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
A DAY IN THE LIFE OF A CONSUMER / Abdul Nazir bin Harith Fadzillah / ABOUT NARRATION / ABOUT SONG OF CEYLON BY BASIL WRIGHT / Adolf Winkelmann / Alessandra Ferrini / Alexandra Délano Alonso / Alexandra Pirici / Alexandra Weltz-Rombach / Ali Hussein Al Adawy / Alice Creischer / Amit S. Rai / Amy Lien/Enzo Camacho / Andrea Luka Zimmerman / Andreas Philippopoulos-Mihalopoulos / Andreas Philippouloulos-Mihalopoulos / Andreas Siekmann / Andrius Arutiunian / Anja Quickert / Ann Guedes / Anna Faroqhi / Anna Seghers / Annelen Kranefuss / Anselm Franke / Antje Ehmann / Antoine Simeão Schalk / Anton Vidokle / Arno Luik / Arsenal / Art Catalyst / AS YOU SEE / Atej Tutta and Valeria Cozzarini / autobiography / AUVICO / Bahar Noorizadeh / BEDTIME STORIES / BEFORE YOUR EYES VIETNAM / Ben Alper / Berlinale / Berlinale Forum / Bert Rebhandl / Bertold Schmidt-Thomé / BETRAYED / BETWEEN TWO WARS / BILDER DER WELT UND INSCHRIFT DES KRIEGES / Brian Kuan Wood / Brigitte Tast / California Prison Focus / Carles Guerra / Carlos Bustamante / Cathleen Schuster/Marcel Dickhage / Cathy Lee Crane / Charles Heller / Charles Laughton / Chloé Galibert-Lâiné / Christa Blümlinger / Christhart Burgmann / Christian Petzold / Christian Rittelmeyer / Christoph Balzar / Cinema Action / Claudia von Alemann / Clio Nicastro / COMPARISON VIA A THIRD / Constanze Ruhm / COUNTER-MUSIC / Daesh / Danah Abdulla / Daniel A. Barber / Danièle Huillet / Dave Beech / David Dibosa / David Olusoga / Dean Kenning / Death Class / Derek Jarman / desktop documentary / dffb / Documentary / Doina Popescu / Donald Tuckwiller / Doreen Mende / Duisburg / Edinson Arroyo / Eduardo Guedes / Elem Klimow / Eliane de Latour / Elisa Adami / Elisabeth Büttner / Elsa de Seynes / Elske Rosenfeld / Emile de Antonio / Enno Patalas / Eray Çaylı / Eric C. H. de Bruyn / essay film / estate / event / Farabi Fakih / Felix Hofmann / Filipa César / Filmkritik / Fortini/Cani / Forum Expanded / Franz Josef Knape / Frieda Grafe / Galerie Barbara Weiss / Georg Lehner / Gerd Conradt / Gerd Wameling / Gerhard Benedikt Friedl / Gerhard Theuring / Gisela Trowe / Glenn Diaz / Gunilla Palmstierna-Weiss / Günter Peter Straschek / H. Lan Thao Lam / HaFI 000 / HaFI 001 / HaFI 002 / HaFI 003 / HaFI 004 / HaFI 005 / HaFI 006 / HaFI 007 / HaFI 008 / HaFI 009 / HaFI 010 / HaFI 011 / HaFI 012 / HaFI 013 / HaFI 014 / HaFI 015 / HaFI 016 / HaFI B / HaFI Booklets / HaFI Presents / Haile Gerima / Hana Noorali / Hana Noorali and Lynton Talbot / Hanns Zischler / Hans Carlsson / HARD SELLING / Hartmut Bitomsky / Haytham el-Wardany / Helene Kazan / Helke Sander / Helmut Färber / Hito Steyerl / Ho Tzu Nyen / Holger Glinka / Horst Kurnitzky / I THOUGHT I WAS SEEING CONVICTS / IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR / IMAGES-WAR / IN COMPARISON / INDUSTRY AND PHOTOGRAPHY / INEXTINGUISHABLE FIRE / Ingemo Engström / Ingo Kratisch / Ingrid Oppermann / Inhabitants / INSTRUCTIONS ON HOW TO PULL OFF POLICE HELMETS / INTERFACE / Irena Vrkljan / Isobel Wohl / Jacques Rivette / James Bridle / James Smith / Jan Distelmeyer / Jan Ralske / Janine Francois / Jean Chapot / Jean Rouch / Jean-Luc Godard / Jean-Marie Straub / Jelena Stojković / Jennifer Gabrys / Jim Jarmusch / Joachim von Mengershausen / Joel McKim / Johannes Beringer / John Paul Ricco / Jon Thomson/Alison Craighead / Jonas Mekas / Jordan Baseman / Jordan McKenzie / Jorge Silva / Joshua Simon / Journal of Visual Culture / Julia Lazarus / Juliet Jacques / Julieta Aranda / Jürgen Ebert / Jutta Sartory / Kaja Silverman / Karl-Heinz Heil / Kasia Bojarska / Katarzyna Bojarska / Kaye Cain-Nielsen / Kevin B. Lee / Kimberly Juanita Brown / Kinemathek / Klaus Heinrich / Klaus Wyborny / Kodwo Eshun / Krystian Woznicki / LABOUR IN A SINGLE SHOT / Lana Lin / Lara Faroqhi / Laura Lo Presti / Laura Mulvey / Laura U. Marks / Lim Paik Yin / Lina Hakim / Lothar Schuster / Louis Henderson / Ludger Blanke / Luis Feduchi / Lynton Talbot / Madeleine Bernstorff / Magdalena Taube / Maïté Chénière / Mallarmé / Manca Bajec / Marcos Martins / Margareta Kern / Margarete Kemény / Mariana Silva / Marianna Maruyama / Marichka Lukianchuk / Marion Schmid / Marius Babias / Mark Terkessidis / Marquard Smith / Marta Rodríguez / Martin Linzer / Martina Müller / Matteo Pasquinelli / Matthias Rajmann / Melton Prior Institut / Merle Kröger / Michael Annoff/Nuray Demir / Michael Girke / Michel Piccoli / Moad Musbahi / MODERATORS / Mohamed Bouamari / Murad Kahn / Natascha Sadr Haghighian / Nettie Wild / Nika Autor / Nikolay Smirnov / Nora M Alter / NOTHING VENTURED / Numéro Deux / ON DISPLAY: PETER WEISS / ON DISPLAY: PETER WEISS. Shooting in Stockholm / ON NARRATION / Oraib Toukan / Oreet Ashery / Otty Widasari / Patricia R. Zimmermann / Patricia Reed / Patrick Flores / Paul Willemen / Peter Hoffmann / Peter Nau / Peter Nestler / Peter Weiss / Philip Miller / Philip Miller and Marcos Martins / Pil and Galia Kollectiv / Pil and Galia Kollektiv / Plastique Fantastique / PRISON IMAGES / public screening / Rachel Thompson / Radical Film Network / Radical Film Network Meeting / Rainer Gansera / Ralph Eue / Ramon Amaro / Ramon Guillermo / Raymond Williams / Reinhold Messner / Renan Laru-an / Robina Rose / Rolf Aurich / Romy Schneider / Ronny Tanner / Rosemarie Blank / Ruth Ewan / Sabeth Buchmann / Sara Blaylock / Shanay Jhaveri / Shannon Mattern / Shinsuke Ogawa / Shirikiana Gerima / Shirin Barghnavard / Shonagh McAuley / Simon Pavič / Skip Norman / Soyoung Yoon / Stanley Wolukau-Wanambwa / Stefan Pethke / Stefan Ripplinger / Stefanie Schulte Strathaus / Stephenie Young / Steve Neale / Susan Schuppli / Sven Lütticken / Ted Fendt / Teresa Cisneros / THE BATTLE / THE CAMPAIGN VOLUNTEER / THE DIVISION OF ALL DAYS / THE DOUBLE FACE OF PETER LORRE / THE INTERVIEW / The Partisan Social Club / THE STRUGGLE WITH IMAGES / THE TASTE OF LIFE / THE TROUBLE WITH IMAGES / Thomas Giefer / titre provisoire / Tobias Hering / Tom Corby / Tom Holert / TRACTOR / TWO PATHS / Ulrich Broeckling / Ulrich Kriest / UNTITLED OR: NIXON COMES TO BERLIN / Ursula Böckler / Vanessa Cimorelli / Vanessa Schwartz / Video Essay / VIDEOGRAMS OF A REVOLUTION / Vinit Agarwal / Vivien Buchhorn / Vladimir Miladinović / Vladimir Milandinović / Volker Pantenburg / WDR / Werner Dütsch / Werner Ružička / Werner Schroeter / WHITE CHRISTMAS / Wim Wenders / Wolf Eckart Bühler / Wolf Gremm / Wong Binghao / WORKERS LEAVING THE FACTORY / Writings / Yasmin Tri Aryani / Ying Sze Pek / Yve Lomax / z and his friends / Zikri Rahman