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DOCUMENTARY Forum 2 HILA PELEG SYLVÈRE LOTRINGER FLORIAN SCHNEIDER THE DOCUMENTARY FRAMING DEATH REALITY MUST BE EVENT P. 28 DEFENDED P. 4 P. 45 SYLVÈRE LOTRINGER ANTJE EhMANN JOHNNY ESPOSITO KLAUS WILDENHAHN HARUN FAROCKI CRIME IS EVERYWHERE FOURTH READING: VOLKER PANTENBURG P. 39 KINO-EYE. FUNDAMENTAL CONTROL AND DIFFERENCES CONTINGENCY P. 54 P. 12 CORDULA DAUS CHRISTOphER PINNEY CHRISTINE MEISNER SALUTARY DISQUIETING NATURE ESTRANGEMENT P. 62 P. 19 DOCUMENTARY Forum 2 31 May – 3 June 2012 NEW PRACTICES ACROSS DISCIPLINES 2 BERLIN DOCUMENTARY FORUM 2 CREDITS PREFACE Artistic Director: Hila Peleg “The Pixelated Revolution” by Rabih Mroué is co-produced by: Berlin Documentary Forum / Haus der Kulturen der Welt, The Spalding Gray Award, Performing Space Research and Program Coordination: Koen Claerhout, 122/New York, The Andy Warhol Museum/Pittsburgh, On the Boards/Seattle and Nadja Talmi The Walker Art Center/Minneapolis, dOCUMENTA (13)/Kassel. Curator “A Blind Spot”: Catherine David “Disquieting Nature” by Christine Meisner is produced in cooperation with The A high hedge cuts diagonally through the photo, extending from the Coordinator “A Blind Spot”: Elsa de Seynes Walter Collection. Festival Office: Andrea Schubert “Melodrama” by Eszter Salamon is supported by The Capital Cultural Fund Berlin foreground into the background. It blocks the observer’s view of the realm Architecture Berlin Documentary Forum 2: Kooperative and co-produced by Berlin Documentary Forum / Haus der Kulturen der Welt, beyond and marks a border. No people are visible, yet the paved road Festival des Arts Vivants/Nyon, Next Festival/Valenciennes. für Darstellungspolitik indicates that this setting has not simply been left in its natural state. In Architecture “A Blind Spot”: Kuehn Malvezzi The screening of “Ginrin” (Matsumoto Toshio, Japan 1955) has been made possible thanks to support from the National Film Center, The National Museum of Modern terms of the viewing conventions that inform it, the photo at the same time “issue zero”: Pierre Becker (TA-TRUNG), Norbert Pöllmann, Art, Tokyo. The screening of “Der lachende Mann” (Walter Heynowski/Gerhard Florian Schneider (KEIN.TV) Scheumann, GDR 1966) has been made possible thanks to support from the correlates to a political power structure that has become inscribed in the Stiftung Deutsches Rundfunkarchiv, Potsdam-Babelsberg. The screening of Documentation Production: Johanna Aust, Sonja Baeger, “Notre Nazi” (Robert Kramer, France/FRG 1984) has been made possible thanks landscape, as David Goldblatt reveals in his commentary on this photo. Jörg Karrenbauer, Sören Köhler, Eric Menard, Maria Mohr, to support from the Filmmuseum München. The digitalization of the film “Der Reifen- schneider und seine Frau” (Klaus Wildenhahn/Roland Hehn/Horst Schwaab, FRG The hedge was planted in 1660 by Jan van Riebeeck to keep the indigenous Astra Price, Orlan Roy, Silvia Wolf, Mich’ael Zupraner 1968/69) has been made possible thanks to support from the Deutsche Film- und Khoikhoi out of the Dutch East India Company’s gardens. Parts of the Stage Manager: Quirin Wildgen Fernsehakademie Berlin (dffb), and the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin. Interns: Nathalie Küchen, Leonie Riek hedge still survive today in the Kirstenbosch Botanical Gardens in Cape “Montage Interdit” is a project by Eyal Sivan in cooperation with Audrey Maurion, Town. Robert M. Ochshorn, Dafydd Harries, Patrick Hepner, Felix Boggio and Gabriele Editors: Cordula Daus, Hila Peleg, Bert Rebhandl, Urbonaite. Vera Tollmann “DAYS, I See what I Saw and what I will See” by Melik Ohanian is co-produced by This photo by Goldblatt, displayed in the exhibition “A Blind Spot” (curated Translation English—German: Bert Rebhandl Sharjah Art Foundation, courtesy: the artist and gallery Chantal Crousel, Paris. Translation German—English: Helen Ferguson, Lisa by Catherine David), takes us to the central idea informing the Berlin “issue zero” is supported by Jan van Eyck Academie, Maastricht. Rosenblatt, Jennifer Taylor Documentary Forum: revealing the structures and logics in documentary English Text Editors: Nicolas Currie, Catherine Schelbert THANKS media. Proofreading (German): Michael Baute Agence VU, Altofragile, Art Services Berlin, Benoît Jacob éditions, David Zwirner, Proofreading (English): Mandi Gomez Deutsche Kinemathek - Museum für Film und Fernsehen, Deutsche Film- und Fernsehakademie Berlin (dffb), Filmmuseum im Münchner Stadtmuseum, Galerie As recently highlighted by the “Animism” exhibition at HKW, photography Design: Double Standards Chantal Crousel, Galerie Gisela Capitain, Goodman Gallery, Institut français, Jan Print: Primeline Print Berlin Mot, Korn Manufaktur, Les Productions du Sablier, Magazzino d’Arte Moderna, and film were developed in the nineteenth century as Western, modernist Sammlung Ringier, Sommer Contemporary Art, White Cube attempts to draw clear demarcating lines between subjects and objects, All texts © the authors Weronika Adamowska, Heike Ander, Ariella Azoulay, Mads Bacher, Ilka Backmeister-Collacott, Michael J. Baers, Michel Balague, Christina Beller, Philippa culture and nature. These media play an interesting twofold role in this Benson, Nikki Berriman, Kerrie Bevis, Brigitte Bidovec, Anaelle Bourguignon, Lisa process. On the one hand, photography and film may form part of strate- HAUS DER KULTUREN DER WELT Brook, Stella Bruzzi, Craig Burnett, Ted Byfield, PaoloC alamita, Erin Carroll, Alex Clarke, Jean-Marie Courant, Celia Crétien, Brian Currid, Nicolas Currie, Murielle gies of objectivization, for example when deployed to document racial or Director: Bernd M. Scherer (V.i.S.d.P.) Daenen, Catherine Davies, Corinne Diserens, Katrin Dod, Annie Doutreloux, Head of Visual Arts: Valerie Smith Stefan Droessler, Okwui Enwezor, Yuval Etgar, Anselm Franke, Ingo Franke, Martin indeed cultural features of indigenous peoples, in the process making Furler Bassand, Gabriele Gaspari, Lapo Gavioli, Lilian Astrid Geese, Marie-Laure Head of Communication: Silvia Fehrmann Gilles, Mary Glaser, Jonathan Glazier, Nea Granlund, Yasmin Guener, Paz these accessible to scientific analysis. On the other hand, the very magic Editorial Office: Axel Besteher, Franziska Wegener Aburto Guevara, Philippe Guillaume, Cornelia Haberl, Anke Hahn, Hata Ayumi, Stephanie Hausmann, Maren Hobein, Katarina Holubcova, Christine Houard, driven out of the subject matter through this process of documenting and Press: Anne Maier, Henriette Sölter Bellatrix Hubert, Mark Johnson, Michèle Kastner, Shinji Kitagawa , Mirjam Klootwijk, Internet: Eva Stein, Jan Köhler Leonard Kluge, Martin Koerber, Hans Kohl, Sylvia Kouvali, Angela Kowalewski, categorization is displaced into the medium per se. Enna Kruse-Kim, Cathy Larqué, Xavier Le Roy, Alex Leite-Pinheiro, Marcus Lieberenz, Public Relations: Christiane Sonntag, Sabine Westemeier Linn Löffler, Giovanni Majer, Jessica Manstetten, Daniele Maruca, Isabelle Mégré, Technical Director: Jochen Petzold Daniel Meiller, Angela Melitopoulos, Mafalda Melo, Reiner Meyer, Rebecca Meyers, Max Milhahn, Meghan Monsour, Walter Mönster, Brigitte Morgenthaler, From the outset, photography and film have succeeded in creating con- Head of Audio and Video Engineering: André Schulz Patricia Morvan, Maria Muhle, Leena Närekangas, Marie-Laure Narolles, Irit nections to things, re-establishing links that modernism tries to sever, Head of Event Engineering: Hermann Volkery Neidhardt, Ingo Niermann, Christian Noller, Mathias Nouel, Johanna Ortner, Andreas R. Peternell, Ana Pinto Gonçalves, Simona Pizzi, Matthias Rajmann, Chris inter alia by using these selfsame media. Art is the terrain legitimized by Assistant to the Technical Director: Harald Weißmann Rehberger, Kerstin Reichert, Carrie C. Roseland, Anne Rüdiger, Christina Ruf, Technical Coordination “A Blind Spot”: Gernot Ernst, Volker Sander, Anna Sarkissian, Roxanne Sayegh, Catherine Schelbert, Anna modernism for that specific purpose. Artistic strategies in particular take Schierse, Ingo Schöningh, Marcus Schütte, Nicole Seifert-Schmauch, Joshua Christian Dertinger Simon, Dorothee Sorge, Daniel Sponsel, Sofia Stavrianidou, Pia Thilmann, on the role of disrupting the routines within perceptual regimes that guide Cornelia Tischmacher, Peter Trentmann, Barbara Ulrich, Anne-Sophie Van Neste, Anne Vasseviere, Kathi Verhaag, Morgan Vidakovich, Daniel von Behr, Anna modernism’s practices and thus instigate a new reflection on these strate- Haus der Kulturen der Welt is a business division of Voswinckel, Alexandra Wellensiek, Dörthe Winter, Koyo Yamashita, Volker Zander, gies. In this sense Goldblatt’s photo is not a simulacrum of a landscape, Kulturveranstaltungen des Bundes in Berlin GmbH. Cécile Zoonens Director: Bernd M. Scherer but instead opens up a space of perception and imagination that places Managing Director: Charlotte Sieben the viewer’s gaze in the Khoikhoi’s perceptual situation. Through this shift, the photograph draws the viewer into the depths of historical strata in South Africa. With the kind support of the Embassy of the United States of America, the Embassy of the French Republic, Culturesfrance, Institut français and Goethe-Institut Ramallah Therefore the work of Goldblatt is paradigmatic for revealing complex historical and visual layers of meaning – those layers, which Berlin Docu- mentary Forum 2 decided to deal with this year. Presented by Supported by Bernd M. Scherer, Director of Haus der Kulturen der Welt “A Blind Spot” is supported by Haus der Kulturen der Welt is supported
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