Random Walk, Feeding and Weather

Merve Mepa’s work responds to the expanding landscape of digital infrastructure.

Drawing from data theory, ecological thinking, feminist methodologies, and what she terms

“minoritarian technologies”, Mepa creates generative spatial systems that function both as

immersive artworks and speculative infrastructures. Her sculptural installations incorporate

data flows, and cloud technologies, and technical tools such as statistical modeling,

distributed networks, and algorithmic systems. Influenced by hacktivism, DIY culture, and

open-source movements, Mepa’s practice develops spaces for resistance within dominant

technological regimes.

With Random Walk, Feeding, and Weather (2025) Mepa stages a sculptural

installation composed of modular grid panels, voids, and raised segments that disrupt linear

movement and guide viewers into non-directed, embodied navigation, or according to the

artist, a “random walk.” A central vertical sculpture, recalling data streams, nervous systems,

and infrastructural networks, anchors the space while encouraging shifting vantage points and

physical engagement. The installation unfolds as a live server-based ecosystem: open

computers embedded in the platform generate language in real time, producing phrases that

circulate through the gallery accompanied by airflow generated from cooling systems, turning

computation into a form of ambient “weather”. These elements reflect on how data, affect,

and knowledge circulate in algorithmic space.

In this work, Mepa embraces a trans-individual meta-media interface; this is a mode

of presentation that neither isolates viewers nor caters to passive spectatorship, but rather

invites a collective encounter with systems that are alive, unstable, and emergent. Random

Walk, Feeding, and Weather critiques centralized technological systems by proposing a

feminist, distributed approach to infrastructure: one that is affective, ritualistic, and

responsive. As such, Mepa asks how we might reimagine technological space not as a site of

control, but as one of shared rituals, care, and renewal.

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Curator: Christine Tohme

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Galvanized steel panels, air ducts, pipes, metal racks, open-air comput-

ers and fans, seating unit, screens, LED lighting, quartz crystal singing

bowl

Variable dimensions

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