Prostitution Behind the Veil

  • March 18, 2015 / 17:00
  • March 20, 2015 / 21:00

Director: Nahid Persson Sarvestani
Denmark, 2004, DigiBeta, Color, 57’
Persian, English and Turkish Subtitles

The director returns to her motherland years after the Iran Islamic Revolution only to observe in surprise that the social injustices that existed before the revolution increased despite the regimes claims of justice, and drugs consuming and the gap between the classes expanded. The documentary is about two women who work as sex workers in order to raise their children, in a country governed by hard religious rules.

Awards:
Guldbagge Awards, Best Documentary, Gulbagge Award, 2006
Cracow Film Festival, Golden Dragon Award, 2005
Créteil International Women’s Film Festival, AFJ Documentary Award, 2005
Monte-Carlo Tv Festival, Golden Nymph, New Documentaries, Best News Documentary, 2005

My Stolen Revolution

My Stolen Revolution

The Queen and I

The Queen and I

Prostitution Behind the Veil

Prostitution Behind the Veil

Paris Without End (1959-1965)

Paris Without End (1959-1965)

In the 60s, Alberto Giacometti paid homage to Paris, the city where he lived, by drawing its streets, cafés, and more private places like his studio and the apartment of his wife, Annette. These drawings would make up his last book, Paris sans fin (Paris Without End). 

Janine Antoni Look At Me!

Janine Antoni Look At Me!

The exhibition Look at Me! Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection examines portraiture, one of the oldest artistic genres, through a significant number of works of our times. Through the exhibition we will be sharing about the artists and sections in Look At Me!. This time we are sharing about Janine Antoni , exhibited under the section “The Conventions of Identitiy”!

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’.