{"id":15879,"date":"2026-03-02T17:06:49","date_gmt":"2026-03-02T14:06:49","guid":{"rendered":"https:\/\/aura-istanbul.com\/?page_id=15879"},"modified":"2026-03-02T17:06:49","modified_gmt":"2026-03-02T14:06:49","slug":"aura-alumni-asya-yurttas","status":"publish","type":"page","link":"https:\/\/aura-istanbul.com\/index.php\/aura-alumni-asya-yurttas\/","title":{"rendered":"AURA Alumni: Asya Yurtta\u015f"},"content":{"rendered":"

[vc_section][vc_row][vc_column width=”1\/6″][vc_single_image image=”15857″ img_size=”large” alignment=”center” css=””][vc_empty_space][vc_column_text css=””]Asya Yurtta\u015f<\/strong>[\/vc_column_text][vc_empty_space height=”16px”][vc_column_text css=””]Mimarl\u0131k
\n\u0130zmir Ekonomi \u00dcniversitesi<\/span><\/p>\n

\u00a0<\/span><\/p>\n

G\u00fcz 2025
\nDan\u0131\u015fman: H\u00fcseyin Yanar[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_icon icon_fontawesome=”fa fa-brands fa-linkedin” color=”chino” size=”xs” css=”” link=”url:https%3A%2F%2Fwww.linkedin.com%2Fin%2Fasya-yurttas-9b846033a%2F”][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”2\/3″][vc_empty_space][vc_column_text css=””]<\/p>\n

Sanat ve Mimarl\u0131k: S I N I R L A R<\/strong><\/p>\n

[\/vc_column_text][vc_empty_space][vc_column_text css=””]1- <\/strong>Yaralar\u0131n Esteti\u011fi: <\/strong>Yara, gizlenmesi gereken bir kusur de\u011fil; bedende ve bellekte iz b\u0131rakan bir anlat\u0131d\u0131r. \u0130zler, bast\u0131r\u0131ld\u0131\u011f\u0131nda de\u011fil g\u00f6r\u00fcn\u00fcr oldu\u011funda anlam kazan\u0131r.
\n1- The Aesthetics of Scars: A scar is not a flaw to be hidden; it is a narrative inscribed upon the body and memory. Marks gain meaning not when suppressed, but when made visible.<\/em><\/p>\n

2- Sergilenemez:<\/strong> Sergilenemez, Menderes Nehri\u2019nin ay\u0131r\u0131c\u0131 g\u00fcc\u00fcn\u00fc tersine \u00e7evirme giri\u015fiminden do\u011fdu. Malzemenin direnci ve s\u00fcrecin ba\u015far\u0131s\u0131zl\u0131\u011f\u0131 sonucunda i\u015f, dijital m\u00fcdahale ile d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc. \u00c7al\u0131\u015fma, bu k\u0131r\u0131lmay\u0131 gizlemek yerine g\u00f6r\u00fcn\u00fcr k\u0131lar; sunuma direnen an\u0131 sahiplenir ve utanc\u0131 bir y\u00fczeye d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.
\n2- Unpresentable: Unpresentable emerged from an attempt to invert the dividing force of the Meander River. When material intentions failed and the object resisted exhibition, the work was transformed through digital manipulation. Rather than hiding this breakdown, the piece embraces the moment of resistance\u2014where failure becomes visible and shame turns into surface.<\/em><\/p>\n

3- Hydrotrace:<\/strong> Hydrotrace, suyu hem malzeme hem de kavramsal bir zaman ta\u015f\u0131y\u0131c\u0131s\u0131 olarak ele al\u0131r. Akrilik ve suyun tuval \u00fczerindeki etkile\u015fimiyle y\u00fczey; a\u015f\u0131nma, da\u011f\u0131lma ve tortu alan\u0131na d\u00f6n\u00fc\u015f\u00fcr. \u00c7al\u0131\u015fma bir manzaray\u0131 betimlemez; zaman\u0131n nas\u0131l akt\u0131\u011f\u0131n\u0131, \u00e7\u00f6kt\u00fc\u011f\u00fcn\u00fc ve iz b\u0131rakt\u0131\u011f\u0131n\u0131 kaydeder, ak\u0131\u015f\u0131 belle\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.
\n3- Hydrotrace: Hydrotrace approaches water as both a material and a conceptual carrier of time. Through the interaction of acrylic and water on canvas, the surface transforms into a field of erosion, dispersion, and sediment. The work does not depict a landscape; it records how time flows, settles, and leaves traces, turning movement into memory.<\/em><\/p>\n

4- Bir Daha Asla O \u00c7ocuklar Olmayaca\u011f\u0131z:<\/strong> Bu \u00e7al\u0131\u015fma, \u00e7ocuklukta kurulmu\u015f bir dostluk ve iki ki\u015fi aras\u0131nda yarat\u0131lm\u0131\u015f \u00f6zel bir dil \u00fczerinden haf\u0131za, kay\u0131p ve geri d\u00f6n\u00fclmezlik kavramlar\u0131n\u0131 ara\u015ft\u0131r\u0131r. Mektup, yaln\u0131zca bu iki ki\u015fiye ait gizli bir alfabe ile yaz\u0131lm\u0131\u015ft\u0131r\u2014y\u0131llarca unutulmu\u015f, bir kopu\u015fun ard\u0131ndan beklenmedik bi\u00e7imde hat\u0131rlanm\u0131\u015ft\u0131r. Metnin b\u00fcy\u00fck b\u00f6l\u00fcm\u00fc bilin\u00e7li olarak kapal\u0131d\u0131r; okunabilirli\u011fi yaln\u0131zca ayn\u0131 ge\u00e7mi\u015fi payla\u015fanlara a\u00e7\u0131kt\u0131r. Di\u011ferleri i\u00e7in ise yaln\u0131zca bir iz, bir kal\u0131nt\u0131 olarak var olur. Latin alfabesiyle yaz\u0131lm\u0131\u015f tek c\u00fcmle \u015fudur: B\u0130R DAHA ASLA O \u00c7OCUKLAR OLMAYACA\u011eIZ. Bu ifade bir su\u00e7lama de\u011fil, bir fark edi\u015ftir, zaman hem konu\u015fan\u0131 hem de kar\u015f\u0131s\u0131ndakini geri d\u00f6n\u00fc\u015f\u00fc olmayan bi\u00e7imde de\u011fi\u015ftirmi\u015ftir. \u00c7al\u0131\u015fma, ki\u015fisel bir ayr\u0131l\u0131ktan yola \u00e7\u0131karak daha evrensel bir kayb\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar: \u00e7ocuklu\u011fun geri getirilemez masumiyetini. Alfabe h\u00e2l\u00e2 vard\u0131r; ancak ona anlam\u0131n\u0131 veren ba\u011f art\u0131k yoktur. E\u011fer bir dil, konu\u015fan\u0131 kalmadan da var olabiliyorsa, hat\u0131ralar kime aittir? Ve bir \u015fey yaln\u0131zca hat\u0131rland\u0131\u011f\u0131 i\u00e7in h\u00e2l\u00e2 \u201cbizim\u201d say\u0131labilir mi?
\n4- We\u2019ll Never Be Those Kids Again: This work explores memory, loss, and irreversibility through a childhood friendship <\/em>and a private language created between two people. The letter is written in a secret <\/em>alphabet once shared exclusively by them\u2014forgotten for years and unexpectedly <\/em>remembered after a rupture. <\/em>Most of the text remains deliberately closed; it is readable only to those who share <\/em>the same past. For others, it exists merely as a trace, a remnant. A single sentence <\/em>appears in Latin script: We\u2019ll never be those kids again. Not as an accusation, but as <\/em>a realization\u2014time has altered both speaker and addressee beyond return. <\/em>The work expands from a personal separation to a universal loss: the irretrievable <\/em>innocence of childhood. The alphabet survives, but the bond that gave it meaning no <\/em>longer exists. If a language continues without its speaker, to whom do the memories <\/em>belong? And can something still be \u201cours\u201d simply because it is remembered?<\/em><\/p>\n

5- Pazardan Cumaya: <\/strong>Pazardan Cumaya, LIMINALXIII kolektifi taraf\u0131ndan geli\u015ftirilen bir kamusal mek\u00e2n projesidir. Farkl\u0131 disiplinlerden bir araya gelen ekibin ortak \u00fcretim s\u00fcrecinden do\u011fan \u00e7al\u0131\u015fma, nesne \u00fcretmekten \u00e7ok ili\u015fkiler, kar\u015f\u0131la\u015fmalar ve g\u00fcndelik kamusal deneyimler olu\u015fturmay\u0131 hedefler.
\nProje, \u0130stanbul Be\u015fikta\u015f\u2019taki pazar alan\u0131n\u0131 haftada bir g\u00fcn kullan\u0131lan bir ticaret zemini olmaktan \u00e7\u0131kararak, haftan\u0131n tamam\u0131na yay\u0131lan ya\u015fayan, kat\u0131l\u0131mc\u0131 ve esnek bir kar\u015f\u0131la\u015fma alan\u0131na d\u00f6n\u00fc\u015ft\u00fcrmeyi \u00f6nerir. Pazar tezg\u00e2h\u0131 \u00f6l\u00e7\u00fclerinden t\u00fcretilen katlanabilir mod\u00fcler sistemler pazar g\u00fcnleri altyap\u0131 sa\u011flarken di\u011fer g\u00fcnlerde kamusal kullan\u0131m y\u00fczeylerine d\u00f6n\u00fc\u015f\u00fcr; yerle\u015ftirme ve video \u00e7al\u0131\u015fmalar\u0131 ise kullan\u0131c\u0131 kat\u0131l\u0131m\u0131yla s\u00fcrekli yeniden kurulabilen bir mek\u00e2nsal deneyim \u00fcretir.
\nBu \u00f6neri, sonu\u00e7tan \u00e7ok s\u00fcrece, nesneden \u00e7ok etkile\u015fime ve sabit tan\u0131mlar yerine
\nd\u00f6n\u00fc\u015febilir kullan\u0131mlara odaklanan a\u00e7\u0131k bir kamusal \u00fcretim yakla\u015f\u0131m\u0131 sunar.<\/p>\n