HaFI Presents #02: HARD SELLING, dir. Harun Farocki, (FRG 1991), November 20, 2019, Arsenal Cinema
Changes in political system produce images, words, and sounds. The Harun Farocki Institut presents the unfinished film HARD SELLING (Harun Farocki), conversations with an Adidas travelling salesman in Brandenburg in 1991 which describe the transition from East Germany to a market capitalist system by way of sport and leisure items.
Unfortunately Alice Creischer and Andreas Siekmann cannot be present, as announced in the Arsenal program. We will organize an event with them at a later stage.
Alongside HARD SELLING, a 30 minute chapter from Peter Delpeut’s TV documentary DE TIJDMACHINE (1996) (THE TIME MACHINE) will now be screened, in which Farocki shows excerpts from his and Andrei Ujica’s VIDEOGRAMS OF A REVOLUTION and comments upon the relation between camera and history.
Hard Selling (unfinished)
Harun Farocki FRG 1991
Digital file 23 min
De Tijdmachine (The Time Machine)
Peter Delpeut NL 1996
Digital file ca 30 min (excerpt)
The Harun Farocki Institut Presents
Wed, 20.11.2019, 19.00h, Cinema 2
Location: Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Strasse 2, 10785 Berlin
Admission: 8 Euros / 5 Euros (members) / 3 Euros (Children/Berlin-Pass)
An event realized in the framework of Archive Außer Sich
November 15th, 2019 — Projects / Event
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