This event was formerly known as The Neganthropocene (part 1).
In times of climate crisis\, and while democraci es are eroding and infrastructures and social webs are breaking apart\, th e idea of repair is tempting. Repair promises to make things whole again\, even if they have never worked properly and have only benefited a select few. Inspired by the idea of 'beyond repair' from artist Natascha Sadr Hag highian\, this exhibition seeks to intervene in the repetition of repair f antasies and the assertion that things can and need to be fixed. It is hen ce interested in approaches to 'living\, thinking and feeling otherwise\, through the brokenness.' With the exception of reparation for colonial vio lence and injustice\, Sadr Haghighian understands such approaches 'beyond repair' in opposition to current fascist instrumentalisations of declinism . However\, the desire for alternatives to soothe the widespread feeling o f crisis is not limited to the far right\; it is also part of narratives t hat circulate in various social spheres and media.
By contrast\, th is exhibition is drawn to the dynamics arising from a proceeding in broken ness\, staying with scenes beyond repair and acknowledging their permanenc e. As Julietta Singh reminds us\, the idea that we can simply move away fr om a moment of crisis or trauma and forget about the breaks that happened along the way is a fantasy in itself. One illustration of this is Singh's observation of how the pain of a severe injury continued to emerge in her body over time\, living out 'its afterlives'. Lauren Berlant draws our att ention to the ambivalence and transformative potential of the afterlives o f the irreparable. These afterlives also involve transformation\, which se ts in slowly and can be inconvenient and difficult to bear. Proceeding in brokenness thus requires “transformational infrastructures\,” which Berlan t defines as “defenses against giving up in the face of overintensity and disorganization.”
The exhibition\, together with a workshop and film program\, will facilitate a conversation between different scenes beyond repair that allows us to engage with the ambivalences\, difficulties as we ll as the critical hope that can lie in a proceeding in brokenness
DTSTART;TZID=America/Los_Angeles:20260124T120000 DTEND;TZID=America/Los_Angeles:20260404T180000 LAST-MODIFIED:20260116T183138Z SUMMARY:The Unworld to Come. Imagining an Otherwise... TRANSP:OPAQUE X-ALT-DESC;FMTTYPE=TEXT/HTML:This event was formerly known as&nb sp\;The Neganthropocene (part 1).
In times of climate crisi s\, and while democracies are eroding and infrastructures and social webs are breaking apart\, the idea of repair is tempting. Repair promises to ma ke things whole again\, even if they have never worked properly and have o nly benefited a select few. Inspired by the idea of 'beyond repair' from a rtist Natascha Sadr Haghighian\, this exhibition seeks to intervene in the repetition of repair fantasies and the assertion that things can and need to be fixed. It is hence interested in approaches to 'living\, thinking a nd feeling otherwise\, through the brokenness.' With the exception of repa ration for colonial violence and injustice\, Sadr Haghighian understands s uch approaches 'beyond repair' in opposition to current fascist instrument alisations of declinism. However\, the desire for alternatives to soothe t he widespread feeling of crisis is not limited to the far right\; it is al so part of narratives that circulate in various social spheres and media.& nbsp\;
By contrast\, this exhibition is drawn to the dynamics arisin g from a proceeding in brokenness\, staying with scenes beyond repair and acknowledging their permanence. As Julietta Singh reminds us\, the idea th at we can simply move away from a moment of crisis or trauma and forget ab out the breaks that happened along the way is a fantasy in itself. One ill ustration of this is Singh's observation of how the pain of a severe injur y continued to emerge in her body over time\, living out 'its afterlives'. Lauren Berlant draws our attention to the ambivalence and transformative potential of the afterlives of the irreparable. These afterlives also invo lve transformation\, which sets in slowly and can be inconvenient and diff icult to bear. Proceeding in brokenness thus requires “transformational in frastructures\,” which Berlant defines as “defenses against giving up in t he face of overintensity and disorganization.”
The exhibition\, toge ther with a workshop and film program\, will facilitate a conversation bet ween different scenes beyond repair that allows us to engage with the ambi valences\, difficulties as well as the critical hope that can lie in a pro ceeding in brokenness
END:VEVENT BEGIN:VEVENT UID:36366432-6632-4036-b639-323338386565 DTSTAMP:20260712T134212Z CLASS:PUBLIC CREATED:20250920T013151Z DESCRIPTION:This event was formerly known as The Neganthropocene (part 1).
In times of climate crisis\, and while democraci es are eroding and infrastructures and social webs are breaking apart\, th e idea of repair is tempting. Repair promises to make things whole again\, even if they have never worked properly and have only benefited a select few. Inspired by the idea of 'beyond repair' from artist Natascha Sadr Hag highian\, this exhibition seeks to intervene in the repetition of repair f antasies and the assertion that things can and need to be fixed. It is hen ce interested in approaches to 'living\, thinking and feeling otherwise\, through the brokenness.' With the exception of reparation for colonial vio lence and injustice\, Sadr Haghighian understands such approaches 'beyond repair' in opposition to current fascist instrumentalisations of declinism . However\, the desire for alternatives to soothe the widespread feeling o f crisis is not limited to the far right\; it is also part of narratives t hat circulate in various social spheres and media.
By contrast\, th is exhibition is drawn to the dynamics arising from a proceeding in broken ness\, staying with scenes beyond repair and acknowledging their permanenc e. As Julietta Singh reminds us\, the idea that we can simply move away fr om a moment of crisis or trauma and forget about the breaks that happened along the way is a fantasy in itself. One illustration of this is Singh's observation of how the pain of a severe injury continued to emerge in her body over time\, living out 'its afterlives'. Lauren Berlant draws our att ention to the ambivalence and transformative potential of the afterlives o f the irreparable. These afterlives also involve transformation\, which se ts in slowly and can be inconvenient and difficult to bear. Proceeding in brokenness thus requires “transformational infrastructures\,” which Berlan t defines as “defenses against giving up in the face of overintensity and disorganization.”
The exhibition\, together with a workshop and film program\, will facilitate a conversation between different scenes beyond repair that allows us to engage with the ambivalences\, difficulties as we ll as the critical hope that can lie in a proceeding in brokenness
DTSTART;TZID=America/Los_Angeles:20260404T120000 DTEND;TZID=America/Los_Angeles:20260404T180000 LAST-MODIFIED:20260116T183138Z SUMMARY:The Unworld to Come. Imagining an Otherwise... TRANSP:OPAQUE X-ALT-DESC;FMTTYPE=TEXT/HTML:This event was formerly known as&nb sp\;The Neganthropocene (part 1).
In times of climate crisi s\, and while democracies are eroding and infrastructures and social webs are breaking apart\, the idea of repair is tempting. Repair promises to ma ke things whole again\, even if they have never worked properly and have o nly benefited a select few. Inspired by the idea of 'beyond repair' from a rtist Natascha Sadr Haghighian\, this exhibition seeks to intervene in the repetition of repair fantasies and the assertion that things can and need to be fixed. It is hence interested in approaches to 'living\, thinking a nd feeling otherwise\, through the brokenness.' With the exception of repa ration for colonial violence and injustice\, Sadr Haghighian understands s uch approaches 'beyond repair' in opposition to current fascist instrument alisations of declinism. However\, the desire for alternatives to soothe t he widespread feeling of crisis is not limited to the far right\; it is al so part of narratives that circulate in various social spheres and media.& nbsp\;
By contrast\, this exhibition is drawn to the dynamics arisin g from a proceeding in brokenness\, staying with scenes beyond repair and acknowledging their permanence. As Julietta Singh reminds us\, the idea th at we can simply move away from a moment of crisis or trauma and forget ab out the breaks that happened along the way is a fantasy in itself. One ill ustration of this is Singh's observation of how the pain of a severe injur y continued to emerge in her body over time\, living out 'its afterlives'. Lauren Berlant draws our attention to the ambivalence and transformative potential of the afterlives of the irreparable. These afterlives also invo lve transformation\, which sets in slowly and can be inconvenient and diff icult to bear. Proceeding in brokenness thus requires “transformational in frastructures\,” which Berlant defines as “defenses against giving up in t he face of overintensity and disorganization.”
The exhibition\, toge ther with a workshop and film program\, will facilitate a conversation bet ween different scenes beyond repair that allows us to engage with the ambi valences\, difficulties as well as the critical hope that can lie in a pro ceeding in brokenness
END:VEVENT END:VCALENDAR