-Could you tell us about yourself?
After completing my undergraduate studies in the Art History Department at Hacettepe University, I pursued a master’s degree in the Painting Department. I earned my doctorate in art history with a thesis titled “Contemporary Art Collecting in Turkey (1990-2010)”. Currently, I serve as a faculty member in the Basic Art Education Department at Marmara University Faculty of Fine Arts, where I teach courses related to Western contemporary art and current art dynamics.
Throughout my career, I have taken on roles as a curator in numerous exhibitions, a coordinator and organizer at art festivals and events, and an art director. I have also written art critiques, book chapters, and artist monographs for various art publications. I have authored three books: “Habip Aydoğdu – RED,” “The Cultural and Artistic Environment of Early Republican Period in Antalya,” and “Contemporary Art Collecting in Turkey.”
Additionally, I am a member of the International Association of Art Critics (AICA-TR) and served on the board of AICA-Turkey between 2014 and 2018.
-Which museum did you want to be the director of?
The Prado Museum.
-What are the most common misconceptions or myths in art history?
I believe that with the rise of the internet age and social media surpassing traditional libraries, society is increasingly moving away from accurate information and the effort to access it. At this very point, misconceptions and incorrect information, which often turn into myths, begin to spread widely.
One significant example is the belief that humanity is incapable of creating some masterpieces, architectural marvels, or works of art. This mindset contributes to the proliferation of these myths. However, just as the miraculous Egyptian Pyramids were created with human intellect and mathematical genius, so was the Mona Lisa—and many others.
-Which period or movement in art history do you find most fascinating?
The period following 1789 has always been one I research with great enthusiasm, both in the context of Europe and our own region. It marks a transformative era in art production, shaped by modernism and influenced by the Industrial Revolution. This time saw cultural convergences, social transformations, and interactions, all of which contributed to a significant shift in artistic production. The period from 1789 to the present has consistently been one of keen interest for me.
-What are your thoughts on public art installations? Do they enrich communities, or do they risk becoming mere tourist attractions?
All risks associated with public art installations are closely tied to the quality of the artwork itself. I strongly advocate for the presence of art in public spaces as much as possible. However, the process of selecting and producing these works must be carried out with great care, prioritizing quality above all else.
Rather than being mere “tourist attractions,” such works can take on an educational role if displayed with the necessary narratives and explanatory texts, while also maintaining essential aesthetic elements. Art should be closer to the public, not confined to museums, art galleries, or institutions. This is precisely where the power of public spaces can and should be utilized to their fullest potential.
-Do you think curatorship is being properly practiced in our country?
I do not think so. Unfortunately, we often encounter exhibitions that lack thoughtful planning, bring together the same artists repeatedly, or showcase numerous artworks without any intellectual coherence. However, curatorship is akin to writing a book or constructing an architectural structure. You cannot hastily write a book, nor is it possible to build a structure in just three days.
-Do you believe the way artworks are exhibited influences art viewers?
Absolutely. When a curatorial approach presents an exhibition with the most appropriate display method and design, it facilitates the audience’s understanding of what the curator aims to highlight and communicate.
–Which topics do you think will become more prominent in the field of art history in the future?
Themes like Artificial Intelligence, Post-Pandemic Art, and Art and Plagiarism will, in my opinion, become increasingly significant as their impacts are observed. Plagiarism in art is already a pressing issue today, but with the growing prevalence of artificial intelligence, I believe this problem will acquire new dimensions and perspectives.
-Will artificial intelligence be able to compete with humans?
Yes, it will—and quite soon, in fact. I believe we all need to learn to build deeper connections with artificial intelligence from now on.
-What advice would you give to parents of talented children who are interested in art, considering the future of art?
Talent is an extraordinary gift bestowed upon an individual. Recognizing, discovering, nurturing it, and proudly witnessing its reflection in creative output is of utmost importance. During their child’s developmental journey, parents should not only identify their talents but also listen to them, give them a voice in career decisions, and support their progress in their chosen fields. Additionally, they should seek guidance from the right mentors to help their children further develop their skills.
Be First to Comment