The Journey of Elgiz Museum

The Journey of Elgiz Museum

As one of the pioneers of modern and contemporary art museology in Turkey, Elgiz Museum has, in its quarter-century story, gone beyond being just an exhibition space to become a production and sharing center for young artists. Known for its 17th sculpture-focused "Teras Exhibitions" and the size of its collection, the museum celebrates its 25th anniversary this year, bringing together the accumulation of the past and its vision for the future with its audience.

The story of Elgiz Museum, which has long stood out with its large collection and sculpture exhibitions, began years ago when there was no museum or private collection in Turkey dedicated to modern or contemporary art. As the collection grew, it became too valuable to keep hidden in storage, inspiring the idea to exhibit these works in a non-commercial space accessible to everyone—thus, the museum was founded.

This year marks the 17th edition of the Teras Exhibitions, which focus exclusively on sculpture, titled “Reflections from the Terrace.” Here, 35 works by 35 artists can be viewed on the terrace. Inside the museum, 41 works by 35 artists from the museum’s own collection are exhibited under the title “Season of Mirage.” We had an intimate conversation with Ayda Elgiz Güreli, a founding family member, discussing the museum’s founding journey, the nuances of collecting, the challenges of sculpture art, and the collaborative atmosphere created on the terrace.

How did your journey as a collector begin and develop?

For many years, I have been considered a second-generation collector. Why? Because my sibling and I grew up surrounded by art. When parents immerse you in something, you either love it or hate it. We ended up loving it. Thirty years ago, in Turkey, concepts like contemporary and modern art or the difference between them were not widely discussed. Although “contemporary art” was already established abroad, these distinctions were still unclear here.

While many of my friends came from very traditional families, our home was frequented by very interesting people — young artists of that time whom I admired. I admired my parents for being grounded artists themselves and for their open-mindedness in befriending both established and emerging artists. Growing up in such an environment, gifts for birthdays, graduations, and other occasions were always artworks. I was young, and contemporary art was young in Turkey. We grew up together. I try to do the same with my children.

Elgiz Museum is a pioneering example in Turkey in terms of institutional collection formation and exhibition. What do you think are the fundamental determinants in creating a museum collection? How would you define collecting?

We have always been pleased to see art grow. Art has become part of popular culture globally; everyone wants to be involved. I completed a Master’s in Art Management/Museology at NYU. My thesis focused on the large museums designed by “Starchitects” in the early 2000s, analyzing whether dramatic architecture kills the artwork or coexists with it. My conclusion was that they coexist, helping each other grow.

Art collecting has also become popular, but everyone sees and learns something different. This allows artists to find opportunities for growth. For an artist to grow, they need visibility and collectors to acquire their works. Collections should ideally be publicly accessible. Artists gain recognition by being visible.

For example, in our museum’s history, we held collection exchanges, gathering works from different people for exhibitions curated with guest curators, bringing these works to light.

What changes when the collection focus is on sculpture, a niche field?

A collector’s homework is to archive, insure, preserve, and importantly, share artworks. We always share our works internationally, coordinating with representatives in Europe and America for retrospectives or publications.

Sculpture is challenging to manage because it is difficult to store, so collectors tend to hesitate. Materials sometimes require complex maintenance. Some collectors mistakenly think sculptures are editions like prints, but sculptures are usually limited editions such as 5+1 or 6+1, depending on the mold. Sculpture, like plastic arts or video art, is a different dimension. We have always loved it and been involved. The Teras Exhibitions have become an integral part of our lives. Whenever I visit places, I think about how to utilize empty spaces with sculptures.

“Opening Our Terrace to Sculptures”

How did the Teras Exhibition series begin?

This round table we are sitting at is very meaningful to us; it is where our family, employees, and interns come together to make decisions. We brainstorm ideas like “What else can we do?” This space allows us to diversify our collection and comfortably exhibit and store works. This year, as we celebrate our 25th anniversary and benefit from close relationships with young artists and proximity to industrial zones, we said, “We are opening our terrace to sculptures.” Our goal is to connect sculptors with audiences who want to experience their works.

All the works inside the museum belong to the Elgiz Museum collection and include thematic selections or guest-curated exhibitions. On the terrace, however, the works are not all from the collection. To ensure an impartial selection process, we formed a jury including Seyhun Topuz, Rahmi Aksungur, Nilüfer Ergin, Meliha Sözeri, and Ömer Emre Yavuz. After setting exhibition themes, we issued an open call to artists.

The installation process after the open call is like a fair. Files are gathered, selections are made again by the jury, and artists are given specific days to install their works. During setup, streets are closed, cranes arrive, and sculptures are lifted up. Meals are shared, music plays, and the collaborative spirit is vital. These exhibitions happen when the weather is good because the Ayazağa neighborhood is famous for its cold winds (“ayaz”). In winter, the works are taken down.

Additionally, for about seven years, we have organized a “charity” night in September. Tickets are limited to one per person, and proceeds fund artist support. A “silent option” auction takes place, where artists set a time and starting price.

After the event, Elgiz Museum supports logistics and all related matters, aiming to make artists visible and provide assistance.

This year, the Teras Exhibitions were organized with invited artists rather than an open call. How would you describe this curatorial shift? What does it signify?

We constantly strive to renew ourselves. Now that it’s the 17th edition, the exhibition is more recognized and in demand. To narrow the scope, we invited artists this year based on a set theme. Artists submitted works or models corresponding to the theme. We made selections with the jury and artists. The process is collaborative. The museum has a history of working with many guest curators, both Turkish and international.

The “Season of Mirage” exhibition, formed from the museum collection, refers to the fine line between dream and reality. Which artists are featured?

The idea came from our founder, Can Bey. From my perspective, artworks you hang at home or in a museum live and change meaning depending on your mood or the weather outside. I come to the museum daily, and the meaning of a painting may shift with the sun or rain. The concept of “mirage” plays into this idea—each viewing creates a new dream.

What mission do you pursue with the museum’s art publishing?

We produce beautiful books that are not mere catalogs but long-lasting library-quality publications. Photos are always taken in the exhibition space to immerse the viewer in the story.

Could you share about the educational programs?

Many children visit, especially from private schools starting from age 3. Many university students have assignments connected to the museum. I have taught Art Management courses in a university for years, conducting classes here. Students learn about museum work, auctions, buying, and selling directly in front of living artworks, gaining hands-on experience. They create projects with real labels and works, absorbing the atmosphere.

Elgiz Museum Founder Can Elgiz: “We Started from the Question ‘Where Can We See Contemporary Art in Istanbul?’”

In the late 1970s and early 1980s, our collecting began shaped by my architectural background and family interest in art. We arranged gallery visits on Sundays and gradually followed international fairs. Through the Istanbul Biennial, we met foreign collectors who often asked, “Where can we see contemporary art in Istanbul?”

Young artists were rarely exhibited in galleries then, so we started from the need for a space to view these works. With Vasıf Kortun, who had strong international experience, we began a project in a ground floor space in Levent. In 2001, we hosted only curated exhibitions. Collectors asked why we didn’t show our own collection, so we included other collections temporarily but eventually focused again on our own.

As Kanyon Mall opened and the area grew crowded, our Levent space became insufficient. Four or five years later, we moved to Maslak, a larger venue where sculptures could spread throughout, including a sculpture garden out front. Talking with Haşim Nur Gürel, the idea emerged to use the terrace—a space about 10 meters high with elevator and fire escape access—to hold outdoor exhibitions. With Haşim’s support, we formed a jury and have organized the Teras Exhibitions for 17 years. We send open calls to art institutions, universities, and associations, and exhibit the selected works here.

Our goal is to make sculpture visible and encourage collectors to place sculptures in gardens and factory fronts. We bring artists and collectors together once a year to facilitate direct relationships. We don’t operate as a gallery, but many artists gain collections and recognition through this platform.

For each exhibition, we produce a catalog-book featuring photos of the works in the space. Photos are completed within 10 days of the installation and the catalog is printed quickly, ensuring the exhibition leaves a permanent mark in our memory and libraries.

You can visit the “Reflections from the Terrace” exhibition at Elgiz Museum until the end of October.

The “Season of Mirage” exhibition will be open until November 15 at Elgiz Museum.

October 11, 2025
Text by: Esin Hamamcı
Photography by: Barış Acarlı

[https://www.artnewspaper.com.tr/2025/10/11/elgiz-muzesinin-yolculugu]

(https://www.artnewspaper.com.tr/2025/10/11/elgiz