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İroninin parodisi: Linda Hutcheon’un parodi kuramı çerçevesinde Maurizio Cattelan’ın Komedyen (2019) eseri

Year 2025, Issue: 14, 89 - 113, 24.09.2025

Mehmet Dere

https://doi.org/10.46372/arts.1636921

Abstract

Makale, Linda Hutcheon’ın parodi kuramını temel alarak Maurizio Cattelan’ın Komedyen (2019) adlı eserini analiz etmekte ve postmodern sanatın parodik stratejilerini tartışmaktadır. Parodinin yalnızca mizahi bir unsur olmadığı, aynı zamanda sanatsal üretime eleştirel bir perspektif kazandırarak çok katmanlı bir yapı sunduğu tartışılmıştır. Çalışma kapsamında, Komedyen eserinin sanatın ekonomik ve kavramsal değerlerini nasıl sorguladığı analiz edilmiştir. Marcel Duchamp’ın hazır nesne anlayışını, günümüzde sanat piyasasının finansallaşmasını ve spekülatif mekanizmalarını ifşa etmek amacıyla yeniden ele alan bu eser, sanatın kurumsal dinamiklerine yönelik eleştirel bir müdahale olarak değerlendirilmiştir. Bu bağlamda, sanatın piyasa dinamikleri, kurumsal otorite ve medya aracılığıyla nasıl dönüştüğü incelenmiş; Komedyen’in sanatın yerleşik değer ölçütleri ile finansal sistem içindeki konumunu sorgulayan ironik ve eleştirel yapısı vurgulanmıştır.

Keywords

sanat tarihi çağdaş sanat maurizio cattelan linda hutcheon parodi

References

  • Aristoteles. (2012). Poetika: Şiir sanatı üzerine (2. baskı) (Çev. N. Kalaycı). Pharmakon.
  • Bakhtin, M. (1981). The dialogic imagination: Four essays (1. baskı) (Çev. M. Holquist ve C. Emerson). University of Texas.
  • Buskirk, M. (2003). The contingent object of contemporary art (1. baskı). MIT.
  • Bürger, P. (2012). Avangard kuramı (7. baskı) (Çev. E. Özbek). İletişim.
  • Baldick, C. (1996). The concise oxford dictionary of literary terms (2. baskı). Oxford University.
  • Bowley, G. (2020, 18 Eylül). It’s a banana. It’s art. And now it’s the Guggenheim’s problem. The New York Times. https://www.nytimes.com/2020/09/18/arts/design/banana-art-guggenheim.html
  • Casavecchia, B. (1999). Interview with Maurizio Cattelan. N. Spector (Ed.), I want to be famous: Strategies for successful living (1. baskı) (s. 133-136). Guggenheim.
  • Cattelan, M. (1989). Torno Subito [Yerleştirme]. Perrotin Galeri, Paris.
  • Cattelan, M. (1991). Una domenica a Rivara [Yerleştirme]. Castello di Rivara, Torino.
  • Cattelan, M. (1996). Bidibidobidiboo [Yerleştirme]. Fondazione Sandretto Re Rebaudengo, Torino.
  • Cattelan, M. (1997). Novecento [Heykel]. Perrotin Galeri, Paris.
  • Cattelan, M. (1999). Mini-me [Heykel]. Perrotin Galeri, Paris.
  • Cattelan, M. (1999). A Perfect Day [Heykel]. Perrotin Galeri, Paris.
  • Cattelan, M. (2000). La Rivoluzione siamo noi [Heykel]. Guggenheim, New York.
  • Cattelan, M. (2008). Daddy Daddy [Heykel]. Guggenheim, New York.
  • Cattelan, M. (2010). We [Heykel]. Perrotin Galeri, Hong Kong.
  • Cattelan, M. (2010). L.O.V.E. [Heykel]. Borsa Meydanı, Milano.
  • Cattelan, M. (2012). All [Sergi]. Guggenheim, New York.
  • Cattelan, M. (2019). Komedyen [Hazır nesne]. Perrotin Galeri, Art Basel, Miami.
  • Chan, M. F. (2017). Digital zones of immaterial pictorial sensibility [NFT]. InterAccess Galeri, Toronto.
  • Chen, M. (2019, 10 Aralık). What the art basel banana says about our world. The Spectator Magazine. https://thespectator.com/book-and-art/art-basel-banana-world/
  • Cray, W. D. (2014). Conceptual art, ideas, and ontology. The journal of aesthetics and art criticism, 72(3), 235-245. https://doi.org/10.1111/jaac.12090
  • de Cervantes, M. (1605/2008). Don Kişot (5. baskı) (Çev. R. N. Güntekin). Yapı Kredi.
  • de Duve, T. (1989, Summer). Yves Klein, or the dead dealer (Çev. R. Krauss). October, 49, 72-90. https://doi.org/10.2307/778734
  • Dentith, S. (2000). Parody: The new critical idiom (1. baskı). Routledge.
  • Di Pietrantonio, G. (2003). Interview of Maurizio Cattelan. F. Bonami, N. Spector, B. Vanderlinden ve M. Gioni (Ed.), Maurizio Cattelan (2. baskı) (s. 142-145). Phaidon.
  • Duchamp, M. (1917). Fountain [Hazır nesne]. Philadelphia Museum of Art, Pennsylvania.
  • Duchamp, M. (1919). Tzanck Check [El yapımı çek]. İsrail Müzesi, Kudüs.
  • Duchamp, M. (1924). Monte Carlo Bond No. 12 [El yapımı bono]. Marcel Duchamp Vakfı, Paris.
  • Falck, R. (1979). Parody and contrafactum: A terminological clarification. The Musical Quarterly, 65(1), 1-21. https://www.jstor.org/stable/741378
  • Farago, J. (2019, 8 Aralık). A (grudging) defense of the $120,000 banana. The New York Times. https://www.nytimes.com/2019/12/08/arts/design/a-critics-defense-of-cattelan-banana-.html
  • Finestre sull’Arte. (2019, 14 Aralık). Cattelan’s banana divides critics. Here are the positions of critics and journalists who commented on it. https://www.finestresullarte.info/en/news/cattelan-s-banana-divides-critics-here-are-the-positions-of-critics-and-journalists-who-commented-on-it
  • Fishelov, D. (2003). Parody, satire and sympathy in Don Quixote and Gulliver’s Travels. Connotations: A journal for critical debate, 12(2-3), 126-138. https://www.connotations.de/article/david-fishelov-parody-satire-and-sympathy-in-don-quixote-and-gullivers-travels
  • Gioni, M. (2003). Maurizio Cattelan: Rebel with a pose. F. Bonami, N. Spector, B. Vanderlinden ve M. Gioni (Ed.), Maurizio Cattelan (2. baskı) (s. 172-183). Phaidon.
  • Hutcheon, L. (1985). A theory of parody: The teachings of twentieth-century art forms (1. baskı). Methuen.
  • Hutcheon, L. (1989). The politics of postmodernism (1. baskı). Routledge.
  • Jameson, F. (1991). Postmodernism, or the cultural logic of late capitalism (1. baskı). Duke University.
  • Judovitz, D. (1993). Art and economics: Duchamp’s postmodern returns. Criticism, 35(2), 203-226. https://digitalcommons.wayne.edu/criticism/vol35/iss2/3/
  • Jones, J. (2019, 9 Aralık). Don’t make fun of the $120,000 banana - it’s in on the joke. The Guardian. https://www.theguardian.com/artanddesign/2019/dec/09/the-art-world-is-bananas-thats-what-maurizio-cattelans-been-saying-all-along
  • Klein, Y. (1959). Zone de sensibilité picturale immatérielle adlı eserin satın alım makbuzu [Arşiv belgesi]. Yves Klein Vakfı, Paris.
  • Lelièvre, F. J. (1954). The basis of ancient parody. Greece & Rome, 1(2), 66-81. http://www.jstor.org/stable/641056
  • Lippard, L. R. ve Chandler, J. (1968). The dematerialization of the artwork. Art international, 12(2), 46-50. https://monoskop.org/File:Lippard_Lucy_R_Chandler_John_1968_1971_The_Dematerialization_of_Art.pdf
  • Lyotard, J. F. ve Van Den Abbeele, G. (1984). Interview: Jean François Lyotard. Diacritics, 14(3), 15-21. https://doi.org/10.2307/464841
  • Platon. (2006). Devlet (54. baskı) (Çev. S. Eyüboğlu ve M. A. Cimcoz). Remzi.
  • Rabelais, F. (1532/2006). Gargantua ve Pantagruel (19. baskı) (Çev. S. Eyüboğlu, A. Erhat ve V. Günyol). Türkiye İş Bankası.
  • Rose, M. A. (1993). Parody: ancient, modern and post-modern (1. baskı). Cambridge University.
  • Stake, R. E. (1995). The art of case study research (1. baskı). Sage.
  • Veblen, T. (1899/1995). Aylak sınıf (1. baskı) (Çev. İ. User). Marmara Üniversitesi Teknik Eğitim Fakültesi.
  • Velthuis, O. (2005). Talking prices: Symbolic meanings of prices on the market for contemporary art (1. baskı). Princeton University.
  • Yin, R. K. (2014). Case study research: Design and methods (5. baskı). Sage.

The parody of irony: Maurizio Cattelan’s Comedian (2019) within the framework of Linda Hutcheon’s parody theory

Year 2025, Issue: 14, 89 - 113, 24.09.2025

Mehmet Dere

https://doi.org/10.46372/arts.1636921

Abstract

This article analyzes Maurizio Cattelan’s Comedian (2019) through Linda Hutcheon’s theory of parody, exploring the parodic strategies employed in postmodern art. It argues that parody functions not merely as a humorous device but as a critical mode that introduces a multilayered structure to artistic production. The study examines how Comedian interrogates the economic and conceptual values of art. By reactivating Marcel Duchamp’s notion of the readymade, the work exposes the financialization and speculative logic of the contemporary art market. Framed as a critical intervention into the institutional dynamics of art, Comedian challenges dominant systems of value and legitimacy. The article further investigates how art is shaped by market forces, institutional authority, and media circulation. Ultimately, the work’s ironic and critical structure is emphasized for its capacity to destabilize established evaluative frameworks and question the commodification of art within neoliberal economic conditions.

Keywords

art history contemporary art maurizio cattelan linda hutcheon parody

References

  • Aristoteles. (2012). Poetika: Şiir sanatı üzerine (2. baskı) (Çev. N. Kalaycı). Pharmakon.
  • Bakhtin, M. (1981). The dialogic imagination: Four essays (1. baskı) (Çev. M. Holquist ve C. Emerson). University of Texas.
  • Buskirk, M. (2003). The contingent object of contemporary art (1. baskı). MIT.
  • Bürger, P. (2012). Avangard kuramı (7. baskı) (Çev. E. Özbek). İletişim.
  • Baldick, C. (1996). The concise oxford dictionary of literary terms (2. baskı). Oxford University.
  • Bowley, G. (2020, 18 Eylül). It’s a banana. It’s art. And now it’s the Guggenheim’s problem. The New York Times. https://www.nytimes.com/2020/09/18/arts/design/banana-art-guggenheim.html
  • Casavecchia, B. (1999). Interview with Maurizio Cattelan. N. Spector (Ed.), I want to be famous: Strategies for successful living (1. baskı) (s. 133-136). Guggenheim.
  • Cattelan, M. (1989). Torno Subito [Yerleştirme]. Perrotin Galeri, Paris.
  • Cattelan, M. (1991). Una domenica a Rivara [Yerleştirme]. Castello di Rivara, Torino.
  • Cattelan, M. (1996). Bidibidobidiboo [Yerleştirme]. Fondazione Sandretto Re Rebaudengo, Torino.
  • Cattelan, M. (1997). Novecento [Heykel]. Perrotin Galeri, Paris.
  • Cattelan, M. (1999). Mini-me [Heykel]. Perrotin Galeri, Paris.
  • Cattelan, M. (1999). A Perfect Day [Heykel]. Perrotin Galeri, Paris.
  • Cattelan, M. (2000). La Rivoluzione siamo noi [Heykel]. Guggenheim, New York.
  • Cattelan, M. (2008). Daddy Daddy [Heykel]. Guggenheim, New York.
  • Cattelan, M. (2010). We [Heykel]. Perrotin Galeri, Hong Kong.
  • Cattelan, M. (2010). L.O.V.E. [Heykel]. Borsa Meydanı, Milano.
  • Cattelan, M. (2012). All [Sergi]. Guggenheim, New York.
  • Cattelan, M. (2019). Komedyen [Hazır nesne]. Perrotin Galeri, Art Basel, Miami.
  • Chan, M. F. (2017). Digital zones of immaterial pictorial sensibility [NFT]. InterAccess Galeri, Toronto.
  • Chen, M. (2019, 10 Aralık). What the art basel banana says about our world. The Spectator Magazine. https://thespectator.com/book-and-art/art-basel-banana-world/
  • Cray, W. D. (2014). Conceptual art, ideas, and ontology. The journal of aesthetics and art criticism, 72(3), 235-245. https://doi.org/10.1111/jaac.12090
  • de Cervantes, M. (1605/2008). Don Kişot (5. baskı) (Çev. R. N. Güntekin). Yapı Kredi.
  • de Duve, T. (1989, Summer). Yves Klein, or the dead dealer (Çev. R. Krauss). October, 49, 72-90. https://doi.org/10.2307/778734
  • Dentith, S. (2000). Parody: The new critical idiom (1. baskı). Routledge.
  • Di Pietrantonio, G. (2003). Interview of Maurizio Cattelan. F. Bonami, N. Spector, B. Vanderlinden ve M. Gioni (Ed.), Maurizio Cattelan (2. baskı) (s. 142-145). Phaidon.
  • Duchamp, M. (1917). Fountain [Hazır nesne]. Philadelphia Museum of Art, Pennsylvania.
  • Duchamp, M. (1919). Tzanck Check [El yapımı çek]. İsrail Müzesi, Kudüs.
  • Duchamp, M. (1924). Monte Carlo Bond No. 12 [El yapımı bono]. Marcel Duchamp Vakfı, Paris.
  • Falck, R. (1979). Parody and contrafactum: A terminological clarification. The Musical Quarterly, 65(1), 1-21. https://www.jstor.org/stable/741378
  • Farago, J. (2019, 8 Aralık). A (grudging) defense of the $120,000 banana. The New York Times. https://www.nytimes.com/2019/12/08/arts/design/a-critics-defense-of-cattelan-banana-.html
  • Finestre sull’Arte. (2019, 14 Aralık). Cattelan’s banana divides critics. Here are the positions of critics and journalists who commented on it. https://www.finestresullarte.info/en/news/cattelan-s-banana-divides-critics-here-are-the-positions-of-critics-and-journalists-who-commented-on-it
  • Fishelov, D. (2003). Parody, satire and sympathy in Don Quixote and Gulliver’s Travels. Connotations: A journal for critical debate, 12(2-3), 126-138. https://www.connotations.de/article/david-fishelov-parody-satire-and-sympathy-in-don-quixote-and-gullivers-travels
  • Gioni, M. (2003). Maurizio Cattelan: Rebel with a pose. F. Bonami, N. Spector, B. Vanderlinden ve M. Gioni (Ed.), Maurizio Cattelan (2. baskı) (s. 172-183). Phaidon.
  • Hutcheon, L. (1985). A theory of parody: The teachings of twentieth-century art forms (1. baskı). Methuen.
  • Hutcheon, L. (1989). The politics of postmodernism (1. baskı). Routledge.
  • Jameson, F. (1991). Postmodernism, or the cultural logic of late capitalism (1. baskı). Duke University.
  • Judovitz, D. (1993). Art and economics: Duchamp’s postmodern returns. Criticism, 35(2), 203-226. https://digitalcommons.wayne.edu/criticism/vol35/iss2/3/
  • Jones, J. (2019, 9 Aralık). Don’t make fun of the $120,000 banana - it’s in on the joke. The Guardian. https://www.theguardian.com/artanddesign/2019/dec/09/the-art-world-is-bananas-thats-what-maurizio-cattelans-been-saying-all-along
  • Klein, Y. (1959). Zone de sensibilité picturale immatérielle adlı eserin satın alım makbuzu [Arşiv belgesi]. Yves Klein Vakfı, Paris.
  • Lelièvre, F. J. (1954). The basis of ancient parody. Greece & Rome, 1(2), 66-81. http://www.jstor.org/stable/641056
  • Lippard, L. R. ve Chandler, J. (1968). The dematerialization of the artwork. Art international, 12(2), 46-50. https://monoskop.org/File:Lippard_Lucy_R_Chandler_John_1968_1971_The_Dematerialization_of_Art.pdf
  • Lyotard, J. F. ve Van Den Abbeele, G. (1984). Interview: Jean François Lyotard. Diacritics, 14(3), 15-21. https://doi.org/10.2307/464841
  • Platon. (2006). Devlet (54. baskı) (Çev. S. Eyüboğlu ve M. A. Cimcoz). Remzi.
  • Rabelais, F. (1532/2006). Gargantua ve Pantagruel (19. baskı) (Çev. S. Eyüboğlu, A. Erhat ve V. Günyol). Türkiye İş Bankası.
  • Rose, M. A. (1993). Parody: ancient, modern and post-modern (1. baskı). Cambridge University.
  • Stake, R. E. (1995). The art of case study research (1. baskı). Sage.
  • Veblen, T. (1899/1995). Aylak sınıf (1. baskı) (Çev. İ. User). Marmara Üniversitesi Teknik Eğitim Fakültesi.
  • Velthuis, O. (2005). Talking prices: Symbolic meanings of prices on the market for contemporary art (1. baskı). Princeton University.
  • Yin, R. K. (2014). Case study research: Design and methods (5. baskı). Sage.
There are 50 citations in total.

Details

Primary Language Turkish
Subjects Fine Arts, Visual Cultures
Journal Section Research Articles
Authors

Mehmet Dere 0000-0002-6919-2333

Publication Date September 24, 2025
Submission Date February 10, 2025
Acceptance Date August 29, 2025
Published in Issue Year 2025 Issue: 14

Cite

APA Dere, M. (2025). İroninin parodisi: Linda Hutcheon’un parodi kuramı çerçevesinde Maurizio Cattelan’ın Komedyen (2019) eseri. ARTS: Artuklu Sanat Ve Beşeri Bilimler Dergisi(14), 89-113. https://doi.org/10.46372/arts.1636921
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