[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, 2016 / Residency
On the occasion of the film festival “Reconstructing Realities,” the Broadway Cinematheque in Hong Kong will show the film “How to live in FRG” (1990) from Harun Farocki.
The screening will take place on Saturday, July 11, 2:30 pm (local time) at the Goethe Institut Hong Kong.
Reconstructing Realities – A Film Programme to Celebrate the 50th Anniversary of the Berlinale Forum
The screening will be followed with a talk with Doreen Mende from the Harun Farocki Institut.
The talk will be public via Zoom. A link will follow shortly.
July 8th, 2020, HaFI
Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies: “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”
July 7th, 2020, Tom
Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”
June 28th, 2020, Tom