SALT (institution)

SALT is a Turkish contemporary art institution. It was started by Vasif Kortun and Garanti Bank in 2011, and has exhibition and workshop spaces in Istanbul and Ankara, Turkey.[1][2] It combines the previous activities of the Garanti Gallery, the Ottoman Bank Archives and Research Centre and the Platform Garanti Contemporary Art Center of the bank.[3] It is one of the six members of L'Internationale, a confederation of European art institutions; the other member institutions are the Moderna galerija in Ljubljana, in Slovenia; the Museo Nacional Centro de Arte Reina Sofía in Madrid, in Spain; the Museu d'Art Contemporani de Barcelona in Barcelona, also in Spain; the Museum van Hedendaagse Kunst Antwerpen in Antwerp, in Belgium; and the Van Abbemuseum in Eindhoven, in the Netherlands.[4]

This article is about SALT, a cultural institution in Istanbul. For the SALT treaty, see Strategic Arms Limitation Talks.
SALT
Interior of SALT Galata
Established2011
LocationSALT Beyoğlu
Istiklal Cd. No:136
Beyoğlu, Istanbul
Turkey
SALT Galata
Bankalar Cd. No:11
Karaköy, Istanbul
Turkey
FounderVasif Kortun, Garanti Bank
Websitesaltonline.org

It is also a member of ALANA (Art Libraries and Archives Networks Asia).[5]

The Imperial Ottoman Bank headquarters in 1896

SALT has three gallery spaces, all owned by Garanti Bank: the former headquarters of the Imperial Ottoman Bank in Galata, Istanbul;[1] a former apartment block, the Siniossoglou Apartments, in Beyoğlu, Istanbul;[3] and a former guest-house of the Ottoman Bank in Ulus, Ankara.[6]

Library

SALT Research comprises a specialized library and an archive of physical and digital sources and documents on visual practices, the built environment, social life and economic history. Collections at SALT Research focus on the period from the late 19th century to the present day with an emphasis on Turkey -primarily Istanbul- and the geographies of the Southeast Mediterranean and Southeast Europe. The collections include visual and textual sources and documents on the art history of Turkey post 1950, the development of architecture and design in Turkey since the beginning of the 20th century, and the transformations in society and the region from the last century of the Ottoman Empire to the Turkish Republic up until the 1990s.

gollark: Maybe the design was bad or maybe people messed up the execution. But a good design factors in some degree of problems in the execution side.
gollark: The existence of working ways to modify them as needed isn't guaranteed.
gollark: Yes. It's still a bad fire extinguisher regardless of how good the designers thought/claimed they were being.
gollark: Systems have no intentions. People in them might, and the designers probably did, and the designers also likely claimed some intention, and people also probably ascribe some to them. But that doesn't mean that the system itself "wants" to do any of those.
gollark: I think you could reasonably argue that it's better to respect institutions than ignore them because it's better for social cohesion/stability, but I don't agree that you should respect them because they're meant to be fair and because you can always get them to fix problems you experience if this isn't actually true.

References
  1. Suzy Hansen (10 February 2012). The Istanbul Art-Boom Bubble The New York Times. Accessed May 2016.
  2. Art boom: Greater importance is being placed on arts and culture. In: The Report: Turkey 2012. Oxford: Oxford Business Group. Accessed May 2016.
  3. [s.n.] (8 April 2011) Garanti Bank's SALT sets out to become Turkey's biggest cultural institute. Today's Zaman. Archived 20 October 2014.
  4. Confederation – L'Internationale. L'Internationale. Accessed May 2016.
  5. . ALANA.
  6. Erkan Aktug (4 April 2013). Ankara'nın da Salt'ı var (in Turkish). Radikal. Accessed April 2017.

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