Dezember 2017: Maximum Security University
Eins der Dokumente aus der Recherchearbeit zu ICH GLAUBTE GEFANGENE ZU SEHEN (2000) und GEFÄNGNISBILDER (2000): Eine umfassende schriftliche Dokumentation der Gruppe California Prison Focus. Das Konvolut bildete 1997 den Hintergrund zum Dokumentarfilm „Maximum Security University“, den man hier ansehen kann.
Aus einer zeitgenössischen Rezension von Film und Buch: „[Tom] Quinn has compiled this book of lawsuit documents, newspaper articles (many of which were based on information and documents Quinn provided journalists). The booklet is an essential accompaniment to the video of the same title Quinn produced.
Together the video and book paint the most detailed, credible and reliable account of what transpired at Corcoran. The myth of the country club prison is shattered when confronted with the reality of what modern American prisons are like today. These materials are powerful organizing tools that should be seen in every community impacted by the prison industrial complex.“
Die USA-Recherche zu Farockis Film und Installation wurde von der Filmemacherin Cathy Lee Crane übernommen. Farockis Arbeiten zum „prison industrial complex“ sollen 2018 Ausgangspunkt eines Projekts des Farocki Instituts sein.
30.12.2017, Archiv / Schaufenster
Paul B. Preciado on Indigenous models for „stopping the world,“ via Artforum: „Every culture has invented procedures for isolation, for fasting, for breaking the rhythms of eating, sexual activity, and production. Those caesuras serve as techniques for modifying subjectivity, activating a process that disrupts perception and feeling and can ultimately generate a transformation, a new way of becoming. Certain languages of Indigenous shamanism call this process ’stopping the world.‘ And that is literally what happened during the Covid-19 crisis. The capitalist mode briefly stopped. […] we could say (drawing on the Brazilian anthropologist Eduardo Viveiros de Castro’s analysis of Tupi rituals and shamanic practices) that they usually include at least three stages. In the first, the subject is confronted with their mortality; in the second, they see their position in the trophic chain and perceive the energetic connections that unite all living things; in the final stage, they radically modify their desire, which will perhaps allow them to transform, to become someone else.“
Anlässlich des Filmfestivals „Reconstructing Realities“ zeigt die Broadway Cinematheque in Hongkong den Film „How to live in FRG“ (1990) von Harun Farocki. Die Vorführung findet am Samstag, 11. Juli, 14.30 Uhr (Ortszeit) im Goethe-Institut Hongkong statt.
Reconstructing Realities – A Film Programme to Celebrate the 50th Anniversary of the Berlinale Forum
Im Anschluss findet das online Gespräch „Harun Farocki’s Imitations of Life“ mit Doreen Mende vom Harun Farocki Institut um 16 Uhr (Hong Kong)/10 Uhr (Berlin) über Zoom statt.
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Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies: „Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.“