Public Screening #09: Transit Levantkade: Rosemarie Blank: September 7, 2018, Arsenal Cinema
In 1991, TRANSIT LEVANTKADE screened at the Duisburg Film Week and as part of ZDF’s “Das kleine Fernsehspiel”. Rosemarie Blank’s film combines enacted scenes and historical material and is about the past and present of Levantkade in Amsterdam’s old harbor, from where people left to go to South America in the early 20th century as well as from where – not much later – the deportation of forced laborers was organized under the Nazi occupation. The “transit” of the title could connect Blank’s film with Anna Seghers’ 1941 novel, one of Harun Farocki’s favorites, as well as to Christian Petzold’s 2018 adaptation Transit (2018) and also to Fluchtweg nach Marseille by Ingemo Engström und Gerhard Theuring (1977). Showing the port as a zone of contact, a relay station of migration, a transient place, with alternative, nomadic ways of living, proves to be a productive task of film and/or of political historiography.
Rosemarie Blank, NL, 1991
OV/GeS 85 Min
Friday September 7, 2018, 7:30 p.m.
Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Strasse 2
August 27th, 2018, Event / Projects
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