January 9, 1944: born in Nový Jicin (Neutitschein), born in Nový Jicin (Neutitschein), at that time Sudetengau, today Czech Republic. 1966 – 1968: Admission to the just opened Berlin Film Adacemy, DFFB. 1966 Marriage with Ursula Lefkes. 1968: Birth of the daughters Annabel Lee and Larissa Lu. 1974 –1984: Author and editor of the magazine Filmkritik , Munich. 1998 – 1999: Speaking about Godard / Von Godard sprechen, New York / Berlin. (Together with Kaja Silverman). 1993– 1999: Visiting professor at the University of California, Berkeley. 2001: Marriage with Antje Ehmann. Since 1966 more than 100 productions for Television or Cinema: Children's TV, Documentary Films, Essay Films, Story Films. Since 1996 various solo- and group exhibitions in Museums and Galleries. 2007: with Deep Play participation at documenta 12. Since 2004 Visiting Professor, 2006 - 2011 full Professorship at the Academy of Art, Vienna. 2011 – 2014: longterm project Labour in a Single Shot, together with Antje Ehmann. July 30, 2014: died near Berlin.
1944年1月9日生於新伊欽（Nový Jicin/ Neutitschein)——當時的蘇德臺地區，今天的捷克共和國。1966 - 1968年考入剛剛開辦的柏林電影學院(DFFB)。1966年與厄休拉·萊弗克斯(Ursula Lefkes)結婚。1968年女兒安娜貝爾·李(Annabel Lee)和拉裏薩·盧(Larissa Lu)出生。1974 - 1984年擔任慕尼黑電影雜志的作者和編輯。1998 - 1999年《談論高達》(Von Godard sprechen)，紐約/柏林(和Kaja Silverman一起合著)。1993 - 1999加州大學伯克利分校客座教授。2001年與安特耶·艾曼(Antje Ehmann)結婚。自1966年以來，産出100多部電視或電影作品:兒童電視、紀錄片、散文電影、故事電影。自1996年起曾在各地博物館及展覽館舉辦各類個人及團體展出。2007年其作品《Deep Play》參與第12届文獻展。自2004年擔任客座教授，2006年至2011年在維也納藝術學院作擔任教授。2011年至2014年他與安特耶·艾曼(Antje Ehmann)發起了“關於勞動的長鏡頭”工作坊項目。2014年7月30日於柏林去世。
Screening List
放映列表
I Thought I was seeing Convicts
我想我看到罪犯
Original title片名: Ich glaubte Gefangene zu sehen
Director and scriptwriter導演和編劇: Harun Farocki
Researcher and cinematographer研究員和攝影師: Cathy Lee Crane
Editor剪輯: Max Reimann
Sound音響: Luis Van Rook
Production製片: Harun Farocki Filmproduktion, Berlin, Generali Foundation, Vienna with support from ZDF/3sat, Mainz Inge Classen, Movimento, Paris Christian Baute
Format格式: BetaSp (double projection), col. 23 min. (Loop), Germany 2000
First screening首映: International Festival Locarno, 6.08. 2000 Note Single-channel-version available
Images from the maximum-security prison in Corcoran, California. The surveillance camera shows a pie-shaped segment: a concrete-paved yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend a half an hour a day. A convict attacks another, upon which those uninvolved lay themselves flat on the ground, their arms over their heads. They know what comes now: the guard will call out a warning and the fire rubber bullets. If the convicts do not stop fighting now, the guard will shoot for real. The pictures are silent, the trail of gun smoke drifts across the picture. The camera and the gun are right next to each other. The field of vision and the gun viewfinder fall together…
加州最高安全等級監獄的畫面。監控錄像出現一些重叠的片段: 一個鋪著水泥地面的院子裏，穿著短褲的囚犯們(大部分都沒穿上衣)被允許每天在這裏呆上半個小時。一個犯人攻擊了另一個犯人，與他無關的人都平躺在地上，手捂著頭。他們都知道現在會發生什麽事: 警衛會發出警告並發射橡膠子彈。如果罪犯們現在不停止打鬥，警衛們就會開真槍。畫面寂靜無聲，槍彈的烟霧在畫面中飄過，相機和槍緊緊偎著，視野和槍的瞄準器交織…
The Silver and the Cross
銀．十字架
Original title片名: Das Silber und das Kreuz
Concept and realisation概念和實現: Harun Farocki
Image影像: Ingo Kratisch
Editing編輯: Christine Niehoff
Post Production, management, sound後期製作、管理、音響: Matthias Rajmann
Narration旁白: Cynthia Beatt
Translation翻譯: Michael Turnbull
Production製片: Harun Farocki Filmproduktion, Berlin Format video (double projection), color, sound, 17 min. (Loop), Germany 2010
Produced for the exhibition展覽製片: The Potosí Principal, curated by Alice Creischer, Max Jorge Hinderer and Andreas Siekmann
Venues場館: MNCARS – Museo Nacinal Centro de Arte Reina Sofia, Madrid / Spain; HKW – Haus der Kulturen der Welt, Berlin / Germany; Museo Nacional de Arte and Museo Nacional de Etnografía y Folklore, La Paz / Bolivia
The work examines the painting Depiction of the Cerro Rico and the Imperial City of Potosí (Oil on canvas, 262 x 181 cm) by Gaspar Miguel des Berrío, 1758, in the Museo Colonial Charcas de la Universidad San Francisco Xavier, Sucre / Bolivia.
此作品考察了Gaspar Miguel des Berrío (1758年)在玻利維亞蘇克雷市Museo Colonial Charcas de la Universidad San Francisco Xavier博物館的畫作《Cerro Rico and the Imperial City of Potosí》(布面油畫，262 x 181 cm)。
In-Formation
知．訊
Original title片名: Aufstellung
Director, scriptwriter導演、編劇: Harun Farocki
Idea, researcher想法、研究員: Antje Ehmann
Researcher研究員: Matthias Rajmann
With support from支持人員: TRANSIT MIGRATION, Kulturstiftung des Bundes
Production製片: Harun Farocki Filmproduktion, Berlin Format DV, b/w and col., 16 min. (Loop), Germany 2005
Note注釋: video produced for art spaces
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.
用來代表消費者購物、養老金赤字或移民的圖表都是過時的，它們讓人回憶起了19世紀的政治寓言。無論是象形文字還是簡單的條形圖或餅狀圖，他們的抽象都表現出一種令人感動的無能爲力。我們從報紙、學校教科書和官方出版物中收集圖表作爲實例，並運用它們來重建德意志聯邦共和國的移民歷史。因此，我們所尋求的是一種對移民呈現方式的概念性批判，將這些圖標和符號追溯回它們的起源，並審視他們自己所不知道的內容。
