Turkey’s museums struggle amid political polarization and culture wars

© TRT News – The interior of the Hagia Sophia after its reconversion to a mosque now features a turquoise carpet laid over the marble floor.

In anticipation of NEMO’s European Museum Conference, ‘Can we talk? Museums facing polarisation’, we’re delighted to announce a series of articles from five talented museum professionals who have been awarded travel grants to attend the conference in Sibiu, Romania.

Each grant holder, located in South and Central-Eastern Europe, will explore and reflect on one or more of the conference’s key panel topics, examining issues of polarisation from the perspective of their unique backgrounds and regional insights.

The article below is written by guest author Ekin Berk Polat, emerging museum professional and independent researcher, Türkiye. The words and opinions expressed are solely those of the author.

Turkey’s museums struggle amid political polarization and culture wars

The Dimensions of Polarization in Turkey 2020 Survey reveals the current state of political intolerance, otherization, and a sense of moral superiority among supporters of different political parties. Many express discomfort about having supporters of opposing ideologies as neighbors, business partners, or family members. While museums worldwide endeavor to tackle social injustices, confront past atrocities, and bridge divides, Turkey’s museums are at the center of heated debates and are further instrumentalized by Erdoğan’s Justice and Development Party (AKP) government to exacerbate political polarization.

In 2020, the reconversion of Hagia Sophia from a museum to a mosque reignited deep-rooted grievances between the secular and religious segments of Turkish society. Originally built as a cathedral in 537 by Byzantine Emperor Justinian I, Hagia Sophia was converted into a mosque by Mehmed II following the Ottoman Conquest of Constantinople. It was transformed into a museum in 1935 under President Mustafa Kemal Atatürk, reflecting the ideals of the newly established secular and modern Turkish Republic. The museum was regarded as a symbol of peaceful multifaith and multicultural coexistence; however, its reconversion sparked both local and international controversy. Organizations such as UNESCO, ICOM, and ICOMOS voiced concerns about preserving Hagia Sophia's role as a space for dialogue and education, as well as safeguarding its Outstanding Universal Value as a World Heritage Site.

In the wake of the coronavirus pandemic and the deepening economic crisis before the elections, the decision to reconvert Hagia Sophia was influenced by Erdoğan’s Islamic populist rhetoric aimed at consolidating his religious voter base. For many, this shift was seen as a response to the perceived oppression faced by religious segments under Kemalist elites, whose top-down modernization efforts had long erased Ottoman culture and religious values following the establishment of the secular republic. Hagia Sophia became a powerful symbol of this divergence, and its transformation from a museum into a mosque provided an opportunity to challenge the legacies of both Atatürk and the Republican People’s Party (CHP)—founded by Atatürk himself—whose principles of secularism had long defined Turkish politics.

Hagia Sophia exemplifies a broader trend in which the AKP has used museums to shape collective memory around contentious events. 2016 coup attempt remains one of the most significant events that deepened societal divisions in Turkey, often met with skepticism by opposition groups. Following the breakdown of the relationship between the AKP and the religious Gülen movement, a two-year state of emergency allowed Erdoğan to consolidate power, crack down on opposition, silence dissent, and label his former ally a terrorist organization while imprisoning many journalists and critics. The AKP government places great emphasis on how the legacy of the coup will be remembered. Those who lost their lives are honored as veterans and martyrs, memorialized through government-led projects such as the Memory 15 July Museum in Istanbul and Ankara July 15 Martyrs and Democracy Museum. However, the government’s efforts to shape collective memory are politicized and lack critical perspective, focusing mainly on the suffering of those who opposed the coup and promoting a narrative of artificial unity, while ignoring the deep divisions it caused and the long-standing dynamics of nepotism and corruption.

 

The period following the coup attempt has exacerbated an atmosphere of political pressure and censorship in the art world, limiting freedom of expression and critical thinking. Major museums have become hesitant to tackle societal issues, while alternative spaces and independent art venues face threats of closure and bans whenever they attempt to amplify marginalized voices, including Kurdish and LGBTQ+ communities. While activism and social justice are addressed through contemporary art in many parts of the world, in Turkey, apathy seems to take root, as larger institutions resort to self-censorship due to the country’s political climate.

In 2023, the Istanbul Foundation for Culture and Arts (IKSV) faced heavy criticism after rejecting the Advisory Board’s choice of Defne Ayas as the curator for the 2024 Istanbul Biennial, appointing Iwona Blazwick instead. It was speculated that Ayas’ rejection was influenced by the tense political atmosphere, particularly after 2015, when the Pavilion of Turkey at the 72nd Venice Biennale, represented by Turkish-Armenian artist Sarkis and curated by Ayas, sparked controversy with an exhibition catalog essay that referenced the Armenian genocide. It is concerning that an event traditionally recognized for promoting cultural plurality, democracy, and dialogue has been overshadowed by political censorship.

Museums have immense potential to bridge divides, foster dialogue in Turkey's increasingly polarized society, and help us explore both our shared and contested histories. However, current political trajectories and oppression hinder this potential. Time will reveal whether the recent political détente process will be long-lasting, easing the political climate and mitigating polarization in Turkey. Such an outcome would enable our museums to present more nuanced histories that contribute to reconciling deep-seated social grievances and ultimately strengthen our communities and democracy.

Biogprahy of Ekin Berk Polat

Ekin Berk Polat is an emerging museum professional and independent researcher focusing on the transformative power of art and cultural heritage to tackle social justice issues within museums and historic sites. Born and raised in Türkiye, he holds an M.A. in Interdisciplinary Studies from New York University as a Fulbright scholar, with a thesis concentrating on museum decolonization and the politics of reconciliation, as well as dual degrees in History, Archaeology, and History of Art from Koç University. Ekin has worked at the Art Institute of Chicago, the Istanbul Foundation for Culture and Arts, and Fort Ticonderoga. He will soon start working as a Schuman Trainee at the House of European History in Brussels.