The program of video essays by Harun Farocki will be accompanied by a series of seminars and practical sessions during which we will explore themes raised in the films. These include rethinking methods of researching images when they are hyper-weaponized and their production is radically speeded up, “disarming” the operational image in cinema or text, and organizing research in dangerous conditions.
HOW TO TAKE PART
To take part in the seminars, please apply by 23:59 on December 4. We will be in touch if you are selected.
Boris Klyushnikov, “Revolutions, Social Media, and Navigation”
Boris Klyushnikov is a teacher of contemporary art theory. From 2013 to 2015 he worked in the Interdisciplinary Programs Department of the National Center for Contemporary Arts (Moscow) and from 2015 to 2020 led a course on contemporary art theory in the Department of Cinema and Contemporary Art at the Russian State University for the Humanities. He has also taught at the BAZA Institute (Moscow), Rodchenko Art School (Moscow), the British Higher School of Design (Moscow), and the Moscow School of New Literature. He is the co-founder of the Laboratory of Art Criticism at Winzavod Center for Contemporary Art. He organized the sci-fi reading group The Word for World is Forest.
Lera Kononchuk, “Montage and Thought: Between Theory as Film and Film as Theory”
Lera Kononchuk is an art critic, curator, and researcher. She is a member of the editorial board of Moscow Art Magazine. She is a postgraduate student in the School of Design at the Higher School of Economics (Moscow). She is the author of online and offline courses on contemporary art theory and has led seminars on the history of culture at the Higher School of Economics. Her work has been published in the journal Sinii divan and on the sites aroundart.org, Spectate, K.R.A.P.I.V.A., syg.ma, and others.
Alexey Artamonov, “War and Optical Media”
Alexey Artamonov is a film program curator and film critic. He has written about music for the journals Seans, Iskusstvo kino, Afisha, Interview Russia, Kommersant Weekend, and the sites W-O-S, Look At Me, Colta.ru, and others. He was press secretary for the State Central Film Museum and the Message to Man International Film Festival and editor of the journal Seans and the cinema section of the site Teoriya i praktika. He curated the programs of the Media Forum of the Moscow International Film Festival, the Message to Man International Film Festival (St. Petersburg), and Lisbon & Sintra Film Festival. From 2019 to 2022 he was program director of the New Holland International Debut Film Festival (St. Petersburg).
Maxim Seleznev, “Self-Portrait of Peace and Subtitles of War. Video Essay Practices in the Context of User Videos”
Maxim Seleznev is a film critic, video essayist, and teacher of film history in the School of Design at the Higher School of Economics (Moscow). He was program director of the Pobeda Cinema (Novosibirsk), curator of the film program of the Moskino network (Moscow), and director of the Salyut Cinema (Moscow). He was also commissioning editor of the online journal Cineticle, editor of the journal Iskusstvo kino, and guest editor of the journal Seans. His work has been published on the sites Colta.ru, Spectate, Senses of Cinema, La Furia Umana, and in the journal Outskirts and others.
Garage Digital is stopping work on this project until the human and political tragedy unfolding in Ukraine ceases.
Performance Hydrogen City is the new site-specific performance by Digital Object Alliance invites visitors to experience the materiality of a speculative world of the future through the possible embodiment of videogame logics. The performance took place at Hyundai Motorstudio Moscow as part of the joint program by Garage Digital and the online platform Rhizome for the international exhibition World on a Wire.