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ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS

Cilt: 16 Sayı: 3 1 Temmuz 2026
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ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS

Öz

This study examines the Istanbul Digital Art Festival (IDAF) across five editions (2021-2025) through longitudinal document analysis of the festival's official activity reports. Drawing on theories of operational images, post-humanist agency, post-representational visual culture, and curatorial theory, the article develops the concept of synthetic visuality, a regime of algorithmically generated image-making that distributes creative agency across human and machinic actors. Thematic analysis is organized along three axes: (a) the curatorial shift from a single human curator to a distributed human-AI apparatus featuring Turkey's first AI curator, Avind; (b) the spatial progression from heritage architecture to the Atatürk Cultural Center; and (c) the diversification of mediums from video and installation to XR, VR, generative AI, bio-art, and game engines. The article argues that the contemporary digital art festival functions as an infrastructural interface where the operations of synthetic visuality have materialized and opened to critical engagement.

Anahtar Kelimeler

synthetic visuality, digital art festivals, AI curation, infrastructural image, posthumanism, operational image

Destekleyen Kurum

The Istanbul Digital Art Festival Final Activity Reports used as primary data sources in this study were provided for research purposes by the festival's organizing body, Mezo Group (Mezo Grup).

Etik Beyan

This research is based on document analysis of publicly available institutional activity reports. No data were collected from human participants; the primary data sources are the Final Activity Reports (Nihai Faaliyet Raporu) submitted by the festival's organizing body to the Turkish Ministry of Culture and Tourism.

Teşekkür

The author wishes to thank Dr. Nabat Garakhanova, founder and producer of the Istanbul Digital Art Festival, for providing research access to the festival's Final Activity Reports and for her collaboration throughout the research process.

Kaynakça

  1. Bishop, C. (2012). Digital divide: Contemporary art and new media. Artforum, 51(1), 434-441. https://www.artforum.com/features/digital-divide-contemporary-art-and-new-media-200814/
  2. Bowen, G. A. (2009). Document analysis as a qualitative research method. Qualitative Research Journal, 9(2), 27-40. https://doi.org/10.3316/QRJ0902027
  3. Braidotti, R. (2013). The posthuman. Polity.
  4. Bratton, B. H. (2015). The stack: On software and sovereignty. MIT Press.
  5. Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77-101. https://doi.org/10.1191/1478088706qp063oa
  6. Cummings, M. C. (2003). Cultural diplomacy and the United States government: A survey. Center for Arts and Culture.
  7. Farocki, H. (2004). Phantom images. Public, 29, 12-22.
  8. Filipovic, E., Van Hal, M., & Øvstebø, S. (Eds.). (2010). The biennial reader. Hatje Cantz.
  9. Galani, A., & Milne, A. (2025). Curating AI-driven art: Actors, institutional strategies and organisational change. Museum Management and Curatorship, 162–181. https://doi.org/10.1080/09647775.2025.2562854
  10. Garakhanova, N. (2023). The potential and future of digital art in Turkey’s cultural diplomacy. International Social Mentality and Researcher Thinkers Journal, 9(73), 3833-3840. https://doi.org/10.29228/smryj.69719

Kaynak Göster

APA
Gülaçtı, İ. E., & Garakhanova, N. (2026). ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS. The Turkish Online Journal of Design Art and Communication, 16(3), 1746-1760. https://doi.org/10.7456/tojdac.1929081
AMA
1.Gülaçtı İE, Garakhanova N. ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS. TOJDAC. 2026;16(3):1746-1760. doi:10.7456/tojdac.1929081
Chicago
Gülaçtı, İsmail Erim, ve Nabat Garakhanova. 2026. “ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS”. The Turkish Online Journal of Design Art and Communication 16 (3): 1746-60. https://doi.org/10.7456/tojdac.1929081.
EndNote
Gülaçtı İE, Garakhanova N (01 Temmuz 2026) ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS. The Turkish Online Journal of Design Art and Communication 16 3 1746–1760.
IEEE
[1]İ. E. Gülaçtı ve N. Garakhanova, “ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS”, TOJDAC, c. 16, sy 3, ss. 1746–1760, Tem. 2026, doi: 10.7456/tojdac.1929081.
ISNAD
Gülaçtı, İsmail Erim - Garakhanova, Nabat. “ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS”. The Turkish Online Journal of Design Art and Communication 16/3 (01 Temmuz 2026): 1746-1760. https://doi.org/10.7456/tojdac.1929081.
JAMA
1.Gülaçtı İE, Garakhanova N. ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS. TOJDAC. 2026;16:1746–1760.
MLA
Gülaçtı, İsmail Erim, ve Nabat Garakhanova. “ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS”. The Turkish Online Journal of Design Art and Communication, c. 16, sy 3, Temmuz 2026, ss. 1746-60, doi:10.7456/tojdac.1929081.
Vancouver
1.İsmail Erim Gülaçtı, Nabat Garakhanova. ISTANBUL DIGITAL ART FESTIVAL (IDAF) AS AN INFRASTRUCTURAL INTERFACE AND ITS REFORMED CURATORIAL AGENCY BETWEEN 2021-2025 EDITIONS. TOJDAC. 01 Temmuz 2026;16(3):1746-60. doi:10.7456/tojdac.1929081