Futuro Roseo (Journal of Visual Culture & HaFI, 47)

This is the forty-seventh 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


Futuro Roseo




We bought some flowers, selecting each based on its color. We dismembered the bouquet in our studio, placing the flowers across the room to create a garden. Repositioning the lighting several times, trying out various compositions, the results appeared as the process developed. We archived the images on our hard drive.

It was February 20th, 2020. The news coming in from Wuhan was frightening but the general belief was that we, in Italy, were far enough away not to be touched by what was happening there. This idea, that the virus would only effect the other, someone somewhere far, collapsed in the following days. Swaying between scepticism and insecurity, underestimation and panic. Normality as we once knew it slowly disappeared once the general lockdown was announced.

Some weeks later, looking at the pictures we shot, we reconsidered that moment as perhaps an anticipation of what was to come.



The time of lockdown, could be understood as a slip of the tongue, a temporary delusion, a fissure in the wall. Like every wound, this one too leaves its traces. Like a camera obscura, it leaves an upside down image of the world outside, inside our precarious existence. We will not see this image until it is fully developed and fixed, its development as always, is in relation to time.

We have allowed this to become a state of normality, but in order to find our way out of this burning forest, we must stay awake and lucid, up until the very end.


BASTARDPRODIGE (V. Cozzarini, A. Tutta), Venice, August 26, 2020.
Atej Tutta is an artist and filmmaker based in Venice. From 2009 to 2014 he worked as an Associate Professor at the Academy of Fine Art in Venice. He also works as exhibition designer and has co-curated several transdisciplinary projects. In the field of performing arts, he co-authored a project rewarded at the 53rd Theatertreffen in Berlin. As a set designer and video artist he collaborates regularly with choreographers and theatre directors.
Valeria Cozzarini, based in Venice, works as a mixed media artist and filmmaker. She has won several awards including at the Cortinametraggio Film Festival and Expression Art Movie Film Festival. Most recently she collaborated as animator for a play directed by Vinko Möderndorfer.
January 5th, 2021 — Rosa Mercedes / 02

A  word on “post-truth” by postcolonial and photography scholar Zahid R. Chauhary (from his 2020 essay “The Politics of Exposure: Truth after Post-Facts”):So perhaps it is not simply that truth acts (such as whistleblowing) expose what we already know, but that the place of knowledge in an atmosphere of fetishistic disavowal lends such disavowal a libidinal frisson. In cynical reasoning, truth actually matters a great deal because acting in spite of it is what endows the action with its distinctive fetishistic pleasure.”

October 26th, 2021

Lauren Berlant, the brilliant theorist of “cruel optimism” and related issues, died of a rare form of cancer on June 28. The following, devastatingly optimistic quote is from a 2016 essay on the commons as “infrastructures for troubling times,” part of a book that they worked on with the typically double-edged title On the Inconvenience of Other People: “What remains for our pedagogy of unlearning is to build affective infrastructures that admit the work of desire as the work of an aspirational ambivalence. What remains is the potential we have to common infrastructures that absorb the blows of our aggressive need for the world to accommodate us and our resistance to adaptation and that, at the same time, hold out the prospect of a world worth attaching to that’s something other than an old hope’s bitter echo. A failed episode is not evidence that the project was in error. By definition, the common forms of life are always going through a phase, as infrastructures will.”


Some basics from the Strike MoMA site: “Campaigns, actions, and letters chip away at the regime’s facade from the outside. Inside, every time workers organize, defy the boss, care for a coworker, disrespect secrecy, or enact other forms of subversion, cracks are created in the core. Cracking and chipping, chipping and cracking. As the walls that artificially separate the museum from the world collapse, we reorient away from the institution and come together to make plans. Let us strike in all the ways possible to exit from the terms of the museum so we can set our own.”


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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