Harun Farocki – Film Night on the Topic of Labour

Film screening 22.04.17, 9 pm

can herpes itch without lesions Harun Farocki
online dating price comparison Film Night on the topic of Labor

Saturday, April 22, 2017, 9 pm
Münchner Kammerspiele, room 2

Harun Farocki, who died far too early two years ago, was the leading figure in a scene composed of film makers and intellectuals that formed in Europe in the context of the explosive political debates at the end of the 1960s. This turbulent period not only saw the emergence of the production model film maker/auteur, but also gave rise to the question of cinema’s analytical framework with respect to socio-political events.

The works selected for the film night and the two discussions between the curator, author, and artist Antje Ehmann and the media analyst Rembert Hüser explore Farocki's continued analysis of the changing modes of wage labor, production, and consumption. In light of the current dissatisfaction with international working practices and the mass displacement of workers occurring everywhere under the cloak of globalization, Farocki's precise considerations on the essence of human and social trade appear more relevant and dynamic than ever.

The Harun Farocki Film Night has been organized in the context of Haus der Kunst’s exhibition "Harun Farocki: Counter Music" and is a cooperation with the Münchner Kammerspiele and KINO DER KUNST.

Tickets: 6 € / reduced 4 € 
Tickets are available online on the website of Münchner Kammerspiele as well as at the box office at Haus der Kunst.


– As You See, 1986, 72 min., German with English subtitles

– Antje Ehmann and Rembert Hüser

– Jean-Marie Straub and Daniéle Huillet at Work on a Film Based on Franz Kafka's Novel Fragment "America", 26 min, German with English subtitles
In-Formation, 16 min., German with English subtitles

– Antje Ehmann and Rembert Hüser



As you see, 1986
My film As You See is an action-filled feature film. It reflects upon girls in porn magazines to whom names are ascribed and about the nameless dead in mass graves, upon machines that are so ugly that coverings have to be used to protect the workers' eyes, upon engines that are too beautiful to be hidden under the hoods of cars, upon labor techniques that either cling to the notion of the hand and the brain working together or want to do away with it.

My film As You See is an essay film. The contemporary opinion industry is like a huge mouth, or maybe a paper shredder. I compose a new text out of these scraps and thus stage a paper-chase. My film is made up of many details and creates a lot of image-image and word-image and word-word relationships among them. So there's a lot to chew on. I searched for and found a form in which once can make a little money go a long way. (Harun Farocki)

popular cam girl Jean-Marie Straub and Daniéle Huillet at Work on a film based on Franz Kafka's "Amerika", 1983
This film is at once a self-portrait and an homage to Jean-Marie Straub, Farocki's role model and former teacher at the Film Academy. Farocki's admiration for Straub was so great that he said of Between Two Wars: "Perhaps I only made this film to earn Straub's recognition."

In this observation-driven film Farocki documents the fulfillment of his wish.The film shows Farocki, under Straub's direction, rehearsing for his role as Delamarche in the film Klassenverhältnisse (1983). Anyone who has seen Farocki's documentary of the shoot will never forget these short scenes.The directing technique of Jean-Marie Straub and his wife Daniele Huillet is so repetitive and detail-obsessed that the performers are made to rehearse the scenes to the point of exhaustion.

Straub manages his actors like a theater director.The very fact that it is unusual among filmmakers makes it well worth having captured Straub's working methods on film. Farocki filmed a work of resistance against traditional cinema, against which his own films rebel.
(Tilman Baumgärtel)

In-Formation, 2005
The diagrams used to help represent consumer shopping baskets, the pensions deficit or migration are anachronistic, they hark back to nineteenth century political allegories. Whether pictographs or simple bar or pie charts, their abstractions all display an impotence that is touching. We took examples of diagrams gleaned from newspapers, school text books and official publications and used them to reconstruct the history of migration in the Federal Republic of Germany. What we are seeking, therefore, is a conceptual critique of the ways in which migration is presented, pursuing the icons and symbols back to their origins and examining them with regard to content they themselves are unaware of.  (Harun Farocki)


Antje Ehmann 
Antje Ehmann is a curator, author and artist. She lives and works in Berlin.
Among her curatorial projects: Harun Farocki. Empathy (with Carles Guerra), Fundació Antoni Tapies, Barcelona 2016 | Harun Farocki. What is at Stake (with Carles Guerra), Institut Valencia d’Art Modern, Valencia 2016 | Labour in a Single Shot, Venice Biennale, Venice 2015 (and in many other cities world wide) | Harun Farocki. 4 films from 1967-1997. An Homage, Angels Gallery Barcelona 2014 | Harun Farocki. 22 films, (with Stuart Comer & Kodwo Eshun), Tate Modern, London 2009.

Among her artistic projects: How shall I name what I am missing? (with Jan Ralske), Forum Expanded 2015 | War Tropes, (with Harun Farocki), Gorki Theater, Berlin 2011 | Feasting or Flying (with Harun Farocki), Moderna Galerija Ljubljana, Ljubljana 2009.  Her most recent publications include: Harun Farocki, Lo que está en juego (with Carles Guerra), Institut Valencià d’Art Modern, 2016 | Harun Farocki, Another Kind of Empathy (with Carles Guerra), Cologne 2016 | Serious Games. War – Media – Art (with Ralf Beil), Ostfildern 2011 | Harun Farocki. Against What? Against Whom? (with Kodwo Eshun), Cologne 2009 | Amos Gitai. News from Home (with Katharina Fichtner & Anselm Franke), Cologne 2006 | Geschichte des Dokumentarischen Films in Deutschland, Vol. 2, Weimarer Republik (with Jeanpaul Goergen & Klaus Kreimeier), Stuttgart 2005.

Rembert Hüser
Rembert Hüser is a Professor of Media Studies at the Goethe University Frankfurt since 2014. He has been the Max Kade Visiting Professor of German Studies at Brown University during 2016 spring term. Prior to this, he taught Film and Media Studies at the University of Minnesota in the Departments of German, Scandinavian & Dutch and Cultural Studies & Comparative Literature. His most recent publications are on on the Abu Goat Map of the Goat Simulator, musical scores and spray cans in the Peanuts and Adorno, cybernetics in James Bond title sequences, Kafka and what is left of the stolen Mona Lisa at the Louvre, the second part of manifestos, and video installations in petting zoos.

Year of Production: 2005; Reproduction Courtesy of: Harun Farocki
Year of Production: 2005; Reproduction Courtesy of: Harun Farocki
"Jean-Marie Straub und Danièle Huillet bei der Arbeit an einem Film nach Franz Kafkas Romanfragment 'Amerika'" ("Jean-Marie Straub and Daniéle Huillet at Work on a film based on Franz Kafka's 'Amerika'") © Harun Farocki, 1983
Photo: "Wie man sieht" ("As you see") © Harun Farocki, 1986
Photo Portrait Harun Farocki, Copyright/Author: Hertha Hurnaus; Year: 2007
Photo Portrait Harun Farocki, Copyright/Author: Hertha Hurnaus; Year: 2007
Photo Portrait Harun Farocki, Copyright/Author: Hertha Hurnaus; Year: 2007
Photo Portrait Harun Farocki, Copyright/Author: Hertha Hurnaus; Year: 2007
Photo: Harun Farocki at the  51st Festival del film Locarno © Festival del film Locarno 1998
Photo: Harun Farocki at the 51st Festival del film Locarno © Festival del film Locarno 1998

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