Where Farocki’s works are meditative, Steyerl’s are bold and loud — which would make for an interesting juxtaposition if the selected works didn’t feel so at odds with each other.
Through a wide range of artist projects and programs, Re:Working Labor asks us to locate our respective places in the global labor chain.
Several films at the Open City Documentary Festival unseat normal notions of “real” and “fake” in nonfiction.
A group show featuring the likes of Jenny Holzer and Harun Farocki frames the dystopian world of 1960s British TV show The Prisoner as a harbinger of 21st-century surveillance capitalism.
SAN FRANCISCO — I will admit that it had been a long day filled with mundane tasks — conference calls, email catch-up, copyediting — when I wandered into the exhibition Office Space, currently on view at Yerba Buena Center for the Arts.
BOSTON — Two factory doors swing open and a rabble emerges. French workers literally stream out into the world in a seemingly choreographed departure after a long day at work.
Last month, German filmmaker and artist Harun Farocki died at the age of 70. Farocki made films that were unabashedly political yet remarkably reserved.