HaFI 003: Harun Farocki: On Display: Peter Weiss
Impressed by Peter Weiss’ novel “The Aesthetics of Resistance,” whose first volume had been published in 1975, Farocki planned to conduct a long TV interview with Weiss for the German public-broadcaster Westdeutscher Rundfunk (WDR). Realizing the project took longer than hoped, but on June 17 and 18, 1979, the meeting finally took place in Weiss’ studio. On Display: Peter Weiss, the result of two days’ shooting, was broadcasted on October 19, 1979.
Through the correspondence between Weiss, Farocki, and the editorial department of the WDR, as well as some additional documents, this publication retraces the production history of On Display: Peter Weiss.
HaFI 003 is available for 7 Euro here.
The PDF is available here.
November 11th, 2016, Projects / Publication
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;