Pera Film's annual I'm Here! film program, initiated in observance of World AIDS Day, this year hosts the screenings of the video collection Everyone I Know is Sick, curated by the contemporary art organization Visual AIDS.
Everyone I Know is Sick presents a selection of five videos by artists working around the world who make connections between HIV and other forms of illness and disability. Inspired by a statement in Cyrée Jarelle Johnson's book “Black Futures”, Everyone I Know Is Sick examines how our society excludes disabled and sick people through a false health-disease dichotomy. The program inviting us to understand disability as a shared experience rather than an exception to the norm highlights a range of experiences spanning HIV, COVID, mental health, and aging.
This program’s screenings are free admission. Drop in, no reservations. As per legal regulations, all our screenings are restricted to persons over 18 years of age, unless stated otherwise.
December 1
20:00 Heart Murmurs
That Child with AID$
This Bed I Made
Old Man/Sick Man/Shout
Losing the Light
December 7
19:00 Heart Murmurs
That Child with AID$
This Bed I Made
Old Man/Sick Man/Shout
Losing the Light
December 1
20:00 Heart Murmurs
That Child with AID$
This Bed I Made
Old Man/Sick Man/Shout
Losing the Light
December 7
19:00 Heart Murmurs
That Child with AID$
This Bed I Made
Old Man/Sick Man/Shout
Losing the Light
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
1638, the year Louis XIV was born –his second name, Dieudonné, alluding to his God-given status– saw the diffusion of a cult of maternity encouraged by the very devout Anne of Austria, in thanks for the miracle by which she had given birth to an heir to the French throne. Simon François de Tours (1606-1671) painted the Queen in the guise of the Virgin Mary, and the young Louis XIV as the infant Jesus, in the allegorical portrait now in the Bishop’s Palace at Sens.
The various states of viewing nudity entered the Ottoman world on postcards before paintings. These postcards appeared in the 1890s, and became widespread in the 1910s, following the proclamation of the Second Constitutional Monarchy, traveling from hand to hand, city to city.
Tuesday - Saturday 10:00 - 19:00
Friday 10:00 - 22:00
Sunday 12:00 - 18:00
The museum is closed on Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 300 TL
Discounted: 150 TL
Groups: 200 TL (minimum 10 people)
