Harun Farocki, Filmmaker of Modern Life, Dies at 70
Harun Farocki,
an avant-garde German filmmaker and video artist whose work examined
the ways images are used to inform, instruct, persuade and propagandize,
died on Wednesday near Berlin. He was 70.
His death, from unspecified causes, was confirmed by the Greene Naftali Gallery in New York, which represents him.
Mr.
Farocki made more than 100 films, many of them short experimental
documentaries that explored contemporary life, and what he saw as its
myriad depredations — war, imprisonment, surveillance, capitalism —
through the visual stimuli that attend them.
Ruminative,
but with an undercurrent of urgency born of his longstanding social
engagement, Mr. Farocki’s films sought to illuminate the ways that the
technology of image-making is used to shape public ideology.
His
work, shown on European television, has also been the subject of major
exhibitions at the Museum of Modern Art in New York, the Tate Modern in
London and elsewhere.
Writing
about Mr. Farocki in 1992, The Los Angeles Times called him “surely one
of the most challenging, speculative and distinctive filmmakers ever to
confront an audience.”
Mr.
Farocki’s films were conspicuous assemblages, comprising found and
archival footage including surveillance tapes, home movies and corporate
training films. By juxtaposing such images, he sought both to highlight
their curious commonalities and to put his finger on the political
imperatives that lay beneath their flickering surfaces.
“Because
so many images already exist, I am discouraged to make new ones; I
prefer to make a different use of pre-existing images,” he said in a
2008 interview with The South China Morning Post in Hong Kong. “But not
every image can be recycled; a hidden value must pre-exist.”
For
Mr. Farocki, the welter of images to which modern viewers are exposed
constituted the accumulated patina of history. As a result, he was
concerned in particular with images born of social institutions —
footage from the workplace, the factory, the prison, the military arena,
the shopping center.
His best-known early film, “Inextinguishable Fire”
(1969), is a meditation on the United States’ use of napalm in Vietnam.
Little actual combat footage was employed; instead, Mr. Farocki
presented images suggesting the sterile offices of the Dow Chemical
Company, which manufactured napalm.
In
the course of the film, Mr. Farocki, on camera, stubs a cigarette out
on his arm. While a cigarette burns the skin at 400 degrees Celsius, he
tells the viewer, napalm does so at 3,000 degrees.
A 1988 film by Mr. Farocki, “Images of the World and the Inscription of War,”
explores the idea of the fatal blind spot. In that film, described in
2003 by The Globe and Mail of Canada as the director’s masterpiece, the
viewer sees what turn out to be aerial pictures of Auschwitz. Taken by
American fliers in 1944, the obscure, blurry images were not recognized
for what they were until long afterward.
In “I Thought I Was Seeing Convicts”
(2000), Mr. Farocki juxtaposes surveillance tapes of inmates at the
California State Prison in Corcoran with footage monitoring the ebb and
flow of consumers in a shopping mall.
The
son of an Indian father and a German mother, Harun El Usman Faroqhi was
born on Jan. 9, 1944, in Neutitschein (now Novy Jicin), in what was
then German-annexed Czechoslovakia; he simplified the spelling of his
surname as a young man. After the war, he and his family lived in India
and Indonesia before resettling in West Germany.
Mr.
Farocki, who was deeply influenced by Bertolt Brecht and Jean-Luc
Godard, studied at the German Film and Television Academy in West
Berlin. He began making films — from the very beginning, they were
non-narrative essays on the politics of imagery — in the mid-1960s.
While
Mr. Farocki’s early films were suitable for viewing on television or at
the cinema, his later works were often multiscreen installations best
experienced in museums or galleries. Among them was “Serious Games”
(2009-10), a four-part series documenting the use of computer games and
other forms of simulated reality in the training of American military
recruits.
Writing in The New York Times, Ken Johnson reviewed “Serious Games,” the centerpiece of MoMA’s 2011 retrospective “Harun Farocki: Images of War (at a Distance)”:
“Harun Farocki’s film and video work is almost too interesting to be
art,” Mr. Johnson wrote, adding, “Mr. Farocki’s focus on techniques of
simulation invites skepticism about the representation of reality in
general.”
Mr.
Farocki’s first wife, Ursula Lefkes, whom he married in 1966, died in
1996. His survivors included his second wife, Antje Ehmann, whom he
married in 2001; twin daughters from his first marriage, Annabel Lee and
Larissa Lu; and eight grandchildren.
A
resident of Berlin, Mr. Farocki was most recently a professor at the
Academy of Fine Arts in Vienna. From 1993 to 1999, he taught at the
University of California, Berkeley.
Though
many of Mr. Farocki’s films addressed deeply serious subjects, his work
was not without humor. This is perhaps nowhere more apparent than in
his 1990 documentary, “How to Live in the German Federal Republic.”
An
83-minute montage of scenes from actual training films made in the
western half of a divided Germany, it explores the idea of instruction
as a means of social control.
The
footage Mr. Farocki assembled ranges over seemingly every contingency
in many walks of life. Pregnant women are readied for childbirth,
children are taught how to cross the street, bank tellers learn how to
calm irate customers, and strippers are instructed in proper disrobing
technique.
He
interspersed these clips with industrial footage of inanimate objects
being “trained” — chairs, washing machines, cars and toilet seats taking
a beating in quality-control tests.
On the whole, Mr. Farocki’s film seemed to say, under the strains of modern life, the objects bear up better than the people do.
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