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This programme has been organized in collaboration with Kutxa Fundazioa, in dialogue with their exhibition The Harun Farocki Effect.

\n\n

Introduction by Carles Guerra, co-curator alongside Antje Ehmann of the exhibition El efecto Harun Farocki by Kutxa Fundazioa. Programme featuring two observational documentaries on the creation of images.

\n\n

An Image, Harun Farocki, West Berlin, 1983, 25’

\n\n

This film is part of a series Harun Farocki had been working on since 1979. The television station that commissioned the work assumed he was making a critical film on the subject, while the owner of the site being filmed thought it was an advertisement for them. However, Farocki intended neither—nor anything in between—but rather something that transcended both.

\n\n

Still Life, Harun Farocki, Berlin, 1997, 56’

\n\n

According to Harun Farocki, contemporary advertising photographers continue, in a sense, the tradition of 17th-century Flemish painters by depicting everyday objects: the \"still life.\" The filmmaker illustrates this intriguing hypothesis with three documentary sequences showing photographers at work creating a contemporary \"bodegón\": a cheese board, glasses of beer, and a luxury watch.

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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.

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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.

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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.

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