Curators  Fatih Ömeroğlu and Furkan Türkyılmaz of the 3rd International Yeditepe Biennial that reinterpreted classical Turkish arts with a contemporary approach discussed conceptual framework of the biennial, its relationship with the venue, and cultural approach it presents to audience moderated by Zehra Kaygusuz at Yedikule Fortress known for its legends.

Organized under auspices of Presidency of the Republic of Türkiye, in cooperation of Fatih Municipality and Classical Turkish Arts Foundation, 3rd International Yeditepe Biennial continues to be an inclusive culture and arts platform that reinterpret classical Turkish arts with a contemporary approach. Biennial that considers the new without getting dethatched from tradition, introducing traces of the past with today's understanding of aesthetics, bring viewers and artists together not just at the venue but also on intellectual ground.

At conversation moderated by Zehra Kaygusuz that took place in this framework, curators Fatih Ömeroğlu and Furkan Türkyılmaz shared in detail thematic structure of the biennial, its curator leanings and how relationship between art and the city was reestablished in this year's edition.

Curators emphasized that the primary purpose of this year's biennial is to show classical arts are not just a legacy to be protected but a functional and living production form. Drawing attention to the idea that traditional arts can be sustained open to contemporary interpretations without getting trapped in certain patterns, curators expressed that Yeditepe Biennial take this approach to its center.

Fatih Ömeroğlu summarized basic intellectual framework of Yeditepe Biennial by saying “It would be incomplete to see this biennial as a mere exhibition. The matter here is how classical can touch today's urban life,” while Furkan Türkyılmaz said “We expected works that we can trace internal connection of every artist to this age and not just technical success. Every work opens to a question, a search”

Noting that biennial venues situated in historic structures of Istanbul make every artwork visible in its own context, pointed at art must be considered through not just the object but also the relationship it forms with space, viewer, and time.

The conversation that progressed with direction from Zehra Kaygusuz enriched with comments of curators on art production as well as the relationship of this production with society, city and memory. With this aspect, the 3rd International Yeditepe Biennial comes forward as more than an activity, as a cultural ground that open new forms of contacting art to discussion.

Making a short evaluation on the future of biennial at the conclusion of conversation, curators mentioned that they work on increased international cooperation, participation of artists from different disciplines and new models where digital media are integrated with art in future editions of Yeditepe Biennial. They underlined that the biennial’s target is to grow interest in classical arts and make their place in contemporary culture visible.

This conversation that reminds art broadens space of thought for individuals while keeping collective memory alive, once again displayed cultural mission assumed by the Yeditepe Biennial.