The presentation explores and analyses images of post-climate crisis futures that circulate in political web videos as part of the current Global Northern climate discourse. Starting from the observation that many of these images resemble each other, they are further discussed against the background of ‘imaginal climate politics’. (more…)

Social media is becoming a central stage for different forms of storytelling, including visual stories of war. The talk will explore the role of visuals of conflict with the focus on the 2020 Nagorno-Karabakh-War. The images were collected from Instagram (under the hashtag #ArtsakhStrong) to study the themes put forward by Armenians, and their contestation by Azerbaijanis, who also inserted themselves into the narrative. (more…)

From July to September 2019, an edition of the touring film screening program, Cinemaralita, was held at the heart of Sitio San Roque in Quezon City in the midst of threats of demolition of the urban poor settlement. Founded in 2012 by the Urban Poor Resource Center of the Philippines (UPRCP), the 2019 edition of Cinemaralita was organized by UPRCP), the San Roque chapter of the Kalipunan ng Damayang Mahihirap or KADAMAY (Federation of Mutual aid of the Poor) – a national alliance of associations and organizations from the Urban Poor sector, along with the Save San Roque alliance and SIKAD, a cultural organization which promotes urban poor rights. Since 2015, Cinemaralita are being held by UPRCP and SIKAD on various venues. (more…)

For some decades now, the documentation of social protests via video footage has become widespread. A lot of this footage never reached a broader audience. The video archives bak.ma and 858.ma are initiatives to gather activist video footage and make this accessible to the public. This is a valuable source for researchers and historians alike, but what impact do these hours of unedited material have to the social struggles themselves? (more…)

What does it mean to be radical? Is there anything like free will or are we living in a society where we are all infected by “normosis” and we are stuck forever? How can we respond to the climate crisis? Let’s find out where your own personal line between an acceptable radicality and something beyond your inner limits is! Let’s discover together how environmental crisis-induced anxiety is producing new rebels! (more…)

Advances in camera technology and filming on mobile phones have allowed migrants to film their own experiences in broadcast quality. How has this changed the way stories of, and about migrants are told in cinema? For decades, migrant stories have been a bedrock in cinema, but films have been beholden to the market gaze, catering their stories for the American and European public. (more…)

As contemporary crises manifest in the realm of the hyper-visible, there arises a need to scrutinize the interventionist potential of images imbuing the public sphere beyond their mediative function. In this presentation, I contend with the notion of “safety” and the ways through which it has been perceived and propagated through two Instagram profiles, that of Remie Akl, a female visual artist known for her “daring” aesthetics, and another page run by Egna Legna Besidet, a community of female migrant workers based in Lebanon. (more…)

Harun Farocki’s film Hard Selling was scheduled to be shown on East German TV one month before its dissolution at the end of 1991. It was, however, never shown and never completed. In the film, Farocki looks at a West German adidas salesman as he looks at the East through car and shop windows. In her re-framing, Rosenfeld looks back at both from an East perspective, some 30 years on. Responding to the film stills, fragments of conversations and announcement texts of Farocki’s film, she mobilizes the figure of the “window” as a frame to submit the conversations and gazes at shop windows, screens and trainers to a poetic-analytical editing.  (more…)

PRAAB (Programme de Réhabilitation à l’Amitié et à l’Amour par le Bureau) is a nonlinear fiction video game accessible online, shaped during the pandemic and imagined for anyone nostalgic about office culture. Through endless caricatural conversations about birthday cake or coffee breaks, and before venturing back into real-life workspaces, you might recover your social skills while relearning how to interact physically with a colleague.  (more…)

Instead of reaching out to be rejected, tokenized or stepped over, DNA organizes, takes ownership, and creates communal agency. In this case, the collective is a feminist strategy that cancels the singular artist model as a producer of finished art commodities.
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