Interface

Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies:  “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”

July 7th, 2020, Tom

Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”

June 28th, 2020, Tom

Ajay Singh Chaudhary on the politics of climate change, via The Baffler: “One of the most common misconceptions concerning climate change is that it produces, or even requires, a united humanity. In that tale, the crisis in the abstract is a ‘common enemy,’ and a perfectly universal subject is finally possible in coming to ‘experience’ ourselves ‘as a geological agent,’ through which a universal ‘we’ is constituted in a ‘shared sense of catastrophe.’ The story I am telling you is different. In this story, there is no universal ‘we.’ Climate change is not the apocalypse, and it does not fall on all equally, or even, in at least a few senses, on everyone at all.”

June 23rd, 2020, Tom
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PUBLISHING FAROCKI’S WRITINGS TOGETHER

You can support the printing of Farocki’s writings with a donation now. In addition to the funding we already raised, we need another 10.000 Euros to publish the volumes 5 & 6 of Harun Farocki’s writings and thereby to complete the edition of all texts by Farocki.

Between 2017 and 2019 we released the first four volumes of Farocki’s writings. These include his autobiography as fragments, the book on Godard he wrote together with Kaja Silverman, and two volumes with all texts published between 1964 and 1985.
To round off the edition, we are now preparing the publication of two further volumes, which bring together the texts from the last three decades of his life.

 

BANDS 5 (texts 1986-2000) & 6 (texts 2001-2014)

Volumes 5 and 6 cover a time period, in which Farocki produced film and video installations more and more in the context of the visual arts, thereby expanding the reception his cinematic works. From then on, Farocki’s audiovisual works oscillated between the fields of film and contemporary art. This development in his practice also led Farocki to new approaches in terms of image analysis and cultural criticism – all of which are reflected in the texts written between 1986 and 2014 to be made accessible in volumes 5 and 6.

 

HOW CAN I DONATE ?

Donations can be transferred to the account of the Harun Farocki Institut Trust Foundation.
Recommended minimum contribution: 100 Euros

Weberbank Berlin
IBAN: DE31 1012 0100 1004 0723 62
BIC: WELADED1WBB

We can issue a donation receipt for donations of 200 Euros and above.
If you have any question, please send us an email to: info@harun-farocki-institut.org

We are happy to mention all our supporters by name in the books, however if you would rather remain anonymous, let us know.