POSTMODERN SANATTA BİR ÜRETİM BİÇİMİ OLARAK “KENDİNE MAL ETME”: YASUMASA MORİMURA ÖRNEĞİ
“APPROPRIATION” AS A FORM OF PRODUCTION IN POSTMODERN ART: THE YASUMASA MORIMURA CASE

Summary/Abstract: Although "appropriation", in other words "appropriation/adaptation", is a production approach that originates the productions of modern period artists, it has been one of the artistic orientations that form the roof of the Postmodern artistic pluralist structure, which basically has an eclectic body. Artists, who adopt and defend this mode of production, have reinterpreted and circulated existing or previously produced works/images/forms, contrary to the new production approach. At the same time, these artists, who consciously use the symbolic importance of the works they appropriate, while creating the cultural framework of their own production, seek a construction of meaning based on concepts such as reference, citation, irony, parody and incongruity, as well as a structure that tries to draw attention to the richness of meaning in contemporary art. have been placed on their agenda. This concept, which has developed an attitude against the notion of "originality" of modernism, has developed new arguments on the concepts of gender and racial discrimination, social language and discourse, identity, culture and representation, especially after the 1980s, examining the social codes that took shape through certain power relations. It has been shaped even more by the production practices of the artists. In this study, the "appropriation" approach, which is the source of many productions of postmodern art, is mentioned and a quick introduction to the sanctuary of art in the name of the interpretation and analysis of this concept and bringing the "authenticity/originality" discussions in art to the agenda again; The works of Japanese artist Yasumasa Morimura, who revived the masterpieces of art history and popular culture icons in his own body, in order to find himself again in other bodies, to experience and learn, are mentioned.

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