Screening and Discussion: Ayreen Anastas and Rene Gabri

Screening and Discussion: Ayreen Anastas and Rene Gabri

Ayreen Anastas and Rene Gabri, An Untimely Film for Every One and No One (still), 2018.

Aesthetics of Resistance

Straub-Huillet and Contemporary Moving-Image Art

Screening and Discussion: Ayreen Anastas and Rene Gabri

Admission starts at $5

March 14, 2023, 7pm
172 Classon Avenue
Brooklyn, NY 11205

Join us at e-flux Screening Room on Tuesday, March 14 at 7pm for a screening of An Untimely Film for Every One and No One (2018) by Ayreen Anastas and Rene Gabri, followed by an in-person discussion with the artists. 

In 2007, Ayreen Anastas made a journey through Algeria, Egypt, Jordan, Lebanon, Morocco, Syria, and Tunisia, collecting materials for a film with the working title “A Film for Every One and No One.” The film was intended as an adaptation of Friedrich Nietzsche’s Thus Spoke Zarathustra in the contemporary Arab world. In the ensuing years, a period of planetary unrest, a near collapse of the global capitalist financial system, followed by new policies of austerity, brutality, further enclosures, and waves of resistance. Those reorderings and collapse of worlds gave rise to revolutionary aspirations and their correlated apocalyptic doppelgängers. In 2018, together with the philosopher Jean-Luc Nancy and the artist Rene Gabri, an attempt (the first of four) was made in the midst of the unfolding struggles and wars (which we are still enduring) to produce an untimely version of this hitherto uncompleted film. 

The screening constitutes the third and final event of Films to be Made and Unmade, the last of four chapters chapter of Aesthetics of Resistance: Straub-Huillet and Contemporary Moving-Image Art, a series of screenings taking place at e-flux Screening Room in monthly chapters between December 2022 and March 2023. Read more on the series here.

Aesthetics of Resistance: Straub-Huillet and Contemporary Moving-Image Art is produced and organized by e-flux; with the support of the German Film Office, an initiative of the Goethe-Institut and German Films.

Ayreen Anastas and Rene Gabri, An Untimely Film for Every One and No One (2018, 90 minutes)
How to describe a film that is undoing itself? A film that starts in the middle and never ends.  A film in which essay and assay are reunited. A film that does not separate the time of its making from the time of its viewing. A time present to itself refracted in a cinematic space of images, sounds, questions, gestures, games, Nietzsche and his Zarathustra welcomed in Algiers, lost in the streets of Damascus and the screens of Beirut, désœuvrement, death of God and the world thereafter. 

Ten Notes on the Unmaking of Art In the Epoch of Civil War and a Post-Fascist Fascism
By Ayreen Anastas and Rene Gabri
January, 2017

1. To make anything, especially art today, one must first have a relation to the making’s unmaking.

2. Unmaking, asks of us, to not …

- hold back

- let a wave or two or even three pass

- do nothing (though this remains immanent in any doing) rather it asks of us … to radically question the conditions, merits, uses, futures, pasts of any making.

3. But this unmaking is no navel-gazing, it is neither an order, code or law, nor an injunction through guilt, coercion, duty - it is not self-reflexivity for the sake of itself. It is not an ethics of stasis (standing, station, state, existing, stand, having stability) as of standing in place, remaining in place, a position not evolving but of dissension, insurrection, uproar. It looks at itself to confront itself, to disagree with what it does or makes.

4. Unmaking brings the war home, ‘so to speak’.

5. In the unmaking, the private principle of work is brought to a public which does not yet exist; it is without a demos, an a-demia, ‘the people are missing.’

6. It is neither a resolution of the dissension, of the conflict, nor its culmination, its representation, its absolution.

7. Unmaking is a ‘weighing-in’: a taking sides which has the potential to alter the sides, the sides which take part in this war, this stasis (here as civil war), in which they may not know, recognize themselves as part-takers.

8. When one is confronted with the conditions of an interminable unnameable assault, warfare on the land, on the peoples (understood as multitudes), on the difference, on the earth, on life, on the dead, on plants, and ants, on seas, bees, trees, and … in the name of economics, politics, security, police … any making is a taking sides with, on the side of, (tacitly) with those, who wage war in those names.

9. Unmaking is the unworking and making visible this silent complicity [of the makers of war and those other makers].

10. We are not able to make art in the midst of this ever extensive and de-territorializing war, we can only unmake it.

For more information, contact

–Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue. 
–For elevator access, please RSVP to The building has a freight elevator which leads into the e-flux office space. Entrance to the elevator is nearest to 180 Classon Ave (a garage door). We have a ramp for the steps within the space.          
–e-flux has an ADA-compliant bathroom. There are no steps between the Screening Room and this bathroom.

Film, Capitalism, Philosophy
Return to

Aesthetics of Resistance: Straub-Huillet and Contemporary Moving-Image Art

Ayreen Anastas
Each time we narrate a “self”, an image occurs, each line brings out a new feature. Where did “I” learn this craft? Moreover, is the emerging image supposed to please an unknown public? to please, attract, inspire, disseminate or fascinate? An equally parallel image of two eyes emerging staring at a screen, jumping from one description to another.
Will this image of a “self” be used repeatedly as an objective or a true “self”? Or will this image come back to the “self” in the form of a you? An age traced and retraced each time with different color, tone and temperature.
And when the hand speaks to itself: “As long as my fingers in this world can move, I would rather erase than draw an image that is drawn to make me believe of being one self.” The hand is right to come to such a conclusion, a hand is not, should not only be understood by its common definition, but rather by what it can do. Think of the hand of Eve picking up an apple versus the hand of Rosa Luksemburg in prison writing versus the hand of Emma Kunz holding a Pendulum.
And now at the crossroad of writing and typing to make sure that what comes out is remotely resembling what may be called a biography.

Rene Gabri
2023, February 18, 6:32pm, enough time has passed that we could try now to situate what it is we have been running from. It is not long ago, we can still recall it, it started even before, but the story we were told began by a series of visits. (Downtown 1 train, Ayreen and Bego open a conversation on monogamy and polyamory, writing interrupted)
February 19, 4:10pm, they came village to village, asking for our names, they, who were our parents, when, where they, we were born. Whenever these inquisitors had no time or when our responses did not fit what they were looking for, they made things up, they called us by new names, they spelled things out according to what the papers wanted, what they wanted and had come looking for. They called it modernization, they called it development, they called it identity, they called it document, they called it constitution, they called us subjects, citizens of a state, no longer simply dogs of the sultan. We called it another beginning to the end. But since things had begun and ended for us before, this was yet another occasion to recall, our names as only but an alias, our names as never belonging or synonymous to us, our names as something given, taken, hidden, fabricated, falsified, reconstructed.
To be called a name, like Gabri, a Scythian tribe, a dialect, a language, a village, a people, followers of the revelations of Zoroaster, a caretaker of the fire and its associated rites, godless, an infidel, unfaithful, untrustworthy, kafir, gavur, an insult, a swear word for a ‘lesser’ creature, homo profanus. Or, Rene Gabri. A less than human stateless person with unreliable origins, documented and identified by opposing states, refuging in art and language as a means of perpetual elusion.

RSVP for Screening and Discussion: Ayreen Anastas and Rene Gabri

Thank you for your RSVP.

will be in touch.


e-flux announcements are emailed press releases for art exhibitions from all over the world.

Agenda delivers news from galleries, art spaces, and publications, while Criticism publishes reviews of exhibitions and books.

Architecture announcements cover current architecture and design projects, symposia, exhibitions, and publications from all over the world.

Film announcements are newsletters about screenings, film festivals, and exhibitions of moving image.

Education announces academic employment opportunities, calls for applications, symposia, publications, exhibitions, and educational programs.

Sign up to receive information about events organized by e-flux at e-flux Screening Room, Bar Laika, or elsewhere.

I have read e-flux’s privacy policy and agree that e-flux may send me announcements to the email address entered above and that my data will be processed for this purpose in accordance with e-flux’s privacy policy*

Thank you for your interest in e-flux. Check your inbox to confirm your subscription.