Director: Markus Kneer, Daniel Schwartz
23’, Venezuela, Switzerland, 2013
Spanish, English with Turkish & English subtitles
Torre David is the world's tallest squat. This skyscraper in the center of Caracas, Venezuela, was never completed and stood vacant for over a decade. Five years ago, 750 families from the slums moved into the tower, installed water and electricity, and turned this building intended as bank headquarters into their home. “For me, being here is an opportunity that came from a tragedy,” says one occupant who lost his house in a flood. With its open stairwells and gaping holes, this half-completed carcass of a building houses innumerable little paradises rising up from the concrete floors poured by the new residents themselves. There’s a shop, a basketball court, a parking garage, a guard and a lock on the door to keep out criminals. Forty percent of Caracas’s population lives in slums. “In the slum, life is lawless. Here, it’s safe,” explains one woman, and another explains how filthy the building was when they first entered five years ago. Photos illustrate the story in split screen. The squatters work communally to make the building habitable. Short interviews alternate with scenes from everyday life in the tower, accompanied by rap music from El Cancerbero and others.
Inspired by its Anatolian Weights and Measures Collection, Pera Museum presents a contemporary video installation titled For All the Time, for All the Sad Stones at the gallery that hosts the Collection. The installation by the artist Nicola Lorini takes its starting point from recent events, in particular the calculation of the hypothetical mass of the Internet and the weight lost by the model of the kilogram and its consequent redefinition, and traces a non-linear voyage through the Collection.
In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.
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’.
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