Ece Yıldırımlı

How did you start curating? Was there a defining event or person that led you to this field?

Actually, it was clear from a young age that I was interested in art. I always drew pictures, created collages from exhibitions, and redesigned them in my own way. I knew I would work in an art-related field; however, I can say that curating took shape with the education I received at university. I nourished myself in different areas of art. My first profession where I earned my own money was acting in theater, and after that, I continued to develop myself in this field. In the first semesters of university, just attending classes wasn't enough, so I started working in a ceramics workshop. The ceramic artist I worked with taught me the nature of ceramics so subtly and patiently through a master-apprentice relationship that I now apply the patience, practicality, and sterile working method I learned from him in the projects I do. I can say that playing roles in different disciplines of art in this way nourished the profession of curating. I also think that growing up as an only child increased my interest in art. Art has always been a playground for me, even like a sibling. I would withdraw into my shell and engage with any discipline of art, never realizing how time had passed. I believe a person should have an area of ​​interest that makes them forget the concept of time. Later, this area of ​​interest transformed into a profession through education and experience. One of those who inspired and guided me during this process was Dr. Cem Bülent Ünal; his experiences and perspective guided me on my curatorial journey. This guidance, which enabled me to bring my relationship with art to a professional level, left an unforgettable impact on my professional development, and continues to do so :)

How did the process of the exhibition you are currently working on develop? What happened in the process from idea to implementation?

The exhibition “Corresponding Signs” became a project where I meticulously crafted its subtext and installation process. A curator develops aesthetic ideas; creates a conceptual framework, and must present the artworks to the viewer in the best way within this framework. Every sentence I wrote in the text was an illusion of the situations I was in. The exhibition was shaped by Sartre's assertion that "we create ourselves through a series of choices," and perhaps the most challenging part of the process was conveying this to the viewer in the most "timeless" way by relating it to the artists. The selection includes Ardan Özmenoğlu, Artem Martis, Burcu Perçin, Cansu Ceren İlkan, Emre Yetkin, Soyhan Baltacı, and Yiğit Yazıcı. Each is a highly successful artist with their own unique narrative language and disciplines. Working with each of them was a great source of inspiration for me throughout the process. I can say that the way different materials interact without conflict strengthened the harmony in the exhibition.

As someone within the art world, are there any significant differences you think are reflected in art in a changing world?

Of course, especially with Gen Z, I can say that the language of art has completely changed, and therefore, the methods of production, themes, and the relationship with the viewer are rapidly being affected by this change. Digitalization, identity, and belonging are now at the center of art. While art used to be discussed more through aesthetics and form, today meaning, experience, and interaction are actually at the forefront. For me, the most significant difference is that art is no longer just a work of art, but a process. In this process, art administrators, like artists, exist as social actors. This makes the boundaries of art increasingly permeable and vibrant.

How do you strike a balance between conceptual or visual depth and accessibility for the viewer?

For me, it's very important that the viewer can enter that world while maintaining conceptual depth. The sincerity of the connection established with the viewer often creates a stronger impact than the conceptual explanation. Therefore, in exhibitions or projects, I take care to both preserve the intellectual layers and create a space or bridge where the artist and the viewer can find their place. Reminding people that art is about people, life, and emotions is, I think, the most natural way to strike that balance.

What path should someone who wants to become a curator follow? What stages did you go through to reach this point?

Curating requires being avant-garde. As with any creative profession, the work you produce is entirely a space where you showcase your ideas and vision. I believe this path is shaped not only by artistic knowledge but also by lifestyle. How you spend your day actually reveals your very being and becomes the most important factor influencing your way of thinking. In particular, your consumption habits become an instinctive reflection that shapes your production style and perspective, even extending to the creative ideas that spontaneously emerge in your daily routines. Therefore, being a curator means, on the one hand, controlling your consumption habits; and on the other hand, being influenced by interdisciplinary fields

I would say it means presenting works to the audience with a timeless and bold perspective. Of course, being able to see the artist's approach is the key point here. The curator's stance reveals itself precisely in this delicate balance. These stages create a framework that takes shape over time through the communication and connections you establish with people. I would like to say that it is a very detailed process that requires attention to every detail, from the logistics of the works to their documentation; every detail needs to be taken care of individually. Of course, this is a matter of choice, but I think that each process should be filtered and applied in a sterile manner by the curator. The exhibitions I attend, the books I read, the films I watch, and even the details I notice in my daily life feed the conceptual framework of the next exhibition. Someone who wants to be a curator must first learn to be curious, to observe, and to build relationships. Because curating is not just about bringing works together; it is one of the most elegant ways to convey a world of ideas to the audience. I reached this point through my art management education and the experiences I gained in different cultural institutions. Each project taught me to understand the rhythm of both art and people more deeply. The path in curation never ends; it's a process where you constantly need to progress and draw inspiration from all areas.

When disagreements or conflicting expectations arise during the collaboration process with artists, how do you proceed?

In exhibition projects, the artists' ideas are very valuable to me. There are no rules of right or wrong in art; therefore, it creates a space very susceptible to conflicts and criticisms. Curators have a great responsibility in minimizing these drawbacks. In an exhibition project, I can say that it's not enough to simply position the artist's works; progressing with their thoughts, expectations, and visions strengthens the meaning of the exhibition. The "Corresponding Signs" exhibition we opened at the Tulip Museum is a group exhibition project featuring 7 artists. Each artist has their own strong artistic practice and philosophy; here, the artists' expectations were paramount for me. A project and process that leaves the artist dissatisfied is the last thing a curator would want. At this point, maintaining that balance becomes the curator's most important task. The artist is the one who creates the work, and my job is to present it to the audience in the best possible way. I believe that certain sensitivities must be considered throughout this process. When the curator and the artist clash, it's not very likely that a healthy project will emerge. Using the space correctly is crucial at this point. The serene and meditative atmosphere of the Tulip Museum created a very powerful effect with the artworks. I can say that the museum, with its aesthetic atmosphere, tranquility, and arrangement that highlights the artworks, makes the exhibition experience extraordinary.