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Harun Farocki 10 Pp e-flux journal issue #59 11/2014 e-flux journal is a monthly art publication featuring essays and contributions by some of the most engaged artists and thinkers working today. The journal is available online, in PDF format, and in print through a network of distributors. Editors 01/01 Julieta Aranda Brian Kuan Wood Anton Vidokle Copy Editor/Proofreader Michael Andrews Managing Editors and Distribution Kaye Cain-Nielsen Mariana Silva Graphic Design Jeff Ramsey Layout Generator Adam Florin For further information, contact [email protected] www.e-flux.com/journals Ê 4 1 0 2 r e b m e v o n — 9 5 # l a n r u n o o j h x p u o l l f o - e C 11.26.14 / 08:02:53 EST Julieta Aranda, Brian Kuan Wood, Anton Vidokle Thomas Elsaesser and Alexander Alberro 02 pp. Editorial—Harun Farocki 10 pp. Farocki: A Frame for the No Longer Visible: Thomas Kodwo Eshun Elsaesser in Conversation 07 pp. A Question They Never Stop 01/01 with Alexander Alberro Asking Filipa César Ruchir Joshi 04 pp. Joint Leopard Dot 06 pp. Also of Things: Notes for a Film Remembering Harun Ute Holl Farocki 07 pp. Farocki’s Cinematic Historiography: Christa Blümlinger Reconstructing the Visible 07 pp. An Archeologist of the Present Jan Ralske 01 pp. Harun’s Highway James Benning 01 pp. FAROCKI Constanze Ruhm 11 pp. Attachment: Anselm Franke 06 pp. A Critique of Animation Trevor Paglen 03 pp. Operational Images Cathy Lee Crane 05 pp. Letters to Harun Bani Khoshnoudi 04 pp. Watch and Learn Doreen Mende 07 pp. The Many Haruns: A Armin Linke Ê Timeline Through Books and 4 04 pp. In His Reading Chair 1 0 2 Hand Gestures from 18,000 r e b Hito Steyerl BC–2061 m e v o 05 pp. n Beginnings — Alice Creischer and Andreas Siekmann 9 5 # 04 pp. l How to Wear a Scissor- a n r u s t o Wielding Trifecta on a T- j n x e t u l n Shirt f o - e C 11.26.14 / 08:02:51 EST Organized in collaboration with Antje Ehmann ÊÊÊÊÊÊ1 Parallel II, 2014. One-channel ÊÊÊÊÊÊ12 and Doreen Mende, this issue ofÊe-flux video installation, color, sound, 9 I Thought I was Seeing Convicts journalÊpays tribute to Harun Farocki (January 9, minutes. (Ich glaubte Gefangene zu sehen),2000.Video, sound, 60 1944–July 30, 2014) with a series of essays and ÊÊÊÊÊÊ2 minutes;ÊThe Creators of reflections on his work and life by friends, Harun Farocki, “Reality Would Shopping Worlds (Die Schpfer Have to Begin,”ÊImprint: Writings der Einkaufswelten), 2001. Video, collaborators, film scholars, and admirers. Those / Nachdruck: Texte, ed. Susanne sound, 72 minutes;ÊIn Gaensheimer and Nicolaus Comparison (Im Vergleich), 2009. who knew Harun personally remember not only Schafhausen (New York: Lukas & Video, sound, 60 minutes. 01/02 the epic influence of his work, but also his Sternberg; Berlin: Vorwerk 8, 05/05 2001), ÊÊÊÊÊÊ13 generosity as a friend and collaborator. As for us, 186–213http://monoskop.org/i Respite (Der Aufschub), 2007. we have never before dedicated a full issue ofÊe- mages/4/4c/Farocki_Harun_198 Video, sound, 38 minutes. 8_2002_Reality_Would_Have_to flux journalÊto a single artist. _Begin_Die_Wirklichkeit_haet ÊÊÊÊÊÊ14 ÊÊÊÊÊÊÊÊÊÊFrom his best known films such te_zu_beginnen.pdf FromÊSerious Games I: Watson is Down. 2010. Two-channel video asÊInextinguishable FireÊ(1969),ÊImages of the ÊÊÊÊÊÊ3 installation, color, sound, 8 World and the Inscription of WarÊ(1989), Parallel IV, 2014. One-channel minutes. video installation, color, sound, andÊVideograms of a RevolutionÊ(together 11 minutes. ÊÊÊÊÊÊ15 withÊAndrei Ujică,1992) to endless others such Philipp Goll, “Harun Farocki: Ein Julieta Aranda, Brian Kuan ÊÊÊÊÊÊ4 posthum erscheinendes Wood, Anton Vidokle asÊHow to Live in the German Federal There is a strong parallel to Interview über Fu§ball, Mao und RepublicÊ(1990),ÊThe InterviewÊ(1996),Êand An Martha Rosler’s workÊBringing das Filmemachen,”ÊJungle World The War Home, made in the no. 32 (August ImageÊ(1983), he used cinematic techniques to same year, which also insists on 2014)Êhttp://jungle-world.co Editorial – make the functioning of power seductive, even the domesticity and ubiquity of m/artikel/2014/32/ warfare. thrilling to witness. "More images than the eye ÊÊÊÊÊÊ16 Harun Farocki can see," the voice of Ulrike Grote taunts ÊÊÊÊÊÊ5 A reference to recent FromÊParallel I, 2012.Two- conversations with Brian Kuan inÊImages of the World and the Inscription of War, channel video installation, color, Wood and Andrew Norman sound, 16 minutes. Wilson’s work,Sone a film reflecting on the surveillance photos taken http://www.andrewnormanwilso by US warplanes that had aerially documented ÊÊÊÊÊÊ6 n.com/Sone.html This work is preceded by “Ein e what was happening in Nazi camps during World l Bild,” a conversation with Vilem ÊÊÊÊÊÊ17 k o War II. Even though these images were not seen Flusser about a cover ofÊBild Harun’s Volvo cabrio might have d i Zeitung. Also, obviously reality singlehandedly saved the GDR if V by human eyes – whether willfully or not – we has always been created by strategically deployed at May n o representations to an extent, but Day parades. t realize that allied cameras were complicit in n this period marks the emergence A , seeing, but not in knowing what happened. of reality being created by digital ÊÊÊÊÊÊ18 d imagery. FromÊParallel I, 2012. Two- o ÊÊÊÊÊÊÊÊÊÊFarocki's films lead us to think that the real o channel video installation, color, W brutality of power that uses advanced forms of ÊÊÊÊÊÊ7 sound, 16 minutes. n a At some point during the u technology, transmission, and mediation goes far stampede cinema becomes a K n beyond the application of physical violence on casualty too. It ceases to be a a i place where production r human bodies, and towards something much B condenses social conflict. , a more delicate, much more refined. Its real d ÊÊÊÊÊÊ8 n violence arrives in something like boredom, in a On the Construction of Griffith’s r A rendering the actual functioning of power as Films (Zur Bauweise des Films a t bei Griffith), 2006. Two-channel e boring – uninteresting and technical on the i l video installation, black and u white, 8 minutes. J surface, but eventually and ultimately Ê 4 authoritarian in its inaccessibility. It is from this 1 ÊÊÊÊÊÊ9 l 0 Workers Leaving the Factory r 2 point that Farocki's mastery begins by e r (Arbeiter verlassen die Fabrik), y e e identifying cinema as a historical meeting point t b 1995. Digital video, sound, 36 S m minutes.ÊWorkers Leaving the o e between technology and seduction. Cinema has t i i v Factory in Eleven Decades k o H c always been the name of the machine for n (Arbeiter verlassen die Fabrik in Ê o r elf Jahrzehnten), 2006. Twelve- a — merging warfare and entertainment, propaganda — F channel video installation, 36 9 9 n 5 and pornography. minutes. 5 u # # r l l a ÊÊÊÊÊÊÊÊÊÊSo why can't we then draw a direct line from a a H ÊÊÊÊÊÊ10 n n s r r – g its history into a present where cinema has Another version is installed in u u l n o o i a j Essen right now, showing actual j i n r already been weaponized as the primary x x workers leaving factories in n o i u u t l l i g f technique for mobilizing vision – for drones and fifteen different countries, as f e d - - e E part of the workÊLabour in a e B romantic comedies alike? From here it only takes Single Shot codirected with Farocki's elegant sleight of hand to twist the Antje Ehmann. I haven’t seen it apparatus back on itself, to render its own yet. technologies of control interesting, seductive ÊÊÊÊÊÊ11 The Appearance (Der Auftritt), enough to be perceivable, perceivable enough to 1996. Video, sound, 40 be accessible. It is through cinema that power minutes;ÊThe Interview (Die Bewerbung), 1997. Video, sound, can become fascinating in its complexity, 58 minutes;ÊNothing Ventured charming in its grace, and deadly in its poetry, to (Nicht ohne Risiko), 2004. Video, sound, 50 minutes. the point where the spell of its technology is 11.23.14 / 13:13:10 EST 11.21.14 / 15:11:22 EST more necessary than ever and I am gutted that Hito Steyerl is a filmmaker and writer. She teaches broken. Once the aura is gone, slippages appear he is no longer here. New Media Art at University of Arts Berlin and has at the very centers of command, where every ÊÊÊÊÊÊÊÊÊÊI know I am not alone in this. From Berlin to recently participated in Documenta 12, Shanghai lock can be picked and US generals fumble Biennial, and Rotterdam Film Festival. Beirut to Kolkata, Mexico, Gwangju, and blindly with their own software. The technology wherever airlines and wi-fi travel, Harun’s work has become impossible to master, and also struck a chord and brought people together: from available to anyone. With Harun's precise Straub and Huillet nerds to Tumblr scrutiny, an intimate world of techno- impressionists and drone opponents. From West 04/05 socialÊmicro-machinations comes to life. When 02/02 Berlin to the West Bank. From salon bolsheviks, an automated gate closes and latches, Harun is dialup activists, and SketchUp gallerinas. From there. When looking into the LCD screens portable film clubs to mobile phone browsers. I replacing rear view mirrors in cars, he is there. personally know at least one militia member who He is there when we address a colleague at was floored by his work.
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