@article{2019,title={RELATIONSHIP BETWEEN PLAGIARISM AND CAPITAL IN CONTEMPORARY ART},abstractNode={One of the most fundamental problems of the contemporary art scene is the discussion of authenticity through the reproduction of reality. The originality, which corresponds to originality in its basic meaning, is one of the central concepts of modernism. While claiming to be original corresponds to being unique and unique, it is also very difficult to create an image that is not analogous when it comes to production in a sensitive medium such as art based on interaction. While the concept of originality in art turns into a pathological state, it is accompanied by the question of the fact that the artists on the same platform are ignoring the value produced by each other, and in a way that is increasingly ignored. A ın tear-off sanat of plagiarism, rent-oriented policies, and capital that sees everything as a product sold, especially in the form of young artists making it an easy way to catch up with the contemporary art market, to sell artwork, to gain career growth and to attract the attention of mechanisms that control art. Arak has been shaking the ontological structure of art by giving birth to its mentality. To take a place in the history of art, to take part in collective movements instead of individual ambitions, to create new utopias, to create social awareness, to follow the original quests and to contribute to the art literature, and to abandon this diseased habit in the art environment. When an artist's generation is created, the conditional production process can be abandoned, an innovative, original and revolutionary art environment can be constructed if the only criterion of proving the age in the art platform is to produce works that are suitable for the aesthetic consciousness of the current order, to comprehend that it is not to enter curatorial exhibitions, competitions, museums or collection.},author={Caner ŞENGÜNALP},year={2019},journal={The Journal of Academic Social Science}}