BİÇİM KARŞISINDA TUTUMLAR
ATTITUDES AGAINST THE FORM

Summary/Abstract: In order to start with the thesis of art is the mirror of society reflected upon itself, it is the generation of silence or talking, pressing down or expressing. These customs become the cacophony spaces like Babel tower with the art fairs, exhibitions and festivals, biennials. Every collection space finds mini-models embodied in each micro-communities. The Babel Tower is mended every time without being ruined or constructed all over. Through the first part, the relation is mentioned between the structure of the power and the community. Carnivals, festivals, nuptials and feasts made from public’s reflexes were frozen moments against the power. Kings (which are at present known as presidents, the Pope, pop-stars…) and the public accepted that it is the day to laugh, dance, have fun and speak each other in the same space, at the same time, around the same tamble. Grotesque smile becomes common fun instead of being shameless, odium, rude and ugly. On the contrary, Foucault ideology claims that the power has already noticed it would able to control it instead of censoring. Discovered to watch it by building a close society. There are many examples of the power to lead the art same way. It is mentioned in the text, how the power materialized even simple themes as portrait and stil-life paintings. In portrait paintings the power can be even the artist nor the tycoon. When the artist found out what could be done with the portrait art, he dominated the viewer. Then the viewer cannot overcome these domination's or provocations and acts involuntarily. The artist is glad to see these reflexes. In the second part, intolerance of artists and non-representative is given by many examples.

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