slm alan yazinin girisinde sanki burda sanat gibi mevzulari tartismak garip kacacakmis gibi bir izlenim yaratmissin. artik her yazdigim cumleyi ufleyerek yazmaya basladigim icin(bu hosgorusuz toplumlrda tezahur eden bir reflekstir) sana sormaam gerekiyor; yanlis mi anladim? kurdler sanat edebiyat spor bilim ask hatta sex uzerine bilgilerini (ozellikle kurd toplumunu ilgilendiren baglamlarda) nerden edinecek? diyarbekir kurdistan yetiiskinler sanat egitim yuksek okulundan mi? bana sorarsan elimizde avcumuzda olan kendimize ait tek ogrenme-malumat alisverisi ve iletisim mekaani maalesef buralari (turkiya daki rehine ortamlardaki dernekleri saymazsak). burallar disindaki ogrenme mekanlari bize ait degil veya yeterince ozgur degil. boyle olunca buralarda kurdlerle alaksi kurulabilen yasama ait her seyin tartisilmasi normal. bak asagida bir kentin guzeli secilen kizdan bile bahsedilyor. bu usul uzerine idi. simdi kurdistan da (rehine kurdistani gecelim) sanat ne alemde ona bir ornek olsun diye crayz Rostem adli ressamizi burya tasiyorum. yazi ingilizce en sonuna uc bes satir acele tercume yazarim. sirf senin sanata olan egiliminin hatiri icin. yoksa burda vaktimi kullanip karsilginda entel yaftasi yemeye niyetim yok. Iraqi Kurdistan's paramount painter hates his job but can do nothing else 7.11.2008 By Bradley Hope Negative space November 7, 2008 SULAIMANIYAH, Kurdistan region "Iraq", — I was sitting directly across from Rostam Aghala, a sharp-looking Kurdish painter with a black moustache, when it hit me. This is the most negative man I have ever met. Throughout our interview, I had peppered him with questions that I thought might produce a good story: What is the art scene like here in this idyllic region of Iraq? Is it rising from the ashes? Suddenly vibrant? Political? With the expression of a doctor delivering a terminal prognosis, he began to respond: “It's too late for art in Kurdistan. People in other countries – art is very important to them. Here they don't care.“ Rostam Aghala, The painter is a walking, talking contradiction – both utterly miserable and doing the only thing he could ever do. photo: Philip Cheung-The National Surprisingly, Aghala is the proprietor of Zamwa, the premier gallery space in Sulaimaniyah, a Kurdish city of about 800,000. The space is located in a beautiful hidden courtyard accessible only from a side street inside a densely packed souq. The doorways of the house – owned by Hero Talabani, the wife of the president of Iraq and Zamwa's sole patron – are painted a bright turquoise, and a large, sunlit olive tree sticks out of the cobble stones. It could be a boutique gallery in Greece or Sicily except for a single reminder of the region's history. One artist has taken an old rocket shell from the days when Saddam Hussein attacked nearby Halabja and made it look like green apples are pouring out onto the ground like a waterfall. Disheartened a bit by Aghala's first response, I tried to ask about visitors – do they come? Are they locals? “No one comes to visit,“ he deadpanned. “Except for the odd journalist... But they don't like to interview me because I am so negative.“ I studiously wrote these answers down in my notebook, silently wondering why some interview subjects try so hard to kill your stories. But when I looked up, I saw a faint smile had formed on Aghala's face. So I decided to take us down a new path: Do they give you some kind of nickname around here because of your attitude? “Yes!“ he said, seemingly delighted with the question. “They call me Rostam Sheit.“ My translator turned to me and said: “It means crazy Rostam.“ “I see,“ I said, eyeing him. “And may I ask, are you happy to be an artist?“ His smile grew as the translator asked him the question in Kurdish. “Absolutely not!“ he said. “I don't want to be an artist – they don't have a good reputation. I wish I was wealthy and I had a hotel in the mountains for the tourists that come out here. Every time I have an art show I regret it. Nobody buys anything.“ Before I had a chance to laugh, he continued: “But art is my life. I love it so much, even if I hate it.“ And finally I felt I had managed to glimpse the heart of one of Kurdistan's greatest living painters. He is a walking, talking contradiction – both utterly miserable and doing the only thing he could ever do. Every aspect of his process is tortured. “I can't think when I paint, or when I do anything. If I do, it is always wrong.“ He used to destroy most of his paintings, until one day he sold one for $4,000. “Ever since then, my wife does not let me throw away the bad paintings. They sell for more than my good ones.“ Recently she has started giving Aghala tips to make him more successful: “She wants me to paint people smiling and women with their clothes on.“ But he hasn't taken the advice. His work is mysterious and folksy. One of his paintings shows a pensive, young Kurdish woman in front of a house with pomegranates and poppy flowers. Her expression conveys a melancholy spectrum – her world seems closed despite the fact that she is sitting in an open field; she is in love but paralysed. Another painting at first appears to be a simple illustration of a rug, but a closer look reveals an entire city depicted in the patterns of the weave. “It is a kind of map,“ he said, pointing his finger at the designs. “Here are side streets, houses, and here, people.“ Sitting with Aghala, drinking sweet tea from small glass cups, I get the impression that if I were to come back in 10 years, he would still be at Zamwa, a reluctant artist shifting paintings around in a museum with few visitors and little interest from the million-dollar art scenes of Paris and New York. “I try not to think about it,“ he said. “Really, I wish I was something else. But at night, I stay up and all I can do is paint.“ KISA TERCUME: Rostam Aghala suleymanieli bir kurd ressam, genc bir ressam, evli. ve hem kendi hem de roportaj yapan gazetecinin yazdigi bicimiyle asiri bicimde negatif bir kisi (gazetci onun bugune kadar karsilatigi en negatif kisi oldugunu yazmis). (negatifliginin sebepleri roportajda yazili). resimleri Hero talabani nin (Celal talabani nin esi) sahibi oldugu kucuk bir butik galeride sergileniyor. galeri gazeteciye gore yunanistan veya sicilya daki herhangi bir akdeniz galerisini andiriyor, ancak bunun bir buyuk farki var-ozellikle lokal ziyaretcisi hic yok. gelen gidenler sadece yabancilar. Rostam Agala (RA) da bundan derin ve keskin bicimde uzgun. ustelik de sanatin kurdistan icin cok gec oldugu gibi bir dusunceye kapilmis. galeriyi ziyarete eden gazetecileri bile nagatifligi ile urkuten bu ressaamin resimleri ise oldukca ilgi cekiyor (bu konuda kurdler uzerine epey yazi yazan Fransiz Chris Kuschera nin da bir makalesi var-bu tercume bittiginde ordan da bir cumle aktaracagim-HeK). ancak lokal ilgi degil bu. RA bu ilgisizlik ve itelenmislikle adeta negatiflik ve humor ile bas etmeye calisir gibi. ahalinin ona cilgin-deli roustem dediklerini soyluyor-gulumseyerek. yapabildigi tek isin resim yapmak oldugunu da ekliyor. resimleri neredeyse cogunlugu politik veya cekilen izdiripalrai resimleyen diger kurd ressamlarindan farkli. bu motifleri kullanmiiyor. resimlerinde melenkoli ve icine kapalilik hakim-acik ortamjlari bile icine kapali resimleyen bir ressam. ilgizislikten oturu bir ssuru resmini tahrip etmis-yakmis vs. ancak ne zamanki bir ressmini bir yabanci 4000 dolara alinca karisi artik resimlerini tahrip etmesine izin vermiyor. karisi ayrica resimlerindeki insanlari gulumseyerek yapmasini ve kadinlari da giysili resimlemesini onermis. tabii rostem bu onerileri dinlemiyor (hah hah haaa- kadin adeta kurdistanin ortalama hali gibi-akli sira akli selim onermis zavalli- HeK). RA sanatci oldugundan bin pisman, sanatci olmak hic istemiyor, bu isten kurtulmak icin cok ugrasiyor ama yapabildigi tek is de bu (adeta lanetlenmis gibi bahsediyor kendinden) vs vs vs. ben birkac yil once RA hakkinda bir de Chris Kutschera nin yazisini okumustum (2003 mus yani tam 5-6 yil once) yazinin linki burda http://findarticles.com/p/articles/mi_m2742/is_/ai_n25067585 ben iki alintiyla yetinecegim 1. alinti yeni olusmakta olan kurd zenginlerinin ozet taviri ile ilgili: "Rostam's problem is that the Kurdish people rich enough to buy his paintings have little esteem for his "folklorist" and "coulourist" style: [b]"I could just as well hang a kilim on my wall"[/b], says a wealthy businessman. Such a comment reflects a simplistic view of Rostam's paintings and a failure to look beyond their immediate colourful appearance." varsil bir kur isadami, duvariima (RA nin resimleri)bu resimlerini asacgima sadece kilim asarim" demis (RA nin resimlerinde kilim motiflerine benzer motifler var-(CK nin yazinina bakiniz). CK ye gore RA unlu Gustav Klimt in stilinden epey etkilenmis. ben de RA nin resimlerinde bu etkiyi gordum. ama icerik tamamen farkli ve yorumlar da. RA da dehsetli bir hazine oldugu asikar. Gustav Klimt en veta surrealistlerden etkilenmesi de dogal- eger desteklenebildigi yeserebilecegi bir ortamda olsaydi kendi stilini de cikartacakti. RA ya olan ilgiziiligi 19 yyy da yasarken izdirap cekmis bir suru resammin ki ile (mesela van Gogh ile) karsitirmamak da gerekir. o donemde yasarken fazlasiyla desteklenen resamlar icinde devrimci yeni tarzlari ilk acanlar kolay kabul goremiyordu. kurdistan da ise HENUZ sarkici ve turkuculer dissinda hic bir sanatci dogru durust kabul goremiyor. gelelim en son alintiya-bu da kadin meselesinde (RA nin bu konuya da duyarli olmasi-sanatin bu husuta da bir damar acabilecegine isaret sayilabilir) "One day I went to the village of Tak Tak, near Koy Sinjak", says Rostam, "and I met a very pretty woman shepherd: she could not bear children, so her husband made her a shepherd. All the time, while watching her sheep, she was dreaming of sex and babies--the butterfly symbolizes her dreams, and the birds are upside down because they cannot make love". The story of this woman does not end here, explains Rostam: her estranged husband married a second wife, who was also unable to bear children. After undergoing tests at the hospital it was discovered that it was he who was sterile." burayi da tercume etmiyorum-hanife kazara okursa o tercume etsin. mevzu elbette beni de ilgilendiriyor ama sonunda kadin olan o. iki kariligin parlemntodan gectigi bir yerde-steril erkekle evlenen kadinlarin iki kariliga muhtemel gerekce olan-cocuk yapma-isine yaslanip itiraz edenler cikacak mi -bakalim. son lafimi da baslik uzerine soyliyecegim sanat sadece ruhun degil direk beynin de gidasidir. bu gidayi alamayan toplum kotu besleniyoor demektir direk biyoljik sonuclari vardir bunun. kotu beslenmenin sonuclari agirdir. HeK iyi beslenmeye cabalar iyi de besler-mutfagini ziyaret edenleri