Event: Peter Weiss and Harun Farocki, October 24, 2016, silent green

We were isolated individuals and simultaneously subsumed into a totality*
* Translation from: Peter Weiss, Die Ästhetik des Widerstands. Erster Band, Frankfurt am Main: Suhrkamp, 1975, S. 137

Peter Weiss and Harun Farocki
An event organized by the Harun Farocki Institut (HaFI)
October 24, 2016
silentgreen Kulturquartier
Gerichtstraße 35
13347 Berlin

3:30 to 5:00 pm
„[to] turn a place that one otherwise passes by thoughtlessly into an important place.“**
A guided tour of real and imaginary places and locations from The Aesthetics of Resistance in Red Wedding from and with Julia Lazarus/Undisciplinary Learning
Meeting point: Nettelbeckplatz, at the “Tanz auf dem Vulkan” fountain
For the guided tour please register under: info@harun-farocki-institut.org

The extended environs of the silent green Kulturquartier in Wedding, where the Harun Farocki Institut is also located, plays a significant role as a setting in Peter Weiss’s novel The Aesthetics of Resistance. Not only do the protagonists in Berlin featured in volume 1 of the trilogy move between the Oranienburger Vorstadt and Wedding districts, for Weiss Barricades in Wedding, Klaus Neukrantz’s “little agitational book” about the so-called Blood May of 1929 (published in 1931) represents a form of complementary novel to Kafka’s The Castle. “The search and the defensive struggle were two sides of one and the same act of taking up positions.” Julia Lazarus’s guided tour will address this and other aspects of the topography of The Aesthetics of Resistance.

Julia Lazarus is a curator, artist and film maker from Berlin. Since 2012 she been engaged in an exploration of the novel The Aesthetics of Resistance from Peter Weiss. The exhibition Undisciplinary Learning. Remapping. The Aesthetics of Resistance which she has curated together with Suza Husse and Janine Halka is currently on display at District Berlin until 19/11/2016. In 2013/4 she initiated the exhibition Die Ästhetik des Widerstands together with Moira Zoitl und Naomi Hennig in the Galerie im Turm (Berlin) and the IG Bildende Kunst Vienna.

** Harun Farocki, concept paper about On Display: Peter Weiss (1979), first published in: Harun Farocki: On Display: Peter Weiss, HaFI 003, by the Harun Farocki Institut, 2016

7:30 to 9:30 pm
Harun Farocki and Gunilla Palmstierna-Weiss on Peter Weiss and The Aesthetics of Resistance
Video interviews with Carles Guerra from 2011 (screening) followed by a talk with Carles Guerra and Bert Rebhandl (in English)
Kuppelhalle
silent green Kulturquartier

In the context of the research conducted for his exhibition 1979, a Monument to Radical Moments at the Virreina Centre de la Imatge in Barcelona, the curator and artist Carles Guerra conducted interviews with Harun Farocki and the stage-designer and artist Gunilla Palmstierna-Weiss in 2011 which were recorded on video. Guerra’s exhibition, centred around 1979, addressed a political aesthetic from different perspectives and was essentially organised around motifs from The Aesthetics of Resistance, and in particular, the question of a documentary visual praxis under conditions of biopolitics and neoliberalism. Via Peter Weiss and the problem of the historical memory of acts and gestures of both political and aesthetic radicalism, Farocki and Guerra entered into an intensive dialog, which also continued after Farocki’s death. Together with Antje Ehmann, Guerra curated exhibitions on Harun Farocki in Valencia and Barcelona in 2015 and 2016, which, in 2017, will be followed by a further exhibition at the Neuen Berliner Kunstverein (n.b.k.) within the context of the planned Harun Farocki retrospective in Berlin.

Carles Guerra (Amposta, 1965) is a curator, critic, visual producer and scientist. His special interest is the relationship between artistic praxis and cultural politics under post-Fordism. Guerra was Director of the Virreina Centre de la Imatge and Head Curator at the Museu d’Art Conternporani de Barcelona (MACBA), before being appointed Director of the Fundació Antoni Tàpies in Barcelona in 2015. Most recently (with Antje Ehmann) he curated the exhibition Harun Farocki. Empathy at the Fundació Antoni Tàpies.

Bert Rebhandl (Kirchdorf an der Krems, 1964) is a freelance film journalist for, amongst others, the Frankfurter Allgemeine Zeitung, Der Standard, Frieze, Zitty, author (amongst others Orson Welles. Genie im Labyrinth, 2005) and co-founder and editor of the magazine Cargo. Film/Medien/Kultur.

October 12th, 2016 — Projects / Event
Interface

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.”

July 31st, 2022

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.”

May 28th, 2022

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.”

April 20th, 2022
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