In what ways are the two venues similar to each other and different from each other?

In terms of similarity, they are both non-profit. In terms of difference, the artists are able to do direct sales at the gallery in Istanbul but not at the museum.

How did the art circles in Ankara receive the Evliyagil Museum’s opening?

There is a very big void in Ankara, particularly in the Contemporary Art field. Since the day it opened, Evliyagil Museum has been an important initiative that at least partially responded to the need that the citizens of Ankara had in this department. We try to fulfill our responsibility by reflecting the energy we have caught from Istanbul via Evliyagil Dolapdere back to Ankara.

Let us also talk about the museum’s and the gallery’s ongoing programs.

Each season we have a main, long-term exhibition at the museum in Ankara. We also have this space we call “ArtOda” (ArtRoom) where we organize exhibitions and projects with a shorter duration. We have recently inaugurated the museum’s new exhibition “Haunted by Faces”. Here, we show works by 38 artists from the collection reflecting the modern and contemporary approaches to the art of portraiture. At ArtOda, on the other hand, we have the Alfa exhibition that we will inaugurate in September. The Alfa exhibitions’ content is determined via an open call addressing the emerging artists based in Ankara. The 4th edition’s jury features Necmi Sönmez, Esra Aliçavuşoğlu, Azra Tüzünoğlu, Burçak Bingöl and Ömer Özyürek. They have selected Özge Yalacak as this year’s Alfa artist and we will be organizing her first solo exhibition. Finally, Volkan Diyaroğlu’s “Theory of Almost Everything” will be on view at Evliyagil Dolapdere until July the 18th as this season’s final exhibition.

My situation was becoming a small-scale version of the one that I already criticized in many large institutions: Buy it, have it registered, have it packed and store it. As time went by, I realized that this cycle did not make sense and the artworks waiting in storage somehow had to be shared with the public.

How can collaboration with the state or public institutions in general become feasible for sharing private collections with a larger audience? Do you have any initiatives regarding this issue?

The first step and the top priority here is to open the private collections to public access. And you do not need to establish a gigantic museum to be able to do so; alternative methods are available. In fact, these methods actually reveal the private collections’ potential for state collaboration. For instance, we find a common ground and collaborate with the Istanbul Metropolitan Municipality. We have not had a similar opportunity in Ankara just yet; but we intend to explore the possibilities in the days to come.

Do you have plans to organize any touring exhibitions to take the collection outside of Istanbul and Ankara or abroad?

The idea of an exhibition going abroad with a selection from several collections instead of just my collection is very exciting to me. Together with our team, we currently think about and work on how this can be achieved and what can be done.

Which international art institutions, fairs and publications do you follow on a regular basis?

I follow the internationally acclaimed art fairs like Contemporary Istanbul, Art Basel and Frieze. As for publications, I can mention Art Forum and Art Unlimited. In addition to these, I follow a variety of national and international online publications and art platforms.

One of the most exciting aspects of collecting is the possibility of communication and collaboration with the other fellow collectors. Do you have any exemplary projects you would like to share with us in this regard?

In Evliyagil Museum’s past seasons, we hosted an extensive selection from the beloved Agâh Uğur’s collection, curated by the precious Beral Madra. In fact, the museum’s main exhibitions always feature some works borrowed from other collections. For instance, one of our exhibitions featured İlhan Koman’s Walking Man, a very important work of his borrowed from Öner Kocabeyoğlu. We also temporarily borrowed Kuzgun Acar’s sculptures and drawings from a variety of collections. Similarly, in our previous exhibition “Crystal Chateau”, we hosted a very important work by Hermann Nitsch from Rabia and Ali Güreli’s collection.

The idea of an exhibition going abroad with a selection from several collections instead of just my collection is very exciting to me.

In addition to art, you are also interested in cars…

I have been a car enthusiast since I was little. I have 14 vehicles that I have collected in nearly twenty years. It is a small collection mostly consisting of the 1970s’ and 80s’ German sports cars, the oldest of which is from 1963. They are all in good condition and suitable for daily use. I keep them at the garage of my houses in Istanbul and Ankara and my office, and I use them. Once their number increases a bit more, I want to bring them under one single roof in Istanbul and to preserve them well.

Are there any other areas in which you already are or intend to become a collector?

Founded in 1951, Ajans Türk is Turkey’s printing house for valuable papers with the most deeply rooted past. It still undertakes printing projects involving documents such as postage stamps, stock certificates and bonds that stand for money and require high security. As part of my job, I have a stamp collection from the old times; but my interest in it has decreased a lot in the last 25 years. I only collect the stamps that we print. I also have a collection of 50-60 1/18 model cars from my childhood. Again, I preserve it without expanding it. I still keep the Vanity Fair magazines I used to collect for some time. And I have my collection of prayer beads that I keep at my office and at my home library.

For this question, flying is allowed. How about your biggest dream regarding your collection?

Let me answer your question without flying, with both my feet on the ground. I bought 4 buildings right next to ARTER on Dolapdere Avenue. They are 4-5 storey buildings interconnected from the inside. Due to the pandemic, I still have not had the opportunity to start the project that has been on my mind. God willing, this is where I want to turn the multi-functional project space in my imagination into reality.

And your advice for the emerging collectors?

I suggest they structure a collection with coherence and continuity, supporting the young artists and offering them the visibility that they deserve. If they have the means, I also advise them to institutionalize and make their collections accessible to the public. At the end of the day, the pleasure of sharing is well beyond the pleasure of owning.

This interview is conducted by İpek Yeğinsü on behalf of Art50.net for TEB Private.