August 2020: ereignisse, die eine kleine geschichte sind

Die dritte Seite aus einem vierseitigen Typoskript Farockis mit Gedanken zum Dokumentarischen. Der Text fand sich in einem Ordner aus dem Jahr 1982, er beginnt und endet mit Erinnnerungen an Filme der Brüder Lumière.

In dem hier vorgestellten Auszug blickt Farocki auf die Arbeit an DER GESCHMACK DES LEBENS (1979) zurück. „wenn die kinder aus der schule kommen, bleiben sie da stehen oder zerstreuen sie sich? gibt es heute noch orte, an denen man vorbeifahren kann und damit rechnet gesehen zu werden.“

Der Text enthält eine Reihe von Gedanken, die in Farockis Filme der 1970er und 1980er Jahre wiederzufinden sind: etwa die Beobachtung, dass die Arbeit dem Blick im 19. Jahrhundert noch zugänglich war und dann hinter Mauern versteckt wurde. So explizit wie sonst selten versammelt Farocki Überlegungen zum besonderen Charakter dokumentarischer Bilder.

31.08.2020, Archiv / Schaufenster
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
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