{"id":3844,"date":"2025-10-17T10:14:21","date_gmt":"2025-10-17T07:14:21","guid":{"rendered":"https:\/\/teoriveeylem.net\/tr\/?p=3844"},"modified":"2025-10-17T10:14:21","modified_gmt":"2025-10-17T07:14:21","slug":"kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri","status":"publish","type":"post","link":"https:\/\/teoriveeylem.net\/tr\/2025\/10\/17\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\/","title":{"rendered":"Kapitalizmde Sanat Eme\u011fi ve T\u00fcrkiye\u2019de Sanat Emek\u00e7ileri"},"content":{"rendered":"

Arda Erkara ve Ekim Deniz Akarslan[1]<\/a><\/strong><\/p>\n

Giri\u015f<\/strong><\/p>\n

Sanat\u00e7\u0131n\u0131n toplum i\u00e7erisindeki konumu ya da sanat\u00e7\u0131n\u0131n \u201cne\u201d oldu\u011fu tart\u0131\u015fmalar\u0131 genelde maddi ve somut ko\u015fullar \u00fczerinden de\u011fil, daha manevi, soyut ve d\u00fcnyevi olana a\u015fk\u0131n bir yerden tart\u0131\u015f\u0131lmaktad\u0131r. \u00c7o\u011fu zaman sanat emek\u00e7isinin toplumun i\u00e7inde de\u011fil, sanki \u00fcst\u00fcnde ya da \u00f6tesinde bir yerde durdu\u011fu, geni\u015f kalabal\u0131klardan olduk\u00e7a farkl\u0131 oldu\u011fu, bu sebeple de toplumsal, ekonomik ve politik ili\u015fkilerden ba\u011f\u0131ms\u0131z oldu\u011fu gibi bir g\u00f6r\u00fc\u015f ortaya \u00e7\u0131kmaktad\u0131r. Fakat sanat\u0131 ve sanat\u00e7\u0131y\u0131 a\u015f\u0131r\u0131 y\u00fccelten, \u00e7o\u011fu zaman elit bir g\u00f6rev y\u00fckleyen, b\u00fct\u00fcn i\u015fleyi\u015fi maddi ili\u015fkiler a\u011f\u0131ndan ba\u011f\u0131ms\u0131z bir \u015fekilde soyut olarak a\u00e7\u0131klayan bu ve bunun gibi bak\u0131\u015f a\u00e7\u0131lar\u0131 sorulara ger\u00e7ek cevaplar vermek bir yana, ger\u00e7ek sorunlar kar\u015f\u0131s\u0131nda al\u0131nmas\u0131 gereken tutumu erteleme hatta ge\u00e7i\u015ftirme i\u015flevi g\u00f6rmektedir. \u0130\u00e7inde bulundu\u011fumuz \u00e7a\u011f\u0131n yeni burjuva fikirleri ve ideolojilerinden etkilenerek olu\u015ftu\u011fu a\u00e7\u0131k olan bu d\u00fc\u015f\u00fcncelerin ne yaz\u0131k ki sanat\u0131n ve sanat\u00e7\u0131n\u0131n i\u00e7inde bulundu\u011fu durumu \u00e7o\u011fu zaman ink\u00e2r etme ve gizleme gibi bir sonucu olmaktad\u0131r.<\/p>\n

Oysa i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z kapitalist \u00fcretim ili\u015fkileri, g\u00f6rd\u00fc\u011f\u00fcm\u00fcz, alg\u0131lad\u0131\u011f\u0131m\u0131z ve deneyimledi\u011fimiz pek \u00e7ok \u015fey gibi sanat \u00fcretimini de belirlemektedir. Al\u0131nan sanat e\u011fitiminden sanat\u0131n hangi ko\u015fullarda yap\u0131ld\u0131\u011f\u0131na, sanat\u0131n ne kadar \u00f6zg\u00fcrce yap\u0131ld\u0131\u011f\u0131ndan sanat\u0131n ne kadar ula\u015f\u0131labilir oldu\u011funa ve eme\u011fin kar\u015f\u0131l\u0131\u011f\u0131n\u0131n al\u0131n\u0131p al\u0131nmad\u0131\u011f\u0131na kadar her \u015feyi bu ili\u015fkiler etraf\u0131nda \u015fekillenmektedir. Bu somut durumlar\u0131 g\u00f6rmezden gelerek g\u00fcn\u00fcm\u00fczde sanat\u00e7\u0131n\u0131n asl\u0131nda kim oldu\u011fu sorusunu cevaplaman\u0131n hayalci, s\u0131\u011f ve olduk\u00e7a indirgemeci olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyoruz. Sanat\u0131n ve sanat\u00e7\u0131n\u0131n tahlilini yapma konusunda genel kabul g\u00f6rm\u00fc\u015f, \u00e7o\u011fu zaman gelenekselle\u015fmi\u015f elitist ve burjuva d\u00fc\u015f\u00fcnceler at\u0131l kalmaktad\u0131r. Biz bu tarz d\u00fc\u015f\u00fcnce yap\u0131lar\u0131na \u015f\u00fcpheci ve ele\u015ftirel bakmak gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcyoruz.<\/p>\n

Bu yaz\u0131da yukar\u0131daki soruyu bir basamak olarak kullan\u0131p sanat emek\u00e7ilerinin proleterle\u015fme s\u00fcrecini ve T\u00fcrkiye\u2019de sanatta tekelle\u015fme \u00f6zg\u00fcnl\u00fcklerini incelemeye \u00e7al\u0131\u015faca\u011f\u0131z. Bunu yaparken de sanat\u00e7\u0131n\u0131n kapitalist \u00fcretim ili\u015fkileri i\u00e7erisinde nerede durdu\u011funu, Marx\u2019\u0131n kavram\u0131ndan yola \u00e7\u0131karak sanat eme\u011finin hangi ko\u015fullarda \u00fcretken emek, hangi ko\u015fullarda \u00fcretken olmayan emek oldu\u011funu, sanat eme\u011finin s\u00f6m\u00fcr\u00fc ko\u015fullar\u0131n\u0131 a\u00e7\u0131klamaya \u00e7al\u0131\u015faca\u011f\u0131z.<\/p>\n

 <\/p>\n

Sanat ve Emek \u0130li\u015fkisi: Tarihsel Bir Ayr\u0131\u015fma<\/strong><\/p>\n

Sanat ve emek kavramlar\u0131 \u00e7o\u011fu zaman sanki birbiriyle yan yana gelemeyecek iki kavramm\u0131\u015f gibi g\u00f6r\u00fcl\u00fcr. Sanki sanat\u00e7\u0131n\u0131n i\u00e7ine girdi\u011fi yarat\u0131m s\u00fcreci toplumsal, maddi b\u00fct\u00fcn ili\u015fkilerin \u00fcst\u00fcnde, bu ili\u015fkilerden soyut bir \u015feymi\u015f gibi alg\u0131lan\u0131r. Emek ise bir sanat\u00e7\u0131y\u0131 tarif edemeyecek kadar fiziksel bir \u00e7al\u0131\u015fma, kol g\u00fcc\u00fc ve hatta kaba bir kavramm\u0131\u015f gibi alg\u0131lan\u0131r. Bu d\u00fc\u015f\u00fcncenin olu\u015fmas\u0131 R\u00f6nesans\u2019tan bug\u00fcne kadarki tarihsel s\u00fcrece bakt\u0131\u011f\u0131m\u0131zda pek de tesad\u00fcf de\u011fildir. Sanat kelimesinin kendi ba\u015f\u0131na ayr\u0131 bir kavram olarak, bir disiplinler b\u00fct\u00fcn\u00fc \u015feklinde alg\u0131lanmas\u0131 R\u00f6nesans d\u00f6nemine tekab\u00fcl eder. Sanat ve zanaat\u0131n ayr\u0131m\u0131 da ayn\u0131 tarihsel d\u00f6nemde \u015fekillenmi\u015ftir. Sanat ruhani, y\u00fcce, zihinsel bir emek; zanaat ise fiziki, kol eme\u011fi olarak ayr\u0131\u015fm\u0131\u015ft\u0131r. Sonralar\u0131 bu ayr\u0131m, \u00f6zellikle de Alman ulus\u00e7ulu\u011funun uhrevi, mitolojik ve tarihsel k\u00f6klerini ke\u015ffetmekle kalmay\u0131p icat eden Alman idealistleri taraf\u0131ndan tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Hakikatin ve ger\u00e7ekli\u011fin kayna\u011f\u0131n\u0131n idea oldu\u011funu savunan idealistler, devrimci bir \u00f6zne olarak proleter inisiyatifin geli\u015fmedi\u011fi bu y\u0131llarda, kendilerini d\u00f6n\u00fc\u015f\u00fcm\u00fcn \u00f6znesi ve ulusun kurucusu olarak g\u00f6rm\u00fc\u015f, bununla ba\u011flant\u0131l\u0131 olarak da sanat\u0131 ve sanat\u00e7\u0131y\u0131 da y\u00fccele\u015ftirmi\u015fler ve maddesel olan\u0131n \u00fcst\u00fcnde bir mertebeye konumland\u0131rm\u0131\u015flard\u0131r. Sanat\u0131n emekle ve \u00fcretimle olan ili\u015fkisini de bu d\u00fc\u015f\u00fcnce \u00fczerinden a\u00e7\u0131klam\u0131\u015flard\u0131r. \u0130dealistlere g\u00f6re sanat eme\u011fi fabrikadaki i\u015f\u00e7inin eme\u011fi gibi fiziksel bir \u00fcretim s\u00fcrecine girip, meta yarat\u0131p, i\u015f\u00e7iyi esir eden bask\u0131 ve s\u00f6m\u00fcr\u00fc temelli bir emek de\u011fil, tam tersi \u00f6zg\u00fcrle\u015ftirici, haz veren ve y\u00fcce bir emektir.<\/p>\n

Sonralar\u0131 genel olarak t\u00fcm toplumsal ili\u015fkileri, \u00f6zelde de sanat ve emek aras\u0131ndaki ili\u015fkiyi a\u00e7\u0131klamadaki bu idealist d\u00fc\u015f\u00fcnceye kar\u015f\u0131t teoriler geli\u015ftirilmi\u015ftir. Ku\u015fkusuz bunlardan en \u00f6nemlisi yolda\u015f\u0131 Friedrich Engels ile birlikte Karl Marx\u2019\u0131n geli\u015ftirdi\u011fi tarihsel materyalizmdir. Marx\u2019a g\u00f6re, kapitalist toplumda emek i\u015f\u00e7iyi kendini ger\u00e7ekle\u015ftiren yarat\u0131c\u0131 etkinlik anlam\u0131nda \u00f6zg\u00fcrle\u015ftirmez, aksine onu kendi \u00fcretti\u011fi ama art\u0131k kendisine ait olmayan \u00fcr\u00fcne yabanc\u0131la\u015ft\u0131r\u0131r. Her ne kadar, i\u015f\u00e7i, kapitalizm \u00f6ncesi toplumlardaki k\u00f6lenin efendiye, serfin derebeyine ba\u011f\u0131ml\u0131l\u0131\u011f\u0131ndan kurtulmu\u015f \u00f6zg\u00fcr bir yurtta\u015f haline gelmi\u015f olsa da, kapitalizmde bu, yaln\u0131zca a\u00e7l\u0131ktan \u00f6lme ya da emek g\u00fcc\u00fcn\u00fc satma \u00f6zg\u00fcrl\u00fc\u011f\u00fcd\u00fcr.<\/p>\n

Asl\u0131nda Marx da (Hegel gibi) do\u011fa-insan aras\u0131ndaki ili\u015fkiyi tart\u0131\u015ft\u0131\u011f\u0131 en y\u00fcksek soyutlama d\u00fczeyinde<\/em>, sanat\u0131n ya\u015famsal ihtiya\u00e7lar\u0131 kar\u015f\u0131laman\u0131n \u00f6tesinde kendini ger\u00e7ekle\u015ftiren yarat\u0131c\u0131 faaliyet olarak eme\u011fin en y\u00fcksek bi\u00e7imi oldu\u011fu fikrini belli \u00f6l\u00e7\u00fclerde payla\u015fm\u0131\u015ft\u0131r.[2]<\/a> Fakat, verili somut toplumsal ko\u015fullarda<\/em>, t\u00fcm emek faaliyeti gibi sanat\u0131 da t\u00fcm\u00fcyle \u00fcretim ili\u015fkilerinden ba\u011f\u0131ms\u0131z bir \u015fey olarak g\u00f6rmemi\u015ftir. Kapitalist \u00fcretimde eme\u011fin ald\u0131\u011f\u0131 genel ve \u00f6zg\u00fcn bi\u00e7imleri tart\u0131\u015f\u0131rken s\u0131k s\u0131k sanat \u00fcretiminden \u00f6rnekler vermi\u015ftir. \u00d6rne\u011fin, dolays\u0131z \u00fcretimin sonu\u00e7lar\u0131n\u0131 tart\u0131\u015f\u0131rken \u00fcretken olan\/olmayan emek ba\u011flam\u0131nda \u015f\u00f6yle demi\u015ftir:<\/p>\n

\u201cB\u00fclb\u00fcl gibi \u015fak\u0131yan bir \u015fark\u0131c\u0131, \u00fcretici <\/em>[\u00fcretken] olmayan bir i\u015f\u00e7idir. \u015eark\u0131s\u0131n\u0131 para kar\u015f\u0131l\u0131\u011f\u0131 satarsa o a\u00e7\u0131dan \u00fccretli i\u015f\u00e7i ya da meta taciri olur. Ama ayn\u0131 \u015fark\u0131c\u0131, para kazanmak i\u00e7in ona \u015fark\u0131 s\u00f6yleten bir giri\u015fimci taraf\u0131ndan i\u015fe al\u0131n\u0131rsa \u00fcretici i\u015f\u00e7i olur; \u00e7\u00fcnk\u00fc do\u011frudan do\u011fruya sermaye \u00fcretmektedir.<\/em>\u201d[3]<\/a><\/p>\n

Yine Art\u0131-De\u011fer Teorileri\u2019<\/em>nde maddi olmayan \u00fcretimin ald\u0131\u011f\u0131 iki temel bi\u00e7imi tart\u0131\u015f\u0131rken; \u201c\u00fcreticilerden ve t\u00fcketicilerden ba\u011f\u0131ms\u0131z ve ayr\u0131 bir bi\u00e7ime sahip olan metalar\u201d <\/em>i\u00e7in \u201ckitaplar, resimler gibi sat\u0131ml\u0131k metalar, tek s\u00f6zc\u00fckle, sanat\u00e7\u0131n\u0131n sanatsal performans\u0131ndan ayr\u0131labilen t\u00fcm sanat \u00fcr\u00fcnlerini<\/em>\u201d \u00f6rnek g\u00f6stermi\u015ftir. Yine \u201c\u00fcr\u00fcn\u00fcn, \u00fcretim eyleminden ayr\u0131lamaz<\/em>\u201d oldu\u011fu durumlar i\u00e7in verdi\u011fi \u00f6rnekler aras\u0131nda \u201ct\u00fcm g\u00f6steri sanat\u00e7\u0131lar\u0131\u201d vard\u0131r: \u201cakt\u00f6r, kamu kar\u015f\u0131s\u0131nda bir sanat\u00e7\u0131 olarak davran\u0131r, ama kendi i\u015fvereni kar\u015f\u0131s\u0131nda o bir \u00fcretken emek\u00e7idir.<\/em>\u201d[4]<\/a> Ne var ki burada tarif etti\u011fi eme\u011fin iki temel bi\u00e7iminden ilki i\u00e7in \u201chen\u00fcz kapitalist \u00fcretimin egemenli\u011fi alt\u0131nda al\u0131nm\u0131\u015f de\u011fildir<\/em>\u201d derken ikincisi i\u00e7in de \u201ckapitalist \u00fcretimin t\u00fcm\u00fc i\u00e7inde<\/em>\u201d tuttu\u011fu yer bak\u0131m\u0131ndan \u201cihmal edilebilir<\/em>\u201d oldu\u011funu s\u00f6ylemi\u015ftir. Bunun nedeni tarihseldir; Marx\u2019\u0131n ekonomi politi\u011fin ele\u015ftirisine giri\u015fti\u011fi 1860\u2019l\u0131 y\u0131llarda sanat \u00fcretiminde kapitalist \u00fcretim ili\u015fkilerinin h\u00e2kimiyeti ve buna ba\u011fl\u0131 olarak metala\u015fma s\u00fcreci bug\u00fcne oranla yok denecek kadar az d\u00fczeyde geli\u015fmi\u015ftir. Ancak Marx\u2019\u0131n da verdi\u011fi \u00f6rneklerle \u00f6ng\u00f6rd\u00fc\u011f\u00fc \u00fczere g\u00fcn\u00fcm\u00fczde bu s\u00fcre\u00e7 niteliksel sonu\u00e7lar do\u011furacak kadar ilerlemi\u015ftir; sanatsal \u00fcretimde kapitalist \u00fcretim ili\u015fkileri b\u00fcy\u00fck oranda egemen hale gelmi\u015f, sanat \u00fcr\u00fcn\u00fc de az\u0131msanmayacak \u00f6l\u00e7\u00fcde metala\u015fm\u0131\u015ft\u0131r. Dolay\u0131s\u0131yla Marx\u2019\u0131n \u00fcretken\/\u00fcretken olmayan emek kavramlar\u0131 \u00fczerinden yapt\u0131\u011f\u0131 yukar\u0131daki analizler g\u00fcn\u00fcm\u00fcz\u00fc anlamak i\u00e7in bir anahtar g\u00f6revi g\u00f6rmektedir.<\/p>\n

Biz de burada sanat emek\u00e7ilerinin s\u0131n\u0131fsal analizini yaparken ya da eme\u011fini tan\u0131mlarken bu ana hat \u00fczerinde ilerleyece\u011fiz ve \u00fcretken\/\u00fcretken olmayan emek kavramlar\u0131n\u0131 incelemeye \u00e7al\u0131\u015faca\u011f\u0131z. Eme\u011fini \u00fcretim s\u00fcrecindeki yeri ve \u00fcretti\u011fi \u00fcr\u00fcn\u00fcn metala\u015fmas\u0131yla; s\u0131n\u0131fsal analizi de \u00fcretim ili\u015fkilerindeki \u00fcretim ara\u00e7lar\u0131 \u00fczerindeki m\u00fclkiyet ve eme\u011fin s\u00f6m\u00fcr\u00fcs\u00fc temelindeki s\u0131n\u0131fsal kar\u015f\u0131tl\u0131kla yapmaya \u00e7al\u0131\u015faca\u011f\u0131z.<\/p>\n

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Sanat ve S\u0131n\u0131f: Sanat\u00e7\u0131n\u0131n Proleter Konumu<\/strong><\/p>\n

Sanat maddi ya\u015fam\u0131n \u00fcretiminden ayr\u0131, onun d\u0131\u015f\u0131nda bir \u015fey de\u011fildir. Bu sebeple emekten, mevcut \u00fcretim ili\u015fkilerinden ve bunlar\u0131n bir sonucu olarak da mevcut politik, ekonomik, k\u00fclt\u00fcrel, toplumsal atmosferden ve ko\u015fullardan ba\u011f\u0131ms\u0131z de\u011fildir. Toplumun t\u00fcm fertlerinin farkl\u0131 ko\u015fullarla dahil oldu\u011fu \u00fcretim s\u00fcrecinde kimin hangi toplumsal s\u0131n\u0131fa dahil oldu\u011funu \u00fcretim ara\u00e7lar\u0131n\u0131n \u00f6zel m\u00fclkiyetine sahip olup olmad\u0131\u011f\u0131 ve ba\u011flant\u0131l\u0131 olarak emek g\u00fcc\u00fcn\u00fc satmak zorunda olup olmad\u0131\u011f\u0131 belirler. Kapitalist sistemde bu \u00fcretim ili\u015fkisinin iki kar\u015f\u0131t taraf\u0131 vard\u0131r: sermaye ve emek.<\/p>\n

Sanat\u00e7\u0131 en nihayetinde kendini sanat\u0131yla, yani sanat\u0131n\u0131 ortaya \u00e7\u0131karmas\u0131n\u0131 sa\u011flayan eme\u011fiyle var eder. Bu sebeple sanat\u00e7\u0131, \u00fcretim s\u00fcrecine yaratt\u0131\u011f\u0131 emekle dahil oldu\u011fu, herhangi bir \u00fcretim arac\u0131na sahip olmad\u0131\u011f\u0131, \u00fccret kar\u015f\u0131l\u0131\u011f\u0131nda \u00e7al\u0131\u015ft\u0131\u011f\u0131, k\u0131sacas\u0131 eme\u011finden ba\u015fka satacak ya da \u00fcretim s\u00fcrecine dahil olabilece\u011fi ba\u015fka hi\u00e7bir \u015feyi olmad\u0131\u011f\u0131 ko\u015fulda i\u015f\u00e7idir, yani proleterdir. Ne kadar fazla para kazand\u0131\u011f\u0131, ne kadar ni\u015f bir e\u011fitim ald\u0131\u011f\u0131, bilgi ve yarat\u0131c\u0131l\u0131k seviyesi, kendisini hangi toplumsal s\u0131n\u0131fa ait hissetti\u011fi ya da k\u00fclt\u00fcrel durumu \u00fcretim ili\u015fkisindeki bu konumunu ve dolay\u0131s\u0131yla da s\u0131n\u0131fsal konumunu de\u011fi\u015ftirmez. \u00c7\u00fcnk\u00fc \u00fcretim ili\u015fkisindeki konum bu tarz nicel \u015feylerle de\u011fil \u00e7ok daha b\u00fcy\u00fck, yap\u0131sal ve nitel \u015feylerde anlam kazan\u0131r. Fakat tabii ki sanat\u00e7\u0131n\u0131n da \u00fcretim s\u00fcrecine emek\u00e7i olarak de\u011fil sermaye sahibi olarak dahil oldu\u011fu, sermayesiyle ba\u015fkalar\u0131n\u0131n eme\u011fini sat\u0131n al\u0131p kendi ad\u0131na \u00e7al\u0131\u015ft\u0131rd\u0131\u011f\u0131, bu sebeple de i\u015f\u00e7i de\u011fil sermaye s\u0131n\u0131f\u0131na mensup oldu\u011fu durumlar da olabilir.<\/p>\n

Tarihsel s\u00fcre\u00e7 i\u00e7erisinde kapitalizm, piyasa ili\u015fkilerinin d\u0131\u015f\u0131nda kalm\u0131\u015f alanlara da s\u0131zarak onlar\u0131 kapitalist temelde d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015f, i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n farkl\u0131 meslek gruplar\u0131ndan ve toplumsal s\u0131n\u0131flardan gelen insanlarla geni\u015fleyip, mevcut i\u015f\u00e7i s\u0131n\u0131f\u0131 tan\u0131m\u0131n\u0131n \u00e7ok daha geni\u015f kesimleri kapsayan bir kavram haline gelmesine sebep olmu\u015ftur. G\u00fcn\u00fcm\u00fczde sanat\u00e7\u0131lar\u0131n da b\u00fcy\u00fck bir kesiminin i\u015f\u00e7i s\u0131n\u0131f\u0131 bir par\u00e7as\u0131 oldu\u011funu s\u00f6ylemek m\u00fcmk\u00fcnd\u00fcr. Fakat bu geni\u015f i\u015f\u00e7i s\u0131n\u0131f\u0131 tan\u0131m\u0131 yekpare, birbiriyle t\u0131pa t\u0131p ayn\u0131, kendi i\u00e7inde farkl\u0131l\u0131klar\u0131 olmayan bir s\u0131n\u0131f gibi d\u00fc\u015f\u00fcn\u00fclemez.<\/p>\n

\u0130ster \u00fcretken ister \u00fcretken olmayan emek sarfetsin, sermaye i\u00e7in \u00fccret kar\u015f\u0131l\u0131\u011f\u0131 \u00e7al\u0131\u015fmak zorunda kald\u0131\u011f\u0131 s\u00fcrece sanat\u00e7\u0131 nesnel olarak i\u015f\u00e7i konumundad\u0131r. Ancak, \u00e7a\u011fda\u015f kapitalizmde sanat\u00e7\u0131lar\u0131n ba\u011f\u0131ms\u0131z ya da kamusal \u00e7al\u0131\u015fmadan giderek \u00fccretli ve ba\u011f\u0131ml\u0131 \u00e7al\u0131\u015fmaya d\u00f6n\u00fc\u015fen \u201c\u00fcretim\u201d s\u00fcre\u00e7leri, sanat\u00e7\u0131lar a\u00e7\u0131s\u0131ndan \u00fcretken ve \u00fcretken olmayan emek kavramlar\u0131n\u0131 tart\u0131\u015fmay\u0131 gerektiriyor.<\/p>\n

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Art\u0131-De\u011fer ve Sanatta Eme\u011fin \u00dcretken Olan\/Olmayan Bi\u00e7imleri<\/strong><\/p>\n

Kapitalizmi tarihselli\u011fi i\u00e7erisinde ele alan Marx, tarih boyunca var olmu\u015f olan genel olarak \u00fcretken emek<\/em> ile kapitalist i\u00e7in \u00fcretken emek<\/em> aras\u0131na koydu\u011fu ayr\u0131mdan hareket eder.[5]<\/a> Marx\u2019\u0131n bu yakla\u015f\u0131m\u0131 sanat i\u00e7in de ge\u00e7erlidir. Yani toplumlar tarihi boyunca var olmu\u015f sanatsal \u00fcretimde de genel olarak \u00fcretken emek<\/em> ile kapitalist topluma \u00f6zg\u00fc \u00fcretken emek <\/em>aras\u0131ndaki ayr\u0131mdan hareket etmek gerekir. Bu ba\u011flamda tarih boyunca ister evinde ister kendi at\u00f6lyesinde isterse bir i\u015fyerinde \u00fcretiyor olsun, her sanat\u00e7\u0131n\u0131n eme\u011fi genel olarak \u00fcretken emek<\/em>tir. Ama kapitalist i\u00e7in \u00fcretken emek ise bu \u00fcretim tarz\u0131na \u00f6zg\u00fc art\u0131-de\u011fer ile ili\u015fkilidir.<\/p>\n

Kapitalist sistemde \u00fcretimin temel amac\u0131 toplumsal ihtiya\u00e7lar\u0131 kar\u015f\u0131lamak de\u011fil, sermayenin b\u00fcy\u00fcmesidir, yani k\u00e2r elde edebilmektir. Marx sermayenin b\u00fcy\u00fcmesi ve k\u00e2r elde edilmesinin temel fakt\u00f6r\u00fcn\u00fcn ise art\u0131-de\u011fer oldu\u011funu vurgular. Art\u0131-de\u011fer en basit anlat\u0131m\u0131yla i\u015f\u00e7inin \u00fcretti\u011fi de\u011ferle, ona \u00f6denen \u00fccret aras\u0131ndaki fark yani fazlal\u0131kt\u0131r. Sermaye do\u011fas\u0131 gere\u011fi b\u00fcy\u00fcmek zorundad\u0131r. Sermayenin b\u00fcy\u00fcmesi de ne kadar art\u0131-de\u011fer \u00fcretildi\u011fiyle ilgilidir. Marx\u2019a g\u00f6re kapitalist sistemde iktisadi sistemin temeli ve maddi zenginli\u011fi yaratan \u015fey art\u0131-de\u011ferin \u00fcretimi ve ona hangi s\u0131n\u0131f\u0131n el koydu\u011fuyla alakal\u0131d\u0131r. Marx \u00fcretken ve \u00fcretken olmayan emek kavramlar\u0131n\u0131 da art\u0131-de\u011ferle yani sermayenin b\u00fcy\u00fcmesi \u00fczerinden ele alm\u0131\u015ft\u0131r. Art\u0131-de\u011fer \u00fcreten yani sermayenin b\u00fcy\u00fcmesini sa\u011flayan emek \u00fcretken emektir. Art\u0131-de\u011fer \u00fcretmeyen emek ise \u00fcretken olmayan emektir.<\/p>\n

Di\u011fer t\u00fcm \u00fcretim alanlar\u0131nda oldu\u011fu gibi, sanatta da eme\u011fini sermayeyle de\u011fi\u015fen ve bu sayede art\u0131-de\u011fer \u00fcreterek sermayenin k\u00e2r elde etmesini sa\u011flayan sanat\u00e7\u0131n\u0131n eme\u011fi (kapitalist i\u00e7in) \u00fcretken emektir. Fakat her sanat\u00e7\u0131n\u0131n eme\u011finin \u201ckapitalistin kazanc\u0131n\u0131 art\u0131rma gibi bir i\u015flevi yoktur.<\/em>\u201d[6]<\/a> Eme\u011fini sermayeyle de\u011fil, salt bir genel de\u011fi\u015fim arac\u0131 olarak parayla[7]<\/a> ya da kamu b\u00fct\u00e7esi gibi bir toplumsal de\u011ferle de\u011fi\u015fen ve dolay\u0131s\u0131yla art\u0131-de\u011fer \u00fcretmeyen sanat\u00e7\u0131n\u0131n eme\u011fi \u00fcretken olmayan emektir.<\/p>\n

\u00d6zel bir \u015firket taraf\u0131ndan finanse edilen ya da \u00f6zel bir toplulukta sanat\u0131n\u0131 icra eden bir sanat\u00e7\u0131n\u0131n eme\u011fi ele alal\u0131m. Burada sanat\u00e7\u0131n\u0131n \u00fccret kar\u015f\u0131l\u0131\u011f\u0131 emek g\u00fcc\u00fcn\u00fc de\u011fi\u015fti\u011fi \u015fey \u00f6zel bir ki\u015fi (patron), kurum ve\/ya kurulu\u015fta (\u015firket) v\u00fccut bulmu\u015f sermayedir. Burada o sanat \u00fcretiminin devam\u0131 i\u00e7in sermayenin k\u00e2r etmesi gerekmektedir. Sermayenin k\u00e2r elde etti\u011fi bir yerde sanat\u00e7\u0131, eme\u011fiyle de art\u0131-de\u011fer \u00fcretmi\u015f demektir. Bu sebeple bu sanat\u00e7\u0131n\u0131n eme\u011fi \u00fcretken emek kategorisinde d\u00fc\u015f\u00fcn\u00fclebilir. Bu duruma \u00f6zel tiyatrolarda, \u00f6zel sanat topluluklar\u0131nda, bir \u015firket ya da vak\u0131f \u00fczerinden fonlanan orkestralarda vb. topluluklarda, yap\u0131m \u015firketi taraf\u0131ndan fonlanan film ya da dizilerde \u00e7al\u0131\u015fan sanat\u00e7\u0131lar \u00f6rnek olarak g\u00f6sterilebilir.<\/p>\n

Ancak sanat\u00e7\u0131n\u0131n art\u0131-de\u011fer \u00fcretimiyle ili\u015fkisi her zaman bu denli do\u011frudan ve basit olmayabilir. \u00d6rne\u011fin, eme\u011fini toplumsal olarak \u00fcretilmi\u015f toplam art\u0131-de\u011ferden, kamu b\u00fct\u00e7esinden alan sanat\u00e7\u0131lar do\u011frudan art\u0131-de\u011fer \u00fcretmediklerinden \u00fcretken olmayan emek\u00e7ilerdir. Buna farkl\u0131 ki\u015fi ya da kurum\/kurulu\u015flardan ba\u011f\u0131\u015f, fon ya da yard\u0131m vb. \u00f6deneklerle (bu tarz fonlar fonu sa\u011flayan\u0131n sermayesini artt\u0131rmad\u0131\u011f\u0131 ve k\u00e2r elde etmesine sebep olmad\u0131\u011f\u0131 s\u00fcrece) sanat\u0131n\u0131 icra eden sanat\u00e7\u0131lar eklenebilir. Bununla birlikte belirtmek gerekir ki, bir sanat\u00e7\u0131 hem do\u011frudan bir kapitalist sanat i\u015fletmesine \u00e7al\u0131\u015fabilir hem de ayn\u0131 anda bir kamu kurumunda sanat\u0131n\u0131 icra ediyor olabilir. Di\u011fer bir ifadeyle, ayn\u0131 sanat\u00e7\u0131 hem \u00fcretken olan hem de olmayan i\u015f\u00e7i konumunda olabilir ki bu sanat \u00fcretiminin \u00f6zg\u00fcn bir yan\u0131n\u0131 olu\u015fturur.<\/p>\n

Bunun d\u0131\u015f\u0131nda, sanat\u0131n\u0131 do\u011frudan ve s\u00fcrekli olarak bir i\u015f\u00e7i-i\u015fveren ili\u015fkisi i\u00e7erisinde icra etmeyen \u201cba\u011f\u0131ms\u0131z sanat\u00e7\u0131lar\u201d bak\u0131m\u0131ndan durum bu kadar kesin kategorilerle ifade etmeyi zorla\u015ft\u0131racak denli karma\u015f\u0131k bir h\u00e2l al\u0131r. Her ne kadar bu ili\u015fkide t\u0131pk\u0131 bir zanaatk\u00e2r gibi \u201cba\u011f\u0131ms\u0131z\u201d, (k\u00fc\u00e7\u00fck burjuvaziye yak\u0131nla\u015fan) bir konumda olsalar da arac\u0131lar (k\u00fcrat\u00f6rler, galeriler, menajerler, vak\u0131flar, festival organizat\u00f6rleri, yetenek avc\u0131s\u0131 simsarlar vb.) vas\u0131tas\u0131yla piyasa ili\u015fkilerine tabi h\u00e2le gelerek, do\u011frudan art\u0131-de\u011fer \u00fcreten bir i\u015f\u00e7i gibi olmasa da, dolayl\u0131 olarak kapitalistlerin k\u00e2r elde etmesini sa\u011flarlar. Bu sanat\u00e7\u0131lar\u0131n bir kesimi giderek kendi ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131 sa\u011flayan ara\u00e7lardan yoksunla\u015fmakta, kapitalist piyasa ili\u015fkilerine tabiiyeti g\u00fc\u00e7lenmekte ve bu anlamda kendi \u00f6zg\u00fcn ko\u015fullar\u0131nda proleterle\u015fme s\u00fcreci ya\u015famaktad\u0131r.<\/p>\n

Sanat eme\u011finde bu \u00fcretken olan ve olmayan emek tart\u0131\u015fmas\u0131n\u0131n as\u0131l \u00f6nemi de buradad\u0131r. G\u00fcn\u00fcm\u00fczde sanat \u00fcretiminde de art\u0131-de\u011fer elde etme prati\u011fi yayg\u0131n ve bask\u0131n h\u00e2le gelmektedir. Bunun iki yans\u0131mas\u0131 vard\u0131r. \u0130lki, \u201cba\u011f\u0131ms\u0131z sanat\u00e7\u0131lar\u201d\u0131n ba\u011f\u0131ms\u0131z faaliyetlerini s\u00fcrd\u00fcremeyip giderek ba\u011f\u0131ml\u0131 hale gelmesi ve i\u015f\u00e7ile\u015fmesi, ki bu ayn\u0131 zaman do\u011frudan art\u0131-de\u011fer \u00fcretmeleri anlam\u0131na gelmektedir. \u0130kincisi, kamu kurumlar\u0131ndaki sanatsal \u00fcretim giderek zay\u0131flat\u0131lmakta (dolay\u0131s\u0131yla sanat\u00e7\u0131n\u0131n \u00fcretken olmayan eme\u011fine ra\u011fbet azalmakta), \u00f6zel sekt\u00f6rde \u015firketle\u015fmenin ve dahas\u0131 tekelle\u015fmenin belirleyicili\u011fi artmakta, sanat\u00e7\u0131n\u0131n \u00fcretken eme\u011fine talep artmaktad\u0131r. Bu da sanatsal \u00fcretimin niteliklerini do\u011frudan belirlemektedir. \u00c7\u00fcnk\u00fc piyasa ili\u015fkileri i\u00e7erisinde k\u00e2r etmeyen bir i\u015f do\u011fal olarak batacakt\u0131r. Bu sebeple bu senaryoda sermaye sanat\u00e7\u0131n\u0131n eme\u011fiyle k\u00e2r etmek isteyecek ve t\u00fcm s\u00fcreci k\u00e2r elde edip etmemesi \u00fczerine kurgulayacakt\u0131r. \u00d6rne\u011fin d\u00fc\u015f\u00fck b\u00fct\u00e7elerle \u00fcretilen, sanatsal ve estetik aray\u0131\u015flar\u0131 \u00f6nceleyen ba\u011f\u0131ms\u0131z filmler, festivallerde \u00f6d\u00fcller kazansa dahi, da\u011f\u0131t\u0131m a\u011flar\u0131n\u0131n ve salon zincirlerinin k\u00e2r mant\u0131\u011f\u0131na eklemlenemediklerinde geni\u015f kitlelere ula\u015fma \u015fans\u0131 bulamazlar. Yap\u0131mc\u0131 ve da\u011f\u0131t\u0131mc\u0131lar da daha \u00e7ok k\u00e2r etmek ad\u0131na, \u201cgi\u015fe\u201d potansiyeli ta\u015f\u0131yan, yani \u00fcr\u00fcn\u00fcn m\u00fcmk\u00fcn olan en b\u00fcy\u00fck oranda de\u011fere d\u00f6n\u00fc\u015fmesini sa\u011flayacak olan senaryolar\u0131 tercih etmektedirler.<\/p>\n

Burada sanat\u00e7\u0131n\u0131n yaratt\u0131\u011f\u0131 sanat eserinin metala\u015fmas\u0131nda ortaya \u00e7\u0131kabilecek farkl\u0131 bi\u00e7imlere bir parantez a\u00e7al\u0131m. Sanat eseri bir meta halinde dola\u015f\u0131ma sokulabilir, kopyalan\u0131p piyasaya s\u00fcr\u00fclebilir, \u00e7o\u011falt\u0131labilir ya da tam tersi bir g\u00f6steri ya da konser gibi sadece o an orada deneyimlenip biten tek seferlik bir eser halinde de sunulabilir. \u00d6te yandan bir sanat eseri ortaya hem kullan\u0131m de\u011feri hem de m\u00fcbadele de\u011feri \u00e7\u0131karabilir. Kullan\u0131m de\u011feri \u00f6zetle bir \u015feyin ihtiyac\u0131 kar\u015f\u0131lamas\u0131, faydal\u0131l\u0131\u011f\u0131 ve i\u015fe yararl\u0131l\u0131\u011f\u0131d\u0131r. M\u00fcbadele de\u011feri ise bir \u015feyin maddi de\u011feri yani piyasadaki de\u011fi\u015fim de\u011feri, fiyat\u0131d\u0131r. Sanat eserleri bak\u0131m\u0131ndan kullan\u0131m de\u011ferini sadece fiziksel bir ihtiyac\u0131 kar\u015f\u0131lama olarak de\u011fil bir tatmin olarak da d\u00fc\u015f\u00fcnebiliriz. Marx, bu ihtiya\u00e7lar\u0131n do\u011fas\u0131n\u0131n \u201cmideden mi yoksa hayallerden mi kaynakland\u0131klar\u0131n\u0131n<\/em>\u201d kullan\u0131m de\u011feri bak\u0131m\u0131ndan hi\u00e7bir de\u011fi\u015fikli\u011fe yol a\u00e7mad\u0131\u011f\u0131n\u0131 ifade eder.[8]<\/a> Nitekim sanat eserleri pratik bir ihtiyac\u0131 kar\u015f\u0131lamayabilir. Ya da maddesel olarak g\u00fcndelik hayatta bir i\u015fimize yaramayabilir. Fakat duygusal, d\u00fc\u015f\u00fcnsel, manevi ve estetik bir tatmin sunabilir ve bu a\u00e7\u0131dan \u00f6znel olarak i\u015fe yararl\u0131l\u0131k yaratabilir. Bunlar her ne kadar \u00f6znel de olsa bize sanat\u0131n duyular \u00fczerinden bir kullan\u0131m de\u011feri olu\u015fturup olu\u015fturamayaca\u011f\u0131 tart\u0131\u015fmas\u0131n\u0131 a\u00e7ar. Bir ba\u015fka a\u00e7\u0131dan da sanat g\u00fcndelik hayatta somut hi\u00e7bir kullan\u0131m alan\u0131 veya i\u015fe yararl\u0131l\u0131\u011f\u0131 olmadan \u00e7ok b\u00fcy\u00fck bir m\u00fcbadele yani de\u011fi\u015fim de\u011feri de yaratabilir. Fiyat\u0131 \u00e7ok y\u00fcksek tablolar veya NFT\u2019ler[9]<\/a> buna \u00f6rnek olarak g\u00f6sterilebilir. Fakat sanat eserinin bu farkl\u0131 bi\u00e7imleri sanat eme\u011finin niteli\u011fini de\u011fi\u015ftirmez. Sanat ve emek ili\u015fkisi ortaya \u00e7\u0131kan esere g\u00f6re de\u011fil, \u00fcretim ili\u015fkileri i\u00e7indeki konumuyla de\u011ferlendirilmelidir.<\/p>\n

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Sanat Emek\u00e7isinin \u00d6zg\u00fcn Konumu<\/strong><\/p>\n

Fakat t\u00fcm bunlar her \u015feyi ekonomiye indirgeyerek a\u00e7\u0131klamak anlam\u0131na gelmemelidir. Burada kapitalist \u00fcretim ili\u015fkileri ba\u011flam\u0131nda ele al\u0131nan s\u0131n\u0131fsal konum, sanat\u00e7\u0131n\u0131n bir robot gibi bu \u00fcretim ili\u015fkisi i\u00e7erisine girdi\u011fi ve ba\u015fka hi\u00e7bir \u00f6zg\u00fcnl\u00fc\u011f\u00fc olmad\u0131\u011f\u0131 anlam\u0131na gelmez. Sonu\u00e7ta sanat\u00e7\u0131n\u0131n \u00fcretim s\u00fcreci, yarat\u0131m\u0131 da bar\u0131nd\u0131r\u0131r. Somut olan \u015feylerin yan\u0131 s\u0131ra soyut \u015feyler de vard\u0131r. \u0130lham, yetenek, deneysellik, duygular\u0131n sanat eseri arac\u0131l\u0131\u011f\u0131yla ifade edilmesi gibi bazen kula\u011fa soyut gelen, kapitalist \u00fcretimin geldi\u011fi a\u015famada, \u00f6rne\u011fin bir sanayi i\u015f\u00e7isinin emek s\u00fcrecinden b\u00fcy\u00fck oranda soyutlanm\u0131\u015f nitelikler sanat\u00e7\u0131n\u0131n \u00fcretiminde h\u00e2l\u00e2 i\u015flevseldir. Bir\u00e7ok insan bu sebeple sanat\u00e7\u0131n\u0131n i\u015f\u00e7i olamayaca\u011f\u0131 ve daha farkl\u0131 bir \u00fcretim s\u00fcrecine dahil oldu\u011fu, hatta belki de kapitalist anlamda \u00fcretim s\u00fcrecine hi\u00e7 dahil olmad\u0131\u011f\u0131 gibi bir d\u00fc\u015f\u00fcnceye kap\u0131l\u0131r. Burada asl\u0131nda i\u00e7ten i\u00e7e i\u015f\u00e7iyi a\u015fa\u011f\u0131 g\u00f6rme, sanat\u00e7\u0131y\u0131 da \u00fcstte g\u00f6rme tutumu vard\u0131r. Sanat\u00e7\u0131 i\u015f\u00e7i olamayacak kadar incelikli bir i\u015f yap\u0131yor gibi alg\u0131lan\u0131r. Fakat asl\u0131nda sanat emek\u00e7isinin<\/em> bu \u00f6zg\u00fcnl\u00fckleri onu kapitalizmin somut \u00fcretim ili\u015fkilerinden ba\u011f\u0131ms\u0131z tutmaz. Bu \u00f6zg\u00fcnl\u00fckler olsa olsa sanat\u00e7\u0131n\u0131n s\u0131n\u0131f i\u00e7inde daha \u00f6zg\u00fcn ve daha farkl\u0131 bir yerde olabilece\u011fini g\u00f6sterir. Ama onu s\u0131n\u0131f\u0131n d\u0131\u015f\u0131nda bir yerde ya da daha farkl\u0131 bir toplumsal s\u0131n\u0131fta konumland\u0131rmaz. Fakat tabii ki bu senaryo \u00fcretim s\u00fcrecine sanat eme\u011fini satarak giren bir sanat\u00e7\u0131 i\u00e7in ge\u00e7erlidir. Mesela \u00f6zel bir toplulu\u011fun ba\u015f\u0131nda bir\u00e7ok sanat\u00e7\u0131n\u0131n i\u015fvereni olan ve onlar\u0131n eme\u011fiyle k\u00e2r elde eden, \u00fcretim s\u00fcrecine sermaye olarak dahil olmu\u015f birisi sanat\u00e7\u0131 bile olsa i\u015f\u00e7i de\u011fil patrondur, sermaye s\u0131n\u0131f\u0131ndad\u0131r. Bizim burada genelleme yaparak \u00e7e\u015fitli \u00f6rneklerle i\u015f\u00e7i s\u0131n\u0131f\u0131 i\u00e7erisine koydu\u011fumuz sanat\u00e7\u0131lar, oran olarak b\u00fcy\u00fck \u00e7o\u011funlu\u011fu olu\u015fturan ve \u00fcretim ili\u015fkilerine emek g\u00fcc\u00fcn\u00fc satarak dahil olan sanat\u00e7\u0131lard\u0131r. Ufak bir az\u0131nl\u0131k i\u00e7in de sermaye s\u0131n\u0131f\u0131na dahil olduklar\u0131 senaryo ge\u00e7erlidir.<\/p>\n

Yukardaki d\u00fc\u015f\u00fcnceye daha ele\u015ftirel bir tutumla yakla\u015fan Maurizio Lazzarato, Michael Hardt, Antonio Negri gibi otonomcu d\u00fc\u015f\u00fcn\u00fcrler maddi olmayan emek teorisini ortaya atm\u0131\u015flar ve sanat\u00e7\u0131n\u0131n eme\u011finin maddi olmayan emek kavram\u0131yla a\u00e7\u0131klanabilece\u011fini savunmu\u015flard\u0131r. Onlara g\u00f6re sanat eme\u011fi bedensel bir emekten \u00f6te zihinsel ve entelekt\u00fcel bir s\u00fcre\u00e7tir. G\u00fcn\u00fcm\u00fcz kapitalizminin \u00fcretim ili\u015fkilerinde yarat\u0131c\u0131l\u0131k, duygu, bilgi, ileti\u015fim gibi maddi olmayan unsurlar\u0131n temel kavramlar haline geldi\u011fini ileri s\u00fcrm\u00fc\u015flerdir. K\u00fclt\u00fcrel bir meta \u00fcretimi olarak bahsedilen sanat, duygular\u0131n ve yarat\u0131c\u0131l\u0131\u011f\u0131n i\u015fin i\u00e7ine girdi\u011fi, bilgi ve fikir gibi soyut \u015feyler \u00fcreten bir s\u00fcre\u00e7tir. Ortaya \u00e7\u0131kan k\u00fclt\u00fcrel \u00fcr\u00fcn\u00fcn maddi olmay\u0131\u015f\u0131ndan yola \u00e7\u0131k\u0131larak duygusal emek kavram\u0131 da ortaya at\u0131lm\u0131\u015ft\u0131r. Fakat bu teoriler sanat\u00e7\u0131y\u0131 \u00fcretim ili\u015fkilerinden kopararak d\u00fc\u015f\u00fcnmeye varmaktad\u0131r. Burada, sanat \u00fcretimindeki baz\u0131 \u00f6zg\u00fcnl\u00fckleri al\u0131p s\u00fcrecin tamam\u0131n\u0131 soyut bir \u015feymi\u015f gibi a\u00e7\u0131klama ve somut durumun \u00f6nemini geri plana atma e\u011filimi bask\u0131nd\u0131r. \u00dcretim s\u00fcrecinin salt entelekt\u00fcel bir s\u00fcre\u00e7 olu\u015fundan yola \u00e7\u0131k\u0131larak \u00fcretim s\u00fcrecinin kendisi ve o s\u00fcre\u00e7teki eme\u011fin de maddi olmad\u0131\u011f\u0131 gibi \u00e7eli\u015fkili bir d\u00fc\u015f\u00fcnceye alan a\u00e7\u0131lmaktad\u0131r. T\u00fcm bunlar i\u015f\u00e7i s\u0131n\u0131f\u0131ndan ayr\u0131 bir emek g\u00fcc\u00fc s\u0131n\u0131f\u0131 d\u00fc\u015f\u00fcncesine yol a\u00e7t\u0131\u011f\u0131 i\u00e7in \u00e7ok\u00e7a ele\u015ftirilmi\u015ftir.[10]<\/a> G\u00fcn\u00fcn sonunda sanat\u00e7\u0131n\u0131n \u00fcretim s\u00fcrecinde \u201cmaddi olmayan emek\u201d niteliklerini de bar\u0131nd\u0131rmas\u0131 bu soyut durumlar\u0131 tek ba\u015f\u0131na belirleyici etken yapmaya yetmez. En nihayetinde sanat\u00e7\u0131n\u0131n dahil oldu\u011fu \u00fcretim s\u00fcrecinin kendisi yeterince somut ve maddidir. Kapitalizm art\u0131k her alana s\u0131zm\u0131\u015f ve kendi d\u0131\u015f\u0131nda kalan her \u015feyi kendine eklemlemi\u015ftir. Girdi\u011fi her yeri kendi piyasa ili\u015fkilerince d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fcr. Mevcut neoliberal piyasa ili\u015fkileri i\u00e7erisinde sanat\u0131n \u00f6ncelikli olarak ne kadar duygusal, soyut ve maddi olmayan kavramlarla belirlendi\u011fi de son derece ku\u015fkuludur. Mevcut ili\u015fkilerin buz gibi ger\u00e7ekli\u011fi sanat\u00e7\u0131lar\u0131n da b\u00fcy\u00fck bir kesiminin proleterle\u015fti\u011fidir. Sanat\u0131n da gayet end\u00fcstrile\u015fti\u011fi bu \u00e7a\u011fda, art\u0131k bir\u00e7ok alanda, sanat \u00fcretiminin b\u00fcy\u00fck bir k\u0131sm\u0131 bir seri \u00fcretim, sanat eseriyse bir metaya d\u00f6n\u00fc\u015fm\u00fc\u015f durumdad\u0131r. Orijinal sanat eserinin tek ve biricik oldu\u011fu ko\u015fullarda bile art\u0131k eserin kopyalan\u0131p kitlesel bir meta \u00fcretiminin nesnesi haline geldi\u011fi durumlardan ya da sanat\u00e7\u0131n\u0131n bir\u00e7ok durumda ge\u00e7imini sa\u011flayabilmek i\u00e7in kendince seri \u00fcretim yapmak durumunda kalmas\u0131ndan bahsedebiliriz. Sanat tabii ki sadece ekonomik varolu\u015fa indirgenemez ve ger\u00e7ekten de bahsi ge\u00e7en b\u00fct\u00fcn soyut kavramlar\u0131 kendi i\u00e7inde bar\u0131nd\u0131r\u0131r, \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc de buradan al\u0131r. Fakat bu teoriler, baz\u0131 a\u00e7\u0131lardan bu soyut niteliklere dikkat \u00e7ekseler bile, bunlar sanat\u0131n kapitalist \u00fcretim ili\u015fkilerinin d\u0131\u015f\u0131nda oldu\u011funu kan\u0131tlamaya yetmezler.<\/p>\n

 <\/p>\n

Sanat\u0131n End\u00fcstrile\u015fmesi, Tekelle\u015fmesi ve Emek Rejimi<\/strong><\/p>\n

G\u00fcn\u00fcm\u00fcz kapitalizminde sanat, sermaye birikiminin hem ideolojik hem de maddi bir arac\u0131 haline gelmi\u015ftir.\u00a0Sanat art\u0131k b\u00fcy\u00fck \u00f6l\u00e7\u00fcde end\u00fcstrile\u015fmi\u015f ve piyasa ili\u015fkilerine eklemlenmi\u015ftir. Bu sebeple sanat, k\u00e2r etti\u011fi ve ettirdi\u011fi \u00f6l\u00e7\u00fcde var olabilir bir hale gelmi\u015ftir. Kapitalizmin sanat\u0131 da kendi \u00fcretim ili\u015fkilerine dahil etmesi, sanat\u0131 piyasala\u015ft\u0131rmas\u0131 ve end\u00fcstrile\u015ftirmesi beraberinde baz\u0131 do\u011fal sonu\u00e7lar\u0131 getirmi\u015ftir. Tekelci kapitalizm \u00e7a\u011f\u0131nda, sanat alan\u0131nda da tekelle\u015fmenin olu\u015fmas\u0131 ve sanat\u00e7\u0131lar\u0131n proleterle\u015fme s\u00fcreci bu olgunun do\u011fal sonu\u00e7lar\u0131d\u0131r.<\/p>\n

Sistemin \u00e7eli\u015fkilerinin ve ekonomik problemlerin bu denli yo\u011fun oldu\u011fu T\u00fcrkiye\u2019de bu konular \u00e7ok daha sert bir \u015fekilde hissedilmektedir. Devlete ba\u011fl\u0131 sanat kurumlar\u0131n\u0131n yan\u0131 s\u0131ra, \u015fu an T\u00fcrkiye\u2019de bir\u00e7ok alanda sanat, \u00f6zel yap\u0131m \u015firketleri ile banka ve sanayi sermayesi taraf\u0131ndan fonlanan kurumlarda tekelle\u015fmi\u015ftir. Bu da beraberinde idealize edildi\u011fi gibi sanat\u0131n sanat i\u00e7in de\u011fil sermayenin k\u00e2r\u0131n\u0131 \u00f6nceleyerek yap\u0131lmas\u0131n\u0131 getirmi\u015ftir. B\u00f6ylesi bir ortamda art\u0131k sanat\u0131n kendisi, sanat\u00e7\u0131 ya da o sanatla bulu\u015facak halk de\u011fil sermayenin \u00f6ncelikleri belirleyici olmu\u015ftur. Tekelle\u015fen sermaye odaklar\u0131 ve devlet kurumlar\u0131 ellerindeki otorite sebebiyle sanat alan\u0131n\u0131 yeniden dizayn etme ve makbul olan\u0131 belirleme g\u00fcc\u00fcn\u00fc de kendilerinde bulmaktad\u0131rlar. Neyin g\u00f6r\u00fcn\u00fcr olup neyin arka planda kalaca\u011f\u0131na, hangi konular\u0131n i\u015flenece\u011fine, nas\u0131l bir kavram seti kullan\u0131laca\u011f\u0131na, hatta sanat\u00e7\u0131lar\u0131n kariyerlerini \u015fekillendirmeye kadar bir\u00e7ok \u015feye bu otorite karar vermektedir. Bu sistemde merkeze yani g\u00fcce yak\u0131n olanlar makbul kabul edilirken, buna kar\u015f\u0131t g\u00f6r\u00fc\u015fte olanlar, \u00e7eperde kalanlar sistemin d\u0131\u015f\u0131na itilir. G\u00fcn\u00fcm\u00fcz T\u00fcrkiyesi\u2019nde hem sermaye odaklar\u0131n\u0131n hem de iktidar\u0131n etkisiyle sanat a\u00e7\u0131k bir \u015fekilde dizayn edilmektedir. Sanat\u00e7\u0131lar da bu yeni sanat ortam\u0131na uymalar\u0131 i\u00e7in \u00e7e\u015fitli bask\u0131 ve zor ara\u00e7lar\u0131yla sindirilmektedirler. Otoriteyle uyu\u015fmayan tarzda politik mesajlar i\u00e7eren sanat eserleri ve sanat\u00e7\u0131lar \u00e7e\u015fitli bask\u0131larla kar\u015f\u0131la\u015f\u0131r. Fakat en \u00f6nemli meselelerden biri de sanat\u0131n piyasa taraf\u0131ndan d\u00fczenlenmesi ve sanat al\u0131c\u0131s\u0131n\u0131n \u015fekillendirilmesidir. Kitle ileti\u015fim ara\u00e7lar\u0131 ve \u00f6zellikle sosyal medyan\u0131n da etkisiyle zevkler, be\u011feniler ve estetik de\u011fer piyasa ili\u015fkilerinin ihtiyac\u0131 do\u011frultusunda yeniden dizayn edilmektedir. Bu durum da bir \u00e7e\u015fit piyasa sans\u00fcr\u00fc g\u00f6revi g\u00f6r\u00fcr ve sistem neyin talep edilece\u011fine, neyin be\u011feni \u00f6znesi olaca\u011f\u0131na karar verir. Asl\u0131nda bu da sanat\u0131n i\u015flevini daraltarak daha g\u00fcvenli alanda yap\u0131lan ve piyasala\u015fmaya uygun bir \u015fekilde daha fazla pazarlanabilir bir sanat yarat\u0131lmas\u0131na sebep olmaktad\u0131r.<\/p>\n

Sanat \u00fcretimi alan\u0131n\u0131n mali sermaye taraf\u0131ndan ku\u015fat\u0131lmas\u0131, metala\u015fma s\u00fcrecinin derinle\u015fmesine neden olmu\u015ftur. T\u00fcrkiye \u00f6zelinde Eczac\u0131ba\u015f\u0131-\u0130KSV ya da Borusan Filarmoni Orkestras\u0131 gibi \u00f6rnekler, sermayenin yaln\u0131zca sanayi ve finans alanlar\u0131nda de\u011fil, ayn\u0131 zamanda sanat alan\u0131nda da hegemonya kurmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r. Giderek alanda tekel haline gelen yap\u0131m ve organizasyon \u015firketlerinin de etkisiyle end\u00fcstrile\u015fme, estetik, d\u00fc\u015f\u00fcnsel de\u011fer, fiziksel emek, yarat\u0131c\u0131l\u0131k gibi niteliklerin de\u011fil, fiyat\u0131n ve k\u00e2r\u0131n \u00f6nemini artt\u0131rm\u0131\u015f, alan\u0131n da buna g\u00f6re dizayn edilmesinin \u00f6n\u00fcn\u00fc a\u00e7m\u0131\u015ft\u0131r. Sermayenin finanse etti\u011fi bu alanlarda k\u00e2r \u00f6ncelik haline geldi\u011fi i\u00e7in sanat\u00e7\u0131 da art\u0131-de\u011fer \u00fcreten \u00fcretken bir emek haline gelmi\u015f ve s\u00f6m\u00fcr\u00fc ko\u015fullar\u0131 da o oranda artm\u0131\u015ft\u0131r. Sanat eserleri ve k\u00fclt\u00fcr \u00fcr\u00fcnleri metaya d\u00f6n\u00fc\u015fm\u00fc\u015f ve sanat\u0131n kendisi k\u00e2r etmek i\u00e7in bir ara\u00e7 haline gelmi\u015ftir. Sanat ortam\u0131n\u0131n bu d\u00f6n\u00fc\u015f\u00fcm\u00fc tabii ki sanat\u00e7\u0131lar\u0131n ko\u015fullar\u0131n\u0131 da etkilemi\u015ftir. \u00d6zellikle b\u00fcy\u00fck sermaye taraf\u0131ndan fonlanan ve y\u00f6nlendirilen kurumlarda, sanat emek\u00e7ilerinin kay\u0131tl\u0131, tam zamanl\u0131, g\u00fcvenceli \u00e7al\u0131\u015fma hakk\u0131 g\u00fcnden g\u00fcne ortadan kalkarken; bunun yerine esnek, par\u00e7al\u0131 ve belirsizlik i\u00e7eren \u00e7al\u0131\u015fma ko\u015fullar\u0131 dayat\u0131lm\u0131\u015ft\u0131r. Fakat durum sadece bununla da kalmam\u0131\u015f ve art\u0131k devlet kurumlar\u0131nda da esnek ve g\u00fcvencesiz \u00e7al\u0131\u015fma ko\u015fullar\u0131, d\u00fc\u015f\u00fck \u00fccret gibi sorunlar temel fakt\u00f6rler aras\u0131na girmi\u015ftir. Bir fabrikada klasik bir sermaye politikas\u0131 olarak g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u015feyler art\u0131k sanat alan\u0131na da g\u00f6r\u00fclmeye ba\u015flanm\u0131\u015ft\u0131r. D\u00fczenli olarak \u00e7al\u0131\u015fan bir\u00e7ok sanat\u00e7\u0131, uzun \u00e7al\u0131\u015fma saatleri, d\u00fc\u015f\u00fck \u00fccret, sosyal haklar\u0131n gitgide azalmas\u0131, i\u015fveren taraf\u0131ndan kadrolu istihdam\u0131n tercih edilmemesi, her an i\u015fsiz kalabilme ihtimali, mobbing gibi g\u00fcvencesiz ve zorlu ko\u015fullar alt\u0131nda \u00e7al\u0131\u015fmak zorunda b\u0131rak\u0131lmaktad\u0131r. Bunun yan\u0131nda d\u00fczenli olarak \u00e7al\u0131\u015fmayan, proje bazl\u0131, freelance ve kay\u0131t d\u0131\u015f\u0131 \u00e7al\u0131\u015fan sanat\u00e7\u0131lar i\u00e7in de benzer zorlu ko\u015fullar ge\u00e7erlidir. \u00d6rne\u011fin art\u0131k g\u00fcn\u00fcm\u00fczde bir\u00e7ok sanat\u00e7\u0131 herhangi bir kuruma ba\u011fl\u0131 olsun ya da olmas\u0131n ge\u00e7imini sa\u011flayabilmek i\u00e7in birden fazla i\u015fte \u00e7al\u0131\u015fmak zorunda kalmaktad\u0131r. Kamu kurumlar\u0131ndan \u00f6rnek vermek gerekirse bir\u00e7ok sanat\u00e7\u0131 kadro verilmedi\u011fi i\u00e7in fig\u00fcran s\u00f6zle\u015fmesiyle g\u00fcvencesiz ve d\u00fc\u015f\u00fck \u00fccretle \u00e7al\u0131\u015fmaktad\u0131r. Ba\u015fka bir a\u00e7\u0131dan sanat\u0131n\u0131 yo\u011fun fiziki emekle ger\u00e7ekle\u015ftiren sanat\u00e7\u0131lar kendi alanlar\u0131nda bir\u00e7ok sakatl\u0131kla kar\u015f\u0131 kar\u015f\u0131ya kalmaktad\u0131rlar. \u0130\u015fyerinde ya\u015fad\u0131\u011f\u0131 sakatl\u0131\u011f\u0131n i\u015f kazas\u0131 kapsam\u0131nda de\u011ferlendirilmemesi, sanat\u00e7\u0131n\u0131n tedavi masraflar\u0131n\u0131 kendi kar\u015f\u0131lamak zorunda kalmas\u0131 ve ya\u015fanan sakatl\u0131\u011f\u0131n tek ba\u015f\u0131na sanat\u00e7\u0131n\u0131n sorumlulu\u011funda oldu\u011fu s\u00f6ylemi bu alandaki g\u00fcvencesizli\u011fin say\u0131s\u0131z \u00f6rneklerinden sadece bir tanesidir.<\/p>\n

Buna kar\u015f\u0131l\u0131k, \u00fclke genelinde bir\u00e7ok sanat\u00e7\u0131n\u0131n sendikal haklar\u0131 olduk\u00e7a k\u0131s\u0131tl\u0131d\u0131r. Sanat emek\u00e7ileri aras\u0131nda s\u0131n\u0131f bilincinin zay\u0131f geli\u015fkinlik d\u00fczeyi bir yana, yasal mevzuatta da i\u015f\u00e7i stat\u00fcs\u00fcndeki sanat\u00e7\u0131lar\u0131n \u00f6rg\u00fctlenmesinin \u00f6n\u00fcnde birtak\u0131m engeller bulunmaktad\u0131r. \u0130\u015fkollar\u0131 mevzuat\u0131na g\u00f6re sanat emek\u00e7ileri 10 No\u2019lu \u201cTicaret, B\u00fcro, E\u011fitim ve G\u00fczel Sanatlar\u201d i\u015fkolu kapsam\u0131nda de\u011ferlendirilmekte ve \u00f6rg\u00fctlenmesi beklenmektedir. Ancak bu \u201ctorba i\u015fkolu\u201d, sanat emek\u00e7ileri yan\u0131 s\u0131ra toptan ve perakende market-ma\u011faza \u00e7al\u0131\u015fanlar\u0131, \u00e7a\u011fr\u0131 merkezi \u00e7al\u0131\u015fanlar\u0131, AVM\u2019deki g\u00fcvenlik g\u00f6revlileri, \u00f6zel okullardaki e\u011fitim emek\u00e7ileri gibi toplam say\u0131lar\u0131 4,5 milyonu bulan b\u00fcy\u00fck bir emek\u00e7i kitlesini i\u00e7ermektedir. Sanat alan\u0131ndaki i\u015f\u00e7ilerin say\u0131s\u0131n\u0131 tam olarak belirlemek eldeki ko\u015fullarda m\u00fcmk\u00fcn olmasa da, T\u00dc\u0130K verilerine g\u00f6re 2024 y\u0131l\u0131nda \u201ck\u00fclt\u00fcr, sanat, e\u011flence ve spor\u201d sekt\u00f6r\u00fcndeki toplam \u00fccretli \u00e7al\u0131\u015fan say\u0131s\u0131n\u0131n 129 bin oldu\u011fu d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, sanata dair ayr\u0131 bir i\u015fkolunun olmamas\u0131, sendikala\u015fmada kayda de\u011fer bir yol kat edilse dahi yetki ve baraj problemini do\u011furmaktad\u0131r. Nitekim, sanat emek\u00e7ilerinin zay\u0131f sendikala\u015fma e\u011filimleriyle birlikte, \u00e7al\u0131\u015fma ko\u015fullar\u0131, istihdam bi\u00e7imleri ve mevzuat\u0131n da koydu\u011fu engeller birlikte d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde; \u00c7al\u0131\u015fma ve Sosyal G\u00fcvenlik Bakanl\u0131\u011f\u0131 Ocak 2025 tebli\u011fine g\u00f6re, Sinema-TV Sendikas\u0131, Sine-Sen, Oyuncular Sendikas\u0131, M\u00fczik-Sen, T\u00fcrkiye Yazarlar Sendikas\u0131 gibi \u00f6zel olarak sanat emek\u00e7ilerine y\u00f6nelen sendikalar\u0131n toplam \u00fcye say\u0131s\u0131 759\u2019da kalmaktad\u0131r.[11]<\/a><\/p>\n

 <\/p>\n

Sonu\u00e7<\/strong><\/p>\n

\u00d6zetle, g\u00fcn\u00fcm\u00fcz kapitalizminde her \u015feyde oldu\u011fu gibi sanat da ekonomik, politik, toplumsal ve ideolojik yap\u0131lar taraf\u0131ndan belirlenen ve g\u00fc\u00e7 ili\u015fkilerine eklemlenmi\u015f bir alan haline gelmi\u015ftir. T\u00fcrkiye\u2019deki sanat ortam\u0131 da artan bir \u015fekilde devlet ayg\u0131t\u0131n\u0131n, merkezi kurumlar\u0131n ve sermayenin etkisiyle \u015fekillenmektedir. Sanat\u0131n kapitalizmin piyasa dinamiklerine g\u00f6re \u015fekillenmesi, sanat eserlerinin birer metaya, sanat\u00e7\u0131n\u0131n ise bu metay\u0131 \u00fcretecek i\u015f\u00e7iye d\u00f6n\u00fc\u015fmesini sa\u011flam\u0131\u015ft\u0131r. Walter Benjamin gibi d\u00fc\u015f\u00fcn\u00fcrlerin de teorize etti\u011fi gibi sanat eseri, seri \u00fcretime ba\u011fl\u0131 bir t\u00fcketim nesnesi haline gelmi\u015ftir. Bu ko\u015fullar alt\u0131ndaki sanat eseri \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc, ele\u015ftirel g\u00fcc\u00fcn\u00fc kaybetmi\u015f ve hem sanat\u00e7\u0131 hem de t\u00fcketici i\u00e7in yabanc\u0131la\u015fma durumu olu\u015fmu\u015ftur. Burada Marx da emek\u00e7inin eme\u011fine, \u00fcr\u00fcn\u00fcne, bizzat kendisine ve topluma yabanc\u0131la\u015ft\u0131\u011f\u0131n\u0131 s\u00f6yler. Bu ko\u015fullarda sanat\u00e7\u0131 i\u00e7in de yabanc\u0131la\u015fma kavram\u0131ndan bahsedebiliriz; art\u0131k \u00e7o\u011fu sanat emek\u00e7isi kendi deneyimine, yarat\u0131c\u0131l\u0131\u011f\u0131na, d\u00fc\u015f\u00fcncelerine g\u00f6re de\u011fil piyasan\u0131n beklentilerine, sat\u0131labilirli\u011fe, \u201ci\u015f yapacak\u201d olana g\u00f6re \u00fcretmek zorunda kalmaktad\u0131r. Bu sebeple kendi eme\u011fine yabanc\u0131la\u015fm\u0131\u015ft\u0131r. Sanat eseri t\u0131pk\u0131 i\u015f\u00e7inin \u00fcretti\u011fi bir meta gibi kendinden \u00e7\u0131k\u0131p onu \u201csat\u0131n alacak\u201d ki\u015finin bi\u00e7ti\u011fi de\u011ferle anlam kazan\u0131r hale gelmi\u015ftir. \u00a0Bu sebeple kendi \u00fcr\u00fcn\u00fcne, yani sanat eserine de yabanc\u0131la\u015fm\u0131\u015ft\u0131r. Sanat\u00e7\u0131 bu ko\u015fullar alt\u0131nda kendi potansiyelini ger\u00e7ekle\u015ftiremez, politik duru\u015funa ve yarat\u0131c\u0131l\u0131\u011f\u0131na g\u00f6re hareket edemez ve sisteme ayak uydurabilmek i\u00e7in \u00f6zg\u00fcnl\u00fc\u011f\u00fcnden uzakla\u015f\u0131r. Bu sebeple kendi benli\u011fine de yabanc\u0131la\u015f\u0131r.<\/p>\n

Burada art\u0131k belirleyici unsur \u201csanat\u0131 sanat yapan de\u011ferler\u201d de\u011fil k\u00e2r elde etmektir. Sanat bir ama\u00e7 olmaktan \u00e7\u0131km\u0131\u015f ve sistemin bir arac\u0131 haline gelmi\u015ftir. Sanat\u00e7\u0131 da \u00f6zg\u00fcn bir yarat\u0131c\u0131 olmaktan \u00e7ok, sistemin taleplerini kar\u015f\u0131layan bir \u00fcretici olmak zorunda b\u0131rak\u0131lm\u0131\u015ft\u0131r. \u00d6zg\u00fcnl\u00fck, yarat\u0131c\u0131l\u0131k, fiziksel ve d\u00fc\u015f\u00fcnsel emek, sanat\u00e7\u0131n\u0131n toplumun \u00fcst\u00fcnde olu\u015fu gibi d\u00fc\u015f\u00fcnceler, art\u0131k sanat\u00e7\u0131n\u0131n proleterle\u015fme s\u00fcrecini ve s\u00f6m\u00fcr\u00fc ko\u015fullar\u0131n\u0131 me\u015frula\u015ft\u0131r\u0131p gizlemek amac\u0131yla kullan\u0131lmaktad\u0131r. Sanat alan\u0131ndaki proleterle\u015fmeyi, bu alandaki yo\u011fun s\u00f6m\u00fcr\u00fc ko\u015fullar\u0131n\u0131 ve sanat\u0131n gitgide kapitalizmin ideolojik ayg\u0131t\u0131 haline geli\u015fini g\u00f6rmezden gelerek yap\u0131lan her yorum s\u0131\u011f, eksik ve ger\u00e7eklikten kopuk olacakt\u0131r.<\/p>\n

Bug\u00fcnden bakt\u0131\u011f\u0131m\u0131zda sanat de\u011fi\u015ftirici ve d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcyle, kendine has \u00f6zg\u00fcnl\u00fckleriyle emek\u00e7i s\u0131n\u0131f i\u00e7erisinde h\u00e2l\u00e2 gayet \u00f6zg\u00fcn bir yer tutmaktad\u0131r. Fakat bu durum, fabrikadaki bir i\u015f\u00e7inin s\u00f6m\u00fcr\u00fc ko\u015fullar\u0131yla bir sanat\u00e7\u0131n\u0131n s\u00f6m\u00fcr\u00fc ko\u015fullar\u0131n\u0131n temelde ayn\u0131 oldu\u011fu ve sistemin kendisini bu alanda da \u00e7e\u015fitli s\u00fcsl\u00fc s\u00f6zlerle gizlemeye \u00e7al\u0131\u015fsa da emek s\u00f6m\u00fcr\u00fcs\u00fcne dayand\u0131rd\u0131\u011f\u0131 ger\u00e7e\u011fini de\u011fi\u015ftirmemektedir.<\/p>\n

Bu noktada t\u00fcm bunlar\u0131 s\u00f6yledikten sonra \u00e7\u00f6z\u00fcm i\u00e7in fikir y\u00fcr\u00fctmeyi de kendimize bor\u00e7 biliyoruz. Art\u0131k bir\u00e7ok sanat\u00e7\u0131n\u0131n da sorunlar\u0131n sistemle ba\u011f\u0131n\u0131 kurma konusunda geri durmad\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliriz. Sanat\u00e7\u0131n\u0131n toplumun \u00fcst\u00fcnde, toplumdan ayr\u0131 oldu\u011fu d\u00fc\u015f\u00fcncesi ise bir\u00e7ok ki\u015fi i\u00e7in ya\u015fam ve \u00e7al\u0131\u015fma ko\u015fullar\u0131 bak\u0131m\u0131ndan bir fabrikada \u00e7al\u0131\u015fan i\u015f\u00e7i kadar a\u011f\u0131r s\u00fcre\u00e7ler ya\u015fad\u0131\u011f\u0131 bu durumda git gide \u00e7\u00f6z\u00fclmeye ba\u015flamaktad\u0131r. Bu da sanat\u00e7\u0131n\u0131n ya\u015fan\u0131lan b\u00fct\u00fcn zorluklar kar\u015f\u0131s\u0131nda idealize edilen \u015feyde \u0131srar\u0131 yerine ya\u015fam\u0131n ve maddi ko\u015fullar\u0131n imk\u00e2n verdi\u011fi \u00f6l\u00e7\u00fcde sanat yapabilece\u011fi ger\u00e7e\u011fine ad\u0131m ad\u0131m varmas\u0131n\u0131 sa\u011flamaktad\u0131r. \u0130\u00e7inde bulundu\u011fumuz ko\u015fullar ister istemez \u201cNe yapmal\u0131\u201d sorusunu sormam\u0131za sebep oluyor. E\u011fer sanat\u00e7\u0131lar\u0131n b\u00fcy\u00fck k\u0131sm\u0131n\u0131 i\u015f\u00e7i s\u0131n\u0131f\u0131 tan\u0131m\u0131n\u0131n i\u00e7ine koyuyorsak, kurtulu\u015flar\u0131n\u0131n da i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n m\u00fccadele birikiminden yararlanarak ger\u00e7ekle\u015febilece\u011fini s\u00f6ylemeliyiz. Nas\u0131l ki i\u015f\u00e7i s\u0131n\u0131f\u0131, \u00f6rg\u00fctl\u00fcl\u00fc\u011f\u00fc kadar g\u00fc\u00e7l\u00fcyse, sanat\u00e7\u0131lar\u0131n da \u00f6rg\u00fctl\u00fcl\u00fc\u011f\u00fcyle, kaderlerini ve m\u00fccadelelerini s\u0131n\u0131f\u0131yla birle\u015ftirdikleri \u00f6l\u00e7\u00fcde g\u00fc\u00e7lenebileceklerini d\u00fc\u015f\u00fcn\u00fcyoruz. Zincirlerimizden ba\u015fka kaybedecek hi\u00e7bir \u015feyimiz yoksa, belki de sanat\u0131n en y\u00fcce anlar\u0131ndan biri, t\u00fcm \u00f6zg\u00fcnl\u00fc\u011f\u00fcyle, de\u011fi\u015ftirici ve d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcyle o zincirlerin k\u0131r\u0131lmas\u0131na yard\u0131m etti\u011fi and\u0131r.<\/p>\n

[1]<\/a> Bale sanat\u00e7\u0131lar\u0131.<\/p>\n

[2]<\/a> Sayers, S. (2018) Marx ve Yabanc\u0131la\u015fma: Hegelyan Temalar \u00dczerine Yaz\u0131lar<\/em>, \u00e7ev. F. Sar\u0131, Kor Kitap, \u0130stanbul, sf. 46.<\/p>\n

[3]<\/a> Marx, K. Marx, K. (1867\/2021), \u201cDolays\u0131z \u00dcretimin Sonu\u00e7lar\u0131\u201d, Kapital: Birinci Cilt <\/em>i\u00e7inde, \u00e7ev. M. Selik ve N. Satl\u0131gan, 14. Bas\u0131m, Yordam Kitap, \u0130stanbul, sf. 802.<\/p>\n

[4]<\/a> Marx, K. (2013) Art\u0131 De\u011fer Teorileri<\/em>, Birinci Kitap, \u0130kinci Bask\u0131, Sol Yay\u0131nlar\u0131, sf. 369-370<\/p>\n

[5]<\/a> \u00dcretken olan ve olmayan emek kavramlar\u0131n\u0131n Marx \u00f6ncesi ve Marx\u2019taki geli\u015fimi i\u00e7in bkz: Ko\u015far, A. (2021) \u201c\u00dcretken ve \u00dcretken Olmayan Emek: Tarihsel Bir \u00d6zet\u201d, Teori ve Eylem<\/em>, 53, sf. 111-129.<\/p>\n

[6]<\/a> Ko\u015far, age, sf. 122.<\/p>\n

[7]<\/a> Para genel bir de\u011fi\u015fim arac\u0131, sermaye ise paran\u0131n belli bir toplumsal ili\u015fkiye b\u00fcr\u00fcnm\u00fc\u015f halidir. Tek ba\u015f\u0131na para al\u0131m-sat\u0131m yapmaya yarar fakat sermaye ayn\u0131 zamanda de\u011fer \u00fcretir. Daha detayl\u0131 inceleme i\u00e7in Marx, Kapital<\/em>, c. 1, s. 149-179.<\/p>\n

[8]<\/a> Marx, K. Kapital<\/em>, sf. 49.<\/p>\n

[9]<\/a> \u0130ngilizcede Non-Fungible Token, T\u00fcrk\u00e7ede \u201cNitelikli Fikri Tapu\u201d<\/p>\n

[10]<\/a> Bu \u00f6rneklerden biri i\u00e7in bkz. Ko\u015far, A. (2018) Maddi Olmayan Emek Teorisi: Kuramsal Bir Ele\u015ftiri<\/em>, Kor Kitap, \u0130stanbul.<\/p>\n

[11]<\/a> \u00c7SGB, 2025 Ocak Ay\u0131 \u0130\u015fkollar\u0131 B\u00fclteni, https:\/\/www.csgb.gov.tr\/Media\/2eojuc2u\/2025-ocak-tebli\u011f-son-hali_07-03.pdf (Eri\u015fim: 19 May\u0131s 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

Arda Erkara ve Ekim Deniz Akarslan[1] Giri\u015f Sanat\u00e7\u0131n\u0131n toplum i\u00e7erisindeki konumu ya da sanat\u00e7\u0131n\u0131n \u201cne\u201d oldu\u011fu tart\u0131\u015fmalar\u0131 genelde maddi ve somut ko\u015fullar \u00fczerinden de\u011fil, daha manevi, soyut ve d\u00fcnyevi olana a\u015fk\u0131n bir yerden tart\u0131\u015f\u0131lmaktad\u0131r. \u00c7o\u011fu zaman sanat emek\u00e7isinin toplumun i\u00e7inde de\u011fil, sanki \u00fcst\u00fcnde ya da \u00f6tesinde bir yerde durdu\u011fu, geni\u015f kalabal\u0131klardan olduk\u00e7a farkl\u0131 oldu\u011fu, bu sebeple de toplumsal, ekonomik ve […]<\/p>\n","protected":false},"author":1,"featured_media":3845,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[782,783,774,773],"tags":[],"class_list":["post-3844","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arda-erkara","category-ekim-deniz-akarslan","category-68-sayi-yaz-2025","category-turkiye-isci-sinifi"],"yoast_head":"\nKapitalizmde Sanat Eme\u011fi ve T\u00fcrkiye\u2019de Sanat Emek\u00e7ileri<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/teoriveeylem.net\/tr\/2025\/10\/17\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:locale:alternate\" content=\"en_EN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kapitalizmde Sanat Eme\u011fi ve T\u00fcrkiye\u2019de Sanat Emek\u00e7ileri\" \/>\n<meta property=\"og:description\" content=\"Arda Erkara ve Ekim Deniz Akarslan[1] Giri\u015f Sanat\u00e7\u0131n\u0131n toplum i\u00e7erisindeki konumu ya da sanat\u00e7\u0131n\u0131n \u201cne\u201d oldu\u011fu tart\u0131\u015fmalar\u0131 genelde maddi ve somut ko\u015fullar \u00fczerinden de\u011fil, daha manevi, soyut ve d\u00fcnyevi olana a\u015fk\u0131n bir yerden tart\u0131\u015f\u0131lmaktad\u0131r. \u00c7o\u011fu zaman sanat emek\u00e7isinin toplumun i\u00e7inde de\u011fil, sanki \u00fcst\u00fcnde ya da \u00f6tesinde bir yerde durdu\u011fu, geni\u015f kalabal\u0131klardan olduk\u00e7a farkl\u0131 oldu\u011fu, bu sebeple de toplumsal, ekonomik ve […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/teoriveeylem.net\/tr\/2025\/10\/17\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\/\" \/>\n<meta property=\"og:site_name\" content=\"Teori ve Eylem\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/teoriveeylem\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-10-17T07:14:21+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@teoriveeylem\" \/>\n<meta name=\"twitter:site\" content=\"@teoriveeylem\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"27 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/teoriveeylem.net\\\/tr\\\/2025\\\/10\\\/17\\\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/teoriveeylem.net\\\/tr\\\/2025\\\/10\\\/17\\\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\\\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/teoriveeylem.net\\\/tr\\\/#\\\/schema\\\/person\\\/413054853585ad4d138f2f331dfd177c\"},\"headline\":\"Kapitalizmde Sanat Eme\u011fi ve T\u00fcrkiye\u2019de Sanat Emek\u00e7ileri\",\"datePublished\":\"2025-10-17T07:14:21+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/teoriveeylem.net\\\/tr\\\/2025\\\/10\\\/17\\\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\\\/\"},\"wordCount\":6678,\"publisher\":{\"@id\":\"https:\\\/\\\/teoriveeylem.net\\\/tr\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/teoriveeylem.net\\\/tr\\\/2025\\\/10\\\/17\\\/kapitalizmde-sanat-emegi-ve-turkiyede-sanat-emekcileri\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/teoriveeylem.net\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/12_Sanatcilar-e1760685246396.png\",\"articleSection\":[\"Arda Erkara\",\"Ekim Deniz Akarslan\",\"68. 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