ABSTRACT

As a result of entering into a new middle class in search of a cultural language of the market for cultural commodities structuring and re-forming the service sector occurred in Turkey in the 1990s. Therefore, a period of 90’s with an emphasis on economics in many cultures, beginning with the nation-state model of neo-liberal globalization and discourses involved in the date given was a real turning point.
After September 12, the artists who have a long time to stay away from political discourse in this process largely structured through the identification of a new social phenomenon, with political representation and a lot of work to use the and begin to question close and the current date. On a global scale , the artists of the period are starting to show more interest in what is political in art, to review a new language in the post-conceptualism and sociology, began to criticize not a criticism of the socialist rhetoric of the '70s visuals, geography, in which the cultural, sociological, and historical facts, which have evolved in the west began after 68 brought a new visibility and understanding of the language. The artists who looking for new possibilities of expression against elitist and class differentiation of the concept of modern art in the face of flourishing art styles, they have used art as a new challenge material against such phenomena as community, identity, gender politics, localism, tradition, power. The purpose of this study, examined to determine the receipt of the modern-postmodern sense of identity and gender together with the cultural and political climate of the 90s in Turkey and its impact on the art dynamics of the period.
Key Words: Social Identity, Gender Policies, Contemporary Art, 1990’s