Interface

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

David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): “We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?”

September 7th, 2020

T.J. Demos on why cultural practitioners should never surrender, via tranzit.sk:  “For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.”

August 21st, 2020
moreless news
Archive / Showcase

In the section “showcase,” one document or object from the HaFI archive will be displayed and briefly contextualized each month.

Mai 2021: Contre-Chant (2009)

See German post.

May 15th, 2021 — Archive / Showcase
April 2021: Blockschaltbild über Lehrstoffablauf (1970)

see German post.

May 3rd, 2021 — Archive / Showcase
March 2021: A photograph by Irena Vrkljan (1967)

see German post.

March 31st, 2021 — Archive / Showcase
February 2021: WHITE CHRISTMAS – Budget (1968)

see German post.

February 28th, 2021 — Archive / Showcase
January 2021: “Technologiekampagne”

see German post.

January 2nd, 2021 — Archive / Showcase
December 2020: Location “Picnic at the River”

see German post.

December 22nd, 2020 — Archive / Showcase
November 2020: Colloquium Klaus Heinrich

see German post.

November 28th, 2020 — Archive / Showcase
October 2020: National Archives, Washington DC (1987)

... regarding aerial reconnaisance photographs of Auschwitz-Birkenau taken during World War II

October 30th, 2020 — Archive / Showcase
September 2020: Metal pressing

see German post.

September 30th, 2020 — Archive / Showcase
August 2020: events that are a small story

See German post.

August 30th, 2020 — Archive / Showcase
July 2020: A Letter by Frieda Grafe

see German post.

July 16th, 2020 — Archive / Showcase
June 2020: What is ZITTY?

See German post.

June 30th, 2020 — Archive / Showcase
May 2020: La Voleuse (1966)

See German post.

May 30th, 2020 — Archive / Showcase
April 2020: A Letter from Jim Jarmusch

We would be very interested in getting this stock from you. Please let us know if it is still available.

April 30th, 2020 — Archive / Showcase
March 2020: TIERLIEBE

see German Post

March 31st, 2020 — Archive / Showcase
February 2020: Carosse d’or

See German post

February 29th, 2020 — Archive / Showcase
January 2020: Digitization from Harun Farocki Institut

A list of previous digitisations from the holdings of the HaFI

February 3rd, 2020 — Archive / Showcase
December 2019: Jetzt reklamefrei

see German post.

January 6th, 2020 — Archive / Showcase
November 2019: Cinématon / Portrait de groupe

see German post.

December 16th, 2019 — Archive / Showcase
October 2019: Before Your Eyes – Vietnam

see German post.

November 12th, 2019 — Archive / Showcase
September 2019: Die Sensation!

See German post.

September 27th, 2019 — Archive / Showcase
August 2019: WeltBild – a proposal by HaF

see German post.

August 31st, 2019 — Archive / Showcase
July 2019: Something about shot/countershot

see German post

July 30th, 2019 — Archive / Showcase
June 2019: Duisburger Filmwoche, 1995

see German post.

June 30th, 2019 — Archive / Showcase
May 2019: Werner Dütsch: Film in Germany

see German post.

May 26th, 2019 — Archive / Showcase
April 2019: Biographical Note

Against Cinema, against Culture

April 30th, 2019 — Archive / Showcase
March 2019: DIE SCHLACHT, stage play in Basel, 1976

see German post.

March 22nd, 2019 — Archive / Showcase
February 2019: When the sea surges against the land

irregularly, not haphazardly

February 21st, 2019 — Archive / Showcase
January 2019: Kino 81, a TV program by the magazine FILMKRITIK

See German post.

January 12th, 2019 — Archive / Showcase
December 2018: Werner Dütsch (1939 – 2018)

see German post.

January 7th, 2019 — Archive / Showcase
November 2018: Video weekend with tapes by Jean-Luc Godard / Anne Marie Miéville

See German post. 

November 17th, 2018 — Archive / Showcase
October 2018: Nothing takes place but the place

As history continues, more and more marks are left on the surface of the earth.

October 18th, 2018 — Archive / Showcase
September 2018: Ei wie süß die Kasse klingt

see German post.

September 30th, 2018 — Archive / Showcase
August 2018: A symposium on the journal FILMKRITIK

see German post.

August 30th, 2018 — Archive / Showcase
July 2018: From the research to INDUSTRIE + FOTOGRAFIE

see German post.

July 23rd, 2018 — Archive / Showcase
June 2018: A DAY IN THE LIFE OF A CONSUMER

see German post.

June 30th, 2018 — Archive / Showcase
May 2018: Teaching at dffb, 1986

See German post.

May 31st, 2018 — Archive / Showcase
April 2018: TWO SISTERS

see German post.

April 30th, 2018 — Archive / Showcase
March 2018: BEFORE YOUR EYES VIETNAM, Screen Tests

see German post.

March 30th, 2018 — Archive / Showcase
February 2018: A letter to the Straubs (October 1977)

see German post.

February 10th, 2018 — Archive / Showcase
January 2018: notes from numero deux

see German post.

January 22nd, 2018 — Archive / Showcase
December 2017: Maximum Security University

See German post.

December 30th, 2017 — Archive / Showcase
November 2017: Instructions on how to Pull off Police Helmets

News from the archive: INSTRUCTIONS ON HOW TO PULL OFF POLICE HELMETS and UNTITLED OR: NIXON COMES TO BERLIN, both made in 1969.

November 30th, 2017 — Archive / Showcase
October 2017: Ronny and Harun act up

see German post.

October 31st, 2017 — Archive / Showcase
September 2017: TV presenter: INDUSTRIE + FOTOGRAFIE

see German post

September 30th, 2017 — Archive / Showcase
August 2017: The Liberation [Die Befreiung]

See German post.

August 31st, 2017 — Archive / Showcase
July 2017: To all team members / The social contract [An alle Mitarbeiter / Der Sozialkontrakt]

See German post.

July 1st, 2017 — Archive / Showcase