HaFI Presents #01: NIEMANNS ZEIT – EIN DEUTSCHER HEIMATFILM, dir. Marion Schmid/Horst Kurnitzky, (FRG 1985), September 11, 2019, Arsenal Cinema

The Public Screening, which we have organized for over two years in the Arsenal Cinema, is now being continued with a curated program. This time the Harun Farocki Institut has given “carte blanche” to the film maker and former colleague of Farocki, Stefan Pethke.

NIEMANNS ZEIT – EIN DEUTSCHER HEIMATFILM (Marion Schmid, Horst Kurnitzky) an essay film made in West Berlin screened out of competition at the Berlinale of 1985. A lonely academic played by Gerd Wameling, who was part of Peter Stein’s Schaubühne ensemble at the time, carries out research into the images and texts of National Socialism. A sparse mise-en-scène. Documentary sequences. And right in the middle, a formal island of black-and-white in which three men – a biologist, the philosopher of religion Klaus Heinrich and the most famous mountaineer in the world – are confronted with their very different respective notions of nature.
Marion Schmid, a co-publisher of Carl Einstein’s writings, and Horst Kuznitsky, the author of Triebstruktur des Geldes knew Farocki from Heinrich’s lectures at the FU, which were open to all and attracted a wide spectrum of curious attendees.

In the presence of Marion Schmid and Horst Kurnitzky
Moderation: Stefan Pethke

Niemanns Zeit – Ein deutscher Heimatfilm
Marion Schmid and Horst Kurnitzky FRG 1985

With Gerd Wameling, Reinhold Messner, Klaus Heinrich
35 mm OV/EnS 113 min

The Harun Farocki Institut Presents
Wed, 11.09.2019, 7.00pm, Cinema 1

Location: Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Strasse 2, 10785 Berlin
Tickets: 8 Euros / 5 Euros (Members) / 3 Euros (Children/Berlin-Pass)

September 2nd, 2019, Event / Projects
Interface

On the occasion of the film festival “Reconstructing Realities,” the Broadway Cinematheque in Hong Kong will show the film “How to live in FRG” (1990) from Harun Farocki.
The screening will take place on Saturday, July 11, 2:30 pm (local time) at the Goethe Institut Hong Kong.

Reconstructing Realities – A Film Programme to Celebrate the 50th Anniversary of the Berlinale Forum

The screening will be followed with a talk with Doreen Mende from the Harun Farocki Institut.
The talk will be public via Zoom. A link will follow shortly.

https://www.goethe.de/ins/cn/de/sta/hon/ver.cfm?fuseaction=events.detail&event_id=21884136&

July 8th, 2020, HaFI

Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies:  “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”

July 7th, 2020, Tom

Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”

June 28th, 2020, Tom
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