Istanbul boasts a rich history and diverse structures, making it a proud city with a culture influenced by ethnicity, history, architecture, and cuisine. This eclectic mix contributes to the city’s unique character.

However, portraying Istanbul as a city of diverse splendour, once a magnet for tourists, may no longer align with the experiences of its inhabitants. For many citizens, strolling through the picturesque cityscape has become uncomfortable. Discriminatory policies imposed by those in power cast a shadow over the freedom of expression and the safety of members of the LGBTQ+ community and diverse ethnic groups. Moreover, economic and social challenges have created a culture of corruption in everyday life. This has, regrettably, contributed to the country being labelled as one of the “most unhappy” nations in the world by the Sustainable Development Solutions Network (SDSN) survey supported by Columbia University. The surprising aspect is that despite the escalating cost of living and widespread dissatisfaction with current affairs, the May 2023 election results indicate that a substantial majority of the population supports the existing status quo.

Amidst the current challenges, Istanbul’s art scene is navigating significant shifts. In an interview with Deutschlandfunk on May 7, 2023, curator Beral Madra delved into the tensions prevalent in Istanbul’s artistic landscape. She expressed her aspirations for a more liberated Turkey, where art professionals can initiate projects beyond the confines of tourist-centric spaces and funding. In this envisioned Turkey, there would be venues that break away from the limitations of being on the guided tour group circuit, fostering an environment that genuinely encourages and embraces open expression. This has yet to be realised. A distressing incident unfolded when the Municipality of Istanbul organised an exhibition at the recently renovated Ottoman fez factory on June 22, 2023, amid various controversial protests. The exhibit, titled Ortadan Başlamak, aimed to be a collective effort featuring 17 curators and 300 artists but quickly came under fire for accusations of LGBTQ+ propaganda and the alleged threat to public moral values through sexual imagery. This controversy sparked protests and acts of vandalism against some sculptures. The fact that the central opposition party governs Istanbul intensified the situation and turned it into a political issue. The local authority of IBB Heritage and Culture supported freedom of expression, thus fostering a more vibrant art ecosystem for the city.

The second shockwave was initiated by the Istanbul Arts and Cultural Foundation (IKSV), responsible for the Istanbul Biennial. The crisis began when several members of the Executive Committee, a group responsible for choosing the curator for the upcoming biennial from a list of candidates, resigned. According to insider information, Iwona Blazwick, an executive committee member, was appointed as the curator instead of the initially chosen Defne Ayas. This questionable selection process led to an outcry from many art professionals, including protagonists of the Istanbul art scene. They called for a more transparent and ethical approach, something expected from one of the leading biennials in the region. Four artists, including Kerem Ozan Bayraktar, Ateş Alpar, Bengü Karaduman, and Yaşam Şaşmazer, took a critical stance by announcing their refusal to participate in the Istanbul Biennial, urging IKSV to address their flawed methodologies and ethical concerns.

Cansu Çamlıbel interviewed General Director of IKSV Görgün Taner on November 13. Taner’s responses to the criticisms might be considered constructive by indicating statements such as “Like individuals, institutions can make mistakes,” and continues as follows: “Now, as IKSV, we say to everyone who gives us feedback in this process, come on, pitch in, let’s change some things together.” Taner also highlighted and opposed another issue: cancel culture. Despite the crowd-pleasing public declaration, realising the lack of transparency in such institutions caused a deeper interrogation by the members of the art ecosystem of Istanbul for not only questioning the culture policies of IKSV and the Municipality of Istanbul’s Culture & Heritage Department.

Amid these contentious discussions, Istanbul Modern’s new museum building, designed by renowned architect Renzo Piano, was unveiled with multiple formal and informal opening ceremonies. Shortly after the grand opening, the museum’s board announced the resignation of its director, Levent Çalıkoğlu, who had held the position for over a decade. This turn of events left the members of the art ecosystem wondering about the inner workings of one of Istanbul’s most influential art institutions. The rumours have long taken off about Çalıkoğlu’s next career step, which might be related to the directorate of one of the heritage art and design spaces renovated and run by the Municipality of Istanbul.

Speculations continue in Istanbul, suggesting the potential organisation of a forthcoming city art festival, described as a budding biennial, driven by the Ministry of Culture and Tourism’s keen interest in various historically significant venues. According to sources, this new festival model is more than just an idea; the authorities have already set it in motion. These developments raise concerns and questions about the future direction and governance of Istanbul’s art scene. Will the policies of the power-holder politics dominate it? Or will it be considered to give room to free expression?

In the meantime, with a long-term desire to enhance the commercial and ethics regulations, several galleries united and established an association to standardise the art gallery industry process. In art, the enduring power of expression remains a steadfast beacon, a formidable means of addressing contemporary issues and dissenting against prevailing crises. A notable exhibition during Istanbul’s autumn season exemplifies this resilience; Alican Leblebici’s recent solo exhibition, held at Istanbul’s collector-run art space ‘Merdiven’ bore the title In the Middle of the Ring and sought to underscore the enduring pertinence of social and political themes. At its core, the exhibition delved into the symbolic significance of the boxing ring, weaving a complex tapestry of associations with racism, discrimination, warfare, and political violence. Alican Leblebici, mainly known for his hyper-realistic portraiture, explored the intersection between masculinity, the world of sports, and the annals of political history while highlighting the intricate dynamics at play.

The heart of the exhibition lay in its celebration of Muhammad Ali’s legacy as both a pugilist and a fiery activist, unravelling the layers of his political messages and actions. In doing so, it deftly drew parallels between Ali’s era and the prevailing global issues of our time, emphasising his continued relevance in the face of contemporary challenges. Photographs, paintings, sculptures, and videos were a seamless fusion of realistic portrayals, neon-infused symbols, and the influences of pop art, thus interweaving Ali’s words and deeds within the broader historical context. Ultimately, the exhibition masterfully concluded by bridging the legacy of Ali to present-day events and historical luminaries, casting a brilliant spotlight on the enduring influence of his political and social impact. A video generated by AI, which combines Ali’s image and voice improvising a defense of various rights against the abuse of power, including LGBTQ+ rights, has led the artist to be threatened.

In another collector-run art space Bilsart in Pera district, the artistic duo Ahmet Rüstem Ekici and Hakan Sorar launched their exhibition Rest in Pieces, a fictional journey inspired by how archaeological data and surfaces tell stories. By exploring the intersection of body and spatial relations, delving into the themes of traces, mortality, and permanence, the duo’s months of efforts transformed images of words into tangible forms using techniques like video, 3D printing, resin, clay, and laser engraving. Ancient frog-shaped rhytons increase the context of their research. The duo reflects on the archaeological interpretation of everyday events, particularly the breeding process of frogs observed 5000 years ago in Kütahya. Their approach to archaeological data through an artistic lens, reinterprets historical traces and explores the potential of artificial intelligence tools. They used the ‘perspective of the space’ successfully and their disruptive approach to museology for the Rest in Pieces exhibition by employing technologies like 3D clay printing and game engines to present objects such as sarcophagus surfaces, relief panels, and death masks.

Curated by Yekhan Pınarlıgil at the Zilberman Gallery, another significant exhibition, 2019, included an array of artists, such as Erinç Seymen, Memed Erdener, Alpin Arda Bağcık, Aïda Bruyère, Guido Casaretto, Bawer Doğanay, Fatoş İrwen, Zeynep Kayan Ateş Alpar, Alpin Arda Bağcık, Aïda Bruyère, Guido Casaretto, Isaac Chong Wai, Bawer Doğanay, Memed Erdener, Camille Henrot, Fatoş İrwen, Zeynep Kayan, Maria Klonaris & Katerina Thomadaki, Jaffa Lam Laam, İz Öztat, Furkan Öztekin, Erinç Seymen, Lucia Tallová, and son: DA. This exhibition embarked on a journey into Istanbul’s nightlife, spanning the late 1980s to the early 2000s, all through the lens of queer experience. The exhibition is a multi-space presentation that endeavours to rekindle the memory of those extraordinary nocturnal havens that once defined Istanbul’s landscape, eschewing the conventional historical narrative in favour of a more sensual recollection. Visitors are transported back to when the city’s streets and corners teemed with non-conformity and an unmistakable sense of liberation, an essence that has since waned. The exhibition’s profound aim is to immerse its audience in the emotions and experiences of that era, offering a fleeting escape from the present and a poignant glimpse into the 1990s. By memorialising the legendary nightclub “2019,” this journey is a sensory link that reconnects with forgotten sentiments and lost freedoms and reaches back into a bygone era while casting an anticipatory gaze toward the future.

Following another influential exhibition in the vibrant PERA district, the late Hüseyin Bahri Alptekin, a legendary figure in the 1990s international and local art scene, still resonates as an avid observer of the city’s artistic tapestry: a contemporary shaman who pursues deeper meanings in life via practicing art. A pessimistic optimist who produced positive outcomes from the most complex mental states. His enduring influence took centre stage in a celebratory exhibition at Galerist, curated by Pelin Uran, named Among Friends: One Chapter of a Long Story. This exhibition is an homage to Alptekin, an artist who revered the nuances of daily life and cherished the artistic journey more than the final destination. Its meticulously curated collection of Alptekin’s artistic entourage’s artworks, including Can Altay, Thomas Büsch, Tunç Ali Çam, Grip-in (Ali Cindoruk, Eray Makal, Erhan Muratoğlu), Ayhan Hacıfazlıoğlu, Minna Henriksson & Staffan Jofjell, Şirin İskit, Emre Koyuncuoğlu, Michael Morris, Serkan Özkaya, Camila Rocha, Vahit Tuna, and Nalan Yırtmaç encapsulates the essence of his life, creative endeavours, enlightening lectures, worldly voyages, collaborations, and remarkable ability to forge connections among people. Collaboration and collective creation were central tenets of Alptekin’s artistic philosophy, as evidenced by the numerous artist collectives he spearheaded. The artworks showcased in this exhibition function as a transnational link seamlessly spanning the past and present, offering myriad perspectives from that era.

Returning to the outset of this article, we have delved into the series of events shaping the cultural ecosystem of Istanbul and its intricate layers, connecting us to a broader context considered conflicted. Art as an all-encompassing concept enables the exploration of profound meanings within the city’s universe. It is driven by its inclination to pose questions, seek solutions, and challenge established beliefs, has the potential to give rise to a new layer. Do we know which phenomenon will shape the future of Istanbul’s arts and culture atmosphere? Which type of facets in Istanbul will originate from today’s dynamics? We can only speculate.