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
moreless news
Archive / Showcase

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

February 2022: TRACTOR in Basel, 1976 (#056)

"One has to wish for images that precisely reproduce small singularities of a specific time." (Farocki)

February 28th, 2022 — Archive / Showcase
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