ENES GÜÇ is a Berlin-based director and multidisciplinary artist working across film, spatial environments, and digital systems.
His practice focuses on the construction of perception. Through controlled visual and spatial languages, he creates multi-dimensional environments where psychological and emotional states are staged, observed, and destabilized, balancing clarity with tension and subtle shifts in reality.
With a background spanning fine arts, CGI, and creative direction, his work is informed by both material and digital processes. This duality allows him to move fluidly between film, installation, and constructed environments, approaching each project as a system rather than a single output.
His personal work and collabrations has been presented by Schinkel Pavillon, Julia Stoschek Foundation, Frieze London, and Paris Photo, and featured in Dazed, Vogue, and Nowness. He has collaborated with Staatsballett Berlin, Shayne Oliver Group, Rimowa, Dilara Fındıkoğlu, and Berlin Atonal, among many others.
Across formats, he builds contained worlds with a distinct internal logic, where image, architecture, sound, and performance operate as one.
His practice focuses on the construction of perception. Through controlled visual and spatial languages, he creates multi-dimensional environments where psychological and emotional states are staged, observed, and destabilized, balancing clarity with tension and subtle shifts in reality.
With a background spanning fine arts, CGI, and creative direction, his work is informed by both material and digital processes. This duality allows him to move fluidly between film, installation, and constructed environments, approaching each project as a system rather than a single output.
His personal work and collabrations has been presented by Schinkel Pavillon, Julia Stoschek Foundation, Frieze London, and Paris Photo, and featured in Dazed, Vogue, and Nowness. He has collaborated with Staatsballett Berlin, Shayne Oliver Group, Rimowa, Dilara Fındıkoğlu, and Berlin Atonal, among many others.
Across formats, he builds contained worlds with a distinct internal logic, where image, architecture, sound, and performance operate as one.
CONTROL
We first meet him through footage he shot years earlier at Sümela Monastery. Mountains, old architecture, tourists, the painted faces of saints. It looks like ordinary handheld footage from a trip. Cut to Berlin at night. He is awake in bed watching it, unable to sleep.
He is a musician and songwriter who has built a very controlled life around himself. His apartment, work, body, appearance and routine all feel carefully managed. He is largely silent and notices much more than he says. He can read a situation very well, but once something becomes unpredictable he has a harder time knowing how to enter it. Morning comes automatically. Music starts, the blinds rise, the apartment fills with light. The details of his space reveal threats of the character without explaining him.
He exercises, showers, takes care of himself, prepares his protein smoothie as an attempt to take the control back after a sleepless night. There is something almost self-sufficient about the space around him, as if his life has been organised to remove as much friction as possible.
He is a musician and songwriter who has built a very controlled life around himself. His apartment, work, body, appearance and routine all feel carefully managed. He is largely silent and notices much more than he says. He can read a situation very well, but once something becomes unpredictable he has a harder time knowing how to enter it. Morning comes automatically. Music starts, the blinds rise, the apartment fills with light. The details of his space reveal threats of the character without explaining him.
He exercises, showers, takes care of himself, prepares his protein smoothie as an attempt to take the control back after a sleepless night. There is something almost self-sufficient about the space around him, as if his life has been organised to remove as much friction as possible.