Farocki’s preoccupation with the Barthesian power of cultural-industrial detritus proceeds from a typically brilliant formal hypothesis: seeing 20th-century advertising as today’s analogue to the still life paintings of the 17th century Flemish masters. A cheeseboard, beer glasses, a watch, are all made over as that most revered of contemplative sites: the “art object”.
Courtesy of the National Film and Sound Archive, Australia.
Presented by the Melbourne Cinémathèque & ACMI
Typically, Farocki restricts himself to reworking material produced solely through the original means of consumption production, emerging with a portrait of the modern world as both sci-fi simulacrum and memento mori.