Although it reminds us the dusty closets, the definition of archive gets even more blurry, while we are documenting our each day and clicking “archived” status for e-mails. Like all nonhegomonics who struggle to create alternative historicities instead of grand narratives, queers, being aware of practices of inclusion and exclusion strategies of archiving, brings the question of creating new archives against the History based on denial. This section called “queer (ab)uses of archives”, seeks for a queer remedy to the politics of memory and of forgetting with the films queering the archival materials by using creative collages. with different kinds of archival materials and thus creating new narratives. Films gathering 8mm home movies, the well-known film footages with intimate testimonies are in search of queer histories. Esra Özban
Click here to take a look at the selection.
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.
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