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This programme has been organized in collaboration with Kutxa Fundazioa, in dialogue with their exhibition The Harun Farocki Effect. It revisits two of Farocki’s most significant installations: one on the pursuit of naturalism in computer games, and the other on the training of therapists treating soldiers traumatized in the Iraq War. 

\n\n

Parallel, Harun Farocki, Germany, 2010-2014, 45’

\n\n

This four-part series explores the genre of computer-animated imagery. Computer animations are currently becoming a dominant model, surpassing cinema. In film, there is the wind that blows and the wind produced by a machine. Computer images do not have two types of wind. Parallel opens up a history of styles in computer graphics. The first games of the 1980s consisted only of horizontal and vertical lines; this abstraction was considered a flaw, whereas today’s renderings strive for photorealism.

\n\n

Serious Games, Harun Farocki, Germany, 2010-2014, 45’

\n\n

In the autumn of 2009, Harun Farocki filmed a simulation at the 29 Palms Marine Corps Base in California. Four Marines sat in a classroom representing a tank crew. Using laptops, they navigated their vehicle while seeing other unit members driving through a computer-animated landscape. The simulated Afghanistan was based on real geographic data from the country.

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Artistic research project and community archive on forced migration, collective memory, and institutional counter-narratives.

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Nabil Aniss is a filmmaker whose practice explores the complex relations between political liberation, insurrection, and the mystical rituals of Morocco's Brotherhoods.

\n\n

Aniss whose filmmaking interweaves documentary, poetry, archival found material and his own shot images, which collectively explore the transformative power of sounds, movements, trances, and self-mutilation in shaping marginalised individuals into catalysts for sedition and liberation, awakening exhausted and fragmented diasporic bodies into a collective consciousness primed for political action.

\n\n

Through his work and research, he captures the politics of liberation through documenting Brotherhoods such as Gnawa, Hmadcha, Jilala, and Issawa—communities descended from West African enslaved people forcibly brought to Morocco.

\n\n

As a child, Aniss attended Gnawa rituals, where dance, music, trance, and self-mutilation intertwined suffering with the sacred.
\nHis video practice offers an intimate glimpse into the Brotherhoods' imaginaries, proposing an affective and conceptual framework where the anguish and sorrow of the oppressed individual become an aesthetic force that paves the way for liberation.

\n\n

 

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She works as an editor, teacher and archivist. From an early age her training was in the field of arts and social sciences. She studied at the Escuela Nacional de Experimentación y Realización Cinematográfica (ENERC), in Buenos Aires, Argentina and more recently at the Elias Querejeta Zine Eskola, in Donostia, Basque Country.
\nAs an editor, she has participated in multiple documentary projects, as well as experimental projects in collaboration with contemporary Argentinean artists.
\nIn 2019 she founded a documentary filmmaking workshop, ‘La Paloma’ in a Penitentiary Unit in the province of Buenos Aires.
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