Harun Farocki Retrospective
Following the opening of the exhibitions “Mit anderen Mitteln / By Other Means“, curated by Antje Ehmann und Carles Guerra at “neuer berliner kunstverein” (n.b.k.and “El Usman Faroqhi Here and a Yonder – On Finding Poise in Disorientation” at Savvy Contemporary this Wednesday, the comprehensive retrospective of Harun Farocki’s work for cinema and television starts tonight at Kino Arsenal. “Year by Year” and “Side by Side”, the two series that continue until the end of November, were curated by the Harun Farocki Institut together with Kino Arsenal (Stefanie Schulte Strathaus).
More information about tonight’s program and the films and TV productions that are screened in September is on the Arsenal’s website (here).
The website www.harunfarockiretrospektive.org provides an overview of the Harun Farocki Retrospective* which also includes the temporary Academy “Farocki Now” at “Haus der Kulturen der Welt” (HKW) and silent green.
Also today, at 5 pm, the exhibition “Harun Farocki und die Musik“ opens at Galerie Barbara Weiss.
* The Harun Farocki Retrospective is a project of the Neuer Berliner Kunstverein (n.b.k.n cooperation with the Arsenal Institute for Film and Video Art, the Harun Farocki Institut, the Harun Farocki GbR, the silent green Kulturquartier, the publishers Buchhandlung Walther König, Savvy Contemporary, and the Haus der Kulturen der Welt within the framework of the Berlin Art Week and is sponsored by the Senate Department for Culture and Europe.
September 15th, 2017 — Projects / Event
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
David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): “We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?”
September 7th, 2020
T.J. Demos on why cultural practitioners should never surrender, via tranzit.sk: “For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.”
August 21st, 2020