“Our city is alive with art despite the disaster,” says Uğur. “It’s our duty to make sure it stays that way.”
Uğur Orhan is the founder of Merkezkaç, the Centrifugal Art Collective, an urban art centre in Diyarbakır. Founded in 2015 in Turkey’s largest Kurdish-majority city, it unites local volunteers, who are passionate about the arts in the region, and it provides a safe space for women and queer artists.
Merkezkaç is now a crucial player in the country’s contemporary art scene and has been instrumental in fostering a vibrant and independent artistic movement, organising exhibitions, supporting young artists, and showcasing their work on local, national, and international stages.
In a country where artists often navigate complex social dynamics, Merkezkaç serves as a critical platforms for free and creative expression. As Uğur puts it, “Art does not just reflect the world—it changes it.”
“We started as a small group of artists looking to carve out a space where contemporary art could thrive,” says Uğur. “Diyarbakır and the surrounding regions have a rich cultural heritage, but the opportunities for artists to grow and exhibit their work were limited. We wanted to change that.”
Diyarbakır is well known as a centre of cultural and intellectual life, with a strong tradition of literature, music, and art, and the city has long been a hub for poets, writers, and musicians who draw inspiration from its rich folklore and ancient history, despite decades of state oppression and conflict.
In recent years, contemporary art movements have gained momentum, fostering new spaces for creative expression while civic space has at the same time been shrinking. Merkezkaç emerged in this environment as a meeting space for artists and intellectuals, becoming a hub for creative discussions and projects. Unlike many other cultural institutions, it operates without government or political funding, maintaining its autonomy as a platform for creative discussions, experimental projects, and artistic collaborations.
The collective cooperates with other art centres, independent artists, and institutions whose principles align with the organisation’s values, It has become a significant platform for young and promising artists and it provides them with exhibition opportunities.
The organisation’s reach extends beyond Diyarbakır, encompassing cities like Batman and Mardin, also in south-eastern Turkey, close to the Syrian border. Through workshops, exhibitions, and curatorial projects, it fosters collaborations and artistic dialogue across disciplines.
Beyond showcasing art, Merkezkaç takes on social issues such as gender, migration, and ecology. “We want to create an art space where expression is not limited, where identity and culture can be explored freely,” Uğur says. “We stand against censorship and oppression, and we support new artists because we see their potential.”
Currently, the collective operates with a core team of seven cultural coordinators and nearly twenty young volunteers. Their work spans exhibitions, workshops, and participation in international biennials and forums. Many of the members of the collective are women or identify as queer, and the organisation does various events focused on feminism, gender identity, and respect for sexual minorities and diverse groups to provoke open discussions and mutual respect through art and creativity.
“Each project we undertake is an attempt to push boundaries, challenge norms, and bring art closer to the people,” Uğur notes.
As Merkezkaç approaches its tenth anniversary, its mission remains as ambitious as ever. It plans to strengthen international collaborations, expand its independent gallery, and create a sustainable model that ensures its longevity.
“We want to make sure that art is never an afterthought in this region,” Uğur says. “Our dream is to have a self-sustaining space where artists from all backgrounds can come together and create,” he says. “Art is not just about aesthetics—it’s about dialogue, resistance, and hope.”
However, sustaining an independent art collective in Turkey comes with its own set of challenges.
“The biggest difficulty is continuity,” Uğur says. “Keeping things running without interruption, especially in an environment where cultural initiatives are often side-lined, is a battle.”
One of the most significant setbacks came two years ago on 6 February 2023, when Merkezkaç lost its physical space when a devastating earthquake badly damaged the city, killing thousands.
“We had to put our activities on hold for over a year,” Uğur recounts. “The floodwaters damaged our archives, and we even turned our space into a relief centre for those affected. But art never disappears—it only finds new ways to survive.”
EED began supporting the collective at a time when it was re-establishing after the earthquake.
In 2021, Merkezkaç had launched Collective Space, Diyarbakır’s first independent art gallery. “With EED’s help, we were able to reopen after the earthquake, and now, with growing demand, our calendar is packed with exhibitions and events once again,” says.
“This funding allowed us to sustain our activities, expand our reach, and ensure that art remains a dynamic force in this region. We were able to find a new space for ourselves and continue our work despite the disaster,” he says.
“This support isn't just about funding,” Uğur concludes. “It's about visibility, recognition, and the belief that what we are doing matters.”
This article reflects the views of the grantees featured and does not necessarily represent the official opinion of the EED.
