Hello Mr. Ali, first of all, could you briefly tell us about yourself so that our readers can get to know you better?

I was born in Istanbul in 1983. I studied business administration, focusing on sales and marketing, at Koç Private High School, and then at Virginia Polytechnic Institute University in America. I worked in sales and marketing for a corporate company for about seven years. Now I work at Buffa, our family company. I can say that I started to be interested in art and politics, which I believe is genetic in our family, from my childhood.

I know that you and your family have made significant contributions to culture and art in Turkey from the past to the present . You are also a representative of very important figures who were among the founding cadres of the Republic of Turkey . From the İnönü family's interest in and support for culture and art , to your great-grandfather Salah Cimcoz serving as the CHP Art Director, you have a serious family heritage. What kind of responsibility does this place on you?

My great-grandfather, Salah Cimcoz, was very passionate about art and attached great importance to and invested in not only Turkish painters but also European artists of his time. He included works by Courbet, Delacroix, Monticelli, Zonaro, and many other painters; as well as Saks, Sèvres, Capodimonte, Biscuit, and Bohemian porcelains in his collection.

He also had a collection of over fifteen valuable European-made watches. In addition, he possessed a very important book collection; however, a part of it was lost due to unfortunate events during his exile in Malta.

He also collected a wide variety of works, from Seljuk ceramics to Greek and Roman era artifacts, from Ottoman furniture to one of the largest calligraphy collections of his time. During the transition to the Republic, he personally approached Mustafa Kemal Atatürk regarding the closure of the calligraphy department at the Academy , stating that it was a big mistake , and subsequently, the department was reopened.

He was not only a versatile collector of his time; he also served as a CHP Member of Parliament and Head of the Art Department . He organized exhibitions for Turkish artists such as İbrahim Çallı, Namık İsmail, and Bedri Rahmi Eyüboğlu in various countries, helping them gain recognition.

By bringing important artists and instructors from abroad to the Academy, he made significant contributions to the development of art in Republican Turkey. In addition, he played an active role in the establishment of Darülbedayi and staged the play “III. Selim” with his close friend Celal Esat Arseven.

He founded the magazine Kalem, which was prominent for its opposition to Abdülhamit II; by publishing the magazine in Ottoman Turkish and French, he contributed to the enlightenment of the public.

Among the family members, Ambassador Şevket Fuat Keçeci, who was married to the sister of my grandmother Hasene Cimcoz (wife of my great-grandfather Salah Cimcoz), also possesses a very valuable collection of paintings, calligraphy, and Ottoman artifacts inherited from his grandfather, Grand Vizier Keçecizade Fuat Pasha.

A large part of the collection is still with my dear aunt Şen Keçeci. Among these works, the 1865 painting “Keçecizade Fuat Pasha Mansion” by Polish painter Stanisław Chlebowski is one of the rare works by the artist not found in the Dolmabahçe Palace Collection.

My great-grandfather, Salah Cimcoz, attached great importance to the development of art in early Republican Turkey; he patronized many young artists of the period, including Avni Lifij, and contributed to their education.

This deep-rooted family heritage and tradition played a significant role in developing such an awareness and desire in me. In this regard, I strive to support the art and artists of my own era as much as I can, and I will continue to do so.

As both an important collector and someone closely involved in politics, how do you evaluate cultural and art policies in our country? Do you think artists receive the necessary support?

Unfortunately, I do not believe that there is such a thing as a cultural and art policy in our country. Cultural and art branches such as painting, sculpture, theater, classical music, opera, and ballet, which were given great importance during the Republican era, are now on the verge of disappearing. However, they manage to survive thanks to some private foundations and universities.

For example, during the Republican era, the government organized exhibitions abroad, and Turkish students sent abroad for educational purposes became among the greatest names in their fields, not only in Turkey but worldwide. İdil Biret and Suna Kan are important examples of this.

Similarly, many painters and sculptors were sent to Germany and France, contributing to the development of art in our country. The works of these artists were purchased and hung in consulates and government offices; the development and progress of Turkish art were showcased, valued, and important books were published.

Today, I do not think that art and artists are overseen by state institutions. I do not hear about state banks developing projects. A few private banks are building their own collections; however, unfortunately, this is mostly done with profit in mind.

Yet, if state resources are not to be used for such initiatives, what will they be used for? If we are not going to support our own artists, what and whom will we support?

Especially after the First and Second World Wars, we see that ideas and expectations that art should be political came to the forefront. The same thoughts have persisted with different discourses until today. What are your thoughts on this? In your opinion, what are the reasons why art cannot be political in Turkey?

I have never been in favor of art being political. Sanat; for me, art is always a unique world, independent of politics, where every idea is dominant, and everyone and every thought is free and unconstrained.

I see artists' freedoms being restricted because of policies and politicians, and I am sincerely saddened by this. We watched with pain as Mehmet Aksoy's works were demolished, labeled as “monstrosities.”

We sadly observe that the function of political criticism and capturing the pulse of the era, which has been one of the most important features of theater from past to present, is being hindered.

It is truly saddening that caricature magazines are shut down merely for satirizing politicians, and stand-up comedians can no longer make political jokes.

From this perspective, I say, if politicians interfere with art, then art should interfere with politicians. However, I sadly know that this is not very possible today.

Recently, we have seen some individuals and institutions organizing collection exhibitions through galleries or private museums. What do you think is the motivation behind this? Do you and your family have such a project?

I certainly find the actions of these individuals and institutions very beneficial for the development of culture and art; provided, of course, that they are carried out consciously.

Indeed, the development in culture and art throughout history has been supported by great families, aristocrats, and often royal families.

This trend, which shifted to America in the late 19th and early 20th centuries, led to the establishment of large collections and museums.

In our country, I follow with interest the investments and initiatives made by Koç Holding, Sabancı Holding, and similar individuals and institutions in the name of culture and art. I believe this effort is important for our country.

However, for now, I am not considering such a project, as I do not yet see our current collection ready for such an endeavor.

I know that your family has a registered collection of historical artifacts. This was one of the things that caught my attention the most when I learned about it. Do you also have an interest in this area?

Unfortunately, in our country, registered artifact collecting is viewed as smuggling by the government, so engaging in such an activity requires a great deal of effort.

While in Europe and America, artifacts from Ancient Roman and Ancient Greek periods, and even older eras, can be easily bought and sold under certain conditions, these procedures are quite challenging in our country.

For this reason, most people avoid it. As a result, many artifacts are smuggled abroad illegally or rot in museum storages.

Due to these challenging procedures I mentioned, and to avoid being labeled a smuggler for even the slightest mistake, I am not considering pursuing such a collection, despite my interest.

I might consider donating the archaeological artifact collection in my family, each registered with a museum, to the Sadberk Hanım Museum.

Despite having a vast historical heritage spread across every region of our country, how do you interpret the fact that our historical consciousness has not developed sufficiently?

A very accurate observation. Our country possesses a heritage extending from prehistoric times to the Urartians, Hittites, Ancient Greeks, Romans, Byzantines, Seljuks, and Ottomans; a heritage that no other country in history has been blessed with.

Despite this, I can attribute the lack of interest to several reasons. Firstly, unfortunately, education and art, including the Ottoman period, have not been given sufficient importance in our country.

Historical artifacts were freely handed over to Europeans; today, the Berlin Museum, the British Museum, the Vienna Museum, and many other important museums were founded on artifacts taken from us. However, this situation decreased to some extent with Osman Hamdi Bey's establishment of the archaeology museum.

On the other hand, since industry did not develop in our country during the Ottoman period, an intellectual class could not emerge; therefore, sufficient importance was not given to items other than divans, carpets, and tiled stoves in large mansions and homes.

However, a few artworks were placed in palaces. The grandest works were often Edirnekâri-style cabinets and divans adorning the rooms.

Most of these, unfortunately, were destroyed due to fires and neglect, with only a few examples remaining today.

You are among the important young collectors in our country, and I am sure you have a large personal art collection. May I ask which artist your first piece in the collection belongs to?

Due to my interest in art, I started going to auctions and art galleries with my father from a very young age. Especially at auctions, I would take notes and observe the works carefully.

At that time, there was a very large Mustafa Ayaz painting dated 1984 in my grandmother's living room. At an auction I attended with my father, I saw a smaller version of the same painting.

I snatched the paddle from my father's hand and entered the bidding, and the painting was mine. Later, I emailed Mustafa Hoca (Master Mustafa). I learned from him that he first painted the smaller version I bought, and then the larger version at my grandmother's.

Although I primarily focus on young artists, my collection includes many Mustafa Ayaz paintings from 1984. I believe focusing on a specific period of a painter is proof of how consciously collectors build a collection.

I can say that the beautiful work by Mustafa Ayaz, which I acquired in 1998 at the age of 15, is the most spiritually valuable piece in my collection.

In addition, my collection includes works by our valuable young artists such as Ali Alışır, Arda Yalkın, Ardan Özmenoğlu, Batuhan Keskiner, Candaş Şişman, Çağatay Odabaş, Ebru Döşekçi, Emin Mete Erdoğan, Emre Namyeter, Erinç Seymen, Gökhan Baltacı, Halil Vurucuoğlu, Hüseyin Aksoylu, Kerem Ozan Bayraktar, Murat Germen, Murat Pulat, Nilbar Güreş, Seçkin Pirim, Serdar Acar, Sergen Şehitoğlu, Taner Yılmaz, Taylan Türkmen, and Yağız Özgen.

Furthermore, there are works by important artists such as Ali Teoman Germaner, Hulusi Mercan, İbrahim Çallı, Mustafa Ayaz, Necla Rüzgar, Nuri İyem, Saip Mualla Tuna, Tanju Demirci, and Zahit Büyükişleyen, some of which I acquired myself, and others inherited from my elder family members.

As a young artist involved in the market, I would like to ask: How do you evaluate collecting in Turkey? What responsibilities do you think collectors have for the development of culture and art in our country?

I find collecting in Turkey to be very populist, especially in recent years. On the one hand, the rapid increase in the number of young collectors makes me very happy; but on the other hand, the fact that collections are not built consciously and that the material value of an artist's work is focused on more than its spiritual value saddens me greatly.

Artworks are viewed as investments. I find the perspective of viewing an artwork as an investment, thinking, “I'll buy it for this price today and sell it for that price ten years later,” to be very shallow. I believe this is disrespectful to the artist of the work.

As a fourth-generation young collector, I strive to build a collection of our young artists and grow old with those artists and their works; and on the other hand, to acquire works after forming friendships with them and hearing the stories of their works directly from them.

My great-grandfather, Mr. Salah Cimcoz, is known for supporting and promoting young artists, although he did not discriminate among artists.

His purchase of seven works from 25-year-old Bedri Rahmi Eyüboğlu in 1936, all of which are now masterpieces; and his appreciative purchase of a classical oil portrait of 16-year-old Avni Arbaş among names like İbrahim Çallı and Hikmet Onat at the Galatasaray Exhibition in 1935, considered the most important exhibition of its time organized by the Sanayi-i Nefise Birliği, are important examples of this.

Furthermore, allocating a studio in the mansion's garden in Moda to 30-year-old Fikret Mualla is one of the biggest indicators of his support for young artists.

I witness this at some auctions. Recently, many business people whose names we couldn't even see on tax lists come to art fairs and auctions with people they describe as consultants; they unconsciously buy works at very high prices. I find these purchases quite meaningless.

I firmly believe that collectors should support young artists for the development of culture and art in our country.

In Turkey, which is becoming an economically poorer country day by day, our young artists, who do not have their own studios, try to produce works in guest studios and in poverty. But unfortunately, they cannot succeed without the necessary support.

I believe that art-loving and tax-record-holding families who open private museums should join hands to create environments where young artists can produce comfortably and organize award-winning competitions.

I believe that scholarships for education abroad should be given to artists as awards. This would greatly contribute to the vision of young artists in particular.

There are a few institutions that do this. However, if we look at the number of private museums in Turkey, it is unfortunately still insufficient.

Finally, I know that you have a very conscious approach and attitude regarding artwork selection. Could you tell us what kind of connection develops or should develop between you and a work during the decision-making process? What are your priorities and expectations in contemporary art?

Collecting in Turkey is a very new concept, with a history of at most a hundred years. I believe that collectors should decide what they want to collect from the very beginning and proceed accordingly.

For example, a person who wants to collect coins should know which civilization and which period's coins to start with. They should decide whether to collect gold coins, or only silver or alloy coins.

Furthermore, I believe that collectors should always be engaged in universal research related to their area of interest.

A collector buying paintings in Turkey should follow Europe, America, the Far East, in short, the whole world.

I am interested in works that best reflect my own era, are well-thought-out, and created by individuals who believe in their work. Of course, I also filter these works through some more personal criteria.