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.
Interdisciplinary installation, moving-image work and live performance, 2026
1.618 explores the relationship between the individual and the collective through moving image, choreography, live performance and spatial installation. Rather than existing as separate disciplines, each manifestation reorganises the others, allowing the work to unfold as a single evolving environment. Projection, architecture, sound and audience movement become interconnected conditions through which perception continuously shifts.
The moving-image is structured across three interconnected movements performed entirely by a single body. Through fragmentation, repetition and digital multiplication, an individual figure gradually reorganises into larger collective formations that oscillate between synchronisation and collapse. Camera movement, choreography, editing and sound operate as a unified compositional system, allowing one performer to embody multiple psychological and collective states simultaneously.
Borrowing its title from the golden ratio while moving beyond its mathematical origins, 1.618 considers proportion not as a formal principle but as a perceptual structure. It asks how systems of measurement, repetition and idealisation quietly organise bodies, architecture and collective behaviour. What first appears as harmony gradually reveals itself as choreography: an invisible framework through which order is produced, reinforced and inhabited.
This movement between singularity and multiplicity is framed through Cerberus, the three-headed guardian of the underworld. Rather than functioning as a narrative character, Cerberus becomes a threshold between perceptual states. The moving-image operates as a space where the individual fragments and multiplies into collective formations, while the live body remains exposed within the physical architecture of the exhibition. Together they construct two interconnected realities, revealing how repetition transforms identity and how invisible structures shape both individual perception and collective experience.
Originally developed during the Shane Oliver Group residency at TRAUMA, 1.618 culminated in a site-specific installation and live performance at Schinkel Pavillon, bringing together performers Josh Johnson, Precious Renee Tucker and Tapiwa Svosve alongside a live programme featuring Bobby Beethoven, Salome and Why Be. Rather than presenting film, performance and installation as autonomous works, 1.618 allows each form to continually reorganise the others, constructing a shared spatial experience that continues to evolve across different contexts.
Performence by Josh Johnson, Precious Renée Tucker and Tapiwa Svosve
1.618 Film by Josh Johnson, Shayne Oliver Group, Enes Güç, Thilo Garus
Commissioned by TRAUMA as part of the SOG residency, 2025
Produced by Devin Pope
Fullmoon (Motion Graphics Remix) by Ryuichi Sakamoto
Bobby Beethoven, SALOME, Why Be
Hosted by Schinkel Pavillon
Curated by Luisa Seipp
Produced by Nina Reese
Documentation by Tom Funk, Asya Urazbakhtina and Valentin Dobrun