Art Unlimited Magazine
Photography
Unlimited Publications, Istanbul (2021–Present)
Since 2021, Berk Kır has created the cover images for Art Unlimited, one of Turkey's leading contemporary art magazines. Produced in close dialogue with each featured artist, every commission responds to an individual practice rather than following a fixed editorial approach. Working with existing spaces, available light, and minimal intervention, Kır approaches each cover as an autonomous photographic work. Together, the images form an ongoing visual archive of contemporary artists and their practices.
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Off to Elsewhere: Der Greif x Münchner Kammerspiele
Münchner Kammerspiele, Munich (2024–25)
Visual Campaign · Publication · Exhibition
Berk Kır's work was selected for Off to Elsewhere, the official visual campaign for the 2024–25 season of Münchner Kammerspiele. Curated by Çağla İlk, Artistic Director of Maxim Gorki Theater and curator of the German Pavilion at the 60th Venice Biennale, the project brought together works selected through an international open call, receiving more than 1,000 submissions from 82 countries.
Presented as a city-wide public art campaign across Munich, Off to Elsewhere brought the selected photographs into public space through large-scale installations at multiple locations throughout the city. Berk Kır's photograph was prominently displayed on the façade of Therese-Giehse-Halle, one of Münchner Kammerspiele's main venues, and was also published as a collectible 420 × 594 mm fold-out poster, accompanied by an essay by Caroline von Courten and an editorial by Artistic Director Daniel Veldhoen.
Fresh Eyes: Guide to Unique Photography
Publication
GUP Magazine, Amsterdam (2021)
In 2021, Berk Kır was selected for Fresh Eyes: Guide to Unique Photography, GUP Magazine's annual publication bringing together 150 of the most compelling photographic voices from across Europe.
The 2021 edition, Talent's Vision: A Door to Unfamiliar Realities, opens with an introductory conversation by Francesca Marani and presents the work of 150 selected photographers in a 616-page volume. Offering a broad overview of contemporary European photography, the publication highlights a new generation of image-makers from across the continent.
Following its release, the publication entered the permanent PhotoIreland Collection, becoming part of its institutional archive.
Ways of Making
Editorial
The New York Times Style Magazine (2026)
Commissioned by fashion designer Aslı Filinta and published in The New York Times Style Magazine, this editorial was photographed in Hatay, Türkiye, documenting Filinta's collaboration with the women of BİZ Collective Women's Cooperative. Created in the aftermath of the February 2023 earthquakes, the story follows a community where design, craftsmanship, and collective labour become part of rebuilding everyday life.
Rather than focusing solely on the finished garments, the photographs observe the processes that bring them into being. Moving through workshops and shared production spaces, the images document gestures, materials, and forms of collaboration, approaching fashion as a social practice shaped by care, resilience, and collective knowledge.
Moving between editorial storytelling and social documentary, Kır approaches the assignment with the same attentiveness to people, objects, and environments that characterizes his broader artistic practice. The resulting images trace the relationships between making, labour, and everyday life, extending the narrative beyond the garments themselves.
Credits: Aslı Filinta · Feride Yalav · Alev Elmas Karataş · BİZ Collective Women's Cooperative · Cevahir Sever · Gül Özerdekli · Meriç Çaparoğlu · Selen Ergül · Şeyda Nisa Demireğer · Ümran Çaparoğlu · Yağız Köseoğlu · Yıldız Irmak Güleryüz.
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Semiramis, 2025
Bringing together designer Mahmut Anlar, artist Berk Kır, and Semiramis Pekkan, this unique collaboration brings photography, design, and portraiture into dialogue.
Based on a series of photographs by Berk Kır, Mahmut Anlar designed a collection of custom frames that respond to and extend the visual language of the images. Rather than functioning as a presentation device, each frame becomes an integral part of the work, shaping the relationship between the photograph, its material presence, and the viewer.
In his portraits of Semiramis Pekkan, Kır moves beyond her familiar public image, focusing instead on moments of stillness, intimacy, and reflection. The photographs reveal a quieter presence, inviting a more personal encounter with the subject.
Together, the photographs and frames form a single body of work in which image and object exist in dialogue. The collaboration reflects a shared attention to materiality, craftsmanship, and the enduring emotional resonance of portraiture.
