Akademik Veri Yönetim Sistemi
Art-Sanat Dergisi, cilt.9, sa.17, ss.83-101, 2022 (Scopus)
In the 1980s, the definition, boundaries and purpose of Turkish art entered the process of change and increased its prominence with different approaches. After these years, conceptualization, creating different forms and content, and the emphasis on alternative objects have become common in works with installation-oriented understandings that started in Turkish art. In this direction, the intellectual and conceptual inquiries of Turkish artists on the work have increased, and the way they approach the object has been a factor in the creation of the work. The works of Gülsün Karamustafa, who exhibits topics such as migration, memory, identity, cultural expression, kitsch, popular culture images, and gender with her unique expressions, especially based on everyday objects, draws attention. In this article, the daily object-oriented installations in Gülsün Karamustafa's works are discussed and the transformation of objects into art objects in these installations is examined. In this context, the article is based on object-oriented narratives; Gülsün Karamustafa's understanding of art includes four subheadings: everyday objects used in her migration-oriented works, everyday objects used in her identity/kitsch-focused works, and everyday objects used in her gender-oriented works. In the article, the data that is the subject of the study were obtained by scanning method, and some of Gülsün Karamustafa's works focused on everyday objects after 1980 were examined.