A desmontagem do cinema e o arquivo visual nas videoinstalações de Harun Farocki

Abstract

This dissertation aims to analyze two video installations of Harun Farocki’s late work, Workers Leaving the Factory in Eleven Decades (2006) and Parallel I-IV (2012-2014). During this period, which occurred between the 1990s and mid-2010s, Farocki began moving away from the traditional space of cinema as the only means of exhibition and migrated to the contemporary art circuit. From this turn, which occurred with the debut of the video installation Interface (1995), Farocki’s production turned to video installation works that are part of the debates on the transformations of cinema in the field of contemporary art. In this sense, the analysis of Workers Leaving the Factory in Eleven Decades (2006) proposes a constellation view of cinema by comparing different representations of workers in their workplaces over eleven decades based on an open montage on several screens in the exhibition space. The Parallel I-IV series (2012-2014) studies video game archives and analyzes the visual construction of game elements. Furthermore, it makes relationships between the different paradigms of image production that involve paintings, the cinematographic images produced by the photographic recording device and the images programmed by the computer. The proposal is that through the analysis of each video installation, it is possible to understand the way in which Harun Farocki produces a critique of images through the reframing of cinema, editing and visual archives.