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Harun Farocki Exhibition

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The video-installations of the Harun Farocki tribute at the School of Fine Arts:

1.Serious Games I: Watson Is Down

Direction: Harun Farocki
Cinematography: Ingo Kratisch
Production/: Harun Farocki Filmproduktion, Berlin
www.farocki-film.de

2010, 2 videos, color, sound, 8’ (loop)

In the autumn of 2009 we filmed a drill at the 29 Palms Marine Corps Base in California. Four Marines sitting in a class represented the crew of a tank. They had laptops in front of them on which they steered their own vehicle and watched others in the unit being driven through a computer-animation landscape. The instructor placed explosive devices and set insurgents out in the area. A sniper shot the tank gunner, which we documented with the camera. When the tank drove over the fallow it kicked up a dust tail. Even with all this attention to detail, death in the computer game is still something different than the real one. (Harun Farocki)

2.Serious Games II: Three Dead
Direction: Harun Farocki
Cinematography: Ingo Kratisch
Production: Harun Farocki Filmproduktion, Berlin
www.farocki-film.de

2010, Video, color, sound, 8’ (loop)

Again, in 29 Palms, we embarked on an exercise with around 300 extras who represented both the Afghan and Iraqi population. A few dozen Marines were on guard and went out on patrol. The town where the maneuver was carried out was on a slight rising in the desert and its buildings were made of containers. It looked as though we had modeled reality on a computer animation. (Harun Farocki)

3.Serious Games III: Immersion
Direction-Screenplay: Harun Farocki
Research: Matthias Rajmann
Cinematography: Ingo Kratisch
Production: Harun Farocki Filmproduktion, Berlin
www.farocki-film.de

2010, 2 videos, color, sound, 20’ (loop)

Farocki visited a workshop organized by the Institute for Creative Technologies, a research center for virtual reality and computer-simulations. One of their projects concerns the development of a therapy for war veterans suffering from Post-traumatic Stress Disorder. Farocki is interested in the use of virtual realities and games in the recruiting, training and now also therapy of soldiers. Farocki explores the connection between virtual reality and the military – how the fictional scenarios of computer games are used both in the training of US troops prior to their deployment in combat zones, and in psychological care for troops suffering battlefield trauma upon their return.

4.Serious Games IV: A Sun Without Shadow
Direction: Harun Farocki
Cinematography: Ingo Kratisch
Production: Harun Farocki Filmproduktion, Berlin
www.farocki-film.de

2010, 2 videos, color, sound, 8’ (loop)

This chapter considers the fact that the pictures with which preparations were made for war are so very similar to the pictures with which war was evaluated afterward. But there is a difference: The program for commemorating traumatic experiences is somewhat cheaper. Nothing and no one casts a shadow here. (Harun Farocki)

5.Ich glaubte Gefangene zu sehen / I Thought I Was Seeing Convicts
Direction/Script: Harun Farocki
Research-Cinematography: Cathy Lee Crane
Production: Harun Farocki Filmproduktion, Berlin (www.farocki-film.de), Generali Foundation, Wien.

2000, BetaSP, color, 23’

Images from the maximum-security prison in Corcoran, California. The surveillance camera shows a concrete-paved yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend a half an hour a day. A convict attacks another, upon which those uninvolved lay themselves flat on the ground, their arms over their heads. They know what comes now: the guard will call out a warning and then fire rubber bullets. If the convicts do not stop fighting now, the guard will shoot for real. The pictures are silent, the trail of gun smoke drifts across the picture. The camera and the gun are right next to each other. The field of vision and the gun viewfinder fall together…
(Harun Farocki)

6.Arbeiter verlassen die Fabrik in elf Jahrzehnten / Workers Leaving the Factory in Eleven Decades

A video installation for 12 monitors, produced for the exhibition Cinema like never before.

Idea & realization: Harun Farocki Collaborator: Jan Ralske

2006, Video, Β&W-Color, sound 36’ (loop)

The installation of scenes from throughout film’s history of workers leaving the factory, is displayed on twelve monitors simultaneously. In Fritz Langs Clash by Night (1952), one sees Marilyn Monroe on the assembly line, coming out of the factory, and one hears her talking about it. But the existence of factories and movie stars are not compatible. A movie star working in a factory evokes associations of a fairy tale in which a princess must work before she attains her true calling. Factories – and the whole subject of labor – are at the fringes of film history. (Harun Farocki, 2006)

7.Schnittstelle / Section /Interface
Director-Scriptwriter-Commentary: Harun Farocki / Cinematographer: Ingo Kratisch
1995, Video – BetaSP, Color, 23’

Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video “about his work”. His creation was an installation for two screens that was presented within the scope for the 1995 exhibition The World of Photography. The film Schnittstelle developed out of that installation. Reflecting on Farocki’s own documentary work, it examines the question of what it means to work with existing images rather than producing one’s own, new images. The title plays on the double meaning of “Schnitt”, referring both to Farocki’s workplace, the editing table, as well as the “human-machine interface”, where a person operates a computer using a keyboard and a mouse. (3sat, September 1995)

 

Όλες οι δράσεις πραγματοποιούνται υπό την αιγίδα του Υπουργείου Πολιτισμού και Αθλητισμού. To 7o Φεστιβάλ Πρωτοποριακού Κινηματογράφου της Αθήνας διοργανώνεται από τη Ταινιοθήκη της Ελλάδος με τη συγχρηματοδότηση του Ευρωπαϊκού Ταμείου Περιφερειακής Ανάπτυξης & εντάσσεται στο ΠΕΠ ΑΤΤΙΚΗ του ΕΣΠΑ 2007-2013.