HOW 严肃游戏 | 哈伦·法罗基：战争总有出路（上）

严肃游戏

展期：2019年8月2日-11月2日

艺术家：阿莱克斯·马伊思(Alexis Mailles)、冯晨、哈伦·法罗基(Harun Farocki)、乔恩·拉夫曼(Jon Rafman)、肯特·希里(Kent Sheely)、陆浩明、陆明龙、马修·切拉比尼(Matthieu Cherubini)、佩恩恩、彼得·尼尔森(Peter Nelson)、吴其育

策展人：付了了

地址：昊美术馆（上海）三楼展厅6、7

*购买展览门票请点击文末“阅读原文”

Please scroll down for English version.

昊美术馆（上海）最新群展“严肃游戏”于8月2日正式开幕。展览同时呈现一系列艺术家关于游戏的写作和创作手记，希望借此激发对电子游戏及相关议题的进一步思考和讨论。今天介绍的是艺术家哈伦·法罗基(Harun Farocki)此次参展作品《严肃游戏I：沃森倒下了》《严肃游戏II：三人死亡》及其文章《战争总有出路》（上）。

《严肃游戏I：沃森倒下了》

&

《严肃游戏 II:三人死亡》

严肃游戏I：沃森倒下了, 2010

哈伦·法罗基

视频（双投影），彩色，有声，8'（循环）

致谢哈伦·法罗基协会（柏林）

“2009年秋天，我们在加利福尼亚州的海军陆战队29棕榈基地拍摄了一次演习。坐在教室的四名海军陆战队员代表坦克队中的成员。他们用面前的笔记本电脑驾驶自己的坦克，并观看队中的其他人驾驶坦克经过计算机动画生成的景观。游戏中模拟的阿富汗人的形象是从阿富汗的地理数据中提取的。计算机景观中的街道就像在真正的阿富汗一样；每一棵树、地面上的植被或山脉都是如此。指导员放置爆炸装置并将叛乱分子也放置在该地区。一名狙击手射击了坦克炮手，我们用相机记录了这一刻。当坦克驶过土地时，它带起了一阵灰尘。植被越多的地方灰尘越少，而在柏油路上没有灰尘。即便对细节倾入了全部的关注，电脑游戏中的死亡仍然与现实有所不同。”

—— 哈伦·法罗基

严肃游戏 II:三人死亡，2010

哈伦·法罗基

视频，彩色，有声，8’(循环)
致谢哈伦·法罗基协会（柏林）

“同样，在29棕榈基地，我们开展了一项有300名‘群众演员’的演习，他们代表了阿富汗和伊拉克人民。几十名海军陆战队员在岗并巡逻。进行演习的城镇在沙漠中略有抬升，其建筑物由集装箱制成。这个现实世界看上去就好像是计算机动画生成的一样。”

—— 哈伦·法罗基

战争总有出路（上）

哈伦·法罗基

2009

1991年，在多国部队攻打伊拉克的战争中，出现了两种各自只属于他们自己的视觉范畴的全新图像。

第一种画面是一片陆地，由直升机、战机或者无人侦察机上的相机拍摄。穿过图像中心的线用来标记攻击目标。导弹命中后，爆炸超过了相机对比度的承受范围，过度曝光导致自动褪色，然后图像中断。第二种画面来自于安装在导弹头上的摄像机。这个摄像机撞上了目标，当然，图像在这里也被中断了。

在美国，1920年以后，来自于不同于常规人类拍摄视角的照片被称为幽灵图像，比如装在火车轨道下的摄像机拍摄的画面。从人的视角拍摄的图像被称为主观图像。因此，我们可以把以炸弹视角拍摄的画面看作是幽灵的主观图像。

从一架撞进瞄准目标的相机（即自杀相机）上拍下的照片是让人难忘的。它们是新鲜的，并且在以巡航导弹为标志的八十年代以来的图像史中添加了某些新的东西，尽管我们当时还不知道它具体所指。这些图像与“智能武器“，即能够自己独立识别并击中目标的武器一词一起出现，结合了对于“智能”这个概念的肤浅认知和对于“主观性”同样肤浅的认知。

严肃游戏I：沃森倒下了, 2010

哈伦·法罗基

视频（双投影），彩色，有声，8'（循环）

致谢哈伦·法罗基协会（柏林）

在计算机上绘制的动画也经常使用一些相机很难或甚至不可能拍摄的角度，比如一颗子弹朝它的目标飞去的角度。于是动画电影在和摄像机拍摄的电影的比较中取得了优势。动画电影成为了一种动态地展示技术功能的方法：比如热过程、生物功能和仪器的横截面。

在1991年，人们常说从监控摄像机拍摄到的越来越接近的目标和爆炸的图像让战争看起来就像电脑游戏。这意味着战争看起来像一场儿童的游戏。同时，严肃与玩乐、儿童与成人的区别在这里已经变得毫无意义了。士兵们在虚拟的视觉世界中进行战争训练，军队从游戏产业中吸收了这些元素，并根据自己的目的进行调整。美国军方就曾鼓励游戏行业去生成阿富汗或者伊拉克的战场图像。

如今电脑动画已经成为了标准。如果说在二、三十年前电脑动画像是在试图复制一种照片式的呈现，如今他们已经有了自己的立足之地。电脑已经毫无疑问地被确立为主要媒介，以至于现在人们认为数字媒体是优于照片或胶片相机的原始图像的。如果计算机图像遗漏了胶片摄影的细节，这不再被视为是一种缺陷，而是一种理想的再现形式。电脑动画的存在就像是在指责摄影录像中重复的、多余的细节，就像工业产品是在批评手工制品的不规则性。电脑图像具有重新设定取景画框和相机视角的能力，并且画面中的人物可以对画面之外发生的事情作出反应，如在被射击时倒地或者反击，而不仅是弥补与事实可证实关系的缺失。

严肃游戏I：沃森倒下了, 2010

哈伦·法罗基

视频（双投影），彩色，有声，8'（循环）

致谢哈伦·法罗基协会（柏林）

1991年在伊拉克拍摄的有十字坐标线的照片中几乎看不到任何人，战场空无一人。这些照片让人不难想象，人类从地球上消失后战争可能还会继续——由自主的战争机器执行。

这些靠近目标或爆炸的操作图像常常会显示兵营、掩体、机场等军事目标，桥梁被纳入战略目标，即便它们用于民事目的。我记得在第一次海湾战争期间，一位美国军方发言人在一次新闻发布会上展示了一段视频，视频中一辆汽车快速驶离一座刚刚被击中的桥梁，并就此开了个玩笑。如今的军事档案不会显示可以看到车辆的图像，因为这必然意味着目标区域是有人活动的。因此，很明显，制造战争和报告战争成为了单一独立的项目。我们能够看到的图像是被创作和控制的，不论是在军事上和还是政治上。在普通电影工业中，制作公司在拍摄一部电影的时候，往往会同时制作一部关于拍摄这部电影的纪录片，这种纪录片更倾向于将制作过程的全部内容保留下来。在电视节目中，主画面和次画面几乎没有任何区别。名人们出售他们婚礼和孩子出生的图像专有版权。在这种情况下，需要一种“图像警察”来查禁那些打破垄断的报道。

在伊拉克战争中，也有类似的图像警察。在第一次对伊战争中，他们使用了“好警察/坏警察”的模式。伊拉克方面的“坏警察”通过传统的镇压手段使记者远离战场。这样做是为了不让人看到萨达姆政权对自己的人民和毫无防御能力的科威特的人民的恐吓——即使它并不能组织一支军队去至少为撤退的士兵提供最低限度的保护，更不用说保护平民。另一方面，美国的”好警察“使用如斯韦赖特（Theweleit）所称的“拍摄炸弹” [1]从结构上将新闻摄影师排除在事件之外[1]。这些“拍摄炸弹”中容纳了摄像机，却不能容纳独立记者。

严肃游戏I：沃森倒下了, 2010

哈伦·法罗基

视频（双投影），彩色，有声，8'（循环）

致谢哈伦·法罗基协会（柏林）

伊拉克允许少数经过挑选的记者留在巴格达，包括美国有线电视新闻网络（CNN）的彼得·阿奈特（Peter Arnett）。微光放大后的绿色全景画面就来自他的镜头。就像恩斯特·荣格(Ernst Jünger)在第二次世界大战期间在巴黎所做的那样，阿内特在一家酒店的屋顶上经历了轰炸巴格达的事件。与荣格不同的是，在此期间他被软禁在家中。然而，在这两种情况下，这个观察角度都强加了一种被美学化了的观察：一个孤单的身影站在属于指挥官的山丘上，但他不是指挥官。在巴格达保留少数记者是萨达姆政权某种自相矛盾的战略战术的一部分。一方面，伊拉克希望掩饰其劣势；另一方面，多国部队的非人道战争应该受到谴责。那种近距离拍摄的死尸画面需要出现，而且画面里尸体越多越好。

第一批抛射式摄像头拍摄的图像诞生于1942年，其内容展现了HS 293 D导弹在德国佩内明德的一艘废弃船上实施的打击演习。搭载这枚导弹的飞机在导弹发射以后原路返回，而冲向目标的电视画面通过无线发射器传播到飞机上。在当时的这架飞机上，导弹的目标瞄准是由一种和后来的电脑游戏操纵杆类似的控制手柄完成的。当时的一个技术人员使用一台波莱克斯(Bolex)胶片摄影机把这些画面从监视器上拍摄了下来。由于电子图像的储存技术在1950年代以后才被实现，这一画面可能是至今唯一被留存下来的此类记录。虽然HS 293 D导弹在第二次世界大战以后没有再被使用，但应用于此的电视摄影机的微缩化至今都被看作一项重大的发展。然而不像那些火箭制造者们，德国的电视技术人员并没有继续在美国工作下去，而是回到了当时西德的电视行业里。

“我们认为，生产导致战斗人员死亡的自杀式武器的计划是不道德的。在我们的观念中，这样的行为使受害者成为了必然。然而在日本，‘神风特工队’的飞行员们驾驶飞机撞向敌方的军舰却被视为是值得赞扬的。同时他们也使用了由人驾驶的自杀式鱼雷。那句俄罗斯的俗话‘子弹不长眼’就此失去了意义。”（恩斯特·荣格, 《戈尔俄狄斯之结》，1953）

严肃游戏 II:三人死亡，2010

哈伦·法罗基

视频，彩色，有声，8’(循环)

致谢哈伦·法罗基协会（柏林）

“子弹不长眼”这句谚语就像那首德国士兵的歌唱的：“再见了路易斯，擦掉你的眼泪，不是每颗子弹都会击中它的目标”。1991年的那些从导弹头上拍摄的画面，以及“智能武器”这样的字眼看上去却是如此的令人惶恐又着迷，因为子弹不再是盲目的。即使在战争中，死亡也总意味着他人的死亡。这些“长眼睛”的炸弹拥有图像识别和物体追踪功能，并被扬言是万无一失的。保罗·维利里奥（Paul Virilio）认为这些图像是针对我们而来的。这个曾经的预言现在已经实现了。

在我们几年的调查过程中，只找到了一个接近于“智能武器”概念的案例，即通过处理画面来寻找目标。“硬件在环（HIL）”是一种可以测试火箭飞行状态、自动检查航线和接近目标的仪器。这种接近轿车大小的仪器拥有很高自由度，并且能够精确快速地转角。模拟器的中间是火箭的探测头和旋转棱镜。即将飞过的地貌的模拟图像会播放在探测头前面。这些图像是真实航拍的模拟画面，包括森林、房屋和交通设施。探测头会彻查并处理这些航拍图像，过程会被绿色和红色的引导线可视化出来。绿色的线大致上代表了一些初步的怀疑目标。探测系统会在图像中识别出存在于已知模版中的”坐标星系“，然后在图像中划一条线并且继续寻找可以延伸这条线的像素群。如果这个步骤被核实了，红色就会标记出在该过程中被识别的可见路标，比如十字路口、桥梁或者输电线的轮廓。这些”自动化的眼睛“会利用它已经保存的一些探测地图来扫描那些画面。然而这些处理图像的仪器工作起来就像不熟练的机械手臂一样笨拙。每个动作都被切分成一个个部分，每一部分中间都要停顿。也许精确，却毫不优雅。但就像机械手臂一开始只是模仿工厂工人的操作，却很快超越并代替了他们，这些自动化感测仪器也会很快代替人眼的工作。

注释

[1] Theweleit, Klaus, 1991, 《燃烧的灌木丛中的新与旧》，载于《国际文学》，12号刊

关于艺术家

哈伦·法罗基

1944年1月9日出生于苏台德区新伊钦（今捷克共和国）。

1966 - 1968年在柏林初创的德国电影学院学习。

1966年与Ursula Lefkes结婚。

1968年女儿Annabel Lee和Larissa Lu诞生。

1974年至1984年任慕尼黑《电影评论》杂志的作者和编辑。

1998 - 1999年与Kaja Silverman合著《谈论高达》，纽约/柏林。

1993 - 1999年任加州大学伯克利分校客座教授。

2001年与Antje Ehmann结婚。

自1966年以来，创作逾百部电视、电影，包括儿童电视、纪录片、散文电影与故事片。

自1996年以来，在博物馆和画廊多次举办个展及参与群展。

2007年，作品《深度游戏》参展第十二届卡塞尔文献展。

自2004年以来，任维也纳艺术学院客座教授，2006 - 2011年任该校正教授。

2011 - 2014年与Antje Ehmann合作长期项目《单镜头劳动》。

2014年7月30日在柏林附近去世。

“严肃游戏”展览现场

“严肃游戏”展览现场，2019 图片©昊美术馆

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Serious Games

Duration: 2019/08/02 - 2019/11/02

Artists: Alexis Mailles, Feng Chen, Harun Farocki, Jon Rafman, Kent Sheely, Andrew Luk, Lawrence Lek, Matthieu Cherubini, Payne Zhu, Peter Nelson, Wu Chi-Yu

Curator: Fu Liaoliao

Venue：Gallery 6/ 7, 3F, HOW Art Museum, No 1, Lane 2277, Zuchongzhi Road, Shanghai

Serious Games, the current exhibition of HOW Art Museum Shanghai, is on view from August 2. The exhibition presents in the same time the writings of participating artists, intending to stimulate further the reflection and discussion on videogames and relevant topics. Today's release is about exhibited artworks Serious Games I: Watson is Down and Serious Games II: Three Dead of Harun Faroki and his article War Always Finds a Way（Part One）. 

Serious Games I: Watson is Down

&

Serious Games II: Three Dead

Serious Games I: Watson is Down，2010

Harun Farocki

Video (double projection), color, sound, 8’(Loop)

Courtesy of Harun Farocki GbR, Berlin

“In the autumn of 2009 we filmed a drill at the Marine Corps Base 29 Palms in California. Four Marines sitting in a class represented the crew of a tank. They had laptops in front of them on which they steered their own vehicle and watched others in the unit being driven through a Computer-Animation Landscape. The simulated Afghan is based on geographical data out of Afghanistan. A street in the computer landscape runs exactly as it would in the real Afghanistan; the same holds for every tree, the vegetation on the ground or the mountain ranges. The instructor places explosive devices and sets insurgents out in the area. A sniper shot the tank gunner, which we documented with the camera. When the tank drives over the fallow “it kicks up a dust tail. The more vegetation there is, the less dust. On the asphalt street, no dust. Even with all this attention to detail, death in the computer game is still something different than the real one. ”

——  Harun Farocki

Serious Games II: Three Dead，2010

Harun Farocki

Video, color, sound, 8’(Loop)

Courtesy of Harun Farocki GbR, Berlin

“Again, in 29 Palms, we embarked on an exercise with around 300 extras who represented both the Afghan and Iraqi population. A few dozen Marines were on guard and went out on patrol. The town where the maneuver was carried out was on a slight rising in the desert and its buildings were made from containers. It looked as though we had modeled reality on a computer animation. ”

——  Harun Farocki

War Always Finds a Way（Part One）

Harun Farocki

2009

In 1991, there were two kinds of images from the war of the Coalition Forces against Iraq that were new, that belonged to a visual category of their own.

The first shot shows a section of land, taken from a camera in a helicopter, an airplane, or in a drone–the name for unmanned light aircraft used for aerial reconnaissance. Crossing the center of the image are the lines marking the target. The projectile hits, the detonation overloads the contrast range, the automatic fade counteracts it; the image breaks off. The second shot comes from a camera installed in the head of a projectile. This camera crashes into its target–and here as well, of course, the image breaks off.

Since 1920 in the USA, shots filmed from a position not normally taken by a person have been called phantom shots; for instance, from a camera positioned under a train track. Images from the perspective of a person are called subjectives. We can therefore regard the shot from the perspective of a bomb as a phantom subjective.

The shots taken from a camera that crashes into its target—that is, from a suicide camera—cling to the memory. They were new and added something to the type of image that we may have heard about since the cruise missiles in the eighties, but didn’t know anything specific about. They appeared together with the term intelligent weapons,—that is, weapons that could recognize and hit a target on their own—connecting a rather glib idea of intelligence with an equally glib idea of subjectivity.

Serious Games I: Watson is Down，2010

Harun Farocki

Video (double projection), color, sound, 8’. (Loop)

Courtesy of Harun Farocki GbR, Berlin

Animations as well, drawn or produced on a computer, frequently used perspectives that were difficult or even impossible for a camera to take; for instance, that of a bullet flying toward its target. Illustrated animation films therefore established a predominance over the
filmed, photographic shot. Animated films became the means to make technological functions dynamically representable: thermal processes, biological functions, cross-sections of apparatuses.

In 1991, it was often said that images of approaching targets and detonations taken from surveillance cameras made war look like a computer game. What was meant was that war looked like a children’s game. The difference between the serious and the playful, child and adult, has in the meantime become meaningless in this respect. Soldiers practice for war in visual worlds that the military has co-opted from the game industry and adapted for their own purposes. The US military had previously encouraged the games industry to generate images of a theater of war, of Afghanistan or Iraq.

Computer animations have by now become the standard. If 20 or 30 years ago they looked as if they were trying to replicate photographic representation, today they abound with self-assurance. The computer has been so thoroughly established as the primary medium that digital media is now considered superior to an original image from a photo or film camera. If a computer image leaves out a detail that film-photography reproduces, this is no longer considered a deficiency, but instead an ideal representation. A computer animation is like a reproach to a filmed recording for reproducing superfluous details, just as an industrial product is a critique of the irregularity of a hand-made object. The ability to reconfigure the framing and camera position of a computer image, that a figure in the image can react to something happening outside the image—that they can fall to the ground or shoot back when they’re shot at—more than compensates for the loss of a verifiable relation to the factual.

Serious Games I: Watson is Down，2010

Harun Farocki

Video (double projection), color, sound, 8’. (Loop)

Courtesy of Harun Farocki GbR, Berlin

In the images from Iraq in 1991—those with the cross-hairs in the center—there are rarely any people to be seen. The battlefield is shown as deserted. If we look at a series of such images, we could imagine that war might continue after people have disappeared from the Earth: the agenda of war is executed by autonomous war machines.

The operational images of approaching targets and detonation usually show military targets such as barracks, bunkers, airfields: bridges also pass for strategic targets, even if they are in use by civilians. I remember, during the first Gulf War, a US military spokesman showing a clip at a press conference in which a car was quickly driving away from a bridge that had just been struck, and making a joke about it. The military archives today do not show images where vehicles can be seen, which would necessarily imply that people are present in the target area. It therefore becomes clear that making war and reporting war become a single project. The images that we get to see are created and controlled, militarily and politically. In film’s civilian life, it is common for production companies to make a documentary about a production alongside the primary film, tending to reserve the entire coverage of the product to themselves. In the case of television shows, there is hardly any difference at all between the primary and secondary images. Celebrities sell the exclusive rights to their weddings and the births of their children. In these cases a kind of image police is needed to prohibit monopoly-breaking reporting.

In the Iraq wars, there has similarly been an image police. In the first war, they worked according to a good-cop/bad-cop schema. On the side of Iraq, there was the bad cop who kept the reporter away from the battlefield through conventional, repressive means. This was done so that it did not become visible that the Saddam regime was able terrorize its own population and also that of defenseless Kuwait—although it could not organize an army that could at least provide the retreating soldiers with a minimum of protection, not to mention protecting the civilian population. The good cop of the USA, on the other hand, structurally excluded press photographers from the events by means of the “filming bombs,”[1] as Theweleit called them—bombs that contained cameras, but no room for an independent reporter.

Serious Games I: Watson is Down，2010

Harun Farocki

Video (double projection), color, sound, 8’. (Loop)

Courtesy of Harun Farocki GbR, Berlin

Iraq permitted a few chosen reporters to remain in Baghdad, including Peter Arnett of CNN. The green panoramas, amplified by residual light, came from him. Like Ernst Jünger had done in Paris during the Second World War, Arnett experienced the bombing of Baghdad from the roof of a hotel. Unlike Jünger, he was under a kind of house arrest during this. In both cases, however, this point of view imposed an aestheticized observation, that of a lone figure on the commander’s hill, but who is no commander. 

The few correspondents in Baghdad belonged to the tactical reserves of a somewhat contradictory strategy of the Saddam regime. On the one hand, the inferiority of the Iraqi side was supposed to remain concealed; on the other side, the inhumanity of the allied warfare was supposed to be denounced. There was a need for images of dead bodies, filmed close up, as many as possible in one image.

The first shots taken by a camera in a projectile are from 1942 and show the practice-landing of an HS 293 D on a shipwreck near Peenemünde, Germany. The images were broadcast by means of a transmitter to an accompanying aircraft, which had launched the bomb and then turned around. From the aircraft, the bomb was directed toward its target by means of a control stick that resembled what would later be the joystick. Since it was not possible until the 1950s to record electronic images, this sequence is probably the only remaining documentation of such an attempt. A technician used a Bolex to film it off the monitor. Although the HS 293 D was not used in the Second World War anymore, the miniaturization of the television camera is still a significant development. Unlike the rocket builders, the German television technicians did not continue their work in the USA, but in the West German television industry.

“We consider it immoral for weapons to be planned whose construction presumes the death of the combatant and in doing so, at least for our conceptions, draws the victim into automation. In Japan on the other hand, the task of the kamikaze pilot, crashing his airplane into an enemy battleship, is regarded as commendable. There are also torpedoes there directed by an accompanying pilot, which has nullified the Russian saying ‘The bullet is a blind fool’” (Ernst Jünger, Der Gordische Knoten, 1953).

Serious Games II: Three Dead，2010

Harun Farocki

Video, color, sound, 8’(Loop)

Courtesy of Harun Farocki GbR, Berlin

“The bullet is a blind fool,” or as it goes in the German soldiers’ song: “Nun Ade lieb Luise, wisch ab Dein Gesicht/ Eine jede Kugel die trifft ja nicht” (“Now farewell dear Luise, wipe off your tears/ Not every bullet hits the target”). The images from the head of a projectile in 1991, together with the word from the “intelligent weapons” were so terrifying and so fascinating because bullets were no longer blind. Even in war, death is always the death of others. The pattern recognition and object tracking of the “seeing” bombs threatens to be infallible. Paul Virilio thought that these images were directed at us. What once sounded like a prophecy, has now been fulfilled.

During our research over several years, in only one case have we found something that comes close to the idea of intelligent weapons, that is, those that seek their target by processing images.Hardware in the Loop (HIL) is a device that can test the flight of rockets, and can automatically check the course and approach to the target. The apparatus, approximately as big as a car, has a wide degree of freedom and can pivot very quickly and precisely. In the center of the simulator is the rocket’s seeker head with a pivoting prism. Images are played to this seeker head in simulation of the landscape to be flown over. These are analogue images, taken during a real overhead flight: forests, groups of houses, and transportation structures. The seeker head goes through these overhead images and processes them. This processing is made visible with green and red guiding lines. The green lines represent something like a preliminary suspicion. The seeker program has discovered a constellation in the image that could be part of a pattern that it has already saved. The program draws a line in the image and continues looking for clusters of pixels that might make it possible to continue the line. If this is verified, when the outlines of a street intersection, bridge, or power line—which are registered as path markers—become visible, the figure is confirmed in red. The eye-automat has saved a handful of seeking-masks through which it scans the images. These image-processing apparatuses work with a clumsiness reminiscent of robot arms undertaking a new task. Every movement is divided into sections, pausing after each partial gesture. This may be precise, but without any elegance. Just as mechanical robots initially took workers in the factory as their model, surpassing and displacing them shortly afterwards, so the sensory automats are meant to replace the work of the human eye.

REFERENCES

[1] Theweleit, Klaus, 1991, Neues und Altes vom brennenden Busch: in Lettre International, no. 12

About the artist

Harun Farocki

January 9, 1944 born in Nový Jicin (Neutitschein), at that time Sudetengau, today Czech Republic. 

1966 – 1968 Admission to the just opened Berlin Film Academy, DFFB. 

1966 Marriage with Ursula Lefkes. 

1968 Birth of the daughters Annabel Lee and Larissa Lu. 

1974 –1984 Author and editor of the magazine Filmkritik, Munich. 

1998 – 1999 Speaking about Godard / Von Godard sprechen, New York / Berlin. (Together with Kaja Silverman). 

1993– 1999 Visiting professor at the University of California, Berkeley. 

2001 Marriage with Antje Ehmann.

Since 1966 more than 100 productions for Television or Cinema: Children's TV, Documentary Films, Essay Films, Story Films.

Since 1996 various solo- and group exhibitions in Museums and Galleries. 

2007 with Deep Play participation at documenta 12.

Since 2004 Visiting Professor, 2006 - 2011 full Professorship at the Academy of Art, Vienna. 

2011 – 2014 longterm project Labour in a Single Shot, together with Antje Ehmann. 

July 30, 2014 died near Berlin.

昊美术馆（上海） 

HOW ART MUSEUM (SHANGHAI)

昊美术馆（上海），图片©昊美术馆

昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间为周二至周五下午1点至夜间10点，周末及节假日开放时间为上午10点至夜间10点。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。

昊美术馆（温州） 

HOW ART MUSEUM (WENZHOU)

昊美术馆（温州），图片©昊美术馆

昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间为下午1点到夜间10点，周末及节假日开放时间将向前延长为上午10点至夜间10点。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。

正在展出 Current

昊美术馆（上海）  

HOW ART MUSEUM (SHANGHAI)

昊美术馆（温州）  

HOW ART MUSEUM (WENZHOU)

昊美术馆（温州） 特别项目空间 

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