Erin Johnson: Selected Films
Fluid Forms: Films by Philip Cartelli
Nina Fischer and Maroan el Sani: Selected Films
Launch of e-flux journal issue 137: Akosua Adoma Owusu and Serubiri Moses
Dara Birnbaum: Screening and Discussion with the Artist
Rijin Sahakian, “Twenty Years After the Invasion of Iraq: Sada in Context”
Once Removed: Screening and Conversation
Alison Nguyen: history as hypnosis
In the Quiet Moments: Films by Rosalind Nashashibi
Agnė Jokšė and Su Friedrich: Unconditional Love and Rules of the Road
Maya Schweizer: Moving Voices
There was a structure. Things which were revealed were sealed. It was done in such an orderly fashion because, of course, these things were classified. Now they’re unclassified, but they’re still classified in a way because we don’t see all the evidence or facts that had apparently been gathered. It’s decorative to a certain extent: what is revealed and what is unrevealed, what is fact and what is fiction. So then it’s about what the spectator projects onto those files. The blackness was almost like holes within the system. Those holes tell you a lot about the failures of state surveillance, and more than anything, about the triumphs of the Robesons.