Public Screening #05: Ingo Kratisch: Logik des Gefühls, January 11, 2018, Arsenal
January 11, 2018
Arsenal, Kino 2
At the 12th International Forum of New Cinema in 1982, Ingo Kratisch was represented by two films – as a cameraman on Harun Farocki’s “Etwas wird sichtbar” (Before your Eyes – Vietnam) and as director and editor of LOGIK DES GEFÜHLS (Logic of Emotion) (Screenplay: Jutta Sartory). In a poetic text, Cäzilia Gall writes: “The main protagonist is Georg, lovesick, for whom there is nothing more to portray. People, whom he meets. They are like extras on the empty planks of his heart: ‘The Traveller’, ‘The Poet’, ‘The Lover’, ‘The Gambler’, ‘The Deranged One’, ‘The Man in the Port’ and others. And the plot: “What happens? Nothing much. […] Where is it set? In an in-between space, between lost love and a coming love. Winter. Berlin. 1981. Anna has separated from Georg. Silence.”
Starring Farocki as “The Deranged One”.
Logik des Gefühls
Dir: Ingo Kratisch
Script and assistance: Jutta Sartory
with Rüdiger Vogler, Daphne Moore, Grischa Huber, Sabine Andreas, Hanns Zischler
35 mm 98 min
Ingo Kratisch and Jutta Sartory will be present as Arsenal’s guests.
More info here (Informationsblatt des 12. Internationalen Forum des Jungen Films): PDF
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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
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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;