April 2019: Biographical Note
This page was part of the extensive research material that Rolf Aurich and Ulrich Kriest collected when working on the book Der Ärger mit den Bildern. Die Filme von Harun Farocki (Konstanz: UVK 1998). Aurich was so kind to donate this material to HaFI.
The text was published in the early 1990s in Spanish, French, and English, but to our knowledge no German publication exists. Since we cannot identify the handwriting of the corrections and alternative formulations, it remains unclear which version is supposed to be the definitive one. The French passages in brackets indicate that the text was most likely re-translated from the French.
English version (PDF)
April 30th, 2019, Archive / Showcase
Spanish version (PDF)
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;