Arbeiter Verlassen ihren Arbeitsplatz (Workers Leaving their Workplace)
- Year of entry
- 2017
- Registration number
- AD07618
- Date
2011-2014
- Edition number
Unlimited
- Comment
Sixteen video channels (black and white and colour, sound, 2 min. each video)
0. Auguste Lumière, Louis Lumière: La sortie de l’usine Lumière à Lyon, 1895
1. Ana Rebordão: Workers Leaving the Chewing Cum Factory, Lisbon 2011
2. Prerna Bishop, Rusha Dhayarkar: Workers Leaving the Textile Factory, Bangalore 2012
3. Mélanie Badoud, Nallini Menamka, Zaq Chojecki: Workers Leaving the ILO,
Geneva 2012
4. Orit Ishay: Just another Day, Tel Aviv 2012
5. Aline Bonvin: Workers Leaving the Factory for the Blind, Berlin 2012
6. Bahaa Talis: Workers Leaving their Workplace while Ignoring a Bicycle Man,
Cairo 2012
7. Beny Wagner: Workers Leaving the Textile Factory, Rio de Janeiro 2012
8. Lucas Peñafort: Workers Leaving their Workplace, Buenos Aires 2012
9. Wojciech Domachowski: Workers Leaving the Mine, Łódź 2013
10. Tatiana Efrussi: Workers Leaving the Brewery, Moscow 2013
11. Pham Tra My: Workers Leaving their Workplace, Boston 2013
12. Olga Pikalova: Workers Leaving their Workplace, Boston 2013
13. Christian Manzutto: Workers Leaving the Juice Factory, Mexico City 2014
14. The Tourists: Workers Leaving the Intime Mall, Hangzhou 2014
15. Nhlanhla Mngadi: Workers Leaving the Factory, Johannesburg 2014- Credit
Donation of Antje Ehmann (Harun Farocki GbR), Berlin, 2017
Contributors
Creischer, Alice
Siekmann, Andreas
The piece Workers Leaving their Workplace is part of Ehmann’s and Farocki’s project as well as part of the series of exhibitions resulting from it. „To use video as if it is film – we draw on the method of the earliest films made at the end of the 19th century (such as the Lumière brother’s Workers Leaving the Lumière Factory, Arrival of a Train at La Ciotat) in order to regain something of their decisiveness. These early films made in a single continuos shot seemed to demonstrate that every detail of the world in motion is worth considering and capturing. They were forced by the immobile camera to have a fixed point of view, whereas the films today often tend toward indecisive cascades of shots. The single-shot film, in contrast, combines predetermination and openness, concept and contingency.“ (Antje Ehmann, Harun Farocki)