Event: Shirin Barghnavard, November 13, 2017, silent green
Screening and discussion
On November 13 at 7:30 pm, we will be holding a film evening in silent green together with Shirin Barghnavard, the second scholarship holder of the Harun Farocki Residency. We will be showing her film PROFESSION: DOCUMENTARIST (2014, 80 min), which was produced together with six other female Iranian filmmakers. This will be followed by a discussion between Shirin Barghnavard and Constanze Ruhm.
silent green Kulturquartier
The event will be held in English.
Admission is free.
Shirin Barghnavard, Firouzeh Khosrovani, Farahnaz Sharifi, Mina Keshavarz, Sepideh Abtahi, Sahar Salahshoor and Nahid Rezaei
Farsi with English subtitles
Constanze Ruhm is Professor of Art and Digital Media at the Academy of Fine Arts Vienna. Her productions include and intersect the fields of installation, film / video, text / publications, curatorial projects and websites. Her work focuses on contemporary forms of an art practice established around the relation of cinema and New Media with an emphasis on notions of identity, representation and (feminist) film theory.
The biography of Shirn Barghnavard is available on a previous post here.
The Harun Farocki Residency is sponsored by Goethe-Institut.
November 7th, 2017 — Residency / 2017
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
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