Forum Expanded: Think Film No. 5: Archival Constellations, February 16, 2017, silent green

February 16, 2017
10am – 10pm
Conference Archival Constellations
Conceived by Stefanie Schulte Strathaus
at silent green Kulturquartier

10.30am: Material to Investigate the Present, the Future Past: Encounter with an Archive
Talk by Tom Holert, Doreen Mende and Volker Pantenburg

The archival, in terms of film and video, is conceivable as an inquiry into the histories of film, politics and economy that engages the material bestowed by the past to the present with future projects in mind. The archival, in this sense, not only was the matrix from which many of Harun Farocki’s works emerged; it also informs the way in which his legacy as a filmmaker and theorist is dealt with by scholars of film and media studies, cinephiles, filmmakers and other visual practitioners. Farocki himself once expressed his interest in filmic material to be organized in a public archive “to investigate the present, the future past”. One of the imminent tasks of the Harun Farocki Institut (HaFI) is to develop a methodology and a practice of investigating and, in the long run, to make publicly accessible the archival material from Farocki’s storage spaces that has been placed in HaFI’s custody. Among the first unexpected findings is a short documentary that was made during 1982 Berlinale, when Farocki and actor Ronny Tanner performed a scene from “Etwas wird sichtbar” (“Before Your Eyes Vietnam”) in the foyer of Delphi cinema, a key venue of the festival.

Conference with

Harun Farocki Institut
Lisabona Rahman
Didi Cheeka
Arsenal – Institut für Film und Videokunst
!K7
SAVVY Contemporary
Filipa César
Sana Na N’Hada
Subversive Film
Jasmina Metwaly
Philip Rizk
Oleksiy Radynski
Karrabing Film Collective
Vaginal Davis

All presentations in English and for free.

February 16th, 2017, Event / Projects
Interface

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.

https://www.goethe.de/ins/cn/de/sta/hon/ver.cfm?fuseaction=events.detail&event_id=21884136&

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
moreless news