Interview with Huma Kabakci

Huma Kabakci is an inquisitive figure with a penchant for pushing boundaries and questioning the status quo both in the world of art and life at large.

She is a curator, mentor, writer, and second-generation collector; in this interview, we discuss the values underpinning her practice, advice for budding collectors and the accessibility of art.

k|k: Tell us about your journey so far..

My work is versatile, defined by a drive to learn, collaborate and evolve as a person and as a creative. My curatorial projects often disrupt the notions of what we consider art and how we experience it. For example, through my first collaboration with multidisciplinary artist Inês Neto dos Santos at our "Adventitious Encounters" exhibition finissage organised by Open Space, we had our first "Edible Goods" series come out of it. "Sacred Elements" was an edible installation: part-fictional, part-hopeful, presented as an evening apperitivo. It was made of pickled, fermented, cured and sun-dried foods of the season, along with handmade loaves of bread, butter and cheese. Guests were invited to wander in and around it, experiencing it through taste, smell and touch. The "Tender Touches" exhibition, in collaboration with Inês, transformed a gallery in Peckham into a fully-functioning café, blurring the lines between food and art. We had local residents wander in response to the ‘free coffee’ sign outside, sparking interesting conversations and challenging the norms of the ‘white cube’.  

I recently closed the doors of Open Space; however, its essence continues to linger through its messy yet intriguing website and archive. My mission with the platform was to work with multidisciplinary art practitioners, champion their voices, and ignite meaningful discourse. I wanted to create a space that defied traditional boundaries, blurring the lines and challenging rigid notions of art and its value.

k|k: How do you see your values underpinning your work?

I have lived abroad for most of my life, and I am of Turkish heritage with British citizenship. As a diasporic woman from a different generation, I am particularly interested in post-colonial ideas. I explore how conviviality and experiential elements, like food, can create dialogue and disrupt contemporary art practices. Food and art/supper clubs have been central to my curatorial trajectory, as I believe they can offer a common language and open up more dialogue.

Another key value that guides my work is the belief that art should be accessible to everyone. I strongly disagree with collectors who acquire pieces solely to fill up their multiple houses, this really makes me question the meaning of art. I strive to evolve as a person constantly and add new skills and layers to my identity. Whilst I inherited a collection from my father, which I have a responsibility to look after, I don't want to define myself as a collector because I feel that it is a box that other people's art has put me in. Instead, I focus on staying true to myself; that is the essence of my work.

Another key consideration is supporting emerging to mid-career artists. I aim to champion them by building long-lasting conversations and connections. I don't see myself merely as a patron or buyer but as someone actively promoting these artists. This includes recommending them to friends or a wider audience, visiting their studios, and engaging in meaningful conversations. 

k|k: I recently visited an exhibition with my partner, who pointed out that the language of texts in the gallery left him feeling excluded. What do you think, as a curator, do you have a responsibility to make cultural experiences more accessible? To encourage engagement and potentially even stir a desire to buy art?

Absolutely. I strongly believe that curators have a responsibility to make cultural experiences more accessible. Art should not be confined to an exclusive few; it should be open and welcoming to everyone. Encouraging people to engage with art is crucial for fostering a more inclusive and diverse artistic community. As art world insiders, it’s easy to fall into the trap and become almost indoctrinated by the language surrounding you when it comes to thinking and writing about art. Institutions will have a brand identity that requires a curator to conform to. This often doesn’t help with accessibility and inclusivity.

k|k:  Do you find that making art more accessible and inclusive ever conflicts with the ideas or creative vision of the artist?

When I collaborate with artists, I ensure that there is open communication and collaboration throughout the curatorial process. I often request the latest files and statements from artists to ensure that the written materials align with the overall concept. While I may write the text, conduct research, and provide references to support the ideas, I always double-check with the artist to ensure accuracy and alignment with their vision.

In the case of museum shows, it may not always be feasible for institutional curators to check in with every artist. Sometimes artists provide information and request no changes based on loan agreements. However, I make every effort to maintain a collaborative and transparent approach, keeping the artist's vision in mind while still making the exhibition accessible to a wider audience.

k|k: What advice would you give to someone who is starting their art collection, drawing from your own curatorial experience and managing a collection?

As someone still on my own journey, I am reluctant to give advice per se, but I will share a few tips I would have loved to have heard sooner. Be curious,and see as much as possible. Find what feeds your passion. Seek out people who have already started their collections and learn from their experiences, there is so much to learn from more experienced collectors. Secondly, try to find a theme or concept that resonates with you. Because if you’re merely filling your walls, what happens when you run out of walls? 

After my father passed away, following his guidance, I didn’t acquire anything for the collection for the first 3 years. This was incredibly valuable advice, I would have been torn between emotions about what I wanted for the collection or what my father would have done. He clearly wanted me to gain my own identity, knowledge and learn about who I am as an individual. This journey of self-discovery naturally brings its own mistakes, there are some things that simply no one can teach you, but it’s all part of the fun.

k|k: Lastly, let's discuss your upcoming plans and projects. Can you share some details?

Absolutely! I have been invited to participate in the Domus art residency with an Italian artist based in Paris. This year's theme is "Take care," which will be an intense five-day experience. I anticipate that some kind of ritual will be the outcome, although I hope it doesn't involve dancing naked under the moon! Whilst there are a couple of other projects for which I can’t share details, I am also trying to hold space and time for contemplation and reflection. It's tempting and financially necessary to feel the need to chase projects, but I value these points in time when I can read, think and write. It’s a fine balance, one I’m trying to achieve.