[Zweite] HaFI-Residentin: Shirin Barghnavard

Für die zweite Harun Farocki Residency haben wir die iranische Filmemacherin und Cutterin Shirin Barghnavard für drei Monate nach Berlin eingeladen.

Die in Tehran geborene Shirin Barghnavard ist Filmregie Absolventin der Sooreh University, Tehran und hat einen Abluss in „Screen“ [audiovisuelle Medien] vom Central Institute of Technology, Australien. Barghnavard hat seit 1999 vielfach ausgezeichnete dokumetarische Kurz- und Langfilme wie PROFESSION: DOCUMENTARIST (2014), SCENES FROM A DIVORCE (2015) und POETS OF LIFE (2017) gedreht. Sie hat zahlreiche Dokumentarfilme, darunter HEY HUMANS (2016) vom iranischen Filmemacher Rakhshan Bani Etemad und Firoozeh Khosrovanis preisgekrönter Film FEST OF DUTY (2014), editiert und geschnitten.

In ihren Dokumentarfilmen verbindet Shirin Barghnavard allgemeine soziale Fragen mit spezifischen Untersuchungen zur Rolle der Frau in der Gesellschaft. Zusammen mit einem Kollektiv von Filmemacherinnen hat sie 2014 den Film PROFESSION: DOCUMENTARIST realisiert. Aus der Perspektive von sieben Filmememacherinnen in Teheran, werden darin die Arbeitsbedingungen von Filmschaffenden während der Wahlen und der politischen und ökonomischen Krise im Iran thematisiert.

11.10.2017, 2017
Schnittstelle

Jodi Dean on work in neofeudal times, via Los Angeles Review of Books: „When work is imagined — and some on the left think that we should adopt a ‚postwork imaginary‘ — it looks like either romantic risk-free farming or tech-work, ‚immaterial labor.‘ By now, the exposés on the drudgery of call center work, not to mention the trauma-inducing labor of monitoring sites like Facebook for disturbing, illicit content, have made the inadequacy of the idea of ‚immaterial labor‘ undeniable. It should be similarly apparent that the postwork imaginary likewise erases the production and maintenance of infrastructure, the wide array of labor necessary for social reproduction, and the underlying state structure.“

23.05.2020, Tom

Naomi Klein on the „Screen New Deal“ (via The Intercept): „Calling [Bill] Gates a ‚visionary,‘ [New York governor Andrew] Cuomo said the pandemic has created ‚a moment in history when we can actually incorporate and advance [Gates’s] ideas … all these buildings, all these physical classrooms — why with all the technology you have?‘ he asked, apparently rhetorically. It has taken some time to gel, but something resembling a coherent Pandemic Shock Doctrine is beginning to emerge. Call it the ‚Screen New Deal.‘ Far more high-tech than anything we have seen during previous disasters, the future that is being rushed into being as the bodies still pile up treats our past weeks of physical isolation not as a painful necessity to save lives, but as a living laboratory for a permanent — and highly profitable — no-touch future.“

11.05.2020, Tom

Andrea Bagnato on Red Zones, isolation, metaphors, blame, risk and coexistence (at e-flux architecture): „[…] the current manifestation of confinement is better thought of not so much as epidemic control, but as a form of risk displacement: a minority of workers is made to keep the economy going so that a majority of the population can stay at home. And the reverse is true as well: millions of people have to put up with extended confinement so that the risk posed by industrial workers doesn’t grow out of control. In the necropolitical calculations of the State, the physical health of workers and the mental health of everyone else are both a price worth paying.“

05.05.2020, Tom
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