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.

Location: Cupola
silent green Kulturquartier
Gerichtstr. 35
13347 Berlin
The event will be held in English.
Admission is free.

PROFESSION: DOCUMENTARIST
Shirin Barghnavard, Firouzeh Khosrovani, Farahnaz Sharifi, Mina Keshavarz, Sepideh Abtahi, Sahar Salahshoor and Nahid Rezaei
Iran 2014
Farsi with English subtitles
80 min.

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, 2017 / Residency
Interface

Sara Ahmed on the perfomativity 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, Tom

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, Tom

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, Tom
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