[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.

https://www.cathyleecrane.com

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 — Residency / 2020
Interface

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

via 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
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