Interview: Curator and Cultural Leader Fatoş Üstek
THE WICK: What does a typical Monday look like for you?
Fatoş Üstek: Mondays are my sanctuary. I reserve them exclusively for uninterrupted time in my office, free of meetings. Over the past year, I’ve dedicated this day to developing the vision for the new art institution I’m launching, using the time to brainstorm, write, and refine ideas. It’s a day for deep focus and long-term thinking, rather than reactive tasks.
TW:
This is the third year you have curated Frieze Sculpture. How has your vision evolved since your first edition?
FU: From the beginning, I’ve sought to expand the definition of sculpture, embracing sound, performance, and digital or augmented forms as sculptural concepts. Each year, I’ve pushed these boundaries further. This year, I took a conceptual leap by curating a thematic edition, connecting the works through a shared inquiry rather than format. My experience has underscored that sculpture’s boundaries are fluid, and curating can simultaneously respond to a space and explore ideas.
TW: This year’s Frieze Sculpture is curated for the first time under the theme In the Shadows. Why bring in a theme, and what does it mean to you?
FU: Adding a theme felt like a natural progression. In the Shadows explores the interplay between the visible and the unseen – forgotten histories, hidden narratives, and forces just out of view. Shadows can obscure, protect, or reveal, depending on how they’re encountered. This theme invited artists to respond both poetically and politically, examining what exists at the edges of perception. It provided audiences with a unifying thread to experience the works while leaving room for interpretation. Rather than limit creativity, the theme opened up new possibilities for exploration.
TW: Frieze Sculpture brings art to the public. Why is public art so important to a cultural hub like London?
FU: Public art removes barriers. In a city as dynamic and diverse as London, it allows people to encounter art beyond institutional settings, eliminating financial and psychological obstacles. Parks, streets, and civic spaces become arenas for dialogue, curiosity, and reflection. Public sculpture, in particular, transforms how we navigate and inhabit the city. It’s not just about visibility; it’s about fostering a shared ownership of culture and creating moments of wonder in daily life. For a city that thrives on diversity, public art serves as a vital connector.
“Public art removes barriers. In a city as dynamic and diverse as London, it allows people to encounter art beyond institutional settings, eliminating financial and psychological obstacles.”
TW: What are you most looking forward to this year at Frieze London?
FU: The fairs have a particularly vibrant energy this year. I’m excited to see how Frieze Masters evolves under its new director Emanuela Tarizzo. I’ve known Jareh Das since her RCA days 15 years ago, so I’m especially curious about her curated section at Frieze London. I’m also drawn to the mix of long-established galleries—like Maureen Paley, Sadie Coles, and David Zwirner—alongside newer participants such as Southern Guild. The interplay between seasoned voices and emerging perspectives always reveals the pulse of the art world.
TW: Which fashion designer will you be wearing to Frieze this year?
FU: I’ll be combining pieces. I will be wearing garments from Roksanda and Vince, which I’ll pair with cherished items from my wardrobe.
TW: Your recent book The Art Institution of Tomorrow highlights the current struggles of art institutions. What gives you hope?
FU: Hope lies in our ability to reimagine systems. Radical structural change is necessary, but we have the insight and determination to achieve it. If institutions can adapt to societal and technological shifts, embrace expanded human consciousness, and commit to new models of co-existence, co-habitation, and collaboration (the three COs), they can create futures that are both agile and equitable. The potential exists; it’s just a matter of collective will.
TW: How do you think the role of the curator will evolve in a digital world?
FU: The core role of a curator, to connect ideas, artists, and audiences, will remain unchanged. However, curators must become fluent in the digital realm, not just as a tool but as a space for experience, creation, and dissemination. A deep understanding of digital infrastructures, aesthetics, and ethics will be essential to curatorial practice in the years to come.
TW: As a curator in London with an international focus, where do you go to spend time?
FU: It depends on where I am. I frequently visit the Netherlands and make it a point to see multiple exhibitions each time. In London, I’ve been spending a lot of time at the Warburg Library this year. Its depth and atmosphere foster contemplation, making it a perfect place to think, read, and recharge.
TW: The book, artwork, and object you would take to a desert island?
FU: The Creative Act by Rick Rubin, fig.3 Life Rings by Elmgreen & Dragset (currently installed at Frieze Sculpture) and my 30-year-old chessboard.
TW: Who is your ultimate Monday Muse, and why?
FU:
Jessica Morgan. If you read the profile by Cristina Ruiz in the Gentlewoman’s September issue, which beautifully captures her clarity, leadership, and integrity, you will join me. She exemplifies a balance of vision and groundedness that I find profoundly inspiring.
