Programm: „Farocki Now: A Temporary Academy“, 18.-21. Oktober 2017, HKW & silent green, Berlin


(c) Harun Farocki GbR, Parallele II (Still), 2014

 

Im Herbst 2017 findet in Berlin die Harun Farocki Retrospektive statt. Die zwei Ausstellungen im Neuen Berliner Kunstverein (n.b.k.) und bei Savvy Contemporary eröffnen am 13. September, am 15. September beginnt ein umfangreiches Programm mit sämtlichen Filmen und Fernseharbeiten im Arsenal.

Im Rahmen der fünf-monatigen Retrospektive errichten wir vom 18. bis zum 21. Oktober 2017 eine edukativ-performative Plattform im Haus der Kulturen der Welt (HKW) und im silent green Kulturquartier: An vier Tagen wird “Farocki Now: A Temporary Academy” das Forum für Workshops, Präsentationen und Debatten bilden, die Arbeit und Denken Harun Farockis für die Gegenwart erschließen, neu kontextualisieren und produktiv machen. Sechs Studiengruppen von Hochschulen, Universitäten und selbst-organisierten Instituten aus Alexandria, Berlin, Jakarta, Philadelphia und Potsdam stellen ihre mehrmonatigen Forschungen vor, die von Farockis Werk im engeren oder weiteren Sinne ausgegangen sind.

Als Auftakt zur Akademie präsentieren HaFI und das Haus der Kulturen der Welt am 18. Oktober „Accessing Images“, einen diskursiven Abend über die Zugänglichkeit und Verfügbarkeit von Bildern in einer von Hochleistungsalgorithmen, künstlicher Intelligenz, verzweigten Datenstrukturen, politischen Machtansprüchen und legalen Rahmenbedingungen geprägten visuellen Gegenwart. Ausgehend von Harun Farockis Arbeit mit und in Bildern, wird „Accessing Images“ die Umrisse einer visuellen Pädagogik diskutieren, die sich den Herausforderungen einer wachsenden Autonomie “operativer Bilder” (Farocki) und des drohenden Verlusts von visueller Handlungsfähigkeit stellt.

Die Akademiesprache ist Englisch.
Eintritt frei.

 

Mittwoch, 18.10.
Haus der Kulturen der Welt

19 Uhr: Accessing Images
Begrüßung durch Anselm Franke (HKW)
Einleitung in den Abend durch Tom Holert, Doreen Mende und Volker Pantenburg (HaFI)

19.30 Uhr: Vorträge und Diskussionen, moderiert von Sven Lütticken
Misguided Eyes von Natascha Sadr Haghighian
The Problem of the Negro for Cinematography von Kodwo Eshun

20.15 Uhr: Pause

20.30 Uhr: Vorträge und Diskussionen, moderiert von Sven Lütticken
Planetary Processing von Susan Schuppli
Visualizing Surveillance von Laura Mulvey

21.15 Uhr: Abschließende Diskussion mit Sven Lütticken zusammen mit allen Teilnehmer*innen

 

Donnerstag, 19.10.
silent green

10 – 13 Uhr: Building Blocks
Projekt von der DFFB − Deutsche Film- und Fernsehakademie Berlin
Mit Michael Baute, Vivien Kristin Buchhorn, Julia Katharina Milz, und Ewelina Aleksandra Rosinska

14.30–17.30 Uhr: Reality would have to begin. Speaking about Farocki
Eine kuratierte Diskussion von MASS Alexandria/Ägypten
Mit Asmaa Barakat, Marianne Fahmy, Assem A. Hendawi, Ash Moniz, Nadia Mounier (aus der Ferne), und Nardeen Nabil, moderiert von Berit Schuck und Bassam El Baroni mit Sandra Schäfer als eingeladenem Gast

19.30 Uhr: Navigation
Gesprächsrunde mit Mitgliedern des Harun Farocki Instituts und Sven Lütticken

 

Freitag, 20.10.
silent green

10–13 Uhr: PiL (Politicizing image Ltd.)
Projekte der Mitgliedern des Institut ruangrupa, Forum Lenteng, OK.Video, Lab Laba-Laba, and 69 Performance Club, Jakarta/Indonesien
Mit farid rakun (Institut ruangrupa), Abi Rama (Forum Lenteng/69 Performance Club, aus der Ferne), Raslene (Lab Laba-Laba), und Anggraeni Dwi Widhiasih (Koperasi Riset Purusha/Forum Lenteng)

14.30–17.30 Uhr: Against
Projekte des Studiengangs Europäische Medienwissenschaft der Fachhochschule Potsdam / Universität Potsdam
Mit Jan Distelmeyer, Pune Djalilehvand, Daniel Franz, Morgana Karch, Victoria Kuo, Daniel Paschen, Judith Pietreck, und Endi Tupja

19.30 Uhr: Borders: After Farocki / Ehmann’s Labour in a Single Shot
Projekt von Studierenden des Film & Media Arts MFA Program der Temple University, Philadelphia/USA
Mit Peter d’Agostino, Nora M. Alter, Madeleine Bishop, Jonas Denzel, Sarah Drury, Samantha Heth, Gabriella Gungon Lopez, Althea Mengxi Rao, und Sonali Udaybabu

 

Samstag, 21.10.
silent green

10–13 Uhr: LARP: Brand New Island
Live Action Role Play mit Studierenden der Lensbased Class an der Universität der Künste Berlin
Mit Viktor Bone, Josh Crowle, Charlotte Eifler, Giorgi Gago Gagoshidze, Tania Ilishenko, Jonathan Jung, Laura Katzauer, Peter Kirk, Adrian Knuppertz, Can Kurucu, Magdalena Mitterhofer, Bruno Siegrist, Soma Sohrabi, Hito Steyerl, Mizu Sugai, Mario Udzenija, and Andres Villarreal

—> Die Veranstaltung ist für angemeldete Teilnehmer*innen, die eine aktive Rolle im LARP haben möchten. Die Besucherzahl ist begrenzt. Wir bitten um Registrierung vorab bei: gio.gago@gmail.com
Mehr Informationen hier.

14.30 Uhr: Desktop Intervention
Von Kevin B. Lee(Paris)

 

Das Handout ist als PDF hier verfügbar.

 

Adressen:
Haus de Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin

silent green
Gerichtstraße 35
13347 Berlin

*Die Harun Farocki Retrospektive ist ein Projekt des Neuen Berliner Kunstvereins (n.b.k.) in Kooperation mit dem Arsenal – Institut für Film und Videokunst, dem Harun Farocki Institut, der Harun Farocki GbR, dem silent green Kulturquartier, dem Verlag der Buchhandlung Walther König, Savvy Contemporary und dem Haus der Kulturen der Welt im Rahmen der Berlin Art Week, gefördert von der Senatsverwaltung für Kultur und Europa. Die Akademie wird unterstützt von: Deutsche Film- und Fernsehakademie Berlin, Europäische Medienwissenschaft – Fachhochschule Potsdam/Universität Potsdam, Goethe-Institut, Gudang Sarinah Ekosistem, Institut für Auslandsbeziehungen, MASS Alexandria, Mophradat, Temple University’s Center for the Performing and Cinematic Arts.

18.09.2017 — Projekte / Veranstaltung
Schnittstelle

Lauren Berlant, the brilliant theorist of „cruel optimism“ and related issues, died of a rare form of cancer on June 28. The following, devastatingly optimistic quote is from a 2016 essay on the commons as „infrastructures for troubling times,“ part of a book that they worked on with the typically double-edged title On the Inconvenience of Other People: „What remains for our pedagogy of unlearning is to build affective infrastructures that admit the work of desire as the work of an aspirational ambivalence. What remains is the potential we have to common infrastructures that absorb the blows of our aggressive need for the world to accommodate us and our resistance to adaptation and that, at the same time, hold out the prospect of a world worth attaching to that’s something other than an old hope’s bitter echo. A failed episode is not evidence that the project was in error. By definition, the common forms of life are always going through a phase, as infrastructures will.“

 

Some basics from the Strike MoMA site: „Campaigns, actions, and letters chip away at the regime’s facade from the outside. Inside, every time workers organize, defy the boss, care for a coworker, disrespect secrecy, or enact other forms of subversion, cracks are created in the core. Cracking and chipping, chipping and cracking. As the walls that artificially separate the museum from the world collapse, we reorient away from the institution and come together to make plans. Let us strike in all the ways possible to exit from the terms of the museum so we can set our own.“

 

via Hyperallergic on the environmental impact of blockchain referring to recent NFT (non-fungible token) art sales: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

15.06.2021

auf Hyperallergic über die Umweltbelastung durch Kryptowährungen aus Anlass jüngster Auktionen von NFT (non-fungible token)-Kunst: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

07.11.2020

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
mehrweniger Kurznews