Unity, transparency, solidarity: USGD takes the stage

A long-needed step toward unity has been taken in Türkiye’s contemporary art scene. Founded under the leadership of Pi Artworks, SANATORIUM, MERKUR, GALERİST, Versus Art Project, Martch Art Project, and Öktem Aykut, the International Art Galleries Association (USGD) quickly expanded into a comprehensive structure with the participation of Galeri Nev İstanbul, .artSümer, PİLOT, and Ambidexter. While carrying solidarity among galleries onto an institutional ground, USGD aims to establish a transparent and ethical network of relations with artists, curators, and institutions

Interview: Merve Akar Akgün

While galleries are often separated by invisible walls, USGD promises to open a window through them. Yet the rhetoric of “unity” is frequently invoked in the contemporary art field and just as quickly worn out. What tools will USGD use to keep this call for collective action structural and long-term? How will you hold one another accountable?

In the art world, words like “solidarity” or “unity” are frequently used, yet they often fail to translate into practice. USGD emerged precisely from this gap, from the void created by the inability to stand together. While the idea of unity may sound romantic within the contemporary art context, it is in fact a very concrete and urgent need. This field is made up of galleries trying to survive without external or state support. Standing side by side and looking out for one another may be one of the most fundamental needs of a profession. For us, unity does not mean agreement, but the ability to remain alongside one another despite differences. We value transparency and honesty toward one another, as well as the willingness to offer critique and support when needed. This association does not claim to provide a flawless solution, but rather marks a starting point that demonstrates the possibility of collective action. Our tools are limited for now, yet we believed the time had come to take this step and establish the association. In the past, there were many attempts to form a union of gallerists, statutes were drafted, but no structure was ever put into practice. Today, the fact that very different galleries have been able to sit around the same table for more than two years, discuss their views with mutual respect, take joint decisions, and continue the process together regardless of unanimity or majority vote is, in itself, a significant achievement.

USGD’s aim is not to produce an abstract consensus. It is to build a collectively functioning structure in which each gallery assumes responsibility, looks out for others, and can hold one another accountable when necessary. Our responsibility here is to take ownership of the sector’s integrity, shared labor, and vulnerabilities. This represents a structural and ethical commitment. From the outset, two of the areas that received the greatest attention during the founding process were the statute and the ethical principles. Transparency and mutual oversight became the core foundations of how USGD operates.

In a context where gallery practice in Türkiye has yet to find an institutional footing and is still not recognized as a profession, USGD is expected to generate not merely “representation” but a form of “legitimacy.” What kind of relationship does the association plan to establish with public institutions, legal frameworks, and cultural policies?

Although gallery practice in Türkiye has a long history, it is still not recognized as an official profession. It lacks a clear definition, established standards, and even a recognized counterpart in the public sphere. Yet the recognition of gallery practice as a profession is crucial both for the development of the sector and for the future of contemporary art.

When we look at examples from Europe, the gap becomes even more apparent. During the pandemic, for instance, the UK provided £1.57 billion in support to cultural institutions ranging from theatres to galleries through the Culture Recovery Fund, and many galleries were exempted from paying rent during that period. In Germany, the federal government increased the budget for its contemporary art collection from 105,000 euros to three million euros, which translated into direct support for both artists and galleries. In the UK, tax incentives were also introduced to support exhibition-making and spatial development.

In our country, however, it is unfortunately not possible to speak of any comparable support mechanism. We cannot benefit from public fair support for international visibility, as many other sectors do, and we are required to pay art taxes when carrying out international shipments. This needs to be removed from the category of luxury consumption. The tax issue poses a major obstacle to the development of institutional collecting and to the international circulation of art. This is precisely why the establishment of USGD as a formal association is so significant. It allows us to operate as a structure that is officially recognized by public authorities. In the coming period, we plan to engage in dialogue with the Ministry of Culture and Tourism, municipalities, and other public institutions, and to take steps toward the recognition and support of our profession.

It should not be forgotten that any support extended to galleries ultimately touches the entire ecosystem. One of USGD’s core motivations is to help create the conditions in which the field can breathe by transforming the isolating circumstances surrounding gallery practice.

Legitimacy cannot be built through legal definitions alone, but through transparent and fair relationships established with artists, institutions, and society at large. For this reason, we place great importance on maintaining open dialogue with public institutions. We believe that bringing galleries together around a shared ethical framework will make both our professional standards and our social responsibility more visible.

Structures associated with international art fairs such as Art Basel, FIAC, or Frieze derive their core strength from providing access to both artistic and economic networks. Does USGD aim to build a similar kind of “artistic economic network” for artists and galleries in Türkiye?

Among USGD’s core objectives is enabling galleries and artists in Türkiye to become part of the international art market, joining associations or organizations abroad, and developing joint initiatives with them. Within this framework, encouraging participation in international art fairs, building collaborations with gallery associations and cultural institutions outside Türkiye, and increasing the representation of artists from Türkiye on global platforms are among our primary goals. At the same time, we aim to work with different associations both domestically and internationally and to formalize these collaborations through agreements. Our intention is not merely to increase fair participation, but to establish sustainable economic models for galleries and artists, and to develop shared standards around copyright, contracts, and the international circulation of artworks. Through this, we seek to ensure that art from Türkiye both secures its rightful place on the international art map and becomes integrated into the broader economic value chain.

In the relationships that organizations such as KAGA, BVDG, or ADAA have established with public authorities, a key factor has been their concrete initiatives aimed at improving artists’ working conditions. Does USGD have priority plans to build a similar cultural infrastructure, particularly in areas such as protection, insurance, contracts, or fund development for artists?

At USGD, we are aware that a healthy art field is only possible when artists’ rights and well-being are protected. Taking concrete steps that place artists at the center and improve their conditions of production is an integral part of our founding philosophy and long-term strategy.

Türkiye’s art scene does not rely on an ecosystem shaped by state and municipal support in the way that Germany or France does. In the contemporary art field, support and incentives largely come from collectors, the private sector, banks, and various institutions and organizations. As USGD, we are working toward the creation of shared funds or support programs aimed at supporting young and emerging artists, generating resources for their production, and funding exhibition projects. Thinking through and working on alternative funding models, as well as ensuring their fair distribution, is among our priorities. In addition, we will provide guidance to our members and the artists they represent in accessing international funding sources. Within this scope, we have plans to develop partnerships with experts in the field and to invite them to Türkiye for educational purposes.

We will develop and promote standardized contract models among our members that regulate artist gallery relationships and clearly define rights and responsibilities. Such contracts will create a transparent framework that protects both artists and galleries, contributing to the long-term health of the ecosystem.

We also plan to work on developing shared insurance models to address risks that may arise during the transportation, exhibition, and storage of artworks. We believe that acting collectively in this area will be far more effective and efficient than operating as individual galleries. In the long term, developing proposals to facilitate artists’ access to social security systems is also on our agenda.

The galleries that founded USGD are generally well-established actors with a certain level of visibility in the field. How, then, does the association plan to engage with smaller, more experimental, or non-central galleries?

It is true that USGD’s founding members are galleries that are rooted in the field and have an established visibility. The formation of this alliance also developed in a natural way. As gallerists who know one another well, and who follow and value each other’s work, we initially came together around this shared vision. In Türkiye, there is often an odd expectation that every new initiative should immediately include everyone and everything. Frankly, this expectation seems to stem from the limited number of solidarity-based structures of this kind, and from their lack of continuity. Rather than attempting to build a broad structure from the outset, we began with a group of gallerists with whom we could remain in close contact and meet face to face on a monthly basis. However, neither our statute nor our vision positions the association as a structure limited to Istanbul or to large-scale galleries. On the contrary, the association’s objectives and working principles were designed to encompass qualified galleries across Türkiye. Our membership criteria prioritize artistic rigor, an international outlook, and professional continuity over geographic location. These criteria can equally be met by galleries operating in different cities across Anatolia or by younger galleries in Istanbul focused on more experimental practices. In this sense, USGD’s aim is by no means to represent a particular group, but to represent, strengthen, and connect the entirety of qualified gallery practice in Türkiye. Experimental and non-central galleries are an indispensable and valuable part of this ecosystem.

You say, “we want to build a cultural platform.” Will this platform include only galleries? Where do figures such as critics, art historians, curators, or independent researchers stand within this structure? Is there an intention to establish an equal partnership with other carriers of memory in the art field, or will this remain a gallery centered ground?

USGD is fundamentally a gallery and gallerist focused platform. Its primary aim is to regulate, develop, and improve the relationships among its members and with all other stakeholders that make up the art ecosystem, and to build a fair and inclusive form of togetherness. That said, inclusivity should not be understood as an obligation to encompass every field in the same way. In particular, it is crucial for art criticism to remain as independent as possible. In this sense, we do not wish to create a press or critical sphere that is aligned with or attached to the association. Just as artists’ freedom of expression matters to us, safeguarding the freedom of expression of the press is a fundamental concern.

Much like SİYAD is an association founded and run by film critics, USGD is an association founded by gallerists and composed of gallerists. This does not mean that we exclude other actors in the field. Gallery practice is not merely a commercial activity. As cultural intermediaries, we are part of a cultural process that unfolds in collaboration with all stakeholders, including curators, critics, art historians, and academics. We position ourselves not above these actors, but among them. Through collaborative projects and events, we intend to develop partnerships with all of these stakeholders. For example, for our first project, Istanbul Art Week, we have already begun conversations with critics, curators, and academics. By forming joint working groups, and by involving experts not only from the art ecosystem but also from fields such as law and economics, we aim to build a robust structure. Our goal is to construct a plural, solidarity based, and dynamic cultural platform that places gallery practice at its center while strengthening the entire art community.

Can the emergence of USGD also be read as a manifestation of the confidence contemporary art in Türkiye has developed in itself? Do you see USGD, beyond being a professional organization, as an ethical stance articulated in response to the spirit of the time? In this moment, can an association still be romantic?

Yes, the emergence of USGD should indeed be read as a significant sign of maturity and self-confidence within Türkiye’s contemporary art scene. Over the years, we attempted to form similar structures under different names, but for various reasons, whether conflicts of interest, ego-driven tensions, or conditions that were simply not yet ripe, these efforts did not come to fruition. Ultimately, USGD did not arise from an external imposition, but from necessity. It was formed as a professional organization through the coming together of actors within the sector who, after long years of individual struggle, chose to assume collective will and responsibility. This professional body seeks to bring the art ecosystem onto a healthier footing, embracing transparency and inclusivity as guiding principles. Rather than pursuing short-term gains, it aims to create lasting structural transformations. We believe that in many areas where individual efforts fall short, acting together can make a difference, and that in the long run USGD can serve as a driving force in strengthening our artists’ national and international visibility, recognition, and the regulation of their artistic and commercial relationships.

Despite challenging conditions, USGD represents a form of togetherness that requires commitment and determination, one that demonstrates, through the establishment of a tangible platform, the possibility of standing together, building a shared language and ethical framework, and collectively defending the value of art. It is a principled, solidarity-driven, and ethical stance. In this sense, it is anything but romantic; it is profoundly realistic.