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

George Edwards (Zetkin Collective) on war, nationalism and the „anti-climate lobby“ (via Arts of the Working Class): „The latest prognosis of this particular war was spelt out in a flurry of reports from the IPCC; the most recent, described as ‚an atlas of human suffering‘ by the chief of the UN, demanded ‚rapid, deep and immediate‘ emissions cuts in all sectors to ensure an inhabitable planet for all. In step with the science, many wish this conflict to mark the beginning of an intensified programme of decarbonization, ridding economies of not only Russian, but all fossil fuels, wherever their geological source. But whilst political leaders scramble abroad to secure new sources of fossil fuels – sweet-talking sheiks and summoning LNG terminals from the ground – a resourceful and committed cohort, let’s call them the anti-climate lobby, refuse to accept this diagnosis. The partakers in the fossil industry have seized upon this crisis, sensing it as an opportunity to enlarge and entrench economic interests rooted in fossil fuels. As the course of action prescribed by the IPCC imperils this line of business, the attempts to secure fresh investments in fossil fuel infrastructures, to lock-in production and secure profits for the coming decades may feel all the more pressing. The solutions they pose also fit within the national frame and it is with nationalist political forces that they find their most ardent allies.“

31.07.2022

The fundamental difference that we face in Europe at the moment between the Western approach characterized by the pursuit of peace and the Eastern one focused on liberation and independence poses a dramatic challenge – in order to survive and progress, democracy as a political regime has to be capable of defending itself also in a military way.“ Armed Democracy revolves around the concepts of imperialism, liberation, fascism, autocracy, revolution, and militarization in pursuit of the world to come on Europe’s burnt out land. Conceived by the Kyiv Biennial and Biennale Warszawa from the East Europe Biennial Alliance, this special public program, curated by Vasyl Cherepanyn within the 2nd edition of Biennale Warszawa, the program is a first part of the series organized by the East Europe Biennial Alliance discussing Russia’s military invasion of Ukraine and taking place in Warsaw, Prague, Kassel, and Riga over the summer and fall of 2022.

Olena Lyubchenko on Whiteness, Expropriation, War, and Social Reproduction in Ukraine (via LeftEast): „[…] when we hear on the news that ‘Ukraine is fighting a European war’ and ‘Ukraine is defending Europe’, amid images of fleeing ‘poor white’ women with children prioritized over racialized ‘Others’, ‘Ukraine’ is being made ‘white’ in the global imaginary. That is, „the injunction to ‘return to Europe’ by way of Europeanization is enabled and conditioned on the mythologies of Western civilization, and that Europeanization at once marks (promulgates) and unmarks (naturalizes) racial whiteness” [Nadezhda Husakouskaya and Randi Gressgård]. The paradox is that Europe’s existence as such has only been possible precisely because of the exploitation of global working peoples through expropriation of resources and today neoliberal economic reforms and reproduced by feminized labour.“

Vasyl Cherepanyn about the „inertness, hiding behind the European Wall“ (via L’Internationale): „Many Western institutions that have been claiming ‚radical political engagement‘ for years, have simply resorted to a white cube radicalism and self-satisfying humanitarianism, too afraid of acting politically beyond their comfort zone and unsettling their publics and authorities by attempting to affect the decision-making process regarding the Ukrainian cause.“

28.05.2022

Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): „[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.“

Vasyl Cherepanyn on that „It’ll take more than tanks to ease Germany’s guilt“ (via Politico): „Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‚peripheries,‘ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‚deeply concerned.‘ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‚balanced‘ with a Russian perspective, so as to not exclude the latter by any means.“

An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on „Digital Leviathan and His Nuclear Tail“ (via Your Art and e-flux notes): „At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.“

20.04.2022
mehrweniger Kurznews