{"id":5656,"date":"2021-10-28T21:02:23","date_gmt":"2021-10-28T18:02:23","guid":{"rendered":"https:\/\/sinopale8.org\/sinopale1\/"},"modified":"2021-12-08T00:41:26","modified_gmt":"2021-12-07T21:41:26","slug":"sinopale1","status":"publish","type":"post","link":"https:\/\/sinopale8.org\/tr\/sinopale1\/","title":{"rendered":"Sinopale 1"},"content":{"rendered":"[vc_row thb_full_width=”true” thb_divider_position=”bottom”][vc_column css=”.vc_custom_1635444028814{padding-left: 30px !important;}”][vc_wp_text]\n

Sinopale 1, “\u015eey”<\/h2>\n

K\u00fcrat\u00f6rler: T. Melih G\u00f6rg\u00fcn, Beral Madra, Vittorio Urbani[\/vc_wp_text][vc_wp_text el_class=”p-last-child”]\n[\/vc_wp_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]1. Uluslararas\u0131 Sinop Bienali, 2006<\/strong><\/p>\n

Kavramsal \u00c7er\u00e7eve<\/strong>: T. Melih G\u00f6rg\u00fcn<\/p>\n

Sanat\u00e7\u0131lar: <\/strong>Alparslan Balo\u011flu, Walter Bergmoser, Andre van Bergen, Canan Beykal, Handan Handan B\u00f6r\u00fcte\u00e7ene, Yael Davis, \u0130pek D\u00fcben, Nezaket Ekici, Ekmel Ertan, M\u00fcrteza Fidan, R\u00f3za El-Hassan, J\u00fcrgen Hefele, Eric van Hove, Aylin Kalem, Emre Koyuncuo\u011flu, Monali Meher, monochrom, Nobuho Nagasawa, Tamas Oszwald, Orgacom (Nadia Tsulukidze & Sophia Tabatadze), Kerem Onur, Murat \u00d6zelmas, Lerzan \u00d6zer, Ferhat \u00d6zg\u00fcr, Marc Rees & Neil Davies, Antonio Riello, Gue Schmidt, Juliane Stiegele, Suna Suner, Burcu Ya\u011fcio\u011flu & Ece Kalabak & Nazar Sigaher, Moha\u00e7 Y\u00fccel, Next Future, Ziya Azazi<\/p>\n

Mekanlar:<\/strong>\u00a0Tarihi Sinop Hapishanesi, Eski Otel 117,\u00a0Eski Tekel Binas\u0131,\u00a0Pervane Medresesi El Sanatlar\u0131 \u00c7ar\u015f\u0131s\u0131,\u00a0Etnografya M\u00fczesi, \u015eehir Merkezi<\/p>\n

Ekip: <\/strong>Genel Sanat Y\u00f6netmeni: T. <\/span>Melih G\u00f6rg\u00fcn,\u00a0Dan\u0131\u015fma Kurulu: \u00a0<\/span>Beral Madra,\u00a0<\/span>Vittorio Urbani,\u00a0<\/span>Zeki Y\u0131lmazer,\u00a0<\/span>Mahir Namur,\u00a0Genel Koordinat\u00f6r: <\/span>Elif Kuli,\u00a0<\/span>Asistanlar: <\/span>Hikmet Nakilcio\u011flu,\u00a0<\/span>Ufuk K\u0131l\u0131\u00e7, \u00a0<\/span>Bas\u0131n \u0130li\u015fkileri: <\/span>I\u015f\u0131l Yenersoy,\u00a0<\/span>Nil\u00fcfer S\u00fcl\u00fcner, Kurumsal Kimlik Tasar\u0131m\u0131<\/span>: <\/span>Umut S\u00fcd\u00fcak,\u00a0<\/span>Foto\u011fraflar: <\/span>Zeynep Oray,\u00a0<\/span>G\u00f6n\u00fcll\u00fc Ekip: <\/span>Alparslan Karaaslan,\u00a0<\/span>Bur\u00e7ak Konukman,\u00a0<\/span>S\u0131tk\u0131can Sara\u00e7o\u011flu,\u00a0<\/span>G\u00fcng\u00f6r Erdem,\u00a0<\/span>Erdem Dilbaz,\u00a0<\/span>Zerrin Dirihan,\u00a0<\/span>Emre Yal\u00e7\u0131n,\u00a0<\/span>Do\u011fa Ba\u015f,\u00a0<\/span>Levent Y\u0131lmaz,\u00a0<\/span>Orkan Alparslan<\/span><\/p>\n

Organizasyon:<\/strong> Avrupa K\u00fclt\u00fcr Derne\u011fi<\/p>\n

Te\u015fekk\u00fcrler:<\/strong>\u00a0<\/span>Payende G\u00f6rg\u00fcn,<\/span>Zeki Y\u0131lmazer,\u00a0<\/span>Erol Derici,\u00a0<\/span>Erdal Y\u0131lmazer,\u00a0<\/span>Nihat \u00d6nder,\u00a0<\/span>Recai Y\u0131lmaz,\u00a0<\/span>Cevat Akkaya,\u00a0<\/span>G\u00fcl G\u00fcrses,\u00a0<\/span>Ay\u015fe \u015eakar,\u00a0<\/span>Sema Onur Iraktan,\u00a0<\/span>Hale O\u011fuz,\u00a0<\/span>Mert G\u00fcvenen,\u00a0<\/span>Esra \u00c7\u0131tak G\u00fcvenen,\u00a0<\/span>Or\u00e7un Onur,\u00a0<\/span>\u0130rfan Onur,\u00a0<\/span>Sibel Y\u0131lmaz,\u00a0<\/span>Ali Y\u0131lmaz,\u00a0<\/span>B\u00fcke Onur,\u00a0<\/span>Osman Onur,\u00a0<\/span>Aslan Y\u0131lmazer,\u00a0<\/span>Ufuk Onur,\u00a0<\/span>Fato\u015f Y\u0131lmazer,\u00a0<\/span>Alican Y\u0131lmazer,\u00a0<\/span>Ceren Onur Y\u00fccel,\u00a0<\/span>An\u0131l Ba\u015fo\u011flu,\u00a0<\/span>Cank\u0131z Onur,\u00a0<\/span>G\u00fcn \u00d6nen,\u00a0<\/span>Ayta\u00e7 Kuaf\u00f6r,\u00a0<\/span>Nesibe Han\u0131m,\u00a0<\/span>Ozdemir Korkmaz,\u00a0<\/span>Aylin Alparslan<\/span>[\/vc_column_text]\t

\n\t\t<\/a>\n\t\t\t\t\n\n\n\n<\/svg>\n\t\t\t\t\u201c\u015eey\u201d<\/strong><\/p>\n

Karadeniz k\u0131y\u0131s\u0131ndaki en eski \u015fehirlerden biri olan, y\u00fczy\u0131llard\u0131r de\u011fi\u015fmeyen ad\u0131yla Tanr\u0131\u00e7a Sinope\u2019nin kenti \u201cSinop\u201d, izole edildi\u011fi alan i\u00e7inde tarih boyunca bir\u00e7ok k\u00fclt\u00fcr\u00fc bar\u0131nd\u0131rm\u0131\u015ft\u0131r.<\/span><\/p>\n

Osmanl\u0131lar d\u00f6neminde Sinop, \u00f6zel gemilerin \u00fcretildi\u011fi bir ticaret kentiydi. \u0130mparatorlu\u011fun kabuk de\u011fi\u015ftirmesi s\u00fcrecinde, kentin bu i\u015flevi elinden al\u0131nm\u0131\u015f, 1887\u2019de tarihi tersanesi hapishaneye d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr. B\u00f6ylece Sinop, bir gemi \u00fcretim ve ticaret merkezi iken bir hapishane kenti haline gelmi\u015f, yoksullu\u011fa terkedilmi\u015ftir. Anadolu\u2019nun en kuzey noktas\u0131nda, tek bir yoldan giri\u015f-\u00e7\u0131k\u0131\u015f\u0131 olan bir burunda bulunan Sinop\u2019un co\u011frafi konumu da kentin izolasyonunda destekleyici rol oynam\u0131\u015ft\u0131r. Siyasi otoritenin bask\u0131lar\u0131 ile Sinop tam bir \u201chapishane kenti\u201dne d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.<\/span><\/p>\n

Sinop Hapishanesi\u2019nde toplum i\u00e7in \u201ctehlikeli\u201d bulunduklar\u0131ndan, \u00e7o\u011funlukla d\u00fc\u015f\u00fcnce su\u00e7lular\u0131 hapsedilmi\u015ftir. Ancak bu, hapishanenin fark\u0131nda olmadan tersine bir i\u015flev \u00fcstlenerek ciddi d\u00fc\u015f\u00fcnsel \u00fcretimlerin ortaya \u00e7\u0131kmas\u0131 i\u00e7in bir ortam olu\u015fturmu\u015ftur. Ayr\u0131ca bu, Sinop \u015fehri ve ya\u015fayanlar\u0131 aras\u0131nda bir sinerjinin ortaya \u00e7\u0131k\u0131\u015f\u0131n\u0131 desteklemi\u015f ve Cumhuriyet tarihi i\u00e7inde alt\u0131 \u00e7izilmeden muhalif bir kent olarak tan\u0131nmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/span><\/p>\n

So\u011fuk sava\u015f d\u00f6neminde Sinop, ABD\u2019nin \u201cb\u00fcy\u00fck kulak\u201d\u0131 olmu\u015f, Sovyetler Birli\u011fi\u2019ni kontrol alt\u0131nda tutmak ama\u00e7l\u0131 kurulan Nato \u00fcss\u00fc olarak kullan\u0131lm\u0131\u015ft\u0131r. D\u00fcnyan\u0131n bir yar\u0131s\u0131n\u0131n dahil oldu\u011fu \u201cblok\u201dun \u201c\u00f6teki blok\u201d taraf\u0131ndan kontrol edildi\u011fi bir nokta olmu\u015ftur. Bu askeri \u00fcs, Michel Foucault\u2019un yorumlad\u0131\u011f\u0131 \u201cPanoptikon\u201dda oldu\u011fu gibi, \u201ctam amac\u0131na uygun bir \u015fekilde en hakim tepeye kurularak i\u00e7erideki ve d\u0131\u015far\u0131dakinin e\u015f zamanl\u0131 olarak g\u00f6r\u00fclmesi ve istihbarat verilerinin en iyi \u015fekilde de\u011ferlendirilmesi i\u00e7in merkez olmu\u015ftur\u201d. \u201cKendi kula\u011f\u0131n\u0131 ve g\u00f6z\u00fcn\u00fc kapatan devlet\u201d kentin ekonomisini neredeyse t\u00fcm\u00fcyle buradan gelen gelire ba\u011f\u0131ml\u0131 k\u0131lm\u0131\u015ft\u0131r. Buradaki yaln\u0131z b\u0131rak\u0131lm\u0131\u015fl\u0131k, toplumu d\u00fc\u015f\u00fcnmenin ve ba\u011f\u0131ms\u0131z olarak \u00fcretmenin \u00f6nemi konusunda bilin\u00e7lendirmi\u015ftir.<\/span><\/p>\n

Yeni ortamlar ve birliktelikler i\u00e7in makul bir s\u00fcre\u00e7<\/span><\/p>\n

Merkezi siyasi y\u00f6netimin modernist politikalar \u00e7er\u00e7evesinde uygulad\u0131\u011f\u0131 k\u00fclt\u00fcr ve sanat politikalar\u0131 burada Sinoplu\u2019nun d\u00fc\u015f\u00fcnme yetisini \u00e7ok defa tetiklemi\u015f ve mutaass\u0131p olamayan, hatta olduk\u00e7a da \u00e7a\u011fda\u015f bir \u015fehirli profinin olu\u015fmas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. D\u00fc\u015f\u00fcnce su\u00e7lular\u0131, onlar\u0131n hapishane \u00e7\u0131k\u0131\u015fl\u0131 \u00fcretimleri, ve yo\u011fun ilgi g\u00f6ren merkez programl\u0131 sanat etkinliklerinin izlenme yo\u011funlu\u011fu, gelecek y\u0131llarda daha bilin\u00e7li, sorgulayan ve talep eden e\u011fitimli bir \u201cyeni merkez\u201din alt yap\u0131s\u0131 i\u00e7in ortam haz\u0131rlam\u0131\u015ft\u0131r.<\/span><\/p>\n

Do\u011fal ve k\u00fclt\u00fcrel zenginlikleri \u015fehrin merkezinde bir hazine gibi ortada dururken, bunlar\u0131 de\u011ferlendirme gere\u011fi duymayan resmi otoritenin kar\u015f\u0131s\u0131nda bir \u201ckar\u015f\u0131-davran\u0131\u015f\u201d olarak geli\u015fen \u015fey, k\u00fclt\u00fcr ve sanat\u0131n art\u0131k bilin\u00e7li t\u00fcketilmesi ve \u201cde\u011fer\u201d olarak saklanmas\u0131 i\u00e7in duyulan, geli\u015ftirilen \u201c\u015fey\u201d olmu\u015ftur.<\/span><\/p>\n

Bu bilinmezlik durumunu betimleyen s\u00f6zc\u00fck, ilk bienalin kavramsal \u00e7er\u00e7evesini olu\u015fturmu\u015ftur.<\/span><\/p>\n

Tan\u0131mlanamayan durumun d\u00f6n\u00fc\u015f\u00fcm\u00fc: \u201c\u015fey, -thing\u201d<\/span><\/p>\n

\u2018\u015e<\/span>\u0327<\/span>ey\u2019 varl\u0131\u011f\u0131 bilinen ile bilinmeyen, her-\u015fey ile hi\u00e7bir-\u015fey aras\u0131ndaki sonsuzlu\u011fu i\u00e7ermektedir.<\/span><\/p>\n

Birinci Sinop Bienali\u2019nde, sanat\u0131n g\u00f6z\u00fcnden \u2018\u015fey\u2019 olman\u0131n ka\u00e7\u0131n\u0131lmaz ger\u00e7e\u011fi, sorumluluklar\u0131m\u0131z ve g\u00f6rmezden geldiklerimiz, yeniden olu\u015fum ve y\u0131k\u0131m kar\u015f\u0131s\u0131ndaki duru\u015f, bo\u015fluklar\u0131m\u0131z ve safl\u0131\u011f\u0131m\u0131z, \u201c\u015fey\u201dlerin yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 Sinop Hapishanesi\u2019ne yerle\u015ftirilen yap\u0131tlarda tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Kentin d\u00f6rt bir yan\u0131ndaki yerler de bu tart\u0131\u015fmaya tan\u0131kl\u0131k etmi\u015ftir.<\/span><\/p>\n

Sinop, tarihsel s\u00fcre\u00e7te sanatla ilgisini tekrar tart\u0131\u015fmaya a\u00e7m\u0131\u015ft\u0131r. Bu eski yerle\u015fke, kodlar\u0131n\u0131 aramakta, kendini tekrar kodlamaktad\u0131r.<\/span><\/p>\n

Ama\u00e7 \u2013 Ara\u00e7 \u0130li\u015fkisi<\/span><\/p>\n

Bir \u00e7ok gencin sanat e\u011fitimi almak i\u00e7in \u00e7aba g\u00f6stermesi, estetik kayg\u0131larla \u00fcretim eylemine ge\u00e7me g\u00fcd\u00fcleri, g\u00fcnl\u00fck ya\u015fam\u0131n \u00fczerinde ge\u00e7ti\u011fi tarihi doku, burada art\u0131k yeni bir yap\u0131n\u0131n in\u015fas\u0131n\u0131n ba\u015flamas\u0131na neden olmu\u015ftur.<\/span><\/p>\n

Devletin seksenlerden sonra y\u00fcr\u00fctt\u00fc\u011f\u00fc k\u00fclt\u00fcr ve sanat politikalar\u0131 \u00f6zel sekt\u00f6re endekslenmi\u015f, sanat art\u0131k yaln\u0131zca \u00f6zel sekt\u00f6r\u00fcn pazarlama arac\u0131 olmu\u015f ve ayr\u0131\u015ft\u0131r\u0131lm\u0131\u015f (segmente edilmi\u015f) hedef kitlelere y\u00f6nelik t\u00fcketim nesnesi haline getirilmi\u015ftir. Art\u0131k sosyal kayg\u0131lar g\u00fctmeyen, yaln\u0131z ekonomik hede\u015feri olan k\u00fclt\u00fcr sanat politikalar\u0131, k\u00fclt\u00fcr ve sanat\u0131n merkezde toplanmas\u0131na neden olmu\u015f, Sinop gibi izole kentler global sistemin tamamen d\u0131\u015f\u0131na at\u0131lm\u0131\u015flard\u0131r. Bu politikalar, T\u00fcrkiye\u2019deki modernle\u015fme s\u00fcrecinin i\u00e7selle\u015ftirilmeden yar\u0131da kalmas\u0131na neden olmu\u015ftur.<\/span><\/p>\n

Bu durumda \u015f\u00f6yle bir soru g\u00fcndeme gelmektedir: Sivil inisiyatif, yerel, ulusal ve uluslararas\u0131 dinamikleri harekete ge\u00e7irerek yeni bir yap\u0131 olu\u015fturabilir mi? Merkez ile \u00e7evre aras\u0131nda bitmi\u015f olan ili\u015fki kar\u015f\u0131s\u0131nda al\u0131nacak yeni tav\u0131r ne olmal\u0131d\u0131r?<\/span><\/p>\n

\u0130\u015fte \u201cSinopale\u201d buna yan\u0131t vermek i\u00e7in olu\u015fturulmu\u015f bir yap\u0131d\u0131r.<\/span><\/p>\n

Sinop ve Bienal (Sinop + Biennale= Sinopale)<\/span><\/p>\n

Sinopale temel olarak kendi kullan\u0131m alan\u0131nda, kendi prati\u011fini geli\u015ftirecek bir yap\u0131 olarak tasarlanm\u0131\u015ft\u0131r. Bu yap\u0131, politikas\u0131 olmayan bir alanda sivil inisiyatifleri harekete ge\u00e7irerek bir politika olu\u015fumu konusunda talep uyand\u0131rmak \u00fczere kurgulanm\u0131\u015ft\u0131r.<\/span><\/p>\n

Temel d\u00fc\u015f\u00fcncesi taban\u0131ndan geli\u015fen Sinopale, yerel (ve b\u00f6lgesel) d\u00fc\u015f\u00fcnceyi uluslararas\u0131 bir dile d\u00f6n\u00fc\u015ft\u00fcrerek, d\u00fcnya k\u00fclt\u00fcr\u00fcne katk\u0131da bulunmaktad\u0131r. Bu t\u00fcr etkinlikleri uluslararas\u0131 alanda de\u011ferli k\u0131lan da budur.<\/span><\/p>\n

\u201c\u0130htiya\u00e7lar, Zorunluluklar, Yap\u0131lacaklar ve Sonu\u00e7lar.\u201d<\/span><\/p>\n

Sinopale di\u011fer bienallerden farkl\u0131 olarak kentte ya\u015fayanlar\u0131n da \u00fcretim s\u00fcrecine kat\u0131lacaklar\u0131 bir sanat etkinli\u011fi olarak hayata ge\u00e7irilmi\u015ftir. Sinopale sanatsal bir sivil toplum etkinli\u011fidir.<\/span><\/p>\n

Birinci Sinop Bienali\u2019nde sanat\u00e7\u0131lar, halk\u0131n kat\u0131l\u0131m\u0131yla ger\u00e7ekle\u015ftirdikleri at\u00f6lye \u00e7al\u0131\u015fmalar\u0131nda, bir yandan yerel sorunlar\u0131n uluslararas\u0131 dilde ifade bulmas\u0131n\u0131 sa\u011flarken, di\u011fer yandan de\u011ferlerine sahip \u00e7\u0131kma bilinci yaratmay\u0131 ve uluslararas\u0131 g\u00fcndemde olup yerelin fark etmedi\u011fi konulara dikkat \u00e7ekmeyi ama\u00e7lad\u0131lar.<\/span><\/p>\n

Sanat\u00e7\u0131lar\u0131n yap\u0131tlar\u0131, tercihleri do\u011frultusunda Sinop Hapishanesi, Etnografya M\u00fczesi, Sel\u00e7uklu Medresesi gibi mekanlara yerle\u015ftirildi. \u015eehir i\u00e7indeki t\u00fcm alanlar\u0131n kullan\u0131ma a\u00e7\u0131ld\u0131\u011f\u0131 performans program\u0131nda yine Sinop merkezli yap\u0131tlar \u00f6n planda idi. Yerel halk\u0131n sanat \u00fcretimine kat\u0131lmas\u0131 i\u00e7in gerekli ara\u00e7lardan biri olan interaktif yap\u0131tlar \u201ci\u00e7selle\u015ftirme\u201d s\u00fcrecini da h\u0131zland\u0131racak bir i\u015fleve sahip olmalar\u0131 bak\u0131m\u0131ndan \u00f6nemlidirler.<\/span><\/p>\n

Sinopale 1, \u00fc\u00e7 k\u00fcrat\u00f6r\u00fc, altm\u0131\u015f sanat\u00e7\u0131s\u0131, organizasyon ekibi, ve yirmi dokuz bin Sinoplu ile bir b\u00fct\u00fcn olarak var oldu. Kendini bu b\u00fct\u00fcn\u00fcn bir par\u00e7as\u0131 olarak g\u00f6r\u00fcp, bu olu\u015fumun temelini atanlar, gelecek y\u0131llarda olu\u015facak benzeri yeni yap\u0131lara \u00f6rnek te\u015fkil edeceklerdir.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row thb_full_width=”true” thb_divider_position=”bottom” css=”.vc_custom_1634479779185{margin-top: 40px !important;}”][vc_column width=”5\/6″][vc_masonry_media_grid element_width=”6″ gap=”35″ grid_id=”vc_gid:1638911715979-03eba89e-00e8-0″ include=”1283,1263,1275,1265,1267,1269,1273,1277,1279,1281,1285,1287,1289″][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row thb_full_width=”true” thb_divider_position=”bottom”][vc_column css=”.vc_custom_1635444028814{padding-left: 30px !important;}”][vc_wp_text] Sinopale 1, “\u015eey” K\u00fcrat\u00f6rler: T. Melih G\u00f6rg\u00fcn, Beral Madra, Vittorio Urbani[\/vc_wp_text][vc_wp_text el_class=”p-last-child”] [\/vc_wp_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]1. Uluslararas\u0131 Sinop Bienali, 2006 Kavramsal \u00c7er\u00e7eve: T. Melih G\u00f6rg\u00fcn Sanat\u00e7\u0131lar: Alparslan Balo\u011flu, Walter Bergmoser, Andre van Bergen, Canan Beykal, Handan Handan B\u00f6r\u00fcte\u00e7ene, Yael Davis, \u0130pek D\u00fcben, Nezaket Ekici, Ekmel Ertan, M\u00fcrteza Fidan, R\u00f3za El-Hassan, J\u00fcrgen…<\/p>\n","protected":false},"author":3,"featured_media":1261,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[967],"tags":[929,930,931,653,932,933,934,935,936,711,928,658,927,926,925,924,916,923,937,921,919,723,918,917,709,938,724,914,939,727,850,913,682,940,686,941,912,687],"class_list":["post-5656","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bienal","tag-andre-van-bergen-tr","tag-antonio-riello-tr","tag-aylin-kalem-tr","tag-beral-madra-tr","tag-burcu-yagcioglu-tr","tag-burcu-yagcioglu-ece-kalabak-nazar-sigaher-tr","tag-canan-beykal-tr","tag-ece-kalabak-tr","tag-ekmel-ertan-tr","tag-emre-koyuncuoglu-tr","tag-eric-van-hove-tr","tag-ferhat-ozgur-tr","tag-gue-schmidt-tr","tag-handan-borutecene-tr","tag-ipek-duben-tr","tag-juliane-stiegele-tr","tag-jurgen-hefele-tr","tag-kerem-onur-tr","tag-lerzan-ozer-tr","tag-marc-rees-neil-davies-tr","tag-mohac-yucel-tr","tag-monali-meher-tr","tag-monochrom-tr","tag-murat-ozelmas-tr","tag-murteza-fidan-tr","tag-next-future-tr","tag-nezaket-ekici-tr","tag-nobuho-nagasawa-tr","tag-orgacom-nadia-tsulukidze-sophia-tabatadze-tr","tag-roza-el-hassan-tr","tag-sinopale-1-tr","tag-suna-suner-tr","tag-t-melih-gorgun-tr","tag-tamas-oszwald-tr","tag-vittorio-urbani-tr","tag-walter-bergmoser-tr","tag-yael-davis-tr","tag-ziya-azazi-tr"],"acf":[],"_links":{"self":[{"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/posts\/5656","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/comments?post=5656"}],"version-history":[{"count":3,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/posts\/5656\/revisions"}],"predecessor-version":[{"id":7681,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/posts\/5656\/revisions\/7681"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/media\/1261"}],"wp:attachment":[{"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/media?parent=5656"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/categories?post=5656"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sinopale8.org\/tr\/wp-json\/wp\/v2\/tags?post=5656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}