Schriften 4: Harun Farocki: Ich habe genug!

Zwischen 1976 und 1985 hat Harun Farocki als Autor und Redakteur der Filmkritik mehr als 90 Texte für die Zeitschrift geschrieben und ihren Charakter als polemische, von Formatzwängen freie Werkstatt filmischen Denkens maßgeblich mitbestimmt. Band 4 der „Schriften“ veröffentlicht alle Filmkritik-Beiträge dieser Phase, ergänzt um das Hörspiel „Das große Verbindungsrohr“ und Texte aus dem Umfeld seiner Lehrtätigkeit an der DFFB. Das Buch gibt Einblick in den Kontext von Farockis Kinofilmen ZWISCHEN ZWEI KRIEGEN (1978) und ETWAS WIRD SICHTBAR (1982) und vermittelt Farockis Blick auf die Kommodifizierung der linksalternativen Gegenkultur Westberlins und der BRD in den 1970er Jahren. Es enthält ein Nachwort des Herausgebers Volker Pantenburg.

Jetzt erschienen:

Harun Farocki: Ich habe genug! Texte 1976–1985, hg. von Volker Pantenburg, Köln: Walther König 2019 [= Harun Farocki: Schriften, Bd. 4] (erhältlich hier)

04.08.2019, Projekte / Publikation

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  „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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