Mustafa Okan and realistic culture in the modern postmodern range

It can be noticed that the "realism/reality" theme is frequently emphasized when Mustafa Okan's texts are examined in general, Okan takes advantage of the historical accumulation of the culture of realism and turns to understanding the production of art at an intellectual level. This attitude of Mustafa Okan necessitates multidimensional research in understanding his art life story. In this context, in the first part of the study, it was stated that Mustafa Okan's perspective on reality/realism culture was examined based on a wide historical range. The first title of the second part of the study includes the theme of how Mustafa Okan makes sense of ideology in its historical evolution. In this title, besides examining Okan's texts on ideology, the historical change processes of the concept of ideology were investigated. In the second title, Mustafa Okan and his approach to Marxism have been researched. Within the scope of the Marxist approach, the dominant ideology, language and consciousness themes highlighted by Mustafa Okan were examined. In the second title of the second chapter, it has been researched which sources Mustafa Okan has benefited from in the history of aesthetic ideology. The research was carried out in the context of Marxist aesthetic ideology by examining the thinkers in Okan's bibliography. The general framework of Mustafa Okan's artistic attitude was formed through the examples Okan gave from the history of art, as well as the ideological context. Then, the text of Notes for the Culture of Realism was examined as an example of dialectical method, which is the intellectual determinant of Okan's artistic attitude. Finally, under the title of Another Art History Writing, Okan's criticisms on art history are included. The third title of the second chapter includes Okan's definitions of realism culture and realism discussions of the period. This title also examines how modernity and Marxism are in a historical relationship with Okan's point of view. In this title, Jürgen Habermas, who continues his intellectual productions in almost the same period as Mustafa Okan and defines himself as a modernist, is discussed. Thus, commonalities and differences were found in the perspectives of Okan and Habermas on modernism. In the fourth chapter of the second part, the reflections of the truth expressed by Okan with reality in modern philosophy were investigated. The approaches of some thinkers in modern philosophy who are mentioned in Okan's bibliographies to the concept of truth have been researched. In the continuation of this title, postmodern theory, which Okan frequently criticizes, and the trivialization of truth are discussed. The third part of the study is the effort to understand how the culture of realism, which is enriched with Enlightenment Dialectics, Historical Materialism and Marxist Aesthetics, becomes visible in his artworks and artistic style. In this section, it is emphasized that the approach observed in Mustafa Okan's Aloşname, Christo and Jeanne Claude's Call to Confrontation: The Packed Reichstag and Mustafa Ata: The Unconcealable Body is similar to Brecht's alienation method. As a result, revealing the important stops pointed out by Okan in order to understand today's realism debates by looking at Turkish art history will fill an important gap in examining the understanding of contemporary art. This gap is the extinction of the artist's desire to imagine and build a new world, who has developed on the ground of the market. In my thesis on Mustafa Okan, the desire to imagine a new world has to be connected to history, to have a certain historical content. Therefore, the research has been carried out without forgetting that the concepts such as ideology, modernism and postmodernism pointed out by Okan have a certain historical background. Key words: Mustafa Okan, reality, realism, modern, postmodern.