Bir müşterekleşme pratiği olarak Türkiye'de günümüz sanatı kolektifleri: Zero Movement örneği
Contemporary art collectives in Turkey as a practice of commoning: The case of Zero Movement
- Tez No: 943728
- Danışmanlar: DOÇ. DR. EBRU BELGİN YETİŞKİN DOĞRUSÖZ
- Tez Türü: Yüksek Lisans
- Konular: Sanat Tarihi, Sosyoloji, Art History, Sociology
- Anahtar Kelimeler: Müşterek, Müşterekleşme, Parataktik Müşterekleşme, Sanat Pratikleri, Sanat Kolektifleri, Commons, Commoning, Paratactic Commoning, Artistic Practices, Art Collectives
- Yıl: 2025
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Sanat Tarihi Bilim Dalı
- Sayfa Sayısı: 182
Özet
Bu tez, Türkiye'deki kendi kendine örgütlenen günümüz sanat kolektiflerinin müşterekleşme pratiklerini Bozcaada merkezli Zero Movement kolektifi üzerinden inceleyerek, bu oluşumların toplumsal, sanatsal ve örgütsel düzeyde ne tür dönüşümler önerdiğini ve bu dönüşümlerin ne ölçüde uygulanabilir olduğunu değerlendirmeyi amaçlamaktadır. Araştırma, bu bağlamda Zero Movement kolektifini derinlemesine bir vaka çalışması olarak ele almakta; kolektifin kimliği, düşünsel haritası, söylemsel içeriği, örgütlenme biçimi, etkinlikleri ve yerel iş birlikleri üzerinden müşterekleşme anlayışını nasıl inşa ettiğini çözümlemektedir. Müşterekleşme (commoning), yalnızca doğal ya da kamusal kaynakların/varlıkların paylaşımı değil; bilgi, emek, kültür, zaman ve ilişki gibi maddi olmayan üretim alanlarının da kolektif bir anlayışla yeniden örgütlenmesi süreci olarak kavramsallaştırılmaktadır. Müşterekleşme, sadece ekonomik ya da mülkiyet ilişkilerinden ibaret olmayan; aynı zamanda siyasal ve kültürel alanları kapsayan bir toplumsal örgütlenme biçimidir. Bu doğrultuda, parataktik müşterekleşme (paratactic commoning) anlayışı, çeşitli düzlemlerde ve aktörler arasında hiyerarşik olmayan, yatay, çok katmanlı ve eş düzeyli ilişki biçimlerinin bir aradalığına dayanmaktadır. Parataktik oluşum, tekil bir merkez veya mutlak bir yön yerine, birbirinden farklı ama birbiriyle ilişkilenebilen üretim biçimlerinin yan yana var olmasını esas alır. Bu yaklaşım, müşterekleşmeyi maddi ya da mekânsal bir paylaşım olmakla sınırlamayıp, aynı zamanda çokluk temelli bir düşünce biçimi ve eylem anlayışı olduğunu ortaya koymaktadır ve bu çalışma için önemli bir kuramsal çerçeve sunmaktadır. Araştırmanın temel sorunsalı Türkiye'de günümüz sanatının giderek artan kurumsallaşması ve finansman mekanizmalarına bağımlılığı nedeniyle sanatsal ifade özgürlüğünün ve üretiminin kısıtlanmasıdır. Bu zeminlendirmenin üzerinden oluşturulan diğer bir sorunsal, günümüz sanat kolektiflerinin müşterekleşme pratiklerini nasıl hayata geçirdikleri ve bu pratiklerin sanat üretiminin ekonomik, örgütsel ve toplumsal sürdürülebilirliğiyle nasıl bir ilişki kurduğudur. Buradan hareketle, Zero Movement örneği vaka çalışması ile şu sorulara yanıt aranmıştır: Zero Movement, müşterekleşmeyi hangi düşünsel ilkelerle temellendirmekte ve nasıl uygulamaktadır? Bu anlayışta yerel bilgi, doğa ve katılımcı ağlar ne tür bir rol üstlenmektedir? Kolektifin örgütsel oluşumu, kaynak/varlık paylaşımı, karar alma mekanizmaları ve etik ilişkilenme biçimleri parataktik müşterekleşmenin hangi katmanlarıyla ile ne ölçüde örtüşmektedir? Bu çalışma, müşterekleşme ve kendi kendine örgütlenen sanat pratiklerini, Türkiye bağlamında kesiştiren özgün bir analiz sunmayı hedeflemektedir. Mevcut literatürde genellikle ayrı ayrı ele alınan bu iki alan, Zero Movement örneği üzerinden birlikte değerlendirilerek, müşterekleşmenin günümüz sanat kolektifleri içindeki somut karşılıkları tartışmaya açılmaktadır. Vaka çalışması olarak ele alınan Zero Movement örneği ile yürütülen bu araştırma, pararataktik müşterekleşme pratiklerinin yalnızca kavramsal düzeyde değil, sahada karşılaştığı sınırlılıklar ve çelişkilerle birlikte ele alınmasının önemine dikkat çekmektedir. Böylece tez, günümüz kendi kendine örgütlenen sanat kolektiflerinin dönüşen toplumsal, kültürel ve ekonomik bağlamlar içinde nasıl varlık ve sürdürülebilirlik gösterdiğini anlamaya çalışmaktadır. Bununla beraber müşterek üretim pratiklerinin somutlaşmasına yönelik eleştirel bir değerlendirme sunmaya katkı sağlamaktadır.
Özet (Çeviri)
This thesis critically examines the function of self-organised contemporary art collectives in Turkey through the conceptual lens of commoning. Centering on the case of Zero Movement, a contemporary art collective rooted in Bozcaada, Çanakkale, Turkey, the study explores how collective artistic practices can facilitate alternative modes of production, sustainability, and socio-political participation. Rather than approaching commoning as a narrowly defined economic or juridical construct, the research reframes it as a dynamic, relational, and performative process; one that reorganizes spatial, social, and cultural configurations around principles of reciprocity, shared responsibility, and situated engagement. This research frames commoning as a transformative social practice centered on the equitable use, stewardship, and co-creation of shared resources for the collective benefit of those who rely on them. It goes beyond conventional notions of resource management by embedding ethical values such as fairness, reciprocity, and care into organizational structures and everyday practices. Rather than operating through models of private ownership or market-based distribution, commoning fosters horizontal relationships rooted in mutual responsibility, openness, and trust. In this sense, it constitutes an alternative paradigm for structuring social, spatial, and cultural life, one that resists the logic of commodification and exclusion. The concept of paratactic commoning further refines this framework by extending the practice of commoning into non-material domains such as knowledge, affect, art, and technological experimentation. Unlike hierarchical or teleological models of collaboration, paratactic commoning operates through simultaneity, multiplicity, and distributed agency. It involves the coexistence of heterogeneous actors and ideas without the need for unifying narratives or centralized coordination. In artistic contexts, this approach challenges traditional notions of authorship, aesthetic authority, and institutional gatekeeping. Instead, it promotes open-ended processes of co-creation, where meaning and value are generated collectively and iteratively. Through this lens, self-organised art collectives emerge not only as cultural platforms but as political formations capable of shaping alternative modes of knowing, relating, and producing. They function as living laboratories for post-capitalist forms of cooperation, where artistic practice becomes inseparable from social imagination and engagement. This thesis adopts paratactic commoning as its central analytical tool, using it to examine how art collectives in Turkey, especially Zero Movement, enact new understanding of common life and shared cultural agency in the face of structural precarity, institutional capture, and ecological crisis. One of the central problems this thesis addresses is the growing institutionalization of contemporary art in Turkey and its increasing dependence on formal funding mechanisms. These conditions often impose constraints on artistic freedom, autonomy, and the capacity to experiment with alternative forms of expression and organization. As art practices become more embedded in institutional logics, the space for collaborative, self-organized, and politically engaged production tends to shrink. Within this context, the thesis poses a broader question: how do today's independent art collectives implement practices of commoning, and how do these practices intersect with issues of economic, organizational, and social sustainability? These questions serve as the conceptual foundation for the case study of Zero Movement, a collective that operates outside the conventional art world circuits while actively experimenting with practices of shared production and collective agency. Through this case, the thesis explores a series of critical inquiries: What kinds of ethical, political, and intellectual principles guide Zero Movement's understanding and enactment of commoning? How do local knowledge systems, ecological awareness, and participatory networks shape their methods and modes of engagement? To what extent does the collective's internal organization, its methods of decision-making, resource distribution, and relationship building align with the broader ideals of commoning? These questions guide the empirical and analytical focus of the study, enabling a deeper understanding of how art can serve as a vehicle for radical imagination and social transformation in precarious cultural contexts. The thesis is composed of five main chapters, each building upon the previous to form a coherent analytical framework. The first chapter introduces the research questions, scope, and methodology. It also provides a detailed literature review and establishes the conceptual foundation of the study through a critical exploration of the notion of commoning. This theoretical groundwork sets the stage for understanding how collective practices relate to cultural, spatial, and artistic production. The second chapter presents an analysis of selected international art collectives that emerged after the 1990s, contextualized through the theoretical framework introduced in the first chapter. Rather than providing a linear art-historical narrative, the chapter focuses on how various collectives from different geographies have enacted practices of commoning in diverse sociopolitical contexts. The analysis includes case studies such as WochenKlausur, My villages, and ruangrupa in Europe, Frente 3 de Fevereiro and Mulheres de Pedra in South America, Chimurenga and The Nest Collective in Africa, and Raqs Media Collective, Temporary Services, and Ultra-red in Asia and the United States. These collectives are explored in relation to their engagement with critical publicness, collective memory, spatial resistance, and digital commoning strategies, revealing different dimensions of paratactic commoning. The third chapter examines the historical development of self-organized contemporary art collectives in Turkey, with a specific focus on selected initiatives that exemplify various modes of commoning under the conditions of neoliberal cultural policy and digital transformation. The chapter is structured into two main parts. The first part investigates collectives such as Hafriyat, Apartman Projesi, and Darağaç Kolektifi, which operate through practices of urban intervention, spatial negotiation, and community engagement. The second part shifts toward digital and relational platforms such as amberPlatform, bak.ma, and Bağımsızlar Ağı, emphasizing their roles in fostering collective knowledge production, counter-archival practices, and network-based solidarity structures. Through these case studies, the chapter highlights how contemporary independent formations in Turkey develop context-sensitive, flexible, and non-hierarchical modes of artistic commoning. The main case study of this thesis, Zero Movement, a self-organized art collective with its roots in Bozcaada, Turkey, is the subject of the fourth chapter. Using the conceptual framework of paratactic commoning, this chapter provides a thorough and multi-layered analysis of the collective's artistic strategies, organizational approach, intellectual orientation, and commoning practices. This chapter views the collective as a dynamic and changing constellation of relations, influenced by changing ethical stances, spatial engagements, and collaborative styles, as opposed to a static or formal entity. The first section assesses the collective's self-definition in light of its guiding principle of“thinking from zero”and its founding philosophy. This idea, which advocates acting independently of roles, conventions, or fixed positions, is investigated as the basis for the relational and critical stance of Zero Movement. This context examines the collective's position on alternative knowledge production and how it aligns with critical art practices. The collective's commoning practices, as expressed in its online documentation and public activities, are examined in the second section. This section explores how the collective expresses and enacts its values and how it frames artistic production as a process of relational commoning rather than merely output, based on document and discourse analysis, particularly of materials published on zeromovement.co. Through the four interrelated dimensions of paratactic commoning—research-based, spatial, organizational, and situational commoning, the third section examines the collective's discursive, organizational, and event-based practices. By using these categories, one can see how the collective's actions demonstrate a responsive and adaptable logic of association. Building upon this, the next section identifies and analyzes the core values most prominently reflected in the collective's discourse and actions. These values—such as decentralization, openness, locality, interdisciplinarity, and participation—are considered not only as declared principles, but as operational dynamics that shape the temporality and sociality of each event. The final section presents insights drawn from semi-structured interviews conducted with Zero Movement's members, affiliated artists, and local participants who have taken part in the collective's activities. These accounts provide a situated understanding of the collective's internal dynamics, highlighting its flexible modes of organization, the significance of everyday encounters, and the challenges of equitable collaboration. Ultimately, this chapter aims to offer a comprehensive and internally informed perspective on Zero Movement as an example of a contemporary art collective that operationalizes paratactic commoning not only in theory, but also in the practical dimensions of artistic production, collective action, and social engagement. Final chapter offers a critical synthesis of the study's findings and reflects on the broader implications of commoning within the field of contemporary independent art. Drawing from the theoretical discussions, historical mapping, and the in-depth case study of Zero Movement, the conclusion emphasizes that commoning is not merely a strategy for sharing material resources, but a relational process that involves shared responsibility, co-creation, and situated trust. The thesis argues that genuine commoning becomes possible only through embodied and reciprocal engagements among people, with the environment, and across knowledge domains. In this context, affective relations are not treated as secondary, but as foundational to the formation and continuity of collective artistic practices. Zero Movement is presented as a case that both embodies and challenges this vision. Its emphasis on locality, participatory authorship, and distributed agency exemplifies how art collectives can generate spaces of mutual learning, care, and political imagination. However, the analysis also reveals certain structural limitations. The collective's reliance on informal, volunteer-based labor while enabling flexibility and horizontal decision-making raises critical questions about sustainability, emotional labor, and the risks of implicit value extraction. Furthermore, the lack of a transparent and self-reflexive economic strategy complicates the realization of a truly paratactic understanding of commoning, where all forms of contribution are acknowledged equitably. Despite these tensions, Zero Movement offers an inspiring framework for rethinking the social function of art beyond institutional logics. It demonstrates that art can be a means of building commons through dialogue, shared authorship, and interdependence. Thus, the thesis contributes to the expanding discourse on independent art practices and the politics of commoning, calling for more critical engagement with the internal contradictions of collaborative production. Ultimately, this study underscores that the future of independent art collectives may depend not only on resisting external constraints but also on cultivating internal cultures of accountability, care, and co-responsibility. By situating commoning as both a political commitment and an everyday practice, the thesis reclaims art's potential to foster more egalitarian and ecologically attuned forms of social organization.
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