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Ziklo hau Kutxa Fundazioarekin lankidetzan antolatu da, haien Harun Farocki efektua erakusketarekiko elkarrizketan.

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Honek Farockiren bi instalazio garrantzitsuenak berreskuratzen ditu: bata, ordenagailu-jokoetako naturalismoaren bilaketari buruzkoa, eta bestea, Irakeko gerran traumatizatutako soldaduak artatuko dituzten terapeuten prestakuntzari buruzkoa. 

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

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Lau pieza hauek ordenagailu bidezko animazio-irudiaren generoa aztertzen dute. Gaur egun, animazioak eredu orokor bihurtzen ari dira, zinema gaindituz. Filmetan, badago jotzen duen haizea eta badago haize-makina batek sortutakoa. Ordenagailu bidezko irudiek ez dute bi haize mota horien arteko bereizketarik. Parallel-ek ordenagailu bidezko grafikoen estiloen historia bat zabaltzen du. 1980ko hamarkadako lehen jokoak lerro horizontal eta bertikalez bakarrik osatzen ziren; abstrakzio hori akatstzat hartzen zen, eta gaur egun, ordea, irudikapenek fotorrealismora jotzen dute.

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

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2009ko udazkenean, Harun Farockik simulazio bat filmatu zuen Kaliforniako 29 Palms Marineen basean. Ikasgela batean eseritako lau marinek tanke baten eskifaia irudikatzen zuten. Aurrean ordenagailu eramangarriak zituzten, eta horiekin euren ibilgailua gidatzen zuten bitartean, unitateko beste kideak ordenagailuz animatutako paisaia batean gidatzen ikusten zituzten. Simulatutako Afganistan hori Afganistango datu geografiko errealetan oinarrituta zegoen.

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Anissen zinemak dokumentala, poesia, artxiboko materiala eta berak hartutako irudiak ehuntzen ditu, eta bilbe horren medioz, hala, soinuen, mugimenduen, trantzeen eta automutilazioaren botere eraldatzailea aztertzen du, baztertutako gizabanakoak altxamenduaren eta liberazioaren katalizatzaile bihurtzen dituen eraldaketa; horren ondorioz, gorputz diasporiko akitu eta zatikatuek, ekintza politikorako prest, kontzientzia kolektibo batera esnatzen dira.

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Bere jardunaren eta ikerlanaren bidez, Anissek askapen-politikak atzematen ditu anaidiak dokumentatuz, hala nola gnawa, hmadcha, jilala eta issawa anaidiak, jatorria Mendebaldeko Afrikan izanik esklabo bihurtu eta indarrez Marokora ekarri zituzten pertsonen ondorengoez osatuak.

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Haurra zela, Aniss gnawa erritualetan izan zen, non dantzak, musikak, trantzeak eta automutilazioak sufrimendua sakratutasunarekin lotzen zuten.

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Artistaren bideogintzak begirada intimoa eskaintzen die anaidien imajinarioei, eta esparru afektibo eta kontzeptual bat proposatzen digu, non zapaldutako gizabanakoaren itoaldia eta bihozmina indar estetiko bihurtzen den, askapenaren oinarriak finkatzen dituen indar, hain justu.

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Montajista gisa, hainbat proiektu dokumentaletan parte hartu du, baita esperimentaletan ere, Argentinako artista garaikideekin lankidetzan.

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2019an, dokumentala egiteko tailer bat sortu zuen, \"La Paloma\" izenekoa, Buenos Aires probintziako espetxe-unitate batean.

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2024an memorien eta artxiboen laborategi bat egin zuen, Asoc. Malen Etxearekin batera, Zumaian, bere TFMaren barruan.

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Gainera, pelikula argentinarren ikerketa eta kontserbazio proiektuetan parte hartzen du eta Operación Retorno ikerketa taldeko kide da.

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