Rück-Beziehungen (Journal of Visual Culture & HaFI, 12)

Dies ist die zwölfte Ausgabe einer Zusammenarbeit zwischen dem Journal of Visual Culture und dem Harun-Farocki-Institut, die durch die COVID-19-Krise ausgelöst wurde. Der Call, der an die Redaktion des JVC und die internationalen Autor*innen von JVC ging (eine Gruppe, die im Prozess wachsen wird), enthielt unter anderem folgenden Absatz : „Es gibt eine Menge spontaner, ad hoc-Meinungsbildung und verfrühter Kommentare, wie zu erwarten war. Die in dieser Situation zu verfolgende Ethik und Politik der künstlerischen und theoretischen Praxis sollte uns jedoch darauf verpflichten, vorsichtig zu bleiben und mit Vorsicht in die Diskussion einzugreifen. Wie eine der Redakteurinnen von JVC, Brooke Belisle, erklärt: ‚Wir suchen nicht nach Sensationsmeldungen, sondern vielmehr nach Momenten der Reflexion, die Verbindungen zwischen dem, was jetzt geschieht, und den größeren intellektuellen Kontexten, die unsere Leser*innen teilen, herstellen; kleine, handliche Methoden und Verfahren  anbieten, um nachzudenken, und auf Werkzeuge, die wir haben, und auf Dinge, die wir kennen, zurückzugreifen, anstatt uns einfach nur betäubt und überfordert zu fühlen; helfen, als intellektuelle Gemeinschaft füreinander da zu sein, während wir isoliert sind; die Arbeit daran nachzudenken zu unterstützen und zu versuchen, einen Sinn zu finden/machen…, was immer auch ein kollektives Unterfangen ist, auch wenn wir gezwungen sind, getrennt zu sein.'“ TH

 

Rück-Beziehungen

Von Andrea Luka Zimmerman

 

 

Einige haben derart viele Lebensmittel gekauft, dass andere es nicht konnten.

Werde ich genug zu essen bekommen? Ich würde lieber gar nichts essen als nur ein bisschen. Meine Mutter hat immer Dosenfleisch mit Pilzkonserven und Reis aus der Dose gemacht, wenn sie konnte. Manchmal lockt mich der Geruch des Futters meines Hundes. Bis weit in meine 30er Jahre habe ich mich an unerwarteten Orten ernährt. Ich wusste, wo ich suchen musste, und ich war damit nicht allein. Am Tag vor der Abriegelung erzählte mir ein Freund von dem Schulmädchen, das er gerade bei Lidl gesehen hatte, wie es sich kalte Pizza in den Mund schob, und wie er, um sie zu beschützen, die Sichtlinie des Wachmanns blockierte, der sich ihm langsam zuwandte. Aber stattdessen sagte er nur: „Keine Sorge, sie kommt oft hierher, ich beobachte sie, damit sie von niemandem gestört wird“. Das ist Für-Sorge. Das ist Wissen, von denen, die es wissen.

Als Gesellschaft, die irgendwie keiner anderen ähnelt, stellt sich die Frage: Was bedeutet es, über das Leben anderer nachzudenken?

 

Der Eisenzaun wird, während ihn der Baum aufnimmt, mit der Zeit den Kern stärker machen als es das Holz allein könnte.

 

Andrea Luka Zimmerman: Ich bin Künstlerin und Filmemacherin. In meiner Arbeit geht es um Marginalisierung, soziale Gerechtigkeit und die Suche nach radikalisierten Beziehungen, zwischen Menschen, Orten, Ökologien. Ich bin Dozentin an Central Saint Martins.  www.fugitiveimages.org.uk

 

04.05.2020 — Rosa Mercedes / 02
Schnittstelle

Lauren Berlant, the brilliant theorist of „cruel optimism“ and related issues, died of a rare form of cancer on June 28. The following, devastatingly optimistic quote is from a 2016 essay on the commons as „infrastructures for troubling times,“ part of a book that they worked on with the typically double-edged title On the Inconvenience of Other People: „What remains for our pedagogy of unlearning is to build affective infrastructures that admit the work of desire as the work of an aspirational ambivalence. What remains is the potential we have to common infrastructures that absorb the blows of our aggressive need for the world to accommodate us and our resistance to adaptation and that, at the same time, hold out the prospect of a world worth attaching to that’s something other than an old hope’s bitter echo. A failed episode is not evidence that the project was in error. By definition, the common forms of life are always going through a phase, as infrastructures will.“

 

Some basics from the Strike MoMA site: „Campaigns, actions, and letters chip away at the regime’s facade from the outside. Inside, every time workers organize, defy the boss, care for a coworker, disrespect secrecy, or enact other forms of subversion, cracks are created in the core. Cracking and chipping, chipping and cracking. As the walls that artificially separate the museum from the world collapse, we reorient away from the institution and come together to make plans. Let us strike in all the ways possible to exit from the terms of the museum so we can set our own.“

 

via Hyperallergic on the environmental impact of blockchain referring to recent NFT (non-fungible token) art sales: „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.”

15.06.2021

auf 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.”

07.11.2020

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
mehrweniger Kurznews