[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

The Reconstruction of Ukraine. Ruination / Representation / Solidarity, online symposium, September 9-11, 2022. “The Reconstruction of Ukraine: Ruination / Representation / Solidarity” devotes particular attention to cities, architecture, art, culture and psychological trauma – but the scope of the conversations it aims to start is broader. In due course, the discussions held during the symposium may coalesce into myriad projects, initiatives and experiments undertaken by government institutions, municipalities, educational and cultural bodies and other more interstitial actors. The ambition of this symposium is to establish a platform for dialogue, facilitating communication, collaboration and constructive argument between diverse actors and initiatives.

George Edwards (Zetkin Collective) on war, nationalism and the “anti-climate lobby” (via Arts of the Working Class): “The latest prognosis of this particular war was spelt out in a flurry of reports from the IPCC; the most recent, described as ‘an atlas of human suffering’ by the chief of the UN, demanded ‘rapid, deep and immediate’ emissions cuts in all sectors to ensure an inhabitable planet for all. In step with the science, many wish this conflict to mark the beginning of an intensified programme of decarbonization, ridding economies of not only Russian, but all fossil fuels, wherever their geological source. But whilst political leaders scramble abroad to secure new sources of fossil fuels – sweet-talking sheiks and summoning LNG terminals from the ground – a resourceful and committed cohort, let’s call them the anti-climate lobby, refuse to accept this diagnosis. The partakers in the fossil industry have seized upon this crisis, sensing it as an opportunity to enlarge and entrench economic interests rooted in fossil fuels. As the course of action prescribed by the IPCC imperils this line of business, the attempts to secure fresh investments in fossil fuel infrastructures, to lock-in production and secure profits for the coming decades may feel all the more pressing. The solutions they pose also fit within the national frame and it is with nationalist political forces that they find their most ardent allies.”

July 31st, 2022

The fundamental difference that we face in Europe at the moment between the Western approach characterized by the pursuit of peace and the Eastern one focused on liberation and independence poses a dramatic challenge – in order to survive and progress, democracy as a political regime has to be capable of defending itself also in a military way.” Armed Democracy revolves around the concepts of imperialism, liberation, fascism, autocracy, revolution, and militarization in pursuit of the world to come on Europe’s burnt out land. Conceived by the Kyiv Biennial and Biennale Warszawa from the East Europe Biennial Alliance, this special public program, curated by Vasyl Cherepanyn within the 2nd edition of Biennale Warszawa, the program is a first part of the series organized by the East Europe Biennial Alliance discussing Russia’s military invasion of Ukraine and taking place in Warsaw, Prague, Kassel, and Riga over the summer and fall of 2022.

Olena Lyubchenko on Whiteness, Expropriation, War, and Social Reproduction in Ukraine (via LeftEast): “[…] when we hear on the news that ‘Ukraine is fighting a European war’ and ‘Ukraine is defending Europe’, amid images of fleeing ‘poor white’ women with children prioritized over racialized ‘Others’, ‘Ukraine’ is being made ‘white’ in the global imaginary. That is, “the injunction to ‘return to Europe’ by way of Europeanization is enabled and conditioned on the mythologies of Western civilization, and that Europeanization at once marks (promulgates) and unmarks (naturalizes) racial whiteness” [Nadezhda Husakouskaya and Randi Gressgård]. The paradox is that Europe’s existence as such has only been possible precisely because of the exploitation of global working peoples through expropriation of resources and today neoliberal economic reforms and reproduced by feminized labour.”

Vasyl Cherepanyn about the “inertness, hiding behind the European Wall” (via L’Internationale): “Many Western institutions that have been claiming ‘radical political engagement’ for years, have simply resorted to a white cube radicalism and self-satisfying humanitarianism, too afraid of acting politically beyond their comfort zone and unsettling their publics and authorities by attempting to affect the decision-making process regarding the Ukrainian cause.”

May 28th, 2022

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
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