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The Whitechapel Gallery is committed to making all of our events as accessible as possible for every audience member. Please contact publicprogrammes@whitechapelgallery.org if you would like to discuss a particular request and we will gladly discuss with you the best way to accommodate it.
– Information about access on site at the gallery is available here https://www.whitechapelgallery.org/visit/access/
– This includes information about Lift access; Borrowing wheelchairs & seating; Assistance Animals; Parking; Toilets and baby care facilities; Blind & Partially Sighted Visitors; Subtitles and transcripts; British Sign Language (BSL) and hearing induction loops; Deaf Messaging Service (DMS).
Covid Information
– We encourage all visitors to take a lateral flow test before attending events and to wear a face covering during events.
– For more information on health and safety measures in relation to Covid-19, please see: https://www.whitechapelgallery.org/visit/coronavirus-update/
About This Event
– This event takes place in the Zilkha Auditorium at Whitechapel Gallery
– You must purchase a ticket to attend the event. Concession tickets are available. If you require a Personal Assistant to support your attendance, we can offer them a seat free of charge, but it must be arranged in advance.
– This event is suitable for those over the age of 16
– We are unable to provide British Sign Language interpretation for this event
– We are unable to provide live closed captioning or CART for this event.
– This event last approximately 1.5 hours.
– An audio recording of the event can be obtained by emailing publicprogrammes@whitechapelgallery.org following the event.
Transport
– To the best of our knowledge, there are no planned disruptions to local transport on the date of the event.
– Our nearest train station – Aldgate East Underground (1 min) is not wheelchair accessible. The closest wheelchair accessible stations are Whitechapel (15 min), Shoreditch High Street (15 min) or Liverpool Street (15 min).
– Free parking for Blue Badge holders is available at the top of Osborn Street in the pay and display booths for an unlimited period. Spaces are available on a first come, first served basis.
Live Recording
Please note: we audio record all events for the Whitechapel Gallery Archive. This audio material may also be used for our Hear, Now podcast series.
Seven inhabitants of a de facto state on the Black Sea unfurl a web of stories about loss and displacement through the re-imaginings of dreams and memories of the 1992-93 war in Abkhazia. To question the unstable distinction between fact and fiction, these re-imaginings are interwoven with auto-fictional narration and archival materials that have been processed through an AI technology. The Black Sea permeating the film’s world acts as a metaphor of both an idyllic holiday destination of utopian happiness; as well as a perilous force, a place of conspiracy and death. What We Shared employs emotive soundscape and imagery to produce a sensory reflection on artistic practice as a powerful binding force and an act of resistance to dominant power structures.
Filmmaker’s Statement
In What We Shared we collectively, creatively interpreted dreams and memories that may not otherwise be perceived or even conceived. I wanted to show that the 1992-93 Abkhaz-Georgian war is not a history but a contemporary reality as the trauma caused by it passes onto younger generations.
What We Shared engages with memory, intergenerational trauma, war and displacement and in doing so it demonstrates that manoeuvring between all these subjects requires subtlety and at times, fiction.
The screening will be followed by a Q&A with Kamila Kuc.
Kamila Kuc‘s hybrid works explore the transformative potential of apparatuses, dreams and memories in the creation of societal myths and narratives. Of particular interest to her practice are stories that subvert dominant narratives of history, especially those relating to post-Soviet identities. What We Shared is her first feature film which premiered at the 65th BFI London Film Festival and was described as one of ‘the finest examples of UK filmmaking’ by Festival Scope.
