Frame of Accountability: In Her View

Helene Kazan

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Memories for Forgetfulness Elsewhere | IV. The Persistence of Resistance in the Actualization of Memories From the Past Frame of Accountability: In Her View
Helene Kazan

15 Minutes

Repeat: Wednesday, February 16

Tracing the effects of a burgeoning technology of capitalism and conflict and its intersection with a modern history of Lebanon and Syria, archival evidence discovered at the Arab Image Foundation in Lebanon reveals the sexual exploitation of a woman by occupying Australian soldiers fighting for the Allied forces. Engaging feminist and decolonial methods, the film moves through the archival evidence to sense, trace, and position her encounter as a form of poetic testimony. This episode of Kazan’s project Frame of Accountability points to a lack of legal accountability for violence perpetrated at the scale of the body and the domestic during armed conflict.

Helene Kazan’s Frame of Accountability: In Her View is presented within The Persistence of Resistance in the Actualization of Memories From the Past​, the fourth of five chapters in Memories for Forgetfulness Elsewhere, an online film program curated by Irmgard Emmelhainz for e-flux Video & Film. The program streams in five thematic group screenings each two weeks long, and will be accompanied by two live discussions.

For more information, contact program@e-flux.com.

Colonialism & Imperialism, Feminism, Bodies, War & Conflict, Film
Lebanon, Middle East, Violence, Poetry, Law & Justice, Domesticity
Return to IV. The Persistence of Resistance in the Actualization of Memories From the Past

Artist and writer Helene Kazan’s research-based practice investigates “risk” as an integrated limit condition of conflict and capitalism, analyzed at the intersection of international law and architecture. Kazan engages feminist, de-colonial, anti-racist, and critical legal theory and method through forms of poetic testimony, in an attempt at dismantling the disproportionate and violent human and non-human effects of risk. Kazan has shown work at The New School, NYC; Mosaic Rooms, London; Topological Atlas, London; and Shasha Movies (2021); Ashkal Alwan/Digital Earth, Beirut (2019); UnionDocs, NYC; Serpentine Gallery, London (2017); documenta(14), Kassel; Strelka Institute for Media, Architecture and Design, Moscow (2016); Tate Britain, London; Showroom, London (2014); HKW, Berlin; and Beirut Art Center (2013). Receiving her doctorate from the Centre for Research Architecture, Goldsmiths University of London (2019), Kazan was a Vera List Center Fellow, The New School, NYC (2018–2020) and a Research Fellow at Forensic Architecture (2012-15). She is Senior Lecturer in Critical Theory at Oxford Brookes University. www.helenekazan.co.uk


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