Farocki Now – A Temporary Academy, October 18-21, 2017, HKW & silent green
The Harun Farocki Institut organizes Farocki Now – A Temporary Academy as a component of the “Harun Farocki Retrospective”. The academy unfolds over four days of workshops, keynotes and informal discussions that aim at activating and actualizing the work and thought of filmmaker, writer and teacher Harun Farocki (1944-2014). The “Harun Farocki Retrospective” takes place in collaboration with the n.b.k.euer Berliner Kunstverein), Arsenal – Institut für Film und Videokunst e.V., silent green kulturquartier, Savvy Contemporary (all Berlin). The “Harun Farocki Retrospective” is financially supported by the Senatskanzlei – Kulturelle Angelegenheiten, Berlin, within the framework of the Berlin Art Week 2017.
August 30th, 2016, Event / Projects
After all the buzz and clamor caused by the 2019 re-opening of the extended MoMA and the much celebrated rehang of its permanent collection, N+1 publishes a sobering curatorial fantasy (by Claire Bishop and Nikki Columbus) on what should have been done instead to come to terms with the “outrageous disconnect between saying and doing at this museum—the brazen hypocrisy and superficial multiculturalism.”
January 8th, 2020, HaFI
Heute um 18 Uhr hält Volker Pantenburg den Vortrag “‘Zusammensetzen und auseinandernehmen’. Arbeit mit dem Para-Archiv des Harun Farocki Instituts” an der Universität der Künste in Berlin.
January 7th, 2020, HaFI
You have probably watched Ricky Gervais yesterday’s Golden Globe speech already, or read about it, so this is not exactly news to you. Still, it deserves mentioning and posting, particularly if you haven’t seen it yet, notwithstanding all its shortcomings. If simply for the fact that Gervais here shows a welcome (and rare) structural, dialectic, and pretty pitiless understanding of
a) his own debatable role at the ceremony and in the industry as such;
January 6th, 2020, HaFI
b) the game-shifting changes in the media industry caused by monopoly digital streaming platforms such as Netflix, Amazon, Apple;
c) the necessity to (once again) question the public performance of the political amid the liberal Hollywood establishment;
d) the systemic contradiction between “progressive” media content (“quality TV”) and the outrageously destructive economies and technologies on which this content and its providers gleefully rely;
e) the blatant inconsistency in the actions of the media industry people when it comes to not only complaining about racism but actually fight it;