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    Tarkan's Geççek from a celebrity capital perspective: the reflection of the political polarisation in post-pandemic Turkey in the reception of a pop song
    (Routledge Journals, Taylor & Francis Ltd, 2026) Yeginsu, Ipek
    When Turkish pop music megastar Tarkan released his single Ge & ccedil;& ccedil;ek (It'll Pass) on 17 February 2022, its ambiguous lyrics supposedly filled with political innuendos generated speculations among vast segments of the public, journalists and politicians. Yet, Tarkan has not become a politicised figure overnight. The song owes its impactful reception to the gradual change in the singer's communication strategy on social media combined with the increasing political polarisation in the country that ultimately found its expression in the realm of popular music. Using Olivier Driessens's concept of celebrity capital, this paper analyses the change in the content and style of Tarkan's Twitter posts (2010-2023) that became particularly evident after he moved to Germany in 2017. It claims that the singer had been gradually converting his celebrity capital in music into political capital through statements on environmental and socio-political issues, the tones of which also became more anti-government and explicitly pro-opposition over time. This, in turn, resulted in the song's lyrics being perceived as politically charged in an environment already marked by increased political polarisation, particularly around the conservative vs. secularist divide.
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    The impact of Artificial Intelligence on the curator-as-artist: revisiting Ventzislavov's concept in two cases of AI-based curating
    (Springer, 2026) Yeginsu, Ipek
    The use of Artificial Intelligence (AI) in art is increasingly widespread, and yet its effects are still far from being clear. The professional boundaries between the artist and the curator, particularly the curator-as-artist organizing thematic exhibitions are increasingly blurred, and AI complicates their division of labor even further. By performing theoretical analysis and case study, this paper examines how AI's recent entry into the artistic realm is impacting the role of the curator-as-artist using the theoretical framework offered by Rossen Ventzislavov's essay Idle Arts: Reconsidering the Curator (2014). Drawing upon the curatorial studies literature, it revisits the two central themes explored by Ventzislavov, i.e., the generation of artistic value, and the division labor between the artist and the curator. Using the theoretical instruments obtained from this examination, it comparatively analyzes two AI-based curatorial projects, namely the Helsinki Biennial titled New Directions May Emerge hosted by the Helsinki Art Museum and Act as if you are a curator: an AI-generated exhibition at Duke University's Nasher Museum of Art. The study finds that the art worlds emerging around AI are collaborative and interdisciplinary, and despite the growing pressure on the figure of the individual curator in charge, AI assemblages still rely on human curatorial agency and authorship, especially for curatorial storytelling and the mediation of the negotiations among the human participants in the cooperative network.