Istanbul exhibition features artist voice via art at Karaköy Palace

Blending heritage restoration with contemporary art, the Kültür Medeniyet Vakfı (KÜME) opened its ArtıKÜME 2025 and ODAK exhibitions at Karaköy Palas in Istanbul on Saturday, introducing a new platform for experimental and process-driven works.

The exhibition, built around the theme “Mümkün” (“Possible”), features 25 projects spanning disciplines from digital art to calligraphy.

The transformation of Karaköy Palas reflects an effort to combine heritage preservation with contemporary cultural production, positioning the venue as both an exhibition space and a site for experimentation. ArtıKÜME 2025, the foundation’s main support program, selected 25 projects from across Türkiye, all aligned with the theme’s focus on unrealized ideas and creative processes.

Alongside the exhibition, the ODAK project was introduced as a platform tracking cultural and artistic production across Türkiye. Its first publication, the ODAK 2025 book, was also presented during the launch.

Speaking at the launch, Selçuk Bayraktar, chairperson of the board of trustees of KÜME, framed the initiative within a broader philosophical and technological context.

He highlighted the increasing convergence between humans and machines, arguing that art remains a critical safeguard for preserving human identity in an era shaped by artificial intelligence and automation.

Also speaking at the launch, Abdullah Eren, chairperson of the board of KÜME, emphasized the role of cultural spaces in shaping collective thought, describing the exhibition as a reflection of art’s transformative potential. He noted that “a society’s future is built not only on material means, but on thought, art and meaning.”

From a policy perspective, Mehmet Nuri Ersoy, minister of culture and tourism, emphasized the importance of functional restoration in cultural heritage management. He noted that revitalizing historical assets like Karaköy Palas through active cultural use enhances both societal engagement and long-term sustainability.

Across the exhibition, artists bring these ideas into focus through works centered on perception, identity and creative process.

A view of Muharrem Dalhan’s installation “Threshold,” where modified screens explore perception, visibility and the impact of digital algorithms, Istanbul, Türkiye, April 25, 2026. (Photo by Amez Ahmed)

New media artist Muharrem Dalhan presents an interactive installation titled “Threshold,” examining how perception is shaped within an algorithm-driven media environment.

The work centers on modified LCD screens, where the removal of the outer polarizing filter reduces the display to a uniform white surface. “When I place the filter back, the image becomes visible again,” Dalhan explained, framing this shift as both a technical intervention and a conceptual gesture.

At its core, the installation operates as a critique of contemporary media systems. Dalhan draws a parallel between the blank screens and the “white noise” produced by digital algorithms, suggesting that layers of information often obscure underlying realities.

“Behind that white noise, there are realities that continue to exist, and we need to see them,” he said. Rather than offering definitive interpretations, he positioned the work as an open inquiry, turning perception into a conscious decision through viewer interaction.

“There is always a filter, either you choose to look or you don’t, much like in life,” Dalhan said. Through this approach, “Threshold” reframes seeing as an ethical act, highlighting the tension between visibility and reality in today’s mediated world.

Artist Elif Horuz stands alongside her works exploring identity and perception, Istanbul, Türkiye, April 25, 2026. (Photo by Amez Ahmed)

Artist Elif Horuz approaches her work through both personal reflection and collective production, positioning artistic practice as a shared process shaped by support systems and evolving perspectives on identity.

Her project aligned with the exhibition’s theme “Mümkün,” emphasizing collective production. “Even if we have different concerns, by coming together and producing collectively, we can overcome certain challenges,” Horuz explained.

Her work centered on identity as a fluid and evolving concept. “I often explore identity and how it is perceived,” she said, while critiquing its transformation in the digital age. “With social media and globalization, identity is not disappearing, but it is increasingly treated as something that can be consumed.”

“I think identity is a more fluid concept,” she added, noting that she approached her work through multiplicity. “I try to see myself as more than one and produce from that perspective.”

Her practice ultimately unfolded as an open-ended inquiry. “My works are built around the question of what identity is,” she said, positioning identity as a shifting, multi-dimensional experience.

Calligraphic works by Rümeysa Zeynep Kurtuluş explore the relationship between language, form and abstraction, Istanbul, Türkiye, April 25, 2026. (Photo by Amez Ahmed)

Artist Rümeysa Zeynep Kurtuluş presented a multi-layered installation exploring the relationship between body, language and space.

The work unfolded across paper and fabric surfaces, where calligraphic texts moved between legibility and abstraction. “Some writings could be read, while others could not,” she said, noting that many of the texts were drawn from her personal diaries. To preserve their privacy, she altered the structure of the letters. “I transformed the forms so they could no longer be read,” she explained, adding that the texts gradually became traces without fixed meaning.

The installation concluded with her sketchbooks, offering insight into the creative process behind the work. “In this way, my fabrics and papers became an installation,” she said, framing the pieces as part of a unified whole.

Together, the works reflect the exhibition’s broader focus on process, perception and the shifting boundaries of contemporary artistic expression.

DAILYSABAH