We are living in one of the uncanny orders experienced in the global context. We are in a new version of the political-economic-social and cultural order that we are accustomed to. The negative orders that we are constantly passing through are called Post-Truth, Neo-capitalism, Liberal-capitalism, Post-capitalism, Neo-fascism, Populism, etc. We are witnessing the intervention of political and economic forces in every area of individual and social life and especially in our belief in Truth. It is not right to speculate; but we are watching an unprecedented scenario.
During the pandemic, we transitioned from a two and a half years of face-to-face and close communication to a limited and distant order; transition from community life to individual life. Homes became much more private and closed than before; no one was allowed to enter! An extraordinary order was urgently adopted. Political, economic, social orders and systems created not very successful solutions according to this situation. In contrast, the stagnation of human activity that creates environmental pollution benefited nature; despite everything, one activity that did not stagnate was the production of art and culture. Creative people took advantage of the stagnant time and realized their production; digital technology enabled the global spread of this production. Now we are watching: Do cultural and artistic activities continue without losing their power after the pandemic? How does the uncanny order that continues its effectiveness affect art production?
It should be noted that there are major administrative and functional differences between countries in the five continents in terms of art and culture industries and policies. For example, the situation is quite different east of Vienna, including countries that have not yet joined the EU; not to mention the obvious situation in the vast Middle and Near East region, which is experiencing constant political conflicts and economic deadlocks. The period between 1987 and 2012 was a period of upsurge for the Turkish contemporary art scene. Istanbul was joyfully positioned as a "hot spot" for contemporary art between two continents (Europe and Asia); this was due to the expected positive developments regarding Türkiye's potential integration process into the EU. During this period, contemporary art and culture production presented exhibition packages loaded with Relational Aesthetics, especially in EU cities, to the delight of the audience. In 2010, the Istanbul European Capital of Culture project achieved great success with over 600 international events.
When we look at the uncanny order we have been living in since 2012, we can say that Türkiye does not have a reliable political and economic development and that the art and culture system is facing difficulties accordingly. During this decade, the existing infrastructure with its Modernist roots and underdeveloped Post-modernist local structures has transformed primarily into a Neo-capitalist culture and art industry program. This serves the needs of the private sector, creative industry investments, artists and art experts. However, the stimulating effect that should be expected from a dissenting contemporary art production could not develop consistently because it could not penetrate the awareness and deep subconscious of the masses. The number of contemporary artists and curators who have gained international recognition was encouraging, but this awareness does not have a solid and sustainable public appreciation and support. When we consider the geopolitical turmoil in the region and the Islamist and neoliberal positioning of the government with its path-changing effects in the field of art and culture, it is necessary to question how successful this process can be.
For the sake of the current art scene, unfortunately, we have to find the truth hidden behind the optimistic expectations that serve post-Truth. The government (since 2002) did not force Türkiye to change its critical and resisting perspective in terms of art and culture until 2012. It is not easy to reverse the processes that have existed since Ottoman Modernism. Although Türkiye's Modernism started in the 1800s and did not complete it, it continued its existence by evolving into Post-modernism and Globalization and is now reckoning with the post-Truth ideology. It is clear that trying to transform the rational and mind-opening interpretations and warnings offered by the metaphors in production to pre-Modernism will not work that easily.
Through the cold winds between the EU and Turkey and the pandemic conditions, we should justify the continuing power of contemporary art production in the current difficult democratic process as follows: Art production reflects a clear and free vision towards democratic transformation, contributes to the realization of cultural goals and intentions such as freedom of expression and communication, pluralism, respect for human and gender rights, social responsibility, brings ecological issues to the agenda, and ensures the development of public awareness. Artists enrich visual production widely and powerfully with their aesthetically qualified, conceptually competent works, and most interestingly, women artists are at the forefront of this production. All these characteristics are currently struggling towards democratic processes and resisting the intended autocratic regime. The underprivileged classes of the population, who are the de facto target audience of oppositional and activist artists, are not only deprived of the education and knowledge that contemporary art provides, but are also constrained by the supremacy of political and religious dogma. Many artists are seriously and consciously committed to criticizing and dissenting in content and form; The young generation of artists find inspiration and themes to examine in the ever-present attacks and constant transformations of Istanbul's complex urban conditions and in daily life. They believe they contribute to public awareness or democratic processes.
However, how the artist makes a profit from what they produce, or rather how they survive, is a very important question that awaits an answer. Most artists work at universities, graphic design companies or public art studios. Fortunately, few artists have family support or private income. Private galleries occasionally employ curators. Museums or the private sector cannot meet the employment demand of the art and culture industry with investment. We should know that it is difficult to sustain and strengthen socio-cultural and artistic efforts and productions in the current political and economic conditions of Türkiye and the region. We observe that artists are looking for opportunities to live and work abroad, which is also faced with economic and political obstacles!
In the EU, emergency funds have been created in their countries that can be used to support artists, art professionals, private initiatives and cultural institutions; this is not the case in Türkiye and the neighboring eastern countries. The risks inherent in this challenge and its multifaceted effects on local art and cultural developments can be predicted. We have to face the fact that there is a paradoxical environment. Artists and art professionals have to cooperate with these groups, even if their political and social ideologies do not match, depending solely on private sector financial support and institutional activities. In contrast, this private sector is currently the only main sector with which the EU is determined to maintain its ties and system as a tool within this universe of capitalist interests and to support Türkiye's artists and art professionals.
