NICHT löschbares Feuer

04 / 11 / 01 - 14 / 12 / 01
Exhibition / Screening

NICHT löschbares Feuer
curated by Constanze Ruhm

On Jill Godmilow including:
Why I repeated Farocki...
Correspondence between Jill Godmilow and Harun Farocki...
on NICHT löschbares Feuer (Inextinguishable Fire)...
Jill Godmilow : On Farocki's Strategies: The Technique and Structure of Inextinguishable Fire...
Other films by Jill Godmilow...

Tom Gunning on What Farocki taught
Synopses of Harun Farocki's works available in the video section
A Conversation between Anna and Robert


Productions from Harun Farocki

(originally16mm transfer to DVD, color, 1975, 58 min.)

The film deals with issues of interdisciplinary, on ideas for fictitious research projects, and film understood as a research device that allows for people from various backgrounds to meet in order to explore new fields. It is spontaneous and non-dogmatic combinations of subjects, disciplines and narrations.

Die Schulung
(Video, color, 1987, 44 min.)th

A film on a management class. The goal is to learn how to sell one's self better. Participants practice the basic laws of dialectics and rhethorics, train body language, gestures and mimics. To sell an object has always been the principle of the mercantilist act. The idea of offering one's self has been improved to a level of perfection through the relation of psychology and modern capitalism.

Die Umschulung
(Video, color, 1994, 44 min.)

Die Umschulung is a pedagogical film about how to achieve inner unity. A conversation during instruction that is supposed to outline the principles of sales promotion is promoting itself. " 'I' is nothing. The 'Other' is everything. It is only the Other that counts. You will have to change your life:" But this kind of submission aims only at the goal of overpowering the other through finishing business.

(Video, color, 1995, 23 min.)

The Musée d'Art Moderne in Lille commissioned Harun Farocki to create a work ON his work. The artist developed an installation to be seen on two screens which was on display for the show "Die Welt nach der Photographie" in 1995.The film Schnittstelle emerged from this installation. Farocki investigates the issue of what it means to use found footage, found images, existing material as opposed to the practice of creating new images. The title relates to the means of production of a filmmaker (the editing table) as well as to the notion of human-computer-interface.

Arbeiter verlassen die Fabrik
(Video, color and b/w, 1995, 36 min.)

For more than one year I was looking for as many as possible a variety of this film's one motive: workers leaving a factory. I have found materials in documentaries, industrial and propaganda films, in newsreel footage and in feature films. The very first camera in the history of film was aimed at a factory. (H.F.)

Der Ausdruck der Hände
(Video, color and b/w, 1997, 29 min.)

A hand is a metaphor for touch - cinema has to transform all kinds of perceptions into a gaze. Film history's first close up's were interested in the human face. Later on, it was the hands that attracted attention. Hands often reveal what a facial expression tries to deny - a hand crushing a glass for example, while the face does not show any signs of excitement. (...) Who and what a human being is can be seen in their face, this is where one also looks for the soul. What remains for the hands is a drive, an instinct. (...)

Die Bewerbung
(Video, color, 1997, 58 min.)

Students, school leavers, re-trainées, long term unemployed, former junkies and guys from the middle level of management: all of them are supposed to learn how to offer themselves, how to sell themselves. This is what the term 'Self Management" means. The job interview should give an idea of the whole person, not only their appearance. (...)

Worte und Spiele
(Video, color, 1998, 68 Min.)

The new industry branches of game and talkshows draw from one main resource material: the average person. It is material cheap to get and it wants to appear, but is there something to see ? (...) If cinema creates dreams, it is TV that creates reveries.

(Video, color and b/w, 2000, 60 Min.)

Farocki's materials convice through location and through the nature of the gaze: prisons, asylums, institutions. Scenes from feature films, documentaries and propaganda films emphasize the role of the prisoner as an outsider, a potentially violent person, and a perpetrator, as someone who is eventually mentally disturbed. The largest part of this film shows how people are turned into convicts.

Die Schöpfer der Einkaufswelten
(Video, color, 2001, 70 Min.)

To shop is an act of daily life, self evident, unavoidable. To enter a mall turns into a journey into hell or to a redeeming Last Supper. This is an experience common to everyone. Planners, managers, and scientists construct malls. There are counselors, Relaunch-Analsysts, a central committee, mall-journals, plus an annual congress in Las Vegas, including 6000 participants as well as researchers. Farce's film attempts to give an idea of what a mall is - and magically charges images of mundane, popular culture.

Peter Lorre - Das doppelte Gesicht
(16 mm, color and b/w, 1984, 59 Min.)

Farocki is a precise analyst in the field of film history as well. It is hard to ignore his stunning and acute conclusions. In this biographical work on an actor he relies on the images more than on words. His commentaries are concise. The images speak by themselves and within this context are able to reveal their depth.