What is radical film? Radical Film Network Meeting Berlin, 2.-5. Mai 2019, silent green: Programm online

“In recent years an interdisciplinary discourse has developed around counter images and movement images, covering all areas of cultural life, including theatre, exhibitions, cinema, TV, and the Internet. It consistently attempts to find new means of narration and representation that undermine conventional codes and conventions by opposing, alienating and deconstructing them by offering different methods of representing and interpreting the world. Discussions surrounding the formats and forms of radical film will be the theme of the event, along with finding ideas to re-contextualise them, with the aim of proving that oppositional and radical filmmaking is as diverse, colourful and lively as ever.” (Julia Lazarus & Ursula Böckler)

Das Programm und der Ablauf der Tage finden sich hier.
What is radical Film ? ist eine Kooperationsveranstaltung des HaFI.

Am Freitag, den 3. Mai um 19 Uhr präsentiert das HaFI „Versions of Radicality, 1969/1970: Farocki, Meins, Straschek“ (Volker Pantenburg).

What is radical film? Radical Film Network Meeting Berlin
Lectures, Diskussionen und Workshops
Do, 02.05.2019, ab 17h
Fr, 03.05.2019, ab 10h
Sa, 04.05.2019, ab 10h
So. 05.05.2019, nur für die eingeladenen Teilnehmer*innen
Ort: silent green Kulturquartier
Gerichtstraße 35, 13347 Berlin
Auf Englisch, Eintritt frei

Für die Workshops ist eine kurze formlose Anmeldung per Email erwünscht: workshop@radicalfilm.net.

* Das Radical Film Network Meeting Berlin wird von Senatsverwaltung für Kultur und Europa unterstützt.

24.04.2019, Projekte / Veranstaltung
Schnittstelle

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
mehrweniger Kurznews