ABSTRACT

Human beings have been in art since the beginning of history; They reflected the contexts between

reflection, mimesis, realism and abstract art into his culture with images and signs. For this reason,

"Reality and Reflection" has always occupied the dialectic of art history. With modernism, reality turned

to abstract art and evolved into conceptual art with Duchamp's artwork "Fountain." Artists who

abandoned reflecting from nature turned their backs on originality and experimentation with

Postmodernism in the 21st century, violating elite aesthetics, that is, traditional aesthetic rules, in art;

Artists became spoiled by using relativity-based, eclectic, non-universal, absurd elements, and even

went further, producing kitsch works that were the result of an unethical world. At this point, it has

become a logical proposition that past and present art should reconcile and guide future generations with

more solid aesthetic products. Biocellular Realism and BC-R Collages took on the task of synthesizing

this with their upbringing and discipline, aiming to reveal contexts that were as realistic as a Rembrand,

as eclectic as a Monet, and as agile as a Duchamp. Therefore, Biocellular realism can synthesize all

movements in art history and hang them on the walls like classical works. During this process, he

employed the Ready-Made technique, which embodies the realism that Rembrand aimed for, and

collaged figures with living cells from nature onto wall surfaces, incorporating Post-Renaissance

aesthetics. Additionally, by adopting the practical strategies of postmodern aesthetics, BC-R exhibited

them with the attitude of an Italian gentleman, Raphael, without imitating or stealing. Since Biocellular

figures are the real thing, they do not have to worry about imitating nature exactly. Because the truth it

seeks is nature itself. While adding nature to surfaces directly rather than imitating it, BC-R uses them

in coordination with conceptual, performance, technology, video art, and other movements. BC-R

collages are rooted in IS, performance art, inspired by D. Spoerri, and Maciunas philosophy. Its basic

principle in the aesthetic context is; it never takes someone else's work as his own. It adheres to the

principle that "originality starts where copy ends." However, BC-R works aims to offer products in

cooperation with all movements and aesthetics. Purpose of the research; In the context of Biocellular

realism, it is to create new postmodern products with contexts focused on reflecting reality. Its secondary

purpose is; It aims to present alternative productions to today's realism with its products synthesized

with a deep understanding of modernist and postmodernist aesthetics. The research was conducted using

the qualitative research method, literature and online searches were made to access the data, and

universal interpretations were made with the available syntheses. The research examines all known

works in the dialectic of art history; and excluded all kitsch, stolen and unethical approaches and designs.

At this point, we've concluded that aesthetic discipline can guide the production of art, and that straying

from the ethical line poses the biggest danger. When the archived works from the universe of the

research and J. Kounellis, B. Nauman, R. Smithson, J. Beuys, and D. Hirst M. Abramović are examined,

it is seen that BC-Realism, the unspoken aesthetic, is now in the light of visual, conceptual,

technological, and today's advanced aesthetic practices; but it has been judged that it should be expressed

through the ethics of the aesthetic discipline. The peaceful aesthetic aura of BC-R collages is believed

to contribute to harmony among all other aesthetics.

Keywords: Bio-Cellular Realism, Bio-Cellular Collage, Reality, Reflection, Hologram, Performance

Art, Mirror, BC-R, Conceptual Art.