ISTANBUL.- A new joint book by Salt and Mousse Publishing (Milan, Italy), Moni focuses on performance artist Salim Özgilik—also known as Moni—who began his practice in 1985. It offers a detailed map of the artist’s provocative and engaging works that actively involve audiences. Developed in collaboration with Moni Salim Özgilik, the publication draws on the artist’s first book, Moni ‘89, as well as his archive, which was made accessible at Salt Research in 2020.

The most comprehensive resource on the artist

Moni integrates the artist’s diverse practice—ranging from painting and murals to installations, performances, and happenings—into the discourse of art history. As noted by Sezin Romi from Salt, editor of the publication, “it enriches the studies conducted since 2019 with new readings and interpretations, and it is a reference for the ongoing research work on the history of performance art and its relationship with different disciplines.”

Designed by Ali Cindoruk (KHORA), the publication offers insights into the development of performance art through Moni’s practice, highlighting how the medium has opened up space for young artists, particularly in Türkiye. Featuring essays by Aslıhan Demirtaş, Bora Gürdaş, Catherine Spencer, Sevi Bayraktar, and Suzana Marjanić, it traces Moni’s practice from Ankara to New York, with works produced alongside a series of manifestos.

Comparative readings from the history of performance art

While Bora Gürdaş considers Moni’s little-known position within Turkish art history in a multifaceted and in-depth manner, Aslıhan Demirtaş explores how the artist’s works performed in public spaces in Ankara relate to the city’s transformation. Catherine Spencer analyzes Moni’s found-object–based works in a comparative context in relation to the practices of Allan Kaprow and Carolee Schneemann. Sevi Bayraktar situates the artist’s practice within the context of art and politics in Türkiye, reviewing it through the history of performance and happenings. Suzana Marjanić maps the parallels between Moni’s works and performances in 1980s and 1990s Croatia, discussing intersections with the Group of Six Artists’ street exhibitions and Tomislav Gotovac’s performances.

The publication also presents a biography initiated by Moni in 1989 and updated incrementally through 2025, accompanied by Sezin Romi’s interview with the artist, titled “Moni’s Story,” which complements the critical essays.

“Discarded objects, peripheral thoughts, and concepts that often remain in books”
Moni Salim Özgilik left his geological engineering studies at Hacettepe University in 1985 to pursue painting at the university’s Faculty of Fine Arts. He adopted the pseudonym Moni, inherited from his family, which carries the meanings of “strong, powerful, cheerful, and unique.” In his own words, he began focusing on “discarded objects, peripheral thoughts, and concepts that often remain in books,” creating three-dimensional works, murals, installations, actions, performances, and happenings. During his student years, his works at Beytepe Campus drew attention by questioning, provoking, and intervening in everyday life.

After his campus projects, he gained recognition for performances and happenings in Ankara’s public spaces that transformed audiences into active participants. From a crowded underpass to a plain rooftop, from an ordinary tree to a gallery wall, the artist sought to build new and original spaces of expression using found materials. He kept up with international publications, exhibitions, and biennials through his own means, drawing influence from Allan Kaprow, John Cage, Joseph Beuys, and Christo and Jeanne-Claude. He aimed to transform the exhibition spaces he was invited to—such as Töbank Art Gallery in Ankara and Istanbul—into street-like environments. Yet, his works, described as “ahead of their time,” eventually “got him into trouble with the governing bodies.”

From books to the streets: Moni in New York

“With 500 dollars in his pocket, his English worth three cents, and a stereotypical artist persona that could hardly be contained,” Moni landed in the heart of New York City in 1992. He pursued graduate studies in art history and museology at The City College of New York, supporting himself with jobs in a delicatessen and working behind counters.

The artist’s works were presented at spaces such as Studio 225 and Wisteria Art Space. He also participated in performances with the movement-based Earthdance group in the East Village. He co-founded Yenirakı, a Turkish-language fanzine that ran for only three issues in 1994-1995, and contributed articles to prominent magazines, including Domus, Milliyet Sanat, and Hürriyet Gösteri. After his New York years, Moni’s ties with the Turkish art scene weakened, and from the 2000s onward, he gradually distanced himself from his practice.

A new chapter in Moni’s artistic practice

Moni, whose selected works were featured in Salt’s exhibition The 90s Onstage (Salt Beyoğlu, 2022-2023, and Kunstverein in Hamburg, 2024), currently lives in Kaş and Los Angeles. Over the past two years, the artist has returned to painting and to creating works intended to be rearranged and exhibited, while continuing “to spend more time in the studio, collecting, gathering, and stockpiling materials from all around.”

“The reemergence of my works, which are described as exciting and courageous, surprises many people... Some are surprised that I am still alive and congratulate me for the contribution I have made to art. This motivates me and encourages me to do more for the future.” —Moni Salim Özgilik