–Can you tell us about yourself?
I am a curator, art writer, and a member of AICA Turkey (International Association of Art Critics). I hold degrees in Art Management (BA, Yıldız Technical University, 2006), Museology (MA, Yıldız Technical University, 2010), and Art History (PhD, Istanbul University, 2022). I currently work as a lecturer at the Art Management Departments of Istanbul Bilgi University and Yıldız Technical University. Additionally, I serve as the Director of Exhibition Projects at Sabancı University KASA Gallery. Since 2005, I have realized numerous curatorial projects both nationally and internationally.
Some of my notable projects include:
“Save As” (Milan Triennale Bovisa, Italy, 2008)
“28th Contemporary Artists Istanbul Exhibition” (Akbank Sanat, Istanbul, 2009)
“Nil Yalter” (Galerie Hubert Winter, Vienna, 2011)
“Reunion” (Sabancı Museum, Istanbul, 2015)
“Formsuz” (Istanbul-Belgrade, 2014-2015)
“All the Lights We Cannot See” (Galerist, Istanbul, 2017)
“HOME” (Museum Evliyagil, Ankara, 2017)
“Execution and Grace” (Erimtan Archaeology and Art Museum, Ankara, 2022)
“Like a Dream” (Ferruh Başağa & Defne Tesal)
“The Sky Could Fall on Our Heads” (Yüksel Arslan & Erinç Seymen, Bursa Nilüfer Municipality NHKM, 2023-2024)
“Everything Will Be Like Now, Just A Little Different” (Künstlerhaus Palais Thurn & Taxis, Bregenz, Austria, 2023)
“Departures and Glimmers in the Dark” (AZA-ART, Paris, France, 2024).
I have also served as co-curator for the 4th Mardin Biennial, the first two exhibitions of Cendere Art, and A Collector’s Story: Taviloğlu Collection from 1972 to Present. Since 2017, I have been curating the annual exhibitions of BASE, a platform showcasing works by recent graduates.
In addition to my curatorial work, I have authored artist monographs such as New Media Art and New Museology (2012), Nil Yalter (2013), İrfan Önürmen (2015), Semiha Berksoy: Catalogue Raisonné (2017), Ali Alışır (2019), Nadide Akdeniz (2020), Fırat Engin (2023), and Didem Yağcı (2024). I have also contributed to numerous artist and exhibition catalogs, anthologies, and print/digital platforms with writings on art.
-What factors do you pay the most attention to when evaluating a work of art?
Art is a multifaceted and rich form of expression. For me, the combination and coherence of factors such as the formal characteristics of the work (form and composition), the use of technique and materials, the subject matter and meaning, the artist’s style and originality, as well as its social and cultural context, are essential. These elements help to evaluate the work from a broader perspective and to understand the complex nature and significance of art.
From a curatorial perspective, I focus on three main criteria when evaluating a piece:
The relevance and contemporaneity of its content and context,
Technical skill and proficiency,
The approach to the medium and originality in conveying the content.
-How do art historians establish connections between contemporary and past art?
The foundation of art history as a discipline lies in understanding the historical development of art, its cultural contexts, and its evolution over time. Therefore, in exploring the relationships between past and contemporary art, we observe a continuity and transformation both technically and culturally. This helps us recognize that art is a dynamic process, with every period engaged in an ongoing dialogue with those that came before it.
Art historians bridge the gap between the past and present by studying the evolution of art movements, approaches to universal themes, historical and cultural comparisons, the reflections of material/technical/technological advancements, contributions to collective memory, and responses to global urgencies. Through these inquiries, they explore the interactions between artists and works across different periods, creating a deeper understanding of their interconnectedness.
-How do you think New Generation Art will be represented in art history books 100 years from now?
Contemporary art will likely be defined in future art history books as an era characterized by the fusion of art and technology, its engagement with social issues, the creation of a global language, and its embrace of multiple identities and interdisciplinary approaches. I believe our current era will be regarded as a transitional phase in the evolution of art history.
-What is the role of new technologies and digital tools in the field of art history?
Digital tools enhance research processes by enabling the digitization of artworks and historical documents. Comprehensive digital databases on art history provide extensive information about artists, movements, periods, and techniques, serving as a valuable resource for art historians and students. Augmented reality (AR) technology and virtual tours allow for the observation and interactive exploration of artworks in a three-dimensional environment. Museums and galleries now offer digital replicas of artworks, creating opportunities for deeper engagement. Advanced imaging technologies such as X-ray and infrared significantly contribute to the preservation and restoration of artworks. Social media, digital platforms, and online exhibitions expand art’s reach to broader audiences and allow art historians to share their research widely. Blockchain-based records can be used to verify the authenticity and provenance of artworks. Virtual tours, online courses, digital seminars, and webinars are becoming essential tools for teaching art history and making it more accessible to a wider audience.
-What is the impact of social media and digital platforms on art history? Are they creating a new standard of value for artworks?
Social media and digital platforms are transforming the criteria for valuing art and reshaping how artworks are created, shared, and consumed. This shift brings both positive and negative consequences. Platforms like Instagram, Pinterest, and TikTok enable artists to quickly share their work and directly engage with audiences, creating a highly effective space for reaching broader audiences. This process, which facilitates the global accessibility of artworks and artists, is driving significant changes in the art world and fostering the emergence of new standards of value.
With the influence of the digital realm, new criteria such as popularity, audience engagement, and digital interactions are forming. However, the rapid consumability of art may alter its economic value and social perception. The open exposure of art to a broad audience’s comments and critiques could spark discussions about how art is evaluated and the criteria for determining what is “good” or “valuable.”
Additionally, NFTs (Non-Fungible Tokens) and crypto art are redefining the ownership and value of digital art, further shaping the future of how art is perceived and traded.
-What topics do you think will dominate the field of art history in the future?
In the future, art history will be shaped by technological advancements, societal changes, and the influence of cultural diversity. Topics such as digital art, art sensitive to environmental and social movements, the interaction between post-humanism and artificial intelligence in art, multiculturalism, and globalization are likely to take center stage.
Environmental and sustainability themes may become one of the main focuses of future art history. Artistic responses to environmental issues, climate change, and our relationship with nature, along with aesthetic productions in this context, will provide significant areas of study.
Additionally, artists are increasingly using their work as a tool for social change and justice. In this sense, social movements and art addressing human rights issues, racism, sexism, and other social inequalities will find their place in the narrative of art history.
-Which art movement do you think will gain the most interest in the future? Why?
Art evolves through the interaction of social, cultural, technological, and environmental factors. Environmental issues and the climate crisis will likely lead to a stronger integration of art with nature, emphasizing ecological sustainability and awareness. Engagement with social movements, social justice, racism, gender equality, and cultural diversity will also become increasingly prominent in the art world.
As technology becomes more integrated into human life, I believe the role of technology in art will continue to expand through the use of artificial intelligence, augmented reality (AR), virtual reality (VR), and digital tools. Interactive art, which goes beyond the traditional “artwork and viewer” relationship, promises much more, and interest in such experiences will grow significantly.
Themes such as artificial intelligence, post-humanism, biotechnology, and cyber culture will become more prevalent, reflecting the transformative impact of these innovations on the art landscape.
-Will artificial intelligence be able to compete with humans?
The answer to this question is quite complex and far from definitive in today’s context. Artificial Intelligence (AI) can be extremely effective, particularly in specific tasks. In such areas, it can outperform humans in terms of speed, accuracy, and efficiency. AI seems to have the potential to surpass human capacity and skills in certain domains. However, in many areas, there will still be a need for human emotions, reasoning, and abilities—at least for a while 🙂
Humans possess a unique way of thinking and emotional intelligence that AI has yet to achieve. People rely on intuition, values, and experiences to address complex social and ethical issues. AI operates based on specific algorithms and remains limited in its ability to mimic human skills such as creating meaning, forming value judgments, and fostering profound empathy.
-What changes do you think are necessary in art education today?
Art encompasses a broad spectrum of human experiences, and this diversity should be reflected in education. Today, art education is evolving in parallel with technological advancements and social changes. It should not only teach technical skills but also be structured to enhance students’ creative thinking, critical perspectives, and ability to interact with society.
The artists of the future should be interdisciplinary, capable of using technology creatively, sensitive to social issues, and well-equipped to express themselves. Furthermore, students should be taught not only Western-centric art perspectives but also approaches to art from different cultures. This is vital for embracing global art understandings and diverse viewpoints.
-What advice would you give to parents of talented children interested in art when considering the future of art?
Talented children with an interest in art can thrive and reach their potential with the support of their parents. Parents can play a crucial role in fostering their children’s artistic expression, helping them build self-confidence and develop creative thinking skills. Introducing them to various art forms—such as painting, sculpture, music, dance, theater, and digital arts—broadens their horizons and helps them discover which areas they are most talented in.
Encouraging participation in suitable art schools, workshops, and courses is essential. Working with professional instructors can provide children with technical knowledge and creative guidance to nurture their abilities further.
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