Harun Farocki (*1944 in Nový Jičín, Czechoslovakia, †2014 near Berlin) is considered one of the most important and internationally influential German filmmakers. He was an ethnographer of capitalist lifestyles, which he intellectually dissected and analyzed. Central to his approach and overall work is the investigation of the significance of images, their origins and especially the power structures inscribed in them. In his film Stilleben (Nature morte) (1997) he documents the work of advertising photographers: products are arranged and staged with enormous effort, a dramaturgy is created, needs are invented. Farocki juxtaposes this with the Dutch-Flemish painting of the 16th century, which also began to create splendid pictures in order to create a certain mood, desire and admiration. Just as the paintings are supposed to be reminiscent of evanescence and mortality, the minute view of Farocki’s camera reveals the hypocrisy of the advertising world. Farocki’s œuvre includes more than 100 cinematic works. Furthermore, he was also successful as a lecturer and media theoretician, as well as a video and installation artist.
Most recently, his works have been presented at, among others, Neuer Berliner Kunstverein (2017; 2009); Haus der Kunst, Munich (2017); Manifesta, Zurich (2016); Hamburger Bahnhof, Berlin (2016; 2014); Museum Ludwig, Cologne (2014); Deichtorhallen Hamburg (2012); Museum of Modern Art, New York (2011); Kunsthaus Bregenz (2010).