HaFI Presents #02: HARD SELLING, dir. Harun Farocki, (FRG 1991), November 20, 2019, Arsenal Cinema

Changes in political system produce images, words, and sounds. The Harun Farocki Institut presents the unfinished film HARD SELLING (Harun Farocki), conversations with an Adidas travelling salesman in Brandenburg in 1991 which describe the transition from East Germany to a market capitalist system by way of sport and leisure items.

Unfortunately Alice Creischer and Andreas Siekmann cannot be present, as announced in the Arsenal program. We will organize an event with them at a later stage.

Alongside HARD SELLING, a 30 minute chapter from Peter Delpeut’s TV documentary DE TIJDMACHINE (1996) (THE TIME MACHINE) will now be screened, in which Farocki shows excerpts from his and Andrei Ujica’s VIDEOGRAMS OF A REVOLUTION and comments upon the relation between camera and history.

Hard Selling (unfinished)
Harun Farocki FRG 1991
Digital file 23 min

De Tijdmachine (The Time Machine)
Peter Delpeut NL 1996
Digital file ca 30 min (excerpt)

The Harun Farocki Institut Presents
Wed, 20.11.2019, 19.00h, Cinema 2
Location: Arsenal – Institut für Film und Videokunst e.V.
Potsdamer Strasse 2, 10785 Berlin
Admission: 8 Euros / 5 Euros (members) / 3 Euros (Children/Berlin-Pass)

An event realized in the framework of Archive Außer Sich

November 15th, 2019, Event / Projects
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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