Across the Line


14th November 2017, Tuesday
7.00 pm – 8.30 pm

Across the Line Exhibition is a group exhibition of mixed media, installation, coding, lighting, sculpture and mechanic born from the interaction between 12 artists from various creative disciplines, gathered as part of the two-week AltCity Istanbul Residency program held in collaboration between British Council and Digi.logue, led by the U.K.-based digital art collective SquidSoup.

What lies across the line?

Creating artworks out of the trace of interaction between technology, physical objects, and various disciplines, the exhibition focuses on the sense of exploration when one goes across the line. Bringing the experience of Istanbul’s chaotic urban texture with physical structures and advanced technologies through concrete installations, mechanical structures, and digital surface deformations, Across the Line looks for a new balance and harmony at the heart of this meta-structure. Having gone beyond their lines into others and interacting with each other
at the meeting, points to give birth to this collaboration and harmony, artists are inspired by the creation of a cognitive utopic living space. Numeric values placed in tactile objects, electrical currents, light pieces, mechanical structures and sounds encourage onlookers to ponder that the utopia of creating one’s own future is only possible through a collective consciousness and the flexibility and transparency of lines between concepts.
Each work tells its own story in relation to this utopia, continuing to build a dialogue with the visitors, to interact with their lines, and to invite them into their own lines.


Text by Hazal Döleneken



Özcan Saraç


Mathematical Data Processing

Is it an implication against evolution to see how a biological form (human), created as a result of the mathematical equation of laws of space and time as all structures in the universe, floats away from the system it is a part of as every physical law would suggest? The curtains drawn over the big picture by the humans with man-made illusory concepts resemble the expiration of this mathematical equation.

Beyond the current effort of survival caused by all political economic, social and demographic perception, categorization and classification, we can separate humans into two main groups: those moving away from developmental knowledge, and those who contribute to perceptional development. It’s worrisome to see how limited a role these two groups have in today’s democratic structures. Beyond global issues, while science-based research emphasizes the great importance of humanity in an age when its daily survival is constantly in danger, it also serves as an important tool for philosophical questions about the actuality unrelated to the reality of the universe, whose answers, reasons and structure are yet understood by humans, brought along by negative concepts emanating from the central control system.

In order to distance ourselves from these daily perceptional mistakes that surround us and to make our peace with the reality that even if small, we’re a part of the physical concept we live in through rationality, the project processes the pi number that, not unlike humans, result from another irrational equation.

Being an endless number, pi undertakes an important role for calculations on an atomic or universal scale based on the fact that it comprises all rational combinations (passport numbers, phone numbers, birth dates, digital passwords, etc.), resembling the numeration and categorization of 8 billion modern people. The project turns the first 1 billion digits of pi as calculated by MIT into computer-processed data signals, and transform these signals into data process mapping with installation scales overlapping with the 3.14 value used in the calculation of a circle’s circumference. Spherical light layers dedicated to every digit between 1 and 9 receives the computer-processed data signal, and are turned on for the one-fifth of a second. All the while, with the idea to use pi to calculate sine sound waves, the data is also processed into sine frequencies and transformed into sound.


Kerim Dündar

Organic Geometry

Visual Installation

In this work; architectural tiles are designed with the art-direction of cellular automata algorithm borrowed from nature. The installation of mirrors creates the illusion of an endless plane-scape, i.e. an infinite space. This work is an example of biomimicry and offers an approach to the question of how we can aesthetically benefit from nature’s time-tested 4.5 billion years of experience.

The algorithm is the technical language of the current age, and it is process-oriented. Process-oriented algorithmic design opens possibilities for artists to manage growing forms of nature. The current phase of digital design allows artists to “borrow methods from nature,” moving beyond being “inspired by nature” – a practice that hasn’t changed for thousands of years. This work is a reflection of this generous offer.

Gülfidan Özmen – Zeynep Budak

Night Walk

Light and Reflection


As in many other metropolises, Istanbul, the city we live in, snatches us away from nature. Although we may be unaware towards it, we still have one natural thing that is still very precious – the light. Without light, it’s impossible for us to maintain our existence and cyclical rituals.

In a metropolis, the light is not limited to the sun as it is in nature. We continuously illuminate our buildings, streets and every moment of our lives. In her work “Night Walk,” the artist examines the relationship between the city and the light through images of buildings, reflections, and light symbols – the elements most frequently found in metropolises.

A shared perspective of an architect and a glass artist.


Bilal Yılmaz


Lighting Installation

Childhood enthusiasm, in a period of life every child make spirals in the air with a piece of rope or cable. It is such a simple excitement that we all found with our childhood creativity. Spiral is a big scale lighting installation trying to encourage people in all age to share simplicity and creativity of our childhood experiences.


Betül Aksu with Squidsoup

In Conversation

Recorded conversation, LEDs, electronics, speakers, software


In Conversation represents conversations happening around the city of İstanbul. Betül recorded her conversations with her friends while visiting the city after seven years. The conversational units then are transformed into an image through processing software. It is made using Squidsoup’s Ocean of Light software, immersive light technology, every pixel in the conversational image then is transformed into a light, representing two people having a conversation while walking along the city. The installation is completed with a soundscape compiled from the recorded conversations.


Ethem Cem


Audio/Visual Installation

Concrete is an audio/visual installation which arouses the effects of urbanization and its psychological impacts on individuals in the context of time and space.

This work visualizes psychological disorders of individuals in urban life by using brutalist structures and concrete textures as a metaphor for routine, repetition, and alienation. Brutalist buildings are usually formed with repeated modular elements forming masses representing specific functional zones, distinctly articulated and grouped together into a unified whole. It is an architectural philosophy that was often also associated with a socialist utopian ideology but as you know, utopia turns into dystopia quite easily. This installation challenges audience’s perception and displays this transition with the stimulation of light.


Deniz Derbent, Hazal Döleneken, Ufuk Barış Mutlu, Ege Selçuk, Meltem Şahin

No. 8

Audio/Visual Installation

No.8 is a chamber that plays a composition for kinetic structures by Istanbul’s chaotic or noise-making materials. Inspired by the urban structure where accidentality and control co-exist, the chamber installation focuses on the transformation within moving mechanical constructions prepared by noise-making or quiet materials hidden in the corners of the city. The eight constructions inside the chamber and the movement of the materials represent a man-made world. Trying to adapt to the city that changes form, the mechanism deals with the power of movement, the paradoxical relationship between noise and music, how order meets chaos, and the new harmony created in this context. Written in notation, this movement and physical construction portray how we form new connections with chaos and urban life with the clarification of mechanical nature.

Demonstrating the struggle to exist in the complex urban life, the mechanism is an expression of the accidentality’s effort to exist in a new order.