Aiming at rendering “somewhat irrelevant” the “question of sadism” in the critique of film’s “seductive epistemological promise,” Leo Bersani and Ulysse Dutoit argued for a “participation in the film” that is “at once self-reflexive and self-shattering.” Such participation may bring about the very panhuman condition of “being-togetherness” that Bersani and Dutoit have registered in the ontology of Alain Resnais’s and Terrence Malick’s films. This peculiar “community of all being” is based on a specific (and paradoxical) kind of movement within the spatiality of a remembrance engendered by the inhibition of movement. Certain films thus render possible connection and participation due to the mobility they entail.
tom holert is a Berlin-based art historian, curator, and cultural critic. In 2015 he cofounded the Harun Farocki Institut in Berlin. In 2022–23 he is a visiting professor at the University of Fine Arts Hamburg (hfbk). Recent exhibitions include “Neolithic Childhood: Art in a False Present, c. 1930” with Anselm Franke (2018) and “Education Shock: Learning, Politics and Architecture in the 1960s and 1970s” (2021), both at Haus der Kulturen der Welt. Holert is the author of Knowledge Beside Itself: Contemporary Art’s Epistemic Politics (Sternberg Press, 2020) and ca. 1972: Gewalt—Umwelt—Identität—Methode (Spector, 2023).
Tom Holert; Participation. differences 1 May 2023; 34 (1): 191–199. doi: https://doi.org/10.1215/10407391-10435773
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