Jeu de Paume

Rarely has a title’s punctuation been so warranted as the vertical slash cleaving the initials in this double billing, “HF|RG”: simultaneously soldering and severing the names and careers of Harun Farocki and Rodney Graham. Both artists were born in the 1940s and work with the moving image, but their similarities ostensibly end there. In this joint retrospective, Farocki is the doyen of reticulated montage and cracker of documentary codes, while Graham is the deadpan jack of many trades, whose dry wit pricks the profligate beauty of his installations. Where Farocki is systematic, Graham is satirical; where Graham is at ease in a gallery, Farocki’s film essays seem like envoys from more sober contexts, namely the documentary television programs and cinema houses that screened his films for the first thirty years of his career. Farocki disentangles the political and martial origins of archival

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