commissioned, collaborated or contracted projects           


Assistant Curator

w Beatriz Santiago Muñoz, David Horvitz, Onur Karaoğlu
September 10 - October 29, 2022
Polat Piyalepaşa Çarşı, Istanbul

This exhibition convenes artworks on circulation of ideas, water and bodies along with their inherent contradictions. The artists in Running In Place occupy three positions - Santiago Muñoz’s is that of suspension, Horvitz’s of regulated mobility, and Karaoğlu’s of free-flowing forces of nature and imagination (...) more here.

Assistant Curator

Digital publication

Protodispatch is a new digital publication featuring personal perspectives by artists addressing transcontinental concerns, filtered by where they are in the world.  Conceived by Laura Raicovich, the initiative launched on September 14th with dispatches by Ximena Garrido/Ishmael Randal Weeks, Jorge González (with Angela Brown), Simone Leigh, Kenya (Robinson), and Tiffany Sia (with Emilie Sin Yi Choi and Chan Tze-Woon) (...) more here

Slavs and Tatars & Wiener Festwochen 

Performance Program
Concept, Design: Slavs and Tatars, Curated by Patricia Couvet, Anastasia Marukhina, Alper Turan. With performances by Selin Davasse, Onur Karaoğlu, Mai Ling, Veronika Merklein & Ela A. Sattler, Nora Turato. 
15 May - 15 June, 2022

For the Wiener Festwochen, the international acclaimed artists’ collective Slavs and Tatars is opening a Pickle Bar.  The Pickle Bar raises a glass (or two) to the close affinity between speaking and eating, all the while celebrating the principle of hospitality. So, three cheers for fermentation! (...) more here

Exhibition Review

on the solo exhibition of Yuvasında Yuvarlak by Nazlı Khoshkhabar
10 May 2022

Edited by Seçil Epik

İran’da sahip olunması yasaklı 100.000 uydu çanağı 2016 yılında toplatılır ve imha edilir. Yasal televizyon kanalları devlet tarafından denetlenirken dünyanın farklı yerlerindeki televizyon yayınları “ahlakı ve kültürü saptırması’’ sebebiyle bugün hâlâ yasaklı. Hükümetin yaptığı baskınlara, çanak antenlerin toplanmasına ve uydu sinyallerinin karıştırılmasına rağmen toplumun %70’i yasaları ihlal etmekte ve İran sansürünün kapsama alanının dışında kalan dünyaya böylece bağlanmakta (...) more here

Sanat Dünyamız
Exhibition Review

on the exhibition Saint Joseph: Beats of a Fabulous Machine, curated by Aslı Seven.
January 2022. 

Edited by Fisun Yalçınkaya


Selection & Turkish Translation of Positive Space: Curatorial Project on HIV/AIDS
December 2021

Geçtiğimiz 1 Aralık’larda, sosyal medya ve reklamlar yoluyla HIV enfeksiyon oranını düşürmek ve damgalanmayı etkisiz hale getirmek için çalışan Stigma Projesi’nin bir sloganını birçok kişinin paylaştığını gördüm. Sloganları şu şekilde: “Kirli, çaresiz, cezalandırılmış, kurban, hasta, bağımlı, fahişe, ölmekte olan, stereotip veya suçlu değilim. Ben HIV pozitifim.” Bu proje, görünüşe göre, HIV/AIDS’in 1980’lerden beri hâlâ ayakta duran yerleşik metaforlarını, aslında fiilen yeniden üreterek, vurgulayarak ve varsayımlarını genelleştirerek çözmeyi amaçlıyor. Bununla birlikte, bu stratejide beni en çok şaşırtan şey, HIV’i metafordan arındırma motivasyonuyla, sloganın aslında kirli, cezalandırılmış, mağdur, hasta, bağımlı, suçlu, fahişe veya klişe olmayı nasıl değersizleştirdiği ve bu sebeplerle damgalamayı meşrulaştırdığı. (...) more here


Assistant Curator

w Abbas Akhavan, Hera Büyüktaşçıyan, Banu Cennetoğlu, Ceal Floyer, Gülşah Mursaloğlu, Zeyno Pekünlü, Paul Pfeiffer, Amie Siegel, Mario García Torres
September 4 - October 10, 2021
Beykoz Kundura, İstanbul

Protocinema is happy to announce Once Upon a Time Inconceivable, a group exhibition on the occasion of our ten year milestone, cross-examining the pair of perception and realization; and their impairments in relation to time and space (...) more here

Exhibition text written by Alper Turan, more here

Multi-City Exhibition
Collaborator & Assistant Curator
Gahee Park, Gim Ikhyun, Miji Lee, Welcome to Ogasawara (Hyun Woomin, Min Guhong Manufacturing, Park Daham, Yuri An, Yun Choi), Komtouch Dew Napattaloong, Thanart Rasanon, Alper Turan, Zeynep Kayan, Kathryn Hamilton, Deniz Tortum, Lila Nazemian, Vartan Avakian, Kristine Khouri, Yasmine Eid-Sabbagh, Embajada, Taller Comunidad La Goyco, Jorge González Santos, Esvin Alarcón Lam, Antonio Pichillá, Camilla Juárez.

May 8- August 8, 2021
Seoul, Bangkok, Istanbul, New York, Santurce, Guatemala City

Co-curated by Mari Spirito and Abhijan Toto 

more here

Crack Up Crack Down
Slavs and Tatars at U–jazdowski
Online film program

Why satire? Why not? was a good place to start for the Crack Up, Crack Down. Now, months after the end of the exhibition, we want to go back to the question and ask another one: What comes after satire? If satire is the genre of sour times, what happens when satire is no longer sufficient: when weve moved beyond the acidic to the bitter and dyspeptic? A successor to satire then, in our proposition, would be to envision alternative world-makings. Satire, with its sharp language and explicit message, always speaks from and to contemporary issues of the people. Nevertheless, satires orbit of temporality can enlarge and stretch to the past to make a revision of it, or, alternatively, to the future to better envision it. In this film programan extension of our curatorial endeavor in the intersection of graphic and satirewe aim to bring together movies that skewer societal norms and thereby suggest other ways of being

HIVstories: Living Politics

dramaqueer, Istanbul, Turkey
14. March 2020 – 11. April 2020

Biennale Warszawa, Warszawa, Poland
31. January 2020 – 01. March 2020

Schwules Museum, Berlin, Germany
13. September 2019 – 11. November 2019

Curators: Emily Jay Nicholls, Noora Oertel, Todd Sekuler, Justyna Struzik, Zülfikar Çetin, Alper Turan

How are politics and life narratives in the fields of HIV/AIDS activism entangled? This exhibition explores different ways of living politics from the perspectives of a variety of countries, communities and regions. It focuses on the ways in which lives are shaped by politics, and politics are shaped by lives in Poland, United Kingdom, Turkey, Germany and on the European level.

The World Health Organisation has identified Europe as a region with the fastest growing HIV epidemic in the world. While the impact and spread of the virus unfolds differently and unevenly across the region, it has evoked multiple responses from civil society, religious institutions and European states and governing bodies. A multiplicity of lives and politics demonstrates that the fight against HIV/AIDS cannot be recounted as a single coherent story. Instead, it is presented here as an ongoing struggle with many disparities and a-synchronicities - all of which take on unique expression in each political, legal and social context. Taken together, HIVstories offers a glimpse into the complex, creative and at times contradictory dynamics of HIV/AIDS activism across the region. It reveals Europe as a historically shifting, disputed, and dynamic geographic, social and political entity.

The exhibition is made up of objects that have been collected over the course of a three-year international research project. Disentangling European HIV/AIDS Policies: Activism, Citizenship and Health (EUROPACH) explores how narratives of the past continue to impact the unfolding of the epidemic. Researchers from Kraków, London, Berlin and Basel, in collaboration with a great many community partner organisations, collected artefacts, archival documents and art works, and conducted oral history interviews with activists, advocates, politicians, bureaucrats and medical practitioners. These lively materials evoke only some of the multiple lives and faces involved in the struggle against HIV/AIDS in the European region. The excerpts from life narratives as presented here, and many more, are part of the European HIV/AIDS Archive.

more here

Positive Space: An Exhibition Project on HIV/AIDS in Turkey
ONCURATING, edited by Ted Kerr
September 2019

While I was writing this text, I took a break and invited a guy to my house from Hornet (a sex-app widely used by gays and transgenders in Turkey after Grindr got banned by the government). After the preliminary chit-chats, I went downstairs and when I came back, I saw him looking at my computer screen populated by the text you are about to read, and I thought to myself, “Fuck! Now I have to explain HIV to him.” But no, on the contrary, he asked: “Are people still getting depressed when they get HIV?”

I did not know what to say, so I turned the question back to him: "What do you think?" I breathed a sigh of relief when he began talking about his ex-ex-ex-boyfriend from Georgia who is a depressed gay guy living with HIV for more than three years now.

After he stopped speaking, it was quiet between us. I was not sure what to say. Finally, I think as much to me as to his ex-ex-ex, or the world, he asked, "HIV, What's the big deal?"

more here

Cultural Studies Masters Program at Sabanci University
Master of Arts Thesis
Submitted on March 2020

This thesis uses research-creation methodology which integrates an aesthetic component as an integral part of the study. In 2018, I curated a contemporary art exhibition on HIV/AIDS in Istanbul with the participation of dominantly local artists, and this exhibition lays the ground of my research on HIV/AIDS. This written component of the research-creation, as separate but co-composed with the exhibition, doesn’t accept that facing HIV/AIDS as a traumatic event is a pre-given and natural reaction, and it analyzes the traumatic construction of HIV/AIDS. During the 1980s, HIV/AIDS was experienced for the first time as a collective and transnational trauma, and, as I argue, the historical traumatic affect structured during this first crisis still has a crucial influence on the contemporary subject. Regardless of the medical progress which made it possible to repress the HI virus, traumatic post-memory challenges the contemporary experience of HIV/AIDS in myriad forms including stigma, phobia, denial, and willful ignorance. Not only people living with HIV/AIDS but also queers born after the 1980s, who are historically thought to be the most affected people and vectors of the virus, are experiencing HIV/AIDS as a predetermined and structured affect. The first part of this thesis analyzes Turkish media discourses on HIV/AIDS and homosexuality during the 1980s to provide a glimpse of the genealogy of the trauma construction. The second part is interested in analyzing and challenging the contemporary traumatic affect of HIV/AIDS through personal experiences and readings of the artworks exhibited in Positive Space. 


Advisor: Prof. Dr. Sibel Irzık (Sabanci University),
Jury Members: Dr. Ayşecan Terzioğlu (Sabanci University), Prof. Dina Georgis (University of Toronto)

Das Art Projects

Das Art Project, founded by Çisem Asya Albaş, Oğulcan Haşlaman and Alper Turan in 2016, was a curatorial collective that produced 4 site-spesific projects in İstanbul and dissolved in 2018.

Working with young generation local artists, we were organizing exhibitions in historically and culturally-significant buildings of Istanbul, -with the purpose of reutilizing these urban heritages and preparing ephemeral exhibitions by taking our subject-matters from buildings’ spatial, historical and political specifics. During our first projects, we were still in the first half of our 20s and the four projects we dared were serving us to gain experience on the ground with experimentations. We saw the exhibition spaces as an entity itself upon which we constructed the theoretical frame of exhibitions, we exhibited the
buildings itself which were not accessible by public before. Our another aim, with some exceptions, is to curate really short-termed exhibitions by emphasizing the “ephemera” of the things and create a dynamic and lively atmosphere by minimizing the costs and dependance on sponsorships.

Pilot Gallery
Co-curator (Das Art Project)
14 September 2017 - 21 October 2017 

"Welcome to Homeland" brings together Halil Altındere’s multidisciplinary works focusing on the “refugee crisis” that haven't been exhibited in Istanbul. The exhibit provides an inclusive frame for the refugee crisis by using two axes of narrative that are constructed by the two refugee figures who turn into heroes, in fact, superheroes. Their stories get fictionalized with Altındere’s phantasms that manifest themselves differently each time, never losing touch with the bitter reality.

more here

Bahar, off-site exhibition of 13th Sharjah Biennial: Tamawuj
Co-curator (Das Art Project.)
13 May—10 June 2017 

with Can Küçük, Beril Ece Güler, Bora Olgunsoy, Güssol, Tarık Töre, Muhittincan, Uygar Demoğlu

Can the apple fall far from the tree? And can apples and oranges mix? If we add a minaret to a church and a box office to a mosque, would that church be a mosque and that mosque be a museum? Can you create feelings in a laboratory? If you were gifted powdered milk, could you turn it down? Would Hitler be against GMO? Are transformations organic or just changes with predetermined rules? What do we carry in our seeds? Possibilities, illnesses or the looks of our faces? Are the polycephalic children the product of polytheism against nature? Whose history is manifested when we manipulate, protect or leave history be? Is the artificial against the natural, or is it a consequence? When we go underground do we find a germinating seed, or a venomous army getting prepared for the harvest of the next century, or another period under seal? Are we a sum of all the things injected to us?

more here

Pera Palace Hotel
Co-curator (Das Art Project.)
15-20 March 2017

with Ozan Atalan, Burak Ayazoğlu, Ünal Bostancı, Ayçesu Duran,Beril Gülcan, Onur Karaoğlu, Hakan Kırdar, Muhittincan, Öner Taylan Öztürk, Koral Sagular, Sena

Pera Palas became a symbol of western orientalism and Ottoman westernization in 1895 when it first opened, and has changed with its surroundings within 125 years. Today, as a part of a chain of Dubai-originated hotels, it still keeps up with 2010’s Beyoglu. Whatever happens outside, the entertainment in the ballroom continues. “Decadence” exhibition aims to establish parallelism between the two periods in which the face of the country returns to the west and east with a sharp turn. 11 artists present topics on today's collapse, starting with references from cult guests of the hotel or from the personal history of the hotel. The productions of the artists spread throughout the ballroom of Pera Palace, Grand Pera; and it ends in the 411-numbered sensational suite of Agatha Christie.

When the Orient Express started its Paris-Istanbul line service, there were no hotels in Istanbul that could meet the standards of the Western guests, so the owner of the Express established Pera Palace, throwing  first seeds of liberal economy in Istanbul. With this hotel, the travelers could feel like they were home and talk about orientalism, without being exposed to the realities of the country. The hotel—which was the first building, other than the Ottoman palaces, that was supplied electricity—lit up the dark streets and the dark period as a beacon of Turkish modernism and westernization. The ballroom hosted the country’s first painting exhibition, first fashion show and innumerable receptions. Throughout its history, Pera Palace witnessed the fall of an empire, formation of a new country, and the course of the new republic. As the faces and appearances of the guests changed, the hotel kept its characteristics. The Palace gathered writers, first ladies, emperors, directors, presidents, secret agents, dancers and actors that passed through Turkey’s historical landscape under its roof, all the while enriching its story and always painting an immersive scene. In this magnificent building, the artwork around“cult” figures that Pera Palace has hosted in its most luminous era, along with the lives of these figures and the personal history of the hotel, will be investigated to examine the decadence of today.

Haydarpaşa Dikimevi, Muhaccir Misafirhanesi
Co-curator (Das Art Project.)
14-15 October 2016

w Arif Akdenizli, Anonym, Burak Apaydın, Burka Bayram, Meriç Canatan, Eser Çoban, Kıymet Daştan, Derya Dinç, Epitel, Mert Gafuroğlu, Beril Ece Güler, Güssol, Deniz Kaprol, Nazlı Khoshkhabar, Can Küçük, Ufuk Barış Mutlu, Ezgi Nalçacı, Bora Olgunsoy, Begüm Tekay, Tarık Töre, Ayça Türkmen, Gülçin Uzun, Merve Özçelik, Vardal Caniş Su, Gizem Ünlü, Oytun Yılmaz

"Oxytocin: Experiments on Trust" is an exhibition project took place in a derelict building used for a public event for the first time. For the exhibition, 26 young artists produced new artworks on the theme of "güven" (which can be translated as confidence, trust, dependence etc.). Mimar Kemaleddin's (Kemaleddin the Architect) one of the early works in 1900s, the Guesthouse of Immigrants, located in the Haydarpaşa train station area, hosts the exhibition. In order to emphasize this hospitality and the "ephemera", the exhibition which spreads over two floors of the building remains open just for one day.