Interface

A  word on “post-truth” by postcolonial and photography scholar Zahid R. Chauhary (from his 2020 essay “The Politics of Exposure: Truth after Post-Facts”):So perhaps it is not simply that truth acts (such as whistleblowing) expose what we already know, but that the place of knowledge in an atmosphere of fetishistic disavowal lends such disavowal a libidinal frisson. In cynical reasoning, truth actually matters a great deal because acting in spite of it is what endows the action with its distinctive fetishistic pleasure.”

October 26th, 2021

In its last issue 155, Camera Austria published a review by Sabine Weier of the HaFI booklet Harun Farocki: Hard Selling. Reframed by Elske Rosenfeld.

October 26th, 2021

Lauren Berlant, the brilliant theorist of “cruel optimism” and related issues, died of a rare form of cancer on June 28. The following, devastatingly optimistic quote is from a 2016 essay on the commons as “infrastructures for troubling times,” part of a book that they worked on with the typically double-edged title On the Inconvenience of Other People: “What remains for our pedagogy of unlearning is to build affective infrastructures that admit the work of desire as the work of an aspirational ambivalence. What remains is the potential we have to common infrastructures that absorb the blows of our aggressive need for the world to accommodate us and our resistance to adaptation and that, at the same time, hold out the prospect of a world worth attaching to that’s something other than an old hope’s bitter echo. A failed episode is not evidence that the project was in error. By definition, the common forms of life are always going through a phase, as infrastructures will.”

 

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
moreless news

Tag: Doreen Mende

Writings, Vol. 5: Unregelmäßig, nicht regellos

Volume 5, now released, brings together all of the texts published in the years 1986-2000 and offers insights into some of Farocki's seminal cinematic and installation works from this period.

June 8th, 2021 — Projects / Publication
HaFI 014: Harun Farocki: Hard Selling: Reframed by Elske Rosenfeld

In HaFI 014, artist Elske Rosenfeld reflects on the reading of the fragmentary archival materials for Farocki's unfinished film "Hard Selling" (1991) with her own text/image essay.

April 8th, 2021 — Projects / Publication
AMERICA – Films from Elsewhere (ed. Shanay Jhaveri): HaFI Contribution

A dossier consisting of documents and images on the "prison images" complex from the HaFI archive, compiled by HaFI.

May 26th, 2020 — Projects / Publication
e-flux journal: Navigation Beyond Vision II

The issue #109 Navigation Beyond Vision II of the e-flux journal is now online.

May 26th, 2020 — Projects / Publication
The live-stream’s split-screen, or, Urgent domestic politics

Shouldn’t this crisis demand an urgent politics of the domestic, specifically of those who have the privilege to #stayathome?

April 5th, 2020 — Rosa Mercedes / 02
e-flux & HaFI Conference: Art After Culture: Navigation Beyond Vision, April 5 & 6, 2019, HKW, Berlin

Navigation begins where the map ends (...).

February 27th, 2019 — Projects / Event
Writings, Vol. 2: Kaja Silverman / Harun Farocki: Speaking about Godard (German edition)

See German post.

December 16th, 2017 — Projects / Publication
Program: “Farocki Now: A Temporary Academy”, October 18-21, 2017, HKW & silent green, Berlin

A forum for workshops, presentations, and debates which explore the contemporary relevance of Harun Farocki’s work and thought, placing it in new contexts and activating its productive potential

September 18th, 2017 — Projects / Event
Forum Expanded: Think Film No. 5: Archival Constellations, February 16, 2017, silent green

The talk will include the screening of "Ronny und Harun spielen Theater" which is a short documentary of a staged scene from “Etwas wird sichtbar” (“Before Your Eyes Vietnam”), 1982.

February 16th, 2017 — Projects / Event
Curatorial Seminar: What is navigation? September 2016 – June 2017, HEAD, Geneva

‘What is navigation?’ inquires the curatorial seminar 2016/17 of the CCC Research-Based Master Programms / Visual Arts Department of HEAD – Geneva.

September 5th, 2016 — Projects / Research
HaFI 002: Harun Farocki: What Ought to Be Done

A working paper by Farocki (1975/76), a commentary by Tom Holert, Doreen Mende and Volker Pantenburg followed by a letter by Peter Nestler.

August 17th, 2016 — Projects / Publication
Institute

The Harun Farocki Institut (HaFI) is a charitable foundation trust established in 2015. Its official bodies, in accordance with the Articles of Association, are the Board of ...

January 23rd, 2016 —
Imprint

Imprint: Harun Farocki Institut silent green Kulturquartier Plantagenstraße 31 D-13347 Berlin Germany Phone +49 (0)30 46 06 24 70...

January 23rd, 2016 —