Karisman is a generative artist merging digital experimentation with a computer graphics background. Inspired by urban textures, glitch aesthetics, and the interplay of reality and illusion, he crafts speculative visual narratives that blur analog and digital realms. His work invites curiosity about everyday surroundings—asking “what if?” to reveal hidden connections between the mundane and the surreal. Based in Berlin, he collaborates with multidisciplinary creators, exploring how technology can transform perception without losing the human pulse.
How did the idea for this short film emerge in your mind? There’s quite an expressive atmosphere in the film; what personal or societal issues propelled you toward this emotional intensity?
The idea for this film emerged from questioning the situation I was experiencing while preparing for an exhibition. At the time, I was searching for long-term housing in Berlin. The uncertainties, bureaucratic hurdles, and constantly shifting expectations that I encountered while trying to put down roots in the city pushed me into a mentally and emotionally exhausting process.
Rather than a mere search for physical space, the film represents a quest for identity and belonging. As I reflected on my personal experiences, visiting various homes and glimpsing diverse lives and possibilities, the uncertainty surrounding my eventual destination began to dissolve the boundaries between reality and imagination. In contemporary urban life, this pursuit is becoming increasingly challenging and complex. Hence, the film goes beyond physical space to narrate a story intertwined with existential questioning. Expressive narration and surreal imagery seemed to be the most accurate way to reflect this state of mind. I aimed to create a world where reality and imagination overlap, and mental and emotional layers melt into one another.
What do you think about the use of artificial intelligence in visual arts? As a digital art creator, how has AI’s presence in the art scene affected your creative processes, aesthetic sensibilities, or forms of expression? To what extent do you use AI in your work, and what benefits does this usage provide you?
The introduction of artificial intelligence into the art world has caused a significant rupture, similar to how photography once transformed painting. It has reaffirmed that art isn’t directly measured by labor alone. Now, what matters isn’t merely how something is produced, but what it conveys and the impact it leaves behind.
In my practice, artificial intelligence has become a direct tool. My artistic approach revolves around designing systems for visual production rather than merely creating visuals. AI has provided me with possibilities that didn’t exist before. Previously, my work involved manipulating existing photographs and videos; now, I can create entirely new, previously nonexistent images. I utilize AI not solely as an outcome-oriented production tool, but as a material and source of inspiration opening new avenues of expression. This approach propels my art practice toward greater experimentation and exploration.
Years ago, we talked with you about the digital art revolution and published that interview in our magazine. Since then, a lot has changed—especially in the visual arts, heavily influenced by artificial intelligence. Looking from today’s perspective, how do you envision the future of visual arts? How do you position yourself and your art in this transformative process?
Previously, we discussed the democratizing wave NFTs brought to the art world. At that time, the revolution was about how art was sold and distributed. Today, the transformation revolves around how art is created. AI has made the production process more accessible, enabling virtually everyone to become a creator.
How this accessibility will affect the value of art is something we will see over time. Nevertheless, I believe that originality will always be decisive. Although AI accelerates art production, the soul and depth of a work still depend on the artist’s vision. Within this transformation, I position myself as someone who leverages technology without losing the human touch. The evolving face of art gains meaning from the creator’s perspective, and my ongoing goal is to continue capturing this originality.
How would you introduce this project to someone who is not yet aware of the / NCOUNTERS / project?
Hello Dolmuş! You started with a difficult question… It is difficult to define, but we can roughly say that we are a political audio-visual space maintained by the people living in Berlin. In particular, we are trying to include and encourage “emerging” artists. We reflect on the limitlessness of art and are fed by the diversity of artists’ past experiences. Maybe it can be called a “mapping” project… Apart from that, we do interviews and broadcast sets. I hope we will share tracks and make premieres soon. Many ideas…
What kind of problems, needs, goals, concerns, affections, motives did you have in the beginning and construction process of this project?
The concepts of art and artist were used as status symbols rather than their essence, which must be related to the culture we grew up with. For this reason, it was difficult to accept and stand behind our own works. We noticed that some other “artists” also had similar problems. Of course, being a migrant subject made this situation even more difficult. An encouragement was definitely needed. In addition, the stories of people are very interesting, we are usually aware of the products they produce, but the various conditions that make the products are considerably less visible. However, these processes can also be very inspiring.
photo: credit: @anlayhnn
What kind of problems did you encounter until this point? And what processes did you experience and what kind of solutions did you develop to overcome them?
There are many problems, of course. Before the pandemic, togetherness were possible and relatively easy, but even keeping our own community alive is not possible under the current conditions. This is very understandable, of course. Maintaining a collective in these dystopian conditions, where even two people cannot come together, may not be a very meaningful expectation. Beyond that, financial difficulties are struggling us. It is necessary to try to understand this in line with our immigrant subjectivity. There is uncertainty in many areas. To be clear, this is not an issue where we can produce a permanent solution… Creating financial resources is a must in order to continue what we do. Developing our human resources is the only way to put forward the ideas we have in mind. We hope that maybe we can reach people through this interview and work together.
What have you found on the way until the collective reached this point? What do you hope to find for the future?
People have stories and they are worth hearing. This is the main finding. As in the name of the project, we believe in encounters, so it cannot be said that we are trying to find something actually. There is no clear plan, there are many ideas, wishes and manifestations.
What kind of interactions did the NCOUNTERS and its process create in its close circle? What kind of reactions did you get?
It organized our close circle around a political-aesthetical sphere. Although it is difficult to talk about tight ties, it would not be an exaggeration to talk about the artists, students and immigrants organized around NCOUNTERS. Perhaps people may have seen that something can be done. Establishing a political aesthetic formation in Germany, this new homeland where we are fighting at the survival level, was revolutionary in our own small world. That’s why we think it might have been an encouragement.
In what direction do you want to advance / NCOUNTERS / in the future? What goals do you have?
As we said, there is no clear road map. But we are about to be a “record label” that makes premieres and releases. We want a little more visibility so that we can support the artists we support more and open up space. In short, we want to be productive. Basically, we want to have our own resources that can sustain themselves.
What have you learned from the mistakes you have made so far? What would you recommend to those who want to do similar initiatives?
It must be tried. Ideas may not create excitement as much as practices. Therefore, it is sometimes up to some of us to throw the first stone. Then, processes and ideas bring their own organization. For this reason, even in a collective work, some of us may need to take the initiative in some processes. This should not be a discouraging situation. Other than that, I guess there is nothing that can be called a mistake. At the end of the day, they are all encounters.
photo: credit: @anlayhnn
Do you have any calls for solidarity to overcome specific challenges regarding the project?
Obviously, we claim to be a collective space, so it is for us that people should own the project and make its influence area larger. Of course, there are many needs, but we are aware that we are going through difficult dark processes. Therefore, it may not be the right moment to ask for support right now. But criticisms, ideas, productions and various collaborations would be useful in carrying us forward.
How did NCOUNTERS get politicized through migrant identity so much although it was ultimately a techno music project? Was this a spontaneous process? Or was it formulated in this way from the very beginning?
We are a collective space mostly dominated by social science students. We are also migrants. We are naturally political. Everything we do is also minimally political in this direction. In our music, in our project, in our existence. We can say that it developed naturally without much effort. Otherwise, it does not seem possible.
What kind of supports and oppositions has this politicization process received?
While politicization was viewed as radical by some, it was welcomed by others. So maybe the white privileged community around us had to question their own white privileges and mindset. Being a part of the NCOUNTERS requires a minimal political consensus, perhaps this is a minimal but existential consensus, like not being homophobic, not being racist, and looking at the white privileged world order from a critical point of view. Therefore, although NCOUNTERS is an open space, in a sense, perhaps it imposed itself.
photo: credit: @anlayhnn
Although NCOUNTERS has a political rhetoric, it has been criticized for including mainly white heterosexual male artists, especially at the beginning. What do you think of this criticism? What has been done to overcome this situation after this criticism?
A very meaningful and appropriate criticism, of course. However, this does not seem like a criticism that can be avoided through planned individual inputs. The community has to open itself to the outside. Of course, our aim is not to make an identity politics, but we set out from our own subjectivity, but we also included white privileged artists in the process. We try to be an open space and frankly we feel like our stance is getting a little clearer with our last actions. Frankly, we learn, too.
How has the pandemic affected the process for NCOUNTERS? Have you been able to develop certain survival strategies for the pandemic? What are your plans for the post-pandemic?
Pandemic literally minimized the encounters. Of course it was difficult. It was difficult to motivate the people, the community. But to keep people productive, we made the “Avoid NCOUNTERS” series. It wasn’t a bad idea, frankly. We had quite favorable conjecture before the pandemic, frankly, we had a full-house party. We do not expect to start where we left off after the pandemic. It would be naive. But we are sure that we will do our best to adapt to the new world and politicize the dance music scene.
As a “trans-national” underground techno project NCOUNTERS was, one way or another, a part of Berlin nightlife and party culture. It seems that the pandemic has affected Berlin’s nightlife irreversibly. We probably won’t find the nightlife we left after the pandemic. What direction do you think this transformation will be? As some say, if there is a scene that has become more commodified and where control mechanisms have been created, will it be attempted to organize a resistance practice resembling the illegal “raves” of the 90s, which defends a more communal and libertarian option?
To put it plainly, we are not experienced enough to make assertive comments on Berlin night life. However, if we evaluate the developments in the last three years in the light of global developments, it would not be wrong to say that the dance music scene has become commercial. It is not a very new discourse either. But of course there is no situation that would be very hopeless. It doesn’t make sense to be conservative against the change either. Despite the commercializing dance music scene, there will definitely be new spaces of resistance and their music.
Any last words?
Neukölln streets, where we learned the life and dancing and then forgot again …
(Bpm: 140, Kick: 4/4, Local Neukölln)
It is necessary to be open to encounters, dear Dolmus and definitely try, try!
