Sergi Anasayfa<\/span><\/span><\/em><\/a><\/p>\n <\/p>\n
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Mektup<\/span><\/p>\n[\/et_pb_text][et_pb_text _builder_version=”4.9.0″ background_color=”rgba(255,255,255,0.48)” background_size=”initial” background_position=”top_left” background_repeat=”repeat”]<\/p>\n
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\u201cKADINLAR HER SABAH DAHA RAHAT NEFES ALAB\u0130LD\u0130KLER\u0130 VE KEND\u0130LER\u0130N\u0130 DAHA \u0130Y\u0130 VE DAHA \u00d6ZG\u00dcR \u0130FADE EDEB\u0130LECEKLER\u0130 B\u0130R D\u00dcNYAYA NASIL UYANAB\u0130L\u0130RLER?\u201d
Sanat ama\u00e7t\u0131r ara\u00e7 de\u011fil. Ancak ba\u011f\u0131ms\u0131zl\u0131kla sorumluluk aras\u0131nda bir denge olu\u015ftu\u011funda ara\u00e7 olarak insan ya\u015fam\u0131na \u00f6nemli katk\u0131lar sunabilir. O zaman sans\u00fcrden vazge\u00e7ebiliriz.
\u015eiddetin g\u00f6rselle\u015fti\u011fi bir heykeli kamuya sunmak benim i\u00e7in b\u00f6yle bir tercih oldu. O s\u0131ralarda beni rahats\u0131z eden kad\u0131n ve \u00e7ocuk sorununu ele ald\u0131\u011f\u0131m G\u00fcld\u00fcnya, G\u00fcld\u00fcnya\u2019n\u0131n R\u00fcyas\u0131 adl\u0131 heykeller yap\u0131yordum.
Antalya, Muratpa\u015fa Belediyesi\u2019nin \u015fimdi ad\u0131 Al Yazma Park\u0131 olan eski Palmiye Park\u0131\u2019na 2012 y\u0131l\u0131nda konan An\u0131t da bunlardan biri. Yar\u0131\u015fmay\u0131 a\u00e7an Antalya Kent Konseyi, destekleyen ise maddi manevi katk\u0131lar\u0131yla Belediye, sanatseverler, sanat\u00e7\u0131lar ve sosyal sorumluluk sahibi Antalya halk\u0131yd\u0131. Malzeme: Paslanmaz \u00c7elik Boyut: 5.30x10x10m.
\u2018Namus ve T\u00f6re Cinayeti Ma\u011fduru Kad\u0131nlar\u2019 ad\u0131na yap\u0131lacak bir An\u0131t i\u00e7in a\u00e7\u0131lm\u0131\u015ft\u0131 yar\u0131\u015fma.
Simgesel bir bi\u00e7im olarak, sa\u011flam bir yap\u0131da duran a\u00e7\u0131k, kad\u0131n\u0131n; s\u0131cak-kucaklay\u0131c\u0131-anne kimli\u011fine analoji yapan piramidal bir form se\u00e7tim. Yerden kopan, u\u00e7mak \u00fczere, bireyin-ba\u015f\u0131n terk edilmi\u015f bo\u015f, sahipsiz kalm\u0131\u015f yazmas\u0131, ayn\u0131 zamanda y\u00f6resel ve k\u00fclt\u00fcrel bir simge. Al renk ise ya\u015fam i\u015ftah\u0131n\u0131n, i\u00e7 k\u0131p\u0131rt\u0131s\u0131n\u0131n ama ayn\u0131 zamanda kan\u0131n, \u00f6ld\u00fcr\u00fclmenin simgesi. Bu y\u00fczden ad\u0131 AL YAZMA ANITI .
Yaz\u0131 insan\u0131n bedeninin, k\u00fclt\u00fcr\u00fcn\u00fcn izidir. \u00dcnl\u00fc \u201cVerba volant, scripta manent\u201d yani \u201cS\u00f6z u\u00e7ar, yaz\u0131 kal\u0131r.\u201d deyi\u015fi bunu g\u00f6steriyor. K\u00fclt\u00fcrel kaynaklar\u0131m\u0131zda d\u00fc\u015f\u00fcnceyi g\u00f6rselle\u015ftiren yaz\u0131n\u0131n, bulundu\u011fu alanda bizzat kendisinin pl\u00e2stik bir elemana d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc, tarihe ve maddeye iz d\u00fc\u015f\u00fcrd\u00fc\u011f\u00fcn\u00fc, zaman\u0131 belgeledi\u011fini g\u00f6r\u00fcr\u00fcz.
Olur-olmaz nedenlerle \u00f6ld\u00fcr\u00fclen o kad\u0131nlar\u0131n adlar\u0131n\u0131 An\u0131t\u0131n \u00fczerine yazmal\u0131y\u0131m diye d\u00fc\u015f\u00fcnd\u00fcm. Bu D\u00fcnyan\u0131n pek \u00e7ok yerinde de toplumsal yaraya d\u00f6nm\u00fc\u015f konu i\u00e7in, heykelin \u00fczerine daha fazla ipucu koymak anlam\u0131na geliyor ayn\u0131 zamanda.. Bunun i\u00e7in bas\u0131n\u0131 tarad\u0131m ve o tarihe kadar medyaya yans\u0131m\u0131\u015f sadece 427 kad\u0131n \u00f6ld\u00fcrme olay\u0131na rastlayabildim. Dantelle\u015fen yazma formunun \u00fczerine ad ve soyadlar\u0131 ile kentlerinin adlar\u0131n\u0131 yazd\u0131m. Tepeden bakmayan, ya\u015fama m\u00fcdahale etmeyen, dokunulabilen, zor olsa da \u201cokunabilen \u201d bir alan yaratmak istedim.
Bu isimlerin b\u0131rakt\u0131\u011f\u0131 bo\u015fluklardan g\u00fcnd\u00fcz giren \u0131\u015f\u0131k, An\u0131t\u0131n i\u00e7indeki izleyici i\u00e7in o kad\u0131nlar\u0131n ya\u015fam hayallerini simgelesin istedim. Ancak yerdeki siyah, sanal olarak derin zemine d\u00fc\u015fen k\u0131rm\u0131z\u0131ms\u0131 ad ve soyadlar\u0131n \u00fczerine basan izleyicide tedirginlik yaratmas\u0131n\u0131 bekledim. Hele ad ve soy adlar izleyicinin \u00fcst\u00fcne d\u00fc\u015f\u00fcnce bir t\u00fcr empati olur mu acaba. Belki harf a\u00e7\u0131kl\u0131klar\u0131ndan ge\u00e7en r\u00fczg\u00e2r adlar\u0131n\u0131 f\u0131s\u0131ldar, ya\u011fmur ya\u011fd\u0131\u011f\u0131nda g\u00f6zya\u015f\u0131 olup o bo\u015fluklardan i\u00e7eri s\u00fcz\u00fcl\u00fcr. An\u0131t geceleri i\u00e7eriden ayd\u0131nlat\u0131laca\u011f\u0131 i\u00e7in adlar\u0131 g\u00f6ky\u00fcz\u00fcne uzan\u0131r bize kendilerini hat\u0131rlat\u0131rlar.
\u00d6lmekle \u00f6l\u00fcms\u00fczle\u015fmek, yok olmakla kal\u0131c\u0131la\u015fmak, dantelsi zerafetle an\u0131tsal sa\u011flaml\u0131k aras\u0131nda diyalektik bir tedirginlik hem \u00e7a\u011f\u0131rs\u0131n izleyiciyi hem dayanamas\u0131n izleyici d\u0131\u015far\u0131 ats\u0131n kendini. Bu b\u00fcy\u00fck, derin toplumsal ac\u0131 ile bi\u00e7im aras\u0131nda metaforik bir ili\u015fki kurulsun.
Yani bir fark\u0131ndal\u0131k yaratmak, duyarl\u0131l\u0131\u011f\u0131, sezgiyi art\u0131rmak umuduyla tasarland\u0131 t\u00fcm bunlar. Zihinlerimiz \u00e7\u00f6z\u00fcm i\u00e7in harekete ge\u00e7sin diye. Kayg\u0131 ve korkulardan kurtulal\u0131m diye.
Sekiz y\u0131ld\u0131r dersini bu an\u0131t\u0131n i\u00e7inde yapan \u00f6\u011fretim \u00fcyeleri, 8 Mart g\u00f6sterileri ve ald\u0131\u011f\u0131m geri d\u00f6n\u00fc\u015fler tasarlad\u0131klar\u0131m\u0131n yerini buldu\u011funu g\u00f6steriyor.
Ne yapmal\u0131y\u0131z karar\u0131n\u0131 vermek i\u00e7in \u00f6ncelikle hatalar\u0131m\u0131zla y\u00fczle\u015fmeli ve neler yap\u0131ld\u0131 ona bakmal\u0131y\u0131z.
Konunun hem sosyolojik, hem ekonomik hem de fiziki \u00e7ok y\u00f6nl\u00fc oldu\u011funu biliyoruz. \u015euras\u0131 muhakkak ki D\u00fcnyada bar\u0131\u015f olmadan, e\u015fitlik olmadan, \u2018\u00f6teki\u2019 addedilene, zay\u0131f olana, kad\u0131na, \u00e7ocu\u011fa bak\u0131\u015f a\u00e7\u0131s\u0131 de\u011fi\u015femez.
\u00d6ncelikle bu sorunun politik ve sosyolojik olarak \u00e7\u00f6z\u00fclmesi gerekir.
\u0130statistikler, su\u00e7 oranlar\u0131n\u0131n e\u011fitimle ters orant\u0131l\u0131 oldu\u011funu, kad\u0131na kar\u015f\u0131 i\u015flenen su\u00e7lar\u0131n, yuva ve anaokullar\u0131na gidenlerde daha az, istismara u\u011frayan \u00e7ocuklarda %30, u\u011framayanlarda ise %2-%4 oldu\u011funu g\u00f6steriyorsa buradan ba\u015flamal\u0131.
UQAM(1)e\u011fitimcisi ara\u015ft\u0131rmac\u0131 Prof. Sonia Fournier \u2018Papa, raconte-moi le g\u00e9nocide avec les enfants du Rwanda et d\u2019ailleurs\u2019 \u2018Baba, bana Ruvanda ve d\u0131\u015f\u0131ndaki \u00e7ocuklar\u0131n soyk\u0131r\u0131m\u0131n\u0131 anlat\u2019 adl\u0131 kitab\u0131na, Ruvanda\u2019da Tuareg\u2019li bir rehberin \u015fu s\u00f6z\u00fcyle giri\u015f yap\u0131yor. \u201cSava\u015f insan\u0131n ruhunda do\u011fu\u015ftan var ama onunla \u00e7ocuklukta sava\u015f\u0131lmal\u0131.\u201d Ve sanat\u0131n \u00e7ocuk e\u011fitiminde ola\u011fan\u00fcst\u00fc pedagojik bir ara\u00e7 oldu\u011funu s\u00f6yl\u00fcyor. (2) \u00c7\u00fcnk\u00fc \u015fiddet \u00f6\u011frenilen bir \u015feydir.
Sanat\u0131 kamusal mek\u00e2na, alana yaymak, kendili\u011finden, dolays\u0131z payla\u015f\u0131m\u0131n\u0131 sa\u011flamak da \u00e7\u00f6z\u00fcmlerden biridir, kente-kentliye kolektif-duyusal-k\u00fclt\u00fcrel bir katk\u0131 sa\u011flar.
Ancak as\u0131l mesele kad\u0131n\u0131n ya\u015famda, sanatta sade t\u00fcketen de\u011fil \u00fcreten olarak var olmas\u0131d\u0131r. Buda \u00f6\u011fretimle, e\u011fitimle, \u00f6ncelikle ekonomik ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131 kazanmas\u0131n\u0131 sa\u011flayarak olur. Hi\u00e7bir m\u00fccadele terlemeden kazan\u0131lamaz. Eyer kad\u0131n\u0131n, kayboldu\u011fu s\u00f6ylenen bir tan\u0131m\u0131 varsa o tan\u0131m\u0131 koyacak en g\u00fc\u00e7l\u00fc ki\u015fi gene kendisidir. \u00c7\u00fcnk\u00fc kimse onu ondan iyi tan\u0131yamaz, anne veya e\u015f olmak d\u0131\u015f\u0131ndaki meziyetlerini bilemez. Bunun i\u00e7in g\u00fczel olmaya da gereksinimi yoktur. Tarih bu anlamda pek \u00e7ok g\u00fc\u00e7l\u00fc kad\u0131nla doludur.
Zorlu bir yolculuk onun hak aray\u0131\u015f\u0131. Tarih\u00f6ncesi idollerden sonra ad\u0131 Ha\u00e7epsut oldu\u011funda firavun olarak kabul edilmek i\u00e7in sakal takmak zorunda kalm\u0131\u015ft\u0131. E\u015fi III.Hattu\u015filli\u2019nin vekil b\u0131rakmas\u0131 i\u00e7in M.\u00d6. 1300leri bekledi Puduhepa. Antik Yunan\u2019da tanr\u0131lar aras\u0131na ismi konduysa da sivil oldu\u011funda oy hakk\u0131 yoktu. Tek tanr\u0131l\u0131 dinlerde ancak azize olarak g\u00f6r\u00fcnebildi. Orta \u00c7a\u011fda Avrupa\u2019da geni\u015f arazilere h\u00fckmetmek i\u00e7in e\u015flerin sava\u015fa gitmesi gerekti. Ancak, 1910 y\u0131l\u0131nda Kopenhag\u2019da toplanan \u0130kinci Uluslararas\u0131 Sosyalist Kad\u0131nlar Konferans\u0131nda, Clara Zetkin g\u00fc\u00e7l\u00fc bir ad\u0131m\u0131 atarak, 8 Martta 1857 y\u0131l\u0131nda ABD de yanan N.Y.Cotton Tekstil Fabrikas\u0131n\u0131n 129 grevci kad\u0131n dokuma i\u015f\u00e7isini anmak i\u00e7in \u201cD\u00fcnya Kad\u0131nlar G\u00fcn\u00fc\u201d olmas\u0131n\u0131 \u00f6nerdi. Pe\u015f pe\u015fe gelen iki D\u00fcnya sava\u015f\u0131, sanayile\u015fme de kad\u0131n\u0131 daha \u00f6zerk, g\u00fc\u00e7l\u00fc k\u0131ld\u0131, rahat giysilere kavu\u015fturdu. Bu arada T\u00fcrkiye\u2019nin \u00f6nc\u00fclerden oldu\u011fu kad\u0131n\u0131n oy verme, e\u015fit miras hakk\u0131 yasala\u015ft\u0131. Rosa Parks 1955 y\u0131l\u0131nda otob\u00fcste bir beyaza yer vermeyerek ba\u015fka bir e\u015fitli\u011fin ilk ad\u0131m\u0131n\u0131 att\u0131.
Sanat\u00e7\u0131lar bo\u015f durur mu art\u0131k kimse sanatta sadece imge olmak ya da Rodin\u2019in g\u00f6lgesinde Camile Claudel olmak istemiyordu.
1971 y\u0131l\u0131nda Linda Nochlin \u201cNeden hi\u00e7 b\u00fcy\u00fck kad\u0131n sanat\u00e7\u0131 yok ?\u201d diye soruverdi. Guerilla Girls, posterlerinde \u0130ngres\u2019in Odal\u0131k tablosuna \u0131na goril ba\u015fl\u0131\u011f\u0131 ge\u00e7irip \u201cKad\u0131nlar Metropoliten M\u00fczesine girebilmek i\u00e7in soyunmak zorunda m\u0131? yaz\u0131verdiler. Adem\u2019le e\u015fit oldu\u011funu s\u00f6yleyip cennetten kovulan Lilit\u2019in k\u0131zlar\u0131 eyleme ba\u015flam\u0131\u015ft\u0131 bir kere.
Cindy Sherman \u201c\u0130simsiz Film Kareleri\u2019 yap\u0131t\u0131nda zihinlerdeki Kad\u0131n Stereotiplerini, Miriam Schapiro Famajlar\u0131 ile zanaat-sanat \u00f6l\u00e7\u00fctlerini, Orlan yapt\u0131rtt\u0131\u011f\u0131 estetik operasyonlarla erkek be\u011fenisine g\u00f6re \u015fekillenen normlar\u0131 sorgulad\u0131.
\u015eu g\u00f6r\u00fcn\u00fcyor ki sanat uyar\u0131c\u0131, d\u00fc\u015f\u00fcnd\u00fcr\u00fcc\u00fc, farkl\u0131l\u0131\u011fa olanak tan\u0131yan, sorgulayan, \u00f6zg\u00fcrl\u00fc\u011f\u00fcn-biricikli\u011fin alan\u0131d\u0131r. Uyar\u0131r, sarsar, bilinci harekete ge\u00e7irir, de\u011fi\u015fimi cesaretlendirir. Kad\u0131nlar\u0131n, b\u00fcy\u00fck bir \u00f6zg\u00fcvenle, \u00f6ncelikle sanat\u0131 da koruyarak, ya\u015fam\u0131n\u0131 istedi\u011fi gibi kurgulamak i\u00e7in t\u00fcm g\u00fcc\u00fcn kendinde oldu\u011funa inanmas\u0131 gerekir. \u0130nsan haklar\u0131n\u0131, e\u015fitli\u011fi savunmas\u0131, her t\u00fcrl\u00fc ayr\u0131mc\u0131l\u0131\u011fa kar\u015f\u0131 olmas\u0131 gerekir. Kimsenin cinsiyetinden, rengi, inanc\u0131, fizi\u011fi, ekonomisi gibi maddi farkl\u0131l\u0131\u011f\u0131ndan utanmayaca\u011f\u0131, korkmayaca\u011f\u0131 bir d\u00fczenin, ortam\u0131n varl\u0131\u011f\u0131n\u0131n t\u00fcm insanlar i\u00e7in sa\u011flanabilece\u011fine inanmas\u0131 gerekir.
\u201cSadece erkek de\u011fildir kad\u0131n\u0131 ezen. Kad\u0131n kendi hayat\u0131ndan sorumlu olmaktan vazge\u00e7erek kendi kendini de eziyor\u201d diyen Simon de Beauvoir\u2019\u0131 hakl\u0131 \u00e7\u0131karmamak i\u00e7in.<\/span><\/em><\/p>\nMeri\u00e7 HIZAL<\/span><\/em><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.7.7″ _module_preset=”default”][et_pb_column type=”4_4″ _builder_version=”4.7.7″ _module_preset=”default”][et_pb_text _builder_version=”4.7.7″ _module_preset=”default”]<\/p>\n
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Meri\u00e7 H\u0131zal,<\/span><\/em><\/p>\n-1943 Y\u0131l\u0131nda \u0130stanbul\u2019da do\u011fdu. <\/span><\/em>
-1971-72 y\u0131llar\u0131nda Ankara\u2019da E\u015fref \u00dcren\u2019den desen dersleri ald\u0131. 1973-1979 y\u0131llar\u0131nda \u0130stanbul Devlet G\u00fczel Sanatlar Akademisi Heykel B\u00f6l\u00fcm\u00fc\u2019nde Prof. \u015eadi \u00c7al\u0131k ve Prof. H\u00fcseyin Gezer at\u00f6lyelerinde \u00f6\u011frenim g\u00f6rd\u00fc ve 1979 y\u0131l\u0131nda mezun oldu.<\/span><\/em>
-1977 y\u0131l\u0131nda Avusturya-Salzburg Internationale Sommeracademie F\u00fcr Bildende Kunst\u2019da \u0130talyan heykelt\u0131ra\u015f Fran\u00e7esco Somaini ile heykel, 1982 y\u0131l\u0131nda Paris Ecole Nationale Sup\u00e9rieur Des Beaux-Arts\u2019da Fran\u00e7ois Debord ile Morfoloji, Etienne Martin ile ba\u011f\u0131ms\u0131z heykel \u00e7al\u0131\u015fmas\u0131 y\u00fcr\u00fctt\u00fc, 1992 y\u0131l\u0131nda \u0130talya-Como Corso Superiore Di Disegno\u2019da Marcus Lupertz, Gerar Tit\u00fcs Carmel ve Giuliano Collina ile desen \u00e7al\u0131\u015ft\u0131 ve mezun oldu.<\/span><\/em>
-Paris-Maison Mansard ve Selanik-Teloglion galerileri olmak \u00fczere ikisi yurt d\u0131\u015f\u0131nda, URART, C.A.M. M\u0130NE Sanat, AK SANAT, ve \u0130\u015e Bankas\u0131 Kibele Sanat Galerisinde Retrospektif olmak \u00fczere di\u011ferleri Yurt i\u00e7inde l8 ki\u015fisel sergi a\u00e7t\u0131. <\/span><\/em>
-I. \u0130stanbul Uluslararas\u0131 \u00c7a\u011fda\u015f Sanatlar Sergileri, Novi Sad \u201cBalkan Sanatlar\u0131\u201d 1.Uluslararas\u0131 \u00c7a\u011fda\u015f Sanat Bienali ve 1. \u0130zmir Sanat Bienalleri\u2019ne kat\u0131ld\u0131. <\/span><\/em>
-Yurt d\u0131\u015f\u0131nda Almanya-Kassel, G\u00fcney Kore-Seul, Japonya, A.B.D. Fransa-Paris gibi kentlerde ve T\u00fcrkiye\u2019de de \u0130stanbul Modern, Bilgi \u00dcniversitesi, ODT\u00dc, MKM T\u00fcrk Modernizminden Se\u00e7kiler gibi karma sergilere kat\u0131ld\u0131.<\/span><\/em>
-46. Devlet Resim-Heykel, Eczac\u0131ba\u015f\u0131 50. y\u0131l An\u0131tsal Yap\u0131t Yar\u0131\u015fmas\u0131, Sedat Simavi G\u00f6rsel sanatlar, A\u00e7\u0131k Alanlara \u00c7a\u011fda\u015f Sanat Yap\u0131tlar\u0131 Yerle\u015ftirme Etkinli\u011fi \u00c7a\u011fda\u015f Heykel Yar\u0131\u015fmas\u0131, ve Ankara Sanat Kurumu Heykel Dal\u0131nda Y\u0131l\u0131n Sanat\u00e7\u0131s\u0131 \u201cSabah Y\u0131ld\u0131z\u0131 K\u00fclt\u00fcr Sanat G\u00f6rsel Sanatlar \u2018Ya\u015fam Boyu Ba\u015far\u0131\u2019 \u00d6d\u00fcl\u00fc\u201d, \u0130stanbul Sanat Magazin \u201c2019 Eme\u011fe Sayg\u0131 \u00d6d\u00fcl\u00fc\u201d,UPSD a+A D\u00fcnya Sanat G\u00fcn\u00fc \u201c2019 Sanat\u00e7\u0131 Onur \u00d6d\u00fcl\u00fc\u201d gibi 26 \u00d6d\u00fcl ald\u0131. <\/span><\/em>
-Polonya Lotz, \u0130stanbul Modern, BAKSI, \u0130stanbul ve Ankara Resim-Heykel M\u00fczeleri, Benetton \u0130mago Mundi, Eski\u015fehir Anadolu \u00dcniversitesi, \u0130MOGA, Kocaeli, Erzurum, Hacettepe, Trakya \u00dcniversiteleri M\u00fczelerinde ve \u00d6zel koleksiyonlarda yap\u0131tlar\u0131 bulunmaktad\u0131r.<\/span><\/em>
-Eski Yugoslavya, Fransa, \u0130srail, L\u00fcbnan, Japonya, Yunanistan gibi 9\u2019u yurt d\u0131\u015f\u0131 18 Uluslar aras\u0131 Uygulamal\u0131 Heykel Sempozyumuna kat\u0131ld\u0131 ve a\u00e7\u0131k alan heykelleri \u00fcretti.<\/span><\/em>
-Kamu alanlar\u0131 i\u00e7in; Be\u015fikta\u015f-Y\u0131ld\u0131z-Abbasa\u011fa Park\u0131 \u00fcst\u00fc “Herkese Bar\u0131\u015f Heykeli”, Antalya-Muratpa\u015fa Belediyesi Palmiye Park\u0131 \u201cAl Yazma An\u0131t\u0131\u201d , \u0130stanbul Moda\u2019da \u201cKad\u0131k\u00f6y\u2019de Zaman\u201d, \u0130l \u00d6zel \u0130daresi giri\u015finde \u201c\u0130stanbul\u201d, Sabanc\u0131 K\u00fclt\u00fcr Merkezi Ata An\u0131 Duvar\u0131, I\u015eIK \u00dcniversitesi Onur Yasas\u0131 heykeli gibi yap\u0131tlar ger\u00e7ekle\u015ftirdi.<\/span><\/em>
-2006 y\u0131l\u0131nda Mimar Sinan G\u00fczel Sanatlar \u00dcniversitesi Heykel B\u00f6l\u00fcm\u00fc\u2019nden emekli oldu. Halen FMV I\u015f\u0131k \u00dcniversitesi G\u00fczel Sanatlar Fak\u00fcltesi G\u00f6rsel Sanatlar B\u00f6l\u00fcm\u00fcnde e\u011fitim g\u00f6revine devam etmektedir. <\/span><\/em><\/p>\n[\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.7.7″ _module_preset=”default”][et_pb_column type=”4_4″ _builder_version=”4.7.7″ _module_preset=”default”][et_pb_text _builder_version=”4.9.0″ _module_preset=”default”]<\/p>\n
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[et_pb_section fb_built=”1″ _builder_version=”4.7.7″ background_enable_image=”off”][et_pb_row _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.7.7″ _module_preset=”default”] [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,2_3″ _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.9.0″ _module_preset=”default”] Meri\u00e7 H\u0131zal [\/et_pb_text][et_pb_text _builder_version=”4.9.0″ _module_preset=”default”] \u201cAl Yazma An\u0131t\u0131\u201d 5,30\u00d710\u00d710\u00a0 m. Paslanmaz \u00c7elikAntalya\/Muratpa\u015fa2012 [\/et_pb_text][\/et_pb_column][et_pb_column type=”2_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/gsfsergi.ebyu.edu.tr\/wp-content\/uploads\/2021\/03\/Meric-Hizal-2-scaled.jpg” title_text=”Meri\u00e7 H\u0131zal-2″ […]<\/p>\n","protected":false},"author":9,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","spay_email":""},"jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=\/wp\/v2\/pages\/4580"}],"collection":[{"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4580"}],"version-history":[{"count":15,"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=\/wp\/v2\/pages\/4580\/revisions"}],"predecessor-version":[{"id":5551,"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=\/wp\/v2\/pages\/4580\/revisions\/5551"}],"wp:attachment":[{"href":"https:\/\/gsfsergi.ebyu.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4580"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}