Harun Farocki’s Video Installations -Working with the Ambivalences of the Post-cinematic Conditions-
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This paper argues that Harun Farocki’s video installations result from his working with the ambivalences of the post-cinematic conditions. The first ambivalence is that the installations inherit the critical projects and aesthetic procedures of Farocki’s theater-based experimental documentary and essay film on the one hand while restructuring them in response to the new technical and experiential parameters of media installations in the gallery on the other. Farocki’s idea of ‘soft montage’ and his application of it to his video installations can be viewed as dealing with this ambivalence derived from the ‘relocation of cinema’ or ‘cinema of exhibition.’ The second ambivalence is that the electronic and digital images that Farocki’s installation investigate partly retain the conventions of photography and film on the one hand, but they construct a new mode of perception and a new world picture irreducible to the perception and representational paradigm of photography and film on the other. Examining the ways in which Farocki’s video installations perform the analysis and critique of these images, this paper demonstrates how they are predicated upon his concept of the ‘operational image’ as a set of images produced and circulated for specific functions and uses (thus devoid of the aesthetic and contemplative values in the photographic and cinematic imagery) in the post-cinematic conditions. Working with these two ambivalences of the post-cinematic conditions, Farocki’s video installations maintain his media-archaeological stance toward the origin of cinema while intervening in the operational images. This adds up to another ambivalence of the post-cinematic conditions that underlies his installation pieces.
Abstract
This paper argues that Harun Farocki’s video installations result from his working with the ambivalences of the post-cinematic conditions. The first ambivalence is that the installations inherit the critical projects and aesthetic procedures of Farocki’s theater-based experimental documentary and essay film on the one hand while restructuring them in response to the new technical and experiential parameters of media installations in the gallery on the other. Farocki’s idea of ‘soft montage’ and his application of it to his video installations can be viewed as dealing with this ambivalence derived from the ‘relocation of cinema’ or ‘cinema of exhibition.’ The second ambivalence is that the electronic and digital images that Farocki’s installation investigate partly retain the conventions of photography and film on the one hand, but they construct a new mode of perception and a new world picture irreducible to the perception and representational paradigm of photography and film on the other. Examining the ways in which Farocki’s video installations perform the analysis and critique of these images, this paper demonstrates how they are predicated upon his concept of the ‘operational image’ as a set of images produced and circulated for specific functions and uses (thus devoid of the aesthetic and contemplative values in the photographic and cinematic imagery) in the post-cinematic conditions. Working with these two ambivalences of the post-cinematic conditions, Farocki’s video installations maintain his media-archaeological stance toward the origin of cinema while intervening in the operational images. This adds up to another ambivalence of the post-cinematic conditions that underlies his installation pieces.
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