Mehmet is a PhD Candidate in Art History, specializing in Contemporary Art History and Historiography. He holds a BA in Film Studies from the Yeditepe University (TR) and an MA in History of Art (Distinction) from the University of Leeds (UK). In his MA dissertation, supervised by Prof Griselda Pollock, he analysed 14th Istanbul Biennial: SALTWATER: A Theory of Thought Forms(2015) as a Warburgian project. His PhD project investigates the role of large-scale exhibition both for writing and dissemination of contemporary art history and to what extent Warburg's methodology can help us to understand the historiographic challenges caused by the shift from museum-based art history to temporary exhibition-based art history. His project is supervised by Prof. Christa-Maria Lerm-Hayes and Dr. Miriam van Rijsingen.
His research interests are as follows:
historiography and theory of art and architecture
Legacy of Aby Warburg, his circle, and subsequently Warburg Institute in Art History and Humanities
Contemporary Art and Curation
Phenomenology of Architecture
In August 2020, he co-founded PNSA- Postgraduate Network for the Study of Art Historiography with fellow PhD Candidates from the Netherlands, US, UK, Switzerland, and Germany. The network aims to organize reading groups, seminars, and annual conferences. Currently, there is one active reading group, which meets twice a month. If you would like to become a member, please email Mehmet (firstname.lastname@example.org) or leave a message in the website: https://isarthistory.wordpress.com/
'Thinking Empathy in Biennials and Art History Again' at Association for Art History’s 48th Annual Conference, Goldsmiths, University of London (April, 2022)
‘Aby Warburg's Mnemosyne Atlas (1927-1929) as a Proto Research-Creation’ at UAAC- Universities Art Association Canada Conference ( October, 2021)
'Warburg Redux: Anachronistic Narratives of Mnemosyne Atlas (1927-1929) and Biennials' at Turn Back Now? Anachronies, temporal, and chronological layering in visual arts, organized by Institute of Contemporary Art and Media, Catholic Private University Linz (September, 2021)
‘Between Art History and Urban Studies: Biennials as a Challenge and an Opportunity for Art Historiography’, Making of Humanities IX Conference, organized by Society for the History of Humanities, hosted by Pompeu Fabra University (UPF), Barcelona and Universitat Oberta de Catalunya (UOC) (September, 2021)
[Co-organizer] Queering the Boundaries of the Arts in the Sinosphere Conference, jointly hosted by Institute of Art History and Institute of Asian and Oriental Studies, University of Zurich (May, 2021)
‘Large-scale Exhibitions as Sites of Embodied Memories’ at Plays, Masks, and Make Believes:Ritual Representations International Conference. Birkbeck, University of London (November, 2020)
‘Recollections of Istanbul through Biennial: From Mediations of History to Critical Reflections on Cultural Memory ‘at 3.International Conference on Cultural Studies. Eastern Mediterranean Academic Research Center, Istanbul (March,2019)
‘Icon(i)city: Cultural Memories of Cities in the Context of Contemporary Exhibitionary Practices’ at Conception and Perception of Time and Space International Conference. Birbeck, University of London( February, 2019)
‘Why do we need Aby Warburg today? Or, is image memory a bodily senstion?’, Third Text Online, www.thirdtext.org/sulek-warburg, 16 September 2021
How do we do art history? In recent decades, art history’s transactions with visual studies, cultural studies, the digital humanities, and cognitive science have challenged the discipline’s foundational methods. Accompanying these shifts is a renewed interest in art historiography as a subject of study in its own right: scholars are infusing methods thought to be obsolete with new life. There has been a growing interest in the early 20th century scholarship (Warburg, Riegl), and the writings of neglected art historians such as Carl Einstein and Andre Jolles are being translated into English for the first time. Additionally, new research strands such as Digital Art History and Neuroarthistory have arisen. While these developments are changing the course of art history, scholars currently have limited platforms for having focussed and sustained conversations about them.
This network’s aim is to provide a global platform for art historians to have long-term, robust conversations on both the past and the future of their discipline.
The network has several objectives:
1- Organizing Seminar Series
We are currently working on a program of seminar series. Although this program will be open to all, there will be a preset number of participants. As a member of the network, your seat will be reserved at all times.
2- Organizing Conferences
We aim to organize annual PNSA Conferences with various themes. In addition to this, there will be opportunities to organize smaller and more focused PNSA-related events.
3- PhD-In-Progress Symposiums
We all know that PhD is a daunting and solitary process. Many PhD students have psychological issues and deal with imposter syndrome. In our network, to overcome these problems, we want to organize PhD-In-Progress Symposiums to discuss and talk about our PhD projects in a friendly and relaxed environment.
4- Organizing Reading Groups
We have one active Core Reading Group, currently with a focus on the Vienna School. This focus will change periodically.
Please see the website (PNSA) for the details or email email@example.com