Podcast appearances and mentions of Harun Farocki

This episode is a conversation between the artist Ana Vaz and the curator Damian Lentini. It was recorded on 7 March, 2025 in the context of the exhibition: Ana Vaz Meteoro  8.4. – 18.5.2025 In her film-poems artist and filmmaker Ana Vaz collages images and sounds that revolve around violence and repression, the impact of ecological ruin and the continued colonization of the earth. The deconstruction of the grand narrative of Western modernity that imposes itself across vast territories on this planet lies at the heart of her filmography. In her exhibition at the Secession, Vaz showcases her new film series Meteoro (2023–). Predominantly focusing on Paris and Porto, European cities are depicted as on the verge of collapse or on the path to extinction. More Ana Vaz is an artist and filmmaker born in the Brazilian midwest inhabited by the ghosts buried by its modernist capital: Brasília. Originally from the cerrado and wanderer by choice, Ana has lived in the arid lands of central Brazil and southern Australia, in the mangroves of northern France and in the northeastern shores of the Atlantic. Her filmography activates and questions cinema as an art of the (in)visible and instrument capable of transforming human perception, expanding its connections with forms of life — other than human or spectral. Her film-poems are marked by a constant experimental defiance to the poetic forms of contemporary cinema, highlighting the profound contradictions of our time and questioning, above all, the destructive practices of colonial modernity. Consequences or expansion of her cinematography, her activities are also embodied in writing, critical pedagogy, installations or collective walks. Damian Lentini is a curator at the Vienna Secession. He obtained his doctoral degree in 2009 at the University of Melbourne and has realised major projects with artists such as El Anatsui, Phyllida Barlow, Kapwani Kiwanga, Sarah Sze, Sung Tieu, Raqs Media Collective, Harun Farocki, Dumb Type, Khvay Samnang, Lina Lapelytė and the Karrabing Film Collective amongst others. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Production: Damian Lentini, Jeanette Pacher

Alexander Horwath's Henry Fonda for President stands among the most notable releases of a still-young year, is certainly the most lauded essay film in recent memory, and was assuredly of personal interest when my friend Zach Lewis offered his approval. As adventurous and open-minded a cinephile as any I know, Zach has equal-parts interest in both the films of Henry Fonda and essayistic, landscape-centered cinema––some Thom Anderson or Harun Farocki come to mind with the former, James Benning the latter––in which Horwath is trading here. I couldn't have been happier to connect with him to discuss the film, and hope our chat is fruitful for you in turn.

Renée Green talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work.Green was born in 1959, in Cleveland, Ohio, and lives today between Somerville, Massachusetts, and New York. She brings together a wealth of cultural forms in complex and layered works that manifest as installations, video pieces and texts, among other media. Through what has been described as a “methodology of citation”, in which she overtly names and synthesises the language and forms of the disparate individuals she references, Renée reflects on the nature of ideas, on subjectivity and perception, on fiction and reality, and on memory—personal and collective. Just as she is generous in her allusions, so her art is an invitation to the viewer, to witness the connections she assembles, and help shape the works' meaning. She discusses how her work is concerned with “perception and sensation” and how drawing is a daily activity alongside reading and research. She reflects on her ongoing fascination with On Kawara and how her interest in particular artists “has to do with their physical location, the material aspects of what their existences might have been like, and then what kinds of questions emerge from those conditions”. She discusses the references in her work to the writing of Muriel Rukeyser and Laura Riding, and the friendship and dialogue she had with the film-maker Harun Farocki. Plus, she gives insight into life in the studio, and answers our usual questions, including the ultimate, “What is art for?”Renée Green: The Equator Has Moved, Dia Beacon, from 7 March and will be on long term view. Hosted on Acast. See acast.com/privacy for more information.

This episode is a conversation between the artist Rochelle Feinstein and the curator Damian Lentini. It was recorded on 3 December, 2024 in the context of the exhibition: Rochelle Feinstein The Today Show 6.12.2024 – 23.2.2025 For over forty years, the American painter Rochelle Feinstein has developed an oeuvre that infiltrates abstract painting with political, social and environmental concerns. Throughout a series of diverse yet thematically interwoven groups of works, Feinstein cuts, flips, and rearranges printed gestural marks that are then collaged into paintings; she also makes sculptures and prints out of everyday materials. The Today Show presents a range of newly created works that circulate around the question of how to connect canvas, color and gesture with the specific personal and public conditions of our time. More Rochelle Feinstein is a painter navigating the terrain of abstract painting as it unfolds across diverse and thematically interwoven bodies of work. Geometric forms—the modernist trope of the grid is a regular presence—and vibrant chroma become tools to explore notions of artistic value and production, societal structures, and feminist idioms. Though it takes myriad forms, her singular project always centers painting within culture at large. While drawing upon the conventions embedded in painting practices as much those of contemporary culture, her works incorporate drawing, photography, printmaking, sculpture, and video. Damian Lentini is a curator at the Vienna Secession. He obtained his doctoral degree in 2009 at the University of Melbourne and has realised major projects with artists such as El Anatsui, Phyllida Barlow, Kapwani Kiwanga, Sarah Sze, Sung Tieu, Raqs Media Collective, Harun Farocki, Dumb Type, Khvay Samnang, Lina Lapelytė and the Karrabing Film Collective amongst others. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Production: Damian Lentini, Bettina Spörr

Following a conversation with guest curator Sunjung Kim, this podcast series now focuses on the individual artists in the exhibition, alongside their works. Recorded on 19 September 2024, this episode focuses on the filmic work of the Danish/Korean artist Jane Jin Kaisen and her operatic multichannel work Burial of this Order – on display in the Gallery of the Secession – as well as her wider practice. At the end of the discussion, four brief audio clips from the film will be played to engage the listener in the artist's seductive and operatic world. Forms of the Shadow Curated by Sunjung Kim 20.9. – 17.11.2024 With Nilbar Güreş; Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian; Kyungah Ham; Young In Hong; ikkibawiKrrr; Jane Jin Kaisen; Joon Kim; Lee Bul; Lee Kit; Mikael Levin; Minouk Lim; Moon Kyungwon & Jeon Joonho; Adrián Villar Rojas; Ramiro Wong; Haegue Yang; Tomoko Yoneda; Jin-me Yoon; Min Yoon Damian Lentini is a curator at the Vienna Secession. He obtained his doctoral degree in 2009 at the University of Melbourne and has realised major projects with artists such as El Anatsui, Phyllida Barlow, Kapwani Kiwanga, Sarah Sze, Sung Tieu, Raqs Media Collective, Harun Farocki, Dumb Type, Khvay Samnang, Lina Lapelytė and the Karrabing Film Collective amongst others.   The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Programmed by the board of the Secession Audio Editor: Paul Macheck Executive Producer: Bettina Spörr

Zhou Siwei translates the contradictions of living and working in contemporary China into playful, personally fragmented and nonlinear works on canvas and painted objects. This podcast was recorded on 19 June 2024 in the context of the exhibition: Zhou Siwei I Sold What I Grow 21.6. – 8.9.2024 Probing the ambivalence of digital technologies, the unceasing global traffic in goods, and the sleeplessness of the late-capitalist era, Zhou interweaves diverse visual and cultural influences in ways that make everyday items and signs feel at once familiar and alien, accommodating a wide range of interpretations. More Zhou Siwei is an artist whose work focuses on the interrelation between people's understanding of culture and the effects of culture on people. Zhou completed a BA in Oil Painting from Sichuan Fine Arts Institute in 2005 and currently lives and works in Shanghai. Damian Lentini is a curator at the Vienna Secession. He obtained his doctoral degree in 2009 at the University of Melbourne and has realised major projects with artists such as El Anatsui, Phyllida Barlow, Kapwani Kiwanga, Sarah Sze, Sung Tieu, Raqs Media Collective, Harun Farocki, Dumb Type, Khvay Samnang, Lina Lapelytė and the Karrabing Film Collective amongst others. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. EberhardEditor: Paul Macheck Production: Damian Lentini, Bettina Spörr

1977: Die Discowelle an ihrem Scheitelpunkt. Millionen schlechte Songs werden aufgenommen. Auch in Berlin. Harun Farocki ist dabei. Ein legendäres Originalton-Feature.

Interview von Ingo Kottkamp mit dem Autor Harun Farocki aus dem Jahre 2019.

Plumbing the murky and anodyne depths of German modernity, Christian Petzold – leading light of the Berlin School; protege of artist-filmmaker Harun Farocki – has a bafflingly uneven reputation. The highs are thrilling and poised; the lows, schlocky and off-note. Why so inconsistent? To separate the sauer from the succulent, the boys – joined by George MacBeth – set out on a long-distance road trip through the autobahns and service stations that have provided such weirdly compelling settings for his filmmaking – a journey that makes pit-stops at the great (Afire, Gespenster), the so-so (Jerichow, Cuba Libre), and the wurst (Barbara, Phoenix, Transit, Undine). With a career bookended by moments of brilliance we celebrate a true return to form.

Visitamos el cine de Harun Farocki y su película: Images of the World and the Inscription of War. El cine contra la máquina de guerra.

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In this episode of High Theory, Bernard Dionysius Geoghegan talks with us about computer graphics. Emerging from tools for sailing and warmaking, like sea charts and radar, modern computer graphics are technologies of mapping and managing risk. They seem intent on absorbing the human sensorium into the machine. In the episode Bernard refers to computer graphics as “techniques of addressing,” a term he attributes to Ranjodh Singh Dhaliwal. He also uses the term “operational images” which comes from the work of Harun Farocki, and talks about SAGE, the US Government's Cold War era Semi-Automatic Ground Environment Air Defense System. Bernard references Paul Edward's book A Vast Machine: Computer Models, Climate Data, and the Politics of Global Warming (MIT Press, 2013). He also mentions the German scholar Christoph Borbach who has written on auditory computer interfaces, and American disability studies scholar Mara Mills, who has written on the Deaf history of computing. He was kind enough to give us an extensive bibliography on this topic, which is posted below. Bernard Dionysius Geoghegan is a reader in the History and Theory of Digital Media at King's College London. He has a brand new book out on the cybernetic history of French theory, called Code: From Information Theory to French Theory (Duke UP, 2023). Kim met him when he came to give a talk at the Stanford Humanities Center in January 2023. He wore denim and had a slightly manic affect. People came all the way from Berkeley to hear what he had to say, which is quite impressive in the Bay Area. This week's image is a radar loop of the December 16 2007 Eastern North America winter storm, found on Wikimedia Commons. The loop runs from Saturday Morning at 7 AM (Dec 15) to Sunday Night at 7 PM (Dec 16). The image is in the public domain because it was made by someone who works for the National Weather Service. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Jean-Marie Straub and Daniele Huillet at Work on Franz Kafka's "Amerika" (1983), de Harun Farocki, disponível em e-flux.com/video

Hogyan kell a munkát ábrázolni? Mit jelent az, hogy a híradás manipuláció? Mi a Partizán videók vizuális stílusa? Milyen lehetősége van egy független szervezetnek szakmai fórummá válni a mai magyar filmes közegben? – ezekre keressük a választ vendégeinkkel. Harun Farocki filmjei megmutatják, hogy híradásokról, alkalmazott mozgóképről épp olyan komolyan kell gondolkodni, képnyelvüket épp olyan figyelmesen kell szemlélni, mint a moziforgalmazásba kerülő filmek esetében. Ezért gondoltunk arra, hogy a filmhét egyik szakmai programjában összeültetjük a Partizán két videóalkotóját, Herr Martin szerkesztőt és Rózsahegyi Regő vágót, két magyar dokumentumfilmessel, Dér Asiával és Pálos Györggyel, hogy eszmét és tapasztalot cserélhessenek.Támogasd te is a Partizán munkáját!https://csapat.partizanmedia.hu/fundraising/partizan/Iratkozz fel a Partizán hírlevelére:https://csapat.partizanmedia.hu/forms/partizan-feliratkozasHol találsz meg minket?Youtube-on: https://www.youtube.com/c/Partiz%C3%A1nm%C3%A9diaFacebookon: https://facebook.com/partizanpolitika/Facebook-csoportunkban: https://www.facebook.com/groups/partizantarsalgoInstagramon: https://www.instagram.com/partizanpolitika/Vágatlan videók, extra tartalmak:Legyél a patronálónk, hogy hozzáférj a vágatlan adásokhoz és extra tartalmainkhoz: https://www.patreon.com/partizanpolitikaPayPal-on keresztül is várjuk az adományodat, e-mail címünk: partizanalapitvany@gmail.comEgyszeri vagy rendszeres banki átutalással is segíthetsz! Ehhez a legfontosabb adatok:Név: Partizán AlapítványSzámlaszám: 16200106-11669030-00000000Közlemény: TámogatásHa külföldről utalnál, nemzetközi számlaszámunk/IBAN (International Bank Account Number): HU68 1620 0106 1166 9030 0000 0000BIC/SWIFT-kód: HBWEHUHB

2010 (1984) / Videograms of a Revolution (1992) This week we're calibrating our monitors as we probe a space odyssey with Peter Hyams and sift through images of revolution with Harun Farocki and Andrei Ujică

Neste episódio as faroleiras Joyce Rossato e Amanda Xavier conversam com Yuri Flores Machado, escritor, graduado em História da Arte e mestrando em História, Teoria e Crítica da Arte pela UFRGS. http://www.fvcb.com/ www.facebook.com/fvcbarcellos Dicas do convidado A arte como documento: o livro de artista como documento de arquivo - Helena Cattani - http://hdl.handle.net/10183/212460 O Sabor do arquivo - Arlette Farge - https://www.edusp.com.br/livros/sabor-do-arquivo/ Harun Farocki - https://g.co/kgs/3CZaCY

Matt speaks to the artist Dina Kelberman about her 2019 film ‘The Goal is to Live'. The feature length film is made entirely of clips from the Canadian TV series ‘How It's Made', and we discuss the process of making the film, including the soundtrack made by musicians Rod Hamilton & Tiffany Seal. We also geek out about ‘How It's Made' more generally, and talk about its relationship to the capitalist production processes it purports to explain.Dina's website with a trailer for the film - http://dinakelberman.com/#thegoalistoliveManufactured Landscapes by Jennifer Baichwal -https://www.edwardburtynsky.com/projects/films/manufactured-landscapesRod Hamilton & Tiffany Seal - https://soundcloud.com/rod_and_tiffanyTerry Riley - A Rainbow in Curved Air - https://www.youtube.com/watch?v=hy3W-3HPMWgWorkers Leaving the Factory (1995) - Harun Farocki - https://vimeo.com/59338090Images of the World and the Inscription of War, Harun Farocki - https://www.youtube.com/watch?v=wjOl8TY8GkUWorkers Leaving the Googleplex by Andrew Norman Wilson - http://www.andrewnormanwilson.com/WorkersGoogleplex.html

Autor: Rosenfeld, Elske Sendung: Kompressor Hören bis: 19.01.2038 04:14

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.

Dai tempi del Vietnam, la guerra ha abbandonato le trincee e si è riversata in tv. Ma se tra eserciti e media non c'è più distinzione, come possiamo fidarci dell'informazione? Costantino e Francesco ci spiegano che sul filo spinato che divide realtà e finzione vivono alcune delle voci più interessanti dell'arte contemporanea, ma anche il personaggio più amato da chi di arte non ne capisce assolutamente nulla: Banksy.In questa puntata si parla di Buffy Sainte-Marie, Francisco Goya, Ernest Meissonier, Régis Debray, Martha Rosler, Harun Farocki, Robert Capa, Phil Collins, Marina Abramović, Hans Haacke, Hito Steyerl, Marco Travaglio, Trevor Paglen, Walid Raad, Akram Zaatari, Bernard Khoury, David Mamet, Bernard Stiegler, Banksy, Ezio Greggio, Tracey Rose, Fernando Botero, Igor Mitoraj, Lucio Fontana, Pablo Picasso e Tony Shafrazi

Baran Bozdağ ve Mert Sinay, Judex Sinema'nın bu bölümünde yanlarına Hasan Cem Çal'ı alarak, dördüncü bölümde konu ettikleri avangart yönetmen ve medya teorisyeni Harun Farocki dosyasını genişleterek konuşuyorlar.

Kevin B. Lee's Website Kevin B. Lee is a filmmaker, media artist, and critic. He has produced over 360 video essays exploring film and media. His award-winning Transformers: The Premake introduced the “desktop documentary” format, was named one of the best documentaries of 2014 by Sight & Sound and screened in many festivals including Berlin Critics Week, Rotterdam International Film Festival and Viennale International Film Festival. Through Bottled Songs, his collaborative project with Chloé Galibert-Laîné, he was awarded the 2018 Sundance Institute Art of Nonfiction Grant, the 2018 European Media Artist Platform Residency, and the 2019 Eurimages Lab Project Award at Karlovy Vary International Film Festival. He was 2017 Artist in Residence of the Harun Farocki Institut in Berlin. In 2019 he produced “Learning Farocki”, a series of video essays on Harun Farocki, commissioned by the Goethe Institut. In 2020 he is co-curating the Black Lives Matter Video Essay Playlist with Will DiGravio and Cydnii Wilde Harris. He was Founding Editor and Chief Video Essayist at Fandor from 2011-2016, supervising producer at
 Roger Ebert Presents At the Movies, and has written for The New York Times, Sight & Sound, Slate and Indiewire. He is Professor of Crossmedia Publishing at Merz Akademie, Stuttgart.

In this episode, Film Forum Presents a Q&A with Romanian filmmaker Andrei Ujicǎ from November 15, 2019, following a screening of his 1992 film VIDEOGRAMS OF A REVOLUTION. The movie, co-directed by Harun Farocki, uses amateur video and footage from both the Romanian state-controlled film industry and a demonstrator-controlled TV station to capture the revolution that swept dictator Nicolae Ceaușescu from power. The screening and Q&A, moderated by curator David Schwartz, marked the opening of the repertory series THE ROMANIANS: 30 years of Cinema Revolution, the most expansive survey of Romanian cinema presented in the U.S. to date. VIDEOGRAMS OF A REVOLUTION will be available for home rental in our Virtual Cinema beginning this Friday, May 29th, at www.filmforum.org. Another terrific Romanian film, Cristi Puiu’s STUFF AND DOUGH, will become available on Friday, June 5th. All rental fees support Film Forum. Special thanks to the Making Waves Film festival and Cinema Projects for making this episode possible. Photo by Elmar Lemes

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.

Baran Bozdağ ve Mert Sinay, Judex Sinema'nın bu bölümünde avangart yönetmen, film ve medya teorisyeni Harun Farocki'nin sineması ve etkileri üzerine konuşuyorlar.

Pour cette troisième émission, Scanners suit la piste du machinima et des films réalisés à partir de moteurs de jeux vidéo avec Isabelle Arvers, commissaire d’exposition et artiste. Programme 01:13 – Explorer les mondes virtuels, de Skyrim à GTA V (Adrien Mitterrand). 05:45 – Les compilations de cascades dans GTA V, de l’exploit sportif au cartoon en passant par le cinéma d’action (Corentin Lê). 11:33 – Les Serious Game d’Harun Farocki : la guerre par le virtuel (Alain Zind). 16:13 – Entretien avec Isabelle Arvers, commissaire d’exposition et réalisatrice de machinimas. Ressources – La chaîne d’Isabelle Arvers : https://vimeo.com/isabellearvers – The Elder Scrolls V : Skyrim – Riverwood de Polygon Fragments : https://www.youtube.com/watch?v=tSoFl0sYb0A – Grand Theft Auto V – Los Santos Beach de Polygon Fragments : https://www.youtube.com/watch?v=dWt0QYDB_G8 – Une compilation de cascades sur GTA V : https://www.youtube.com/watch?v=qSPd2PXAW6k – Un exemple de vidéo People are Insane : https://www.youtube.com/watch?v=H0_VRfPIWoI – Un aperçu des Serious Games d’Harun Farocki : https://www.youtube.com/watch?v=TcKL-_RtU5Y Générique Mathieu Bonnafous : https://soundcloud.com/catartsis Une émission animée et réalisée par Corentin Lê.

Agustin Pérez Rubio was born in Valencia, Spain in 1972. He has a degree in art history from the Universidad de Valencia . He has curated over one hundred and fifty exhibitions at important museums and art centres, biennales, etc. mainly in Europe and Latin America. Before he was Chief curator and Director of MUSAC 2003- 2013, he organized monographic exhibitions of major artists like Pierre Huyghe, Julie Mehretu, Dora García, Pipiloti Rist, Sejima + Nishizawa / SANAA, Elmgreen and Dragset, Harun Farocki, Dave Muller, Ana Laura Aláez, Ugo Rondinone, Azucena Vietes and Lara Almarcegui. Later, as an independent curator, he curated projects that include solo shows by artists such as SUPERFLEX, Sophie Calle, Nestor Sanmiguel Diest, Rosangela Rennó, Carlos Garaicoa, and many group shows thematically related to gender, linguistics, architecture and politics. He is currently a member of the board of Istanbul Biennial and CIMAM for the period 2017-2019. He has been the Artistic Director of MALBA, Museo de Arte Latinoamericano de Buenos Aires since May 2014, where he developed a socio-political programme dedicated to female Latin- American artists that already included the exhibitions of Teresa Burga, Annemarie Heinrich and Claudia Andujar plus the ones planned for the future. In addition, Pérez Rubio worked together with Andrea Giunta, on a new curatorial script of MALBA’s collection titled VERBOAMERICA a postcolonial revision of the Collection. He curated solo shows of artists such as Jorge Macchi, Yoko Ono, Voluspa Jarpa, Carlos Motta, Alexander Apóstol and the retrospective show of the collective “General Idea: Broken Time” which will tour though Latin America. He is the curator of the Chilean Pavillion at 58th Venice Biennale with the decolonial project of the female artist Voluspa Jarpa and one of the curators for the 11th Berlin Biennale 2020. Charcot’s Hysterical Women  ©farrenkopf Hegemonic Museum ©farrenkopf

Ringvorlesung #1Neurowissenschaftliche und künstlerische Auseinandersetzung mit auditorischer Wahrnehmung von Annika Kahrs (Bildende Künstlerin) und Dr. Saskia Steinmann (Neurowissenschaftlerin).Aus Rechtlichen Gründen wird der Videoaufzeichnung von Dr. Saskia Steinmann zu einem späteren Zeitpunkt veröffentlicht.Annika Kahrs studierte von 2005 bis 2012 an der Hochschule für Bildende Künste in Braunschweig, an der Akademie der bildenden Künste in Wien bei Harun Farocki und an der Freien Akademie der Künste in Hamburg. Sie wurde bereits mit verschiedenen Preisen und Stipendien ausgezeichnet. Ihre Werke waren unter anderem im Hamburger Bahnhof in Berlin oder bei der 5. Biennale für zeitgenössische Kunst in Thessaloniki zu sehen. Your browser does not support this audio DOWNLOAD MP3

Ringvorlesung #1Neurowissenschaftliche und künstlerische Auseinandersetzung mit auditorischer Wahrnehmung von Annika Kahrs (Bildende Künstlerin) und Dr. Saskia Steinmann (Neurowissenschaftlerin).Aus Rechtlichen Gründen wird der Videoaufzeichnung von Dr. Saskia Steinmann zu einem späteren Zeitpunkt veröffentlicht.Annika Kahrs studierte von 2005 bis 2012 an der Hochschule für Bildende Künste in Braunschweig, an der Akademie der bildenden Künste in Wien bei Harun Farocki und an der Freien Akademie der Künste in Hamburg. Sie wurde bereits mit verschiedenen Preisen und Stipendien ausgezeichnet. Ihre Werke waren unter anderem im Hamburger Bahnhof in Berlin oder bei der 5. Biennale für zeitgenössische Kunst in Thessaloniki zu sehen. Your browser does not support this audio DOWNLOAD MP3

Ringvorlesung #1Neurowissenschaftliche und künstlerische Auseinandersetzung mit auditorischer Wahrnehmung von Annika Kahrs (Bildende Künstlerin) und Dr. Saskia Steinmann (Neurowissenschaftlerin).Aus Rechtlichen Gründen wird der Videoaufzeichnung von Dr. Saskia Steinmann zu einem späteren Zeitpunkt veröffentlicht.Annika Kahrs studierte von 2005 bis 2012 an der Hochschule für Bildende Künste in Braunschweig, an der Akademie der bildenden Künste in Wien bei Harun Farocki und an der Freien Akademie der Künste in Hamburg. Sie wurde bereits mit verschiedenen Preisen und Stipendien ausgezeichnet. Ihre Werke waren unter anderem im Hamburger Bahnhof in Berlin oder bei der 5. Biennale für zeitgenössische Kunst in Thessaloniki zu sehen. Your browser does not support this audio DOWNLOAD MP3

28. Dezember 2017, die 362. Folge. Gedanken zum zweiten Tag des #34c3, zur Frage des Handelns, noch einmal im Bezug auf ein Sprechen, eigentlich nur noch einmal Verwicklungen der Fragen von Gestern mit Anlässen und Überlegungen heute. Mit einer Schleife zu Harun Farocki, zu einer Einstellung zur Arbeit und der Beobachtung, Reflexion und vor allem: der Frage nach der handelnden Kritik des Handelns als eigener Vermittlungsweise.

2 libros ligados al cine pero no desde la óptica tradicional. Primero, A propósito de Godard, conversaciones entre Harun Farocki y Kaja Silverman, dos estudiosos del cineasta que aquí disertan sobre su creación y su pensamiento. Después hablamos de Los pixels de Cézanne escrito por Wim Wenders y en donde el cineasta alemán describe la creación de artistas que lo influenciaron personalmente. Learn more about your ad choices. Visit megaphone.fm/adchoices

2 libros ligados al cine pero no desde la óptica tradicional. Primero, A propósito de Godard, conversaciones entre Harun Farocki y Kaja Silverman, dos estudiosos del cineasta que aquí disertan sobre su creación y su pensamiento. Después hablamos de Los pixels de Cézanne escrito por Wim Wenders y en donde el cineasta alemán describe la creación de artistas que lo influenciaron personalmente.

On last week's episode, we featured Jonathan Rotsztain, a comic artist who makes idiosyncratic comics about his job handing out Metro newspapers at subway stations. His goal was to get them printed in Toronto's Metro, so that he could get paid to distribute his own work to commuters. We asked for your help, and although he didn't get into Metro Toronto, something even stranger happened. You can still support Jonathan by tweeting @metrotoronto with the hashtag #hurtjae demanding that they publish Jonathan's metro comics. Follow jrotszta on Instagram and tag @metronewsca in the comments.   This interview originally aired on January 11th, 2017 Cassils is a performance artist living in Los Angeles. Watch a video about their performance Inextinguishable Fire, in which they set themselves on fire. Here's the 1969 Harun Farocki film about napalm that influenced the work. Here are some images from "Cuts: A Traditional Sculpture" featuring the image that was banned in Germany. Watch the video for "Telephone", where Cassils is seen making out with Gaga. Read the article about it in Out Magazine, "Heather Cassils: Lady Gaga's Prison Yard Girlfriend."   Music on this episode: "Move Like a Mystic" by A l l i e. Listen to more of her work on Soundcloud. "Slipping Away" by Diana (Bad Channels remix). Listen to more of Diana's work here and more by Bad Channels here.  See omnystudio.com/listener for privacy information.

Institute of Historical Research Capitalism, Colonialism & Silver Harun Farocki, The Silver & the Cross 17 mins Kodwo Eshun (Goldsmiths) Juan Grigera (UCL) Marxism in Culture seminar series

Harun Farocki talks about the development of the camera in film format with regards to the video and its innovation in the design of the image.

Harun Farocki habla acerca del desarrollo de la cámara en formato película con respecto a la de video y su innovación en el diseño de la imagen.

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.

When one feasts with the eyes, does one realize that one is consuming more than just food? An episode on the Augenschmaus exhibition at Bank Austria Kunstforum in Vienna.

Filmmaker, artist and writer Harun Farocki is interviewed by writer and curator Sophia Phoca.