Renowned for his researches on the relationship between society, image and politics, led since the 1960’s, filmmaker Harun Farocki proposes through his cycle entitled “Parallele” a forceful analysis of the digital universes. The installation unfolds a four-act study of video game history and its rapid evolution.
Parallele I seeks out the representation of certain natural elements from the creation of the video game in the 1980’s and the first tentative steps of the digital image to the ultra sophistication of contemporary universes (vegetation that bends to the passage of a character, shimmering of the light on the water, leaves rustling under the action of the wind). Parallele II and III, continue this exploration and question the virtual and symbolic limits of this mimetic relationship to the real, trying – unsuccessfully – to break the invisible borders of these spread out territories. Harun Farocki reveals the determined and closed character of the virtual world (rocks without thickness, impenetrable ground, stretch of water without any depth). These topographical limits echo the behavioral limits of the characters in Parallele IV. The filmmaker points out the range of reactions and the lack of memory of the characters that reduces them to the condition of automaton.
Farocki throws us behind the stage, highlighting the work of videogame graphic designers. His technological and philosophical analysis proposes an allegorical vision of the contemporary world. Neither celebration, nor inquiry, beyond the virtuosity of these artificial universes, Parrallele questions the prospects that these products of the entertainment industry design about today’s society and our relationship to the real.
Hélène Guenin, director of MAMAC
Exhibition realized with the kind contribution of: Harun Farocki Filmproduktion, Antje Ehmann ; MOVIMENTA : Marianne K. Roméo and Estelle Macé ; Eidotech, Yvonne Brandl