Public Screening #11: CONTES ET COMPTES DE LA COUR, dir. Éliane de Latour (F 1993), January 9, 2019, Arsenal

Public Screening—the Harun Farocki Institut Presents:

On January 9, the Harun Farocki Institut presents another public screening: Éliane de Latour makes documentaries and features, as part of her work as an anthropologist, which also involves texts and photographs. We are interested in this practice because it promises to redress or even dissolve the borders between disciplines. De Latour has said that she fixes her gaze on the closed worlds behind a geographical or social border. CONTES ET COMPTES DE LA COUR (Tales and Tallies, 1993, OmU, 35mm, 103’) portrays the four wives of a marabout in Niger. They are enclosed in the eponymous courtyard of a building complex, but manage to develop micro-economic strategies to form relationships with the exterior world. “Through the circulation of objects, they continue to participate in social life,” wrote Latour who spent weeks with the women in the courtyard. “There was no difference between the moments when I filmed and those when I just listened.”

Arsenal, Kino 2, 7 pm, free admission

Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Straße 2
10785 Berlin

January 3rd, 2019, Event / Projects
Interface

After all the buzz and clamor caused by the 2019 re-opening of the extended MoMA and the much celebrated rehang of its permanent collection, N+1 publishes a sobering curatorial fantasy (by Claire Bishop and Nikki Columbus) on what should have been done instead to come to terms with the “outrageous disconnect between saying and doing at this museum—the brazen hypocrisy and superficial multiculturalism.”

January 8th, 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;
b) the game-shifting changes in the media industry caused by monopoly digital streaming platforms such as Netflix, Amazon, Apple;
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;

and much more…

January 6th, 2020, HaFI
moreless news