Exhibition curated by Vjera Borozan.
In cooperation with Antje Ehmann and Harun Farocki.
Farocki’s work has influenced many avant-garde filmmakers artists
and media theorists. Viewers in the Czech Republic have already had
a chance to see three of Farocki’s films presented by tranzit and the
audiovisual programme. Some of the artist’s work was also presented
in a documentary festival in Jihlava and in the Moravian Gallery in
Brno. In tranzitdisplay we will have the first opportunity also to see
Farocki’s elaborate video installations.
The pivotal theme of his works, which the artist himself most
accurately defines as “film essays” or a certain “form of intelligence,”
is the process of creation and reproduction of images. By means of
a specific type of montage, he combines archive film images with his
own film footage and accompanies the whole with commentary. With
a singular analytical method (inspired by B. Brecht, W. Benjamin,
V. Flusser, S. M. Eisenstein, A. Kluge, J. L. Godard and others) he
employs film material as a tool for examining both pictorial and
social structures. others into a new whole, by means of which he contemplates the
history and possibilities of cinematography, as well as industry
and the value of human labour. Because the process of labour is
in itself insufficiently attractive as a subject for film and is carried
on in concealment, behind gates, the space in front of the factory
gates becomes a specific place of transformation. For the most part
it is a place where “other” stories begin. In the words of the author:
“Where work ends, the film begins.” The workers emerging from the
factory, then, represent on the one hand visible human movement,
and on the other the absent and invisible movement of goods, money
and ideas circulating in industry.
On the method of construction of Griffith’s films 9 min. 2006
This video installation for two monitors is based on selected
sequences of D.W. Griffith’s film “Intolerance” (1916). During his
