları şekillendirir. Kurumsallık sosyal bilimler, iktisat ve siyaset bilimi, sosyoloji, psikoloji ve antropoloji gibi birçok disiplinde geniş tanımı olan bir kavramdır. Kurumlardaki, yapılanmaları ve dönüşümleri çözümlemek, bugün içinde bulunduğumuz çağdaş sanat ortamının yapı taşlarından olan kurumların hangi faaliyetleri neden yaptıklarını, geçirdikleri değişimlerin ve gelecekte neye evrilebileceklerinin anlaşılması bakımından önem teşkil etmektedir. Makale, çağdaş sanat kurumlarının faatliyetleri ve yeni kurumsalcılık arasındaki ilişkiye dair araştırmaları sanatın kurumsallaşmasından bu yana tarihsel bir bakışla literatür taraması yöntemi ile incelemeyi amaçlamaktadır. Makale, çağdaş sanat ile ilişkili olarak kurumsal eleştirinin öznesi olan sanat kurumlarından eleştiri kurumuna dönüşen çağdaş sanat kurumlarının radikalleşen rolü ve işlevlerine ve yeni kurumsalcılık teorisi ile benzer yönelimler sergileyen çağdaş sanat kurumlarına yönelik yaklaşımları sunmaktadır. Çalışma kapsamında, sanatın kurumlaşma süreci, sanat pratiklerinde kurumsal hegemonyaya karşı kurumsal eleştirinin görülmeye başlanma süreci, kurumsal eleştirinin kurumlarda yer bulmaya süreci ve bu pratiklerle beraber dönüşen çağdaş sanat kurumlarının faaliyetlerine yönelik incelemeler yapılmıştır. Bu çalışma sonucunda, yeni kurumsalcılık teorisinin çağdaş sanat kurumlarında küratöryel niyetlerle ve çağdaş sanat kurumlarının deneysel, radikal, araştırmacı ve eleştirel yapılarıyla görünür oldukları tespit edilmiştir.
Installation in contemporary art scene from 1980 up to now in Turkey is widely practiced especially in Istanbul, which is one of the world's capitals of culture and art. Considering the temporality and lack of documentation of installations, this study presents an examination and inventory study of the exhibited installations on the public sphere. This article aims to reveal the results of the inventory study on the installation exhibited in public sphere in Istanbul between 1990 and 2015. Then, the works on this subject were brought together and assessed in terms of their conceptual content. The installations in the written art history, both in print and in content, have been presented on inventory charts. In accordance with the obtained data in this context, exhibited installations in public spaces in Istanbul after 1990 were concluded by arranging them with a certain inventory method and evaluating the data related to the topic.
*Türkiye’de 1980’lerden günümüze çağdaş sanat ortamında enstalasyon, özellikle dünya kültür-sanat başkentleri arasında yer alan İstanbul’da yaygın bir şekilde uygulanmaktadır. Enstalasyonların geçiciliği ve belgelenme eksiklikleri göz önüne alınarak kamusal alanda sergilenmiş enstalasyonlara yönelik bir inceleme ve envanter çalışmasına dayanan kapsamlı bir araştırma projesi yapılmıştır. Bu makale, 1990-2015 tarihleri arasında İstanbul’da kamusal alanda sergilenmiş enstalasyonların tespit edilmesine ilişkin envanter çalışması sonuçlarını ortaya koymayı amaçlamaktadır. Ardından bu konuya dair yapıtlar bir araya getirilerek, bunların kavramsal içeriği ve hangi bağlamlar üzerinden ortaya konduğu değerlendirilmiştir. Basılı kaynaklarda hem künye hem de içerik bilgisi bulunan, yazılı sanat tarihinde yer alan enstalasyonlar tablolar halinde araştırmada sunulmuştur. Bu kapsamda elde edilen veriler doğrultusunda 1990 sonrasında İstanbul’da kamuya mal olmuş mekânlarda sergilenmiş enstalasyonlar, belli bir envanter yöntemiyle düzenlenerek ve konuya ilişkin veriler üzerinde değerlendirmeler yapılarak sonuçlandırılmıştır.
This study contributes to a better understanding of the interactive spaces practices in art museums. The aim of this study is to gather descriptive data about the exhibition design strategies of art museums’ interactive spaces regarding installation, display and interpretation of art objects for target audiences related to the physical context. The sample of the survey is American and European Art Museums. A questionnaire distributed to the 250 museums from Unites States and 200 museums from Europe. A total of fifty art museums participated in the study.
At the end of the our study, the results regarding interactive spaces are determined as follows; Interactive spaces mostly target families and children; they are designed to address the
educational interests and needs of target audiences, and interactive spaces use interaction techniques to enhance experience of visitors and to convey information about art objects.
Keywords: Interactivity in Museum, Art Museums, Interactive Spaces, Exhibition Strategies, Art Object, Interactive Learning.
To cite to this article: Gül, S. N. (2007). Intervention to the Public Sphere: Cowparade İstanbul. RH+ Art Magazine(43), 88-89.
Papers/Conferences by Nesli GÜL DURUKAN
The production possibilities in archiving practices of artists in contemporary art are endless and open-ended. Artists such as Walid Raad who established the Atlas Group’ (1989-2004) project and Akram Zaatari who archived the photographic history of the Arab World commonly use documents (images, texts, objects) as a part of the artwork for many different reasons. The relationship between contemporary art and the archive presents archive materials related to artworks or other cultures and differentiates from other disciplines that utilize documents such as human rights. The archive in contemporary art has no critical function to judge the perpetrators of human rights abuses in post-conflict governments. However, it can create an open space for discussion to re-evaluate critical issues by pushing people into questioning and thinking. Thus, it can become a tool for conflict prevention and reconciliation.
How do artists reactivate the archive in their archiving practices? How do the archiving practices affect actors (e.g. the effect on institutions, internet, society…)? What factors support or constrain their development? The aim of this study is to contribute to the understanding of archiving practices of artists and their challenges in the art environment.
ENG///
One area of increasing interest in contemporary art is the reconsideration, reinterpretation, and archiving of historical knowledge based on memory through exhibitions, organized by art institutions. The aim of this study is to contribute to a better understanding of the relationship between institutional transformation and the use of archival materials in the exhibition practices of contemporary art institutions. For this purpose, six art institutions that are members of L'Internationale organization are exemplified by utilizing the findings of the research titled “The Use of Archives in Exhibition Practices of Contemporary Art Institutions" carried out during Ph.D. This study seeks to answer the question of how institutional criticism transforms into criticism institutions and serves the new institutionalism through archives. Contemporary art institutions, with the practice of archiving, contain various institutional criticism and documents of public art practice, and these documents transform the institution itself into an open area for questioning, research, and discussion. Contemporary art institutions present these documents in their exhibitions to provide democratization with the understanding that the institution can be transformed from the inside and not from the outside. This presentation is a result of both curatorial intentions and institutional reform. The study clarifies how the model of dialectical art institutions works in the context of new institutionalism with the acceptance of artists and their works in public space as a criticism against art institutions and the transparency of institutions' archives.
biri olmasıyla bilinir. Gravür serüveni, Karl Berger’in
ölümüyle hayata tutunma çabası olarak varolur. Gravürde
sayısız eserler ortaya koymuş bir sanatçıdır.
Eserleri, dışavurumcu ve lirik bir anlatıma sahiptir.
Çalışmanın amacı, Berger’in hayatı ve sanatı ekseninde
İstanbul’u konu alan gravürlerini; kompozisyon,
ışık-gölge, siyah-beyaz, açık-koyu ilişkisi içinde ele
alarak, şehrin gravüre konu olan mekanlarının anlatım
dilini değerlendirmektir. Bu çalışmada, öncelikle
sanatçının hayat ve sanatına dair bilgi verilmiş, İstanbul’u
konu alan gravürleri derlenmiş, devamında
İstanbul’da ele alınan mekanlar ve üslupsal yönleri
incelenmiştir.