Shot to Death: The Fate of Abandoned Places in the Hands of Artists
Abstract
This essay discusses the use of abandoned places by photographers. I review this subject from a perspective of remembering and forgetting. Giving examples of artists, especially photographer’s works whose subjects are abandoned places in Izmir and Detroit, I interpret photographs of abandoned places in the context of hauntology and ghost-metaphors.References
[1] A. Moore. Homepage. [online]. Available: http://www.Andrew lmoore.com
[2] Apikam Museum website. [online]. Available: www.apikam. org.tr
[3] E. Traverso. Geçmişi Kullanma Kılavuzu. İstanbul: Versus, 2009.
[4] F. Özgür. “Bir göç hikayesi: Çağdaş sanat ortamında merkez-periferi ilişkileri üzerine”. International Triennial of Contemporary Art catalog. İzmir: 2010.
[5] I. Eğrikavuk. (2013) Detroit’i Van Gogh mu Kurtaracak? Radikal website. [online]. Available: http://www.radikal.com.tr/ yazarlar/isil_egrikavuk/detroiti_van_gogh_mu_kurtaracak-1142790
[6] J. Assmann. Kültürel Bellek. İstanbul:Ayrıntı, 2001.
[7] M. Halbwachs. On Collective Memory. Chicago & London: The University of Chicago Press, 1992.
[8] M. Sancar. Geçmişle Hesaplaşma: Unutma Kültüründen Hatırlama Kültürüne, İstanbul: İletişim, 2010.
[9] N. Saybaşılı. Sınırlar ve Hayaletler: Görsel Kültürde Göç Hareketleri. İstanbul: Metis, 2011.
[10] N. Sönmez. “Bu sergi hangi gerçeklikler üzerine kuruldu?” Port İzmir 2, International Triennial of Contemporary Art catalog. İzmir: 2010.
[11] N. Tekin. André Malraux’nun Hayali Müzesinin Çağdaş Sanat Politikaları ve Güncel Sanat Projeleri Açısından Önemi. Doctorate thesis. Dokuz Eylül University, Institute of Fine Arts, İzmir, Turkey, 2010.
[12] P. Connerton. Modernite Nasıl Unutturur. İstanbul: Sel, 2012.
[13] P. Connerton. Toplumlar Nasıl Anımsar? İstanbul: Ayrıntı, 1999.
[14] P. Nora. Hafıza Mekanları. Ankara: Dost, 2006.
[15] R. Piiparinen. (2012) “Ruin Porn: As Dirty as You Need It to Be, The Huffington Post website. [online]. Available: http://www. huffingtonpost.com/richey-piiparinen/ruin-porn-photography-detroit_b_1613871.html
[16] S. O’Hagan. (2011) “Detroit in Ruins”, The Guardian website. [online]. Available: http://www.theguardian.com/ artanddesign/2011/jan/02/detroit-ruins-marchand-meffre-photographs-ohagan
[17] S. Sontag. Regarding The Pain of Others, New York: Picador, 2003.
[18] T. Morton. (2009) The Vice website. [online]. Available: http://www.vice.com/read/something-something-something-detroit-994-v16n8
[19] Y. Marchand, R. Meffre. Homepage. [online]. Available: http://www.marchandmeffre.com/detroit/
[2] Apikam Museum website. [online]. Available: www.apikam. org.tr
[3] E. Traverso. Geçmişi Kullanma Kılavuzu. İstanbul: Versus, 2009.
[4] F. Özgür. “Bir göç hikayesi: Çağdaş sanat ortamında merkez-periferi ilişkileri üzerine”. International Triennial of Contemporary Art catalog. İzmir: 2010.
[5] I. Eğrikavuk. (2013) Detroit’i Van Gogh mu Kurtaracak? Radikal website. [online]. Available: http://www.radikal.com.tr/ yazarlar/isil_egrikavuk/detroiti_van_gogh_mu_kurtaracak-1142790
[6] J. Assmann. Kültürel Bellek. İstanbul:Ayrıntı, 2001.
[7] M. Halbwachs. On Collective Memory. Chicago & London: The University of Chicago Press, 1992.
[8] M. Sancar. Geçmişle Hesaplaşma: Unutma Kültüründen Hatırlama Kültürüne, İstanbul: İletişim, 2010.
[9] N. Saybaşılı. Sınırlar ve Hayaletler: Görsel Kültürde Göç Hareketleri. İstanbul: Metis, 2011.
[10] N. Sönmez. “Bu sergi hangi gerçeklikler üzerine kuruldu?” Port İzmir 2, International Triennial of Contemporary Art catalog. İzmir: 2010.
[11] N. Tekin. André Malraux’nun Hayali Müzesinin Çağdaş Sanat Politikaları ve Güncel Sanat Projeleri Açısından Önemi. Doctorate thesis. Dokuz Eylül University, Institute of Fine Arts, İzmir, Turkey, 2010.
[12] P. Connerton. Modernite Nasıl Unutturur. İstanbul: Sel, 2012.
[13] P. Connerton. Toplumlar Nasıl Anımsar? İstanbul: Ayrıntı, 1999.
[14] P. Nora. Hafıza Mekanları. Ankara: Dost, 2006.
[15] R. Piiparinen. (2012) “Ruin Porn: As Dirty as You Need It to Be, The Huffington Post website. [online]. Available: http://www. huffingtonpost.com/richey-piiparinen/ruin-porn-photography-detroit_b_1613871.html
[16] S. O’Hagan. (2011) “Detroit in Ruins”, The Guardian website. [online]. Available: http://www.theguardian.com/ artanddesign/2011/jan/02/detroit-ruins-marchand-meffre-photographs-ohagan
[17] S. Sontag. Regarding The Pain of Others, New York: Picador, 2003.
[18] T. Morton. (2009) The Vice website. [online]. Available: http://www.vice.com/read/something-something-something-detroit-994-v16n8
[19] Y. Marchand, R. Meffre. Homepage. [online]. Available: http://www.marchandmeffre.com/detroit/
Published
2015-08-01
How to Cite
TEKIN, Nezaket.
Shot to Death: The Fate of Abandoned Places in the Hands of Artists.
Култура/Culture, [S.l.], n. 9, p. 133-140, aug. 2015.
ISSN 1857-7725.
Available at: <http://journals.cultcenter.net/index.php/culture/article/view/140>. Date accessed: 28 nov. 2021.
Section
English Articles
Keywords
Abandoned places, photography, Izmir, Detroit, hauntology, ghost
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
Култура/Culture by MI-AN is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
