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 — 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