Today My Heart Is Empty (Journal of Visual Culture & HaFI, 4)
This is the fourth instalment of a collaborative effort by the Journal of Visual Culture and the Harun Farocki Institut, initiated by the COVID-19 crisis. The call sent to JVC’s editorial board, and a wide selection of previous contributors and members of its extended communities, described the task as follows: „There is a lot of spontaneous, ad hoc opinion-making and premature commentary around, as to be expected. However, the ethics and politics of artistic and theoretical practice to be pursued in this situation should oblige us to stay cautious and to intervene with care in the discussion. As one of JVC’s editors, Brooke Belisle, explains: ‚We are not looking for sensationalism, but rather, moments of reflection that: make connections between what’s happening now and the larger intellectual contexts that our readership shares; offer small ways to be reflective and to draw on tools we have and things we know instead of just feeling numb and overwhelmed; help serve as intellectual community for one another while we are isolated; support the work of being thoughtful and trying to find/make meaning…which is always a collective endeavour, even if we are forced to be apart.'“ TH
Today My Heart Is Empty
by Jordan McKenzie
Two days ago I lost a friend Shahin to Covid 19. He was an asylum seeker who had gained UK residence from Iran. He’d been imprisoned by the regime for his political views and also was unable to express his sexuality too. In Iran he was a lecturer on an MA photography course… in the UK the only job he could get was at a supermarket. After the deductions taken out of his benefits, he was left with about five pounds a day to live on. He was let down by both governments…
#emptyheart #heart #sadness #covid #sayinggoodbye #loss #painting #contemporarypainting #textwork #textartist #queer #gay #instagay #iran #ukgovernment #letdown
Today My Heart Is Empty, 2020, 140×110 cm, oil paint, stickers, spray paint on canvas
Jordan McKenzie, artist, Bethnal Green, London
20.04.2020 — Rosa Mercedes / 02
Am Freitag, den 6. April 2021, um 20 Uhr veranstaltet die Akademie Schloss Solitude eine Zoom-Veranstaltung mit der ehemaligen HaFI-Residency Stipendiatin Shirin Barghnavard über ihren Film „Invisible“ (2017). Moderiert von Doreen Mende. Zur Registrierung hier.
In der Zeitschrift MONOPOL gibt es aktuell ein Interview mit Shirin Barghnavard über ihren Film „Invisible“, den sie 2017 während ihrer HaFI-Residency konzipiert und gedreht hat.
Hyperallergic über die Umweltbelastung durch Kryptowährungen aus Anlass jüngster Auktionen von NFT (non-fungible token)-Kunst: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“
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.”