ISTANBUL.- In its 50th anniversary year, Ma鏺a Art Gallery opens its new season with The Death of the Camera, Alkan Avcıoğlu’s first solo exhibition in Turkey, on view from September 15 through October 31, 2026. Presented in collaboration with DIFOART, the exhibition brings together 20 large-scale prints that reconsider photography at a moment when the photographic image is no longer bound to the camera.

The exhibition takes its title from Roland Barthes’s 1967 essay The Death of the Author, which displaced the author as the final authority over the meaning of a text. The Death of the Camera carries this idea into the photographic image, addressing the camera’s diminishing authority over how that image is constructed. The single viewpoint, continuous space, and stable relations of scale historically associated with the camera cease to operate as fixed conditions.

Avcıoğlu’s works emerge through an experimental, multi-stage process with artificial intelligence models. In his work, the conventional single viewpoint of the photographic image begins to dissolve; different scales and perspectives flow into one another, while familiar spaces become increasingly layered and unstable.

These works turn the photographic surface from something we simply look at into a space we enter, navigate, and experience over time.

Opening on September 15th, the exhibition arrives at a moment when new image-making technologies are expanding what a photographic image can be. In this context, Avcıoğlu is one of the pioneering artists of this era, using the new medium to move beyond what earlier image-making could do and create forms that were not possible before. He opens up new ways of seeing, questioning reality, and critically examining the world.





The exhibition extends Avcıoğlu’s ongoing inquiry into photographic reality; his recent collaboration with Edward Burtynsky, Hypertopographics, was named a finalist for the 2026 Lumen Prize. His acclaimed AI-generated feature documentary Post Truth had its international premiere at the Warsaw Film Festival and has since screened at more than 25 established international festivals, receiving multiple awards. Opening the new season in Ma鏺a’s 50th anniversary year, The Death of the Camera continues the gallery’s long-standing commitment to artists expanding the possibilities of contemporary artistic practice.

Underlying the exhibition is Avcıoğlu’s proposition that the complexity of the contemporary world can no longer be adequately contained within a single perspective. His images absorb that condition into their own structure. As the world becomes increasingly difficult to grasp, the image ceases simply to represent it and begins to rival its complexity.

Avcıoğlu pushes photographic language beyond its established limits, questioning how images are constructed and read, and how they shape the way we perceive the world.

Born in Turkey in 1982, Alkan Avcıoğlu is an artist working across visual art, film, and sound using artificial intelligence. Drawing on a multidisciplinary background in film criticism, music, and academic research, his work has been exhibited internationally in New York, Paris, Berlin, London, Shanghai, Mexico City, Milan, and Toronto. Avcıoğlu is among the first artists working with artificial intelligence to have been presented at international art fairs including Paris Photo, Art Basel, Zona Maco, and PhotoVogue. In 2025, his work was featured in Christie’s inaugural auction dedicated to artificial intelligence art. That same year, Avcıoğlu directed Post Truth, widely cited as the first AI-generated feature-length documentary. The film has screened at more than twenty-five international film festivals, including the Warsaw Film Festival, Fantasporto, and Festival dei Popoli. His recent collaboration with renowned photographer Edward Burtynsky, Hypertopographics, was selected as a finalist for the 2026 Lumen Prize. Following presentations in New York and Paris, the project was shown at the Edirne Biennale and will be exhibited at the Troy Museum as part of the 莂nakkale Biennale. He continues to lecture on artificial intelligence, art, and the moving image at Istanbul Kent University.