Simit, a nongovernmental art association based in Paris, was formerly known primarily for its artist residency programs. Now, however, the association is eyeing growth through expansion throughout Europe. Banu Dicle, founder of the association, speaks about its future targets
Established in Paris in 2007 with the aim of promoting Turkish art abroad, the founder of Simit, a nongovernmental artistic association, is now seeking opportunities to expand the group’s operations even further afield.
“Brussels is the center of Europe and I can see that some things happen a lot quicker in Brussels than in other parts of Europe,” Banu Dicle recently said during an interview. “That’s why I have decided to make Simit an association which will be based in different centers of Europe and expand it.”
When Dicle decided to establish the association in 2007, she decided to build it on four main foundations. “The first one is visual arts; then performance art; then music, while the last one is the residency program, which includes the artist residency program at Cité des Arts n Paris,” she said.
The residency program, which was established with the support of the Istanbul Foundation for Culture and Arts, or İKSV, first welcomed Ahmet Öğüt, Turkish contemporary artist.
“Our aim was to promote Turkish art and artists in France and beyond Turkey,” she added.
Cité International des Arts between Turkey and Paris
The residency program is still continuing and this year it has welcomed Burak Delier, who has also exhibited works in biennials. “The next artist will be Özlem Soluk,” said Dicle.
The reason Dicle started the program was to increase the cultural interaction between Turkey and other countries.
Noting that it was time to increase such interaction, Dicle said it might even be possible to get support from the Turkish Industry and Business Association, or TÜSİAD, after Simit expands.
For many in Europe, Turkey remains synonymous with old-style decorative pitchers, Dicle said. “That was our trigger when we decided to establish an association such as Simit and promote the Turkish contemporary art scene in Europe.”
Simit’s first exhibition, which took place as part of the Turkey Season in France, aimed to destroy this common perception with a show called Entre-Deux.
“[The view] is not true,” said Dicle, noting that Turkey had much more to offer than decorative pitchers when it comes to art.
The exhibition included works by Onay Akbaş, Erdal Alantar, Gökçe Çelikel, Salih Coşkun, Osman Dinç, Ali Umut Ergin, Ömer Kalesi, Rüveyda Koyuncu Colombin, Ody Saban, Nevzih Tanyeli and İsmail Yıldırım. Dicle managed the exhibition along with Leslie Riggs.
Avoiding categorization of artists
Moving beyond decorative Turkish art, Dicle also exhibited Muammer Yanmaz’s works Paris. “I always refused to label artists as Turkish, because I do not want people to know artists as Muslims and label them as so.”
Noting that she always tried to avoid categorizing artists, Dicle said, “We were planning to publish a catalogue in Paris and the publisher made the cover with a Paris view and a mosque view from Istanbul.”
But Dicle said she refused to publish the catalogue like this. “I am against categorizing art like this.”
Until now, Cité des Arts in Paris has hosted Ahmet Öğüt, Çınar Eslek, Aslı Cavuşoğlu, Bahar Oganer and Burak Delier.
Being in Paris and working in Paris can expand the perspective of artists, said Dicle. “The residency in Paris was founded in Marais, which is a very lively environment for artists and the art scene.”
The residency has been hosting artists since 1965 and has welcomed more than 18,000 artists.
“We aim to host exhibitions in the large exhibition area of Cité des Arts,” said Dicle.