Der Greif X MPB: Behind the Image with Kıvılcım S. Güngörün

Der Greif in partnership with MPB presents Kıvılcım S. Güngörün, Guest Room Scholarship winner

Der Greif and MPB introduce Kıvılcım S. Güngörün, scholarship recipient from our Guest Room “Urban Exoticism", curated by Michael Grieve and Ruth Blees Luxemburg. Güngörün is a Turkish photographer whose work masterfully merges the realms of personal memory and urban narrative. An image from her acclaimed “Calmistery” series – selected for Guest Room – radiates a haunting melancholic beauty alongside a piercing critical edge. It captures the layered distortions of our contemporary age, revealing truths that are as elusive as they are profound.

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Der Greif: Can you tell us the story behind your work selected for Guest Room?

The selected work comes from the series “Calmistery,” which delves into the intricate connections and hidden meanings of the urban landscape. Beneath the city's surface lie layers of history, culture, and personal imprints. In every fleeting moment, something delicate is lost – those fragile intersections where the old meets the new, the natural collides with the artificial, and stillness merges with chaos. This series offers a glimpse into spaces where meaning seeps through the cracks, often unnoticed yet profoundly resonant. Through my photographs, the city narrates its own story, with each image serving as an earnest pursuit of its elusive spirit and mystery. Likewise, the project title "Calmistery" suggests that meaning is never singular but multifaceted – expanding with awareness, shifting with perception, and unfolding in layers, just as the name implies.

DG: Can you expand on the themes that your photographic work explores specifically?

KSG: My work explores life, death, memory, and time, portraying cities as layered landscapes where history quietly resides beneath the surface. Walking these streets feels like entering a dream – gathering ephemeral moments and crafting narratives that blur the line between reality and fiction. I focus on what often goes unnoticed: a distracted face, a remnant of another era, a worn surface, a subtle crack in the flow of daily life. Photography becomes my means of listening to these silences; some images stand alone, while others merge into collages where past and present intertwine. I approach portraits much like I do discarded objects – guided by instinct, uncertain of why they captivate me, yet each becomes a vital part of an evolving collection. Then there are the broken fridges. For over twenty years, I have been drawing them, capturing the weight of time and the absurdity of the present. Once functional, now broken yet persistent, they mirror the cycles of consumption, decay, and rebirth that define the modern world.

DG: What is the biggest challenge you have faced in photography?

KSG: One of my biggest challenges has always been balancing personal expression with external expectations. Explaining a single photograph is hard enough. That's why I gradually turned to poetry, fragmented stories, words, and questions instead of direct explanations. My photos are more than technical exercises; they capture raw moments and emotions shaped by instinct. To leave room for interpretation, I embrace an approach that favors free association over fixed narratives. I believe that this indirect form of storytelling makes the experience both playful and deeply meaningful. After all, what I want to show is already there. I’m simply collecting fleeting moments.

DG: Who are some photographers who inspire your work?

KSG: My inspirations have always been those who document their own lives, regardless of whether they're professional photographers. I love witnessing the raw authenticity of someone capturing life as it unfolds. I particularly admire the work of photographers like Shiori Ikeno, Charalampos Kydonakis, Eda Demir, Paul Grund, and Zeynep Özkanca.

DG: What are you working on right now?

KSG: I’m working on my long-term projects “Oğaç,” “Kportyu Town,” “I lab yu,” and “meltaround”. These are constantly evolving as I continue to photograph and layer new meanings onto them. In addition to these series, I capture stand-alone moments every day: portraits, street scenes, and music events. Right now I’m in Tokyo, where I’ve become fascinated with the empty spaces hidden within crowded moments. Perhaps it’s just my state of mind, but these fleeting, Zen-like gaps pull me in, feeling like a quiet, melancholic game. After arriving here, I encountered the Japanese concept of ‘Ma’ (間) – the meaningful void between things – and realized I’ve been chasing that all along.

DG: What kind of gear do you work with?

KSG: Although I primarily use analog cameras, since 2020 I’ve increasingly embraced digital ones or even specific digital gear for certain shoots. I also enjoy capturing daily moments with a simple, pink phone. I have this charming head flash that draws attention on the street, yet its pink hue seems to put people at ease. Plus, I love its beautiful white light, so I stick with it for my shots.

DG: What was the first camera you ever used?

KSG: My very first camera was a Canon 300v, gifted to me in 2010 by my dad’s photographer friend named Kathrin Schmekel. It’s the camera I’ve used the longest, although every 300v I’ve owned since has either arrived a little broken or hasn’t lasted as long. Recently, the flash on my current 300v gave out after a rather amusing incident, so now I carry a separate flash out of caution, as it has become my signature.

DG: What do you value in your camera gear today? Any thoughts on used gear?

KSG: My choice of camera really depends on what I’m shooting. For street photography, where speed is essential, the Olympus AF1 is perfect. For concerts or portrait sessions, the Canon 300v, with its adjustable settings, does the job beautifully. My Contax has been my steadfast companion since 2016. I don’t always chase high-end gear; I’ve learned to work with what I can afford, and those quirky imperfections often add an extra layer of interest to my work. All of my cameras are second-hand, each carrying their own history (and attitude). And if I ever need an upgrade, I’ll be on the hunt for another used gem.

DG: Can you tell us what this scholarship means for you?

KSG: This scholarship provided me with the space to reflect deeply on my work. The alignment between the Guest Room text and my entire body of projects inspired me to select this project, allowing me to further develop it, refine the image selection, and clarify its narrative.