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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Rosa Mercedes / 03 / Contexts

This section provides a glossary of different contexts related to Skip Norman’s life and work. New entries will be added continuously during the research process.

03/Contexts
Bobby Seale, Copenhagen, 1969

Skip Norman/Contexts: One evening in March 1969, thirty-three-year-old Bobby Seale gave a speech in the packed-to-capacity main hall of Copenhagen’s Grundtvigs Hus.

March 2022 — Rosa Mercedes / 03 / Contexts
03/Contexts
Distribution

Skip Norman/Contexts: Skip Norman’s films made between 1966 and 1969 while a student at the DFFB were followed by the independent productions On Africa and Washington DC, November 1970.

February 2022 — Rosa Mercedes / 03 / Contexts
03/Contexts
Blackman’s Volunteer Army of Liberation

Skip Norman/Contexts: The Blackman’s Volunteer Army of Liberation (not to be confused with the Black Liberation Army), was one of many Black radical groups affiliated with the Black Muslim Movement in the late 1960s.

January 2022 — Rosa Mercedes / 03 / Contexts
03/Contexts
Ohio State University, Columbus

Skip Norman/Contexts: In 1976, Skip Norman began studying for a BA in the Liberal Arts at the College of Arts and Sciences, the Ohio State University in Columbus, Ohio.

January 2022 — Rosa Mercedes / 03 / Contexts
03/Contexts
LeRoi Jones / Amiri Baraka

Skip Norman/Contexts: Blues People, the title of Skip Norman’s notorious 1968 short that features the naked bodies and voices of a white woman and a Black man, quotes the title of LeRoi Jones’ book of 1963, Blues People: Negro Music in White America.

December 2021 — Rosa Mercedes / 03 / Contexts
03/Contexts
Klaus Wildenhahn

Skip Norman/Contexts: Impressed by the direct cinema of Albert Maysles, Richard Leacock, and D. A. Pennebaker, Klaus Wildenhahn (1930–2018) translated their methods to the West German context.

December 2021 — Rosa Mercedes / 03 / Contexts
03/Contexts
Westdeutscher Rundfunk (WDR)

Skip Norman/Contexts: From the late 1960s to the 1990s, the WDR “Filmredaktion” offered remarkable production opportunities for young filmmakers, many of them graduates (or relegates) from the new film schools in Berlin and Munich.

November 2021 — Rosa Mercedes / 03 / Contexts
03/Contexts
Camerawork

Skip Norman/Contexts: During his years as a student at the Deutsche Film- und Fernsehakademie Berlin (DFFB) between 1966 and 1969, Skip Norman was as prolific a cinematographer as he was a director.

October 2021 — Rosa Mercedes / 03 / Contexts
03/Contexts
Festivals

Skip Norman/Contexts: In a document compiled for the eighteenth birthday of the Deutsche Film- und Fernsehakademie Berlin (DFFB) in 1984, Skip Norman lists the festivals where the films he directed were screened.

October 2021 — Rosa Mercedes / 03 / Contexts