Good People of vitruta: Müge Tümen Çubukçu

Great to have you here, Müge! Let’s kick things off with our usual opener: How would you describe yourself to someone who doesn’t know you? Who is Müge? Where did it all start, what have you done, and where are you now?

Hello, thank you for having me! I have to admit, this is always the hardest question for me to answer, so I’ll keep it simple: I was born in Istanbul in 1987 and graduated from Notre Dame de Sion French High School. My family wanted me to study law, but I dreamed of studying psychology in Paris. In the end, by a twist of fate, I found myself at Galatasaray University’s Faculty of Communication, where I eventually graduated.

I emphasize twist of fate because, looking back, chance has shaped the most pivotal moments of my life. One of the clearest examples? In 2008, I walked into Galerist with my CV in hand and simply asked, “Are you looking for an intern?” That summer internship marked the beginning of a journey that has now lasted 14 years—perhaps the greatest gift of that chance encounter.

You’ve been with Galerist for nearly 14 years now. Throughout this journey, what were the most defining moments, projects, or people that shaped you? How would you describe your bond with the institution?

I’d describe my bond with Galerist as if it were a person—someone who has witnessed my life up close. It welcomed me with open arms from day one, watched me grow alongside my two sons, shaped me, surrounded me with a cocoon of support, and became a guiding force through challenges. And year after year, our shared excitement has only grown.

Galerist has introduced me to incredible people—my colleagues and the artists we represent have become a second family to me. The anticipation before an exhibition, the thrill of seeing a long-dreamed project come to life, and the joy of rediscovering someone you thought you already knew—these moments have made every passing year feel unique.

Trying to fit all the defining moments into a single list is nearly impossible, but here are a few that come to mind: Still Life with a Curtain (2017), which we organized in collaboration with Galeri Nev and marked the beginning of a very special friendship; the inclusion of Elif Uras’ works in The Metropolitan Museum and the Victoria & Albert Museum collections, followed by her monograph published in 2018; Nil Yalter receiving the Golden Lion for Lifetime Achievement at the 2024 Venice Biennale; Distilled from Scattered Blue, curated by Károly Aliotti in September 2024; and the Semiha Berksoy retrospective that opened at Hamburger Bahnhof in December 2024.
And right now, as a team, we’re beyond excited about The Volcano Lover, a group exhibition opening in March 2025, curated by Good People of vitruta member Anlam de Coster.

Back in 2017, at Contemporary Istanbul, you spoke about how political and social turbulence fuels artistic production. How do you feel about this today? How has your perspective on the relationship between creative output and the dynamics of the time evolved?

Every place has its own language, way of thinking, and creative process. In Türkiye, the ever-changing socio-political climate—where struggles, causes, and endless questions are a constant—allows for an art scene that is powerful, multilayered, and deeply authentic.

I truly believe that these shifts serve as an unparalleled driving force for creativity. You can see this in Nil Yalter’s six-decade-long practice, where she conveys these tensions with raw transparency; in the imagery of Şahin Kaygun’s photo-paintings; in the Kafkaesque paintings of Nazım Ünal Yılmaz; in Ayça Telgeren’s concrete sculptures; and in Elif Uras’ ceramic surfaces. Each artist channels this turbulence in their own way, shaping a visual language that speaks directly to the times we live in.

You actively support the international visibility of artists from Türkiye. What role do you think institutions like Galerist play in amplifying the presence of Türkiye’s contemporary art scene on a global scale?

The responsibility we feel toward the artists we represent goes beyond just Galerist—it’s not a singular effort but a collective mission. I believe that, as art professionals, our shared goal is to work together to ensure that Türkiye’s contemporary art scene is represented internationally in the best possible way.

This can only happen when everyone within this ecosystem remains committed to producing strong content, standing by one another, and insisting on creating space for meaningful work.

That’s why, rather than answering this question with abstract ideas, I’d point to concrete examples: SAHA’s support for Turkish artists’ participation in the Tate St. Ives residency program, Hera Büyüktaşcıyan’s works entering the collections of Centre Pompidou and Tate Modern, Öktem & Aykut’s consistent presence at international art fairs, the inclusion of a Turkish-speaking curator in Hamburger Bahnhof’s curatorial team, and Zilberman Gallery’s exhibition programs in Berlin and Miami. These efforts—individual and institutional—are what truly shape a global presence.

You’ve witnessed firsthand the transformation of Pera over the past decade while working at Galerist’s beautiful space. How do you view Pera’s evolution in terms of its cultural and artistic landscape? What makes this district significant for creative production?

Galerist’s space is truly magical—it continues to surprise and captivate me, much like Pera itself. It’s one of the few places in Istanbul where I feel I can truly breathe and belong.

I see it as a gift to lose yourself in its history, to look up and discover architectural details you had never noticed before. For centuries, Pera has been at the heart of culture and the arts, holding onto its essence despite constant change. With its layered history and rich cultural tapestry, I have no doubt it will remain a hub for creativity, never losing its charm.

You work with both emerging artists and those who have left a lasting mark on cultural memory. What inspires you the most about bridging these two worlds?

I always imagine the gallery as a living, breathing entity, with the artists we work with as its backbone. In this structure, representing both contemporary artists and the estates form the foundation of our work.

Each operates within its own rhythm—sometimes their dynamics intersect, sometimes they stand in stark contrast. The artists we collaborate with in real time, witnessing their daily lives and creative processes, feel like an extension of our own intellectual world. Spending time in their studios, developing research, brainstorming exhibition concepts, and watching ideas take shape is an extraordinary experience.

At the same time, our representation of estates started in 2014 with Semiha Berksoy, opening up an entirely new dimension for the gallery. This journey deepened further when we began representing Şahin Kaygun in 2019 and Hüseyin Bahri Alptekin in 2020.
These are artists we never had the chance to meet in person, yet as we read their books, spend time with their families, listen to their incredible stories, and immerse ourselves in their archives, we grow closer to them every day. Over time, we’ve come to feel the weight of this responsibility even more.

Creating new spaces for them, forging connections, and ensuring their work remains relevant in an international context has reshaped the way we think about artist representation. It has pushed us to think in more layered ways. For us, these two branches are deeply intertwined—constantly feeding into each other and allowing for unique dialogues to emerge.

Has there been an artist, writer, or work that has inspired you recently? What’s been on your mind?

 Lately, I keep going back to Clarissa Pinkola Estés’ Women Who Run With the Wolves, Distilled from Scattered Blue by Galerist Yayınevi, Mine Özgüzel’s Edebiyat Terapi, and Aynı Rüyanın İçinde by Ahmet Hamdi Tanpınar & Ara Güler.

I’m also beyond excited about the works that will be featured in The Volcano Lover—new pieces created specifically for the exhibition by Anousha Payne, Hera Büyüktaşcıyan, Margaret Thompson, Lara Ögel, Ayla Tavares, and Elif Uras. Alongside these contemporary works, we’ll be exhibiting a volcanic painting by Stanislao Lepri from 1968 and photographs by Yıldız Moran. Seeing these dialogues unfold within the show is something I’m looking forward to immensely.

And for the last question… What comes to mind when you think of “vitruta” and “Good People”? It could be anything—a brand, a neighborhood, a person, a color, or an event.

 “vitruta” and “Good People” instantly bring to mind a sense of togetherness, doors opening to new opportunities, an impeccable selection of products, and of course, Pera. And if I had to pick a color, it would definitely be green!

You can click here to see the products Müge Çubukçu used and chose in the shoot.