Öffentliche Sichtung #11: CONTES ET COMPTES DE LA COUR, R: Éliane de Latour (F 1993), 9. Januar 2019, Arsenal

Öffentliche Sichtung – Das Harun Farocki Institut präsentiert

Am 9.1. findet die nächste von Harun Farocki Institut präsentierte öffentliche Sichtung im Kino Arsenal statt. Eliane de Latour macht Dokumentar- und Spielfilme. Sie sind Bestandteil ihrer wissenschaftlichen Arbeit als Anthropologin, die auch zu Texten und Fotografien führt. Uns interessiert diese Praxis, weil sie verspricht, die Grenzen zwischen den Disziplinen neu zu ziehen oder aufzulösen. Sie sagt, ihr Blick richte sich auf die geschlossenen Welten derjenigen, die hinter eine geografische oder soziale Grenze gestoßen wurden. CONTES ET COMPTES DE LA COUR (1993, 1993, OmU, 35mm, 103’) porträtiert vier Frauen eines Marabout im Niger. Sie sind in einem Gebäudekomplex, dem „Hof“, eingeschlossen, entwickeln aber mikroökonomische Strategien, mit der Außenwelt Beziehungen einzugehen. „Durch die Zirkulation der Objekte nehmen sie weiter am sozialen Leben teil,“ sagt Latour, die sich wochenlang bei den Frauen im „Hof“ aufhielt. „Es gab keinen Unterschied zwischen den Momenten, in denen ich filmte, und jenen, in denen ich einfach nur zuhörte.“

Arsenal, Kino 2, 19 Uhr, freier Eintritt

Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Straße 2
10785 Berlin

03.01.2019 — Projekte / Veranstaltung

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”


Sara Ahmed on the performativity 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.”


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?“


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.“

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