Gesprek | Film Irene de Craen + Connie Zheng: On Slow Violence and the Anti-Spectacle

Crisis Imaginaries: On Slow Violence and the Anti-Spectacle © Framer Framed

wo 21–07–2021

17:00 uur

Framer Framed

Crisis Imaginaries

Crisis Imaginaries is a project by Framer Framed and Goethe-Institut Niederlande. The series explores the climate and ecological crises through participatory research and from intersectional and interdisciplinary perspectives. Reckoning with colonial-imperial roots, we seek to deepen our understanding of a present defined by extinction and environmental destruction and a future bracing for climate collapse. The project promotes spaces of listening and knowledge/resource sharing in an effort to move toward a more climate just society.

Framer Framed and the Goethe-Institut Niederlande are happy to launch the second season of Crisis Imaginaries. For this first session on 21 July we are joined by Errant Journal editor-in-chief Irene de Craen and contributing author Connie Zheng. Through a film screening and discussion, we will dive further into the thematics of Errant's recent second issue Slow Violence.

Irene de Craen and Connie Zheng begin from the question of representing slow violence, through discussing Connie Zheng's recent article for Errant's second issue – on aesthetic representations of environmental disaster ('Amidst slow violence: cascading reincarnations in Thao Nguyen Phan's Becoming Alluvium'). Thinking on the distancing, overwhelming effect of images of climate catastrophe so often plastered across media. What do these images do, and not do?

With this frame we turn toward Zheng's own practice, and specifically her work around seeds as speculative futures. Together, De Craen and Zheng will guide us in a screening of Zheng's film Seedtime (2020) and a discussion of anti-spectacular action and practice responding to climate collapse.
  • Connie Zheng:
    "Seedtime is the second instalment of an ongoing, three-part experimental film project about speculative seeds, informal and collectively produced knowledge, and divergent articulations of hope amidst ongoing environmental apocalypse. The film builds on the narrative begun by The Lonely Age by following a small community of seed-searchers as they navigate between hope, denial and collective wishing amidst cascading disasters and through the frame of seed-time – the time of subterranean and invisible transformation amidst what can appear to be a hibernate state. Like The Lonely Age, Seedtime draws upon improvised voiceovers and movement to build out its narrative, and was originally conceived of as an exercise in practicing the act of refusing apocalyptic thinking through collective myth-making."

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