{"id":9472,"date":"2018-03-28T16:44:26","date_gmt":"2018-03-28T20:44:26","guid":{"rendered":"http:\/\/hunterword.com\/?p=9472"},"modified":"2022-01-12T15:50:15","modified_gmt":"2022-01-12T20:50:15","slug":"harun-farocki-gregg-w-morris","status":"publish","type":"post","link":"http:\/\/hunterword.com\/index.php\/harun-farocki-gregg-w-morris\/","title":{"rendered":"Harun Farocki Screenings, 80 Washington Square East and Anthology Film Archives, April 8 \u2013 July 15"},"content":{"rendered":"

Press Release Edited for Style<\/strong><\/p>\n

Over the next four months, 80 Washington Square East and Anthology Film Archives will screen films and videos by Harun Farocki. Screenings will take place first at Anthology Film Archives and later at New York University.<\/p>\n

Harun Farocki was born in 1944. He lived in India and Indonesia before moving with his family to Germany at age 10. In his early 20s, he left for West Berlin to further his studies in cinema, and spent most of his working life there. By the time of his death in 2014, he had a prolific body of films to his name.<\/p>\n

Laboring under the burden of Europe\u2019s history, a history in which the Holocaust loomed large, Farocki was a naturalist of loss. One\u2019s ability to forget what they do not want to know, to overlook what is before them, was seldom put to the test better than in Germany\u2019s reconstruction after the Second World War. The writer W.G. Sebald said that postwar Germany was \u201can almost perfectly functioning mechanism of repression.\u201d<\/p>\n

Farocki, on the other hand, did not sweep things under the rug. His work, often graceful in its observations, was never far from the injury of our world. \u201cHe was endlessly patient,\u201d Antje Ehmann wrote, \u201cwith the strangeness, the beauty, the stupidity, and even the unbearable cruelness of our world.\u201d<\/p>\n

His films often track the effects that free markets, war, and their attendant technologies have on the individual. His films invariably reflect on the methods we use to construct and distribute images and the uses to which these images are put. Frequently, he went to places of focused production \u2013 a prison, a virtual reality facility used to train soldiers, a commercial photo shoot \u2013 and managed to describe the abstractions, the rules, the exercises and negotiations of power behind the surface of such images.<\/p>\n

About his method, Farocki once remarked, \u201cMy maxim was: I tell a company that the movie is an advertisement for what they are doing and tell the TV station [Farocki\u2019s employer] that the film is a criticism of this practice. And try not to do either one or the other.\u201d<\/p>\n

 <\/p>\n

April 8 \u2013 June 10 at Anthology Film Archives<\/strong><\/h2>\n

Sunday, April 8, 2 p.m.<\/em>
\nVideograms of a Revolution (w\/ Andrei Ujica,1992, 106 min.)<\/p>\n

Sunday, April 15, 2 p.m.<\/em>
\nBedtime Stories: Ships (1977, 3 min.)
\nAs You See (1986, 72 min.)<\/p>\n

Sunday, April 22, 2 p.m.<\/em>
\nBedtime Stories: Bridges (1977, 3 min.)
\nHow to Live in the FRG (1990, 79 min.)<\/p>\n

Sunday, April 29, 2 p.m.<\/em>
\nBedtime Stories: Railways (1977, 3 min.)
\nImages of the World and the Inscription of War (1988, 77 min.)<\/p>\n

Sunday, May 6, 2 p.m.<\/em>
\nBedtime Stories 1\u20133: Cats (1977, 9 min.)
\nAn Image (1983, 25 min.)
\nA New Product (2012, 36 min.)<\/p>\n

Sunday, May 13, 2 p.m.<\/em>
\nStill Life (1997, 56 min.)<\/p>\n

Sunday, May 20, 2 p.m.<\/em>
\nI Thought I Was Seeing Convicts (2000, 23 min.)
\nThe Silver and The Cross (2012, 17 min.)
\nInterface (1995, 23 min.)<\/p>\n

Thursdays, May 24, 9:15 p.m. \/ May 31, 7 p.m.<\/em>
\n(Early Films of Harun Farocki as part of 1968 on Screen)
\nThe Campaign Volunteer (1967, 14 min.)
\nThe Words of the Chairman (1967, 3 min.)
\nTheir Newspapers (1968, 17 min.)
\nInextinguishable Fire (1969, 25 min.)<\/p>\n

Sunday, May 27, 2 p.m.<\/em>
\nIn Comparison (2009, 61 min.)<\/p>\n

Sunday, June 3, 2 p.m.<\/em>
\nOn the Construction of Griffith\u2019s Films (2009, 9 min.)
\nParallel I\u2013IV (2012\u20132014, 43 min.)<\/p>\n

Sunday, June 10, 2 p.m.<\/em>
\nRemember Tomorrow Is the First Day of the Rest of Your Life (1972, 10 min.)
\nThe Taste of Life (1979, 29 min.)
\nMake Up (1973, 29 min.)<\/p>\n

June 17 \u2013 July 15 at New York University<\/h3>\n

Sunday, June 17, 2 p.m.<\/em>
\nExpression of Hands (1997, 30 min.)
\nWorkers Leaving the Factory (1995, 36 min.)<\/p>\n

Sunday, June 24, 2 p.m.<\/em>
\nPrison Images (2000, 60 min.)<\/p>\n

Sunday, July 1, 2 p.m.<\/em>
\nWar at a Distance (2003, 58 min.)<\/p>\n

Sunday, July 8, 2 p.m.<\/em>
\nSerious Games I\u2013IV (2009\u201310, 44 min.)<\/p>\n

Sunday, July 15, 2 p.m.<\/em>
\nNothing Ventured (2004, 52 min)<\/p>\n

 <\/p>\n

\n

 <\/p>\n

Organized by Lucas Quigley and Robert Snowden. The project would not be possible without the support of Antje Ehmann, The Estate of Harun Farocki, Nicola Lees, Carol Greene, Jed Rapfogel, and Greene Naftali Gallery. We also wish to thank, Jesse Bradford, Tammy Brown, Marina Molarsky\u2013Beck, Matthias Rajmann, Chloe Truong\u2013Jones, Andrew Weiner, and Audrey Wollen. The films and images have been provided by the Estate of Harun Farocki and Greene Naftali Gallery, New York.<\/p>\n

 <\/p>\n

Gregg Morris can be reached gmorris@hunter.cuny.edu<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

His films often track the effects that free markets, war, and their attendant technologies have on the individual. His films invariably reflect on the methods we use to construct and distribute images and the uses to which these images are put.<\/p>\n

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