Cihad Caner  is an artist living and working in Rotterdam and Istanbul. He mostly works with photography, video, CGI and sculpture. In his recent works, he focuses on the subjects of image culture, utilisation forms of daily life objects in different circumstances; war, resistance and immigration. His works recently has been exhibited at V2_Unstable Media, Hong Kong Arts Center, AMNUA Museum, National Gallery of Iceland, Mother Gallery London, Bohai Galerie and EYE Film Museum, Caner graduated in 2016 from Piet Zwart Institute Master program on Media Design and Communication in Rotterdam.
His project investigates a question - How the image of the ‘other’ is represented, presented and distributed in the mainstream image production methods as ‘monster’?The etymology of “monster”, in English/German/Dutch “Monster”, in Spanish “monstruo”, in Italian “monstro”, stems from Latin. In Latin it corresponds to “monstrare” (indicate, expose) and “monore” (warn, report danger). Our perception of monster emerges not only from the one that we see; it is the one that we have never seen. The monster has been seen, represented or existed in relation to the unseen, the non-compliant, the non-classied, the de ant, in relation to seeing, showing and existing. The trail of alienation is circulating among us as proof of the other. Postcolonialism (continuation of economic/political dependence) has increased, the continuing ow of migrants from former colonies to colonialist states, the emergence of categories - such as monsters - has crossed the borders, triggered the recent rise of the far-right in the world. The encounter with the other brings the stereotype.
"Root" (2012-2015) | "What Happens To The Geographical Borders When The Land Itself Moves" (2016)
In my opinion, image-value is defined not only by resolution or content, but also by speed and intensity. The digital image is not as short-lived as one might think, because just a photograph is placed on paper, the digital image is placed in a circulatory system of desire and exchange, which itself relies on a very specific economic regime.
Therefore, I create visuals by forging the borders of photography for a personal interpretation of how humanity can view its ever- evolving environment. I choose two landscape images for the publication. The first image was produced with an analog way negative film by photographing something physical. However, the second image was produced as computer generated image. It is totally digital and consists as data.