Öz
The aim of this study is to analyse Claes Oldenburg's Mouse Museum through the Marxist
context and to add a new dimension to the work. The artist constructed his work in the
highly politicised environment of street demonstrations and student protests in 1970s America.
In this context, it has been observed that the artist's Mouse Museum differs from his
other works. Various qualitative research methods were used in the study for a deeper understanding
of the subject. As a result of the observations, it is possible to say that the work
contains a protest approach. Both the Mickey Mouse shape on the ground plan and the
collection inside the work question the political and social roles of the museum. The artist
creates a stereotype of American society in his collection and in fact draws a portrait of the
bourgeois economy of the period. These indicators strengthen the Marxist criticism. With
the archaeology of the period in which it is located, the Mouse Museum actually shows a
cultural production that has been destroyed and may never exist. Therefore, the Mouse
Museum is not a sketch of a resistance, it is the museum of a community doomed to its
fate, overshadowed by the enriching capital. Moreover, in the context of Marxism, the relationship
of the artefact with the exhibited space resembles the highest stage of capitalism:
the struggle between monopoly capital and the proletariat. It does not seem possible for the
artefact to be independent from the structure in order to preserve its existence. There is a
biased struggle here. The artwork's architectural articulation to the existing existence of the
museum/gallery space signifies the struggle of a cultural class for survival. In this context,
the Mickey Mouse narrative turns into a bourgeois mouse.
Anahtar Kelimeler
Kaynakça
- Adorno, T. W. (1991). The Cultural Industry, Selected Essays On Mass Culture (ed.) J.M. Bernstein: Routledge London and New York (s.99).
- Adorno, T. W. (1997). Aesthetic Theory. Yayınevi: University of Minnesota Press, Minneapolis. (s.218).
- Benjamin, W. (2008). The Work of Art in The Age of its Technological Reproducibility, and Other Writings On Media. Yayınevi: Harvard University Press. (s.42).
- Brecher, J. (1972). Strike! South End Press (s.287).
- Bryan, J. (2009). Art Workers Radical Practice in Vietnam War Era. Yayınevi: University of California (s.36).
- Buchloh, B. (1983). The Museum Fictions of Marcel Broodthaers, A. Bronson, P. Gale (Ed.), Museums by artists, Canada Art Metropole.
- Buren, D. (1970). Fonction du Musee, A. Bronson, P. Gale (Ed.), Museums by artists (s. 57). Canada Art Metropole.
- Celant, G. (1995). The Sculptor versus the Architect, Oldenburg Antholgy, (s.371).
- Clifford, J. (1981). On Ethnographic Surrealism, Comparative Studies in Society and History, 23(4), 539–564. (s. 542).
- Duve, T. (2012). Sewn in the Sweatshops of Marx: Beuys, Warhol, Klein, Duchamp. Yayınevi: University of Chicago Press. (s.11).
- Felshin, N. (1995). But is it Art? The Spirit of Art as Activism. Yayınevi: Seattle Bay Press. (s.10).
- Findlen, P. (1989). The Museum: It’s Classical Etymology and Renaissance Genealogy (s.60) Journal of the History of Collections. (s.59-78).
- Foster, H. (1995). The Artist as Ethnographer? Yayınevi: University of California Press (s. 302).
- Grasskamp, W. (1983). Museums and By Artists, Artists and Other Collectors.
- Guran, L. (2010). In Marx’s Shadow: Knowledge, Power, and Intellectuals in Eastern Europe and Russia. (s. 60).
- Haacke, H. (1974). All the All the Art that is Fit to Show, A. Bronson, P. Gale (Ed.), Museums by artists (s. 151). Canada Art Metropole.
- ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 563 Sanat&Tasarım Dergisi,15 (1), 2025: 545-564
- Haacke, H. (1984). Museums, Managers of Consciousness, Art in America. (s.9-10).
- Harrison, S. (2009). Pop Art and the Origins of Post-Modernism. Yayınevi: Cambridge University Press. (s.218).
- Hochdörfer, A. (2023, January). Claes Oldenburg (1929–2022), Artforum Magazine, Vol. 61, No.5.
- Jameson, F. (1974). Marxism and Form, Twentieth-Century Dialectical Theories of Literature. (s.105).
- Kuspit, D. (2004). The End of Art. Yayınevi: Cambridge University Press. (s.23)
- Lipset, S. M. & Wolin, S. (1965) Berkeley Student Revolt, Facts And Interpretations. (s.459).
- Lipset, S. M. (1970). Revolution and Conterrevolution, Change and Persistence in Social Structures. (s. 168).
- Lukacs, G. (1967). History & Class Consciousness. Yayınevi: Merlin Press. (s. 97).
- Molesworth, H. (1999). “The Museum As Muse”: Opposing the Void, Salmagundi. (s.42)
- O’Doherty, B. (1999). Inside the White Cube The Ideology of the Gallery Space. (s.96).
- Oldenburg, C. (1983). Mouse Museum and Ray Gun Wing, A. Bronson, P. Gale (Ed.), Museums by artists (s. 260-261). Canada Art Metropole.
- Oldenburg, C. (1995). Claes Oldenburg: An Anthology.
- Osterworld, T. (2003). Pop Art. Yayınevi: Taschen, Köln. (s.200).
- Patton, P. (1976, March). Oldenburg’s Mouse, Artforum Magazine, Vol. 14, No.7.
- Putnam, J. (2001). Art and Artifact, “Introduction: Open The Box.
- Rose, B. (1970). MoMA Catalogue, Yayınevi: The Museum of Modern Art: Distributed New York Graphic Society, Greenwich, Conn. (S.19).
- Rottner, N. (2012). Oldenburg’s “Moveyhouse”: Performing a Cinema without Film. Yayınevi: Oxford Art Journal, 35(1), 1–18.
- Kröller-Muller Museum, Exhibition Claes Oldenburg, Mouse Museum and Ray Gun Wing. 20 Haziran 2024 tarihinde https://krollermuller.nl/en/timeline/exhibition-claes-oldenburg-mouse-museum-and-ray-gun-wing adresinden erişilmiştir.
- ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 564 Sanat&Tasarım Dergisi,15 (1), 2025: 545-564 MoMA Museum, Exhibition Claes Oldenburg, Mouse Museum and Ray Gun Wing. 27 Mayıs 2024 tarihinde https://www.moma.org/calendar/exhibitions/1296?installation_image_index=19 adresinden erişilmiştir.
- MoMA Museum, Exhibition Claes Oldenburg, Mouse Museum and Ray Gun Wing. 26 Mayıs 2024 tarihinde https://www.moma.org/calendar/exhibitions/1296?installation_image_index=19 adresinden erişilmiştir.
Öz
Bu çalışmada amaç, Claes Oldenburg’un Fare Müzesi’ni Marksist bağlam üzerinden inceleyerek
esere yeni bir boyut kazandırmaktır. Çünkü sanatçı eserini, 1970’li yılların Amerika’sında,
sokak gösterilerinin ve öğrenci eylemlerinin son derece siyasallaşmış ortamında
inşa etmiştir. Bu kapsamda sanatçının Fare Müzesi eserinin, diğer işlerinden ayrıldığı gözlemlenmiştir.
Konunun daha derinlemesine anlaşılması için çalışmada çeşitli nitel araştırma
yöntemleri kullanılmıştır. Gözlemlerin sonucunda eserin, protest bir yaklaşım barındırdığını
söylemek mümkündür. Eserin hem zemin planındaki Mickey Mouse şekli hem
de içerisinde yer alan koleksiyonu, müzenin siyasi ve toplumsal rollerini sorgular. Sanatçı
kurduğu koleksiyonda Amerikan toplumunun stereotipini oluşturur ve aslında dönemin
burjuva ekonomisinin de portresini çizer. Bu göstergeler Marksist eleştiriyi güçlendirmektedir.
Fare Müzesi bulunduğu dönemin arkeolojisiyle aslında tahrip edilen ve belki de hiç var
olamayacak bir kültür üretimini gösterir. Bu yüzden Fare Müzesi bir direnişin taslağı değildir,
zenginleşen sermayenin gölgesinde kalmış, kaderine mahkûm bir topluluğun müzesidir.
Ayrıca Marksizm bağlamında eserin sergilenen mekânla ilişkisi, kapitalizmin en yüksek
aşamasına: yani tekelci sermaye ile proletarya arasındaki mücadeleye benzemektedir.
Mevcut varlığını koruyabilmesi için yapıdan bağımsız olması mümkün görünmemektedir.
Burada taraflı bir mücadele söz konusudur. Eserin mimari olarak müze/galeri mekânın
mevcut varlığına eklemlenmesi kültürel bir sınıfın hayatta kalma mücadelesini işaret eder.
Bu bağlam içerisinde Mickey Mouse anlatısı burjuva bir fareye dönüşür.
Anahtar Kelimeler
Kaynakça
- Adorno, T. W. (1991). The Cultural Industry, Selected Essays On Mass Culture (ed.) J.M. Bernstein: Routledge London and New York (s.99).
- Adorno, T. W. (1997). Aesthetic Theory. Yayınevi: University of Minnesota Press, Minneapolis. (s.218).
- Benjamin, W. (2008). The Work of Art in The Age of its Technological Reproducibility, and Other Writings On Media. Yayınevi: Harvard University Press. (s.42).
- Brecher, J. (1972). Strike! South End Press (s.287).
- Bryan, J. (2009). Art Workers Radical Practice in Vietnam War Era. Yayınevi: University of California (s.36).
- Buchloh, B. (1983). The Museum Fictions of Marcel Broodthaers, A. Bronson, P. Gale (Ed.), Museums by artists, Canada Art Metropole.
- Buren, D. (1970). Fonction du Musee, A. Bronson, P. Gale (Ed.), Museums by artists (s. 57). Canada Art Metropole.
- Celant, G. (1995). The Sculptor versus the Architect, Oldenburg Antholgy, (s.371).
- Clifford, J. (1981). On Ethnographic Surrealism, Comparative Studies in Society and History, 23(4), 539–564. (s. 542).
- Duve, T. (2012). Sewn in the Sweatshops of Marx: Beuys, Warhol, Klein, Duchamp. Yayınevi: University of Chicago Press. (s.11).
- Felshin, N. (1995). But is it Art? The Spirit of Art as Activism. Yayınevi: Seattle Bay Press. (s.10).
- Findlen, P. (1989). The Museum: It’s Classical Etymology and Renaissance Genealogy (s.60) Journal of the History of Collections. (s.59-78).
- Foster, H. (1995). The Artist as Ethnographer? Yayınevi: University of California Press (s. 302).
- Grasskamp, W. (1983). Museums and By Artists, Artists and Other Collectors.
- Guran, L. (2010). In Marx’s Shadow: Knowledge, Power, and Intellectuals in Eastern Europe and Russia. (s. 60).
- Haacke, H. (1974). All the All the Art that is Fit to Show, A. Bronson, P. Gale (Ed.), Museums by artists (s. 151). Canada Art Metropole.
- ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 563 Sanat&Tasarım Dergisi,15 (1), 2025: 545-564
- Haacke, H. (1984). Museums, Managers of Consciousness, Art in America. (s.9-10).
- Harrison, S. (2009). Pop Art and the Origins of Post-Modernism. Yayınevi: Cambridge University Press. (s.218).
- Hochdörfer, A. (2023, January). Claes Oldenburg (1929–2022), Artforum Magazine, Vol. 61, No.5.
- Jameson, F. (1974). Marxism and Form, Twentieth-Century Dialectical Theories of Literature. (s.105).
- Kuspit, D. (2004). The End of Art. Yayınevi: Cambridge University Press. (s.23)
- Lipset, S. M. & Wolin, S. (1965) Berkeley Student Revolt, Facts And Interpretations. (s.459).
- Lipset, S. M. (1970). Revolution and Conterrevolution, Change and Persistence in Social Structures. (s. 168).
- Lukacs, G. (1967). History & Class Consciousness. Yayınevi: Merlin Press. (s. 97).
- Molesworth, H. (1999). “The Museum As Muse”: Opposing the Void, Salmagundi. (s.42)
- O’Doherty, B. (1999). Inside the White Cube The Ideology of the Gallery Space. (s.96).
- Oldenburg, C. (1983). Mouse Museum and Ray Gun Wing, A. Bronson, P. Gale (Ed.), Museums by artists (s. 260-261). Canada Art Metropole.
- Oldenburg, C. (1995). Claes Oldenburg: An Anthology.
- Osterworld, T. (2003). Pop Art. Yayınevi: Taschen, Köln. (s.200).
- Patton, P. (1976, March). Oldenburg’s Mouse, Artforum Magazine, Vol. 14, No.7.
- Putnam, J. (2001). Art and Artifact, “Introduction: Open The Box.
- Rose, B. (1970). MoMA Catalogue, Yayınevi: The Museum of Modern Art: Distributed New York Graphic Society, Greenwich, Conn. (S.19).
- Rottner, N. (2012). Oldenburg’s “Moveyhouse”: Performing a Cinema without Film. Yayınevi: Oxford Art Journal, 35(1), 1–18.
- Kröller-Muller Museum, Exhibition Claes Oldenburg, Mouse Museum and Ray Gun Wing. 20 Haziran 2024 tarihinde https://krollermuller.nl/en/timeline/exhibition-claes-oldenburg-mouse-museum-and-ray-gun-wing adresinden erişilmiştir.
- ANADOLU ÜNİVERSİTESİ SANAT & TASARIM DERGİSİ 564 Sanat&Tasarım Dergisi,15 (1), 2025: 545-564 MoMA Museum, Exhibition Claes Oldenburg, Mouse Museum and Ray Gun Wing. 27 Mayıs 2024 tarihinde https://www.moma.org/calendar/exhibitions/1296?installation_image_index=19 adresinden erişilmiştir.
- MoMA Museum, Exhibition Claes Oldenburg, Mouse Museum and Ray Gun Wing. 26 Mayıs 2024 tarihinde https://www.moma.org/calendar/exhibitions/1296?installation_image_index=19 adresinden erişilmiştir.
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Konular | Enstelasyon/Yerleştirme Sanatı |
| Bölüm | Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 20 Haziran 2025 |
| Gönderilme Tarihi | 27 Ekim 2024 |
| Kabul Tarihi | 24 Ocak 2025 |
| Yayımlandığı Sayı | Yıl 2025 Cilt: 15 Sayı: 1 |
