Genç Güncel Sanat Proje Yarışması Kataloğu

12 Changing Paradigm of the Art and the Obligations While there was a great turning point in the art paradigm after the modernism, the theoretical discus- sions on the ontology of the art were accelerated in Turkey especially in 1980s. The discussions were not only in the theoretical field, the differentiations in the art practices and the hesitations on the concepts still affect the productivity of the field. While some academies, as the institutional structures, has been preferring to hold the modernist paradigm tightly, some others give opportunity for new courses, gram- mars or paradigms, shortly new language and production way of the post art. The separation in the field of education seems like it could not prevent the occurrence of the problems in the assessment of the art practices which emerge from these institutions. Although the change in the paradigm looks like that it left the readings to be made over this new grammar, the private initiatives perceiving this new format, started to present a practice that slowly close the this gap. Despite the problems of the official institutions along with these discussions in terms of finance and institutionalisation, it is important that they maintain one of the earliest formats of, namely State Paint- ing and Sculpture Contest regularly. Despite of the fact that it causes some problems in terms of the corporate identity and recognition with reference to its modernist, “plastic arts” sourced format, it is still an obligation since it meets the expectations of the art practices adhering to the modernist tradition and a project that is still followed. However, our rooted art contest left the jury in a difficult situation time to time on account of the grammars of the participant works and emerged the necessity to develop a new methodology out of the modernist methodology, automatically. The diversity in the production, the conflict of new grammar with the formation of the “plastic art”, positions of the jury members against post art had indicated itself in exhibition catalogues and the post-exhibition assessments, clearly. There Sunuş / Preface