[Launch] Crowdfunding: Publishing Farocki’s Writings together
PUBLISHING FAROCKI’S WRITINGS TOGETHER
In addition to the funding we already raised, we need another 10.000 Euros to publish the volumes 5 & 6 of Harun Farocki’s writings and thereby to complete the edition of all texts by Farocki.
Between 2017 and 2019 we released the first four volumes of Farocki’s writings. These include his autobiography as fragments, the book on Godard he wrote together with Kaja Silverman, and two volumes with all texts published between 1964 and 1985.
To round off the edition, we are now preparing the publication of two further volumes, which bring together the texts from the last three decades of his life.
BANDS 5 (texts 1986-2000) & 6 (texts 2001-2014)
Volumes 5 and 6 cover a time period, in which Farocki produced film and video installations more and more in the context of the visual arts, thereby expanding the reception his cinematic works. From then on, Farocki’s audiovisual works oscillated between the fields of film and contemporary art. This development in his practice also led Farocki to new approaches in terms of image analysis and cultural criticism – all of which are reflected in the texts written between 1986 and 2014 to be made accessible in volumes 5 and 6.
HOW CAN I DONATE ?
Donations can be transferred to the account of the Harun Farocki Institut Trust Foundation.
Recommended minimum contribution: 100 Euros
IBAN: DE31 1012 0100 1004 0723 62
We can issue a donation receipt for donations of 200 Euros and above.
If you have any question, please send us an email to: firstname.lastname@example.org
We are happy to mention all our supporters by name in the books, however if you would rather remain anonymous, let us know.
November 13th, 2019 — About us / Support
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
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