Öffentliche Sichtung #05: Ingo Kratisch: Logik des Gefühls, 11. Januar 2018, Arsenal

11. Januar 2018
19:00 Uhr
Arsenal, Kino 2

Beim 12. Internationalen Forum des Jungen Films 1982 war Ingo Kratisch mit zwei Filmen vertreten – als Kameramann von Harun Farockis „Etwas wird sichtbar“ und als Regisseur und Cutter von LOGIK DES GEFÜHLS (Buch: Jutta Sartory). In einem poetischen Text schreibt Cäzilia Gall: „Hauptdarsteller: Georg, ein Liebeskranker, für den es nichts mehr darzustellen gibt. Menschen: denen er begegnet. Sie treten wie Spielfiguren auf die leeren Bretter seines Herzens: ‚Der Reisende‘,’Der Dichter‘, ‚Der Verliebte‘, ‚Der Spieler‘, ‚Der Verwirrte‘, ‚Der Mann im Hafen‘ und andere.“ Und über die Handlung: „Was geschieht darin? Nichts besonderes. […] Wo spielt er? In einem Zwischenraum, der zwischen einer verlorenen Liebe und einer kommenden Liebe liegt. Winter. Berlin, 1981. Anna hat sich von Georg getrennt. Stille.“

Mit Farocki als „Der Verwirrte“.

Logik des Gefühls
Regie: Ingo Kratisch
Buch und Assistenz: Jutta Sartory
BRD 1981
Mit Rüdiger Vogler, Daphne Moore, Grischa Huber, Sabine Andreas, Hanns Zischler
35 mm 98 min

Zu Gast: Ingo Kratisch und Jutta Sartory

Informationsblatt des 12. Internationalen Forum des Jungen Films: PDF

Informationen über LOGIK DES GEFÜHLS hier (PDF).

22.12.2017, 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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