This article discusses the ways in which Occidentalism, as a dialogical making of Turkish modernity associated with a non-Western context, extends to the contemporary era as the social imaginary of the artistic field. The social imaginary, as defined by Charles Taylor, is the shared structure of meanings, and provides a basis for generating common practices while, at the same time, granting a sense of legitimacy for a group of people. In this respect, the article claims that Occidentalism, which ultimately refers to the boundary management of what is imagined as West and East, underlines the myth of the artistic social imaginary. The Occidentalist imaginary sanctions artists as the competent performers of the boundary management between the West and the East, past and present, local and global, with its shifting associations. As Taylor notes, the ways in which people imagine their social existence are carried in images, stories and legends. This article investigates the narratives of art museum exhibitions to grasp both factual and normative understandings. To understand the interplay between change and continuity in the Occidentalist imaginary, the article focuses on Istanbul Modern, the museum of modern and contemporary art in Istanbul founded in 2004. The analysis of narratives produced through exhibitions and the interpretation of the museum’s collections not only reveals the patterns and shifts in the ways of producing the Occidentalist imaginary, but also illustrates the logic that sustains its extension to the global contemporary era.

中文翻译：

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伊斯坦布尔现代的西方想象：全球当代社会想象的一个案例

本文讨论了西方主义作为与非西方语境相关联的土耳其现代性的对话制作，如何延伸到当代作为艺术领域的社会想象。查尔斯·泰勒 (Charles Taylor) 定义的社会想象是意义的共享结构，它为产生共同实践提供了基础，同时赋予了一群人一种合法性。在这方面，文章声称西方主义最终是指对西方和东方想象的边界管理，强调了艺术社会想象的神话。西方主义的想象将艺术家视为管理西方与东方、过去与现在、地方与全球之间边界管理的胜任表演者，其关联不断变化。正如泰勒指出的那样，人们想象自己的社会存在的方式以图像、故事和传说的形式呈现。本文通过对美术馆展览的叙述进行调查，以掌握事实性和规范性的理解。为了理解西方主义想象中变化与连续性之间的相互作用，本文重点介绍了伊斯坦布尔现代艺术博物馆，伊斯坦布尔现代和当代艺术博物馆成立于 2004 年。通过展览产生的叙事分析和博物馆藏品的解释不仅揭示了西方主义想象产生方式的模式和变化，但也说明了将其延伸到全球当代的逻辑。本文通过对美术馆展览的叙述进行调查，以掌握事实性和规范性的理解。为了理解西方主义想象中变化与连续性之间的相互作用，本文重点介绍了伊斯坦布尔现代艺术博物馆，伊斯坦布尔现代和当代艺术博物馆成立于 2004 年。通过展览产生的叙事分析和博物馆藏品的解释不仅揭示了西方主义想象产生方式的模式和变化，但也说明了将其延伸到全球当代的逻辑。本文通过对美术馆展览的叙述进行调查，以掌握事实性和规范性的理解。为了理解西方主义想象中变化与连续性之间的相互作用，本文重点介绍了伊斯坦布尔现代艺术博物馆，伊斯坦布尔现代和当代艺术博物馆成立于 2004 年。通过展览产生的叙事分析和博物馆藏品的解释不仅揭示了西方主义想象产生方式的模式和变化，但也说明了将其延伸到全球当代的逻辑。