The 2010s will likely be remembered as a decade defined by widespread protests, most notably exemplified by the Occupy Wall Street movement, which rallied against economic disparity and the influence of corporate power in New York City. Similarly, the pro-democracy Umbrella Movement in Hong Kong served as a significant instance of mass mobilization in the face of authoritarianism. In the summer of 2013, Turkish artist and academic Işıl Eğrikavuk found herself profoundly affected by the Gezi Park protests in her hometown of Istanbul, where the struggles against urban development, governmental authoritarianism, and police brutality resonated deeply with her experience in community art practices. As these protests waned or were aggressively suppressed, Eğrikavuk wondered whether art could play a role in preserving their revolutionary spirit.
As a response, Eğrikavuk penned the book Global Protests Through Art: collaboration, co-creation, interconnectedness (Books People Places, 2024), which investigates the role of participatory art in fostering connections and encouraging social dialogue in politically oppressive environments. We engaged in a conversation via Zoom, reflecting on her insights and the current climate of unrest in both Turkey and the United States. This interview has been condensed for clarity and conciseness.
Hyperallergic: What observations did you make regarding the role of art and artists during the Gezi protests in Turkey, and how has it shaped your subsequent work?
Işıl Eğrikavuk: Global protests today extend beyond the traditional frameworks of chanting slogans and marching. Within the Gezi protests, I was struck by the organic collaboration of diverse groups utilizing various creative expressions—be it singing, dancing, or even public acts like cooking and yoga. After Gezi, my focus shifted to exploring whether artists could adopt dialogue-based methods to reach broader communities and maintain the collective energy of the protests through creative means.
H: Why do you believe that the art community often overlooks the vital roles artists play in protest movements?
IE: While numerous artists and collectives are actively embracing these hybrid practices—considered art or protest—many institutions, influenced by financial motives and existing hierarchies, fail to recognize or support these efforts.
H: As you delved into contemporary protest movements for your book, what relationships did you uncover between artistic practices and political activism? How do you draw the line between the two?
IE: Observing the events at Gezi and other protests was enlightening for me, particularly in understanding how art can resonate with non-artist communities. The concept of “co-creation” emerged, highlighting how art can be a platform for collective voices rather than a singular perspective of the “artist as genius.” For instance, guerrilla gardening could be perceived as gardening, an art intervention, or a form of protest depending on its context.
H: In your view, how can art help preserve the collaborative essence of political movements during times of repression?
IE: My focal inquiry centered on how we could capture the spontaneous and collaborative qualities exhibited during protests and translate them into artistic contexts, enabling a sense of interconnectedness even in heavily suppressed environments. My collaboration with various artistic and ecological collectives in Turkey revealed that collective practice primarily fulfilled emotional needs rather than simply adhering to uniform artistic visions. This emotional support fostered a nurturing environment, transforming fear into actionable creativity. When artists cultivate this safety for themselves, they can extend it to others as well.
H: How has the legacy of the Gezi protests influenced the most recent demonstrations in Turkey concerning Istanbul Mayor Ekrem İmamoğlu’s detention?
IE: While the demographics and demands of the recent protests have evolved, the humorous and creative forms of political expression reminiscent of Gezi remain prevalent. Performative acts, such as integrating the Pikachu character into demonstrations or engaging in community dances and rituals, illustrate how these everyday behaviors are woven into protest culture.
H: What universal lessons can be drawn from your research on global protest movements, which could inform our response to rising authoritarianism?
IE: My research began amid the violent suppression of the Gezi protests, revealing a sense of retreat amongst artists due to fear and censorship affecting not just the arts but academic spaces and public discourse. Today, we see similar censorship trends emerging in the US, where academic and artistic voices face significant limitations. Finding the courage to speak out is daunting amidst such threats; however, initiating connections with fellow artists and starting small collaborative practices can empower change. The efficacy of everyday communal actions should not be neglected—it is often the most effective catalyst for transformation.
