Farocki’s films and installations are generally socio-political in nature and reveal a keen interest in the role of technology in modern society. His films have dealt with such subjects as the Vietnam War, capitalism, labour systems, surveillance technology and military reconnaissance. Another recurrent theme in Farocki’s work was the investigation of images and what lies behind them, of what is really visible to the viewer and likewise what remains invisible - essentially the possibilities of seeing. As Thomas Elsaesser said: ‘Farocki’s films are a constant dialogue with images, with image making, and with the institutions that produce and circulate these images.’ His films and installations are difficult to categorize and demand close viewing. Nothing is as it seems and the viewers are challenged to keep questioning what they see.
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