Sanat Mozaik

[Terraluna]

Humphrey Bogart, Katharine Hepburn ve Robert Morley'in rol aldigi Afrika Kralicesi (The African Queen) 20 Subat 1952'de New York’ta gosterime girdi.

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Amerikali aktris ve model Cindy Crawford'in dogum gunu (20 Subat 1966)

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Amerikali rock grubu Nirvana’nin vokalisti, ritim ve solo gitaristi, Amerikali sarkici, soz yazari ve muzisyen Kurt Cobain'in dogum yildonumu (20 Subat 1967)





"Eger cinsiyetci, irkci, homofobik; yani kisacası g*tun tekiyseniz, konserimizi derhal terk edin ve bir daha CD'lerimizi almayin. Beni seviyor olmaniz umurumda degil, ben sizden nefret ediyorum."



“Kuslar her sabah avazlari ciktigi kadar bagirarak bize o korkunc, acimasiz gercegi haykiriyorlar. Maalesef ki biz kuslarin dilinden anlamiyoruz.”

[Terraluna]

Barbados asilli Amerikali sarkici, soz yazari, rapci, dansci, plak yapimcisi ve aktris Rihanna'nin dogum gunu (20 Subat 1988)

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Madonna Bedtime Story sarkisi icin ilk ve tek canli performansi 20 Subat 1995'de Brit odullerinde gerceklestirdi.

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Fransiz yazar Maurice Blanchot’nun olum yildonumu (20 Subat 2003)

“Bilmek icin korkunc olani kabul etmeye kadar giden bilgi, bilmenin korkunclugunu, bilginin dibini, bilgiyi iktidarin en katlanilmaz yaniyla iliskide tutan o ketum suc ortakligini aciga cikarir. Auschwitz'deki su genc tutsagi dusunuyorum (basina gelebilecek en kotu seyleri yasamis, ailesini firinlara goturdukten sonra kendini asmis; son anda kurtarilmis -ama bunu soylemek nasil mumkun olabilir: kurtarilmis? - ve cesetlerle temas etme isinden muaf tutulmus, ama bunun yerine SS'ler tutsaklari kursuna dizerken kursun enseyi daha iyi tuttursun diye kurbanlarin kafalarini tutmasi gerekmis). Buna nasil katlanabildigini soranlara ise verdigi yanit: "Insanlarin olum karsisindaki davranislarini gozlemleyerek" Felaket Yazisi



“Knowledge which goes so far as to accept horror in order to know it, reveals the inner horror of knowledge, its squalor, the discrete complicity which maintains it in a relation with the most insupportable aspects of power. I think of that young prisoner of Auschwitz (he had suffered the worst, led his family to the crematorium, hanged himself; after being saved at the last moment—how can one say that: saved? - he was exempted from contact with dead bodies, but when the SS shot someone, he was obliged to hold the head of the victim so that the bullet could be more easily lodged in the neck). When asked how he had been able to bear it, he is said to have answered that he 'had observed the bearing of men before death.”

[Terraluna]

“Sessizligi kaybettim ve bunun icin duydugum pismanlik olcusuzdur. Mutsuzlugun, bir kez konusmaya baslayan bir insani nasil sardigina tanik oldum. Sagirliga bagli, hareketsiz bir aciydi; bu yuzden soludugum sey solunamayandir. Kendimi yalniz basima bir odaya kapadim, evde kimse yok, disarida da hemen hemen kimse yok ama bu yalnizligin kendisi bizzat konusmaya basladi ve karsiliginda benim de bu konusan yalnizlikla konusmam gerekir; alayla degil, onun uzerinde daha buyuk bir yalnizlik; onun da uzerinde daha buyugu yattigi icin; ve her biri soyleneni bogmak ve sessizlestirmek icin icine alarak tersine onu sonsuzluga yankiliyor ve sonsuzluk soylenenin yankisi oluyor.” Maurice Blanchot , Olum Hukmu



“I have lost silence, and the regret I feel over that is immeasurable. I cannot describe the pain that invades a man once he has begun to speak. It is a motionless pain that is itself pledged to muteness; because of it, the unbreathable is the element I breathe. I have shut myself up in a room, alone, there is no one in the house, almost no one outside, but this solitude has itself begun to speak, and I must in turn speak about this speaking solitude, not in derision, but because a greater solitude hovers above it, and above that solitude, another still greater, and each, taking the spoken word in order to smother it and silence it, instead echoes it to infinity, and infinity becomes its echo.”

[Terraluna]

“Sanat oncelikle mutsuzlugun bilincidir, onun giderilmesi degildir. Kafka'nin katiligi, yapitin varolusuna bagliligi, mutsuzlugun gerekligine bagliligi yasamin dus kirikligina ugrattigi bunca zayif sanatcinin icinde hosnut oldugu bu kurgu cennetini koparip aldilar ondan. Sanatin konusu ne dusler, ne de ‘kurulan seyler’dir. Ama gercekligi de betimlemez: Gerceklik bilinmek ya da betimlenmek zorunda degildir, kendini bile bilemez, ayni bicimde dun yasal kurtulus tamamlanmis olmak ister, sorgulanmis ya da betimlenmis degil. Bu anlamda, sanat icin hicbir yer yoktur: SIKI bircilik butun putlari dislar. Ama, yine bu anlamda, sanat genel olarak gecerli kilinmamissa bile, hic degilse yalniz Kafka icin gecerli kilinmistir, cunku sanat, tam olarak Kafka'nin oldugu gibi, dunyanin ‘disinda’ olan seye baglidir ve ici ve dinginligi olmayan bu disarisinin derinligini, kendimizle bile, olumumuzle bile, olasilik iliskilerimiz kalmadiginda ortaya cikan seyi dile getirir, Sanat ‘bu mutsuzlugun’ bilincidir.” Maurice Blanchot, Yazinsal Uzam



“Art is primarily the consciousness of unhappiness, not its compensation. Kafka's rigor, his fidelity to the work's demand, his fidelity to the demands of grief, spared him that paradise of fictions where so many weak artists whom life has disappointed find satisfaction. Art has for its object neither reveries nor "constructions." But it does not describe truth either. Truth needs neither to be known nor to be described -- it cannot even know itself -- just as earthly salvation asks not to be discussed or represented, but to be achieved. In this sense there is no place for art: rigorous monism excludes all idols. But, in this same sense, if art is not justified in general, it is at least justified for Kafka alone. For art is linked, precisely as Kafka is, to what is "outside" the world, and it expresses the profundity of this outside bereft of intimacy and of repose -- this outside which appears when even with ourselves, even with out death, we no longer have relations of possibility. Art is the consciousness of "this misfortune."