Call for Donations: Farocki’s Writings: English Edition: Volume 1: Autobiography

The first volume of Farocki’s writings “Ten, twenty, thirty, forty. Fragment of an Autobiography” was met with a very positive response since its publication in 2017. “It is an impressive piece of prose that Farocki presents here,” wrote Ulrich Kriest in konkret. Andreas Richartz spoke of a “literary sensation”. Further, he says: “Farocki’s text must be considered sensational above all because it shows how finely this image analyst is able to articulate not only his own history in retrospect, down to unimaginable densities of detail, but also an unexpected history of the Federal Republic of Germany from the late 1950s to the early 1980s.”

Outside German-speaking countries, a rapidly growing interest in a translation has been expressed. Together with the Berlin publisher Archive Books, we are now preparing the publication of a translation of the autobiography edited by Marius Babias and Antje Ehmann.

With a donation you can support our work on the English autobiography

 

Account holder: Stiftung Harun Farocki Institut
at Weberbank Berlin
IBAN: DE31 1012 0100 1004 0723 62
BIC: WELADED1WBB
Description: Donation Autobiography Farocki

 

Bank transfers to HaFI are recognized as donations if they are indicated as such (“donation”) in the description field of the bank form.

The foundation Harun Farocki Institut is entitled to issue tax deductible donation receipts for any donation above 200 Euro. Below this amount a bank statement is sufficient. For further questions and information, please contact: info@harun-farocki-institut.org

We will be happy to mention the names of all our supporters in the book. If you would rather prefer to remain anonymous, please let us know.

 

Thanks in advance for your support!

September 15th, 2020 — About us / Support
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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