labour in a single shot

Transcription

LABOUR IN A SINGLE SHOT
A project by Antje Ehmann and Harun Farocki
Exhibition
February 27 – April 6
Conference
February 26 – February 28
Opening: February 26, 6pm
Haus der Kulturen der Welt
As of: February 26, 2015
Subject to change
Table of Contents
o
Factsheet
o
Press Release
o
List of films / film credits
o
Alice Creischer and Andreas Siekmann on the Pictograms
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Kuehn Malvezzi on the Exhibition Architecture
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Detailed Conference Program
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Feb. 26: Opening
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Feb. 27: Thinking with Farocki, Participants
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Feb. 28: Presentations and Discussions, Participants
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Curators
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Exhibition paper: Artistic contribution by Alice Creischer and Andreas Siekmann
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Studio gallery: Time & Motion: Redefining Working Life
Press Contact: Haus der Kulturen der Welt, Anne Maier, John-Foster-Dulles-Allee 10, 10557 Berlin,
Fon +49 30 397 87-153, Fax +49 30 3948679, [email protected], www.hkw.de
Factsheet
Labour in a Single Shot
A Project by Antje Ehmann and Harun Farocki
Duration:
Exhibition: Feb. 27-April 6, 2015
Conference: Feb. 26-28, 2015
Opening:
Feb.26, 2015, 6pm, Free Entrance
Location:
A Project by:
Antje Ehmann and Harun Farocki
Exhibition:
Eine Einstellung zur Arbeit / Labour in a Single Shot
Exhibition Hall, Foyer
6€/4€, Mon + U16 Free Entrance
Wed-Mon and bank holidays 11am – 7pm
Conference:
Feb. 26, 7pm
Conference starts with Keynote
Feb. 27, 11am-10pm
Thinking with Farocki
Feb. 28, 11am-10.30pm Presentations and Discussions
Day ticket (incl. exhibition) 8€/6€
Accompanying program:
kids&teens Workshops May 7-8, May 15, May 22, 5€-15€
Workshop for Adults 60€
Guided Tour 3€ (exhibition ticket not included)
Films and Talks 6€, Talks with Experts Free Entrance
Full program:
www.hkw.de/labour
Press images:
www.hkw.de/pressefotos ready for download
from Feb. 27 onwards
Video-on-demand:
www.hkw.de/media
from Mar. 5 onwards
Follow HKW:
www.facebook.com/hkw.de and www.twitter.com/hkw_berlin
Parallel at Studio gallery:
Time&Motion: Redefining Working Life
with Tuur Van Balen & Revital Cohen, Oliver Walker and others
A cooperation between transmediale, Haus der Kulturen der Welt, FACT,
Royal College of Art / Creative Exchange Hub and Schering Stiftung
Press Release
Labour in a Single Shot. A project by Antje Ehmann and Harun Farocki
Exhibition, Conference, Workshops
Exhibition: Feb. 27–Apr. 6, 2015
Conference: Feb. 26-28, 2015
Opening: Feb. 26, 2015, 6pm
Press Conference: Feb. 26, 2015, 11am (Accreditation: [email protected])
Berlin, Feb. 26, 2015
People work everywhere – from the industrial urban centers and the metropoles of the world to villages and
small towns. Yet work appears only at the margins of film culture. This vacuum constantly concerned the
artist and filmmaker Harun Farocki, who died in July 2014. Work as subject matter, film as medium and
means of expression – it is in the field between these two poles that the exhibition, a three day international
conference and the accompanying program of workshops are taking place. The project was developed by
the Goethe-Institut in 15 of its locations on five continents. Labour in a Single Shot presents an
encyclopedia of global working conditions in the twenty-first century. It opens on Feb. 26 and runs until
Apr. 6, 2015, at Haus der Kulturen der Welt.
Along with fellow film makers from five continents, Farocki and the curator and artist Antje Ehmann held
workshops to explore the understanding of work and labor today. The result are more than 400 one- to twominute films based on the 1895 film classic Workers Leaving the Lumière Factory. Harun Farocki and Antje
Ehmann drew up strict formal guidelines for the workshop films: No film may be any longer than two
minutes. Each must be about work. No edits are allowed.
In the installation at HKW these film miniatures are accommodated in a spatial form. When the moving
images are played side by side, it is possible to spin the finest of connecting threads between them, while
also highlighting fractures and differences. The installation derives its rhythm from the use of the semicircle
as an element in the setting by architects Kuehn Malvezzi. A curtain separates large-scale projections of the
workshop films in the exhibition hall from Workers Leaving their Workplace in 15 Cities, actualizations of
the Lumière film that were shot in fifteen cities around the world. The pictograms of the artist duo Alice
Creischer and Andreas Siekmann offer humorous and deeper background information on these production
locations. They were invited to design graphic works to accompany the stations of the project. They
designed pictograms and statistics, using the method of picture statistics developed by Gerd Arntz and Otto
Neurath in Vienna in the late 1920s as their historical reference point. As an exhibition paper their artistic
contribution enriches the concept of Labour in a Single Shot. The semicircle appears again as an element in
the HKW foyer. There Farocki’s studies on the changes in labor over the course of time, Workers Leaving the
Factory in 11 Decades (2006), unfold in a video installation.
The conference takes the exhibition with its films as a starting point to explore Ehmann’s and Farocki’s
paths of searching and thinking. This allows a new approach of association and analysis on the notion and
phenomena of labor in times of globalization and the increasing demand for flexibility.
Discussion will focus on such topics as how working practices structure our lives, and the extent to which
production conditions determine ways of life. How can global forms of labor and “valorization” be discussed
in an era in which work is becoming increasingly invisible? What discursive potential and means of
criticism are harbored by the medium of film? And how does our viewpoint change when it is broadened by
global-historical perspectives?
The conference opens on Thursday, Feb. 26, with a keynote presentation by Thomas Elsaesser, film scholar
at the University of Amsterdam. On Friday, Feb. 27, under the heading Thinking with Farocki, companions
such as Hito Steyerl, Filipa César, Tom Holert and Anselm Franke will trace his work as a filmmaker, mentor,
Press Release
and teacher. On Saturday, Feb. 28, a special selection of films opens the respective panels and serves as a
common point of departure and knowledge base for presentations and debate. Panel participants include
John Akomfrah, Gadi Algazi, Diedrich Diederichsen, Rahel Jaeggi, Gertrud Koch, Prabhu Mohapatra, and
others. The various discussions will be oriented around the thematic and associative notional fields
Hands/Tools/Gestures; Circle/Rhythm/Ritual; Dedication/Precision/Vocation; and Valorization.
Because Harun Farocki fervently wanted his work to be communicated and made accessible to young
people, and to a public that went beyond traditional art and film audiences, an educational outreach
program to accompany the exhibition was developed jointly with him and Ehmann. On three Sundays in
March, children age 6 and up can experience for themselves how films are created and how they function.
How do pictures go to work? What is the purpose of the individual shot? How do you splice a film? With
Christian Sonntag (VJ and media artist), Stefanie Schlüter (film educator), Maria Mohr (documentary
filmmaker), and Ute Aurand (experimental filmmaker). Topics from the exhibition will be discussed with
ver.di trade unionist Susanne Stumpenhusen (Mar. 8), lawyer Miriam Saage-Maaß, Business and Human
Rights Program, ECCHR (Mar. 15), and migration researcher Manuela Bojadzijev (Mar. 22). Selected films by
Harun Farocki will be viewed with the film critics and scholars Michael Baute, Volker Pantenburg, and Bert
Rebhandl.
Harun Farocki’s works have accompanied and enriched HKW over the years – repeatedly in the Berlin
Documentary Forum and as part of the exhibition The Potosí Principle, curated by Alice Creischer,
Andreas Siekmann, and Max Jorge Hinderer. In 2014 Labour in a Single Shot was shown at the Museum
Folkwang in Essen as part of the Ruhrtriennale, and at the Mills Gallery/Boston Center for the Arts, among
other venues and further exhibitions are being planned. The setting of this exhibition in Berlin has been
conceived by the architecture bureau Kuehn Malvezzi, 2015 winner of the design competition for the
Einheitskirche at Alexanderplatz in Berlin.
Conference with John Akomfrah, Alexander Alberro, Gadi Algazi, Nora M. Alter, Dirk Baecker, Michael
Baute, Wolfgang Beilenhoff, Raymond Bellour, Christa Blümlinger, Filipa César, Diedrich Diederichsen,
Thomas Elsaesser, Kodwo Eshun, Anselm Franke, Detlef Gericke-Schönhagen, Maren Grimm, Roy
Grundmann, Ayesha Hameed, Tom Holert, Rahel Jaeggi, Gertrud Koch, Christine Lang, Isabell Lorey, Doreen
Mende, Prabhu Mohapatra, Christine Noll Brinckmann, Volker Pantenburg, Birger Priddat, Constanze Ruhm,
Anjalika Sagar, Peter Schwartz, Bernhard Siegert, Hito Steyerl, Gregory Williams, and Klaus Wyborny.
Press Conference, Feb. 26, 2015, 11am with Antje Ehmann, Katrin Klingan, Detlef Gericke-Schönhagen,
and Bernd Scherer
Opening, Feb. 26, 2015, 6pm with Bernd Scherer, Director, HKW; Johannes Ebert, General Secretary,
Goethe-Institut; Andreas Eckert, Director, International Research Center re:work; and Detlef GerickeSchönhagen, Director, Goethe-Institut Boston/Vilnius.
Complete Program for the exhibition, conference, and accompanying program: www.hkw.de/labour
Accreditation, interview requests, and further information:
[email protected], phone (030) 39787-196/153, fax (030) 3948679
Press photos: www.hkw.de/pressefotos > Labour in a Single Shot
Net catalogue: www.labour-in-a-single-shot.net
“Labour in a Single Shot” is a production of Haus der Kulturen der Welt in cooperation with Harun Farocki Filmproduktion
and the Goethe-Institut in collaboration with the International Research Center “Work and Human Lifecycle in Global
History” (re:work) at Humboldt Universität zu Berlin. With support from the Capital Cultural Fund. The Excellence Project
“Labour in a Single Shot/Eine Einstellung zur Arbeit” is a coproduction of Harun Farocki Filmproduktion and the GoetheInstitut. Coordinator: Detlef Gericke-Schönhagen, Goethe-Institut Boston/Goethe-Institut Vilnius.Workshops, films, and
discussions in cooperation with ver.di, Türkischer Bund in Berlin-Brandenburg, ver.di Jugendbildungsstätte BerlinKonradshöhe e. V., and filmArche e. V. Haus der Kulturen der Welt is supported by the Federal Government Commissioner
for Culture and the Media as well as by the Federal Foreign Office.
A project by Antje Ehmann and Harun Farocki
90 videos from 15 cities
Lisbon
Gabriel Barbi, Ernte an der Autobahn | Harvest from a Motorway Junction, 2013
James Newitt, Platzanweiser | Usher, 2013
Sofia Costa Pinto, Zopf | Braid, 2013
Rui Silveira, (ohne Titel | Untitled), 2011
Mariana Gonçalves, Arendse Krabbe, Thea van der Maase, Unsichtbare Gefängnisarbeit | Invisible Penal
Labour, 2013
Ana Rebordão, (ohne Titel | Untitled), 2011
Bangalore
Verena Buttmann, Vijayakumar Seethappa, Katze und Fleisch | Cat and Meat, 2012
Pooja Gupta, Sindhu Thirumalaisamy, Schuhladen | Shoe Shop, 2012
Suresh Kumar Gopalreddy, Ochse | Ox, 2012
Shrikar Marur, Kinshuk Surjan, Gautam Vishwanath, Karren Straße | Cart Avenue, 2012
Nikhil Patil, Arav Narang, Wasserflaschenlieferung | Watercan Delivery, 2012
Nehar Shrestha, Trommel | Drum, 2012
Geneva
Mélanie Badoud, Nallini Menamkat, Zaq Chojecki, Akten | Files, 2012
Gerard Bochaton, Chloé Malcotti, Rot | Red, 2012
Pauline Cazorla, Joseph Favre, Baumschneider | Cutting Trees, 2012
Gabriel Dutrait, Hyunji Lee, Camille De Pietro, Grand Théatre, 2012
Nina Kennel, Manon Vila, Thomas Amman, Venusia, 2012
Mykyta Kryvosheiev, Uhrwerk | Clockwork, 2012
Tel Aviv
Yakov Afuta, Brot und Wasser | Bread and Water, 2012
Inbal Herstig, Die Druckmaschine | The Printing Machine, 2012
Hadas Emma Kedar, Kontrollraum | Control Room, 2012
Efrat Merin, Straße | Street, 2012
Tamar Nissim, Destillation, 2012
Liron Shalev, Diamanten | Diamonds, 2012
Berlin
Markus Bauer, Susanne Dzeik, Rene Paulokat, Rechenzentrum | Data Centre, 2012
Achim Burkart, Krankenpfleger | Male Nurse, 2012
Susanne Dzeik, Notariat | Notary’s Office, 2012
Antje Freitag, Haustierkrematorium | Pet Crematorium, 2012
Katja Henssler, Gabor Ehlers, Kurier | Messenger, 2012
Zara Zandieh, Im Aufbau | Under Construction, 2012
Cairo
Kaya Behkalam, Reisen | Travelling, 2012
Katrine Dirckinck-Holmfel, Rosa Plüsch | Pink Plush, 2012
Anupama Ramdas, Roh | Raw, 2012
Mena el Shazly, Colaflaschen | Coke Bottles, 2012
Nadah el Shazly, Warten Arbeiten | Wait Work, 2012
Nadah el Shazly, Brücke | Bridge, 2012
Rio de Janeiro
Fred Benevides, Felipe Ribiero, Luiz Garcia, Heilige Fabrik | Holy Factory, 2012
Fred Benevides, Cezar Miglorin, Die Stadt wird gebaut | Building the City, 2012
Lucas Ferraço Nassif, Verstärkter Beton | Reinforced Concrete, 2012
Roberto Robalinho, Orfeu Negro, 2012
Cristián Silva-Avária, Bewegung im Kreis | Circular Movement, 2012
Cristián Silva-Avária, Die Stadt, die Läufer und der Fischer | The City, The Runners, The Fisherman, 2012
Buenos Aires
Luisa Cavanagh, Operation | Surgery, 2013
Máximo Ciambella, Mate und Leder | Mate and Leather, 2013
Edén Bastida Kullick, Die Polizei beaufsichtigen | To Police the Police, 2013
Florencia Percia, Wäscherei | Dry Cleaner, 2013
Paloma Schnitzer, Still, 2013
Darío Schvartzstein, Ultraviolett | Ultraviolet, 2013
Łódź
Aleksandra Chciuk, The Tram Dome, 2013
Aleksandra Chciuk, Sirenen | Sirens, 2013
Paweł Fabjański, Zahnarzt | Dentist, 2013
Magda Kulak, Naturkundemuseum | Natural History Museum, 2013
Filip Gabriel Pudło, Automotive, 2013
Filip Gabriel Pudło, Operationsbesteck | Surgical Instruments, 2013
Moscow
Tatiana Efrussi, Hubschrauberfabrik | Helicopter Plant, 2013
Elena Koptyaeva, Zwei Mädchen an der Bushaltestelle | Two Girls at the Bus Stop, 2013
Victoria Marchenkova, Eisenbahn | Railroad, 2013
Oleksiy Radynski, Säubern | Cleaning, 2013
Oleksiy Radynski, Putin, 2013
Aleksei Taruts, Messerkampftraining | Knife Fight Training, 2013
Hanoi
Dhong Phoung Thao, Die Brücke | The Bridge, 2013
Mai Trung Kien, Kleidung | Garment, 2013
Nguyen Huong Mai, Holzarbeit | Wood Cutter, 2013
Nguyen Trinh Thi, Der Eismann | The Iceman, 2013
Tran Xuang Quang, Kanal | Canal, 2013
Tran Xuang Quang, Hut | Hat, 2013
Boston
Beyza Boyacioglu, Der U-Bahn Musiker | The Subway Musician, 2013
Sarah Childress, Phil Gray’s Blue Dragon Mussel Wagon, 2013
Paul Foley, Hand Out, 2013
Lea Khayata, Elletra Fiumi, Das Büro | The Office, 2013
Harsha Menon, Bhagavati, 2013
Nicole Teeny, Die Schriftstellerin | The Writer, 2013
Mexico City
Maira Bautista Neumann, Kreis | Circle, 2014
Sandra Calvo, Pedro Antoranz, Mary, 2014
Melissa Elízondo, Mais pflücken lernen | How to Pick Corn, 2014
Bani Khoshnoudi, Frida Kallejera, 2014
Enrique Méndez, Cowboy, 2014
Alberto Reséndiz, La via va, 2014
Hangzhou
Liu Menzi, Abbruchgelände | Demolishing Site, 2014
Mingshen Group, Schattenspiel | Shadow Play, 2014
Mingshen Group, Wollbezug für Ikea | Wool quilt for Ikea, 2014
Mingshen Group, Chemische Faser | Chemical Fibre, 2014
Mingshen Group, Straßenkünstler | Street Artist, 2014
Yang Ke, Spezielles Restaurant | Special Restaurant, 2014
Johannesburg
Katulo Hadebe, Gebäudeinspekteur | Building Inspector, 2014
Amy van Houten, Langweilige Maschine | Boring Machine, 2014
Amy van Houten, Geschickte Finger | Nimble Fingers, 2014
Amanda Lunga, Die interessante Schaufel | The Interesting Shovel, 2014
Nicola Pilkington, Psychologin | Psychologist, 2014
Jason Janse von Rensburg, Perlenarbeit | Bead Work, 2014
Workers Leaving their Workplace in 15 Cities
Auguste Lumière, La Sortie de l’usine Lumière à Lyon, Lyon1895
Prerna Bishop, Rusha Dhayarkar, Arbeiter verlassen die Textilfabrik | Workers Leaving the Textile Factory,
Bangalore 2012
Aline Bonvin, Arbeiter verlassen die Blindenfabrik | Workers Leaving the Factory for the Blind, Berlin 2012
Lucas Peñafort, Arbeiter verlassen ihren Arbeitsplatz | Workers Leaving their Workplace, Buenos Aires 2012
Bahaa Talis, Arbeiter verlassen ihren Arbeitsplatz, einen Fahrradfahrer ignorierend | Workers Leaving their
Workplace while Ignoring a Bicycle Man, Cairo 2012
Mélanie Badoud, Nallini Menamka, Zaq Chojecki, Arbeiter verlassen die ILO | Workers Leaving the ILO,
Geneva 2012
Ana Rebordão, Arbeiter verlassen die Kaugummifabrik | Workers Leaving the Chewing Gum Factory, Lisbon
2011
Wojciech Domachowski, Arbeiter verlassen die Mine | Workers Leaving the Mine, Łódź 2013
Christian Manzutto, Arbeiter verlassen die Saftfabrik | Workers Leaving the Juice Factory, Mexico City 2014
Tatiana Efrussi, Arbeiter verlassen die Brauerei | Workers Leaving the Brewery, Moscow 2013
Beny Wagner, Arbeiter verlassen die Textilfabrik | Workers Leaving the Textile Factory, Rio de Janeiro 2012
Orit Ishay, Und wieder ein Tag | Just another Day, Tel Aviv 2012
Nhlanhla Mngadi, Arbeiter verlassen die Fabrik | Workers leaving the Factory, Johannesburg 2014
Pham Tra My, Arbeiter verlassen die Fabrik | Workers Leaving the Factory, Hanoi 2013
The Tourists, Arbeiter verlassen die Intime Mall | Workers Leaving the Intime Mall, Hangzhou 2014
Olga Pikalova, Arbeiter verlassen ihren Arbeitsplatz | Workers Leaving their Workplace, Boston 2013
Harun Farocki: Workers Leaving the Factory in Eleven Decades, 2006
Auguste Lumière, Louis Lumière, La sortie de l’usine Lumière à Lyon, 1895
Gabriel Veyre, Sortie de la briqueterie Meffre et Bourgoin à Hanoi, 1899
[Regisseur] unbekannt | [Director] unknown, [Moscow National Film Archive], Ohne Titel | Untitled, 1912
D. W. Griffith, Intolerance, 1916
Fritz Lang, Metropolis, 1926
Charles S. Chaplin, Modern Times, 1936
Slátan Dudow, Frauenschicksale, 1952
Michelangelo Antonioni, Il Deserto Rosso, 1964
Jacques Willemont, La reprise du travail aux usines Wonder, 1968
Jean-Marie Straub, Danièle Huillet, Trop tôt, trop tard, 1981
elkosta, Durchfahrtssperre DSP, 1987
Lars von Trier, Dancer in the Dark, 2000
Pictograms by Alice Creischer and Andreas Siekmann
Statement Alice Creischer and Andreas Siekmann:
“In December 2012, Harun Farocki and Antje Ehmann invited us to design logos and graphics to
accompany and counterpoint each station of their project. It was important to us that the classic political
criteria of labor, i.e., strikes, unions, exploitation, casualization, and unemployment, figure strongly in the
designs.
The internationalization of the division of labor – relocation and the constant search for yet moreadvantageous business conditions, at the cost of workers’ rights – is mapped by the connections between
work situations in the cities of the various world regions, allowing causal relationships to be drawn.
The graphics take as their historical reference point the typographic picture system developed by Gerd
Arntz and Otto Neurath in Vienna in the late 1920s. The purpose of the system was to communicate
political actualities and relationships to workers. What especially fascinated us about this system was that
it was conceived as a call to redress the conditions it described. It was thus a tribute to the socialist
“Council Revolutions” of 1918/19 and their occupation of factories and barracks. We think this call is
every bit as relevant today as it was then.”
Alice Creischer, born in Gerolstein in 1960, studied Philosophy, German literature and Visual Arts in
Düsseldorf. As one of the key figures of German political art movements in the Nineties, Creischer
contributed to a great amount of collective projects, publications, and exhibitions. Her artistic and
theoretic agenda within institutional and economical critique has evolved over 20 years, more recently
focusing on the early history of capitalism and globalization. As co-curator with Andreas Siekmann of such
paradigmatic exhibitions like Messe 2ok (1995), 2002 Die Gewalt ist der Rand aller Dinge at Generali
Foundation, Vienna, ExArgentina (2004) at Museum Ludwig, Cologne, and The Potosi Principle (2010) at
Haus der Kulturen der Welt jointly with Max Jorge Hinderer Cruz. Creischer has developed a specific
curatorial practice that correlates with her work as an artist and theorist, including her extensive practice
in archive research. As author Creischer has contributed to many publications, magazines and fanzines.
Andreas Siekmann (*1961 in Hamm, Germany) is an artist and writer living in Berlin. His works explore
the privatization of public space and the restructuring of labor relations under the conditions of
globalization. Together with Alice Creisher he curated the exhibition Die Gewalt ist der Rand aller Dinge at
Generali Foundation, Vienna, 2004 Ex Argentina at Museum Ludwig, Cologne, and The Potosi Principle
(2010) at Haus der Kulturen der Welt jointly with Max Jorge Hinderer Cruz. 2013 followed Zur
Aktualisierung des Atlasses von Arntz und Neurath (mit Alice Creischer) at K' Zentrum Aktuelle Kunst
(Bremen) as well as Liebe ist kälter als das Kapital at Kunsthaus Bregenz, Austria. 2014 In the Stomach of
the Predators at Barbara Weiss Gallery, Berlin and BAK Utrecht, The Netherlands.
Exhibition architecture by Kuehn Malvezzi
Statement Kuehn Malvezzi:
“In our collaboration, the simultaneous proximity and distance to the given situation in Harun Farocki’s
works extends to the display, in which the space-less, immersive moment of viewing the film comes up
against the self-determined course of the visitor through the exhibition, making tangible the interstice of an
oscillation between dark and light, the theatrical and the kinesthetic, the participative and the observant.
Our collaboration with Antje and Harun stretches from the 2007 exhibition “Vergleich über ein Drittes” at
Mumok, Vienna, via “Ernste Spiele” (Serious Games) at Hamburger Bahnhof, Berlin, to the current
exhibition, “Labour in a Single Shot” at HKW. It further includes a project with our students at HfG Karlsruhe
and the curator Doreen Mende in 2008 for the publication Displayer. We have developed the notion of
Curatorial Design to characterize this spatial praxis within our architecture. Like an urban design scheme,
the exhibition installation follows a plan that structurally connects various scales and levels of experience. An
exhibition is a translation: the film montage expands within the spatial montage made up of the screens that
are set in relationship to one another, and it expands again in the subjective temporal montage of the
visitor’s experience. “
Kuehn Malvezzi was founded by the architects Simona Malvezzi, Wilfried Kuehn, and Johannes Kuehn in
Berlin in 2002.
A selection of projects:
-
Documenta 11 Ausstellungsarchitektur und Adaptierung der Binding Brauerei Kassel 2002
Erweiterung Museum der Gegenwart Hamburger Bahnhof Berlin in den Rieckhallen für die F.C. Flick
Collection 2004
Berlinische Galerie Vorplatz und Eingang 2004
Julia Stoschek Collection Düsseldorf 2007
Manifesta 7, Trento, 2008
Skulpturensammlung Liebieghaus, Frankfurt 2008
Sonderpreis Wettbewerb Humboldt-Forum Berlin 2008
Erweiterung Museum Belvedere in Zusammenarbeit mit Heimo Zobernig Wien 2009
Wettbewerbsgewinn Museum Weltkulturen Frankfurt 2010
Architektur-Biennale Venedig 2012
Wettbewerbsgewinn House of One Berlin 2012
Sammlungsdisplay Staedel Museum Frankfurt 2012
Erweiterung Museum Berggruen Berlin 2013
Beauftragung Erweiterung Moderne Galerie Saarlandmuseum in Zusammenarbeit mit Michael Riedel
Saarbrücken 2013
MMK2 im Taunusturm Frankfurt 2014
Umbau Kunstgewerbemuseum Berlin 2014
Wettbewerbsgewinn Insectarium Montréal 2014
Conference Program
Thursday, February 26 2015
Opening
6pm
Exhibition opening
Exhibition hall
Address by Bernd Scherer (Director, Haus der Kulturen der Welt, Berlin) and
Johannes Ebert (Secretary-General of the Goethe-Institut, Munich)
7pm
Conference opening
Auditorium
Introduction by Bernd Scherer (Director, Haus der Kulturen der Welt, Berlin)
Address by Andreas Eckert (re:work, Humboldt Universität zu Berlin) and
Detlef Gericke-Schönhagen (Director Goethe-Institut Boston / Vilnius)
Keynote
Anleitungen zum Leben: Harun Farocki über Arbeit und Spiel /
Manuals for Life: Harun Farocki on Work and Play
Thomas Elsaesser (film theorist, University of Amsterdam)
Conference Program
Friday, February 27, 2015
Thinking with Farocki
Conference day I; 11am – 9pm
Auditorium
Filmmaker, mentor, and teacher: this day is dedicated to Harun Farocki. Long-standing friends, companions,
and associates will trace his work and influence in an intensive series of presentations and reflective
discussions.
Moderation: Michael Baute (writer, curator, Berlin)
11am – 1pm
Film, Architecture, Movement
Alexander Alberro (art critic and art historian, Columbia University, New York)
Two or Three Things I know about Harun Farocki
Nora M. Alter (film and media theorist, Temple University, Philadelphia)
Pourquoi Harun?
Raymond Bellour (film and literature researcher, Centre national de la recherche scientifique, Paris)
Rhetorik eines unwissenden Lehrmeisters
Christa Blümlinger (film scholar, University Paris 8 Vincennes-Saint-Denis)
2pm – 4pm
The Trouble with Palms
Filipa César (artist, filmmaker, Berlin)
1978 – 1972 – 1969
Diedrich Diederichsen (cultural scientist, journalist, curator, Berlin)
Krieg der Welten
Klaus Wyborny (filmmaker, director, actor, Hamburg)
Map - Matching
Anselm Franke (curator, writer, Haus der Kulturen der Welt, Berlin)
Conference Program
4.30pm – 6.30pm
„Ein Schiff mit Zähnen, das ist zum Gähnen.“ Harun Farockis Kurzdokumentarfilme für Kinder
Detlef Gericke-Schönhagen (Director Goethe-Institut Boston/Vilnius)
untitled
Maren Grimm (filmmaker, artist, Academy of Fine Arts Vienna)
"Mein Einzelarbeitsplatz" Zu Harun Farockis Theorie der Produktion
Tom Holert (art historian, writer, artist, Berlin)
Explode Explosion Eye
Hito Steyerl (writer, artist, Berlin)
7.30 pm – 9pm
Arbeit an der Natur: Der Wald als Dunkelkammer, die Lichtung als Bühne.
Christine Lang (filmmaker, cultural theorist, Berlin) and Constanze Ruhm (video artist, Academy of Fine Arts
Vienna)
Farocki's infinite flights with words in images
Doreen Mende (exhibition-maker, theorist, Berlin)
untitled
Kodwo Eshun and Anjalika Sagar (The Otolith Group, London)
Conference Participants “Thinking with Farocki”
Friday, February 27, 2015
Mit Farocki denken / Thinking with Farocki
11 am – 9 pm
Biographies of conference participants
Alexander Alberro is an art scholar and theorist. He is the Virginia Bloedel Wright Professor of Art History
at Barnard College, Columbia University, New York. He has just completed the book-length volume
Abstraction in Reverse on the emergence and development of abstract art in Latin America, and is presently
working on a project that explores the new forms of art and spectatorship that have crystallized in the past
two decades. He is the author of Conceptual Art and the Politics of Publicity (2004) and editor of a number
of books on contemporary art, including The Ruin of Exchange (2012) and Institutional Critique: An
Anthology of Artists’ Writings (2010).
Nora M. Alter is a professor of film and media arts at Temple University. She is the author of Vietnam
Protest Theatre: The Television War on Stage (1996), Projecting History: Non-Fiction German Film (2002),
and Chris Marker (2006), and coeditor of Sound Matters: Essays on the Acoustics of Modern German Culture
(2004) with Lutz Koepnick. Alter has written on artists including, among others, Daniel Buren, Maria
Eichhorn, Stan Douglas, Dan Eisenberg, Harun Farocki, Renée Green, Hans Haacke, and Mathias Poledna.
Michael Baute is an author, lecturer, and media worker. Since 1992, he has published writings on cinema
in various books, catalogues, and magazines, as well as the blog newfilmkritik.de, which he cofounded in
2001. He published Minutentexte: The Night of the Hunter (2006) jointly with Volker Pantenburg and
coauthored the associated radio play Minutentexte (2008). In 2008/2009 he served as artistic director of
the project Kunst der Vermittlung. Aus den Archiven des Filmvermittelnden Films (kunst-der-vermittlung.de),
which dealt with the research, collection, and distribution of audiovisual forms of education on film and
cinema. Since 2010, he has regularly held seminars and workshops on film education, as well as on film
itself as a means of film education, including the production of video essays.
Raymond Bellour is a writer and emeritus research scientist at the Centre National de la Recherche
Scientifique (Centre de Recherches sur les Arts et le Langage, Paris). He was responsible for the edition of
the complete works of Henri Michaux in the Pléiade (1996-2004) and in 1990 co-curated the Passages de
l’image exhibition at the Centre Georges Pompidou. His books include L’Analyse du film (1979); L’EntreImages. Photo, Cinéma, Vidéo (1990); L’Entre-Images 2. Mots, Images (1999); Le Corps du cinéma. Hypnoses,
Émotions, Animalités (2009); and La Querelle des dispositifs. Cinéma – installations, expositions (2012). He is
a founding member of the film journal Trafic.
Christa Blümlinger is a professor of film studies at the University Paris 8 Vincennes-Saint-Denis.
Previously, she taught at the Free University Berlin and the University Sorbonne Nouvelle, and in 2013 was
a research fellow at the IKKM Weimar. She works as a curator and film critic in Vienna, Berlin, and Paris
(advisory member of the boards of Forum Expanded and sixpackfilm). Her numerous publications are
devoted especially to film theory, documentary and avant-garde film, and media art; they include selected
writings by Serge Daney and Harun Farocki. Her book Kino aus zweiter Hand. Formen materieller
Aneignung im Film und in der Medienkunst (2009) was published in French in 2013 (Editions Klincksieck).
Blümlinger’s latest publication (Eng./Fr.) is “Attrait de l’archive,” Cinémas, vol. 24, nos. 2-3, 2014.
Filipa César is an artist and filmmaker based in Berlin. In her work she reflects on subjects of political and
social significance. She explores the fictional aspects of the documentary film genre and the politics behind
the creation of moving images. Her work encompasses the filmic languages of storytelling, chronicling,
documentary, and the experimental.
Diedrich Diederichsen is a professor of the theory, practice, and communication of contemporary art at
the Institute of Art Theory and Cultural Studies at the Academy of Fine Arts Vienna. Since the 1980s, he has
regularly published writings on popular and contemporary music, as well as contemporary art, cinema,
theater, design, and politics in periodicals such as die tageszeitung, Süddeutsche Zeitung, Die Zeit, theater
heute, and Texte zur Kunst. Recent book publications include Über Pop-Musik (2014), The Sopranos (2012),
Psicodelia y ready-made (2010), and Utopia of Sound (2010). Jointly with Anselm Franke, he curated the
2013 exhibition The Whole Earth as part of The Anthropocene Project at Haus der Kulturen der Welt, Berlin.
Thomas Elsaesser is a film scholar, film critic, and professor of film and television studies at the University
of Amsterdam. He is an important representative of international film studies whose books and essays on
film theory, genre theory, Hollywood, film history, media archaeology and new media, European auteur
cinema, and installation art have been published in more than twenty languages. In Germany he is known
primarily for his studies on almost every era of German film history, including a collective volume on Harun
Farocki.
Kodwo Eshun is an artist and theorist. He studied English literature at University College, Oxford
University, and is Lecturer in Aural and Visual Culture at Goldsmiths, University of London. In 2002 Eshun
cofounded The Otolith Group, which was nominated for the Turner Prize in 2010. The Otolith Group’s work
explores the potentials of liberation struggles, speculative futures and science-fictions. He is coeditor of The
Ghosts of Songs: The Film Art of the Black Audio Film Collective, 2007, with Anjalika Sagar; Harun Farocki:
Against What? Against Whom?, 2009, with Antje Ehmann; and The Militant Image: A Cine Geography, 2011,
with Ros Gray. He is the author of Dan Graham: Rock My Religion, 2012.
Anselm Franke is a curator and critic. Since 2013, he has headed the Department of Visual Arts at Haus der
Kulturen der Welt, Berlin, where he has co-curated the exhibition and publication The Whole Earth with
Diedrich Diederichsen, the exhibition After Year Zero with Annett Busch (both 2013), and recently the
exhibition Forensis with Eyal Weizman, 2014. His seminal project Animism was presented in different
versions in Antwerp, Bern (2010), Vienna (2011), Berlin, and on e-flux, New York (2012). Franke has
edited numerous publications and regularly contributes articles to magazines such as Metropolis M, e-flux
journal, and Cabinet. He was curator of the Taipei Biennial 2012 and the Shanghai Biennale 2014.
Detlef Gericke-Schönhagen became director of the Goethe-Institute Boston in February 2009, prior to
which he was coordinating director of the Goethe-Instituts’ international film and television programs and
deputy head of the Arts Department at the Goethe-Institut Head Office in Munich. From 1998 until 2003,
Mr. Gericke-Schönhagen worked as regional coordinator and programer of Goethe-Institute’s cultural
activities in Indonesia and South East Asia. From 1991 to 1997, he was executive director and programmer
of the Goethe Institut in Gothenburg/Sweden. From 2015 he will be the director of the Goethe-Institute
Vilnius.
Maren Grimm is a filmmaker and artist. She studied visual communication and film at the University of
Fine Arts in Hamburg. Since 2006, she has been a lecturer at the Academy of Fine Arts Vienna (including
ZKF Art and Film / Prof. Harun Farocki, until 2011). Since October 2013, she has served as lecturing tutor
in Prof. Thomas Heise’s class for art and film.
Tom Holert is an art historian, writer, and artist. After working as an editor (Texte zur Kunst and Spex) and
university lecturer (including at Merz Akademie, Stuttgart and the Academy of Fine Arts Vienna), he now
researches and produces independently. He is a founding member of the Academy of the Arts of the World,
Cologne. In his work he focuses on late modern and contemporary art as well as the visual cultures of war,
education, knowledge production, psychometrics, mobility, energy and glamor. His latest published book is
Übergriffe. Zustände und Zuständigkeiten der Gegenwartskunst (2014).
Christine Lang Since 2009, she has been an artistic research associate at Film University Babelsberg
Konrad Wolf in the department of dramaturgy and aesthetics. Cultural studies, art history, and literature
were her focuses at Humboldt University, Berlin (MA 2002 under Friedrich A. Kittler), after which she
studied film and television direction at the Academy of Media Arts Cologne (Diplom 2006). In addition to her
film work (including Kalte Probe with Constanze Ruhm, 2013,., and As if we were somebody else, 2015), she
conducts research on film dramaturgy and aesthetics. Publications: Breaking Down Breaking Bad.
Dramaturgie und Ästhetik einer Fernsehserie (with Christoph Dreher, 2013) and Come and play with us.
Dramaturgie und Ästhetik im postmodernen Kino (with Kerstin Stutterheim, 2013).
Doreen Mende is an independent curator and theorist, currently living in Berlin. Her concept-driven
projects involve research into archival bodies of work in relation to economics, display practices, anticolonial thinking, non-aligned trajectories, the paradoxical forms of socialist internationalisms, solidarity
and geopolitics in contemporary exhibiting processes. Recent curatorial include A Triple Timeline for
Qalandiya International Encounters 2014 in Ramallah; the exhibition and publication KP Brehmer Real
Capital – Production (2014) for Raven Row in London; the research exhibition Travelling Communiqué
(2012–14, co-authored with Armin Linke and Milica Tomić) in partnership with Museum of Yugoslav
History in Belgrade, Netsa Art Village in Addis Ababa, Dutch Art Institute and House of the World Cultures in
Berlin. Since 2010, she is faculty member of the Dutch Art Institute. In 2011, she received the research
fellowship of the Arab Images Foundation in Beirut while working on her PhD, awarded from Goldsmiths in
2014.
Constanze Ruhm is professor at the Academy of Fine Arts Vienna in the Department of Art and Media
since 2006. Her films, installation and curatorial work and projects are focused on contemporary forms of
feminist art practice which involve issues of identity and representation on the relationship of film
(history), new media and visual arts. Recent productions: Invisible Producers / Panoramis Paramount
Paranormal (2014/15, with Emilien Awada); Kalte Probe (2013, with Christine Lang);
My_Never_Ending_Burial_Plot (2010, with Christine Lang). Publications (selection): Coming Attractions
(edited by Rike Frank, 2012); Utopia of Sound (with Diedrich Diederichsen, 2010).
Anjalika Sagar is an artist. She studied social anthropology and Hindi at the School of Oriental and African
Studies, University of London. Sagar is coeditor of The Ghosts of Songs: The Film Art of the Black Audio Film
Collective, 2007, with Kodwo Eshun. In 2002 she cofounded The Otolith Group with Kodwo Eshun.
Nominated for The Turner Prize in 2010, The Otolith Group’s work explores the potentials of liberation
struggles, speculative futures and science-fictions.
Hito Steyerl’s films and essays take the digital image as a point of departure for entering a world in which a
politics of dazzle manifests as collective desire. This is to say that when war, genocide, capital flows, digital
detritus, and class warfare always take place partially within images, we are no longer dealing with the
virtual but with a confusing and possibly alien concreteness that we are only beginning to understand.
Today the image world, Steyerl reminds us, is far from flat. And paradoxically it may be in its most trashy and
hollowed out spots that we can locate its ethics. Because this is where forms run free and the altogether
unseen and unrecognized toy with political projects at the speed of light. It is where spectacle and poverty
merge, then split, then dance. -bkw
Klaus Wyborny is among the highest-profile exponents of international avant-garde film. His films are
represented in the collections of numerous museums, including the Museum of Modern Art, New York. He
has taught at such universities and art academies as Ohio State University, Columbus, California Institute of
the Arts, Valencia, and the Akademie der Künste, Berlin. In 2009 he assumed a professorship at the
Hochschule Mannheim – University of Applied Sciences. He has created a multifaceted body of work that
explores the boundaries between experimental, documentary, and essay film. His books Elementare SchnittTheorie des Spielfilms (2013) and Grundzüge einer Topologie des Narrativen (2014) have opened up new
terrain in film theory. He was awarded the Prix Walter Benjamin in France in 2013
Conference Program
Saturday, 28 February 2015
Panel Discussion
Conference day II; 11am – 10.30pm
Auditorium
How do we talk about practices and modes of work? How do we discuss labor conditions in their multiple
current manifestations? What spaces of perception and analysis can be opened up for a critical
examination of the processes linking labor and personhood? Forming a kind of encyclopedia of labor in
moving pictures, the short films presented in the exhibition will provide the visual and contemplative point
of departure from which to negotiate these questions.
The themes and discussion topics of the four panels will be structured by selected films from the
workshops and exhibition, in combination with a set of terminological fields. In the spaces of association
that are opened up, diverse bodies of disciplinary knowledge will be joined with approaches from film and
film theory, and current political, aesthetic, and economic debates on questions of labor will be explored in a
wide-ranging, image-based discourse. A handful of specially chosen films will lead in to the respective
panels and serve the audience and participants as a common base of knowledge for the presentations and
discussions.
11am – 1.30pm
Hands/Tools/Gestures
Using observations of the execution of work from art-historical, philosophical, and film-theoretical
perspectives, this panel will outline the history of production and of the transformation of labor between
the poles of material and immaterial production. What practices of manufacturing and production, what
work media and techniques, what choreographies and gestures of labor are negotiated and shown in the
films? What individual and socially effective regulations and potentials for attachment and commitment
become visible, or remain invisible, in the execution of labor?
Participants (in order of appearance):
Birger Priddat (economist, philosopher, Witten/Herdecke University)
Christine N. Brinckmann (film theorist, University of Zurich) and Wolfgang Beilenhoff (film theorist, Ruhr
University Bochum)
John Akomfrah (artist, writer, theorist, London)
Bernhard Siegert (media historian, theorist, Bauhaus University, Weimar)
Moderator: Gregory Williams
Selected films (length: 2 min. each)
-
-
Amy Van Houten, Geschickte Finger | Nimble Fingers, Johannesburg
(http://player.vimeo.com/video/96804773)
Di Hu, U-Bahn | Subway, Hangzhou
Melissa Elízondo, Mais pflücken lernen | How to Pick Corn, Mexico City
Orit Ishay, Schublade | Drawer, Tel Aviv
Filip Gabriel Pudło, Operationsbesteck | Surgical Instruments, Łódź
Conference Program
2.30pm - 4:45pm
Circle/Rhythm/Ritual
This panel is devoted to the organizational forms of work processes in time and space in historical and
time-diagnostic perspective. How are rhythms of working and living synchronized in the “tempo of modern
life” between innovation and repetition? What rituals and routines of material and immaterial reproduction
are processed in the spaces of experience and meaning created by the films?
Kodwo Eshun (artist, writer, London
Ayesha Hameed (artist, writer, Goldsmiths, University of London)
Moderator: Diedrich Diederichsen (cultural scientist, journalist, Berlin)
Selected films (length: 2 min each)
-
-
Nguyen Trinh Thi, Webstuhl | Weaving Loom, Hanoi
Dario Schvartzstein, Ultraviolett | Ultra Violet, Buenos Aires
Mena el Shazly, Colaflaschen | Coke Bottles, Cairo
Maximo Ciambella, Mate und Leder | Mate and Leather, Buenos Aires
Daniel Ulacia, Etiketten anbringen | Stick on Labels, Mexico City
Conference Program
5pm-7pm
Dedication/Precision/Vocation
What is the significance of the acquisition of knowledge and skills in the field defined by the formation of
self, educational techniques, and social recognition? What is the influence of training, apprenticeship, and
routine? Of talent, skill, and chance? What potentials and contradictions, what capacities to act and shape,
arise for the interplay of work and life and inform individualization strategies, entrepreneurship, and the
willingness to take risks?
Rahel Jaeggi (philosopher, Humboldt University of Berlin)
Volker Pantenburg (film and media theorist, Bauhaus University, Weimar)
Gadi Algazi (historian, activist, University of Tel Aviv)
Moderator: Rembert Hüser (media and film theorist, Goethe University of Frankfurt))
-
-
Gerard Bochaton, Chloé Malcotti, Rot | Red, Geneva
Luisa Cavanagh, Operation | Surgery, Buenos Aires
Fernando Mendez, Schreinerei | Carpentry, Mexico City
Julián D'Angiolillo, DVDs kopieren | DVD Copying, Buenos Aires
Aleksandra Hirszfeld, Philosoph | Philosopher, Łódź
Conference Program
7.30pm – 10.30pm
/Valorization/
This panel will undertake a sorting of the history of ideas, images, and terms around work, with reference
to the triangle of property, labor, and capital. At the same time, questions will be raised as to how we can
speak about wage labor from a socio-historical and transnational perspective. How can knowledge be
distinguished from commodity – or itself be commodified? What ideological parameters are set by the
iconographic history of images of labor? Beyond mono-theoretical dominance, how can transhistorical and
transcultural observations and approaches be conceived that allow broader analyses of the process of
linking labor, human beings, society, and capital?
Dirk Baecker (sociologist, Zeppelin University, Friedrichshafen)
Isabell Lorey (political theorist, European Institute for Progressive Cultural Policies, Berlin)
Gertrud Koch (film theorist, Free University of Berlin)
Prabhu Mohapatra (economic and social historian, University of Delhi)
Peter J. Schwartz (literature and film researcher, Boston University)
Moderator: Roy Grundmann (film theorist, Boston University)
-
-
Florencia Percia, Wäscherei | Dry Cleaner, Buenos Aires
Nguyen Huong Mai, Holzarbeit | Wood Cutter, Hanoi
Julián D'Angiolillo, DVDs kopieren | DVD Copying, Buenos Aires
Patrick Sonni Cavalier, Chor der Müllabfuhr | Garbage Choir, Rio de Janeiro
Bani Khoshnoudi, Zocalo Klempner | Zocalo Plumber, Mexico City
Suresh Kumar, Klopfen | Knocking, Bangalore
Themba Twala, The Block, Johannesburg
Philip Leonhard, Tom 2.0 | Tom 2.0, Boston
Conference Participants “Presentations and Discussions”
Saturday, February 28, 2015 | Presentations and Discussions
Conference day II; 11 am – 10.30 pm
Biographies of panelists
John Akomfrah is an artist, writer and cultural activist. He has produced various documentaries, feature
films, and gallery installations, which have won prizes and critical acclaim across Africa, Asia, Europe, and
North America. Known principally as one of the originators of Black British Cinema and latterly as a
trailblazer for British digital cinematography, Akomfrah was a founding member of the Black Audio Film
Collective. His most recent works are Peripeteia, Psyche, At the Graveside of Andre Tarkovsky and The Stuart
Hall Project, a single-channel work that premiered at the 2013 Sundance Film Festival in the World
Documentary Competition.
Gadi Algazi is a professor of medieval history in the Department of History at Tel Aviv University . He was
senior editor of the journal History & Memory (2001-2011) and is a member of the publishing collective for
the journals Past & Present and Historische Anthropologie. His research encompasses, in particular, the
social and cultural history of the late Middle Ages and early modern period, historical anthropology, colonial
history, and the history of the social sciences.
Dirk Baecker is a sociologist and economist, and currently holds the Chair of Cultural Theory and Analysis
at Zeppelin University in Friedrichshafen. He is coeditor of the journal Soziale Systeme: Zeitschrift für
soziologische Theorie (since 1995), cofounder of the Management Zentrum Witten for management and
consulting education (2000-2011), coeditor of the yearbook Revue für Postheroisches Management (20072012), and board member of the journal Cybernetics & Human Knowing. A proponent of sociological system
theory, he investigates sociological and cultural theory, economic sociology, organizational research, and
management theory.
Wolfgang Beilenhoff is professor emeritus of film studies in the department of media studies at Ruhr
University, Bochum. The focuses of his research include the theory and aesthetics of Russian formalist film,
as well as the difference between seeing and reading with respect to media. From 2002 till 2008, he headed
the research project Medialität und Körper: Das Gesicht im Film at the inter-university research institute
Media and Cultural Communication (Aachen, Bochum, Bonn, and Cologne). In 2008/2009 he was a senior
fellow at IKKM (Bauhaus-Universität Weimar). He is currently working on the research project Masse und
Medium: Historische Figurationen filmischer MassenBilder.
Christine N. Brinckmann is a filmmaker and film theorist. In 1989 she pioneered as the first Professor of
Film Studies in Switzerland by founding the Department for Film Studies at the University of Zurich. Until
2002 she held the chair at the department as Professor of Film Studies. She has published various seminal
texts on many subjects including film history, American documentarism, experimental film aesthetics and
feminist issues. Her films have been featured at many international experimental film festivals.
Kodwo Eshun is an artist and theorist. He studied English literature at University College, Oxford
University, and is Lecturer in Aural and Visual Culture at Goldsmiths, University of London. In 2002 Eshun
cofounded The Otolith Group, which was nominated for the Turner Prize in 2010. The Otolith Group’s work
explores the potentials of liberation struggles, speculative futures and science-fictions. He is coeditor of The
Ghosts of Songs: The Film Art of the Black Audio Film Collective, 2007, with Anjalika Sagar; Harun Farocki:
Against What? Against Whom?, 2009, with Antje Ehmann; and The Militant Image: A Cine Geography, 2011,
with Ros Gray. He is the author of Dan Graham: Rock My Religion, 2012.
Roy Grundmann is director of the newly founded undergraduate major in Cinema and Media Studies at
Boston University and also directs the university’s Graduate Film and Television Studies division in the
Department of Film and Television. Focusing on film at the transition from modernism to postmodernism,
he publishes on American and German narrative cinema, international avant-garde film, film theory and
cultural theory, gay and lesbian film history, and queer theory. He is the author of Andy Warhol’s Blow Job
(2003), editor of the standard work on filmmaker Michael Haneke, A Companion to Michael Haneke (2010),
and a coeditor of the four-volume The Wiley-Blackwell History of American Film (2012). Grundmann is the
curator of several landmark film retrospectives on Andy Warhol, Matthias Müller, and Werner Schroeter, as
well as of the first comprehensive retrospective of the films of Michael Haneke. He is a contributing editor
of Cineaste magazine. With Gregory Williams, Grundmann directed the conference Labour in a Single Shot
in Boston in November 2014.
Ayesha Hameed is an artist and writer. She is Joint Programme Leader in Fine Art and History of Art in the
Department of Visual Cultures at Goldsmiths, University of London, where she is also a research fellow in the
Forensic Architecture project. Hameed’s practice includes performance, video, and text, and examines
borders, migration, and detention. Her essays have been widely published in journals and edited collections
such as Tate ETC (2010), Photoworks (2011), Place: Location and Belonging in New Media Contexts (2008),
and The Sarai Reader (2013).
Rembert Hüser has been a professor of media studies in the theater, film, and media studies department at
Goethe University Frankfurt. From 2003 to 2013 he was an associate professor of cultural and media
studies at the University of Minnesota in the department of German, Scandinavian & Dutch and the
department of cultural studies & comparative literature. He obtained his doctorate in 1992 at the University
of Bielefeld with a dissertation on the rhetoric of criticism. From 1992 to 1998 he worked as an assistant
professor in German studies at the University of Bonn. As a research fellow at the cultural research institute
“Media and Cultural Communication” in Cologne from 1999 to 2001, he led a project on the title sequence in
Hollywood film. He has held temporary professorships in media studies at HbK Braunschweig
(2001/2002) and film studies at Goethe University Frankfurt (2008/2009).
Rahel Jaeggi is a German philosopher and professor of practical philosophy at Humboldt University in
Berlin with focuses in social and political philosophy, philosophical ethics, anthropology, and social
ontology. In her research she critically examines concepts of alienation, commodification/objectification
and ideology, way of life, and solidarity. In 2011, with Daniel Loick, she was the chief organizer of the
international conference Re-thinking Marx at Humboldt University. Her most recently published books are
on the subjects of alienation (Entfremdung, 2005), the critique of ways of life (Kritik der Lebensformen,
2013) and the essay collection Nach Marx (2013, with Daniel Loick).
Gertrud Koch is a professor of film studies in the theater studies department at Berlin’s Free University. She
has held fellowships at numerous international research institutions such as the Getty Institute, Los Angeles,
Columbia University, New York, University of California, Berkeley, and the postgraduate program “KörperInszenierungen” at the Free University. From 2003 to 2014 she coordinated the project On the Significance
of Illusion in Film Aesthetics at the Collaborative Research Center 626: Aesthetic Experience and the
Dissolution of Artistic Limits, for which she is also the spokeswoman. At the Free University, she is
additionally a member of the Center for Advanced Studies “BildEvidenz” and, since 2006, of the Research
Training Group “InterArt.”
Isabell Lorey is a political theorist at the European Institute for Progressive Cultural Policies (eipcp), one
of the editors of transversal texts and the book series “es kommt darauf an” by Turia+Kant. She teaches
political theory, gender studies and postcolonial theory as a professor for sociology and cultural studies at
various European universities. She has published on precarization of work and life in neoliberalism,
current social movements with a focus on pro-democracy movements since 2011, critical democracy theory
and political immunization. Amongst her most recent publications are: Figuren des Immunen (2011),
Kognitiver Kapitalimus (2012) with Klaus Neundlinger, Latest publication: State of Insecurity and Regierung
der Prekären (2012) which is currently being released in English translation: Government of the Precarious,
London/New York: Verso 2015.
Prabhu Mohapatra teaches economic and social history in the Department of History at the University of
Delhi. He has been a research fellow and visiting professor at Yale University, the School of Oriental and
African Studies in London, the universities of Cambridge, Amsterdam, and Leiden, and the Maison des
Sciences de l’Homme in Paris. His research interests include agricultural history, transnational labor history,
the history of labor regulation in South Asia, global migration history, and economic and social history in
modern South Asia.
Volker Pantenburg is junior professor of image theory with a focus on moving images at the Bauhaus
University Weimar. From 2010 until 2012 he was junior director of IKKM (Internationales Kolleg für
Kulturtechnikforschung und Medienphilosophie). He published a variety of book, among others: Film als
Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard (2006), Ränder des Kinos. Godard – Wiseman –
Benning – Costa (2010), Screen Dynamics. Mapping the Borders of Cinema (co-editor, 2012) and Wörterbuch
kinematografischer Objekte (co-editor, 2014). The English translation of his book on Harun Farocki and
Jean-Luc Godard is being published by Amsterdam University Press in the spring of 2015.
Birger Priddat is professor, philosopher and economist. Since 2009, he has held the Chair of Political
Economy at the Faculty of Economics at Universität Witten/Herdecke. In addition he is Visiting Professor at
Zeppelin University in Friedrichshafen. Priddat was a Fellow at the research institute Zentrum für Religion,
Wirtschaft und Politik at Universität Basel from 2010 to 2012, Visiting Professor at Universität Basel from
2011 – 2013, and at the Center of Excellence at Universität Konstanz (Cultural Sciences, subgroup
“Unknowing”) from 2011 to 2012. His monograph “Akteure, Verträge, Netzwerke: Der kooperative Modus
der Ökonomie” published in February 2012, draws on his intensive research on the theory of political
economy, the future of work and the history of economic thought.
Peter J. Schwartz is Associate Professor of German and Comparative Literature at Boston University,
where he also teaches courses on film. He is the author of After Jena: Goethe's Elective Affinities and the End
of the Old Regime (2010), and of articles on Goethe and his age, Georg Büchner, Aby Warburg, and Michael
Haneke. His most recent publication (2014) is an iconographic study of Chinese Communist paper money
and Soviet silent film, and he is currently preparing a complete translation of a classic work of genre theory,
André Jolles's Einfache Formen (Simple Forms, 1930).
Bernhard Siegert is a cultural and media scholar. He is the Gerd Bucerius Professor of the history and
theory of cultural techniques at Bauhaus-Universität Weimar and, since 2008, director of IKKM
(international institute for research on cultural techniques and media philosophy) in Weimar. Since 2013,
he has additionally served as speaker of the DFG research group “Media and Mimesis.” Focuses of his work
include: the ship; genesis and limits of representation; excessive mimesis; textile media – textile arts; and
history and theory of cultural techniques. His current book, Cultural Techniques: Grids, Filters, Doors, and
Other Articulations of the Real, will be published this year in New York. He is editor of Zeitschrift für Medienund Kulturforschung and Archiv für Mediengeschichte.
Gregory Williams is an associate professor of contemporary art and the director of graduate studies in
History of Art and Architecture at Boston University. An editor-at-large of Brooklyn’s Cabinet magazine, he
has published numerous art reviews in periodicals such as Art Journal, Artforum, frieze, Parkett, and Texte
zur Kunst. He has written catalogue essays and book chapters on Martin Kippenberger, Imi Knoebel,
Rosemarie Trockel, and Cosima von Bonin, among others. His book, Permission to Laugh: Humor and
Politics in Contemporary German Art, was published in 2012. With Roy Grundmann, Williams directed the
conference Labor in a Single Shot in Boston in November 2014.
Curators
Antje Ehmann lives and works in Berlin as an author and curator. Her curatorial projects include: Harun
Farocki. First Time in Warsaw, Centre for Contemporary Art, Ujazdowski Castle, Warsaw, 2012; The Image
in Question: War–Media–Art, Carpenter Center for Visual Arts, Cambridge, Massachusetts, 2010; and Harun
Farocki: 22 Films 1968–2009 (with Stuart Comer and Kodwo Eshun), Tate Modern, London, 2009. Her
publications and articles include: Harun Farocki. First Time in Warsaw (with Artur Liebhart), Warsaw, 2012;
Amos Gitai: News from Home (with Katharina Fichtner and Anselm Franke), Cologne, 2006; and Geschichte
des Dokumentarischen Films in Deutschland, Vol. 2, Weimarer Republik (with Jeanpaul Goergen and Klaus
Kreimeier), Stuttgart, 2005.
Harun Farocki lived and worked in Berlin as a filmmaker, artist, and writer. His essays and observational
films question the production and perception of images, decoding film as a medium and examining how
audiovisual culture relates to history, politics, technology, and war. His projects have been shown at festivals
and in solo, group, and retrospective exhibitions worldwide, at important events and international
institutions, including the 2010 Bienal de São Paulo, documenta 10 und 12 in Kassel, the Tate Modern in
London, MACBA in Barcelona, Museum Ludwig in Cologne, and the Jeu de Paume in Paris. Harun Farocki
died unexpectedly on July 30, 2014. Labour in a Single Shot is his last project.
Anselm Franke is a curator and critic. Since 2013, he has headed the Department of Visual Arts at Haus der
Kulturen der Welt, Berlin, where he has co-curated the exhibition and publication The Whole Earth with
Diedrich Diederichsen, the exhibition After Year Zero with Annett Busch (both 2013), and recently the
exhibition Forensis with Eyal Weizman, 2014. His seminal project Animism was presented in different
versions in Antwerp, Bern (2010), Vienna (2011), Berlin, and on e-flux, New York (2012). Franke has
edited numerous publications and regularly contributes articles to magazines such as Metropolis M, e-flux
journal, and Cabinet. He was curator of the Taipei Biennial 2012 and the Shanghai Biennale 2014.
Roy Grundmann is director of the newly founded undergraduate major in Cinema and Media Studies at
Boston University and also directs the university’s Graduate Film and Television Studies division in the
Department of Film and Television. Focusing on film at the transition from modernism to postmodernism,
he publishes on American and German narrative cinema, international avant-garde film, film theory and
cultural theory, gay and lesbian film history, and queer theory. He is the author of Andy Warhol’s Blow Job
(2003), editor of the standard work on filmmaker Michael Haneke, A Companion to Michael Haneke (2010),
and a coeditor of the four-volume The Wiley-Blackwell History of American Film (2012). Grundmann is the
curator of several landmark film retrospectives on Andy Warhol, Matthias Müller, and Werner Schroeter, as
well as of the first comprehensive retrospective of the films of Michael Haneke. He is a contributing editor
of Cineaste magazine. With Gregory Williams, Grundmann directed the conference Labour in a Single Shot
in Boston in November 2014.
Katrin Klingan is a literary scholar, curator, and producer of projects in the area of arts and culture. She
heads the Department of Literature and Humanities at Haus der Kulturen der Welt, Berlin. From 2003 to
2010 she was artistic director of relations, an international arts and culture program initiated by the
German Federal Cultural Foundation. She has conceived and organized various cultural events in Vienna
and worked as a dramaturg at the Vienna Festival from 1998 to 2001. Klingan lives and works in Berlin.
She is curator of The Anthropocene Project at Haus der Kulturen der Welt.
Gregory Williams is an associate professor of contemporary art and the director of graduate studies in
History of Art and Architecture at Boston University. An editor-at-large of Brooklyn’s Cabinet magazine, he
has published numerous art reviews in periodicals such as Art Journal, Artforum, frieze, Parkett, and Texte
zur Kunst. He has written catalogue essays and book chapters on Martin Kippenberger, Imi Knoebel,
Rosemarie Trockel, and Cosima von Bonin, among others. His book, Permission to Laugh: Humor and
Politics in Contemporary German Art, was published in 2012. With Roy Grundmann, Williams directed the
conference Labor in a Single Shot in Boston in November 2014.
Eine Einstellung zur Arbeit
»Eine Einstellung zur Arbeit«
ist ein Projekt, das die Künstlerin und Kuratorin Antje Ehmann und der
Filmemacher und Künstler Harun Farocki seit 2011 betrieben haben.
In 15 Städten weltweit haben sie Workshops und eine Serie von
Ausstellungen initiiert. Die Berliner Ausgabe zeigt Resultate aus allen
15 Workshopstädten.
Das Projekt
»Eine Einstellung zur Arbeit« dreht sich um Videos von 1 bis 2 Minuten
Länge, aufgenommen in einer einzigen Einstellung. Die Kamera kann
statisch sein, sie kann schwenken oder eine Fahrt machen – nur Schnitte
sind nicht erlaubt.
Arbeit
Der Untersuchungsgegenstand ist die »Arbeit«: bezahlte oder unbezahlte, materielle oder immaterielle, traditionsreiche sowie gänzlich
neue Arbeitsformen.
Kamera-Arbeit
Fast alle Arbeit ist repetitiv. Wie lässt sich ein Anfang, wie ein Ende
finden? Wie lässt sich die Choreographie eines Arbeitsablaufs in einer
einzigen Einstellung einfangen? Zeigt es sich doch: Eine einzige
Einstellung von 1 bis 2 Minuten kann bereits eine Narration erzeugen,
Spannung oder Überraschung.
Fragen
Was sind die spezifischen Charakteristika der jeweiligen 15 Städte und
Regionen? »Eine Einstellung zur Arbeit« stellt die Recherche in den
Vordergrund. Es gilt, die Augen zu öffnen und sich in Bewegung zu
setzen. Wo ist welche Art von Arbeit sichtbar? Was verbirgt sich?
Was findet im Zentrum, was an der Peripherie statt? Welche Arbeits
vorgänge könnten eine kinematographische Herausforderung sein?
Piktogramme
Im Dezember 2012 wurden die Künstler Alice Creischer und Andreas
Siekmann eingeladen, mit ihren Arbeiten die Stationen des Projekts zu
begleiten und zu konterkarieren. Wichtig waren dabei die klassischen
politischen Kriterien von Arbeit: Streiks, Gewerkschaften, prekarisierte
Arbeit und Arbeitslosigkeit. Ihre Grafiken zeigen die Internationalisierung der Arbeitsteilung auf Kosten von Arbeitsrechten. Historischer
Bezugspunkt ist die bildstatistische Methode, die von Gerd Arntz und
Otto Neurath Ende der 1920er Jahre in Wien entwickelt wurde.
“Labour in a Single Shot”
is a long-term project by the artist and curator Antje Ehmann and the
filmmaker and artist Harun Farocki. The pair have initiated workshops
in 15 cities worldwide and have launched a series of exhibitions. The
exhibition in Berlin presents the results from all the 15 cities.
The Project
“Labour in a Single Shot” revolves around videos of 1 to 2 minutes in
length, each taken in a single shot. The camera can be static, panning
or travelling – only cuts are not allowed.
Labour
The subject of investigation is “labour”: paid or unpaid, material or
immaterial, rich in tradition or altogether new.
Camera Work
Almost every form of labour is repetitive. How can one find a beginning
and an end when capturing it? How to film the choreography of a
workflow? Yet these videos demonstrate that a single shot of 1 or 2
minutes can already create narrative, suspense or surprise.
Questions
What are the specific characteristics of each of the project’s 15 cities
and regions? “Labour in a Single Shot” foregrounds the importance
of engaging in research, of opening one’s eyes and setting oneself
in motion. Where can we see which kinds of labour? What happens
in the center; what occurs at the periphery? What kinds of labour
processes set interesting cinematographic challenges?
Pictograms
In December 2012, the artists Alice Creischer and Andreas Siekmann
were invited to design graphic works to accompany and counterpoint
the stations of the project. The classic political criteria of labour – strikes,
unions, casualization, and unemployment – were to figure prominently
in the designs. The graphics show the internationalization of the division
of labour at the expense of workersʼ rights. Their historical reference
point is the method of picture statistics developed by Gerd Arntz and
Otto Neurath in Vienna in the late 1920s.
1 Lissabon / Lisbon
Gabriel Barbi
Ernte an der Autobahn / Harvest from a Motorway Junction, 2013
James Newitt
Platzanweiser / Usher, 2013
Sofia Costa Pinto
Zopf / Braid, 2013
Rui Silveira
Ohne Titel / untitled, 2011
Mariana Gonçalves, Arendse Krabbe, Thea van der Maase
Unsichtbare Gefängnisarbeit / Invisible Penal Labour, 2013
Ana Rebordão
Ohne Titel / untitled, 2011
Lisbon
2 Bangalore
Verena Buttmann, Vijayakumar Seethappa
Katze und Fleisch / Cat and Meat, 2012
Pooja Gupta, Sindhu Thirumalaisamy
Schuhladen / Shoe Shop, 2012
Suresh Kumar Gopalreddy
Ochse / Ox, 2012
Shrikar Marur, Kinshuk Surjan, Gautam Vishwanath
Karren Straße / Cart Avenue, 2012
Nikhil Patil, Arav Narang
Wasserflaschenlieferung / Watercan Delivery, 2012
Nehar Shrestha
Trommel / Drum, 2012
Bangalore
3 Genf / Geneva
Mélanie Badoud, Nallini Menamkat, Zaq Chojecki
Akten / Files, 2012
Gerard Bochaton, Chloé Malcotti
Rot / Red, 2012
Pauline Cazorla, Joseph Favre
Baumschneider / Cutting Trees, 2012
Gabriel Dutrait, Hyunji Lee, Camille De Pietro
Grand Théatre, 2012
Nina Kennel, Manon Vila, Thomas Amman
Venusia, 2012
Mykyta Kryvosheiev
Uhrwerk / Clockwork, 2012
Geneva
4 Tel Aviv
Yakov Afuta
Brot und Wasser / Bread and Water, 2012
Inbal Herstig
Die Druckmaschine / The Printing Machine, 2012
Hadas Emma Kedar
Kontrollraum / Control Room, 2012
Efrat Merin
Straße / Street, 2012
Tamar Nissim
Destillation, 2012
Liron Shalev
Diamanten / Diamonds, 2012
Tel Aviv
5 Berlin
Markus Bauer, Susanne Dzeik, Rene Paulokat
Rechenzentrum / Data Centre, 2012
Achim Burkart
Krankenpfleger / Male Nurse, 2012
Susanne Dzeik
Notariat / Notary’s Office, 2012
Antje Freitag
Haustierkrematorium / Pet Crematorium, 2012
Katja Henssler, Gabor Ehlers
Kurier / Messenger, 2012
Zara Zandieh
Im Aufbau / Under Construction, 2012
Berlin
6 Kairo / Cairo
Kaya Behkalam
Reisen / Travelling, 2012
Katrine Dirckinck-Holmfel
Rosa Plüsch / Pink Plush, 2012
Anupama Ramdas
Roh / Raw, 2012
Mena el Shazly
Colaflaschen / Coke Bottles, 2012
Nadah el Shazly
Warten Arbeiten / Wait Work, 2012
Nadah el Shazly
Brücke / Bridge, 2012
Cairo
7 Rio de Janeiro
Fred Benevides, Felipe Ribiero, Luiz Garcia
Heilige Fabrik / Holy Factory, 2012
Fred Benevides, Cezar Miglorin
Die Stadt wird gebaut / Building the City, 2012
Lucas Ferraço Nassif
Verstärkter Beton / Reinforced Concrete, 2012
Roberto Robalinho
Orfeu Negro, 2012
Cristián Silva-Avária
Bewegung im Kreis / Circular Movement, 2012
Cristián Silva-Avária
Die Stadt, die Läufer und der Fischer / The City,
The Runners, The Fisherman, 2012
Rio de Janeiro
8 Buenos Aires
Luisa Cavanagh
Operation / Surgery, 2013
Máximo Ciambella
Mate und Leder / Mate and Leather, 2013
Edén Bastida Kullick
Die Polizei beaufsichtigen / To Police the Police, 2013
Florencia Percia
Wäscherei / Dry Cleaner, 2013
Paloma Schnitzer
Still, 2013
Darío Schvartzstein
Ultraviolett / Ultraviolet, 2013
Buenos Aires
9 Łódź
Aleksandra Chciuk
The Tram Dome, 2013
Aleksandra Chciuk
Sirenen / Sirens, 2013
Paweł Fabjański
Zahnarzt / Dentist, 2013
Magda Kulak
Naturkundemuseum / Natural History Museum, 2013
Filip Gabriel Pudło
Automotive, 2013
Filip Gabriel Pudło
Operationsbesteck / Surgical Instruments, 2013
Łódź
Moskau
10 Moskau / Moscow
Tatiana Efrussi
Hubschrauberfabrik / Helicopter Plant, 2013
Elena Koptyaeva
Zwei Mädchen an der Bushaltestelle / Two Girls at the Bus Stop, 2013
Victoria Marchenkova
Eisenbahn / Railroad, 2013
Oleksiy Radynski
Säubern / Cleaning, 2013
Oleksiy Radynski
Putin, 2013
Aleksei Taruts
Messerkampftraining / Knife Fight Training, 2013
Moscow
11 Hanoi
Dhong Phoung Thao
Die Brücke / The Bridge, 2013
Mai Trung Kien
Kleidung / Garment, 2013
Nguyen Huong Mai
Holzarbeit / Wood Cutter, 2013
Nguyen Trinh Thi
Der Eismann / The Iceman, 2013
Tran Xuang Quang
Kanal / Canal, 2013
Tran Xuang Quang
Hut / Hat, 2013
Hanoi
12 Boston
Beyza Boyacioglu
Der U-Bahn-Musiker / The Subway Musician, 2013
Sarah Childress
Phil Gray’s Blue Dragon Mussel Wagon, 2013
Paul Foley
Hand Out, 2013
Lea Khayata, Elletra Fiumi
Das Büro / The Office, 2013
Harsha Menon
Bhagavati, 2013
Nicole Teeny
Die Schriftstellerin / The Writer, 2013
Boston
13 Mexiko-Stadt / Mexico City
Maira Bautista Neumann
Kreis / Circle, 2014
Sandra Calvo, Pedro Antoranz
Mary, 2014
Melissa Elízondo
Mais pflücken lernen / How to Pick Corn, 2014
Bani Khoshnoudi
Frida Kallejera, 2014
Enrique Méndez
Cowboy, 2014
Alberto Reséndiz
La via va, 2014
Mexico City
14 Hangzhou
Liu Menzi
Abbruchgelände / Demolishing Site, 2014
Mingshen Group
Schattenspiel / Shadow Play, 2014
Mingshen Group
Wollbezug für Ikea / Wool Quilt for Ikea, 2014
Mingshen Group
Chemische Faser / Chemical Fibre, 2014
Mingshen Group
Straßenkünstler / Street Artist, 2014
Yang Ke
Spezielles Restaurant / Special Restaurant, 2014
Hangzhou
15 Johannesburg
Katulo Hadebe
Gebäudeinspekteur / Building Inspector, 2014
Amy van Houten
Langweilige Maschine / Boring Machine, 2014
Amy van Houten
Geschickte Finger / Nimble Fingers, 2014
Amanda Lunga
Die interessante Schaufel / The Interesting Shovel, 2014
Nicola Pilkington
Psychologin / Psychologist, 2014
Jason Janse von Rensburg
Perlenarbeit / Bead Work, 2014
Johannesburg
15
14
1–15 Eine Einstellung zur Arbeit
13
12
3
4
11
5
10
2
6
1
9
7
8
10
7
11
13
6
14
5
12
4
ine Einstellung zur Arbeit
E
9
8
0 La sortie de lʼusine Lumière à Lyon
1 Lissabon / Lisbon
2Bangalore
3 Genf / Geneva
4 Tel Aviv
5Berlin
6 Kairo / Cairo
7 Rio de Janeiro
8 Buenos Aires
9 Łódź
10 Moskau / Moscow
11Hanoi
12Boston
13 Mexiko-Stadt / Mexico City
14Hangzhou
15Johannesburg
0–XI
15
Arbeiter verlassen die Fabrik
in elf Jahrzehnten / Workers Leaving the Factory
in Eleven Decades, 2006
3
2
1
0
Arbeiter verlassen ihren
Arbeitsplatz in 15 Städten / Workers Leaving their Workplace
in 15 Cities, 2011 – 2014
Illustrationen: Alice Creischer und Andreas Siekmann · Design: NODE Berlin Oslo · Cover: Augustin Tschinkel 1928 »Gang zur Fabrik« Bildnachweis: Sollte trotz intensiver
Recherche ein Rechteinhaber nicht berücksichtigt worden sein, so werden berechtigte Ansprüche im Rahmen der üblichen Vereinbarungen abgegolten. [email protected]
Eine Einstellung zur Arbeit
Berlin
27.2.–6.4.15
Arbeiter verlassen ihren
Arbeitsplatz in 15 Städten / Workers Leaving their Workplace
in 15 Cities, 2011 – 2014
Arbeiter verlassen die Fabrik
in elf Jahrzehnten / Workers Leaving the Factory
in Eleven Decades, 2006
Video benutzen wie Film –wir greifen auf die Methode der frühen Filme
im 19. Jahrhundert zurück, etwa die der Lumière-Brüder (Arbeiter verlassen die Lumière-Fabrik, Einfahrt eines Zuges in La Ciotat), um etwas
von der Entschiedenheit der frühen Filme wiederzugewinnen. Die frühen
Filme sagten: jedes Detail der bewegten Welt ist es wert, festgehalten
und betrachtet zu werden. Und sie hatten einen festen Standpunkt,
während der Dokumentarfilm heute all zu oft aus Unentschiedenheit
Einstellung auf Einstellung folgen lässt.
In der Installation zeigen wir Szenen aus der Filmgeschichte, in denen
Arbeiter die Fabrik verlassen, simultan auf 12 Monitoren. In der
Kinematographie fallen Erscheinung und Begriff auseinander. Schon
der erste Film in der Filmgeschichte, Lumières La sortie de l’usine
Lumière à Lyon (1895) zeigte ein Gebäude, das nicht wie eine Fabrik
aussieht. Eher wie ein Bauernhof. Wenn es um soziale Auseinander
setzungen geht, kommt dem Schauplatz »vor der Fabrik« große
Bedeutung zu. Wenn es um das Privatleben der Filmfiguren geht, das
erst eigentlich beginnt, wenn die Arbeit vorbei ist, wird die Fabrik
eine Sache im Hintergrund. In Fritz Langs Clash by Night (1952) sieht
man Marilyn Monroe am Fließband, man sieht sie aus der Fabrik
kommen und hört sie davon sprechen. Aber Fabrikexistenz und Filmstarexistenz sind unvereinbar, sieht man einen Star in einer Fabrik,
so denkt man an ein Märchen, in dem die Prinzessin Arbeit verrichten
muss, bevor sie ihre eigentliche Bestimmung erlangt. Die Fabriken – und das ganze Sujet – sind in der Filmgeschichte eine Randerscheinung.
Harun Farocki, 2006
To use video as if it is film –we draw on the method of the earliest films
made at the end of the 19th century (such as the Lumière brothers’
Workers Leaving the Lumière Factory, Arrival of a Train at La Ciotat)
in order to regain something of their decisiveness. These early films
made in a single continuous shot seemed to demonstrate that every
detail of the world in motion is worth considering and capturing. They
were forced by the immobile camera to have a fixed point of view,
whereas the films of today often tend toward indecisive cascades of
shots. The single-shot film, in contrast, combines predetermination and
openness, concept and contingency.
0 Auguste Lumière, Louis Lumière
La sortie de l’usine Lumière à Lyon, 1895
1
Ana Rebordão
Arbeiter verlassen die Kaugummifabrik / Workers Leaving the Chewing Gum Factory, Lisbon 2011
2
Prerna Bishop, Rusha Dhayarkar
Arbeiter verlassen die Textilfabrik / Workers Leaving the Textile Factory,
Bangalore 2012
3
Mélanie Badoud, Nallini Menamka,
Zaq Chojecki
Arbeiter verlassen die ILO / Workers Leaving the ILO, Geneva 2012
4 Orit Ishay
Und wieder ein Tag / Just another Day,
Tel Aviv 2012
8
Lucas Peñafort
Arbeiter verlassen ihren Arbeitsplatz / Workers Leaving their Workplace,
Buenos Aires 2012
9 Wojciech Domachowski
Arbeiter verlassen die Mine / Workers Leaving the Mine, Łódź 2013
10
Tatiana Efrussi
Arbeiter verlassen die Brauerei / Workers Leaving the Brewery,
Moscow 2013
11 Pham Tra My
Arbeiter verlassen die Fabrik / Workers Leaving the Factory, Hanoi 2013
12
Olga Pikalova
Arbeiter verlassen ihren Arbeitsplatz / Workers Leaving their Workplace,
Boston 2013
13
Christian Manzutto
Arbeiter verlassen die Saftfabrik / Workers Leaving the Juice Factory,
Mexico City 2014
5
Aline Bonvin
Arbeiter verlassen die Blindenfabrik / Workers Leaving the Factory for the Blind, Berlin 2012
6
Bahaa Talis
Arbeiter verlassen ihren Arbeitsplatz,
einen Fahrradfahrer ignorierend / Workers Leaving their Workplace while Ignoring a Bicycle Man, Cairo 2012
14
The Tourists
Arbeiter verlassen die Intime Mall / Workers Leaving the Intime Mall,
Hangzhou 2014
7
Beny Wagner
Arbeiter verlassen die Textilfabrik / Workers Leaving the Textile Factory,
Rio de Janeiro 2012
15
Nhlanhla Mngadi
Arbeiter verlassen die Fabrik / Workers Leaving the Factory,
Johannesburg 2014
The installation of scenes from throughout film‘s history of workers
leaving the factory is displayed on twelve monitors simultaneously.
In cinematography, perception and concept diverge. Indeed historyʼs
first film, Lumièreʼs La sortie de l’usine Lumière à Lyon (1895), shows
a building that doesnʼt look like a factory at all. It looks more like a
farm. When it comes to social conflict, the shown place “in front of
a factory” is very significant. When it comes to a private life of a filmʼs
character, which really only begins after work, the factory is relegated
to the background. In Fritz Lang’s Clash by Night (1952), one sees
Marilyn Monroe on the assembly line, coming out of the factory, and
one hears her talking about it. But the existence of factories and movie
stars are not compatible. A movie star working in a factory evokes
associations of a fairy tale in which a princess must work before she
attains her true calling. Factories – and the whole subject of labour –
are at the fringes of film history. Harun Farocki, 2006
0 Auguste Lumière, Louis Lumière
La sortie de l’usine Lumière à Lyon, 1895
VI Slátan Dudow
Frauenschicksale, 1952
I
II
VII Michelangelo Antonioni
Il Deserto Rosso, 1964
Gabriel Veyre
Sortie de la briqueterie Meffre et Bourgoin
à Hanoi, 1899
Regisseur unbekannt, Director unknown,
Moscow National Film Archive
Ohne Titel, Untitled, 1912
III D. W. Griffith
Intolerance, 1916
IV Fritz Lang
Metropolis, 1926
V
Charles S. Chaplin
Modern Times, 1936
VIII Jacques Willemont
La Reprise du travail aux usines Wonder, 1968
IX Jean-Marie Straub, Danièle Huillet
Trop tôt, trop tard, 1981
X
elkosta
Durchfahrtssperre DSP, 1987
XI Lars von Trier
Dancer in the Dark, 2000
»Eine Einstellung zur Arbeit« ist eine Produktion des Hauses der Kulturen der Welt in Kooperation mit Harun Farocki Filmproduktion und dem Goethe-Institut in Zusammenarbeit mit dem Internationalen Geisteswissenschaftlichen Kolleg »Arbeit und
Lebenslauf in globalgeschichtlicher Perspektive« (re:work) an der Humboldt-Universität zu Berlin. Gefördert durch den Hauptstadtkulturfonds. Das Exzellenzprojekt »Labour in a Single Shot / Eine Einstellung zur Arbeit« ist eine Koproduktion der
Harun Farocki Filmproduktion mit dem Goethe-Institut. Gesamtleitung: Detlef Gericke-Schönhagen, Goethe-Institut Boston/Vilnius.
“Labour in a Single Shot” is a production of Haus der Kulturen der Welt in cooperation with Harun Farocki Filmproduktion and the Goethe-Institut, and in collaboration with the International Research Center “Work and Human Life Cycle in Global
History” (re:work) at Humboldt-Universität zu Berlin. Supported by the Hauptstadtkulturfonds. The excellence project “Labour in aSingle Shot/Eine Einstellung zur Arbeit” is a c oproduction between Harun Farocki Filmproduktion and the Goethe-
Institut. Coordinator: Detlef Gericke-Schönhagen, Goethe-Institut Boston/Vilnius.
Time & Motion: Redefining Working Life
Exhibition
Jan. 28-Apr. 6, 2015
Studio gallery (beside the bookshop)
Time & Motion: Redefining Working Life started at Haus der Kulturen der Welt within the framework of
transmediale 2015 CAPTURE ALL (Jan 28-Feb 1, 2015). Produced by FACT (Foundation for Art and Creative
Technology, Liverpool) in 2013, it was presented as a special edition linked to the festival theme and is now
running parallel to the exhibition Labour in a Single Shot.
Time & Motion uses artworks, research projects, archival materials and interventions to track our journey
through the world of work, from clocking on at the factory gates to checking in online from our home office.
At a time of structural changes in the labour market and sharp transitions in business practice to address
global recession, the exhibition asks timely questions including ‘What happened to the eight hour day?’,
‘What is your work life balance?’ and ‘How has technology affected the way that you work?’
A cooperation between transmediale, Haus der Kulturen der Welt, FACT, Royal College of Art, Creative
Exchange Hub and Schering Stiftung.
Artists: Tuur Van Balen, Revital Cohen, Ellie Harrison, Tehching Hsieh, Sam Meech, Oliver Walker
Curators: Mike Stubbs and Emily Gee, FACT, Liverpool
Press contact:
Tabea Hamperl
[email protected]
tel.:+49 (0)30 24 749 792
www.transmediale.de
See also:
Revital Cohen & Tuur Van Balen: assemble | standard | minimal
Until May 3,2015
Schering Stiftung
Unter den Linden 32–34 | 10117 Berlin
Daily (except Tuesdays & Sundays) 12 noon–7pm
Open on Sunday, May 3, 2015!
Free admission

labour in a single shot

Transcription

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