Sobre Harun Farocki. La continuidad de la guerra a través de las imágenes (On Harun Farocki. The continuity of war through images)

Despite the variations produced over more than four decades, Farocki’s film work always returns to the same question: how is it possible to see -or read- images of the world not from what they show, but also from what they hide (or is hidden within them)? A naïve confidence in the (de)mostrative capacity of images – the idea that ‘an image is worth a thousand words’ – is incapable of addressing the residual condition of violence that underlies the specific modes that seek to denounce it. The possibility of a crude or naked image of violence was initially ruled out in Farocki’s work, which sought to make it perceptible, based on a complex strategy of arrest, repetition and decontextualisation of the circuits in which images travel. The texts gathered in this book stop, in turn, at different moments of Farocki’s vast production. All of them, however, orbit around the modalities that compose the relationship that the image establishes with memory and the archive, with the apparatus of surveillance, of control and repression, and with the instituted or instituting forms of violence.