[Screenings]: Harun Farocki, April 13 — 5 May 5, 2022, UP Vargas Museum, Manila, Philippines

From April 13 to May 5, 2022, the UP Vargas Museum and the Coincidences in Prepositions project present Harun Farocki. Screenings at the UP Vargas Museum in Manila, Philippines.

From the UP Vargas Museum press release:

“The first presentation of Farocki’s films in another context begins in the midst of openings and closures. Public health measures recently relaxed, borders restoring their hold of mobility over people; in a metropolitan research university, at a museum whose heritage ranges from making collection to doing experimentation, the Farocki screening is anything but an exhibition of art.

Many of our contemporary conditions have been rehearsed by Farocki as content, style and form in his artistic projects. They surface to be methods and devices that we have come to accept in the rubric of the ‘politics of images.’ This is one way to approach his practice. But what if Farocki’s inscriptions in pictures as well as his discursive editing of cinema’s structure are assembled today to function like a triage that organizes the order of treatment and the entry to further analysis?

Harun Farocki. Screenings is a screening program that takes a singular artistic output to be a system of resonances and descriptions that a new audience can be immersed in. As if a triage, the public that consumes Farocki also screens the vitality of and the need for the artist’s political propositions, sociocultural articulations and historical interventions today. One possible question that they could ask: are we meeting at the same emergencies? Or: can these images be patient of our own understanding of themselves that they will accept coincidence instead of representation, for example, to be a kind of relationship?

Part of Coincidences in Prepositions, a publication program conceptualized to review questions, propositions and solutions that have been set up in the dis/continuities of many colonial milieus, the presentation of Farocki in the Philippines reinforces a theory in the migration of images and screens that the artist had critically deconstructed in his studies of image production: images emerge in our time. In Harun Farocki. Screenings, museum visitors can organize the itinerary of images in a new context. The arrival of underdeveloped and perpetually deficient political images now have a chance to be emergent again.”

Harun Farocki. Screenings is organized by Renan Laru-an and titre provisoire (Cathleen Schuster/Marcel Dickhage), initiators of Coincidences in Prepositions in partnership with the Harun Farocki Institut and the Philippine Contemporary Art Network. Funded by the Goethe-Institut.
The screenings are supported by Antje Ehmann/Harun Farocki GbR.

Harun Farocki. Screenings is open to the public everyday.
Please sign-up here to book your seat in the screening. Kindly await our email confirmation regarding your reservation.

 

Screenings Program
Daily screening at 10 a.m. and 3 p.m.

Opening: Wednesday April 13

Bedtime Stories: Bridges”; “Bedtime Stories: Ships”; “Bedtime Stories: Railways”; “Bedtime Stories: Cats,” 1977
About Narration,” 1969
“The Expression of Hands,” 1997

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Thursday April 21

“The Appearance,” 1966
“The Words of the Chairman,” 1967
The Taste of Life,” 1979

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Friday April 22

In Comparison,”2009
“Silver and the Cross,” 2010

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Saturday April 23

Inextinguishable Fire,” 1969
Industry and Photography,” 1979

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Tuesday April 26

“Film Books,” 1986
Images of the World and the Inscription of War,” 1988


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Wednesday April 27

“Respite,” 2007
“War at a Distance,” 2003

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Thursday April 28

“Something Self Explanatory (15x),” 1971
“The Interview,” 1997

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Friday April 29

“The Creators of Shopping Worlds,” 2001
“Remember Tomorrow is the First Day of the Rest of Your Life,” 1972
“Their Newspapers,” 1968

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Saturday April 30

The Campaign Volunteer,” 1967
Bedtime Stories (1-4),” 1976-1977
Workers Leaving the Factory,” 1995

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Wednesday May 4

About Narration,” 1995
As You See,” 1986

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Thursday May 5

“The Expression of Hands,” 1997
Two Paths,” 1966
“The Words of the Chairman,” 1967
“Their Newspapers,” 1968
Inextinguishable Fire,” 1969
“Silver and the Cross,” 2010

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More screenings to come this week and in the week starting May 2 will be announced here and on the UP Vargas Museum Facebook page.

April 25th, 2022 — Projects / Event
Interface

Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): “[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.”

Vasyl Cherepanyn on that “It’ll take more than tanks to ease Germany’s guilt” (via Politico): “Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‘peripheries,’ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‘deeply concerned.’ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‘balanced’ with a Russian perspective, so as to not exclude the latter by any means.”

An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on “Digital Leviathan and His Nuclear Tail” (via Your Art and e-flux notes): “At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.”

April 20th, 2022

Vasyl Cherepanyn (Visual Culture Research Centre, Kyiv) on Putin’s “World War Z” and the West’s deadly “foot-dragging”, via Project Syndicate: “The main feature of this Western condition is constant belatedness. The West has always been too late, incapable of acting ahead and instead just reacting to what has already happened. As a Ukrainian joke went at the time, ‘While the European Union was taking a decision, Russia took Crimea.’ Then as now, Ukrainians wondered, ‘What is the West’s red line? What will compel the West to act instead of waiting and discussing when to intervene?’”

Barbara Wurm on Lithuanian director Mantas Kvedaravičius, killed in Mariupol, via Die Welt: “Kvedaravičius unfolded a whole spectrum of visual anthropology over a decade with only three films [Barzakh, Mariupolis, Parthenon]. It now awaits evaluation and exploration. The time will come. The films themselves make possible an infinite immersion in the matter of the world, between dream and reality, horror and everyday life, facts and phenomenal imagology.”

April 5th, 2022

Statement by #AfricansFromUA on Equal Treatment via e-flux notes: “Non-Ukrainian nationals from the war in Ukraine arriving in Germany have been facing very different terms of treatment—both in different federal states and cities but also within the very same city throughout time and different facilities. While some received so called ‘Fictitious Certificates’ for one year without further procedures others were pressured to submit an asylum application with their finger prints registered and passports seized. Again others were given a so called “Duldung” including the threat of deportation.”

April 5th, 2022
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