Trevor Paglen

  • Harun Farocki, 2007. Photo: Hertha Hurnaus.
    passages February 06, 2015

    Harun Farocki (1944–2014)

    I DIDN’T REALLY KNOW Harun Farocki. Although we worked on similar ideas, participated in a number of joint exhibitions, and have a book together (Visibility Machines [2015]), we never really got to know each other. So I can only memorialize him by choosing moments from his work that spoke to me and to society at large. Farocki was inarguably one of the most astute observers of the present, whose observations were consistently years ahead of their time. His anxieties about the twenty-first-century relationships among image-making, automation, militarization, domination, and control are distilled

  • Shelly Silver, in complete world, 2008, still from a color video, 53 minutes.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2008.


    James Coleman, Background, 1991–94 (Irish Museum of Modern Art, Dublin) Existential photo-novel? Soap opera? Mail-order-catalogue photo shoot? Coleman’s installations, pairing slide projection with synchronized audio, don’t lend themselves to easy categorization. In Background, shown at the Irish Museum of Modern Art this year, the male narrator’s voice adds to the general dislocation, straining earnestly to convey some sort