[Second] HaFI residency fellow: Shirin Barghnavard
For the second Harun Farocki Residency we have invited the Tehran-based Iranian filmmaker and editor Shirin Barghnavard to Berlin for three months.
Born in Tehran, Shirin Barghnavard received diplomas in film directing from the Sooreh University, Tehran, and screen from the Central Institute of Technology, Australia. Since 1999, she has made several award winning short and feature length documentary films such as PROFESSION: DOCUMENTARIST (2014), SCENES FROM A DIVORCE (2015) and POETS OF LIFE (2017). As an editor, she has worked on numerous documentary films including HEY HUMANS (2016), directed by renowned Iranian filmmaker Rakhshan Bani Etemad, and Firoozeh Khosrovani’s award winning film, FEST OF DUTY (2014).
In her documentary films Shirin Barghnavard combines general social questions with specific examinations of the role of women in society. In 2014, together with a female filmmakers’ collective, she realized the film PROFESSION: DOCUMENTARIST which addresses the working conditions for documentary filmmaking in Iran from the perspective of seven women filmmakers based in Tehran living through the political and economic crisis around the elections.
October 11th, 2017, 2017 / Residency
After all the buzz and clamor caused by the 2019 re-opening of the extended MoMA and the much celebrated rehang of its permanent collection, N+1 publishes a sobering curatorial fantasy (by Claire Bishop and Nikki Columbus) on what should have been done instead to come to terms with the “outrageous disconnect between saying and doing at this museum—the brazen hypocrisy and superficial multiculturalism.”
January 8th, 2020, HaFI
Heute um 18 Uhr hält Volker Pantenburg den Vortrag “‘Zusammensetzen und auseinandernehmen’. Arbeit mit dem Para-Archiv des Harun Farocki Instituts” an der Universität der Künste in Berlin.
January 7th, 2020, HaFI
You have probably watched Ricky Gervais yesterday’s Golden Globe speech already, or read about it, so this is not exactly news to you. Still, it deserves mentioning and posting, particularly if you haven’t seen it yet, notwithstanding all its shortcomings. If simply for the fact that Gervais here shows a welcome (and rare) structural, dialectic, and pretty pitiless understanding of
a) his own debatable role at the ceremony and in the industry as such;
January 6th, 2020, HaFI
b) the game-shifting changes in the media industry caused by monopoly digital streaming platforms such as Netflix, Amazon, Apple;
c) the necessity to (once again) question the public performance of the political amid the liberal Hollywood establishment;
d) the systemic contradiction between “progressive” media content (“quality TV”) and the outrageously destructive economies and technologies on which this content and its providers gleefully rely;
e) the blatant inconsistency in the actions of the media industry people when it comes to not only complaining about racism but actually fight it;