Öffentliche Sichtung #06: Skip Norman, Auswahl von Filmen, 22. März 2018, Arsenal

Skip Norman, Helke Sander und Harun Farocki in BRECHT DIE MACHT DER MANIPULATEURE (1967/68) von Helke Sander

Donnerstag, den 22. März, 2018
19 Uhr
Arsenal Kino 2

Skip Norman, 1933 in Baltimore geboren und 2015 in Washington D.C. gestorben, begann als Student des ersten Jahrgangs 1966 seine Ausbildung an der Deutschen Film- und Fernsehakademie Berlin. Er führte Regie und war an insgesamt 27 Produktionen der dffb beteiligt. Die Titel seiner Filme erzählen vom Kampf um eine afroamerikanische Identität in einer restlos von Weißen geprägten Welt: CULTURAL NATIONALISM (1969), BLACK MAN’S VOLUNTEER ARMY OF LIBERATION (1970) oder STRANGE FRUIT (1970) nach Billie Holiday. BLUES PEOPLE (1968) adaptiert Teile des Theaterstücks „Dutchman“ seines Generationsgenossen LeRoi Jones (später Amiri Baraka). „They say, ‚I love Bessie Smith‘ and don’t even understand that Bessie Smith is saying, ‚Kiss my ass, kiss my black unruly ass.‘“ Wir zeigen fünf seiner Kurzfilme aus den Archiven des Arsenal und der Deutschen Kinemathek.

Blues People BRD 1968
16 mm engl. OF 18 min

Cultural Nationalism BRD 1969
16 mm engl. OF 11 min

Black Man’s Volunteer Army of Liberation USA 1970
16 mm engl. OF 43 min

Strange Fruit USA 1970
16 mm engl. OF 29 min

Washington D.C. November 1970 USA 1970
16 mm engl. OF 18 min

15.03.2018, Projekte / Veranstaltung

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 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
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