The works of contemporary plastic arts are being exhibited at the historical sites of St. Irene and the St. Sophia "Hammam". The purpose of the exhibitions is to give a new and originial dimension to avant-garde creations. The historical buildings where they are being displayed provide a special atmosphere for these works of art. One of the factors in the chice of these places is to encourage and support the artist in his interpretation problems related to environment.

Examples of exhibiting works of art in historical sites are not uncommon in the Western world. The use of Byzantine an Ottoman sites which have a much richer environmental sensitivity, contributes to expanding the universal scope contemporary plastic arts interpretation.

Distinguished artists who have gained international fame in the modern Western world of art are displaying their works at the St. Irene which have been acknowledged as a wonder of architecture and presents an environment where the concept of eternity is emphasised for these temporary plastic art experimentations. Byzantine architecture, which the Western world of art has been neglecting until recently, has an optical spiritualism in which the sense of environment reaches a concentrated transcendal level. On the other hand, the examples of 16 th century Ottoman architecture, where construction problems have been fully resolved, are the peak of transcendal grandeur where Eastern and Western architecture merge in the synthesisi of Mediterranean architectural characteristics.

While St. Irene is the scene for the plastic arts of Western artists, at the St. Sophia "Hammam" built by the great architect Sinan, thje works of some leading Turkish artists are being exhibited. This building is a double hammam, each part consisting of three symmetrical sections. The artists share the space equally and this provides various possibilities for the plastic works of art to harmonise with the atmosphere of the place. >The artists have made an effort to reflect the details of their individual tendecies qand styles in their common use of the place. Those who have succeeded in utlising the dynamic sources of traditional form have enabled not only the participation of plastic arts in the environment, but also that of environment in the plastic arts.

The St. Sophia Hammam , in accordance with Roman arcitectural tradition, brings together the Frigidarium, Tepidarium and Calidarium sections in a powerful geometrical style. Although the Hammam appears to have a totally worldly and functional aim, it naturally shares the original Islamic interpretation within a religiously oriented complex. Morover the tectonic relationships, which are especially outstanding in the Calidarium, represent a schematic example of the sub and super-structure of the 16 th century Ottoman architecture.

When compared to St. Irene, a 6 th century building, we can observe that the dimensions of the St. Sophia Hammam cause less problems for exhibition purposes. This seems to be increasing the chance of the contemporary plastic styles to participate in and be integrated with the environment. On the other hand, in St. Irene, iti is absolutely out of the question to talk about sub/super structure duality going beyond optic boundaries. Furthermore, the dimensions of the building bring certain restrictions to the chance of an integration of the contemporary plastics with the environment. In spite of this, there is no doubt that contemporary Western artists make an effort to maintain a harmony with a musicality the existence of which can be grasped beyond the dimensions of environment. However, here we are confronted with an important problem - the relationship between plastic arts and the sensivity to environment is different in Byzantine and Ottoman architecture as compared in Western standards. In Byzantine art, there exists a discipline of programme named cosmesis and an abstraction of environment whivh gives direction to plastic design and forces it to maintain harmony with itself. We can see a different disciplinary phase of this type of programme in the Ottoman environment plastic design relationship too. While it is true that artists have attempted to harmonize with the atmosphere of the architectural spaces in both buildings, we can also claim that the perception goals are blurred in cases where the specific space phenomena have not been adequately perceived. This is because contemporary plastics must go beyond creating a simple harmony with the environment an make the atmosphere of the building the atmosphere of the works of art. This is the basic condition to be aimed at. In a Byzantine and Ottoman site, the practice of plastic design means that the work of art enters the place as part of it and leaves no further need for a new space design. In short, the site which the visitor enters is at the same time the environment of the works of art. This dynamic relationship between the plastic arts and the visitors makes the work of art a part of the living space, the existence of which in any other environment is inconceivable. Thje work of art is accepted as a system which lives, exists and reaches integrity through the eyes of the visitor.

The situation is different in Western art. It is observed through historical tradition that works of art exhibited in architectural sites maintain their characteristic space desi,gns and atmosphere, and exist within the building as such. The reason for this may be that plastic work are treated with an organic approach to nature, denying a schematic stylization. On the other hand, the schematic geometry constituting the architectural site is at a distance of relationship which can accept such designs only into its own surface and cavities. The concept of geometry engraved into stone, which is a feature of Byzantine architecture, has not been widely accepted in the West. In fact, the preoccupation of the West with geometry in the plastic arts is interwoven with a feeling of organic-based schema hidden in organic nature. Whereas the very close relationship which Byzantine and Ottoman plastic designs have with an abstract schematic geometry reflect a relationship which is definitely integrated into arcitectural sites.

It is claimed that in the West, contemporary plastic designs are making use of a completely abstract stylization, the geometric aspect of which is sometimes exagerated. Nevertheless, traditional convention and experience still maintain their rights on contemporary designs. As a result of this, the traces of organic pains can be felt beyond the most abstract Western designs. Thus, no matter what contemporary dramatic elements it carries, a plastic work of art exhibited without becoming part of the Byzantine site, is faced with the danger of appearing as a pretentious and unfamiliar object. A careful consideration of these problems reveals that the exhibitions of contemporary plastic arts, held in both historical buildings, are a true challenge for all concerned.

The monument of St. Irene may over come the problematics created by its unilateral geometric design which reflects the rigid and unworldly atmosphere of Orthodox Christianity by creating echoes in all universal art circles to add to the reputation of its unparalelled acoustics. The Turkish artists will perhaps, for the first time, be able to reach the place they deserve in the world by ascribing contempoarary values to a historical site while following its traditional line, without entering into a psychosis of rivalry.

Sezer Tansug, I. International Istanbul Contempoarary Art Exhibitions (25/9/1987 - 15/11/1987) Catalogue Text, pages 22 - 25.