Der Greif X MPB: Behind the Image with Murat Kahya

Der Greif in partnership with MPB presents Murat Kahaya, recipient of the Guest Room Scholarship

Der Greif introduces the Guest Room Scholarship awardee, Murat Kahya, who was selected by Guest Room curators Christiane Monarchi and Eva Eicker. In the context of the given theme "Wortbildsalat / word-image-salad," Kahya's featured image from the series "Seesaw" contributes to the collective image-world poem curated for the Guest Room. His project combines archival and authorial photography, writing, and performance, resulting in collages of images and words that transcribe what the author hears in spontaneous situations and conversations.

This format is brought to you in partnership with MPB, the largest global platform to buy, sell and trade used photo and video gear.

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

As I walked around the city, I spontaneously started recording phrases I overheard on my phone. I was fascinated by the way these sentences stood out from the crowd and caught my ear. Out of dozens of sentences spoken loudly, the fact that I heard one of them must have been due to selective perception related to my subconscious. As I collected these sentences for over a year, I realized that the perceptions shaping my subconscious were actually my visual archive. I thought that combining these sentences with photographs, just like my encounters on the street, would create new meanings. I began working on the installation of the project during the Daire Sanat Studio Program. I like to leave the process open in my work, allowing the point I envision to change both technically and conceptually as I progress. For this reason, as I circle around my main idea, I transform the project by using the possibilities and limitations of the material. I find it satisfying to follow this transformation and let it become the work itself.

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

For the past five years, my approach to photography has focused on creating sensory installations for the viewer, centered around specific spaces, people, objects, or themes I am trying to tell a story about. I use photography as a starting point, reflecting my love for observing my surroundings and using it as a tool to understand the subject I am immersed in. While using it as a tool, I play with the formal qualities of photography, expanding its content to make it more dimensional and sensual for the viewer.

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

It could be its two-dimensionality. In my recent work, I have started using sound along with photography. This helps me overcome the inherently two-dimensional nature of photography. I've begun to feel that it allows me to better convey the story I want to tell to the audience.

Der Greif: Who are some photographers that inspire your work?

There are quite a few, but I can mention a few that I look at frequently. Todd Hido, Alec Soth, Marie Queen, Zoe Leonard, Thomas Ruff, Thomas Demand, Wolfgang Tillmans, Nan Goldin is an all-time favorite. From the old days, I love Alfred Stieglitz. I still admire the style of American photography by Stephen Shore and Eggleston. From contemporary photography, I like Dayanita Singh and more and more.

Der Greif: What are you working on right now?

I had just finished my studio program at Daire Sanat. There, I created the installation for “Seesaw”. Now, I'm working on the design and final adjustments of the book for this project. At the same time, I'm preparing work for a land art exhibition to be held for the first time at Barbare Studio in September. The most exciting development is that I will be participating in a workshop program on the island of Corsica, organized by the French Ministry of Culture, starting September 15th. Currently, I'm working on the conceptual aspects of the project I'll be doing there.

Der Greif: What kind of gear do you work with?

I like to work mostly with analog. I always carry a Contax T3 camera with me. I also sometimes carry my Fuji Ga645 Zi medium format camera for portrait work. In addition, I occasionally borrow medium format cameras like the Pentax 67 and Mamiya 7 from friends to shoot in 6x7 format. I'm seriously considering using a digital medium format camera for my project on the island of Corsica. I think the new Hasselblad medium format cameras would be very suitable for this work.

Der Greif: What do you value in your gear today?

Since I usually use analog systems, all the camera systems I have owned so far have been used. I find it important to test before I buy. If I'm in the same city, I prefer to shoot a roll of film before I buy. For my commercial work, I usually rent digital cameras.

Der Greif: Can you tell us what this scholarship means for you?

This grant has been a great source of motivation for me to continue with my latest work, which has been in concept for a long time and has taken physical form in the last five months. I wanted to buy some equipment and experiment with it to make sure the work was of a higher quality and something I could be proud of. This grant will make that possible.