Akademik Veri Yönetim Sistemi
SANAT TARIHI DERGISI-JOURNAL OF ART HISTORY, cilt.30, sa.1, ss.369-389, 2021 (ESCI)
The Sao Paulo Biennial (Bienal de Sao Paulo) organized its first event in 1951 with the purpose of promoting contemporary art in Brazil and making Sao Paulo an international art center. Turkey was invited to Sao Paulo Biennial for 1953 and 1955, however invitations were declined by official authorities for administrational purposes. Although the art circles of the period wanted to attend the exhibition, the invitation was considered for only 1957 biennial and for the first time Turkey had a presence in 1957 in the Sao Paulo Biennial: Exhibition was carried out with the organization of the Istanbul Academy of Fine Arts and under the commission of Sabri Berkel. Due to insufficient national archives or their being closed to researchers until now, the documents of the exhibition have been accessed through the Sao Paulo Biennial Foundation (Fundacao Biennial de Sao Paulo). Primarily, the artists who attended the exhibition and their works exhibited have been determined, the early dialogues established between the biennial officials and the Turkish authorities were tried to be understood through institutions and individuals and the first exhibition of Turkey in Sao Paulo Biennial was reviewed for the first time in this research, through the documents in biennial archives. Turkey has participated at the 1957 Sao Paulo Biennial International Art Exhibition with Sabri Berkel, Bedri Rahmi Eyuboglu in the paintings section, Hadi Bara, Ilhan Koman and Zuhtu Muridoglu in sculptures section. In the exhibition, a total of 19 works, 10 of which are paintings and 9 of which are sculptures, by Turkish artists were exhibited. When the works and the anthology in the exhibition were generally considered, it is seen that 1957 exhibition is "under the dominance of modern interpretations". During and after the preparation phase of the exhibition of Turkey, it is seen that many correspondences were made between different institutions and names. These correspondences provide us with important clues about the possibilities of the arts authorities and the cultural policies of the period. The fact that Turkey declined the invitation for 1953 and 1955 biennials for administrative reasons, even though it was invited, indicate that the institutions were in certain impossibilities. As a matter of fact, newspaper articles of the period attribute the rejection of invitations to economic inadequacies. When Turkey's documents in Sao Paulo Biennial Archive are examined, it is seen that official invitation correspondences were responded negatively or positively, not left unanswered. However, the burden of correspondence traffic was mostly undertaken by Sabri Berkel and Hadi Bara on behalf of the Istanbul Academy of Fine Arts.