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.
Short Film, 2025
The Tending follows two versions of the same figure brought into confrontation within an isolated mountain landscape. One moves through the space with an increasing sense of unrest, while the other attempts to restore order to the house and its surroundings.
The work began from the idea that transformation sometimes requires the public release of an older identity. The Tending takes this proposition literally, staging a confrontation between two versions of the same figure and allowing the process of separation to unfold across the landscape.
As their coexistence begins to fracture, small disturbances accumulate across the environment. The landscape gradually becomes inseparable from the tension between them, functioning as a symbolic system of inner terrain. The house, garden, mountain and river each hold different psychological states, while objects begin to take on the function of seals, bindings and containers, holding certain conditions in place until they can no longer remain intact.
What begins as an attempt to maintain an existing order slowly changes in nature as the effort to repair it begins to cause more harm. Through acceptance and accountability, one figure is gradually released from the domestic space and moves toward the mountain, while the other begins to inhabit the landscape differently, as if the inner terrain has shifted with him.
Through repetition, physical gesture and shifts in the environment, the film moves through sacrifice, release, purification and awakening. The transformation is never fully resolved, but unfolds as a gradual shedding of one state into another.
Music:
We Don’t Need Other Worlds, We Need Mirrors by Ben Frost & Daníel Bjarnason
The Lambing Lamb by Tóti Guðnason