Öffentliche Sichtung #14: HARUN FAROCKI – ZWEIMAL, R: Ingo Kratisch/Lothar Schuster (D 2019), 1. Juli 2019, Arsenal Kino

Fünf Jahre nach Farockis plötzlichem Tod im Juli 2014 widmen wir die Öffentliche Sichtung zur Premiere um: HARUN FAROCKI – ZWEIMAL verbindet zwei unterschiedliche Perspektiven auf den Filmemacher. Die Regisseure Lothar Schuster (dffb-Jahrgang 1968) und Ingo Kratisch (dffb-Jahrgang 1969 und seit 1977 Kameramann bei zahlreichen Filmen Farockis) lassen Passagen aus einem langen Gespräch mit Farocki im Jahr 1995 mit beiläufigen Beobachtungen abwechseln, die Kratisch und Matthias Rajmann bei den Dreharbeiten zu „Die Schöpfer der Einkaufswelten“, „Zum Vergleich“, „Ernste Spiele“, und anderen Filmen mit Fotoapparat und Videokamera aufgezeichnet haben. Zwei Gesten der Erinnerung, zweimal Trauerarbeit. Im Vorprogramm ein Fundstück aus dem Archiv des Harun Farocki Instituts: Sprechproben zu Farockis Film „Etwas wird sichtbar.“

Zu Gast: Ingo Kratisch und Lothar Schuster.

Harun Farocki – Zweimal
Ingo Kratisch, Lothar Schuster D 2019
Digital file, OmE, 36 min
Probeaufnahmen: Etwas wird sichtbar
Harun Farocki BRD ca. 1980
Digital file, OmE, 15 min

Öffentliche Sichtung – Das Harun Farocki Institut präsentiert
Mo, 01.07.2019, 19.30h, Kino 1
Ort: Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Straße 2, 10785 Berlin

28.06.2019, 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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