HaFI 005: Harun Farocki: Before Your Eyes – Vietnam

A hybrid attempt at coming to terms with a specific instance of amnesia amongst the West German left in the late 1970s/early 1980s, Harun Farocki’s 1982 feature film BEFORE YOUR EYES – VIETNAM combines ideas about the distant, image-guided participation in the war in Vietnam with speculations on Vietnam as a laboratory of advanced modes of capitalist production, whilst reflecting intensely on the dyad of love and work.

This publication assembles selected material produced in 1982 to promote the film and make it accessible discursively. It includes the facsimile of a promotional leaflet that provided both factual information and directions for reading, a selection of unseen photos from the set and from a tiny piece of film (excavated from the archives of the Harun Farocki Institut) documenting a performative trailer held on an improvised stage by Farocki and actor Ronny Tanner during the Berlin Film Festival in 1982. The brochure is introduced by a commentary penned by the Harun Farocki Institut.

Available for 9 Euro here at Motto Books.

September 8th, 2017 — Projects / Publication
Interface

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

via 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
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