First on the Moon

  • November 21, 2015 / 19:00
  • December 13, 2015 / 16:00

Director: Alexsey Fedorchenko
Cast: Aleksey Anisimov, Viktoriya Ilyinskaya, Viktor Kotov
Russia, 2005, 76’, color, black & white
Russian with Turkish subtitles

Think it was Neil Armstrong and Buzz Aldrin? Well, think again, because as Alexei Fedorchenko's unsettling debut film reveals, a Soviet cosmopilot, Ivan Kharlamov, actually went there and back in 1938, piloting his experimental, and highly secretive craft back to Chile, from where he undertook an arduous journey across the Pacific, through China and Mongolia and finally into Mother Russia itself. First on the Moon is a touching expression of an unfettered utopian spirit - a sense of the limitless possibilities of human ingenuity and imagination - that characterized many people's vision of the Soviet experiment before its grim realities settled in. (Kent Jones)

Aelita, Queen of Mars

Aelita, Queen of Mars

Planet of Storms

Planet of Storms

The Amphibian Man

The Amphibian Man

Solaris

Solaris

Stalker

Stalker

To the Stars by Hard Ways

To the Stars by Hard Ways

Zero City

Zero City

First on the Moon

First on the Moon

Trailer

First on the Moon

Loading Limit

Loading Limit

Pera Museum presented a talk on Nicola Lorini’s video installation For All the Time, for All the Sad Stones, bringing together the artists Nicola Lorini, Gülşah Mursaloğlu and Ambiguous Standards Institute to focus on concepts like measuring, calculation, standardisation, time and change.

Portrait of a Bullfighter (1797)

Portrait of a Bullfighter (1797)

The man is depicted in three-quarters view, turning straight to the viewers with a penetrating glance. The background is grey, while the clothes, the hair, and cap are black. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.