Farocki’s Living Room

In the first edition of the Rosa Mercedes online journal, Marianna Maruyama interviews some of the people who took part in the “Farocki Now” Academy and speaks with a few of the institute’s neighbors in the silent green Kulturquartier. The living room is a space for conversation and contemplation, a room situated at the heart of the home, and a place to think from within.

 

 

A full transcript of the audio journal is accessible here.

 

This journal was realized within the framework of the “Farocki Now” Academy, which took place from October 18-21, 2017, during the Harun Farocki Retrospective in Berlin. The full program and the schedule of the academy are accessible here.

 

Colophon:

Editorial Concept: Marianna Maruyama
Sound Editing: Andrius Arutiunian
Transcription: Marianna Maruyama

Marianna Maruyama’s involvement was made possible in part through financial support from the Mondriaan Fund.

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, Verlag der Buchhandlung Walther König, Savvy Contemporary, and Haus der Kulturen der Welt within the framework of the Berlin Art Week and is sponsored by the Senate Department for Culture and Europe. The Farocki Now Academy is supported by: Deutsche Film- und Fernsehakademie Berlin, European Media Studies – University of Applied Sciences Potsdam/Potsdam University, Goethe-Institut, Gudang Sarinah Ekosistem, Institut für Auslandsbeziehungen, MASS Alexandria, Mophradat, and Temple University’s Center for the Performing and Cinematic Arts.

January 9th, 2018 — Rosa Mercedes / 01
Interface

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

via 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
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