She would fall asleep with a taste of home on her lips (Journal of Visual Culture & HaFI, 29)

This is the twenty-ninth instalment of a collaborative effort by the Journal of Visual Culture and the Harun Farocki Institut, initiated by the COVID-19 crisis. The call sent to JVC’s editorial board, and a wide selection of previous contributors and members of its extended communities, described the task as follows: “There is a lot of spontaneous, ad hoc opinion-making and premature commentary around, as to be expected. However, the ethics and politics of artistic and theoretical practice to be pursued in this situation should oblige us to stay cautious and to intervene with care in the discussion. As one of JVC’s editors, Brooke Belisle, explains: ‘We are not looking for sensationalism, but rather, moments of reflection that: make connections between what’s happening now and the larger intellectual contexts that our readership shares; offer small ways to be reflective and to draw on tools we have and things we know instead of just feeling numb and overwhelmed; help serve as intellectual community for one another while we are isolated; support the work of being thoughtful and trying to find/make meaning…which is always a collective endeavour, even if we are forced to be apart.'” TH

 

She would fall asleep with a taste of home on her lips

A moving poem by Andreas Philippopoulos-Mihalopoulos

Andreas Philippopoulos-Mihalopoulos, She would fall asleep with a taste of home on her lips, Moving Poem Series, iOS, 1920 × 1080, 3’ 10″

 

From the claustrophobia of domesticity to the fury of a changing world. Such passages always take place in the middle of the night. They wait till the globe moves just beyond the edge of the sun, and they dream us up, all reprogrammed and ready to accept.

The world sleeps, the axes change. The world wakes up, and the sun falls on empty streets.

There is nothing smooth about these passages: initially, the ones who had homes were all forced deeper into them, frantically attempting to reinvent a Bachelardian bourgeois berth, endlessly viewing the same tired details and hoping that our bored gaze will bring out the phenomenology of belonging. But even while we were attempting that, we knew that in this age of lost innocence, such luxuries were no longer possible: we finally became, in very real, material, architectural terms, a testing ground for Esposito’s immunological dystopia, or Sloterdijk’s bubbles of isolation.

Yet we never stopped seeking the other home. Our desire to return, our need to regress – who can tell the difference anymore.

And then, the next passage. We are ushered out by the forceps of systematic racial abuse and discrimination, we come out with a cry. We inhale the vast pillars of oxygen needed for a global breath to be heard. This breath says: we cannot breathe. Not this air anymore, even when the knees are removed from our necks. Protest as essential activity during COVID-19. There is violence in this passage, no doubt about this. The light is harsh, the air smells of rotting empires, the port waters open up their arms for Victorian statues finally to be corroded. We are out.

The dream turns with the axes of the planet.

 

The moving poem ‘She would fall asleep with a taste of home on her lips’ is one of three moving-poems/passages written, composed, videoed and recited by Andreas Philippopoulos-Mihalopoulos as part of the art residency-at-home This is a Call by Eva Sajovic and Rebecca Davies of People’s Bureau, along with fiction writer Sarah Butler and film maker Shona Hamilton, in May 2020 during the UK lockdown. The pieces, along with the works of the other artists in residence, were performed on a live zoom stream on Saturday 16th of May, 2020. A film by Shona Hamilton is currently in preparation.
Andreas Philippopoulos-Mihalopoulos is Professor of Law & Theory and Director of the the Westminster Law & Theory Lab // he is also an artist working with performance, installation, sculpture, photography and picpoetry // and a fiction author, with his recent The Book of Water coming out in September by ERIS; Instagram.

 

 

 

June 10th, 2020, 02 / Rosa Mercedes
Interface

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.

https://www.goethe.de/ins/cn/de/sta/hon/ver.cfm?fuseaction=events.detail&event_id=21884136&

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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