Filmkritik at the Edit Film Culture! festival: Juli 7, 2018, silent green Kulturquartier

On July 5, “Edit Film Culture!” opens in silent green Kulturquartier – a festival, an exhibition, and a film series that takes its starting point from the iconic independent magazine Film Culture and goes on to link current discourse on film criticism with interdisciplinary approaches and global perspectives on historical and contemporary meanings of the term “film culture.”

Within the framework of our cooperation with the “Edit Film Culture!”  festival we will be presenting the magazine Filmkritik, which was founded in Germany by Enno Patalas and Wilfried Berghahn, two years after the first issue of Film Culture. Filmkritik also raised questions concerning the relationship between film and society. Its texts, oriented on Critical Theory and film criticism from Paris, reacted to both contemporary cinema as well as the social situation in post-war Germany. Harun Farocki helped shape profile of Filkmkritik as author and editor in the years from 1974 to 1983. The magazine was discontinued in 1984.

With a delay of over 33 years the last unpublished issue of the magazine, Filmkritik No. 335-336, Nov-Dec 1984,* will now appear. This edition – as a theme issue – is dedicated to the film maker Emile de Antonio. Furthermore, we have re-published two texts from Filmkritik No. 275, November 1979* which provide a brief insight into the magazine’s editorial praxis. During the festival “Edit Film Culture!” Jürgen Ebert, an author and editor at the time, will present and talk about the last issue on July 7 in silent green Kulturquartier.

Jürgen Ebert published his first text in Filmkritik on the Spaghetti Western in September 1969. He was one of the magazine’s most prolific authors and editors until it was discontinued in 1984. Ebert was the editor of the issue of Filmkritik devoted to Emile de Antonio.

 

Saturday July 7, 2018, 5:00 pm
Edit Filmkritik
With Jürgen Ebert
Reading with English subtitles, discussion in English
Location: silent green Kulturquartier
Gerichtstrasse 35
13347 Berlin

More information on the entire program can be found on www.editfilmculture.net

* The publication Filmkritik Nr. 335–336, Nov.-Dez. 1984 and both leporellos on Filmkritik Nr. 275, Nov. 1979 are realised within the framework of Edit Film Culture!, a project by silent green Film Feld Forschung gGmbH in cooperation with Jonas Mekas/Anthology Film Archives, Arsenal – Institut für Film und Videokunst e. V., SAVVY Contemporary e.V., Harun Farocki Institut, Spector Books and Lithuanian Culture Institute. Funded by Hauptstadtkulturfonds.

June 30th, 2018 — Projects / Event
Interface

Lauren Berlant, the brilliant theorist of “cruel optimism” and related issues, died of a rare form of cancer on June 28. The following, devastatingly optimistic quote is from a 2016 essay on the commons as “infrastructures for troubling times,” part of a book that they worked on with the typically double-edged title On the Inconvenience of Other People: “What remains for our pedagogy of unlearning is to build affective infrastructures that admit the work of desire as the work of an aspirational ambivalence. What remains is the potential we have to common infrastructures that absorb the blows of our aggressive need for the world to accommodate us and our resistance to adaptation and that, at the same time, hold out the prospect of a world worth attaching to that’s something other than an old hope’s bitter echo. A failed episode is not evidence that the project was in error. By definition, the common forms of life are always going through a phase, as infrastructures will.”

 

Some basics from the Strike MoMA site: “Campaigns, actions, and letters chip away at the regime’s facade from the outside. Inside, every time workers organize, defy the boss, care for a coworker, disrespect secrecy, or enact other forms of subversion, cracks are created in the core. Cracking and chipping, chipping and cracking. As the walls that artificially separate the museum from the world collapse, we reorient away from the institution and come together to make plans. Let us strike in all the ways possible to exit from the terms of the museum so we can set our own.”

 

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

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

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
moreless news