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Yermekan and Goethe-Institut, Ankara:
 The Photo Film

[Translate to English:] CITIES (TERRITORIES & OCCUPATION)

At the alternative art space Yermekan in Ankara, which was founded in 2022 and is run by young artists, a three-day program on the theme of the photo film is taking place in collaboration with the Goethe-Institut Ankara and Arsenal, which includes films stretching from the 40s to the present day and discussions and conversations. Photography freezes movement, records a moment. The medium of film for its part stands for movement and the organization of time. Photo films are made at the interface between the two media..

JEŠTĚ NEJSEM, KÝM CHCI BÝT (I’m Not Everything I Want to Be, Klára Tasovská, Czech Republic/Slovakia/Austria 2024) entirely consists of photographs from the vast archive of Czech photographer Libuše Jarcovjáková, who was born in 1952. Images selected from tens of thousands of different ones show her eventful life between Prague, Tokyo and Berlin, while excepts from her diary are read in voiceover. Chris Marker’s LA JETÉE (France 1962) is a legendary science fiction film that only consists of photographs connected via dissolves.   In Alain Resnais’ VAN GOGH (France 1948), a new form of artist biography is created, in which van Gogh’s life is narrated exclusively with the help of his paintings. Hubert Fichte & Leonore Maus’ DER TAG EINES UNSTÄNDIGEN HAFEN­ARBEITERS (West Germany 1966) shows the daily routine of a worker without a fixed contract. Silke Grossmann’s DIE GEFÜHLE DER AUGEN (West Germany 1985/87) connects photography and moving images. DER PIRAT IST DIE LIEBE (West Germany 1981/83) edits together photos from the life of two women. Sirkka-Liisa Konttinen’s multi award-winning photo film THE WRITING IN THE SAND (UK 1991) lives from the photographed moment, from snapshots taken on the beaches of northern England. CITIES (TERRITORIES & OCCUPATION) (Gusztáv Hámos and Katja Pratschke, Germany 2019) grapples with the division of cities in different zones and neighborhoods and the invisible lines of demarcation in which power relations, inclusion and exclusion are revealed. CAPITALISM: CHILD LABOR (Ken Jacobs, USA 2006) and CAPITALISM: SLAVERY (Ken Jacobs, USA 2007) are each based on a historical photograph, which Ken Jacobs animates with different effects and thus breathes new life into. (19.–21.9.)

Funded by:

  • Logo Minister of State for Culture and the Media

Arsenal on Location is funded by the Capital Cultural Fund

The international programs of Arsenal on Location are a cooperation with the Goethe-Institut