HOLOKOST KURBANI İLE ÖZDEŞLEYİM; KIEFER İN CELAN A ADADIĞI RESİM VE HEYKELLERİ

Abstract

Germany has evolved towards a very different political and cultural structure after the Nazis came to power. In this period, in the process of restructuring of the social structure, the mentality, that is developed over the inevitable destruction of the other , has emerged. Jews living in Germany and other European countries have become the most affected group by the Nazi persecution. Many massacres during the Nazi rule were not known to a large part of the new generations of German society after the war. However, the historical events that were hidden from society and tried to be erased from memory would eventually be revealed. In the new German generation, the prominent artists started to confront and deal with their own societies and carried out activities in different styles and content in this direction. In this awakening process, artists are among those who try to examine their own historical ties. The insurrection, which began with Joseph Beuys, together with the awakening was reflected in the production of different artists. Anselm Kiefer, one of the most important artists of this process of confrontation, performed almost all artistic productions in this way and continued to multiply and diversify the thought, imagination and formality that he developed each time through this content and path. In this study, visual images created by Anselm Kiefer from the contents of the poetic images of Romanian poet Paul Celan, who was Jew and lived in Nazi Germany, and the photographs and sculptures of snow and winter landscapes, which Kiefer dedicated to the poet, were analyzed in a narrative and formal way. At the same time, the connection and interaction between the art of poetry and the plastic arts have been examined and the results of these two different artistic creation practices have been focused on.