[First] HaFI residency fellow: Kevin B. Lee
Kevin B. Leewill be the first guest of the Harun Farocki residency from the middle of December onwards. Kevin B. Lee(*1975) is one of the most well known and productive protagonists in the field now known as “Videographic Film Studies”, or more generally, the “Video Essay” genre.
Over the last ten years Lee has produced more than 300 short, analytical videos in which film reflects on film, sounds and images comment on, analyse and criticise other sounds and images. Furthermore, he is also one of the few people who knows the history of this form and is familiar with the forerunners of this genre such as Harun Farocki or Helmut Färber. In Interface 2.0. (2012), Lee extends Farocki’s reciprocal reflection on film and video (Schnittstelle / Interface) with the digital interface of Final Cut and considers how word and image relate to each other under the changed conditions.
Since 2013, within the context of two Master programmes at the Art Institute (Chicago), Lee has moved beyond the film-critical framework in the narrow sense to explore a further field. A much respected result of this work is Transformers. The Premake, a 24 minute Internet video which arranges a wealth of material available online (fan videos, Wikipedia entries, Tweets etc.) into a “desktop documentary” which, two weeks before the premiere of Michael Bay’s film, presents a critical production history of the film.
Here, as in his other work, Lee demonstrates – in addition to his technical accomplishment and astounding productivity – a consciousness for the forms of circulation, the economics and politics of every (including his own) image production.
The Harun Farocki residency has been made possible through the financing of the Goethe-Institut.
November 30th, 2016 — Residency / 2016
On Friday, April 6, 2021, at 8 p.m., Akademie Schloss Solitude will host a Zoom event with former HaFI Residency fellowship holder Shirin Barghnavard about her film “Invisible” (2017). Moderated by Doreen Mende. To register, click here.
April 14th, 2021
The magazine MONOPOL currently features an interview (in German) with Shirin Barghnavard about her film “Invisible,” which she conceived and shot during her HaFI residency in 2017.
April 14th, 2021
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.”
November 7th, 2020