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In Nevin Aladağ’s works, questions of family background, of self-perception and how one is perceived by others, as well as how music acts as a bearer of cultural identity play a major role. In many of her works she uses sculptural and performative means in order to produce sounds and tones which she then utilises for rhythmic compositions.
In her Dresden installation entitled "Music Room" (2017), Nevin Aladağ makes reference to private concerts for family and friends, which were particularly popular during the Biedermeier period. On the other hand, the furnishings she has selected reflect local traditions that do not stylistically fit in with the fashions of the ascendant bourgeoisie in 19thcentury German-speaking countries. Rather, the furniture she has selected raises questions as to their provenance. Their bourgeois character leads one to ask what motivated the owners to sell their items of furniture. Who did they belong to, what do they tell us, and what does their second life as art objects have to do with their private past?