Antiromanzo e meditazione sulla possibilità stessa della scrittura e della letteratura; denuncia scandalosa e profetica della corruzione della società, della politica e dell’economia contemporanea; analisi precisa e spietata delle pulsioni e delle ossessioni umane; ma anche molto altro: Petrolio è l’ambizioso progetto pasoliniano di un opus magnum al quale stava lavorando quando fu ucciso nel 1975 e che avrebbe dovuto fornire una lettura – al contempo frammentaria e onnicomprensiva – del mondo contemporaneo.
Antonio Negri darà prima una lettura critica del pensiero politico espresso nel romanzo postumo di Pasolini e la discuterà poi insieme a Francesca Cadel e Manuele Gragnolati.
Antonio Negri è un filosofo che ha insegnato a lungo scienze politiche presso l’Università di Padova e dedicato una grande parte del suo lavoro all’analisi del pensiero moderno e contemporaneo (Spinoza, Leopardi, Marx, Weber, Dilthey, Meinecke, Foucault). È anche stato una delle figure guida della contestazione politica e sociale in Italia dopo il 1968. Costretto all’esilio in Francia nel 1983 dopo quattro anni di carcere in Italia, ha insegnato diversi anni al Collège International de Philosophie, all’Ecole Normale Supérieure de la rue d’Ulm, e all’Université de Paris VIII. La pubblicazione di Empire (2000), scritto insieme a Michael Hardt, lo ha reso uno degli scrittori più importanti sulla scena mondiale. Tra le sue pubblicazioni in inglese più recenti: Multitude: War and Democracy in the Age of Empire (con Michael Hardt, 2004), Subversive Spinoza: (Un)Contemporary Variations (2004), In Praise of the Common (2009).
Francesca Cadel, studiosa di Pasolini, è docente di Letteratura moderna e contemporanea presso l’Università di Calgary.
Manuele Gragnolati è docente di Letteratura medievale e moderna presso l’Università di Oxford, dove è Fellow del Somerville College. É Associate Director presso l’ICI Berlin.
Diaspora Jews are increasingly likely to criticise Israel and support Palestinian rights. In most Western societies, Jewish organisations have sprung up to oppose Israel’s treatment of Palestinians, often facing harsh criticism from fellow Jews for their actions. Such groups initially appear to be exemplary liberal diasporic subjects, deploying universalist concepts such as ‘human rights’ in order to transgress and fracture ethnic boundaries and to engage with the narrative of the ‘other’. While this opposition to Israel has certainly challenged traditional Jewish representations of itself, this talk steps outside questions of identity and representation, and considers this worldwide social movement in terms of how it relates to Palestinians and their struggle, using the three overlapping concepts of translation, appropriation and solidarity.
David Landy is an Assistant Professor in the Department of Sociology at Trinity College, University of Dublin. His research and teaching interests concern the politics of ethnicity and identity, transnational social movements, and Israel/Palestine. His academic work is informed by and informs his involvement in solidarity work, and he has served as the chair of the Ireland Palestine Solidarity Campaign. He has published on Irish Zionism and identity, study trips to Israel/Palestine, and diaspora Jewish opposition to Israel. His recent book is Jewish Identity and Palestinian Rights: Diaspora Jewish Opposition to Israel (Zed Books 2011).
Lecture: David Landy
Introduction and moderation: Anaheed Al-Hardan
Followed by a discussion and Q&A
With Johannes Kleinbeck, translator of Das Literarisch-Absolute (Berlin/Wien 2016), Esther von der Osten, translator of several titles by, amongst others, Jean-Luc Nancy, Oliver Precht, translator of Pessoa.Fast 40 Jahre nach seiner ersten Veröffentlichung durch Philippe Lacoue-Labarthe und Jean-Luc Nancy ist das Literarisch-Absolute eine der wichtigsten Abhandlungen zur Entstehung des modernen Begriffs der Literatur in der Frühromantik geblieben. »Das Athenaeum ist unsere Geburtstätte«, schreiben die Autoren. Was aber bedeuten heute die zentralen Begriffe ihrer Rekonstruktion dieser Genealogie? Sind wir immer noch – oder auf ähnliche Weise – mit Fragmentierung, dem absoluten Roman, mit Anonymität und kollektiver Praxis beschäftigt? Leben wir weiterhin im »kritischen Zeitalter par excellence«, wie es die Autoren 1978 beschrieben haben? Ist der gegenwärtige Moment ebenfalls durch die dreifache – soziale, politische, philosophische – Krise bestimmt, der als erste die Frühromantiker ausgesetzt waren? Wenn ja, sind »Interventionen« und »Wachsamkeit« noch die angemessenen Antworten?
Jean-Luc Nancy, renowned philosopher, is a professor emeritus at the Université des Sciences humaines de Strasbourg who has held visiting positions at the FU Berlin, UC San Diego, UC Berkeley, and UC Irvine. His most recent books are Demande: Littérature et philosophie (2015), Banalité de Heidegger (2015), and Que faire? (2016).
Susanne Lüdemann is professor for modern German and comparative literature at the LMU Munich and a practicing psychoanalyst. Among her recent publications are: Politics of Deconstruction: A New Introduction to Jacques Derrida (2014) and (co-ed. with Michèle Lowrie), Exemplarity and Singularity: Thinking through Particulars in Philosophy, Literature, and Law (2015).
Johannes Kleinbeck is a research associate at the Institute for Comparative Literature at LMU Munich and member of the DFG-funded project ‘Philology and Psychoanalysis: At the Borders of Language’, writing a dissertation on the concept of auto-affection between Derrida, Heidegger, and Aristotle. He is a translator and one of the editors of the book series ‘Neue Subjektile’ (Turia & Kant).
Esther von der Osten, PhD, freelance translator and lecturer, was a research associate at the Peter Szondi Institute at the FU Berlin from 2002 to 2011. She has translated, among others, Jean-Luc Nancy, Hélène Cixous, Jacques Derrida, and Georges Didi-Huberman.
Oliver Precht is writing his dissertation on the notion of philosophy in the work of Martin Heidegger and is a translator, currently working on translations of Oswald de Andrade and Fernando Pessoa.
An obsessive preoccupation with the archive pervades the arts, criticism, and curatorial practice. In everyday life, digital data storage has turned contemporary users into potential archivists, taxonomists, and collectors, relying on cloud services and social media networks as storage places for the safekeeping, sharing, and manipulation of even the most intimate facts and images of their lives. But the same technologies inspire a widespread archive dysphoria: an exhaustive melancholic state that fuels the current efforts for ‘impossible archives’, that is, counter-archives that question the idea of an all-encompassing repository of personal and collective information and knowledge.
The conversation will focus on archives and collections in contemporary art and takes its cue from the recent publication of Cristina Baldacci’s Impossible Archives: An Obsession of Contemporary Art (Italian edition, 2016). Carles Guerra is the Director of the Fundació Antoni Tàpies in Barcelona. He holds a PhD in Fine Arts from the University of Barcelona and a Master in Media Studies from The New School for Social Research, New York. He served as Director for the Primavera Fotogràfica de Catalunya (2004), the Virreina. Centre de la Imatge, Barcelona (2009-2011), and was Chief Curator of the Museu d’Art Contemporani de Barcelona (2011-2013). Among his curatorial projects, Harun Farocki: Mit anderen Mitteln – By Other Means (with Antje Ehmann, 2017), and 1979. A Monument to Radical Moments (2011). His work and research investigate the dialogical aspects of artistic practice and the cultural policies of post-Fordism.
Ina Steiner is a photographer who works in the fields of architecture, politics, and fashion. She was part of the Allan Sekula research project at the University of Leuven (KU Leuven) and the Museum of Contemporary Art in Antwerp (M HKA). She was Allan Sekula’s assistant during the last decade of his life and helped prepare his show at documenta XII. Since 2012 she has taken care of his archive and arranged a number of exhibitions and publications.
Error 400 – Bad Request: Authorship, Authority, Authenticity in the Experimental Setup
The model of the experiment often comes with the imagined attributes of neutrality and openness, particularly made glamorous by the promise of failure. Ideas of replication, verification, and scalability further reinforce the idea of the experiment as a pure form of knowledge production that can be constructed and repeated as a universal given, thus offering a truth that can be evidenced. Shah proposes that experimental setups depend upon the political, contested, and exclusionary constructions of authorship, authority, and authenticity, which are hidden in the description of the experimental setup. Looking at a postcolonial feminist history of digital technologies, computational networks, and cybernetics, this talk will dismantle the experimental setup by looking at the conditions of asking questions and the need to expand the idea of the experiment beyond the logistics of apparatus, process, and replication.
Nishant Shah is the Vice-President of Research at ArtEZ University of the Arts and a research mentor with the Hivos Foundation’s ‘Digital Earth’ programme. His current preoccupation is with questions of ‘aesthetic warfare’ that examine digital technologies, informational networks, and design practices that shape current post-truth moments and their implications for social justice and human rights interventions.
Lines of Sight: Excursions in Seeing, Feeling, and Knowing
The talk examines the use of historical reenactment, virtual reality (VR), machine learning, and big data in the production of knowledge about the past. Dealing with museum and art exhibits and documentary shorts such as Nazi VR and Triple Chaser, Agnew examines the ways in which new technologies are marshalled and older ones repurposed in order to gather and present compelling historical evidence. Against this backdrop, the talk asks what space remains for interpretation and the articulation of feeling. Is history’s ‘affective turn’ in the process of being superseded?
Vanessa Agnew is a professor of English at the University of Duisburg-Essen and senior fellow at the Australian National University. Her Enlightenment Orpheus: The Power of Music in Other Worlds (2008) won the Oscar Kenshur Prize for Eighteenth-Century Studies and the American Musicological Society’s Lewis Lockwood Award. She co-organizes the Critical Thinking programme of the Academy in Exile, which provides fellowships for scholars-at-risk.
From Source to Poem, 2016
35mm film, colour, optical sound, 12’
From Source to Poem shifts focus from artworks (in her previous works on museum storages) into archival storage. Shot at the National Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, and at an enormous solar power plant in California, it juxtaposes images from the world’s largest media archive with a study of rhythm and images of cultural and industrial production. Like the temporal property of two things happening at the same time, “the interval determining the coincidence gate is adjustable.” The film exposes the preservation of cultural outputs, but also their digitisation for the future. A vast number of the archives’ holdings is sound material (audio recordings, wax discs, vinyl and LPs); a sonic memory that Barba rescues and mixes in the soundtrack as a way of setting in motion otherwise unlikely dialogues.
Rosa Barba is an artist interested in film and the ways in which it articulates space. Composition, physicality of form, and plasticity are important aspects of this articulation, but Barba also interrogates the industry of cinema with respect to various forms of mise-en-scène by taking them out of their contexts and restaging them. Her solo exhibitions include: Tate Modern, London (2010); MAXXI, Rome (2014); MIT List Visual Arts Center, Cambridge MA (2015); CAPC musée d’art contemporain de Bordeaux, and Schirn Kunsthalle, Frankfurt (2016); Museo Nacional Centro de Arte Reina Sofia, Madrid, Pirelli HangarBicocca, Milan, and Malmö Konsthall, Malmö (2017). Group and large-scale exhibitions include: the 32nd Bienal de São Paulo, Brazil (2016), and the 53rd and 56th Venice Biennale (2009 and 2015). From Source to Poem is the latest monograph on her work (Hatje Cantz, HangarBicocca, and Malmö Konsthall, 2017).
The Embassy, 2011
HD, colour, sound, 27′
(Directed, produced, photography and editing by Filipa César; written by Armando Lona and Filipa César; performed and narrated by Armando Lona; sound by Nuno da Luz; director’s Assistants: Jorge Biague and Philip Metz; supported by Calouste Gulbenkian Foundation, Lisbon and Haus der Kulturen der Welt, Berlin)
This film deals with the codes of representation used by the former Portuguese colonial administration in the West African country of Guinea-Bissau, and with modes of memory production. It shows a photo album depicting the perspective of the Portuguese colonist, who photographed landscapes, people, architecture, and monuments in Guinea-Bissau in the 1940s and 1950s, with documentary diligence and the implied violence of objectivation. Intersected by gestures of re-animation, this photo display – handled, flipped through, and re-framed by the hands of the Guinean archivist Armando Lona – is the point of departure for a critical, multi-layered narrative on the common past of these two countries.
Filipa César is an artist and filmmaker interested in fictional aspects of the documentary, the porous borders between cinema and its reception, and the politics and poetics inherent in the moving image. Since 2011, she has been looking into the origins of the cinema of the African Liberation Movement in Guinea-Bissau as a laboratory of resistance to ruling epistemologies. César premiered her first feature length essay-film Spell Reel at the Forum section of the 67th Berlinale (2017). Selected exhibitions and screenings have taken place at: 29th São Paulo Biennial (2010); Manifesta 8, Cartagena (2010); Haus der Kulturen der Welt, Berlin (2011–2015); Jeu de Paume, Paris (2012); Khiasma, Paris, (2011–2015); Kunstwerke, Berlin (2013); SAAVY Contemporary, Berlin (2014–2015); Tensta konsthall, Spånga (2015); Mumok, Vienna (2016); Contour 8 Biennial, Mechelen, Gasworks, London, and MoMA, New York (2017).