HaFI Presents #04: LEAVE ME ALONE, dir. Gerhard Theuring (1971 FRG), March 3, Arsenal Cinema

With Ingemo Engström, Werner Schroeter and Wim Wenders, Gerhard Theuring was among the first students of Munich’s new University of Television and Film, in the class of 1967. His final thesis film LEAVE ME ALONE – WHY DID YOU LEAVE AMERICA was screened in 1971 in the first Berlinale Forum. At the time he said: “LEAVE ME ALONE is a film about America in its portrayal of music about America and pictures from America. It is a film that was shot entirely in Munich. It is an American film because everyone lives in America. It is a film that does not have music but is about the hearing and seeing of music.” Harun Farocki, who worked with Theuring as a writer and editor for the magazine Filmkritik, showed the film in his DFFB seminars. Guests: Gerhard Theuring and Ingemo Engström

Leave me Alone – Why did you leave America
Gerhard Theuring FRG 1970
With Michael Unger, Ingemo Engström
DCP without dialogue 128 min

Tue, 3.3.2020, 7.00 pm, Cinema 2
Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Straße 2, 10785 Berlin
Tickets: 8,50 Euros / 5 Euros (Members) / 3 Euros (Children/Berlin-Pass)

 

An event realized in the framework of Archive Außer Sich

February 28th, 2020, Event / Projects
Interface

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

Ajay Singh Chaudhary on the politics of climate change, via The Baffler: “One of the most common misconceptions concerning climate change is that it produces, or even requires, a united humanity. In that tale, the crisis in the abstract is a ‘common enemy,’ and a perfectly universal subject is finally possible in coming to ‘experience’ ourselves ‘as a geological agent,’ through which a universal ‘we’ is constituted in a ‘shared sense of catastrophe.’ The story I am telling you is different. In this story, there is no universal ‘we.’ Climate change is not the apocalypse, and it does not fall on all equally, or even, in at least a few senses, on everyone at all.”

June 23rd, 2020, Tom
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