Interface

Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”

June 28th, 2020, Tom

Ajay Singh Chaudhary on the politics of climate change, via The Baffler: “One of the most common misconceptions concerning climate change is that it produces, or even requires, a united humanity. In that tale, the crisis in the abstract is a ‘common enemy,’ and a perfectly universal subject is finally possible in coming to ‘experience’ ourselves ‘as a geological agent,’ through which a universal ‘we’ is constituted in a ‘shared sense of catastrophe.’ The story I am telling you is different. In this story, there is no universal ‘we.’ Climate change is not the apocalypse, and it does not fall on all equally, or even, in at least a few senses, on everyone at all.”

June 23rd, 2020, Tom

Gary Younge on Europe’s problematic “identification with Black America,” via NYRDaily: “I have seen many instances of black activists here trying to turn Europe’s wider cultural obsession with America’s bigger canvas to their advantage and educate their own political establishments about the racism on their doorstep. Answering the laments for George Floyd in the US this week, Parisians chanted the name of Adama Traoré, a citizen of Malian descent who died in police custody in 2016. But it can be a thankless task. In my experience, drawing connections, continuities, and contrasts between the racisms on either side of the Atlantic invites something between rebuke and confusion from many white European liberals. Few will deny the existence of racism in their own countries but they insist on trying to force an admission that it ‘“is better ‘here than there”‘—as though we should be happy with the racism we have.”

June 9th, 2020, Tom
moreless news

Tag: Helmut Färber

January 2019: Kino 81, a TV program by the magazine FILMKRITIK

See German post.

January 12th, 2019, Archive / Showcase
HaFI 004: Gerhard Benedikt Friedl: An Approach by Helmut Färber

Documentary filmmaker Gerhard Benedikt Friedl describes Helmut Färber's method of teaching film history.

May 10th, 2017, Projects / Publication
HaFI 004 [Material]: Articles on Helmut Färber

Helmut Färber’s 80th anniversary was celebrated by some (German language) texts in the media

April 26th, 2017, Projects / Research
[First] HaFI residency fellow: Kevin B. Lee

Kevin B. Lee will be the first guest of the Harun Farocki residency from the middle of December onwards

November 30th, 2016, 2016 / Residency