Podcasts about farocki

2014'te vefat eden Harun Farocki televizyon, sinema ve sanat mecralarında yayınlanmış onlarca filmin ve video denemenin yaratıcısı olmanın yanında, imajları keskin bir politik tavrı düşünmek ve inşa etmek için kullanmayı öneren, kendi deyimiyle "kurgu masasında yazarken, kurgu stratejisini de yazı masasında oluşturan” bir düşünürdü. Esen Tan ve Deniz Tortum'un, Emre Yeksan'ın moderatörlüğünde, Yort Kitap'ın yayımladığı İmajlarla Düşünmek'te yer alan Farocki metinlerine dair söyleştikleri bu etkinliği Yort Kitap'la işbirliği içinde gerçekleştirdik.

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself: Contemporary Art's Epistemic Politics (Sternberg Press, 2020) delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.” Tom Holert, author of Knowledge Beside Itself, speaks to Pierre d'Alancaisez about the history of art's fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art's complicity in the "epistemic mammoth" of the knowledge economy. Holert discusses the work of Natascha Sadr Haghighian and 'The Trainee' by Pilvi Takala which is available to view on Vimeo. Tom Holert is a writer and curator. In 2015 he cofounded the Harun Farocki Institut in Berlin, a platform for research and production departing from the example set by Farocki. With Anselm Franke he curated the 2018 exhibition “Neolithic Childhood: Art in a False Present, c. 1930” at Haus der Kulturen der Welt, Berlin. “Education Shock,” a research and exhibition project at Haus der Kulturen der Welt on the spatial politics of education in the global 1960s and 1970s will take place in 2021. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself: Contemporary Art's Epistemic Politics (Sternberg Press, 2020) delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.” Tom Holert, author of Knowledge Beside Itself, speaks to Pierre d'Alancaisez about the history of art's fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art's complicity in the "epistemic mammoth" of the knowledge economy. Holert discusses the work of Natascha Sadr Haghighian and 'The Trainee' by Pilvi Takala which is available to view on Vimeo. Tom Holert is a writer and curator. In 2015 he cofounded the Harun Farocki Institut in Berlin, a platform for research and production departing from the example set by Farocki. With Anselm Franke he curated the 2018 exhibition “Neolithic Childhood: Art in a False Present, c. 1930” at Haus der Kulturen der Welt, Berlin. “Education Shock,” a research and exhibition project at Haus der Kulturen der Welt on the spatial politics of education in the global 1960s and 1970s will take place in 2021. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself: Contemporary Art's Epistemic Politics (Sternberg Press, 2020) delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.” Tom Holert, author of Knowledge Beside Itself, speaks to Pierre d'Alancaisez about the history of art's fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art's complicity in the "epistemic mammoth" of the knowledge economy. Holert discusses the work of Natascha Sadr Haghighian and 'The Trainee' by Pilvi Takala which is available to view on Vimeo. Tom Holert is a writer and curator. In 2015 he cofounded the Harun Farocki Institut in Berlin, a platform for research and production departing from the example set by Farocki. With Anselm Franke he curated the 2018 exhibition “Neolithic Childhood: Art in a False Present, c. 1930” at Haus der Kulturen der Welt, Berlin. “Education Shock,” a research and exhibition project at Haus der Kulturen der Welt on the spatial politics of education in the global 1960s and 1970s will take place in 2021. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself: Contemporary Art's Epistemic Politics (Sternberg Press, 2020) delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.” Tom Holert, author of Knowledge Beside Itself, speaks to Pierre d'Alancaisez about the history of art's fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art's complicity in the "epistemic mammoth" of the knowledge economy. Holert discusses the work of Natascha Sadr Haghighian and 'The Trainee' by Pilvi Takala which is available to view on Vimeo. Tom Holert is a writer and curator. In 2015 he cofounded the Harun Farocki Institut in Berlin, a platform for research and production departing from the example set by Farocki. With Anselm Franke he curated the 2018 exhibition “Neolithic Childhood: Art in a False Present, c. 1930” at Haus der Kulturen der Welt, Berlin. “Education Shock,” a research and exhibition project at Haus der Kulturen der Welt on the spatial politics of education in the global 1960s and 1970s will take place in 2021. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself: Contemporary Art's Epistemic Politics (Sternberg Press, 2020) delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.” Tom Holert, author of Knowledge Beside Itself, speaks to Pierre d'Alancaisez about the history of art's fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art's complicity in the "epistemic mammoth" of the knowledge economy. Holert discusses the work of Natascha Sadr Haghighian and 'The Trainee' by Pilvi Takala which is available to view on Vimeo. Tom Holert is a writer and curator. In 2015 he cofounded the Harun Farocki Institut in Berlin, a platform for research and production departing from the example set by Farocki. With Anselm Franke he curated the 2018 exhibition “Neolithic Childhood: Art in a False Present, c. 1930” at Haus der Kulturen der Welt, Berlin. “Education Shock,” a research and exhibition project at Haus der Kulturen der Welt on the spatial politics of education in the global 1960s and 1970s will take place in 2021. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

In conjunction with the exhibition 'Topographic Resolutions II' at local artist-run initiative Kuiper Projects, the IMA and Kuiper presented a panel discussion and screening that considered the relationship between landscape and computer-generated imagery, both in contemporary art and wider culture. Curator Kyle Weise and artists Baden Pailthorpe and Kathryn Brimblecombe-Fox discuss their relationships to digital depictions of landscape and its entanglement with militarism, a theme also found across the late filmmaker Harun Farocki’s practice. The discussion was followed by a screening of one of Farocki’s final films, Parallel I-IV (2012-14, 45 mins) which incorporates found footage including that from video games The Legend of Zelda and Grand Theft Auto V to comment on the genre of computer animation and the history of style in computer graphics. Image: Harun Farocki, 'Parallel III' (video still), 2014, HD Video, 00:07:21. Image copyright of the artist, courtesy of Video Data Bank, School of the Art Institute of Chicago.

Given the ever growing plethora of criticism, it makes it more and more difficult to find critics whose every word feels inspired, and more than that, fewer critics who are even given spaces to write on films that create impassioned, reflective, and incisive prose and arguments. Houston-based writer Michael Sicinski is one of the rarities left today. His criticism makes experimental films that might alienate audiences feel accessible and who takes the liberal Hollywood schmaltz and demonstrates how alienating it can be. In this broad ranging interview, Michael takes Peter through his move from art history to cinema, the academic sphere to the internet, and from writing to teaching. The two then dive into Su Friedrich's haunting memory film Sink or Swim, and look at how a work that demonstrates formal rigor at every moment is also imbued with emotion that any audience can feel as well. Plus, Peter checks back in with former guest Eric Allen Hatch and his new non-profit video store in Baltimore, looking at how a seemingly "outdated" model of cinephilia might just save its future. 0:00-3:33  Opening4:25-15:42 Establishing Shots — Beyond Video with Eric Allen Hatch16:28-1:24:12 Deep Focus — Michael Sicinski1:25:25-1:29:50  Sponsorship Section1:31:05-1:52:43 Double Exposure — Sink or Swim (Su Friedrich)1:52:48-2:00:37 Close / Outtake

Farocki talks about the value of the critics and the intellectual circles that dialogued about film.

Farocki habla sobre el valor de los críticos y de los círculos de intelectuales que dialogaban acerca del cine.

Farocki talks about Chris Marker´s film work.

Farocki habla sobre la manera de filmar del francés Chris Marker.

El director del nuevo cine alemán explica la importancia que tiene el arte en su trabajo.

Farocki relates how the Romanian culture and society, as well as the decisions of the USSR, had a key role in his film ideas.

Farocki cuenta cómo la cultura y sociedad rumana, además de las decisiones de la URSS, tuvieron un papel fundamental en sus ideas cinematográficas.

Hace un par de semanas falleció este cineasta alemán. Su obra abarcó más de cuatro décadas, donde cubrió cortos conceptuales de agitación política como los que hacía Godard con el grupo Dziga Vertov; pasó por los desvariados ensayos visuales y conceptuales al estilo Marker, y terminó con obras más simples y despojadas donde registró ciertos procedimientos clave de las modernas sociedades capitalistas. La imagen como simulación, como registro de lo que será destruido, como herramienta de propaganda e incluso como forma de gobierno son algunos de los muchos temas que aborda Farocki, con un distanciado talante cerebral que pone a sus cintas a medio camino entre el documental y la instalación. De eso y más hablamos en el podcast.

FilmKritikFilm. Übersteuert. Unverständlich. Geschwätz. Und der Farocki bleibt viel zu lange im Bild. Film kann kritisiert werden - ist hier jedoch schon seine eigene Kritik. Zugleich Zitat: "Antrieb zu einem utopischen Schreiben jenseits des Textes, Versuch von bewegten Schrift-Bildern und Bilder-Schriften, deren Ort immer schon die Zukunft gewesen sein muss." R: André Wendler, Martin Schlesinger Animation: Max Baberg Weitere Beteiligte: Harun Farocki, Manuela Klaut, Susanne Pötzsch, Benjamin von Alemann, Sabrina Ginter, Heike Mages, Stefan Becker Dank an: Ute Holl, Frederik Esser, Alex Böhm Weimar, D, 2005