– Hello, could you tell us a bit about yourself?
Of course. I graduated from Istanbul University with a degree in Art History in 2002. Later, I completed my master’s degree in museology at Yıldız Technical University. Currently, I am pursuing my PhD in museum management at Istanbul University, focusing on curatorship for my dissertation. I worked as a museum officer at Darüşşafaka and later held various positions at the Pera Museum. Since 2013, I have been working as an expert witness in court cases related to the 2863 Law on the Protection of Cultural and Natural Assets. Additionally, I teach at Işık University, Kent University, Aydın University, and Bezmialem Vakıf University, covering courses such as Art Management, Art History, Museology, Curatorship, Art Policy, Digital Art and Design, Creative Thinking and Problem Solving, and Exhibition Techniques and Methods. I was also part of the excavation team at Zeyrek Çinili Hamam for cataloging tiles under Kaba Mimarlık. Moreover, I established the libraries of a publishing house and a diplomat.
– Which period or movement in art history do you find the most fascinating?
The Renaissance. To be honest, I find it deeply inspiring. The systematic way of thinking during that period, its references to Ancient Greece, and how it incorporated the spirit of free thought from Ancient Greek culture into its structures—all of this aimed to encourage people to think freely.
The birth of the Renaissance was heavily influenced by the East. Everything started when figures like Ibn al-Haytham discovered optics and explored divine secrets through human anatomy in a metaphysical context. It was the East that introduced the concept of perspective to the West. Perspective wasn’t just used during Leonardo da Vinci’s time; for example, Masaccio applied it in his depiction of the Descent from the Cross. However, Leonardo da Vinci made it explicit by saying, “This is perspective.” Yet, if you analyze it, perspective is merely an optical illusion, an exploration of perception, as many books have pointed out.
The Renaissance is essentially a testament to the East’s profound impact on the West—an “ultimate masterpiece,” so to speak. It showcased the East’s advanced knowledge to the West. The East had already deciphered divine secrets through human anatomy and mathematics. They understood concepts like light, reflection, and much more. This makes it extraordinary. Furthermore, the West’s incorporation of ancient culture into painting during the Renaissance period is equally remarkable.
– What factors do you pay the most attention to when evaluating a work of art?
When evaluating a work of art, especially in today’s context, many different concepts come into play. If I were assessing Renaissance or Baroque works in the past, my evaluation would have been guided primarily by aesthetic concerns. However, with the emergence of contemporary art, the content of art has evolved significantly. We no longer speak solely about paintings or sculptures.
For instance, what did we observe in the most recent biennials held at Müze Gazhane? We saw that many researchers’ studies and projects were presented as contemporary art pieces. This is something that excites me deeply because the content of art has changed and evolved. It has become more research-based and interdisciplinary.
In this context, when evaluating works of art, I focus on their content and the message they convey. I consider whether the work has successfully communicated its idea to me. How much effort lies behind it? Has it been able to deliver its concept effectively through the piece? These are the criteria I use to assess a work of art.
– What does knowing art history bring to a person? Does knowledge of art history play an effective role in the marketing of art?
With the rise of biennials, the concept of the “curator” emerged, and it became evident that curators must possess a solid knowledge of art history. Without a strong grasp of art history, you cannot interpret works of art. Similarly, without understanding art history, you cannot market these works effectively. In fact, art is one of the most significant tools used in cultural diplomacy, influencing even politics.
Knowing art history well doesn’t just mean being familiar with periods or artists. It also involves understanding the political structure, demographics, and way of life during those times. In this sense, art is a factor that influences, transforms, and reflects modern politics, societies, and cultures.
Of course, it’s important to have knowledge in various disciplines, but understanding the evolution and processes of art history also allows you to trace the development of the human mind. If art is a reflection of the soul, then over time, you also witness the growth of that soul.
If you have a background in art history, you can confidently say, “This is what the future holds!”—and people will be amazed. In reality, all you’ve done is apply your understanding of art history. This is because being well-versed in art history also enables you to recognize patterns and cycles within societies. You identify the direction of these cycles, and this gives you the ability to position yourself accordingly.
In this context, art history is an incredibly important element.
– What changes do you think should be made in art education today?
Recently, I have been examining education systems abroad. I’ve been looking into which universities offer courses related to art history and art management and comparing them with one another. What they do abroad is interesting—they study the past in depth, with each institution having its own specialized departments, but they also address contemporary art. For instance, Istanbul University has its own approach, and Mimar Sinan University has its unique tradition, both focusing on specific subjects.
Some courses should be more practical. I believe art history education should evolve in this direction. Just as art itself is becoming interdisciplinary, students studying art history should also acquire a foundational knowledge of politics, learn a bit about coding, and delve deeper into media art. If art management, as we call it, is truly shaping societies, governing states, and influencing politics, then art history courses should include elements of management, politics, and economics.
However, these courses shouldn’t solely teach politics. Instead, they should explore how politics has been shaped through art over time and provide students with an understanding of this process. This holistic approach would enrich art education significantly.
– Do you think artificial intelligence will be able to compete with humans in the field of art?
Will artificial intelligence be able to compete with humans? Of course, it absolutely can. AI is already producing a considerable amount of artwork. It can think like a human.
When you input data into AI, it can analyze and synthesize that data much faster than you can. For instance, consider digital humans. When you interact with digital humans, they create a profile of your every behavior. They record every word you say, every gesture you make, and your facial expressions as data. Later, they can use this data against you or combine it with other data to create entirely new formations—and they do this incredibly quickly.
Some argue that AI, being a human creation, cannot advance beyond certain limits. I disagree. It absolutely can. The speed and combination capabilities of AI far exceed those of humans. Take the example of Sophia, the digital human, who created a portrait of Queen Elizabeth for her birthday in record time. Every step of the creation process was recorded. What do you make of that? Of course, AI can compete with humans, and it will surpass us. We will witness this in the very near future. Everything is advancing at an incredible pace.
– Should artists be held accountable for the messages conveyed in their works?
Of course, an artist should be free to express all their ideas. After all, they create art to communicate a particular thought or message. But where should the line between artistic freedom and social responsibility be drawn? That’s for the artist to decide. They can blend these aspects together—it’s entirely up to their creativity. The person who determines this balance should be the artist, through their works, not me.
– Do you think curatorship is properly practiced in our country?
There are certainly people who do this job well, but there are also those who don’t and don’t even realize it. Nowadays, everyone claims to be a curator. Take a stroll around Kadıköy, particularly in Yeldeğirmeni, where you’ll find numerous galleries. Someone who places two pieces of work or sets up a canvas on an easel considers themselves a curator. This diminishes the value of the profession, just like in other fields. It is overly simplified, creating the perception that anyone can do it—which, in my opinion, is very wrong.
Beral Madra and Vasıf Kortun were among the first to introduce the concept of curatorship, emphasizing that it is indeed a profession. They’ve accomplished extraordinary work. When you look at their exhibitions, you can’t help but think, “Yes, this is what a curator truly is.” A curator is a multifaceted individual: someone who protects art pieces, writes their narratives, designs the layout, decides how the works will be exhibited, writes curatorial texts, creates connections between artworks, selects the pieces, and even handles logistics like shipping, insurance, and customs if the works are coming from abroad. They’re also public relations experts, mediators, strong leaders, and organizers.
These responsibilities define a curator, but that’s not all. For instance, when organizing an exhibition, there’s a budget to manage, and a curator is expected to handle this too. Of course, there are curators who work within institutions and independent curators, and their roles differ. That’s a topic we can delve into another time.
– Do you think artists can be curators? Can they curate their own exhibitions?
Yes, they absolutely can. However, when curators exhibit an artist’s works, they should do so in the way the artist envisions, without imposing their own perspective. The artist must be given creative freedom.
– What are the differences and similarities between art criticism and art history?
In a sense, an art historian is also an art critic. Criticism shouldn’t be interpreted solely in a negative way—art critics also provide positive critiques. To be an art critic, one must first be a good art historian. Additionally, it’s essential to have a solid understanding of philosophy, some knowledge of psychology, and, most importantly, to be intellectually well-rounded. Keeping up with current events and trends is also crucial.
– What are your thoughts on activists who harm cultural heritage artworks to draw attention, such as climate activists?
There’s a lot to unpack about this—it’s quite an intriguing topic.
Climate activists do not actually harm artworks. What they aim to communicate is this: “Just as an artwork is unique and irreplaceable, so is our natural world.” They use artworks as a medium to convey this message.
By throwing soup, paint, or similar substances at artworks protected by plexiglass, they draw attention to the uniqueness of nature and the climate crisis. Their goal is to highlight these issues, not to damage the artworks themselves. While it may seem like they are harming the pieces, they are simply using them as a platform to amplify their message.
Be First to Comment