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)
4.30 pm – 5 pm
„Ein Schiff mit Zähnen, das ist zum Gähnen.“ Harun Farockis Kurzdokumentarfilme für Kinder
Detlef Gericke-Schönhagen (director Goethe-Institut Boston/Vilnius)
5.00 pm – 5.30 pm
"Mein Einzelarbeitsplatz". Zu Harun Farockis Theorie der Produktion
Tom Holert (art historian, writer, artist, Berlin)
5.30 pm – 6.00 pm
Explode Explosion Eye
Hito Steyerl (writer, artist, Berlin)
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.
Detlef Gericke-Schönhagen has been director of the Goethe-Institut Boston since February 2009. From 1991 to 2002 he was director of the Goethe-Institut Göteborg, Sweden, and headed the programming department of the Goethe-Institut Jakarta, Indonesia. From 2003 to 2009 he served as head of the film department at the Goethe-Institut central offices in Munich, where he was responsible for coordinating the international film program. He studied at the Free University Berlin, the University of Toulouse Le Mirail and the University of Tübingen. Gericke-Schönhagen assumes the directorship of the Goethe-Institut Vilnius in 2015.
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).
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.