Liquid Positions – Situated Knowledges

Cana Bilir-Meier, belit sağ, Nanna Heidenreich

A conversation and screening with Cana Bilir-Meier and belit sağ



Cana: When putting your own stance into a context, as well as inside a discussion, it’s really important to clarify from where you speak and to whom you address. For example, I researched migration in Germany, as well as Turkish history of the 60s, when my grandparents came as guest workers. I started to work with the archive of my family and research existing archives. […]. How do we remember? Who gains advantages from remembering? Remembering is an unfinished process and fragmented in itself. And it’s highly linked to writing a certain kind of history in the form of reconstruction—a process of adding a new story—and it’s important who writes it, who collects it, who is speaking, who can enter it and how can it be used? […].

belit: How can we transform the archive? I’m involved in bak.ma [a digital media archive of social movements in Turkey] and our question was how to make an archive that is dynamic, that people can use, contribute to, and search in different ways. One that is as accessible as possible. […] An archive has to be as dynamic as life. A personal archive has a lot of different characteristics, definitely every work one does, first and foremost, talks about that person.

Cana: Another question I am dealing with is the border between yourself and the other. While developing a project, you are filming, you see the news on television, you look at yourself, you talk to people, and you have the archive and memory. After a while everything gets mixed. You are playing with different points of view. For me, making films or writing texts is never something complete.

This dialogue is an excerpt of the article »Dokumentaristiken – Dokumentation und ihre Eigenschaften« taken from the magazine Version Nr. 3.


Portrait of Cana Bilir-Meier

Cana Bilir-Meier

Cana Bilir-Meier studied at the Academy of Fine Arts Vienna, the School for Independent Film Friedl Kubelka in Vienna and Sabancı University in Istanbul. In 2021, she was a visiting professor of art education at the Academy of Fine Arts in Munich. She works as a film-maker, artist and art educator. She co-founded an initiative in memory of Semra Ertan in 2018. In 2020, she co-edited a volume of poems titled Semra Ertan – My name is Ausländer / Benim Adım Yabancı.

Films by Cana Bilir-Meier
Zwischenwelt 2023 | All Ausländer Go to Heaven (Musikvideo Fehler Kuti a.k.a. Julian Warner) 2021 | This Makes Me Want to Predict the Past 2019 | Ronya Othmann 2019 | Kabadayı (Musikvideo EsRap) 2019 | Bestes Gericht 2017

belit sağ

belit sağ

belit sağ is a visual artist whose recent work focuses on the violence of images and images of violence. She studied Mathematics in Ankara and Audiovisual Arts in Amsterdam. Her video background is rooted in video-activist groups in Ankara and Istanbul. Her work has been presented all over the world, including at MOCA, Taipei, documenta14, Kassel, the film festivals of Toronto, Rotterdam, San Francisco and New York, IDFA and EYE Filmmuseum, Amsterdam, Tütün Deposu, Istanbul, Marabouparken, Stockholm, and Flaherty Film Seminar NYC.

Nanna Heidenreich

Nanna Heidenreich is a professor for Digital Narratives – Theory at the ifs internationale filmschule köln. In the summer of 2016, she was visiting professor for media & cultural studies at the University of Hildesheim and from 2011-2016, she was a lecturer/researcher in media studies at the University of the Arts in Braunschweig. From 2009-2017, Heidenreich co-curated the Berlinale program Forum Expanded. She has published widely on migration, visual culture, postcolonial media theory, art and activism, and queer theory and was part of the network organising the »Tribunal Unraveling the NSU-Complex«.