Cemile Sahin (b. 1990 in Wiesbaden, lives and works in Berlin) stages relationships between words and images in various media such as film, photography, and sculpture. Contradictory and contrasting significations form the meaning its narratives. Close-ups of expressive faces are simultaneously depicted with different actions, narrative and montage techniques expose the viewer’s own points of view. In her multimedia installations, Sahin questions the functionalization of media and the importance of different perspectives for historiography, she does this by examining the question of how history and its narration change when it is constructed through the narratives of different perspectives.
In the exhibition ars viva 2020, the artist showed an installation consisting of photographs, a video work, and two airplane escape slides that dealt with news images and their manipulability. The edition with the title 1, 2, 3, 4 follows on from this installation. Four printed neon acrylic panels, produced with automotive-film and UV printing, stand on an acrylic shelf. In terms of motifs, the panels aesthetics are reminiscent of the automotive industry on the one hand, and Internet surfaces and computer game scenarios on the other, show excerpts of “safety cards” from airplanes alongside cloud motifs. The individual panels are labeled ONE, TWO, THREE, FOUR in capital letters. Here her examination of the limits of media narration goes hand in hand with exploring the means and possibilities of what can be narrated.
- ars viva 2020, Kunstverein in Hamburg (G)
Studio Berlin, Boros Foundation, Berghain (G)