![]() ![]() Susana Vargas Cervantes, Amilcar Packer, Sofía Gallisá Muriente, Guillaume Désanges, Bárbara Santos, Oliver Martínez-Kandtįoreign Places is conceived as an alternative travel guide, which accompanies the eponymous exhibition. The shadows that move through us are the constant reminder of what never changes: long-standing oppression and discrimination, perpetuated all around us in a political climate of abuse and tough luck.Īs we name them, draw their contours and seek to resolve their enigmas, we ask ourselves to what real end do we use artistic thought to gain awareness of those shadows? Can something change? Or are those ideas mere shadow play? The glare that a shadow can emit is evident in recent Latin American history, a history notoriously scored by oppression, violence, disappearances, and other painful secrets tossed into the gray areas of memory and to the margins of hegemonic historical accounts.In the shadow, you’re protected by the invisibility of marginalization-at the same time you’re made vulnerable by a lack of guarantees brought about through the neglect of the dominant power. Terremoto 6 – Sombras. Dorothée Dupuis (Ed.). Terremoto, Motto Books. Sudan, the only remaining male northern white rhinoceros.Ol Pejeta Conservancy, Kenya. initiate what is not yet there.” In doing so, it was meant to facilitate social and collaborative processes, comprehensive and interdisciplinary studies without time pressure.Īt the occasion of Farocki’s working paper, the Harun Farocki Institut, founded in 2015, historically situates Farocki’s initiative and reflects upon the proximities and differences between creating an institution in 1976 and forty years later.The publication includes Farocki’s text, a commentary by Tom Holert, Doreen Mende and Volker Pantenburg, as well as a letter written in 1975 by documentary filmmaker Peter Nestler in response to Farocki’s circular.Editorial responsibility: Elsa de Seynes. secure what is there,” but also “to produce, i.e. He envisioned an institution to “organize a coalition of working people, not from an abstract understanding but from the contact points of their work.” The purpose of this institution, devoted to documentary practices, was twofold. In the mid-1970s, Harun Farocki wrote a two-page call programmatically entitled What Ought to Be Done, followed by a survey addressed to potential collaborators and supporters. HEAD-Genève, CCC Research Master and PhD-Forum, Motto Books. Thinking under Turbulence. Doreen Mende (Ed.). (Each publication includes one poster from a series of eight.) Does such loss of the authorship and privation of representation occur because of the countlessness of the photographs, or is it because their viewers are skimming through them so quickly? Is it caused by a desire in making and/or representing a different sort of being in a matter of seconds? Or, it is such way of doing, a remembrance of an existence that shares the untold and the hidden in a corner of time? These pictures, usually taken as snapshots, seem to conceal the represented person as well as all of the elements that characterise them. Through a reconstruction of the portraits their authorship is lost in the midst of their innumerability. ![]() The Reminder is an attempt towards an-other look at the Facebook profile pictures of Iran’s youth. These changes in phenomena and self, play an integral role in reflecting his personal interpretation of life and living. The experiences that have the most powerful effects on Iranian lifestyle and relationships, particularly in urban environments. He develops his ideas through the phenomena of his surroundings caused by socio-political and cultural issues. Sadighi’s work is founded in documentary photography. As part of the Prize a series of events including an exhibition, a panel discussion and a book launch formed Behnam Saidghi’s fellowship during his stay in London. Prior to the exhibition Behnam undertook a three-month residency at the Delfina Foundation. This publication is part of the project The Reminder by Behnam Sadighi, conceived in the frame of the fellowship programme MOP CAP 2013 with an exhibition at The Showroom from September 8 – 13, 2014 and the residency programme Delfina Foundation in London.įrom December 2013 to October 2014 Behnam Sadighi worked closely with curator and theorist Doreen Mende to develop his The Reminder project for the MOP CAP 2013 Winner’s Exhibition.
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