Author(s): Tuba GÜLTEKİN

Holocaust Germany, a great example of many initiatives in social life, is the result of the restructuring of the social order of their personal living environment. State changes in the language and perception of a country are reconstructed and shaped by th e artists' own forms of expression in that country. This new sense of perception in the perception, which is thought to be formed in harmony with the social structure of the period, is war / death. Kiefer, one of the leading painters of this period of destruction, directly centered on the theme of war and death at his paintings. Anselm Kiefer describes the combination of material and theme with the concept of the new order and his artistic expression. Together with this unity, the artist presents the visuals used on the surface of the painting, in other words he presents the demolition and disintegration to the clients with figurative expression. In all that time, he conveys the questioning of memory in historical, social and cultural terms through the influential-affected dichotomy of the individual and the memory of society. The artist uses direct expressions in his works, but in most of his questioning he provides contribution of viewer to the process and prefers indirect expression with the memory perception and sensation. In the study, the works of Anselm Kiefer, “The Orders of the Night” and “Man Under a Pyramid” have been examined by a semiotic method and the analysis phase has been shaped by Guiraud's indicator scheme. In the context of the findings obtained, non-associative stimuli and associative stimuli have been resolved with the current perception of Holocaust in memory and their primary and secondary meanings have been obtained


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