HaFI 005: Harun Farocki: Before Your Eyes – Vietnam

A hybrid attempt at coming to terms with a specific instance of amnesia amongst the West German left in the late 1970s/early 1980s, Harun Farocki’s 1982 feature film BEFORE YOUR EYES – VIETNAM combines ideas about the distant, image-guided participation in the war in Vietnam with speculations on Vietnam as a laboratory of advanced modes of capitalist production, whilst reflecting intensely on the dyad of love and work.

This publication assembles selected material produced in 1982 to promote the film and make it accessible discursively. It includes the facsimile of a promotional leaflet that provided both factual information and directions for reading, a selection of unseen photos from the set and from a tiny piece of film (excavated from the archives of the Harun Farocki Institut) documenting a performative trailer held on an improvised stage by Farocki and actor Ronny Tanner during the Berlin Film Festival in 1982. The brochure is introduced by a commentary penned by the Harun Farocki Institut.

Available for 9 Euro here at Motto Books.

September 8th, 2017, Projects / Publication
Interface

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

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;
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;

and much more…

January 6th, 2020, HaFI
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