90’lardan Beri Halı’dayız _We've Been at the Tapestry Studio Since the 90s Salt Beyoğlu September 19, 2025 – March 1, 2026
Garip Pandik 2 Hazavuzu_atil Kunst_Canan_Hali ogrencileri 2012
Türkiye’de 1990’larda devinim kazanarak siyaset ve toplumsal hareketlerle ilişki kuran güncel sanat üretimi ve tartışmalarının akademi müfredatındaki yeri kısıtlı kaldı. Ancak köklü geleneklerine sahip çıkmak adına, özellikle İstanbul’da gitgide çeşitlenen pratiklere mesafeli duran Mimar Sinan Güzel Sanatlar Üniversitesi’nde (MSGSÜ) zamanla tek tük de olsa karşıt sesler çıkmaya başladı.MSGSÜ Resim Bölümü’ne bağlı olarak faaliyet gösteren Halı Atölyesi, halı dokuma eğitimini güncel sanatla ilişkilendiren, “beraber öğrenme”ye dayalı pedagojik yaklaşımı ve herkesin katılımına açık programlarıyla gerek kurum içinde gerekse kurum dışında benzersiz bir konum edindi. Akademiye içkin cinsiyetçi hiyerarşileri ve kemikleşmiş bürokrasiyi ilke ve uygulamalarıyla alaşağı eden; öğrenciyi, sanatçıyı, misafiri, kültür emekçisini aynı masa etrafında buluşturabilen ve en önemlisi, “sokağı dışlamayan” müstesna bir model yarattı.
90’lardan Beri Halı’dayız, akademi tarihinde örneğine az rastlanır şekilde gücünü esnek, açık ve kapsayıcı olmaktan alan bu atölyenin sanat eğitimine yaklaşımına odaklanıyor. Gündelik hayat meseleleriyle kurduğu ilişkiyi araştırırken yaratıcı muhalefet ile kolektif üretimin potansiyellerine de dikkati çekiyor. Atölyenin kuruluşundan bu yana titizlikle inşa edilen fiziksel ve kavramsal bağların izini süren sergi, yolu bu mekândan geçmiş sanatçıların ortak üretimleri, kişisel işleri, arşiv malzemeleri ve tanıklıklarından derlenen bir kolaj sunuyor.
Halı Atölyesi, 1976-1977 döneminde, ressam ve akademisyen Özdemir Altan’ın girişimi ve teşvikiyle, ressam ve akademisyen Zekai Ormancı’nın (1949-2008) idaresinde bir uygulama atölyesi olarak kuruldu. Her daim “rahat atölye” olarak etiketlendi; hatta adının çağrıştırdığı geleneksellikten ötürü hafife alındı. Bazı öğrencilerin son tercihiydi; kimisi de uygulama atölyesinde sürdüreceği üretim resim yaptığı zamandan çalmasın diye buraya yöneldi. Ne var ki bu rahatlık ilerleyen dönemde beklenmedik bir sonuç doğuracaktı.
1992’de Halı Atölyesi’ne asistan olarak atanan görsel sanatçı ve akademisyen Gülçin Aksoy (1965-2024) ile ona eşlik eden bir grup öğrenci ve yol arkadaşının önayak olduğu dinamizm, 1990’lar sonundan itibaren atölyeyi günbegün dönüştürdü. Açığa çıkan bu sinerji, Aksoy’un hem fiziken hem de fikren açık tuttuğu atölye kapısından taşıp önce okulun koridorlarına, sonra da İstanbul’un güncel sanat ortamına yayıldı. Halı Atölyesi’nin üretim modeli, 2000’li yıllarda İstanbul’daki bağımsız sanat inisiyatifleri, feminist çevreler ve disiplinlerarası kolektiflerle kurduğu ilişkiler sayesinde çoğaldı, çeşitlendi ve genişledi.
İplik ve dokuma, Halı Atölyesi’nde salt bir malzeme ve teknik olarak değil; aynı zamanda uzun vadeli bir düşünme ve ilişkilenme biçimi olarak varlık gösterdi. Aksoy, içine kapanık bir sanat eğitiminin uygulayıcısı olmaktansa, “Bir halıyı da dokuyabilirsiniz, bir fikri de” yaklaşımına sahip çıkarak geleneksel halı dokuma pratiğini performans ve gündelik hayatla iç içe geçirdi. Kendisiyle beraber düşünen, yorumlayan ve harekete geçen öğrencileriyle dokumanın (yatay) atkıları ve (dikey) çözgülerinden kavramsal açılımlar üretmenin, kelimelerle oynayıp sözler ve sesler türetmenin yollarını aradı. Halı, artık ders programlarına sıkışmayan, müfredat dışı ilgilere kulak veren “açık bir atölye” hâline geldi.
Halı Atölyesi, sanat akademisinin ataletinden erkek egemen toplum yapısına, devlet aygıtlarından kurumların estetik algısına bir dolu meseleyi işledi: İnceden inceye arıza da çıkarıldı, maytap da geçildi. Gündemi takip etmekten hiç vazgeçmeyen atölyede, AtılKunst sanatçı kolektifi (2006-2013), Garip Bir Pandik 1 (Halı Atölyesi, 2011) ve Garip Bir Pandik 2 (Rumeli Han, 2012) performansları, 3/1 (Halı Atölyesi, 2013) sergisi ile fanzinlerden dikişlere nice plan ve proje, tekerrür eden meselelere tepkiden doğdu.
90’lardan Beri Halı’dayız sergisi, Halı Atölyesi’nin dillere pelesenk olmuş “Aynı yöne ayrı pedal, ayrı yöne aynı pedal” şiarından yola çıkarak atölyedeki ortak pratiklerin tarihine ve bireysel yönelimlere ışık tutuyor. Geçmişten bugüne dokunan bir topluluğun ilmeklerini sökerken kuşaklar arası bir üretim akrabalığının peşine düşüyor.
19 Eylül 2025’ten 1 Mart 2026’ya dek Salt Beyoğlu’nda görülebilecek sergi paralelindeki programlar önümüzdeki günlerde duyurulacak.
Sergi adı hakkında: 2009 ile 2015 yılları arasında Halı Atölyesi’nde olan sanatçı ve akademisyen Duygu Sabancılar’ın gördüğü bir rüyaya dayanan “90’lardan Beri Halı’dayız” sloganı, Gülçin Aksoy ve Halı öğrencileri tarafından bir beze dikilerek pankarta dönüştürüldü. Bu pankart ilk olarak Buradan Nereye? Kolektif Sanat Pratikleri (İstanbul Bilgi Üniversitesi, 2016) sergisinde sunuldu.
Program: Amira Akbıyıkoğlu, Eylül Şenses, Halı Atölyesi bileşenleri
Araştırma: Betül Bolat
Sergi Tasarımı ve Prodüksiyon: Emirhan Altuner
Editör: Ezgi Yurteri
Çeviri: Paul Osterlund, Merve Pehlivan, Nâzım Hikmet Richard Dikbaş
Video Kurgu: Metean Bars, Gizem Bayıksel
Sergi Asistanları: Yeraz Kortun, Naz Tekay, Ecem Yerman
Sergi Kurulumu: Burak Bodur, Tansu Demirel, Eray Özcan, Fiksatif, 3T Reklam
İletişim Tasarımı: Wiseslang
Teşekkürler: Halı Atölyesi’nden yolu geçen herkes
The production of contemporary art and the discussions it sparked gained momentum in Turkey during the 1990s, establishing links with social and political movements. Their place within the academic curricula, however, remained limited. Upholding its long-standing traditions, Mimar Sinan Fine Arts University (MSGSÜ) remained distant from the diverse practices flourishing particularly in Istanbul. Yet, dissenting voices gradually began to be heard, albeit few and far between.
Affiliated with MSGSÜ’s Department of Painting, the Tapestry Studio has carved out a unique position both within and outside the institution. Combining carpet weaving education with contemporary art, it has embraced a pedagogical approach rooted in “learning together” and offered programs open to everyone. It created an exceptional model that dismantled the gendered hierarchies and entrenched bureaucracies inherent in academia, bringing together students, artists, guests, and cultural workers around the same table. Most importantly, this model did not exclude the street.
We’ve Been at the Tapestry Studio Since the 90s focuses on this studio’s approach to art education, which draws its strength from being flexible, open, and inclusive in a manner rarely witnessed in the history of academia. While exploring its relationship with everyday life, the exhibition also highlights the potential of creative dissent and collective production. Tracing the physical and conceptual connections meticulously built since the founding of the studio, it presents a collage of collaborative and individual works, archival materials, and testimonies of artists who have passed through this space.
The Tapestry Studio was established in 1976-77 as a practice studio under the direction of painter and academic Zekai Ormancı (1949-2008), with the initiative and encouragement of painter and academic Özdemir Altan. It was always described as the “laid-back studio” and even taken lightly due to the traditional connotations of its name. It was the last choice for some students, while others turned to it so that their time in the practice studio wouldn’t interfere with their own painting. However, this relaxed environment would eventually yield unexpected outcomes.
In 1992, visual artist and academic Gülçin Aksoy (1965-2024) was appointed as an assistant at the Tapestry Studio. Together with a group of students and colleagues, she sparked a dynamism that gradually transformed the studio from the late 1990s onward. This synergy spilled out of the studio door—which Aksoy kept open both physically and conceptually—first into the university corridors and then into Istanbul’s contemporary art scene. The studio’s production model multiplied, diversified, and expanded through the relationships it forged with independent art initiatives, feminist circles, and interdisciplinary collectives in the city during the 2000s.
Yarn and weaving have functioned not only as materials and techniques, but also as enduring modes of thought and relation at the Tapestry Studio. Instead of practicing insular art education, Aksoy embraced the approach that “you can weave a carpet, and you can weave an idea,” intertwining traditional carpet weaving practices with performance and everyday life. Together with students who thought, interpreted, and took action alongside her, she sought ways to develop conceptual insights from the (horizontal) weft and (vertical) warp of the loom, playing with language, words, and sounds. The Tapestry Studio thus became an “open workshop,” no longer confined to a syllabus and attuned to interests beyond the curriculum.
The studio addressed a whole host of issues—from the inertia of art academies and patriarchal social structures to state apparatuses and institutional aesthetics—mixing subtle mischief with playful teasing. Never losing sight of current events, the studio gave rise to the artist collective AtılKunst (2006-2013), the performances Garip Bir Pandik 1 [A Strange Goosing 1] (Tapestry Studio, 2011) and Garip Bir Pandik 2 [A Strange Goosing 2] (Rumeli Han, 2012), the exhibition 3/1 (Tapestry Studio, 2013), and numerous projects ranging from fanzines to stitching, all of which emerged in response to recurring issues.
Drawing inspiration from the studio’s well-known motto—”same direction, different pedal; different direction, same pedal”—the exhibition sheds light on the history of shared practices and individual pursuits within the studio. It unravels the threads of a community that spans from the past to the present, as it traces an intergenerational kinship of production.
We’ve Been at the Tapestry Studio Since the 90s will be on view at Salt Beyoğlu from September 19, 2025 to March 1, 2026. Public programs accompanying the exhibition will be announced soon.
About the exhibition title: The slogan “We’ve Been at the Tapestry Studio Since the 90s” originated from a dream had by artist and academic Duygu Sabancılar, who was part of the Tapestry Studio between 2009 and 2015. It was embroidered onto fabric by Gülçin Aksoy and the studio’s students and transformed into a banner. This banner was first presented in the exhibition Buradan Nereye? Kolektif Sanat Pratikleri [Where Do We Go From Here? Collective Art Practices] (Istanbul Bilgi University, 2016).
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Program: Amira Akbıyıkoğlu, Eylül Şenses, Tapestry Studio constituents
Research: Betül Bolat
Exhibition Design and Production: Emirhan Altuner
Editor: Ezgi Yurteri
Translation: Paul Osterlund, Merve Pehlivan, Nâzım Hikmet Richard Dikbaş
Video Editing: Metean Bars, Gizem Bayıksel
Exhibition Assistants: Yeraz Kortun, Naz Tekay, Ecem Yerman
Installation: Burak Bodur, Tansu Demirel, Eray Özcan, Fiksatif, 3T Reklam
Communication Design: Wiseslang
Acknowledgments: Everyone who has crossed paths with the Tapestry Studio
Affiliated with MSGSÜ’s Department of Painting, the Tapestry Studio has carved out a unique position both within and outside the institution. Combining carpet weaving education with contemporary art, it has embraced a pedagogical approach rooted in “learning together” and offered programs open to everyone. It created an exceptional model that dismantled the gendered hierarchies and entrenched bureaucracies inherent in academia, bringing together students, artists, guests, and cultural workers around the same table. Most importantly, this model did not exclude the street.
We’ve Been at the Tapestry Studio Since the 90s focuses on this studio’s approach to art education, which draws its strength from being flexible, open, and inclusive in a manner rarely witnessed in the history of academia. While exploring its relationship with everyday life, the exhibition also highlights the potential of creative dissent and collective production. Tracing the physical and conceptual connections meticulously built since the founding of the studio, it presents a collage of collaborative and individual works, archival materials, and testimonies of artists who have passed through this space.
The Tapestry Studio was established in 1976-77 as a practice studio under the direction of painter and academic Zekai Ormancı (1949-2008), with the initiative and encouragement of painter and academic Özdemir Altan. It was always described as the “laid-back studio” and even taken lightly due to the traditional connotations of its name. It was the last choice for some students, while others turned to it so that their time in the practice studio wouldn’t interfere with their own painting. However, this relaxed environment would eventually yield unexpected outcomes.
In 1992, visual artist and academic Gülçin Aksoy (1965-2024) was appointed as an assistant at the Tapestry Studio. Together with a group of students and colleagues, she sparked a dynamism that gradually transformed the studio from the late 1990s onward. This synergy spilled out of the studio door—which Aksoy kept open both physically and conceptually—first into the university corridors and then into Istanbul’s contemporary art scene. The studio’s production model multiplied, diversified, and expanded through the relationships it forged with independent art initiatives, feminist circles, and interdisciplinary collectives in the city during the 2000s.
Yarn and weaving have functioned not only as materials and techniques, but also as enduring modes of thought and relation at the Tapestry Studio. Instead of practicing insular art education, Aksoy embraced the approach that “you can weave a carpet, and you can weave an idea,” intertwining traditional carpet weaving practices with performance and everyday life. Together with students who thought, interpreted, and took action alongside her, she sought ways to develop conceptual insights from the (horizontal) weft and (vertical) warp of the loom, playing with language, words, and sounds. The Tapestry Studio thus became an “open workshop,” no longer confined to a syllabus and attuned to interests beyond the curriculum.
The studio addressed a whole host of issues—from the inertia of art academies and patriarchal social structures to state apparatuses and institutional aesthetics—mixing subtle mischief with playful teasing. Never losing sight of current events, the studio gave rise to the artist collective AtılKunst (2006-2013), the performances Garip Bir Pandik 1 [A Strange Goosing 1] (Tapestry Studio, 2011) and Garip Bir Pandik 2 [A Strange Goosing 2] (Rumeli Han, 2012), the exhibition 3/1 (Tapestry Studio, 2013), and numerous projects ranging from fanzines to stitching, all of which emerged in response to recurring issues.
Drawing inspiration from the studio’s well-known motto—”same direction, different pedal; different direction, same pedal”—the exhibition sheds light on the history of shared practices and individual pursuits within the studio. It unravels the threads of a community that spans from the past to the present, as it traces an intergenerational kinship of production.
We’ve Been at the Tapestry Studio Since the 90s will be on view at Salt Beyoğlu from September 19, 2025 to March 1, 2026. Public programs accompanying the exhibition will be announced soon.
About the exhibition title: The slogan “We’ve Been at the Tapestry Studio Since the 90s” originated from a dream had by artist and academic Duygu Sabancılar, who was part of the Tapestry Studio between 2009 and 2015. It was embroidered onto fabric by Gülçin Aksoy and the studio’s students and transformed into a banner. This banner was first presented in the exhibition Buradan Nereye? Kolektif Sanat Pratikleri [Where Do We Go From Here? Collective Art Practices] (Istanbul Bilgi University, 2016).
Program: Amira Akbıyıkoğlu, Eylül Şenses, Tapestry Studio constituents
Research: Betül Bolat
Exhibition Design and Production: Emirhan Altuner
Editor: Ezgi Yurteri
Translation: Paul Osterlund, Merve Pehlivan, Nâzım Hikmet Richard Dikbaş
Video Editing: Metean Bars, Gizem Bayıksel
Exhibition Assistants: Yeraz Kortun, Naz Tekay, Ecem Yerman
Installation: Burak Bodur, Tansu Demirel, Eray Özcan, Fiksatif, 3T Reklam
Communication Design: Wiseslang
Acknowledgments: Everyone who has crossed paths with the Tapestry Studio
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