Art And Essay Istanbul

Art And Essay Istanbul-46
It will be argued that within this context, actors in the art world construct cognitive frames in order to put new territories on the map.Therefore, increasing links between Istanbul and its surrounding region can be analysed as the outcome of the framing of the Middle East as an emerging region, and Istanbul as a rising regional centre.This paper will critically examine an understanding of regional interactions as a consequence of Turkish soft power and elaborate on the construction of spatialised cognitive frames within the art world.

It will be argued that within this context, actors in the art world construct cognitive frames in order to put new territories on the map.Therefore, increasing links between Istanbul and its surrounding region can be analysed as the outcome of the framing of the Middle East as an emerging region, and Istanbul as a rising regional centre.This paper will critically examine an understanding of regional interactions as a consequence of Turkish soft power and elaborate on the construction of spatialised cognitive frames within the art world.

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Although the role of civil society was stressed in Nye’s subsequent works (Nye 2004), it remains treated as a secondary factor.

Such an approach tends to disregard the potential role of powerful private actors with major economic stakes invested in the promotion of a country’s influence.

Turkish curators have been increasingly involved in external cultural projects and Turkish artists have been featured in galleries and at art fairs in Dubai and Budapest.

Correspondingly, Istanbul fairs have welcomed galleries from around the region.

Explanations for these increasing interactions argue that they are the result of “Turkish soft power”.

Within this perspective, the diffusion of culture through cultural centres and technological media, such as television soap operas, are considered to form a strategic component of the promotion of Turkey’s international influence.

In the last ten years, ties between the art worlds of Istanbul and its surrounding region have been increased.

These developments would initially appear to be a component of so-called “Turkish soft power”, indicating the rise of Turkey’s regional influence.

Consequently, the emergence of Turkey’s art market has been a comparatively recent development: Fifty years ago, it was virtually non-existent with only a few short-lived art galleries referenced before the 1970s.

The sale of late-Ottoman and early-Republican paintings by pioneer art dealers, such as Yahşi Baraz (1975) and Aydın Cumalı (1973), thereafter, started to promote a taste for collecting.

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