İstanbul Bienallerinde video sanatının sergilenme stratejileri

The master's thesis titled "Exhibition Strategies of Video Works at Istanbul Biennials" includes the technological, social, and artistic events that pave the way for the use of video as an artistic expression, as well as the development of video art in the world and in Turkey, the determining factors in the exhibition of video art and the approaches used in the exhibition of video art at Istanbul Biennials. After the discovery of photography and cinema as a result of humanity's desire to record images, the introduction of magnetic image recording tools in the 1950s provided a unique structure that could affect the production processes of artists and while the use of television became widespread in those years, the development of video technology, which was a recording and display tool developed for use in television broadcasting, also showed parallelism with television. Video art was used by artists to criticize television broadcasting at a time when the effects of television became widespread, and later on, artists developed new strategies using the possibilities of video from different disciplines and perspectives. Since 1960, artists in different countries, especially in Europe, have started to use video as a means of expression and video has spread rapidly. In Turkey, the spread of video art coincided with the 1990s, and the interest of artists in video art increased in the 2000s. On the other hand, the elements to be considered in the exhibition of video art differed from the exhibition of traditional artworks due to the time and technology-based and dynamic nature of the video. In this respect, in addition to formal concerns, hardware and technical possibilities were decisive in the exhibition of video art, especially until the introduction of the first digital cameras in the mid-1990s. Although the use of imaging devices in displaying video art mostly depends on technological developments, factors such as the conceptual and formal relationship with the tool used in the demonstration of the work were also effective in determining the devices to be used. The unique space and image relations of the video have transformed the normative viewing conditions in the modernist white cube gallery space. Consequently, art institutions have started to create special spaces, which will be known as the black cube in the future, which are created by adhering to the codes and traditions of cinema. The examples of video art were exhibited for the first time at the 1992 - 3rd Istanbul Biennial, which aim to show the trends of contemporary art in Istanbul and open a space for discussions in this field. In this context, within the scope of the study, starting from the origins of video art and after the use of video as an artistic expression, different forms of expression have been revealed in order to provide a basis for the interpretation of the approaches used in displaying video art in the editions held until the 17th Istanbul Biennial; the development of video art in the historical process in the world and in Turkey has been examined through national and international events; the determining factors in the exhibition of video art are discussed. In the last part of the study, video works in the biennials were detected with the help of the Istanbul Biennial catalogs and guides, as well as the news in the printed and online media, and the approaches used in the exhibition were presented through examples.