Harun Farocki

Counter-Music

Greene Naftali, New York

January 24 – 28, 2006

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

A recent 2-channel film. Farocki continues his investigation of the society of surveillance, here juxtaposing images from Vertov’s “The Man With a Movie Camera” with a visual tour of a city (Lille, France). Its sewers, its transit system and its sleeping citizens are monitored and recorded via the many networks of surveillance and monitoring cameras that comprise a contemporary city. A city’s day shown through the operative and control images that supervise its activity.

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

A recent 2-channel film. Farocki continues his investigation of the society of surveillance, here juxtaposing images from Vertov’s “The Man With a Movie Camera” with a visual tour of a city (Lille, France). Its sewers, its transit system and its sleeping citizens are monitored and recorded via the many networks of surveillance and monitoring cameras that comprise a contemporary city. A city’s day shown through the operative and control images that supervise its activity.

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

A recent 2-channel film. Farocki continues his investigation of the society of surveillance, here juxtaposing images from Vertov’s “The Man With a Movie Camera” with a visual tour of a city (Lille, France). Its sewers, its transit system and its sleeping citizens are monitored and recorded via the many networks of surveillance and monitoring cameras that comprise a contemporary city. A city’s day shown through the operative and control images that supervise its activity.

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

A recent 2-channel film. Farocki continues his investigation of the society of surveillance, here juxtaposing images from Vertov’s “The Man With a Movie Camera” with a visual tour of a city (Lille, France). Its sewers, its transit system and its sleeping citizens are monitored and recorded via the many networks of surveillance and monitoring cameras that comprise a contemporary city. A city’s day shown through the operative and control images that supervise its activity.

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

Harun Farocki, Counter Music, Greene Naftali, New York, 2006

A recent 2-channel film. Farocki continues his investigation of the society of surveillance, here juxtaposing images from Vertov’s “The Man With a Movie Camera” with a visual tour of a city (Lille, France). Its sewers, its transit system and its sleeping citizens are monitored and recorded via the many networks of surveillance and monitoring cameras that comprise a contemporary city. A city’s day shown through the operative and control images that supervise its activity.