[Fourth] HaFI residency guest: Cathy Lee Crane

In the late 1990s, experimental filmmaker Cathy Lee Crane (U.S.A.) was involved in researching for the works PRISON IMAGES (film, 2000) and I THOUGHT I WAS SEEING CONVICTS (two-channel video installation, 2000) by Harun Farocki in California. Over the past 25 years Crane has also worked on her own film productions and taught in the Cinema and Photography Department at Ithaca College (New York). Some of her films can be viewed on Vimeo here.


Cathy Lee Crane will dedicate her residency to her ongoing research for the cross-platform media project Drawing the Line, which explores the 1850s International Survey Commission that drew the Western boundary of the US/Mexico border following the Mexican/American War. This 14-part series combines archival and staged images with documentary portraits of border dwellers from border crossing towns along the Western Boundary (from El Paso/Juarez to Tijuana). The just released feature-length documentary Crossing Columbus (www.crossingcolumbus.com) explores one such town and its annual commemoration of Pancho Villa’s 1916 raid. This will enjoy a one-day-only online Sneak Preview as part of the Ashland Independent Film Festival’s Migration Series on May 28, 2020

Furthermore, one of the ongoing research strands of the institute is the “prison images” complex and its contemporary relevance. Since 2018, HaFI conducted various workshops in Berlin and New York. The residency offers the opportunity to continue aspects of this research in exchange with Crane and other invited guests, for which we will provide regular updates over the coming months.

May 26th, 2020, 2020 / Residency

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.
Online booklet: https://bit.ly/bcXForum50

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

The screening will be followed by the talk “Harun Farocki’s Imitations of Life” with Doreen Mende, co-founder of the Harun Farocki Institut.
Time: Jul 11, 2020 04:00 pm Hong Kong SAR / 10:00 am Berlin time
Language: English

The talk will be held on Zoom, registration here: https://forms.gle/tyLfKLwBYNUutoLz6
After registration, you will receive an email with the link and the login information to join the talk.


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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