[Selected by] is a yearly screening program, exclusively dedicated to the audiovisual work of one established artist (or collective), and selected by the artist her- or himself. For the fourth edition, Harun Farocki Institut will present a selection of “finds” from the archive, in correlation with a selection of works by this prominent filmmaker and author.
Throughout his works spanning from the middle of the 1960s up to 2014, Harun Farocki (1944-2014) drew close attention to how images are constituted, whether they be artistic, cinematic, technical, operational or – expanding on his last work based on gaming – navigational. Giving equal weight to the material value of the image, its mode of production as well as its meaning(s), and looking at contexts in which images are embedded, Farocki made visible hidden connections between our perceived reality and larger economic and political frameworks, providing insights into the world we live in and into an hypothetical future. Working with what could be defined as the “excess of images”, breaking with their existing hierarchy, Farocki’s practice provides the Harun Farocki Institut, founded in 2015, a template for engaging with the collection of materials he left behind.
03.12 – 7 PM special event: a conversation with Elsa de Seynes, the coordinator at HaFI, moderated by Ingel Vaikla, followed by a public discussion and drinks.
Ohne Titel oder: Nixon kommt nach Berlin (Untitled or: Nixon comes to Berlin), 1969.
Anleitung, Polizisten den Helm abzureißen (Instructions on how to Pull off Police Helmets), 1969.
Screen tests for the film Etwas wird sichtbar (Before Your Eyes – Vietnam), ca 1980.
Film documenting the reenactment of a scene from Etwas wird sichtbar, labelled “Ronny und Harun spielen Theater” (“Ronny and Harun Act Up”), 1982.
Unused film material shot for the film Bilder der Welt und Inschrift des Krieges, labelled “Bilder/Geschichte” (“Images/History”), ca 1987.
Bilderkrieg (Images-War), 1987.
In 1976, the filmmaker and writer Harun Farocki (1944–2014) envisioned an institution that ‘we can also organize’ as ‘an assembly of working people, not from an abstract understanding but from the contact points of their work’. The Harun Farocki Institut, founded in September 2015 as a non-profit organisation, seeks to realise Farocki’s proposal in the shape of a platform for researching his visual and discursive practice and supporting new projects that engage with the past, present and the future of image cultures.