Taking its departure from a critical, theoretical standpoint this thesis examines how the 13th Istanbul Biennial may illustrate the impact Istanbul's urban changes have on public space and how these affect the position of art in public spaces. Through an understanding of the Turkish cultural and historical factors, the urban planning rationalities and social dynamics characterizing public space in Istanbul, this thesis creates an idea of the field which the Istanbul Biennial is part of. To get to a closer understanding of the biennial as an artistic institution, this thesis attempts to understand the factors that characterize contemporary biennials and art in public spaces. By involving theorists such as Jürgen Habermas and Miwon Kwon, among others, the thesis demonstrates how art based in Istanbul Biennial, is situated in a contradictory and complex public space. With the 13th Istanbul Biennial as the analytical focal point and with use of Henri Lefebvre's concept of the Triad, it is presented how the biennial’s position in the public sphere influenced by contemporary dynamics and that these limit the public art's potential of liberation. The thesis therefore concludes that the Istanbul Biennial fails to create and facilitate an optimal environment for the liberation of public art and the change-oriented potential, but also the thesis concludes that with use of an actualization of the situationists’ psycho-geographical methods, exemplified through two artistic, performative actions, there could be shaped a more optimal basis for the liberation of public art's potential.
|Uddannelser||Plan, By og Proces, (Bachelor/kandidatuddannelse) Kandidat|
|Udgivelsesdato||29 sep. 2014|
|Vejledere||Peter Hegelund Skriver|
- Istanbul Biennale, det offentlige rum, kunst i det offentlige rum