SERIJE ZA INVIZIBILNO KINO
SERIES FOR INVISIBLE CINEMA
MUZEJ SUVREMENE UMJETNOSTI ZAGREB
THE MUSEUM OF CONTEMPORARY ART
HARUN FAROCKI & ANTJE EHMANN
PROŽDIRATI ILI LETJETI | FRESSEN ODER FLIEGEN |
FEASTING OF FLYING
20. 01. > 28. 02. 2018.
ANTJE EHMANN & CARLES GUERRA
HARUN FAROCKI. DRUGA VRSTA EMPATIJE | ANOTHER KIND
OF EMPATHY
27. 02. 2018.
SERIES FOR INVISIBLE CINEMA
MUZEJ SUVREMENE UMJETNOSTI ZAGREB
THE MUSEUM OF CONTEMPORARY ART
HARUN FAROCKI & ANTJE EHMANN
PROŽDIRATI ILI LETJETI | FRESSEN ODER FLIEGEN |
FEASTING OF FLYING
20. 01. > 28. 02. 2018.
ANTJE EHMANN & CARLES GUERRA
HARUN FAROCKI. DRUGA VRSTA EMPATIJE | ANOTHER KIND
OF EMPATHY
27. 02. 2018.
Harun Farocki, Neugasiva vatra | Nicht löschbares Feuer | Inextinguishable Fire, 1969.
EMPATIJA | EINFÜHLUNG | EMPATHY
Ova je riječ pripadala drugoj strani. Od Brechta sam naučio ne buljiti tako romantično. U kazalištu se trebaš prepustiti i zauzeti distancirani položaj prosuđivanja. I izvođači moraju zadržati distancu od svojih uloga, kako bi se pokazalo da su ljudi takvi kakvi jesu zato što su okolnosti takve kakve jesu. A okolnosti su takve kakve jesu zato što su ljudi takvi kakvi jesu. Međutim, može ih se zamisliti i drukčijima, kakvi bi mogli biti, a ne samo takvima kakvi jesu, a i okolnosti se mogu zamisliti drukčije nego što jesu.
This word belonged to the other side. From Brecht I had learned not to gawp so romantically. In theatre you should sit back and take up a distanced position of appraisal. The performers should maintain a distance from their roles too, so it can be shown that people are the way they are because circumstances are the way they are. And circumstances are the way they are because people are the way they are. However, they aren’t only imaginable the way they are but also differently, the way they could be, and circumstances can also be imagined differently from the way they are.
This made such sense to me that I thought that in future, in my adult life, I would never again have to do with a kind of acting that required empathy, just as painting would never again become representational.
In 1968 I was particularly amazed to continually come across people who wanted world revolution at all costs but didn’t want their cinematic or theatrical illusions spoiled. The young leftists were even programmatically in favour of identification. They called for books, plays or films to show persons or groups acting in model ways – and the viewer would gain an exemplary attitude through self-comparison.
I was similarly surprised in 68’, when shooting a film, to see that neither the amateurs nor the professionals could distinguish between themselves and the text; they internalized it faster than they could memorise it. This got even worse in the following years. The performers became even more insistent on speaking a text as if it had sprung from some remote, inaccessible, inner cleft. When I realised that I was constantly telling the performers, don’t do it like that, don’t do that, leave that out, that I was only telling them what not to do, I stopped.
Empathy is too good a word to leave to any other side. Empathy is a finer expression than identification and the German word Einfühlung has a transgressive overtone. A compound of Eindringen (to penetrate) and Mitfühlen (to sympathize). Somewhat forceful sympathy. It should be possible to empathize in such a way that it produces the effect of alienation.
HARUN FAROCKI
“Empatija je predobra riječ da bi se ostavila bilo kojoj drugoj strani. Empatija je precizniji izraz od identifikacije, njemačka riječ einfühlung ima transgresivni prizvuk. Složenica je od eindringen (prodrijeti) i mitfühlen (suosjećati). Unekoliko, to je silovito suosjećanje. Trebali bismo moći biti empatični tako da to proizvede efekt očuđenja.” (Harun Farocki, Empatija, 2008.)
“Empathy is too good a word to leave to any other side. Empathy is a finer expression than identification and the German word Einfühlung has a transgressive overtone. A compound of Eindringen (to penetrate) and Mitfühlen (to sympathize). Somewhat forceful sympathy. It should be possible to empathize in such a way that it produces the effect of alienation.” (Harun Farocki Empathy, 2008)
With this title curators, writers and visual artists Antje Ehmann and Carles Guerra will talk about their work with Harun Farocki’s theory and praxes created for different dispositives of the cinema, taking as its starting point Farocki’s manifesto entitled Empathy about the necessity of, as they say, “re-appropriating that precious term that has been handed over to the enemy, the mainstream cinema and the entertainment industry… While from the 1960s on, Brecht’s distancing effect imposed a need for de-romantization and objectivity in documentary practices … Harun Farocki called for its reconsideration and re-appropriation: for Another Kind of Empathy.”
It was the concept of Empathy (Harun Farocki. Empatia) that Ehmann and Guerra chose for a title of the second part of their exhibition trilogy dedicated to Farocki’s work, made at the Fundació Antoni Tàpies in Barcelona, in 2016. The first part, entitled What is at Stake (Harun Farocki. Lo que está en juego) at The Institut Valencià d’Art Modern in the same year, focused on the survaillance and the operational images and the technologies of vision. In addition, Empathy revisted Farocki’s emblematic militant films from the 1960s that combine didactics and political agitation with Brechtian performance of intellectual and artistic emancipation, as well as on the video installations made from 1995 on and series of works that analyzed the changes in work processes and their representations in contemporary societies. The third part, under the title By Other Means (Harun Farocki: Mit anderen mitteln | By Other Means), along with the exhibition in n.b.k. in Berlin, included a complete retrospective of Farocki’s films in Arsenal Cinema in 2017.
Eight years ago, on December 12th, 2009, at the Museum of Contemporary Art in Zagreb, which had opened just a day earlier, Harun Farocki gave a lecture on his new work Serious Game (Ernst Spiele) as part of the programme Working Images on his films and installations curated by Volker Pantenburg for the third edition of Film Mutations: Festival of Invisible Cinema. This year, on January 20th, in the framework of the 11th edition of Film Mutations, we opened a video installation for six screens Feasting or Flying by Harun Farocki and Antje Ehmann at the Permanent Display – Collection in Motion of the Museum of Contemporary Art. This work, made the same year as the text Empathy, in 2008, multiplies displacement of the cut outside of the editing room and film images. We could say, it displays Farocki’s ideas of soft montage and montage from a distance in the exhibition space. Viewers and the authors are working with the splices between the cuts, in between dissected sequences of 37 films. “A deconstruction of the tragic male hero in cinema.”, as the authors say, makes reference to the statement by film theorist Hermut Farber: “Some dissect a bird in order to eat it, others in order to discover how to fly.”
How to work with images and how do images work? How to work with films, installations, text, documentation, the whole cinema experience of an author of more than a hundred films, whose lifetime work was devoted to the re-appropriation of cinema history motifs and dissection of the power structures inscribed in the diversity of technical images? In his programmatic texts What Ought to Be Done (Was getan werden soll) and Survey (Umfrage) from 1975/76, Farocki envisioned such an institution, “at first just an office for initiating and coordinating some documentary work … ultimately, a (the) national image library”. Since its establishment in 2015, the Harun Farocki Institute (HaFI) works with his inexhaustible archive of artistic theory and philosophy of moving images, which are yet to be discovered.
On February 28th, 2018, at the Museum of Contemporary Art in Zagreb Antje Ehmann and Carles Guerra will be in conversation with Tanja Vrvilo about how to work with Harun Farocki’s work and what happens if cinema migrates into the art space. The talk will be accompanied by video documentation of their curatorial work and three exquisite, recently restored, short works that Harun Farocki made for television: two 3-minute films for children from the series on the cinematographic objects Bedtime Stories (Bedtime Stories: Bridges, Bedtime Stories: Ships, 1977) with his daugthers Anna and Lara Faroqhi and Filmbooks (1986, 15 min.), Farocki’s performative statement on film books published in West Germany and elsewhere.
EMPATIJA | EINFÜHLUNG | EMPATHY
Ova je riječ pripadala drugoj strani. Od Brechta sam naučio ne buljiti tako romantično. U kazalištu se trebaš prepustiti i zauzeti distancirani položaj prosuđivanja. I izvođači moraju zadržati distancu od svojih uloga, kako bi se pokazalo da su ljudi takvi kakvi jesu zato što su okolnosti takve kakve jesu. A okolnosti su takve kakve jesu zato što su ljudi takvi kakvi jesu. Međutim, može ih se zamisliti i drukčijima, kakvi bi mogli biti, a ne samo takvima kakvi jesu, a i okolnosti se mogu zamisliti drukčije nego što jesu.
To je za mene imalo toliko smisla, da sam mislio da se u budućnosti, kao odrasla osoba, više nikada neću morati baviti onom vrstom glume koja zahtijeva empatiju, kao što ni slikarstvo nikada više neće postati reprezentacijsko.
Osobito sam bio začuđen 1968. kada sam često nailazio na one koji su željeli svjetsku revoluciju po svaku cijenu, ali nisu željeli narušiti svoju filmsku ili kazališnu iluziju. Mladi ljevičari su se čak programatski zalagali za poistovjećivanje. Zahtijevali su da knjige, drame ili filmovi pokazuju osobe ili grupe koje djeluju poput modela – tako da gledatelj, uspoređujući se s njima, usvaja primjereno stajalište.
Podjednako sam bio iznenađen 1968. kada sam snimajući film uvidio da ni amateri niti profesionalci ne mogu povući razliku između sebe i teksta; brže su ga usvajali nego što su ga mogli upamtiti. To je kasnije postalo još gore. Izvođači su postali sve ustrajniji u tome da govore tekst kao da dolazi iz neke udaljene, nepristupačne, unutarnje pukotine. Kada sam shvatio da izvođačima stalno govorim - nemoj raditi tako, nemoj to raditi, izostavi to, da im govorim samo što da ne rade, prestao sam.
Empatija je predobra riječ da bi se ostavila bilo kojoj drugoj strani. Empatija je precizniji izraz od identifikacije, njemačka riječ einfühlung ima transgresivni prizvuk. Složenica je od eindringen (prodrijeti) i mitfühlen (suosjećati). Unekoliko, to je silovito suosjećanje. Trebali bismo moći biti empatični tako da to proizvede efekt očuđenja.
This word belonged to the other side. From Brecht I had learned not to gawp so romantically. In theatre you should sit back and take up a distanced position of appraisal. The performers should maintain a distance from their roles too, so it can be shown that people are the way they are because circumstances are the way they are. And circumstances are the way they are because people are the way they are. However, they aren’t only imaginable the way they are but also differently, the way they could be, and circumstances can also be imagined differently from the way they are.
This made such sense to me that I thought that in future, in my adult life, I would never again have to do with a kind of acting that required empathy, just as painting would never again become representational.
In 1968 I was particularly amazed to continually come across people who wanted world revolution at all costs but didn’t want their cinematic or theatrical illusions spoiled. The young leftists were even programmatically in favour of identification. They called for books, plays or films to show persons or groups acting in model ways – and the viewer would gain an exemplary attitude through self-comparison.
I was similarly surprised in 68’, when shooting a film, to see that neither the amateurs nor the professionals could distinguish between themselves and the text; they internalized it faster than they could memorise it. This got even worse in the following years. The performers became even more insistent on speaking a text as if it had sprung from some remote, inaccessible, inner cleft. When I realised that I was constantly telling the performers, don’t do it like that, don’t do that, leave that out, that I was only telling them what not to do, I stopped.
Empathy is too good a word to leave to any other side. Empathy is a finer expression than identification and the German word Einfühlung has a transgressive overtone. A compound of Eindringen (to penetrate) and Mitfühlen (to sympathize). Somewhat forceful sympathy. It should be possible to empathize in such a way that it produces the effect of alienation.
HARUN FAROCKI
Harun Farocki, Einfühlung. Iz | From: 100 Jahre Hebbel-Theater. Angewandtes Theaterlexikon nach Gustav Freiytag, ur. | ed. Hebbel am Ufer, Berlin 2008. Engleski prijevod | English translation by Michael Turnbull
ANTJE EHMANN & CARLES GUERRA: HARUN FAROCKI. DRUGA VRSTA EMPATIJE | ANOTHER KIND OF EMPATHY
“Empatija je predobra riječ da bi se ostavila bilo kojoj drugoj strani. Empatija je precizniji izraz od identifikacije, njemačka riječ einfühlung ima transgresivni prizvuk. Složenica je od eindringen (prodrijeti) i mitfühlen (suosjećati). Unekoliko, to je silovito suosjećanje. Trebali bismo moći biti empatični tako da to proizvede efekt očuđenja.” (Harun Farocki, Empatija, 2008.)
Izlaganje vizualnih umjetnika i kustosa Antje Ehmann i Carlesa Guerre o radu s filmskom teorijom i praksom Haruna Farockija u različitim dispozitivima pokretnih slika polazi od Farockijeva manifestnog teksta pod naslovom Empatija o nužnosti ponovnog prisvajanja tog važnog pojma koji je bio prepušten neprijatelju, srednjostrujaškom filmu i društvu spektakla. Od 1960-ih, Brechtov efekt distanciranja nametnuo je zahtjev za de-romantizacijom i objektivnošću u dokumentarističkim praksama… a u tekstu iz 2008. godine Farocki poziva na revidiranje i ponovno prisvajanje silovitog suosjećanja, za drugu vrstu empatije.
Upravo su riječju Empatija (Harun Farocki. Empatia) Ehmann i Guerra naslovili središnji dio svoje Farockijeve izložbene trilogije u Fondaciji Antoni Tàpies u Barceloni, 2016. Prvi dio, pod naslovom Što je u pitanju (Harun Farocki. Lo que está en juego | What is at Stake), u Institutu Valencià d’Art Modern iste godine, fokusirao se na nadzorne i radne slike te tehnologije gledanja, a Empatija je preispitala prijelaz s Farockijevih amblematskih militantnih filmova 1960-ih koji kombiniraju didaktiku i političku agitaciju s brehtijanskom izvedbom intelektualne i umjetničke emancipacije na niz radova i video instalacija nakon 1995. koji su analizirali promjene u procesima rada i njihove reprezentacije u suvremenim društvima. Treći dio, pod naslovom Drugim sredstvima (Harun Farocki: Mit anderen mitteln | By Other Means), uz izložbu u berlinskom n.b.k. obuhvatio je i cjelovitu Farockijevu retrospektivu u Arsenalu 2017. godine.
Prije osam godina, 12. prosinca 2009. u dvorani Gorgona Muzeja suvremene umjetnosti u Zagrebu, otvorenom samo dan ranije, Harun Farocki je održao predavanje o svom novom radu Ozbiljne igre (Ernste Spiele) uz kustoski program filmova i instalacija koji je priredio teoretičar Volker Pantenburg pod naslovom Radne slike za treće izdanje Filmskih mutacija: festivala nevidljivog filma. U sklopu ovogodišnjeg jedanaestog izdanja Filmskih mutacija, 20. siječnja 2018. otvorili smo u stalnom postavu Zbirki u pokretu Muzeja suvremene umjetnosti video instalaciju za šest ekrana Proždirati ili letjeti (Fressen oder Fliegen | Feasting of Flying) Haruna Farockija i Antje Ehmann. Ovaj konceptualni rad, također iz 2008. kao i tekst o empatiji, multiplicira izmještanje mjesta reza izvan montažne sobe i izvan filmskih slika. Mogli bismo reći, doslovno izlaže ključne Farockijeve ideje meke montaže i montaže s udaljenosti u izložbenim prostorima. Gledatelji i autori su smješteni na međumjestima reza, između seciranih sekvenci iz trideset i sedam filmova. Dekonstrukcija tragičnog filmskog junaka, riječima autora, odnosi se na izjavu filmskog teoretičara Helmuta Färbera: Jedni seciraju pticu da bi je pojeli, a drugi da bi razotkrili kako leti.
Kako raditi sa slikama i kako slike rade? Kako raditi s filmovima, instalacijama, dokumentima, tekstovima, dokumentacijom, cjelokupnim filmskim iskustvom autora više od stotinu filmova, čiji je životni rad bio posvećen ponovnom prisvajanju motiva iz filmske povijesti i seciranju struktura moći upisanim u raznim tipovima tehničkih slika? U svojim programatskim tekstovima Što treba učiniti (Was getan werden soll) i Upitnik (Umfrage) iz 1975. i 1976. godine, Farocki je zanimislio takav istraživački institut, isprva ured za poticanje i koordiniranje dokumentarnog rada… u konačnici nacionalna biblioteka slika. Od osnutka 2015. godine, Institut Harun Farocki (HaFI) radi s njegovim neiscrpnim arhivom umjetničke teorije i filozofije pokretnih slika, koji tek treba otkriti.
Kako raditi s Farockijevim radom i što se događa kada filmske slike migriraju iz kina u umjetničke prostore? Izlaganje Antje Ehmann i Carlesa Guerre odvija se 27. veljače 2018. u 18 sati u Gorgoni uz prikazivanje njihove izložbene video dokumentacije i Farockijevih fascinatnih, restauriranih televizijskih radova, dvaju trominutnih filmova za djecu iz serije o filmskim objektima Priče za uspavljivanje (Priče za uspavljivanje: Mostovi; Priče za uspavljivanje: Brodovi, 1977.) s njegovim kćerima Annom i Larom Faroqhi te Filmskih knjiga (1986., 15 min.), lekcijske izvedbe o filmskim knjigama objavljenim u Zapadnoj Njemačkoj i drugdje.
Tanja Vrvilo
“Empathy is too good a word to leave to any other side. Empathy is a finer expression than identification and the German word Einfühlung has a transgressive overtone. A compound of Eindringen (to penetrate) and Mitfühlen (to sympathize). Somewhat forceful sympathy. It should be possible to empathize in such a way that it produces the effect of alienation.” (Harun Farocki Empathy, 2008)
With this title curators, writers and visual artists Antje Ehmann and Carles Guerra will talk about their work with Harun Farocki’s theory and praxes created for different dispositives of the cinema, taking as its starting point Farocki’s manifesto entitled Empathy about the necessity of, as they say, “re-appropriating that precious term that has been handed over to the enemy, the mainstream cinema and the entertainment industry… While from the 1960s on, Brecht’s distancing effect imposed a need for de-romantization and objectivity in documentary practices … Harun Farocki called for its reconsideration and re-appropriation: for Another Kind of Empathy.”
It was the concept of Empathy (Harun Farocki. Empatia) that Ehmann and Guerra chose for a title of the second part of their exhibition trilogy dedicated to Farocki’s work, made at the Fundació Antoni Tàpies in Barcelona, in 2016. The first part, entitled What is at Stake (Harun Farocki. Lo que está en juego) at The Institut Valencià d’Art Modern in the same year, focused on the survaillance and the operational images and the technologies of vision. In addition, Empathy revisted Farocki’s emblematic militant films from the 1960s that combine didactics and political agitation with Brechtian performance of intellectual and artistic emancipation, as well as on the video installations made from 1995 on and series of works that analyzed the changes in work processes and their representations in contemporary societies. The third part, under the title By Other Means (Harun Farocki: Mit anderen mitteln | By Other Means), along with the exhibition in n.b.k. in Berlin, included a complete retrospective of Farocki’s films in Arsenal Cinema in 2017.
Eight years ago, on December 12th, 2009, at the Museum of Contemporary Art in Zagreb, which had opened just a day earlier, Harun Farocki gave a lecture on his new work Serious Game (Ernst Spiele) as part of the programme Working Images on his films and installations curated by Volker Pantenburg for the third edition of Film Mutations: Festival of Invisible Cinema. This year, on January 20th, in the framework of the 11th edition of Film Mutations, we opened a video installation for six screens Feasting or Flying by Harun Farocki and Antje Ehmann at the Permanent Display – Collection in Motion of the Museum of Contemporary Art. This work, made the same year as the text Empathy, in 2008, multiplies displacement of the cut outside of the editing room and film images. We could say, it displays Farocki’s ideas of soft montage and montage from a distance in the exhibition space. Viewers and the authors are working with the splices between the cuts, in between dissected sequences of 37 films. “A deconstruction of the tragic male hero in cinema.”, as the authors say, makes reference to the statement by film theorist Hermut Farber: “Some dissect a bird in order to eat it, others in order to discover how to fly.”
How to work with images and how do images work? How to work with films, installations, text, documentation, the whole cinema experience of an author of more than a hundred films, whose lifetime work was devoted to the re-appropriation of cinema history motifs and dissection of the power structures inscribed in the diversity of technical images? In his programmatic texts What Ought to Be Done (Was getan werden soll) and Survey (Umfrage) from 1975/76, Farocki envisioned such an institution, “at first just an office for initiating and coordinating some documentary work … ultimately, a (the) national image library”. Since its establishment in 2015, the Harun Farocki Institute (HaFI) works with his inexhaustible archive of artistic theory and philosophy of moving images, which are yet to be discovered.
On February 28th, 2018, at the Museum of Contemporary Art in Zagreb Antje Ehmann and Carles Guerra will be in conversation with Tanja Vrvilo about how to work with Harun Farocki’s work and what happens if cinema migrates into the art space. The talk will be accompanied by video documentation of their curatorial work and three exquisite, recently restored, short works that Harun Farocki made for television: two 3-minute films for children from the series on the cinematographic objects Bedtime Stories (Bedtime Stories: Bridges, Bedtime Stories: Ships, 1977) with his daugthers Anna and Lara Faroqhi and Filmbooks (1986, 15 min.), Farocki’s performative statement on film books published in West Germany and elsewhere.
FILMSKE KNJIGE
FILMBÜCHER
FILMBOOKS
HARUN FAROCKI
1986. video 15 min.
boja, zvuk colour, sound
REŽISER, SCENARIST, NARATOR | DIRECTOR, SCRIPTWRITER, COMMENTARY: HARUN FAROCKI; MONTAŽA | EDITORS: HANS-PETER DRILLKENS, MONIKA HÖSSLER; DIREKTOR | PRODUCER: WERNER DÜTSCH; PRODUKCIJA | PRODUCTION: WDR - TV SERIES KINO ’86
GORGONA
27.02.2018.
18 H
Htio bih se osvrnuti na neke filmske knjige. Posljednjih je godina u Zapadnoj Njemačkoj objavljeno mnogo knjiga koje slikama i tekstovima razmatraju pojedine filmove. Ovo je knjiga o filmu Edithin dnevnik Hansa W. Geissendörfera.
Knjiga sadrži produkcijske fotografije i fotografije sa snimanja. Ovo je fotografija filmskog seta za vrijeme snimanja. Neću se dugo zadržavati na ovoj knjizi jer me smeta da je većinu tekstova na kraju knjige napisala Carola Hembus, a
Carola Hembus je također navedena na špici, naime, radila je PR za film, oglašavanje. A ja ne mislim da bi itko
trebao plaćati za oglašavanje.
I’d like to take a look at some film books. In West Germany, many books have been published in recent years that examine individual films in images and texts. This is a book about the film Edith’s Diary by Hans W. Geissendörfer. The book contains production stills and photographs from the shoot. Here’s a photo of the set during the shoot. I won’t spend much time on this book because it annoys me that many of the texts at the back were written by Carola Hembus,
and Carola Hembus is also in the credits, that is, she was employed to do the film’s PR, the advertising. And I don’t think one should have to pay for advertising.
(Harun Farocki)
PRIČE ZA USPAVLJIVANJE: BRODOVI
EINSCHLAFGESCHICHTEN: SCHIFFE
BEDTIME STORIES: SHIPS
HARUN FAROCKI
1977. 35-mm > digital 3 min.
boja, zvuk colour, sound
PRIČE ZA USPAVLJIVANJE: MOSTOVI
EINSCHLAFGESCHICHTEN: BRÜCKEN
BEDTIME STORIES: BRIDGES
HARUN FAROCKI
1977. 35-mm > digital 3 min.
boja, zvuk colour, sound
REŽIJA, SCENARIJ | DIRECTOR, SCRIPTWRITER: HARUN FAROCKI; KAMERA | CINEMATOGRAPHER: INGO KRATISCH; MONTAŽA | EDITOR: JOHANNES BERINGER; ZVUK | SOUND: HARUN FAROCKI, JOHANNES BERINGER; ASISTENTICA | ASSISTANT: URSULA LEFKES; PRODUKCIJA | PRODUCTION: HARUN FAROCKI FILMPRODUKTION, NDR - TV SERIES DAS SANDMÄNNCHEN; IGRAJU | PLAYED BY: ANNA & LARA FAROQHI
GORGONA
27.02.2018.
18 H
Pet Priča za uspavljivanje su priče za djecu prije spavanja, snimljene 1976./77., u kojima Farocki koristi jednostavne objekte kako bi razjasnio filmski postupak.
Priče se bave mostovima, tramvajima i brodovima koji prelaze cestu. O čemu treba govoriti? Što treba upamtiti? U filmu dvije djevojčice zamišljaju ono što je prikazano. Mostove koji se kreću. Nešto posve različito od ‘mostova’.
Kao da slike mogu misliti! Priče za uspavljivanje ne govore zapravo o mostovima i željezničkim prugama već o dvjema djevojčicama koje poetskom igrom ispunjavaju prostor između dnevnog vremena i vremena snova, beskrajnom igrom, igrom bez svršetka. Igrom koja može iščeznuti prije nego što postane fragmentarna. “Jesi li zaspala?”, jedna od njih pita na samom kraju filma – i u posljednjem kadru su obje, zaspale; igra je završila. Djevojčice igraju Lara i Anna, Farockijeve kćeri.
The five Einschlafgeschichten are bed-time stories for children, made 1976/77, in which Farocki uses simple objects to elucidate cinematographic method.
The stories deal with bridges, cable cars and ships crossing roads. What is worth saying? What is worth remembering? The two girls in the film imagine what is shown. Bridges that move. Something quite different to ‘bridges’.
As if pictures could think! Einschlafgeschichten doesn’t really speak of bridges or railroads but rather of two girls filling the space between daytime and dreamtime with a poetic game, an endless game, a game with no end. A game which can fade out without becoming fragmentary. “Are you asleep?”, one of them asks at the end of a clip – and the final shot is of the two, asleep; the game is over. The girls are played by Lara and Anna, Farocki’s daughters. (Hans J. Wulff)
Harun Farocki, Filmske knjige | Filmbücher | Filmbooks, 1986.
Harun Farocki, Priče za uspavljivanje: Mostovi | Einschlafgeschichten: Brücken | Bedtime Stories: Bridges, 1977.
PROŽDIRATI ILI LETJETI
FRESSEN ODER FLIEGEN
FEASTING OR FLYING
HARUN FAROCKI & ANTJE EHMANN
2008. 33 min. loop
video instalacija za šest ekrana
a video installation for six screens
c/b + boja zvuk b/w + colour sound
AUTORI | AUTHORS: HARUN FAROCKI, ANTJE EHMANN; IDEJA, ISTRAŽIVANJE, MONTAŽA | IDEA, RESEARCH, EDITOR: ANTJE EHMANN; PRODUKCIJA | COMMISSIONED BY: HAU - HEBBEL AM UFER, SIEMENS ARTS PROGRAMM, HAUPSTADTKULTURFONDS
STALNI POSTAV - ZBIRKE U POKRETU
PERMANENT DISPLAY - COLLECTION IN MOTION
20. 01. > 28. 02. 2018.
Proždirati ili letjeti Haruna Farockija i Antje Ehmann aludira na izjavu Helmuta Färbera: “Jedni seciraju pticu da bi je pojeli, a drugi da bi razotkrili kako leti.” Dekonstrukcija tragičnog muškog junaka u filmu.
Feasting or Flying by Harun Farocki and Antje Ehmann alludes to the statement: “Some dissect a bird in order to eat it, others in order to discover how to fly”. A deconstruction of the tragic male hero in cinema.
HARUN FAROCKI &
ANTJE EHMANN
Proždirati ili letjeti odnosi se na izjavu Helmuta Färbera: "Jedni seciraju pticu da bi je pojeli, a drugi da bi razotkrili kako leti.” U našoj video instalaciji za šest ekrana koristimo metodu supostavljanja kako bismo istražili tragičku pogrešku filmskog junaka. Mi seciramo filmske sekvence; na primjer, umnažamo kadar jedne sekvence na jednom monitoru, a protukadar na drugom. Ispostavilo se da montaža ovim činom rasplitanja i razdiobe zadržava svoju funkciju, zbijenost. Ovom analitičkom metodom predmet se ne pomiče u apstrakciju ili tišinu. Sve se svodi upravo na to: analizirati pticu kako bismo naučili razumjeti njezin let, a pritom ne secirati kao da je želimo pojesti.
Montaža se najčešće istražuje kao susret dvaju kadrova, za razliku od ‘montaže s udaljenosti’. Pojava kadra u filmu odnosi se na prethodni kadar, referirajući se često na nekoliko sličnih ili izrazito različitih ranijih kadrova. Za instalaciju Proždirati ili letjeti povezali smo kadrove i sekvence koji proizvode jedinstvenu temu: čovjeka koji se ubije. Mogli bismo reći da s njegovim samoubojstvom film nadoknaćuje manjak u intenzitetu i izražajnosti u usporedbi s filmom ženskih likova.
Raspodjeljujemo motive iz različitih filmova na nekoliko ekrana u prostoru: na primjer, čovjeka koji ulazi u sobu kako bi bio sam, ili čovjeka koji šeće u tišini u pratnji kamere koja želi uzeti od njega ono čega se on rijetko odriče – trenutka kada filmska naracija postavlja pitanje. Ta razdioba stvari u prostoru kako bi se fiksirala u nečijoj svijesti kulturna je tehnika koju su koristiti stari Grci. Mi se njome služimo jer želimo doći do nove vrste filma, one o čovjeku koji je iskoristio svu preostalu slobodu djelovanja.
Feasting or Flying makes reference to the statement by Helmut Färber: “Some dissect a bird in order to eat it, others in order to discover how to fly.” In our video installation on six screens, we use the method of juxtaposition to examine the tragic failure of the hero in cinema. We dissect film sequences; for instance, we reproduced the shot of one sequence on one monitor, and the counter-shot on a second monitor next to it. It turned out that with this act of unraveling and distribution the montage continues to retain its function, it’s impact. What we have here is a method of analysis that does not shift its object into the abstract or silence. And that is exactly what it comes down to: to analyze a bird in such a way that one learns how to understand its flight, and in doing so not dissecting it in such a way as if one wanted to eat it.
Montage is mostly examined in the encounter of two takes, and the ‘montage from a distance’ is taken into account far too seldom. The appearance of a take in a film makes reference to the previous take, often with reference to several similar or distinctly different earlier takes. For Feasting or Flying we assembled takes and sequences to produce one subject: a man who kills himself. One might say that with his suicide, the film makes up for what he lacks in intensity and expressivity as compared with the film woman.
We distribute motifs from a variety of films to several screens in the space: for example, the man who enters a room in order to be by himself, or the man who walks in silence and is followed by the camera because it wants to take up something that scarcely gives itself away - when the film narration poses a question. Distributing things throughout a space for the purpose of fixing it in someone’s consciousness is a cultural technique that was used by the ancient Greeks. We use it because we want to come to a new kind of film, one about a man who has used up all of his remaining freedom of action.
(Harun Farocki & Antje Ehmann)
Harun Farocki & Antje Ehmann, Proždirati ili letjeti | Fressen oder Fliegen | Feasting or Flying, 2008.
Produkcija | Produced by: Film-protufilm
Kustosica | Curator: Tanja Vrvilo
Umjetnička asistentica | Artistic assistant: Jasna Čagalj
Programske koordinatorice | Programme coordinators: Jasna Čagalj, Dina Pokrajac
Urednice programskih publikacija | Editors of programme publications: Dina Pokrajac, Tanja Vrvilo
Prijevod | Translation: Tanja Vrvilo
Dizajn publikacija i web stranice | Publications and web design: Gaetano Liberti
Kustoski savjetnik MSU | Curatorial adviser for a video installation at The Museum of Contemporary Art: Tihomir Milovac
Tehnička podrška MSU | Technical support MSU: Darko Čopec, Aleksandar Milošević, Zlatko Domić
Films, video installation, images and texts courtesy of | Filmovi, video instalacija, fotografije i tekstovi ljubaznošću: Antje Ehmann, Harun Farocki GbR
Program se odvija u sklopu projekta umjetničke organizacije Film-protufilm Serije za invizibilno kino i višegodišnjeg istraživanja Filmske mutacije za promišljanje modusa prijenosa filmskog dispozitiva u digitalnom dobu, kustosice Tanje Vrvilo. U fokusu ovogodišnjeg istraživanja je filozofija tehničkih slika i migrantska misao egzilskog mediologa Viléma Flussera, po uzoru na Farockijev filmski dijalog Schlagworte - Schlagbilder. Ein Gespräch mit Vilém Flusser (1986). | Programme is produced under the framework of Film-protufilm’s project Series for Invisible Cinema and a long-time research Film Mutations on the modes of migration of the cinematic dispositive in digital era, curated by Tanja Vrvilo. This year, our research focus is on the philosophy of the technical images and migrant thinking by Vilém Flusser, following Farocki’s film dialogue Catch Phrases - Caths Images. A Conversation with Vilém Flusser.
Partneri i suorganizatori | partners and co-organisers: Muzej suvremene umjetnosti Zagreb, Harun Farocki Institut, Harun Farocki GbR, Fundació Antoni Tàpies, Multimedijalni institut mi2, Kino klub Split.
Naše programe podržavaju | supported by: Hrvatski audiovizualni centar, Ministarstvo kulture RH, Ured za kulturu Grada Zagreba, Zaklada Kultura Nova.