Situationen / Situations (1967)

Johannes Beringer

 

The film was made after June 2, 1967. Conventional, self-contained storytelling no longer seemed possible and needed to be broken up by loosely jammed together “blocks.”

Brief footage of different spheres of life in the city (documentary and staged): the Allies’ presence—my own situation (a burst of The Room)—teenagers in a dance hall—on-set sounds and footage of Daniel Schmid—a conversation among students in a factory loft about the future of the film school—activism… (J. Beringer)

Film by Johannes Beringer with Gerd Conradt – Camera; Resa Dabui – Sound; Kaspar Streiff – Assistance; Renate Czech, Jürgen Engelhardt, Peter Hohenstein, Jutta Kräft – Cast; Gerd Conradt, Skip Norman, Holger Meins, Günter Peter Straschek – Conversation Participants; West Berlin, Late October/Early November 1967 (DFFB, 1967, B/W, 15 Min. 30 Sec.)

Johannes Beringer belonged to the first cohort of students at Deutsche Film- und Fernsehakademie (dffb) Berlin in 1966. He collaborated with Skip Norman on his two student films Das Zimmer (The Room) and Situationen (Situations). Together with seventeen other students, Beringer was expelled from the film school in November 1968. Since then, he has worked as a writer (for the journal Filmkritik and many other publications), translator, and film programmer in various contexts. In the 1970s and early ’80s, he was editor and sound engineer on many of Harun Farocki’s productions.

[Suggested citation: Johannes Beringer, “Situationen / Situations (1967)” Rosa Mercedes 03/B (April 2021), www.harun-farocki-institut.org/en/2021/04/30/situationen-1967/]

April 2021 — Rosa Mercedes / 03 / B
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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