I had the opportunity to meet with Haluk Terzioğlu, one of the founders of Spazio Hasita alongside Simone Innocenti, which is situated in Milan’s NOLO district. The gallery, which combines modernism and tradition, is an example of the city’s cultural development, which has been established since June 2023. Since then, Spazio Hasita has hosted artists such as Chiara Colombo, Sefa Çatuk, Francesco Damiani, Angelo Marcuccio, Alan Maglio, and Alessandro Pongan. Set in a meticulously renovated location, its direction mixes contemporary innovative thinking with Milan’s artistic, creative, industrial, and cultural legacy. After discussing his unique approach to gallery administration and vision, Haluk Terzioğlu was open to sharing his story and what lies ahead for Spazio Hasita.
Could you tell me a bit more about your educational background and professional experience?
I was born in Ankara, Turkey, in 1968. I attended TED College and wanted to pursue my higher education abroad. I studied in Switzerland, the US, and Canada. My studies focused on business, marketing, and finance. Later, I moved to Turkey and started working there. I choose to concentrate on marketing because I have stronger relationships with people and product engagements. I worked in Istanbul for 5 years, and then I moved to Italy for 3 years as an expat. It was a really valuable experience for me since I learned professional abilities in marketing, management, ethics, and collaboration that I still use today.
Reflecting on your previous corporate experiences, what key insights or perspectives have you gained?
I aim to use my knowledge and expertise for Hasita. I’ve always worked in marketing and innovation, considering consumer insights and creating or developing products according to them. The key factor was not only doing market research for a specific category but considering adjacent ones as well. This strategy is also something that I still use in the gallery right now. Looking back on my 30 years of experience, the most important thing is to be involved in what you do, curious about it, take a scientific approach, be linked to your target audience, and, lastly, deliver something unique. Also, teamwork is important to me, and I always aim to make the artists I work with feel totally involved in the partnership.
Do you have any experience in the art sector?
I have no prior background in art or design, but I do have experience as a collector. I’ve always been interested in art. I bought my first artwork on my 17th birthday in Ankara, thanks to my parents. It was a painting depicting an orange garden, signed by Yalçın Gökçebağ. In that year, I bought 10 paintings by artists such as Yalçın Gökçebağ, Habip Aydoğdu, and Mustafa Pilevneli.
What inspired you to start Hasita? Is there any significance to the chosen name?
For me, learning, understanding, and being close to art have always been passions. To move forward in any subject, you need courage. I didn’t have it to start a business in art, even though I always thought about it. My mother’s death gave me the courage I needed about three years ago. My approach to dealing with upsetting situations is to turn them into something positive. So, my partner Simone and I decided to open this gallery as a family project by investing money, time, and passion. I wanted to dedicate this new project to four individuals: me, my partner Simone, my mother, and my father. I wanted a personal name, and it came together as “HA” for my name Haluk, “SI” for Simone, “T” for my father’s surname Terzioğlu, and “A” for my mother’s maiden name Akman. Also, because of my previous experience in branding and marketing, I did extensive research on the word “Hasita” to check if it is an existing word. I discovered that it is an existing name in Hindi, and the meaning was the one always smiling and happy. These positive meanings made us sure about the name. Also, when people ask about the significance of the name, I get to honour my late mother and father.
Does the gallery’s precise location have any meaning?
The Beyoğlu and Cihangir neighbourhoods in Istanbul, with their historic buildings, lofty ceilings, and diverse population, were my favourites when I lived there. This place makes me think of those neighborhoods. There is a friendly community atmosphere in this area where people engage and want to get to know one another. The architectural features of this spot piqued my interest, including the two enormous windows facing the street that let natural light flood the gallery, the extremely high ceilings that provide for enough room for displays, and the floor’s antique, recently renovated tiles. We completed a fairly conservative restoration with regard to the main characteristics, transforming the 120-year-old business into a gallery fit for the twenty-first century.
Which do you think HASITA’s roots are, Turkish or Italian?
In terms of branding, just because I am Turkish, I do not want the gallery to be identified as a Turkish or an Italian gallery. Hasita is a gallery that aims to be universal.
What is the initial step of your curating process?
I’m always seeking ideas. When an idea is developed, I begin looking for artists. Of course, this is subject to change, but it has been the case thus far. I do not categorise the artists I contact as emerging or by age. I want to be as fluid as possible. For example, during our initial opening, I was thinking that we were creating something that had not been there before. There originated the term “ex-sistere.”. I appreciate immense concepts. I am open to new ideas for solo and group exhibitions. I have no background in art, design, or architecture. This may result in certain flaws, but from my perspective, it frees me from preconceived assumptions about galleries, exhibitions, and the entire process. The primary goal is to have a good idea and present it as effectively as possible.
Could you please elaborate on your approach to creating an exhibition?
When it comes to the conception of an idea and the selection of artists, I don’t have a completely rigorous procedure or set of guidelines. It is not limited to a subject nor a category. I only have two non-negotiable “rules.” The first is that the idea chosen for the exhibition is appealing and motivating to both me and the artists. The second one is about having a human connection (sympathy, empathy, and trust) with the artist and their skill, regardless of the artist’s gender, race, or sexual orientation.
What are the envisioned future objectives for Hasita, both in terms of creative aspirations and financial milestones?
Yes, of course. From my previous work experience, there is one thing we call BHAG (Big Hairy Audacious Goals). This means having a goal that is impossible to achieve at the moment. I’m not saying this from the financial aspect but rather from its position in the world. The objective is to become an opinion leader gallery where people from all around the world are eager about the next show. For example, I’m not sure whether, after my death, an artwork at an auction, virtual catalogue, museum, etc. will be included with HASITA as the first gallery in which this artist has displayed. To be acknowledged as a gallery based on what and how it symbolizes. Nothing in this gallery is unrepresentable, and we are working to achieve this aim through controversial, marginal, and unique displays. Rather than a “gallery,” I see Hasita as a space and nest for individuals to come, discuss, and cultivate their ideas, with or without me. Our goal for Hasita is to establish itself as a location that is recognized, referred to, and looked for.