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.”


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?“


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.“

mehrweniger Kurznews


Ihr könnt den Druck der Schriftenausgabe Farockis durch eine Spende unterstützen. Zusätzlich zu den bereits eingeworbenen Mitteln benötigen wir weitere 10.000 Euros, um die Bände 5 & 6 der Schriften Harun Farockis zu veröffentlichen und damit die Gesamtausgabe aller publizierten Texte Farockis zu vervollständigen.

Zwischen 2017 und 2019 sind die ersten vier Bände der Schriften erschienen. Dazu zählen Farockis Fragment gebliebene Autobiographie, das gemeinsam mit Kaja Silverman geschriebene Buch über Godard und zwei Bände mit allen zwischen 1964 und 1985 veröffentlichten Texten.
Um die Ausgabe abzurunden, bereiten wir nun die Veröffentlichung von zwei weiteren Bänden vor, die die Texte aus den letzten drei Jahrzehnten seines Lebens versammeln.


BÄNDE 5 (Texte 1986–2000) & 6 (Texte 2001–2014)

Die Bände 5 und 6 umfassen eine Zeit, in der Farocki zunehmend Film- und Videoinstallationen im Kontext der zeitgenössischen bildenden Kunst produzierte, was auch eine Ausweitung der Rezeption seiner filmischen Arbeiten zur Folge hatte. Fortan pendelte Farocki in seinen audiovisuellen Arbeiten zwischen den Milieus des Films und der Gegenwartskunst. Die Entwicklung seiner Praxis führte Farocki auch zu neuen Ansätzen im Feld der Bildanalyse und der Kulturkritik – all dies schlägt sich in den zwischen 1986 und 2014 entstandenen Texten nieder, die in den Bänden 5 und 6 zugänglich gemacht werden sollen.



Spenden können auf das Konto der Treuhandstiftung Harun Farocki Institut überwiesen werden.
Empfohlener Mindestbeitrag: 100 Euros

Weberbank Berlin
IBAN: DE31 1012 0100 1004 0723 62

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