The exhibition "Harun Farocki. Installations and Films" provides an overview of his complex conceptual universe, which revolves around uncovering the ideological processes that the production and reception of images entail. "From a Time to Now": without an environmental or activist claim, this project arises a personal reflection on the relationship between the natural environment of La Boca. The fourth edition of Artists' Film International presents an overview of film, video and animation. Installations by Edgardo Rudnitzky, Mariano Sardon, Mariela Yeregui.
Harun Farocki. Installations and Films
Starting on Saturday, February 2, 2013, Fundación Proa and the Goethe-Institut are presenting the first solo exhibition of artist Harun Farocki in Argentina. Entitled Harun Farocki, the show consists of five video installations produced from 2002 to 2012 and a film series with premier screenings of his last three productions. The exhibition provides an overview of Farocki’s complex conceptual universe, which revolves around uncovering the ideological processes that the production and reception of images entail. In March, Farocki will visit Buenos Aires to give a workshop at the Universidad del Cine and to present his most recent book of essays, Desconfiar de las imágenes [Distrust of Images, Caja Negra Editora]. He will also give a public interview on his audiovisual work at the Proa auditorium.
Organized by the Goethe-Institut Buenos Aires and Fundación Proa, Harun Farocki is sponsored by Tenaris–Organización Techint.
Harun Farocki (Germany, 1944) is considered one of the most radical artists active today. His work revolves around an analysis of the audiovisual representations and images produced by contemporary society. In more than one hundred films, productions for television, videos, installations and essays, Farocki has attempted to reveal the forms of power involved in the production, register and consumption of images from the beginning of film history through video games and virtual reality. Farocki the narrator disappears behind images; rather than explain, he makes visible that which the image conceals.
The exhibition presents five installations that Farocki has made in the last decade. In gallery one, the work Eye / Machine II (2002, 15 min.) makes use of a vast repertoire of historical and current images of war, as well as images recorded by cameras installed in missiles, and video simulations. Presented in two synchronized videos, the virtual images as well as the images recorded on the battlefield throughout history interrogate their own power in constructing and waging war.
Workers Leaving the Factory in Eleven Decades (2006, 36 min.), The Silver and the Cross (2010, 17 min.) and Parallel (2012, 17 min.) are on exhibit in gallery two.
Workers…, one of Farocki’s most emblematic works, consists of twelve screens that show different representations of workers throughout the history of film. The theme is always the same: scenes of workers leaving the factory. The question of work is also present in The Silver and the Cross, in which Farocki minutely examines a painting by Gaspar Miguel de Berrío from 1758 that depicts silver being removed from a mine in Potosí. The film compares living conditions in Potosí in the 18th century and the city today. Parallel—Farocki’s most recent video installation—is an essay on the status of computer-animated images. If film and photography interrogated the possibility of representing reality, are digitally generated images capable of surpassing “reality” itself?
Serious Games III: Immersion (2009, 20 min.), the work in the exhibition’s final gallery, shows a research center dedicated to treating soldiers suffering from post-traumatic stress due to the war in Iraq. The patients recreate the extreme situations they experienced using computer-generated images. Immersion ultimately questions the possibility of recreating and even replacing images from memory by means of virtual-reality technologies.
At the invitation of the Goethe-Institut, Farocki will visit Argentina in March, when he will hold a public interview. In conjunction with Antje Ehmann, he will also direct the workshop “El trabajo en una sola toma” [Work in Just One Take] at the Universidad del Cine and launch his most recent anthology Desconfiar de las imágenes [Distrust of Images, Caja Negra Editora], which compiles essays written from 1980 to 2010.
Goethe-Institut Buenos Aires
From a Time to Now
Curator Olga Martínez
Coordinator Santiago Bengolea
Without an environmental or activist claim, this project arises a personal reflection on the relationship between the natural environment of La Boca, the architectural program of Fundación Proa and the synergy they establish, as a contemporary art center.
In the meeting with the artists Pablo La Padula, Ariel Montagnoli and Silvia Rivas these first questions came toward the project’s proposal: activate a dialogue between Fundación Proa and the outside, referring to the paradox of the "natural outside / unnatural inside ".
The three aforementioned artists build their story and their art programs in the apprehension of nature. Plants, insects, water, man as part of a continuous fabric, are the focus of their practices, inquiries and metaphors.
With the support of Tenaris – Organización Techint
Artists’ Film International
Now in its fourth edition, Artists’ Film International presents an overview of film, video and animation production by international artists. An initiative of Whitechapel Gallery, London, the works are selected by eleven institutions from around the world. Formerly called Art in the Auditorium, the series has changed its name to reflect the vague boundaries between audiovisual productions and the ways those productions are exhibited.
Artists’ Film International opens on February 2, 2013. The event, which is sponsored by Tenaris – Organización Techint, will continue throughout the month of February at Proa’s Auditorium.
As in previous years, for this edition of Artists’ Film Internationaleach participating institution engages in an independent process to select the work of an artist. Together, the works provide a diverse overview of the narrative possibilities of independent audiovisual work and reveal conceptual and formal experimentation in contemporary video, film and animation.
Common to works by Alejandro Cesarco, Gianluca and Massimiliano De Serio, and Aleksandar Jestrovic Jasmedin is a reflection on the ideas of migration, displacement and journey in individual stories interlaced with socio-economic and political conditions.
Works by Liu Chuang, Anetta Mona Chisa and Licia Tkacova, Dan Finsel and Sriwhana Spong deal with performance, from urban interventions to early 20th-century dance, pop culture and revival.
Collective memory in relation to stories both political and personal is the concern of works by Ben Hagari, Sefer Memisoglu and Nguyen Trinh Thi.
As part of this edition, Proa has selected two works by Alejandro Cesarco (Montevideo, 1975): Everness (2008, 12 min.) and Zeide Isaac (2009, 6 min.). In Everness, Cesarco explores the end of youth and the loss of innocence through a free interpretation of a scene from James Joyce’s The Dead. In the film Zeide Isaac, the artist’s grandfather recounts his experience as a Holocaust survivor. The story, which was written by Cesarco, addresses the gap between an actual event and how it is told, remembered, attested to and rewritten.
The following institutions and artists were invited to participate in the fourth edition of Artists’ Film International:
Ballroom Marfa, USA / Dan Finsel
Belgrade Cultural Center, Serbia / Aleksandar Jestrovi Jamesdin
City Gallery, New Zealand / Sriwhana Spong
Fundación Proa, Argentina / Alejandro Cesarco
GAMeC, Italy / Gianluca and Massimiliano De Serio
Istanbul Modern, Turkey / Sefer Memişoğlu
Neuer Berliner Kunstverein Video Forum, Germany / Anetta Mona Chişa and Lucia Tkáĉova
New Media Center, Israel / Ben Hagari
Para/Site, China / Liu Chuang
San Art, Vietnam / Nguyên Trinh Thi
Whitechapel Gallery, United Kingdom / Corin Sworn
Artists’ Film International is organized by Whitechapel Gallery.
Sponsored by Tenaris – Organización Techint
by Edgardo Rudnitzky / Mariano Sardón / Mariela Yeregui
Assessor: Rodrigo Alonso
Edgardo Rudnitzky. "Nocturno"
Artist and composer Edgardo Rudnitzky presents Nocturno, a sound installation for 15 monochords, making up a mechanical and randomized composition, with no human or electrical intervention.
Mariano Sardón, "200 miradas recorriendo sus rostros"
Using a device that records the eye movements, artist Mariano Sardón produced a set of video objects based on the looks of different observers on a series of faces.
Mariela Yeregui, "Octópodos sisíficos"
Octópodos sisíficos (Sisyphean Octopods) is a work composed of six mobile robotic beings provided with small LCD screens. The videos show inner visceral images: human organs pumping, throbbing, etc.
Image: Harun Farocki
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Opening: Saturday, February 2, 2013
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