Veranstaltung: Shirin Barghnavard, 13. November 2017, silent green

Screening und Diskussion

Am 13. November um 19.30 Uhr veranstalten wir einen Filmabend im silent green mit Shirin Barghnavard, der zweiten Stipendiatin der Harun Farocki Residency. Wir zeigen ihren Film PROFESSION: DOCUMENTARIST (2014, 80 Min), der gemeinsam mit sechs anderen iranischen Filmemacherinnen entstanden ist. Anschließend führen Shirin Barghnavard und Constanze Ruhm ein Gespräch.

Shirin Barghnavard, Firouzeh Khosrovani, Farahnaz Sharifi, Mina Keshavarz, Sepideh Abtahi, Sahar Salahshoor, und Nahid Rezaei
Iran 2014
OmE 80 min

Ort: Kuppelhalle
silent green Kulturquartier
Gerichtstr. 35
13347 Berlin

Die Veranstaltung findet in englischer Sprache statt.
Der Eintritt ist frei.

Constanze Ruhm ist Professorin für Kunst und digitale Medien an der Akademie der bildenden Künste Wien. Ihre Arbeiten entstehen an den Schnittstellen von Installation, Film, kuratorischen Projekten und Publikationen und zeigen sich dabei als Formen einer Kunstpraxis, die sich mit dem Verhältnis von Kino(geschichte) und neuen Medien befasst, und Fragen von Identität, Repräsentation und (feministischer) Filmtheorie ins Zentrum stellt. 

Die Biografie von Shirin Barghnavard ist hier zu lesen.

Die Harun Farocki Residency wird durch das Goethe-Institut ermöglicht.

07.11.2017, 2017 / Residency

Sara Ahmed on the perfomativity 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, Tom

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  „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
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