尤浩然,彩虹堂,荣威350-地图注册,双脚没到达一个地方,就解锁一处地图

《哈伦法罗基:图画搏击者》研讨系列之三

【劳作实践与直接电影】

2019年5月25日下午2-6点 放映+嘉宾对话

1995 《脱离工厂的工人》 36分钟

2009 《比照》 60分钟

影片放映继续到6月15日

开放时刻:每周三、五、六下午3-5点

举行安排:缓存空间

地址:北京朝阳区酒仙桥路4号798艺术区七星东街料阁子11号缓存空间

放映著作简介:

《脱离工厂的工人》

1995年,哈伦•法罗基在著作中挪用了1895年的一个电影场景,并在《工人脱离工厂》中经过不断的重复播映回溯了它在电影史中的进程。法罗基检索到的这个镜头被证明是一个十分重要的电影场景,它是一种目光绕开、忽视和监控的拍案叫绝的效果。正如最早的标题《卢米埃尔工厂大门》所示,穿戴夏装的女工、男工、办公室雇员、还有自行车和狗从工厂的黑私自涌入亮堂的阳光中并散开,有些人很快,有些人优柔寡断,进入工厂之外的开阔大街,走出屏幕之外。在谈到在剧情片和纪录片中为什么像星群相同重复这些印象,法罗基有用地列出了使这个主题成为前史言语的中心元素:假定从出产领域过渡到公共空间,而摄像机明显坐落工厂大门对面。

监控布置现已集成到场景中,运动被开麦拉录下来,但没有工人的运动。特别的场景在电影虚拟中吞噬了政治,尽管显现了民众向个人的改变,但他们经过制造进程所承问琴完整版受的损伤却并非如此。电影的政治要么被心情点着,要么底子没有。一遍又一遍地,电影聚集工厂前的方位,但回绝拍照作业自身。谈论指出,面向工厂的空间成为前史的直接舞台。但是,它坚韧地存在于电影故事中暗示了从前发生过某些作业的实际。整个图画中都弥漫着清楚明了的暴力,在工厂大门之前,预期的暴力会引起反抗、停工和奋斗的主意,而这一点实际上并不行见。反打镜头的缺席,不行见的剪接,镜头之间的距离和谈论的省掉提醒了这样的实际,即前史上一种代替的、失去的或许性:工人能够挑选留在工厂,挑选合适的技能条件,并以合理的办法重新分配出产。

在他的电影《工人脱离工厂》中,哈伦•法罗基调查了电影年代的政治回忆和联合,哪些档案次序能够从距离和缺失之中取得含义的重生,并安排起有用的图画?什么样的前史学是由一起躲藏和提醒的进程组成的?电影中的前史出现在视界的边际,至少工人还没有脱离电影院,乃至屏幕外的空间也与制造进程有关,今日,咱们才知道后来工人们去了公园。

乌特•霍尔

《比照》

修建环境是咱们社会政治实际结构中最直接、最实在的产品。在哈伦•法罗基的电影《比照》中,他批评性地研讨了导致其完成的杂乱操作和劳作进程。他调查了今世社会中非洲、印度和欧洲制造砖块的不同办法,拍照了20个不同砖块出产场所的多样化劳作实践。图画不只显现了手艺、工业制砖和技能缔造办法的差异,并且还调查了当地环境的差异。经过将图画并排放置(自身便是一个电影式砖构)来构建别的一个图画,法罗基精心洞悉了极点经济落差、文明对应和前史羁绊中不断改变的全球国际。

在布基纳法索的甘多,整个村庄社区,包含儿童,都在运用手艺泥砖缔造了一个医院;在印度孟买,艰苦深重的的半工业化混凝土出产首要由妇女来操作;法国里尔的一家工厂具有环形窑,其前史能够追溯到1945年,从那以后,它一向由摩洛哥工人运营。隔热粘土砖在德国的Dachau-Pellheim出产,蓝领工人在那里操作计算机运转的机器;在印度Toutipakkam,一群西方学生在研讨当地修建传统,一种令人震慑的劳作密集型经济形式;在瑞士苏黎世,机器人将数字图画打印成石头,全自动出产进程彻底没有人为干涉。

黑勒•派勒格

研讨会嘉宾简介:

刘伟伟

1988年出生于山东,现日子在市郊。艺术实践及项目多在社会空间与事情中打开。个展:稍息/2013 重庆;废途径/2014 上海;皮条/2015 上海;私人日子/2016 北京;不受欢迎的人/2017 上海等;参加的项目:居民/2016广州;一起飞/2015 甘肃;众泰方案/2015 西安;5+1=6/2014 北京;外省青年/2011~重庆等。

桑田

《燃点》双语杂志主编,1978年生于浙江,中文专业身世,曾留德学习艺术,做过画廊包养艺术家、家具规划、案牍、教师、画廊司理,2012年至今转型尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图任职于《艺术年代》《燃点》杂志,从事批评和编辑作业。首要重视体系批评及相关的社会艺术。

语境供给者简介:

马永峰

艺术家、语境供给者,现居柏林和北京。2009建议的Forget Art在不同性质的公共空间策划了一系列社会介入性项目,首要经过游击性、灵敏度和业余化的尽力,企图在日益死板的今世艺术体系之中制造边际和反抗。策展项目包含2010年的《地址:龙泉洗浴》;2011年的《游击旅居症》;最近策划的项目包含2017年的《数字采样者》,2018-2019年的《哈伦法罗基:图画搏击者》和2019年的《晶体化革新的残响》等。

吴小军

1988年结业于南京艺术学院,现日子作业于北京。90年代以来,他以多重身份游离于绘画、雕塑、拍照、文字、标语标语、举动、设备等多种艺术形状之中,并凭借很多的前史文献与政治社会事情,企图以自治的艺术主体建立新式思维舞台与社会模型,使其成为日常的美学举动。近期他的首要作业是以举动与对话的办法实践艺术作为一种解放力气的或许。

出品人:张禧纳

语境供给:马永峰、吴小军

调查和谐:傅镭

项目助理:王睿、张烁

安排安排:缓存空间

支撑安排:北京德国文明中心歌德学院

特别道谢:Harun Farocki GbR

研讨项目时刻:2018年12月22日-2019年6月16月

展映地址:北京朝阳区酒仙桥路4号798艺术区七星东街料阁子11号缓存空间

哈伦法罗基研讨项目简介:

哈伦法罗基:图画搏击者

Harun Farocki: Wrestling with Images

在20世纪60年代末高度政治化的文明环境中,德国电影制造人、艺术家和媒体理论家哈伦法罗基(Harun Farocki)开端拍照和制造电影,德国戏曲导演布莱希特(BertoltBrecht),哲学家阿多诺(Theodor Adorno)和法国电影导演戈达尔(Jean-Luc Godard)等西方马克思主义知识分子给予了他巨大的影响,法罗基终身致力于多元化的电影主题:政治散文、劳作实践和操作图画等。

哈伦法罗基以其清晰的政治散文电影而出名,他经过这些电影研讨了这些主题,一起也揭露地面临电影前言固有的压服性和操纵性。与散文电影的清晰性和激烈的作者声响构成鲜明比照的是,法洛基还运用了“直接电影”的类型,这种是一种十分“写实性的”的电影制造,其间电影制造者的观念很少被提醒出来。他的许多直接电影著作都不引人注意地调查媒体系作、训练课程和产品演示。在他后来的泽旺拉姆成婚的相片著作中,法罗基探究了他所谓的“操作图画”- 为军事和监督意图而创建的技能图画,这些图画不一定是为了公共消费。正如他所说,“这些是不代表目标的图画,而是操作的一部分。”经过这项作业,法罗基促进观众考虑视觉媒体在刻画咱们对自己和别人的了解中的强壮效果,以及将图画发送到国际的社会和政治体系。

研讨方案将从哈伦法罗基(Harun Farocki)1967-2012年之间的100多部电影著作之中精心挑选出7部在缓存空间内分3次进行研讨性放映,放映分为三个单元,分别为:政治散文与图画起义,操作图画与Verbund(一体化) ,劳作实践与直接电影,并在中心举行一次法罗基最终一件著作《平行I-IV》的展览,展览将会继续两个月。

哈伦法罗基(Harun Farocki)展览与电影放映排片表

展览:哈伦法罗基: 《平行I-IV》

展期:2019年4月13日- 6月15日

【政治散文与图画起义】

2018年12月22日下午2-6点放映+嘉宾对话(现已完毕)

正常放映时刻:12月22日-1月26日,每周五、周六下午3-5点

1969 《不灭的火》25分钟

1992 《革新录影纪事-齐奥塞斯库政权的溃散》106分钟

【操作图画与Verbund(一体化)】

2019年4月19日下午2-6点放映+嘉宾对话(现已完毕)

1988 《国际图画与战役铭文》44分钟

2003 《悠远的战役》58分钟

【劳作实践与直接电影】

2019年5月25日下午2-6点放映+嘉宾对话

1995 《脱离工厂的工人》36分钟

2009 《比照》60分钟

Wrestling with Image : Farocki Research Series 03

Harun Farocki’s Film Screening + Panel Discusssion:

Labor Practice and Direct Film

2-6 pm, May 25th, 2019, Screening + Panel Discussion

1995 Workers Leaving the Factory 36minutes

2009 In Comparison 60 minutes

The films will be on display till June.15th

Op妙巢胶囊ening Hours: 2-5 pm every Wednesday, Friday and Saturday, 3-5pm

Organizing Institution: Cache Space

Venue: No. 11, Liaogezi, Qixing East Street, No.4 Jiuxianqiao Road, Chaoyang District, Beijing

WORKERS LEAVINGTHE FACTORY

In 1995, Harun Farocki recalls a scene from 1895 and traces out its repetition over the course of film history:'Workers Leaving the Factory'. What Farocki retrieves proves this shot to be aprimal scene of cinema, as a spectacular effort of looking away, of ignoring, of overseeing. 'La Sortie Des Usines Lumir恐龙列车中文版全集es Lyon', as the original title goes, female workers wearing summer dresses, male workers, office employees, abicycle, and a dog emerge from the darkness of the factory into the bright sunlight and disperse, some quickly, some hesitantly, into open of the hors-champs, off screen. Referring to repetitions of this constellation infiction and documentary films, Farocki efficiently lists the尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图 elements that makethe motif a historical topos: the supposed transition from the sphere of production into publ钱守成ic space, while a camera is obviously located opposite the factory gate.

A deployment surveill炸芋球ance is integrated into the scene. Movement is re corded, but no worker's movement. The particular swallows the political in filmic fiction. While the transformation of people into individuals is shown, the damage they endure through procedures of production is not. The political the films is either ignited by affect or notat all. Again and again, cinema focuses on the location in front of the factory, but refuses to shoot work itself. The space facing the factory becomes something of a secondary stage of history, the commentary remarks. Yet its insisting presence in cinema's stories hints at the fact that something must have happened there once. Violence is insistent throughout the images. The violence that is expected at the factory gate evokes the idea of resistance,strike, and struggle, while none of this is act美豫5号ually visible. The missing counter-shot, invisible cuts, gap悲瑟独弦琴攻略s between shots and ellipses of commentary reveal the fact of an alternative, a missed possibility in history: the workerscould have chosen to stay at the factory, appropriate technologies and redistribute production in a reasonable way.

In his film 'Workers Leaving the Factory', Harun Farocki examines the politics memory and remembering in the age of the cinema. Which archival order can organize images which gain their meaning from gaps and lacks? What kind of historiography is made of processes that simultaneously hide and reveal? History in cinema appears at the margins of the field of vision. At least workers have not left cinema, and even theoff-screen space is related to the production process. Today, we know that they are off to a park.

Ute Holl

IN COMPARISON

The built environment is the most direct and tangible product of our social-political reality. The complex operations and activities that lead to its realization are critically examined in Harun Farocki's film 'In Comparison'. He observes the different ways in which bricks are manufactured in contemporary Africa, India and Europe, recording adiversity of labor realities in twenty different brick production sites. The images show differences not only in manual, industrial and technological building methods, but also in the local environments. By placing the imagesside by side (a filmic brickwork in itself) to construct another image, Farocki gives an elaborate insight into evolving global world of extreme economic contrasts, cultural correspondences, and historical entanglements.

In Gando (Burkina Faso) an entire village community, including children, build a hospital with handmade mud bricks. In Mumbai (India), back breaking semi-industrialized concrete production is carriedout mostly by women. A plant in Leers (France) with an annular kiln dates backto 1945; it has been operated by Moroccan workers ever since. Heat-insulating clay bricks are produced in Dachau-Pellheim (Germany) where a blue-collar worker operates computer-run machinery. In Toutipakkam (India) group of western students examine the local building tradition, striking economic model involving manpower only. In Zurich (Switzerland) a robot translates digital image into stone; the fully automatic production process does entirely without human interaction.

Hila Peleg

Panelists

Liu Weiwei

Bornin Shandong in 1988, he lives in the urban suburbs. Most of his art practices and projects are carried out in social spaces and initiated events. Solo exhibition including Stand at Ease / 2013 Chongqing; Waste route / 2014Shanghai; Pimp / 2015 Shanghai; Private life / 2016 Beijing; Unwelcome people /2017 Shanghai, etc. Participating projects: Residents / 2016 Guangzhou; Flying together /2015 Gansu; Zhongtai Project / 2015 Xi'an; 5+1=6/2014 Beijing; Provincial Youth / 2011 ~ Chongqing.

Sang Tian

Thee ditor-in-chief of "RANDIAN" bilingual magazine, born in Zhejiang in 1978, he majored in Chinese literature and also studied art in Germany, he has shared his time as a gallerist, furniture designer, secretary, teacher andgallery manager. Since 2012, he has worked in "Art Times" and"RANDIAN" Magazine, engaged in art criticism and editing. Mainly concerned with institutional c搞绵羊riticism and related social art.

Context Providers:

Ma Yongfeng

Artist, context provider, currently living in Berlin and Beijing. The self-organized Forget Art has curated a series of social intervention-based projects in different public spaces, 尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图mainly through guerrilla, flexible and amateurist action and mobilization which triesto create margin and resistance in the increasingly institutionalized contemporary art system. The curatorial projectsinclude Location: Dragon女人光滑 Fountain Bathhouse in 2010; Save Amateurism! and Guerrilla Living Syndrome: A Social Micro-practice of Alternative Living in 2011; Forget Art Fair curated in 2011 was featured in the cover of Journal of Curatorial Studies (Volume 4, Number1,2015) ; recently curated projects include Digital Samplers, orhu7923 A New Generation Dee尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图p Dive Into Internet Superposition in The Galaxy Museum of Contemporary Art in 2017 and Harun Farocki: Wrestling with Images in Cache Spacein 2018-2019.

Wu Xiaojun

Graduated from Nanjing Art University in1988 and currently lives and works in Beijing. Since 1990s, he has been separated his identities in painting, sculpture, photography, words, slogan, action, installation and other forms of art. With a large amount of historica ldocuments and political and social events he has tried to build autonomous art subjectivity with the new ideological stage and social model and make it to be a daily aesthetic action. His main job is to reconstruct ar尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图t as a emancipatory force in the form of action and dialogue in the near future.

Producer: Zhang Xina

Context Provider: Ma Yongfeng, Wu Xiaojun

Coordinator: Fu Lei

Project Assistant: Wang Rui, Zhang Shuo

Organizer: Cache Space

Supp曾飞洋orting Institution: Beijing German Cultural Center Goethe Institute China

我的金钱科技帝国

Special Thanks: Harun Farocki GbR

Project Date: December 22, 2018 - June 16,2019

Screening Venue: No. 11, Liaogezi, Qixing East Street, No. 4 Jiuxianqiao Road, Chaoyang District, Beijing

Harun Farocki : Cache Research Project Introduction

Harun Farocki : Wrestling with Images

German filmmaker Harun Farocki began making films in the late 1960s amid a highly politicized cultural milieu. Citing the influence of such Marxist cultural practitioners as theater director Bertolt Brecht, philosopher Theodor Adorno, and film director Jean-Luc Godard, Farocki consistently addressed two principal subjects: the practices of labor and the production of images.

Farocki is particularly known for his explicitly political essay films, through which he examined these subjects while also openly霍洛维茨在莫斯科 confronting the inherently persuasive, manipulative properties of the cinematic medium. In sharp contrast to the explicit natureand strong authorial voice of the essay film, Farocki also used the genre of directcinema, a kind of “fly-on-the-wall” filmmaking, in which the filmmaker’s point of view is rarely revealed. Many of his direct-cinema works unobtr御贡天朝usively observe media productions, training sessions, and product demonstrations. Inhis later works, Farocki explored wha尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图t he termed “operative images”— technical images created for military and surveillance purposes that were not necessarily intended for public consumption. As he phrased it, “[T]hese are images that donot represent an object, but rather are part of an operation.” With this work, Farocki prompts viewers to think about the powerful role of visual media in shaping our understanding of ourselves and others, as well as about the social and political systems that send images into the world.

Harun Farocki’s Exhibition & Film Screening Schedule

Exhibition: Harun Farocki: Parallel I-IV

Period: April 13th -June 15th, 201金梅瓶9

Exhibition Works: four-channel video installation "Parallel I-IV"

Harun Farocki Archives: Harun Farocki' s publications, catalogs, magazines, video collections, movie posters, etc.,

Political Essay and Image Uprising (finishied)

December 22, 2018, 2-6pm Screening + Panel Discussionalready fin冷傲居ished

1969 Inextinguishable Fire 25 minutes

1992 Videograms of A Revolution 106 minutes

Operational Image and Verbund

2-6 pm, April 1尤浩然,彩虹堂,荣威350-地图注册,双脚没抵达一个当地,就解锁一处地图9th, 2019, Screening + Panel Discussionalready finished

1988 Images of the World and the Inion of War 44 minutes

2003 War at a Distance 58 minutes

Labor Practice and Direct Film

2-6 pm, May 25th, 2019, Screening + Panel Discussion

1995 Workers Leaving the Factory 36 minutes

2009 In Comparison 60 minutes

缓存(CACHE)空间是在2016年10月创建的一个自发的非盈利艺术安排,安排坐落北京798艺术区料阁子,面积80平米。缓存空间致力于搜集、收拾、出现艺术实践中的“剩下”,freeforn并将其转化为“缓存”形式。首要经过放映、剧场、研讨驻留、语境供给、出书和在线播客等办法展现和传达我国和国际各地的试验急进艺术。

The CACHE space is a non-profit art space found in Beijing in October2016 which mainly focused on collecting, organizing, presenting the“哈利油传全集surplus” in contemporary artistic practice and turning it into a “cache”model. It is mainly dedicated to radical art in China and around theworld through screening, experimental theater, situation, paneldiscussion and online podcast, currently there is a 80 msq space inBeijing 798 Art District.

北京朝阳区酒仙桥路4号798艺术区

七星东街料阁子11号缓存空间

No.11, Liaogezi, Qixing East Road,798 Art District,

No.4, JiuxianqiaoRoad, Chaoyang District, Beijing, China

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