Öffentliche Sichtung #03: Claudia von Alemann, Es kommt drauf an, sie zu verändern / Marta Rodríguez und Jorge Silva, Chircales, 16. Mai 2017, Arsenal

Dienstag, 16. Mai 2017
19:30 Uhr
Arsenal, Kino 2

Bereits während ihrer Studienzeit am Institut für Filmgestaltung der HfG Ulm entwickelte Claudia von Alemann filmische Gegenerzählungen zur gesellschaftlichen Funktion der Frau vor und hinter der Kamera. In ES KOMMT DRAUF AN, SIE ZU VERÄNDERN (BRD 1973) geht Alemann an Frauenarbeitsplätze in den Adler-Werken in Frankfurt oder bei Leitz-Optik in Wetzlar, wo sie die Formen der Industriearbeit von Frauen untersucht und sichtbar macht: Fabrik und Familie sind Orte der Ausbeutung, die es nicht nur zu interpretieren, sondern zu verändern gilt. Zum gleichen Zeitpunkt in Kolumbien: Marta Rodríguez and Jorge Silva realisieren CHIRCALES (1966–1972), eine „cine-sociology“ (Julianne Burton) über die Familie Castañeda, eine Ziegelei-Familie am Stadtrand von Bogotá. Im Anschluss Gespräch mit Claudia von Alemann.

Es kommt drauf an, sie zu verändern
Claudia von Alemann
BRD 1973
Mitarbeit: Mischka Popp; Kamera: Dietrich Schubert
16 mm 55 min

Chircales (Ziegelei-Arbeiter)
Marta Rodríguez und Jorge Silva
Kolumbien 1966–1972
16 mm OmU 42 min

Informationen über beide Filme hier (PDF)

16.05.2017, Projekte / Veranstaltung

David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): „We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?“

07.09.2020, Tom

T.J. Demos on why cultural practitioners should never surrender, via tranzit.sk:  „For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.“

21.08.2020, Tom

Bernard Stiegler, quoted from The Neganthropocene (trans. Daniel Ross): „Does anyone really believe that it is possible to ‘solve’ the problems of climate change, habitat destruction and cultural destruction without addressing the consumerist basis of the present macro-economic system, or vice versa, or without addressing the way in which this system depletes the psychic energy required to find the collective will, belief, hope and reason to address this planetary challenge? Can this consumerism really survive the coming wave of automation that threatens to decimate its customer base and undermine the ‘consumer confidence’ that is fundamental to its perpetual growth requirements, themselves antithetical, once again, to the problems of biospherical preservation?“

14.08.2020, Tom
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