'Art Sold at Controversial Istanbul Auction Comes Partially to Light' diff viewer (0/1)

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Art Sold at Controversial Istanbul Auction Comes Partially to Light	Art Sold at Controversial Istanbul Auction Comes Partially to Light
2013-04-17 20:40:25 UTC	2013-04-22 14:30:16 UTC (5 days later)
ISTANBUL — When dozens of valuable works by Turkish modern and contemporary artists that had been part of a university museum’s collection were about to be sold at auction earlier this year, an uproar ensued.	ISTANBUL — When dozens of valuable works by Turkish modern and contemporary artists that had been part of a university museum’s collection were about to be sold at auction earlier this year, an uproar ensued.
Petitions were signed and statements of shock were issued against what was perceived as a violation by new American overseers of Istanbul Bilgi University of a sacred trust among museums, donors and the public. Artists and curators feared the sale would amount to a crude stripping of unprotected cultural assets.	Petitions were signed and statements of shock were issued against what was perceived as a violation by new American overseers of Istanbul Bilgi University of a sacred trust among museums, donors and the public. Artists and curators feared the sale would amount to a crude stripping of unprotected cultural assets.
The debate centered on the university’s custodial responsibilities and how the auction, which eventually raised 12.6 million lira, or $7 million, far ~~less~~ than it paid to assemble the grouping, would affect efforts to keep works by notable Turkish artists like Yüksel Arslan, Fikret Mualla and Nejad Melih Devrim in the public domain. The biggest fear was that the art, owned by a university with a mandate to educate, would disappear forever into private collections.	The debate centered on the university’s custodial responsibilities and how the auction, which eventually raised 12.6 million lira, or $7 million, far more than it paid to assemble the grouping, would affect efforts to keep works by notable Turkish artists like Yüksel Arslan, Fikret Mualla and Nejad Melih Devrim in the public domain. The biggest fear was that the art, owned by a university with a mandate to educate, would disappear forever into private collections.
Many have asked how anything of the sort could happen in Istanbul, a 2010 European Capital of Culture that is hailed as a fertile ground for galleries, art fairs and contemporary creativity, and where privately financed endeavors like the Istanbul Modern, Borusan Contemporary and SALT flourish.	Many have asked how anything of the sort could happen in Istanbul, a 2010 European Capital of Culture that is hailed as a fertile ground for galleries, art fairs and contemporary creativity, and where privately financed endeavors like the Istanbul Modern, Borusan Contemporary and SALT flourish.
“The university wasn’t doing anything illegal,” said Ozge Ersoy, one of scores of Istanbul art professionals who objected to the sale and helped generate scrutiny of it, along with a wider — and by all accounts cordial — discussion of the management of cultural patrimony.	“The university wasn’t doing anything illegal,” said Ozge Ersoy, one of scores of Istanbul art professionals who objected to the sale and helped generate scrutiny of it, along with a wider — and by all accounts cordial — discussion of the management of cultural patrimony.
Still, an online petition drew more than 3,600 signatures pleading in vain for the Feb. 17 auction of about 60 pieces from the larger collection to be stopped, and for santralistanbul to survive as the innovative space that had hosted ambitious Turkish exhibitions and collections from European museums like the Pompidou Center in Paris.	Still, an online petition drew more than 3,600 signatures pleading in vain for the Feb. 17 auction of about 60 pieces from the larger collection to be stopped, and for santralistanbul to survive as the innovative space that had hosted ambitious Turkish exhibitions and collections from European museums like the Pompidou Center in Paris.
Lessons learned “One of the good things we learned in the process,” Ms. Ersoy said during a recent interview, “was that the laws in Turkey are not very good at protecting modern and contemporary artworks because cultural heritage is defined in Turkish law as artifacts or objects that are more than 100 years old.”	Lessons learned “One of the good things we learned in the process,” Ms. Ersoy said during a recent interview, “was that the laws in Turkey are not very good at protecting modern and contemporary artworks because cultural heritage is defined in Turkish law as artifacts or objects that are more than 100 years old.”
“Everything on paper was legal,” said Ms. Ersoy, the Istanbul program manager for the New York-based nonprofit Collectorspace, which helps to show private art collections to the public. “At the end of the day, it’s only an ethical issue.”	“Everything on paper was legal,” said Ms. Ersoy, the Istanbul program manager for the New York-based nonprofit Collectorspace, which helps to show private art collections to the public. “At the end of the day, it’s only an ethical issue.”
And that is what was so “devastating” about it, said Asu Aksoy, an associate professor of cultural policy and management at Bilgi’s Santral campus, where the collection was first formed.	And that is what was so “devastating” about it, said Asu Aksoy, an associate professor of cultural policy and management at Bilgi’s Santral campus, where the collection was first formed.
“We teach students to work in the cultural fields like galleries, the Ministry of Culture and Tourism, museums and then as curators, administrative officers — you name it — in the cultural industries, activities, institutions,” she said during a recent interview. “It’s a growing field.”	“We teach students to work in the cultural fields like galleries, the Ministry of Culture and Tourism, museums and then as curators, administrative officers — you name it — in the cultural industries, activities, institutions,” she said during a recent interview. “It’s a growing field.”
Istanbul boasts about 150 galleries, two biennials — one for design and one for art — and several contemporary art fairs. “It’s all happening in Istanbul,” Ms. Aksoy said. But at Bilgi, after “so much effort and resources being put into Santral,” she said, “now that whole arts and culture side is basically dropped off.”	Istanbul boasts about 150 galleries, two biennials — one for design and one for art — and several contemporary art fairs. “It’s all happening in Istanbul,” Ms. Aksoy said. But at Bilgi, after “so much effort and resources being put into Santral,” she said, “now that whole arts and culture side is basically dropped off.”
Turkey has what Aksoy termed “a parallel track system” for art museums. On one track are private museums, a sector dominated by powerful holding companies like Sabanci and Eczacibasi, “who invest in art through their foundations, but their investment is either to run their own galleries or museums,” or as in the case of the Istanbul Foundation for Culture and Arts, known by its Turkish acronym IKSV, it is “to run their own festivals.”	Turkey has what Aksoy termed “a parallel track system” for art museums. On one track are private museums, a sector dominated by powerful holding companies like Sabanci and Eczacibasi, “who invest in art through their foundations, but their investment is either to run their own galleries or museums,” or as in the case of the Istanbul Foundation for Culture and Arts, known by its Turkish acronym IKSV, it is “to run their own festivals.”
On the second track is “the state sector, but the state sector is very poor in visual and contemporary arts: poor in financing, poor in presence, presentation,” she said. “The state has one museum of art painting and sculpture, which is now closed.”	On the second track is “the state sector, but the state sector is very poor in visual and contemporary arts: poor in financing, poor in presence, presentation,” she said. “The state has one museum of art painting and sculpture, which is now closed.”
So Bilgi became a sort of third track, as “the only education-led artistic resource where the ambition was to engage artists,” Ms. Aksoy said.	So Bilgi became a sort of third track, as “the only education-led artistic resource where the ambition was to engage artists,” Ms. Aksoy said.
Grand opening The museum opened with much fanfare in 2007 — and a visit by Prime Minister Recep Tayyip Erdogan — imagined as a sort of Tate Modern for Turkey.	Grand opening The museum opened with much fanfare in 2007 — and a visit by Prime Minister Recep Tayyip Erdogan — imagined as a sort of Tate Modern for Turkey.
But since 2009, Bilgi has been a member of the Baltimore-based Laureate International Universities network. A spokesman for Laureate, who asked that his name not be used, said the organization had no role in the auction.	But since 2009, Bilgi has been a member of the Baltimore-based Laureate International Universities network. A spokesman for Laureate, who asked that his name not be used, said the organization had no role in the auction.
Cagri Bagcioglu, the secretary general of Bilgi, confirmed that the decision to sell the art was not handed down from Baltimore. “All decisions regarding the auction were made after lengthy consideration by the Board of Trustees of the University solely and locally here in Istanbul,” he said by e-mail this week.	Cagri Bagcioglu, the secretary general of Bilgi, confirmed that the decision to sell the art was not handed down from Baltimore. “All decisions regarding the auction were made after lengthy consideration by the Board of Trustees of the University solely and locally here in Istanbul,” he said by e-mail this week.
While Bilgi is a member of the Laureate network, it is an independent, foundation university governed by a board of trustees, he said, adding that the board did not consist of Laureate employees.	While Bilgi is a member of the Laureate network, it is an independent, foundation university governed by a board of trustees, he said, adding that the board did not consist of Laureate employees.
He also disputed the idea that santralistanbul was closed, saying, “There is nothing permanent on display but we host various exhibitions.”	He also disputed the idea that santralistanbul was closed, saying, “There is nothing permanent on display but we host various exhibitions.”
Financing, according to Ms. Aksoy, was still part of the reason the museum was closed. “Laureate came in, looked at the finances and decided they could not afford to continue the museum,” she said. “Also they didn’t see this artistic cultural work as part of their remit.” The former gallery space was to be used for classrooms, she said.	Financing, according to Ms. Aksoy, was still part of the reason the museum was closed. “Laureate came in, looked at the finances and decided they could not afford to continue the museum,” she said. “Also they didn’t see this artistic cultural work as part of their remit.” The former gallery space was to be used for classrooms, she said.
Museum supporters, she said, argued back that “this is a unique opportunity to make a name for yourself internationally and nationally. Which university in the world has this kind of contemporary art space and a museum attached to it with a fantastic landscape and historical site as well? It’s unique, but the running costs were deemed to be too high.”	Museum supporters, she said, argued back that “this is a unique opportunity to make a name for yourself internationally and nationally. Which university in the world has this kind of contemporary art space and a museum attached to it with a fantastic landscape and historical site as well? It’s unique, but the running costs were deemed to be too high.”
The auction block Then the second blow came with word that a chunk of the art collection would be sold.	The auction block Then the second blow came with word that a chunk of the art collection would be sold.
“That collection was formed with an understanding of modern and contemporary art, the historical aspects,” Ms. Aksoy said. “It’s a very small collection, about 150 pieces overall, but nevertheless it had a kind of cohesion to it. There was a narrative, a story to it. Now that’s been broken up and half of it has gone to private individuals, and it’s now shut in individual houses so it’s privatized.	“That collection was formed with an understanding of modern and contemporary art, the historical aspects,” Ms. Aksoy said. “It’s a very small collection, about 150 pieces overall, but nevertheless it had a kind of cohesion to it. There was a narrative, a story to it. Now that’s been broken up and half of it has gone to private individuals, and it’s now shut in individual houses so it’s privatized.
“So the loser is the public. The public will no longer be able to see these works.”	“So the loser is the public. The public will no longer be able to see these works.”
“Then of course there’s the education sector,” she added. “That’s a big loss because in Istanbul we don’t have enough spaces for exhibitions, or for open-air artistic activities for a city that has these global ambitions.”	“Then of course there’s the education sector,” she added. “That’s a big loss because in Istanbul we don’t have enough spaces for exhibitions, or for open-air artistic activities for a city that has these global ambitions.”
Several artists expressed their surprise and anger that their work was to be auctioned. Some artists and collectors who said they had donated works or sold works at a lower price to foster education, were also displeased. Some feared that larger works would now be sold piecemeal.	Several artists expressed their surprise and anger that their work was to be auctioned. Some artists and collectors who said they had donated works or sold works at a lower price to foster education, were also displeased. Some feared that larger works would now be sold piecemeal.
The Paris-based artist Sarkis Zabunyan had sent an e-mail to the petition organizers protesting the sale, Ms. Ersoy said. In the end, his textile work “20th Century and Later,” which was listed in the auction catalog with initial estimates of 12,000 to 15,000 lira, was among a handful of items pulled from the auction. In an e-mail last week, he wrote, “I don’t want to return to that unpleasant affair.”	The Paris-based artist Sarkis Zabunyan had sent an e-mail to the petition organizers protesting the sale, Ms. Ersoy said. In the end, his textile work “20th Century and Later,” which was listed in the auction catalog with initial estimates of 12,000 to 15,000 lira, was among a handful of items pulled from the auction. In an e-mail last week, he wrote, “I don’t want to return to that unpleasant affair.”
In the end, none of the donated pieces was sold at auction, Bilgi officials said. Ayse Utku, the owner of the Macka Mezat auction house, said by telephone this week that “three works were withdrawn from the sale,” including a “a little pencil drawing” by Mr. Arslan that had been “lent by someone we like,” a signed and numbered video work by Nil Yalter, and the complicated textile piece by Sarkis.	In the end, none of the donated pieces was sold at auction, Bilgi officials said. Ayse Utku, the owner of the Macka Mezat auction house, said by telephone this week that “three works were withdrawn from the sale,” including a “a little pencil drawing” by Mr. Arslan that had been “lent by someone we like,” a signed and numbered video work by Nil Yalter, and the complicated textile piece by Sarkis.
“Of course there was so much opposition going on while we were going to auction,” Mrs. Utku said, “but some of those pieces would have been very difficult to sell anyway. They had already been put into a storeroom which had no air outlet. We thought it would be a headache, so we gave them back.”	“Of course there was so much opposition going on while we were going to auction,” Mrs. Utku said, “but some of those pieces would have been very difficult to sell anyway. They had already been put into a storeroom which had no air outlet. We thought it would be a headache, so we gave them back.”
“Those who opposed the sale made such a big brouhaha, and it was all sort of bad publicity, but it kindled interest,” she said. “It was a good selection of artworks as well.” For the rest, “we sought out really good collectors, some of whom are thinking of doing a museum, though it might take a few years,” she said. “Now the works are in nice hands.”	“Those who opposed the sale made such a big brouhaha, and it was all sort of bad publicity, but it kindled interest,” she said. “It was a good selection of artworks as well.” For the rest, “we sought out really good collectors, some of whom are thinking of doing a museum, though it might take a few years,” she said. “Now the works are in nice hands.”
A rescue plan With major pieces snapped up by private collectors, Mrs. Utku said the works were better off. “People must keep in mind that santralistanbul was no longer a museum so people were not going to be able to see these anyway and they hadn’t been on view for two or three years. They had been in storage, and bad lighting, bad heating, it really affects canvases.”	A rescue plan With major pieces snapped up by private collectors, Mrs. Utku said the works were better off. “People must keep in mind that santralistanbul was no longer a museum so people were not going to be able to see these anyway and they hadn’t been on view for two or three years. They had been in storage, and bad lighting, bad heating, it really affects canvases.”
The art, she said, had effectively been rescued by entering these collectors’ portfolios.	The art, she said, had effectively been rescued by entering these collectors’ portfolios.
A Turkish art consultant, who asked not to be identified by name and had not been authorized to speak with the news media, said the controversy contained another silver lining. “It was good to examine the issues” of cultural responsibility, the consultant said. “It’s very new to the Turkish art world to have this kind of open discussion.”	A Turkish art consultant, who asked not to be identified by name and had not been authorized to speak with the news media, said the controversy contained another silver lining. “It was good to examine the issues” of cultural responsibility, the consultant said. “It’s very new to the Turkish art world to have this kind of open discussion.”
“The prices in the catalog were fairly good,” the consultant said, “and that grabbed the attention of many small-scale art buyers.” As a result, more than 100 people and a significant media presence crowded into the bidding room at the Sofa Hotel in Nisantasi on that Sunday afternoon.	“The prices in the catalog were fairly good,” the consultant said, “and that grabbed the attention of many small-scale art buyers.” As a result, more than 100 people and a significant media presence crowded into the bidding room at the Sofa Hotel in Nisantasi on that Sunday afternoon.
“It was a lively atmosphere,” the consultant said. “Everyone wanted to know what would happen with the Nejad.”	“It was a lively atmosphere,” the consultant said. “Everyone wanted to know what would happen with the Nejad.”
“The Nejad” is a predominately blue and black abstract composition by Nejad Melih Devrim. The 200 by 300 centimeter, or roughly 7 by 10 foot, oil painting fetched the highest price of the auction: 1,400,000 lira, or $779,000.	“The Nejad” is a predominately blue and black abstract composition by Nejad Melih Devrim. The 200 by 300 centimeter, or roughly 7 by 10 foot, oil painting fetched the highest price of the auction: 1,400,000 lira, or $779,000.
Its buyer was Nezih Barut, the billionaire chairman of the biotechnology and drug firm Abdi Ibrahim who said this week by telephone that he was displaying the work on his office wall.	Its buyer was Nezih Barut, the billionaire chairman of the biotechnology and drug firm Abdi Ibrahim who said this week by telephone that he was displaying the work on his office wall.
“The Nejad,” was one of four pieces he acquired at the auction, including two others by Mr. Devrim and one by Mr. Arslan.	“The Nejad,” was one of four pieces he acquired at the auction, including two others by Mr. Devrim and one by Mr. Arslan.