This is among the most unsettling exhibitions of the year. Its title, "Monochrome," hints at a show devoted to black and white drawings, but once you enter the Aksanat gallery on İstiklal Avenue, you realize that is not quite the case.On the entrance floor Memo Akten's video installation "Waves No.4" depicts digitally produced waves dancing on the walls of the gallery. Their shapes and movements create a sublime feeling; as those digitally produced waves hit the walls and merge into each other, you become more curious about their creator, the London-based Turkish artist Memo Akten. Currently working toward a Ph.D. at Goldsmiths University of London in artificial intelligence and artistic, expressive human-machine interaction, Akten's work explores interactions between nature, tradition and science. His thorough interest in investigating movement, sound and form is evident in this work.Simon Heijdens's "Lightweeds," another highlight of the entrance floor, is a living digital organism that grows onto the walls of the gallery. Born in the Netherlands in 1978, Heijdens is known for his site-specific installations that explore what is tangible and hidden in the spaces of everyday life. His site-responsive light projection "Lightweeds" has been "exhibited and installed in over 50 public spaces, museums and galleries throughout Europe, the U.S., the Middle East and Asia, including a one year exhibition of a three wall projection at the Permanent Collection galleries of the Museum of Modern Art New York in 2014/2015," according to the artist's website.Those two works are accompanied by a very large and a bit chilling image on the entrance floor. Quayola's "Pleasant Places" (ditone print on barita paper) depicts barren trees against a dark background. A visual artist based in London (his works were exhibited at places like the Venice Biennale, London's Victoria & Albert Museum and the British Film Institute) Quayola is interested in "dialogues and the unpredictable collisions, tensions and equilibriums between the real and artificial, the figurative and abstract, the old and new."In their exhibition program, Ceren and Irmak Arkman, the digital art professional duo who curated the show, describe how "'Monochrome' focuses on digital art in its purest as black and white works provide the perfect reflection of an art form that is in its essence based on a binary system of 1s and 0s." They also reflect on their interest in the concept: "Created along the shades of a single color, thus stripped of possibilities afforded by the variety of color, black and white aesthetics of the artworks that make up this exhibition derive their power from a primal appreciation of line and geometry... Those works are embodiments of 'free beauty' in the Kantian sense, devoid of imitation, meaning, morals. They are simply beautiful in and of themselves. They play with our perceptions, creating alternative spaces, worlds and natures for us to experience and enjoy."It is on the upper floor of Aksanat that those experiences become a bit unsettling. The first thing one notices there is the noise spiraling out of Zimoun's work. Consisting of 160 special motors and filler wire attached to them, Zimoun's sound installation dominates this floor.Born in Switzerland in 1977, Zimoun is focused on building architecturally-minded platforms of sound. "Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates."An equally thrilling work here is "Hyper/ine," an audiovisual installation by the Istanbul based independent design studio Ouchhh. This hallucinatory work is among the Turkish works on display in "Monochrome," which also features art by Refik Anadol and Selçuk Artut.Born in Istanbul in 1985, the Los Angeles-based Turkish artist Refik Anadol is interested in the relationship between architecture and media arts. His installations owe much to his belief that spaces and facades have the potential to be utilized as his canvases. Here his work "Cavity," a 3D video mapping on canvas, is a good example of this. Also the title of Anadol's 2014 show at New York's RH Contemporary gallery, "Cavity" invites the viewer to inspect and analyze its material. Ryoichi Kurokawa's "Constrained Surface," an audiovisual installation that consists of two HD displays, is similarly illusive and is displayed in the adjacent room. The Berlin based Japanese artist, who exhibited works at Tate Modern and the Venice Biennale, is focused on "reconstructing architecturally the audiovisual phenomenon."But it is Selçuk Artut's " Far Shadows," an interactive installation placed at the entrance of the gallery, that takes these illusory aspects of the exhibition one step further and bring them onto the street. The work consists of a projector that sends moving dots onto the gallery's facade. Viewed from inside the gallery, those dots also appear on the pavement, and it is fascinating to see pedestrians stepping onto them.Born in 1976 in Istanbul, Artut has exhibited works at ICA London, Istanbul Biennale and Moving Image NY, among others. A member of a Istanbul based band Replikas, his work has a transformative effect. Once I stepped outside Aksanat, I could see how those dots were clearly visible on the pavement."These works are simultaneously simple and immediate, yet complex and multi-layered," Ceren and Irmak Arkman reflect in the exhibition program. "Whether one choses to simply observe the surface or delve into deeper layers, the pleasure of viewing these artworks always remains."