Inside MA Field Study at the Istanbul Biennial

AE: The trip was absolutely incredible! It was my first time in Turkey, and it was lovely to get immersed in the art, culture, and food. The trip was very well planned, and Pierre Saurisse even scouted the venues before we arrived. It was also a lovely bonding experience for the class, we had group dinners and drinks most evenings.

EC: I absolutely loved it! It was my first time in Istanbul and experiencing the Biennial alongside others who share my passion for contemporary art made it even more special. It was also a wonderful chance to bond with my classmates and professors.

The Istanbul Biennial took place across nontraditional venues, from residential flats to former factories and old offices. Which site stood out most, and how did the setting influence the way you engaged with the work?

AE: My favorite venue was the Galata Greek School, our first stop among the Biennial venues. The diversity of artistic practice was incredible, the building had sprawling installations, film, sculpture, and painting, to name a few!

The curation across all the Biennial venues was unique and playful, leaning into the building’s structure and imperfections. The buildings were not neutral containers—they were active participants helping to shape the meaning of the artwork, whether it was the cramped rooms of an apartment building or more open-plan art galleries.

EC: Every single venue was so compelling that it’s honestly hard to pick just one! But if I had to, my favorite would be Zihni Han, a five-story commercial building with a breathtaking view of the Bosphorus. I was also really drawn to the atmosphere of the Galata Greek School, which carried its own quiet intensity. Experiencing contemporary art outside the usual sterile white-cube environment is always exciting, and while it can present curatorial challenges, it can lead to dynamic and impactful encounters with the work.

Was there a particular artwork or installation that sparked a strong reaction or meaningful discussion within the group? What made it significant?

AE: There were so many engaging artworks across the Biennial. We had many small group discussions and presentations about specific works, and the entire cohort had larger discussions about the Biennial venues as a whole. We had some great group conversations about context and curation after our trips to Zihni Han and the Cone Factory. However, one work really captured my attention was Natasha Tontey’s 2022 film, Garden Amidst the Flame.

Tontey’s work explored ancestral rituals, ceremony, and forms of Indigenous knowledge in an imagined world, showing a coming-of-age story. For me, this work told a poignant story of childhood innocence and demonstrated the importance of familial ties, rituals, and ceremony coming together in a modern society in a powerful yet playful way.

EC: It wasn’t just a single artwork, but rather the Biennial as a whole that sparked meaningful discussions within our group. Titled The Three-Legged Dog, the exhibition explored survival and self-preservation in a world marked by conflict, displacement, and ecological collapse. Each work approached the theme differently, which led to many conversations about how the pieces connected and responded to one another throughout the various venues.

How did encountering art in unconventional spaces shape or expand your understanding of curatorial practice?

AE: The unique curation of the Biennial really confirmed its subjective nature. Some students enjoyed the unconventional spaces and the way they shaped the artwork. However, others felt that the diversity of artwork themes sometimes disrupted the reading of certain works, particularly when they were placed next to one another. For me, it expanded my understanding of how curators approach unconventional spaces and problem-solving.

EC: Encountering art in unconventional spaces is always fascinating, as the surroundings introduce new layers of meaning and can shift the way a piece is perceived and understood. It also highlighted how curators must thoughtfully navigate the relationship between artwork and environment, balancing practical considerations with creative decisions to shape a meaningful experience for the audience.

In what ways did this field study deepen or complement the learning taking place in the classroom?

AE: In the weeks before the trip, we spent time looking at institutional engagement, Biennials, and contemporary art curation. All this information massively impacted our knowledge and understanding of the Biennial. We were able to contextualize and directly apply our learning to explore these themes with deeper insight.

EC: Much of what we practice in class or during museum visits is learning to pause with a work, observing its details and reflecting on the responses it evokes before discussing or writing about it. Applying this approach at the Biennial and then having the chance to discuss the artworks with peers and professors made the learning experience much more immediate and insightful.

What skills, insights, or perspectives did you take away from the trip that you feel will support your development as a curator or arts professional?

AE: This trip broadened my understanding of Biennials as a whole and their divisive place in the art world. It was incredibly valuable to see how a Biennial functions, not just as a series of artworks but as specific curatorial decisions, logistical challenges, and political and cultural contexts.

These analytical skills and practical knowledge are invaluable in the contemporary art world. It is important to see how different curators and Biennials approach exhibition production so we can start to form our own opinions as art-world professionals.

EC: Before this trip, the only Biennial I had visited was Venice’s, which has a very long history and expansive venues. It was interesting to see how a smaller-scale Biennial is curated, with more intimate spaces and far fewer artists.

It gave me useful insights into how to present the work of different artists in proximity, where you need to consider how pieces interact. It was a great lesson in balance and in creating meaningful connections between works.

Why do you believe field study trips are such an essential component of the MA programs at Sotheby’s Institute of Art?

AE: Class trips are essential to bond the cohort and lecturers, and they give us a chance to better understand contemporary art practice through context, enabling us to apply our knowledge in situ. Study trips help solidify our learning and allow us to bridge theory and practice in a way the classroom cannot.

EC: Experiencing artworks by artists from across the world in different contexts adds a whole new dimension to what we explore in class. Field trips are also a great way to connect with peers and professors, making our classroom conversations and lectures even more engaging.