January 2020: Digitization from Harun Farocki Institut

Between 2016 and 2019 we digitized the following film and video materials from the archive of the Harun Farocki Institut:

 

RONNY AND HARUN ACT UP (1982)
6 min
16mm reversal film, color, magnetic tape
2K digitization, October 2016

Documentation of a performance from the trailer made for BEFORE YOUR EYES – VIETNAM. It took place in the foyer of the Delphi-Theater on the occasion of the screening of the film at the Berlinale Forum. Actors: Ronny Tanner and Harun Farocki.

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ON DISPLAY: PETER WEISS (1979)
62 min
16mm, b/w, magnetic tape
2K digitization, October 2016

Film shooting in Stockholm. Unused interview material from ON DISPLAY: PETER WEISS.
In conversation: Peter Weiss and Harun Farocki.

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HARD SELLING (1991)
21/22 min (two slightly differing versions)
S-VHS, colour, sound
digitization, September 2017

An unfinished film by Farocki from 1991. Farocki travels through Brandenburg and Mecklenburg-Vorpommern with Adidas representative Klaus Glahn. Car trips through the “new states,” talks between Farocki and Glahn in the car, visits of chain stores by the salesman, who is supposed to build up a network of retailers after the fall of the wall.

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CONVERSATION WITH GISELA TROWE (ca. 1983)
14 min
16mm reversal, color, magnetic tape
2K digitization, April 2018

Gisela Trowe played a small role in Peter Lorre’s film THE LOST ONE. For the WDR production THE DOUBLE FACE OF PETER LORRE (1984) Farocki and Felix Hofmann filmed a conversation with her. The material was not used in the finished programme.

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SCREEN TESTS: BEFORE YOUR EYES – VIETNAM (ca. 1980)
16 min
16mm, s/w, magnetic tape
2K digitization, June 2019

Actresses and an actor rehearsing for the film BEFORE YOUR EYES – VIETNAM (1982).

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IMAGES/HISTORIES (ca. 1987)
Shooting of “Images of the world and inscription of war”
20 min
16mm reversal, colour, magnetic tape
2K digitization, October 2019

A group of school children visits the museum collection of antiquities. Under the guidance of a museum educator, a blind girl describes two statues – one made of bronze, one of marble. The material was presumably shot for IMAGES-WAR (1987) and IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR (1988), but was not used in the finished film.

 

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The digitization work made between 2017 and 2019 was realized within the framework of Archive außer sich, a project of Arsenal – Institute for Film and Video Art in cooperation with Haus der Kulturen der Welt as part of The New Alphabet, a HKW project supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag.

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February 3rd, 2020, Archive / Showcase
Interface

Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies:  “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”

July 7th, 2020, Tom

Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”

June 28th, 2020, Tom

Ajay Singh Chaudhary on the politics of climate change, via The Baffler: “One of the most common misconceptions concerning climate change is that it produces, or even requires, a united humanity. In that tale, the crisis in the abstract is a ‘common enemy,’ and a perfectly universal subject is finally possible in coming to ‘experience’ ourselves ‘as a geological agent,’ through which a universal ‘we’ is constituted in a ‘shared sense of catastrophe.’ The story I am telling you is different. In this story, there is no universal ‘we.’ Climate change is not the apocalypse, and it does not fall on all equally, or even, in at least a few senses, on everyone at all.”

June 23rd, 2020, Tom
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