Public Screening #06: Skip Norman: selection of films, March 22, 2018, Arsenal


Skip Norman, Helke Sander and Harun Farocki in BRECHT DIE MACHT DER MANIPULATEURE (1967/68) from Helke Sander

Thursday, March 22, 2018
7 p.m.
Arsenal, Cinema 2

Skip Norman, who was born in Baltimore in 1933 and died in Washington DC in 2015, was a student at the German Film and Television Academy Berlin (DFFB) in 1966, the first year of its existence. He went on to become a director and worked on 27 dffb productions. The titles of his films all hint at the struggle to assert an Afro-American identity in a world shaped by whites. CULTURAL NATIONALISM (1969), BLACK MAN’S VOLUNTEER ARMY OF LIBERATION(1970) or STRANGE FRUIT(1970) named after the song by Billie Holiday. BLUES PEOPLE (1968) adapted parts of the play “Dutchman” by his peer LeRoi Jones (who later became Amiri Baraka). “They say, ‘I love Bessie Smith’ and don’t even understand that Bessie Smith is saying, ‘Kiss my ass, kiss my black unruly ass.’” We will be screening five of his short films from the archives of the Arsenal Cinema and the Deutsche Kinemathek.

Blues People FRG 1968
16 mm English OV 18 min

Cultural Nationalism FRG 1969
16 mm English OV 11 min

Black Man’s Volunteer Army of Liberation USA 1970
16 mm English OV 43 min

Strange Fruit USA 1970
16 mm English OV 29 min

Washington D.C. November 1970 USA 1970
16 mm English OV 18 min

March 15th, 2018 — Projects / Event
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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