Report on the “light-typing lecture” by Kevin B. Lee, January 14, 2017, silent green
The “light-typing lecture” by HaFI resident Kevin B. Leeat silent green’s Kuppelhalle in Berlin-Wedding introduced a large and attentive audience to the biographical, methodological, theoretical and legal predicaments of a video essayist’s practice in times of increasing pressure of commercializing and streamlining the video essay’s approach to cinema. A brilliant (and moving) lesson of how to navigate a post-cinema small screen reality where watching films has become a multitask, short attention span, data-mined occupation of dealing with the massive availability of parergonal information and the vertiginious referential depths of the internet while at the same time trying to adapt to continuously changing platforms and demands (and sometimes refusing to be adaptive). Kevin’s performative lecture, in which he didn’t speak himself but rather typed away for everyone to see, letting his work speak for him, made tangible the joys and the pressures provided by the desktop as a laboratory and studio environment. Kevin also shared with us the most recent, disillusioning experience with his long-time employer, the film website Fandor, that overnight took down almost 200 of his video essays, for dubious “copyright” reasons. The work of years – vanished from sight (though some of it, thank god, retrievable at Kevin’s Vimeo presence. During the upcoming months, Kevin will investigate the irregular circulation of digital copies and rips of works by Harun Farocki as well as continue (together with Chloé Galibert-Lâiné) research into Daesh’s visual production and its circulation.
Film stills (c) Melina Pafundi
January 16th, 2017, 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