04/02/2025
EMAF 38 - Talks: I could swear my face was touching stone

When witnesses of violence and injustice go unheard, where are the things that happened registered, where are they stored? How can testimonies write stories that have not yet been written and break the power of a systematic lack of knowledge that secures privileges within society? These are the questions that the Talks at this year’s European Media Art Festival will be addressing. Today we would like to introduce you to the programme.
Bearing witness is itself caught up in epistemic violence: I only see what I know, recognise, have learnt to recognise. Taking the National Socialist Underground complex as its starting point, Natascha Sadr Haghighian’s What I Do Not Yet Recognize, Now at This Very Moment (2023) describes collective ignorance as the basis of structural racism and contrasts this with the self-assertion of migrant-situated experience and memory. The title of this year’s Talks I could swear my face was touching stone picks up on the affective aspects of testimony. It is taken from the poetry collection Land to Light On (1997) by Canadian writer Dionne Brand. Brand’s poetry has repeatedly engaged with the question of bearing witness, with the gap between what is inflicted and what of that is reported. Before this backdrop, the four events are dedicated to the transhistorical dimensions of witnessing as well as corporeal and sensorial forms of knowledge, with those taking part linking together short presentations, conversations, readings and films.
The Talks are curated and moderated by Natascha Sadr Haghighian, Marc Siegel, Philip Widmann and Florian Wüst.
Technologies
Film scholars Anaïs Farine (Beirut) and Irit Neidhardt (Berlin) look at the shifting contexts of images and sounds from and about Palestine. They examine how solidarity with the Palestinian cause institutionalised through cinema has largely disappeared in present-day Germany, and identify current artistic and curatorial interventions in a field where technologies of making visible easily tend to have obverse effects. The conversation is accompanied by a wide range of audiovisual materials – from films made by West German film crews, commissioned by the PLO, to recent experimental films utilising found footage from colonised Palestine in the early 20th century, and the 2024 short film compilation made in Gaza, From Ground Zero.
Magic
Listening to the voices of the oppressed often requires us to enter unmastered territory characterised by defiant magical happenings and unexpected fantastical imaginaries. Author and philologist Sanabel Abdel Rahman (Tunis) and artist and researcher Ashkan Sepahvand (London) speak of witnesses who disrupt colonial reality through magic and storytelling. Abdel Rahman, who will join online from Tunis, shares aspects of her research on magical realism and haunting as part of Palestinian resistance, while Sepahvand focuses on figures of alterity emerging in modern Iran under geopolitical ruination.
Continuities
At EMAF in April 2024, legal and islamic studies scholar Nahed Samour and artist Pary El-Qalqili took account of the repression and silencing of voices in Germany expressing solidarity with Palestine. One year later, Nahed Samour (Berlin) looks at where we are now: What to call the current societal condition? Has it already become permanent? In another chronicling, Frankfurt-based artist Anita Di Bianco’s ongoing project Corrections and Clarifications compiles daily retractions, re-wordings, distinctions and apologies to print news since September 1, 2001. Moving chronologically backwards from the present, Di Bianco suggests that the notion of historical ruptures is itself part of the misrepresentation and distortion.
Bodies
Author and curator José B. Segebre (Berlin) will reflect on the aesthetics of waiting in queer, feminist, Black and decolonial artistic practice. He will foreground waiting as a central dimension of sumud (steadfastness), a practice of resistance that defines Palestinian daily life, both inside and outside historic Palestine. Ashkan Sepahvand will address performances and rituals of death in the context of the AIDS pandemic, which arose in the 1980s and continues in the present, focusing both on the historical transmission of knowledge between queer dancers and choreographers and on the theater of director Reza Abdoh, whose work cites the Iranian-Islamic performance tradition of ta’ziyeh.
Until April 18 film and art professionals can register to visit the festival here.
We look forward to your visit!