[Ausstellung]: Drawing the Line von Cathy Lee Crane, 15.-24. Juli 2022, Gerichtstr. 45, Berlin-Wedding

Während des gesamten Monats Juli präsentiert das HaFI die neuesten Arbeiten von Cathy Lee Crane – anlässlich ihrer vom Goethe-Institut unterstützten Harun Farocki Residency in Berlin. Sie zeichnen ihre fortlaufenden Recherchen über die US-mexikanischen Grenzräume nach. Vom 15. bis 24. Juli zeigen wir eine Fassung der plattformübergreifenden hybriden Filmreihe DRAWING THE LINE als 14-Kanal-Installation in einem unabhängigen Projektraum in Berlin-Wedding.

DRAWING THE LINE erforscht die Geschichte der westlichen Grenze zwischen den Vereinigten Staaten von Mexiko und den Vereinigten Staaten von Amerika. In seinen zahlreichen Fassungen (hier ein 14-Kanal-Projekt in Arbeit) setzt sich das Projekt mit dem Erbe der US/Mexiko-Grenzvermessungskommission (1850-1853) auseinander, die sich bemühte, diese Linie im Wüstenboden zu markieren. Das Projekt bewegt sich entlang der Grenzlinie, die westlich von El Paso bis zum Pazifik verläuft, und entwickelt seine Geschichten durch Inszenierung, Interviews, dokumentarische Beobachtungen, akustische Aufzeichnungen und das Archiv in Zusammenarbeit mit denjenigen, die im Schatten der willkürlichen Linie der Kommission leben.

Die vierte Fassung dieses Projekts, die hier zum ersten Mal präsentiert wird, stellt ein Mosaikporträt des Grenzgebiets dar (jeder Kanal steht für einen der zahlreichen Grenzübergänge zwischen El Paso und Tijuana). Das von James Patock gefertigte skulpturale Element soll an den Grenzzaun erinnern, der in den letzten fünf Jahren abgerissen und als Metallrohre in der Wüste gestapelt wurde. Er wurde entfernt, um durch höhere Platten ersetzt zu werden. Das Projekt nimmt das Problem der Linearität selbst in Angriff, indem es Abschnitte seiner laufenden historischen Untersuchung in unterschiedliche und spezifische Kontexte einordnet.

Der erste Film des Projekts, der aus dieser laufenden Untersuchung hervorging, war der abendfüllende Dokumentarfilm CROSSING COLUMBUS (2020), gefolgt von CounterStorytelling, der in Stories Left Out Ausgabe des Online-Journals Now! veröffentlicht wurde.
CROSSING COLUMBUS wird im Kino Arsenal am 27. Juli 2022 vorgeführt.

Schließlich wurde dieses Jahr der Kurzfilm terrestrial sea veröffentlicht, der im Rahmen der kollektiven Filmreihe (X)-trACTION gezeigt wurde.
(X)-trACTION wird im Kino Arsenal am 29. Juli 2022 vorgeführt.



Eröffnung: 15. Juli, ab 18 Uhr
Sa 16, So 17. Juli
Fr 22, Sa 23, So 24 Juli
Von 14.00 bis 21.00 Uhr und außerhalb dieser Zeiten auf Anfrage: info@harun-farocki-institut.org

VERLÄNGERTE ÖFFNUNGSZEITEN: Do. 28. Juli von 16-19 Uhr; Di. 2. August von 13 – 17 Uhr!

Ort: Gerichtstraße 45, Hinterhof
13347 Berlin
Eintritt frei

04.07.2022 — Projekte / Veranstaltung

The Reconstruction of Ukraine. Ruination / Representation / Solidarity, online symposium, September 9-11, 2022. “The Reconstruction of Ukraine: Ruination / Representation / Solidarity” devotes particular attention to cities, architecture, art, culture and psychological trauma – but the scope of the conversations it aims to start is broader. In due course, the discussions held during the symposium may coalesce into myriad projects, initiatives and experiments undertaken by government institutions, municipalities, educational and cultural bodies and other more interstitial actors. The ambition of this symposium is to establish a platform for dialogue, facilitating communication, collaboration and constructive argument between diverse actors and initiatives.

George Edwards (Zetkin Collective) on war, nationalism and the „anti-climate lobby“ (via Arts of the Working Class): „The latest prognosis of this particular war was spelt out in a flurry of reports from the IPCC; the most recent, described as ‚an atlas of human suffering‘ by the chief of the UN, demanded ‚rapid, deep and immediate‘ emissions cuts in all sectors to ensure an inhabitable planet for all. In step with the science, many wish this conflict to mark the beginning of an intensified programme of decarbonization, ridding economies of not only Russian, but all fossil fuels, wherever their geological source. But whilst political leaders scramble abroad to secure new sources of fossil fuels – sweet-talking sheiks and summoning LNG terminals from the ground – a resourceful and committed cohort, let’s call them the anti-climate lobby, refuse to accept this diagnosis. The partakers in the fossil industry have seized upon this crisis, sensing it as an opportunity to enlarge and entrench economic interests rooted in fossil fuels. As the course of action prescribed by the IPCC imperils this line of business, the attempts to secure fresh investments in fossil fuel infrastructures, to lock-in production and secure profits for the coming decades may feel all the more pressing. The solutions they pose also fit within the national frame and it is with nationalist political forces that they find their most ardent allies.“


The fundamental difference that we face in Europe at the moment between the Western approach characterized by the pursuit of peace and the Eastern one focused on liberation and independence poses a dramatic challenge – in order to survive and progress, democracy as a political regime has to be capable of defending itself also in a military way.“ Armed Democracy revolves around the concepts of imperialism, liberation, fascism, autocracy, revolution, and militarization in pursuit of the world to come on Europe’s burnt out land. Conceived by the Kyiv Biennial and Biennale Warszawa from the East Europe Biennial Alliance, this special public program, curated by Vasyl Cherepanyn within the 2nd edition of Biennale Warszawa, the program is a first part of the series organized by the East Europe Biennial Alliance discussing Russia’s military invasion of Ukraine and taking place in Warsaw, Prague, Kassel, and Riga over the summer and fall of 2022.

Olena Lyubchenko on Whiteness, Expropriation, War, and Social Reproduction in Ukraine (via LeftEast): „[…] when we hear on the news that ‘Ukraine is fighting a European war’ and ‘Ukraine is defending Europe’, amid images of fleeing ‘poor white’ women with children prioritized over racialized ‘Others’, ‘Ukraine’ is being made ‘white’ in the global imaginary. That is, „the injunction to ‘return to Europe’ by way of Europeanization is enabled and conditioned on the mythologies of Western civilization, and that Europeanization at once marks (promulgates) and unmarks (naturalizes) racial whiteness” [Nadezhda Husakouskaya and Randi Gressgård]. The paradox is that Europe’s existence as such has only been possible precisely because of the exploitation of global working peoples through expropriation of resources and today neoliberal economic reforms and reproduced by feminized labour.“

Vasyl Cherepanyn about the „inertness, hiding behind the European Wall“ (via L’Internationale): „Many Western institutions that have been claiming ‚radical political engagement‘ for years, have simply resorted to a white cube radicalism and self-satisfying humanitarianism, too afraid of acting politically beyond their comfort zone and unsettling their publics and authorities by attempting to affect the decision-making process regarding the Ukrainian cause.“


Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): „[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.“

Vasyl Cherepanyn on that „It’ll take more than tanks to ease Germany’s guilt“ (via Politico): „Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‚peripheries,‘ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‚deeply concerned.‘ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‚balanced‘ with a Russian perspective, so as to not exclude the latter by any means.“

An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on „Digital Leviathan and His Nuclear Tail“ (via Your Art and e-flux notes): „At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.“

mehrweniger Kurznews