With the end of the year, two exhibitions in Berlin and Düsseldorf will come to an end. WANGSHUI will be shown at the JSC Berlin until 15 December. JSC ON VIEW with works by Carolee Schneemann, Barbara Hammer and Lutz Bacher ends on 22 December.

The JULIA STOSCHEK COLLECTION is pleased to present the film Surname Viet Given Name Nam (108’, 1989) by internationally renowned artist, theorist, and filmmaker Trinh T. Minh-ha. Produced during the “writing culture” debate of the 1980s, questioning modes of writing and representation in ethnography, Surname Viet Given Name Nam is a multilayered, transnational and postcolonial feminist work, in which Trinh reflects on acts of cultural representation and female identity, storytelling, the impossibility of translation, and the politics of documentary filmmaking.
FILMS BY TRINH T. MINH-HA
28 November 2019 – 2 February 2020
OPENING
28 November, 7:30 P.M.
With an introduction by curator Lisa Long

As Rhineland Independent, four private foundations and collections of modern and contemporary art in the Rhineland to realize projects together in the future: KAI 10 I Arthena Foundation, Langen Foundation, Philara Collection, and the JULIA STOSCHEK COLLECTION.
The cooperation will kick off with a presentation of the Guerrilla Girls at Art Düsseldorf. The project comprises a selection of ten large format posters created by the feminist collective between 1985 and 2018.

Die Kuratorin Lisa Long sprach im Rahmen von SCREENING: FILMS BY ANNA ZETT mit der Künstlerin über ihre Arbeit, die Filme This Unwieldy Object und Endarchiv und die Erinnerung an die DDR. Jetzt online und als PDF abrufbar.

On 30 October, the exhibition STAN DOUGLAS / SPLICING BLOCK opens at the JSC Berlin. Two days later the artist talks to Diedrich Diederichsen about his work.
OPENING:
WEDNESDAY, 30 OCTOBER 2019, 7:00–10:00 P.M.
ARTIST TALK:
FRIDAY, 1 NOVEMBER 2019, 6:00 P.M.

Save the Date! With #RhinelandIndependent, four private foundations and collections of modern and contemporary art in the Rhineland will merge for the first time to jointly present their multifaceted programs and conceive new projects in the future. We look forward to seeing you at our joint booth at Art Düsseldorf, where we will team up with KAI 10 Arthena Foundation, Langen Foundation, and Sammlung Philara.
ART DÜSSELDORF, BOOTH D01
15 – 17 NOVEMBER 2019

This Friday will be the first Friday to see works in the context of the long-term cooperation between the Julia Stoschek Collection and Acute Art. Before the opening of Bjarne Melgaard and Koo Jeong A, an artist talk with Melgaard, Acute Art director Daniel Birnbaum and Julia Stoschek will take place at 6 P.M. in the JSC Berlin.
Please note the limitation of seats. No reservation. Admission is free.
FRIDAY, 11 OCTOBER 2019, 6:00 P.M.

This Sunday, there are still free places available for our guided tour in German through the current exhibitions JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN and A.K. BURNS, NEGATIVE SPACE at JSC Düsseldorf. If you are interested, you are welcome to register here for the guided tour from 3:00 p.m. to 4:30 p.m.
We look forward to your participation and your visit!

SPECIAL OPENING HOURS ON THE OCCASION OF DC OPEN 2019
On the occasion of DC Open the JSC Düsseldorf is also open on Friday, 6 September and on Saturday, 7 September 2019 from 11 a.m. to 6 p.m.
OPEN MONUMENT DAY ON SUNDAY, 8 SEPTEMBER 2019
The exhibition house of JSC Düsseldorf was built in 1907 as a four-storey factory building for Die Bühne GmbH and acquired by the collector Julia Stoschek in 2005. The Berlin architectural office Kuehn Malvezzi was responsible for the conversion into an exhibition house. After several years of standstill, the factory building found a completely new purpose in 2007 as a cultural venue and private exhibition house for contemporary art.
The Open Monument Day offers the opportunity to learn more about this early example of modern industrial architecture and its transformation into a private collection and exhibition house for contemporary art. In addition to visit the architecture and the current exhibitions, special architectural guided-tours and a video screening with works from the collection, which deals with the subject of architecture in the broadest sense, are offered. Admission is free.
12:00 a.m.
Public guided tour in German through the current exhibitions
Duration: 90 minutes. Cost: EUR 10. Reservation under
2:00 & 3:00 p.m.
Public, German-language guided tour about the architecture of JSC Düsseldorf
Duration: 45 minutes each. Free of charge. No reservation necessary.
11:00 a.m. – 6:00 p.m.
Screening with works by Manuel Graf, Elizabeth Price, Cyprien Gaillard, Amir Yatzi, Tobias Zielony, Rachel Rose und Cao Fei from the JULIA STOSCHEK COLLECTION (focus on „architecture“). Here you will find further information

Cordial invitation!
On the 5th September 2019 we are pleased to open the first institutional solo exhibition in Germany by New York-based artist A.K. Burns. The opening of the exhibition NEGATIVE SPACE will take place at the JSC Düsseldorf from 6:00 to 10:00 p.m. We are looking forward to welcome you!

We’re taking a summer break!
JSC Düsseldorf and JSC Berlin are closed in August.
SAVE THE DATES:
A. K. Burns: NEGATIVE SPACE
Opening: 5 September 2019, 6 p.m., JSC Düsseldorf
WangShui
Opening: 11 September 2019, 19 hrs, JSC Berlin
Further information on the exhibitions can be found here.

The JULIA STOSCHEK COLLECTION is pleased to announce a new residency for emerging curators working in the field of time-based art. For this initial iteration, the collection will partner with the Center for Curatorial Studies, Bard College (CCS Bard). The first resident will be Rachel Vera Steinberg, a current M.A. candidate at CCS Bard.
The Curatorial & Research Residency Program (CRRP) seeks to bring one emerging curator to the JSC Düsseldorf for a two-part research and exhibition residency. The program consists of a four-week summer period and a project at the JSC in year two.
The goal of the residency is to enable research on time-based art. A curated project will supplement the program, providing hands-on experience at a leading art institution in Germany. During their stay, the resident will be introduced to the Rhineland art scene, produce joint publications, and organize events. The residency (CRRP) is by invitation only. The JSC chooses one promising candidate from around the world and is eager to collaborate with institutions featuring graduate programs in curatorial studies. JSC looks for outstanding candidates specializing in time-based art. Selection is based on the candidates’ comprehensive theoretical knowledge and relevant practical experience.
The 2019/20 resident, Rachel Vera Steinberg, stood out for her experimental and challenging group exhibitions and video programming.
CV
Rachel Vera Steinberg is an independent curator, organizer, and writer based in Brooklyn, NY. Her work focuses on digital and time-based media, science fiction, and examining the role of alternative art spaces and artistic agency. She holds a BFA from Pratt Institute, and is an M.A. candidate at the Center for Curatorial Studies, Bard College. Most recently, she was the Director at SOHO20 Artists Inc., a feminist, artist-run nonprofit organization founded in 1973. During her three years with SOHO20, she implemented new programs and partnerships, and moved the organization to its current location in Bushwick, Brooklyn. She has previously held positions at The Museum of Arts and Design and at NURTUREart Non-Profit Inc., where she curated the semi-annual video series, Videorover. She is the co-founder of Custom Program, an irradiant project space for radically-scaled, site specific work in Greenpoint, Brooklyn, NY.
She has curated exhibitions locally at Radiator Gallery (Long Island City, NY), SOHO20 (Brooklyn, NY), NURTUREart Gallery (Brooklyn, NY), Solivagant* (NYC), inCube Arts (NYC), the UMass NYPOP Gallery (NYC), Helper Projects (Brooklyn, NY), and Interstate Projects (Brooklyn, NY); and internationally at the Naughton Gallery at Queens University (Belfast, Northern Ireland), and Syndicat Potentiel (Strasbourg, FR). She is currently a Co-Coordinator of The Feminist Art Project (TFAP)’s NYC chapter, and was a Co-Organizer of Trade School New York from 2012-2014. She has spoken at the University of Massachusetts at Amherst, Pratt Institute, Rutgers University, and Vermont College of Fine Arts.

The JULIA STOSCHEK COLLECTION is delighted to announce that the 2019 LKART studio scholarship has been awarded to the artists Catherina Cramer and Dominik Geis.
“I am very happy that the LKART scholarship can be continued.” says Julia Stoschek. “It is a great initiative, which is based and developed by the private commitment of Philipp Maiburg. Studio rooms are rare in these times, to use these open spaces meaningfully is more important than ever. Perhaps it is also an incentive for the city of Dusseldorf to build on it. I would be delighted!”
In her videos, Catherina Cramer orchestrates seemingly fantastic situations in which body and language serve as primary media. Her works characterize an affirmative state in which the world we live in appears to no longer be “purely human,” but inhabited by numerous technical, animal, and symbolic partners which, unchecked, interact and challenge one another. Dichotomies such as nature and culture are seen as problems and nullified so as to realize a form of perception that does not offer a “realistic” picture of human reality, but instead one that is genuine.
Dominik Geis’ video collages are based on found-footage videos and animations of his own. His rhythmic cut, self-composed music, and sound collages produce dramaturgical, choreographic videos and video installations. He dissects the footage, thereby redirecting our attention and, for example by means of loops, opening up untapped visual spaces and levels. His physical and poetic video compositions enable an aesthetic experience that opens up a narrative thread of its own, one that makes reference to a wider context and at the same time to the observer.
Each of the artists will be provided with a studio until the end of 2019. The JULIA STOSCHEK COLLECTION will cover rental and ancillary costs. The studios are at Völklinger Strasse 24, the former state criminal investigation bureau in Düsseldorf’s Unterbilk district. LKART was established by the Open Source Festival gGmbH. Since January 2018, 15 studio spaces for 30 artists have been available on favorable terms. In this context the JULIA STOSCHEK COLLECTION sponsors two studios for artists from the Rhineland who work in the field of time-based art and are under 40 years of age. In 2018 the LKART studio scholarships went to the artist Harkeerat Mangat and the artist duo Hedda Schattanik & Roman Szczesny.
BIOGRAPHIES
Catherina Cramer was born in 1988 in Wesel, Germany. Between 2012 and 2014 she studied at the University of Fine Arts Münster, in Shana Moulton’s class. In 2015 she transferred to Kunstakademie Düsseldorf. She initially studied under Keren Cytter and Rita McBride, before in 2019 becoming a master student of Dominique Gonzalez-Foerster.
Among other places her works have been shown at Museum Folkwang in Essen, Kunsthalle Münster, the Moving Image Festival EAMIF Edinburgh, the 35th Kasseler Dokfest, Kunstverein Kassel, and Kunsthaus NRW Kornelimünster.
Dominik Geis was born in 1985 in Würzburg, Germany. Between 2007 and 2010 he studied Painting and Sculpture at Freie Akademie der bildenden Künste in Essen, and between 2010 and 2018 Fine Art at Kunstakademie Düsseldorf in Prof. Marcel Odenbach’s class. In 2018 he completed his studies as a master student.
His works have been shown in solo exhibitions (das junge museum in Bottrop, Galerie Engelage & Lieder) and various group exhibitions including in Paris and Los Angeles. In Düsseldorf his work was recently on display at KIT – Kunst im Tunnel and K21 Kunstsammlung Nordrhein-Westfalen. In 2018 he was awarded the Baker Tilly artists’ scholarship for his graduation project The Beauty of it.
HORIZONTAL VERTIGO:
A.K. BURNS
NEGATIVE SPACE
STUDIO 54 FILM PROGRAM
Works selected by A.K. Burns, 12 December 2019, 7:30 p.m., Cinema of the JSC Düsseldorf
A.K. Burns’s interdisciplinary practice explores the body as a contentious domain where social, political, and material forces collide. Engaging deeply with questions of materiality and (re)production, Burns examines how power is connected to the body, its functions, physiological processes, sensations, and pleasures. For Burns, the body is not an object with inherent boundaries and properties but multifaceted and porous, permeating and penetrated by its surroundings. These inquiries take shape as visually seductive and socially critical videos, sculptures, writing, sound, drawings, and collages.
NEGATIVE SPACE, A.K. Burns’s first institutional solo exhibition in Germany, is comprised of three multi-channel video installations that are a part of an ongoing cycle of works by the same name. Conceived as a non-linear and layered narrative, this series envisions a world wherein boundaries are fluid and hierarchical relations permute. This cycle of works playfully corrupts science-fiction tropes exploring the intersection of politics and fantasy to build idiosyncraticallegorical imagery.
Burns deliberately locates the work in a speculative present filled with the detritus of everyday life. Filmed in stunning but familiar landscapes, like the desert of the Southwest United States, the Negative Space series exposes the tension between utopian proposals of sociality and apocalyptic anxieties. The works challenge long-standing assumptions about social orders, marshaling familiar images and objects to ask how value is assigned to resources, how marginalized bodies navigate a fraught social reality, and how different forms of matter come to matter.
At JSC Düsseldorf, Burns will restage two video installations A Smeary Spot (Negative Space 0) (2015) and Living Room (Negative Space 00) (2017), and premiere a new episode entitled Leave No Trace (Negative Space 000) (2019). In addition, the exhibition will include twenty-one collages related to the series, a new film observing a total solar eclipse, and an experimental sound work presented as a vinyl record.
NEGATIVE SPACE is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.
Supported by the Cultural Office of the City of Düsseldorf.
PUBLIC PROGRAM
A.K. Burns & A.L. Steiner, Community Action Center (2010), 15–17 November 2019, 11:00 a.m. / 12:30 p.m. / 2:00 p.m. / 3:30 p.m. & 5:00 p.m. at the cinema of the JSC Düsseldorf (second floor)
ARTIST TALK
A talk with A.K. Burns and curator Lisa Long, 16 November 2019, 3:00 p.m.
ARTIST LIST
A.K. Burns
BOOKLET

A free booklet accompanied the exhibition, which is here as download available.
HORIZONTAL VERTIGO
JSC DÜSSELDORF / BERLIN
31 MARCH 2019 – 19 JULY 2020JSC ON VIEW:
LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN
WORKS FROM THE JULIA STOSCHEK COLLECTION
21 JULY 2019 – 22 DECEMBER 2019HORIZONTAL VERTIGO:
A.K. BURNS
NEGATIVE SPACE
6 SEPTEMBER 2019 – 2 FEBRUARY 2020HORIZONTAL VERTIGO:
FILMS BY TRINH T. MINH-HA
SCREENING
28 NOVEMBER 2019 – 2 FEBRUARY 2020
JSC ON VIEW:
BASEL ABBAS & RUANNE ABOU-RAHME, THOMAS DEMAND, BEATRICE GIBSON, ARTHUR JAFA, SIGALIT LANDAU, ADAM MCEWEN, COLIN MONTGOMERY, TARYN SIMON, HITO STEYERL, TOBIAS ZIELONY
WORKS FROM THE JULIA STOSCHEK COLLECTION
9 FEBRUARY 2020 – 19 JULY 2020HORIZONTAL VERTIGO:
FILMS BY MOREHSHIN ALLAHYARI
SCREENING
8 MARCH 2020 – 3 MAY 2020HORIZONTAL VERTIGO:
SOPHIA AL-MARIA
BITCH OMEGA
8 MARCH 2020 – 19 JULY 2020HORIZONTAL VERTIGO:
FILMS BY DOROTA GAWĘDA & EGLĖ KULBOKAITĖ
SCREENING
10 MAY 2020 – 19 JULY 2020
HORIZONTAL VERTIGO:
FILMS BY ANNA ZETT
SCREENING
17 OCTOBER 2019 – 24 NOVEMBER 2019HORIZONTAL VERTIGO:
FILMS BY SKY HOPINKA
SCREENING
6 SEPTEMBER 2019 – 13 OCTOBER 2019HORIZONTAL VERTIGO:
FILMS BY CHELSEA KNIGHT WITH
SHANE ASLAN SELZER
SCREENING
27 JUNE 2019 – 28 JULY 2019HORIZONTAL VERTIGO:
FILMS BY ARJUNA NEUMAN &
DENISE FERREIRA DA SILVA
SCREENING
15 MAY 2019 – 23 JUNE 2019HORIZONTAL VERTIGO:
RINDON JOHNSON
CIRCUMSCRIBE
31 MARCH 2019 – 28 JULY 2019HORIZONTAL VERTIGO:
FILMS BY EDUARDO WILLIAMS
SCREENING
31 MARCH 2019 – 5 MAY 2019NEW METALLURGISTS
7 OCTOBER 2018 – 28 APRIL 2019GENERATION LOSS
10 YEARS JULIA STOSCHEK COLLECTION
10 JUNE 2017 – 9 SEPTEMBER 2018NUMBER THIRTEEN:
FACTORY OF THE SUN /
MISSED CONNECTIONS
15 OCTOBER 2016 – 26 FEBRUARY 2017NUMBER TWELVE:
HELLO BOYS
13 FEBRUARY 2016 – 31 JULY 2016NUMBER ELEVEN:
CYPRIEN GAILLARD
26 SEPTEMBER 2015 – 31 JULY 2016WU TSANG
A DAY IN THE LIFE OF BLISS
15 APRIL 2015 – 2 AUGUST 2015NUMBER TEN:
TRISHA DONNELLY
7 FEBRUARY 2015 – 31 JANUARY 2016NUMBER NINE:
ELIZABETH PRICE
6 SEPTEMBER 2014 – 1 FEBRUARY 2015NATHALIE DJURBERG & HANS BERG
THE EXPERIMENT
8 APRIL 2014 – 1 JUNE 2014NUMBER EIGHT:
STURTEVANT
5 APRIL 2014 – 10 NOVEMBER 2014NUMBER SEVEN:
ED ATKINS / FRANCES STARK
7 SEPTEMBER 2013 – 22 FEBRUARY 2014NUMBER SIX:
FLAMING CREATURES
8 SEPTEMBER 2012 – 29 JUNE 2013NUMBER FIVE:
CITIES OF GOLD AND MIRRORS
2 JULY 2011 – 30 JUNE 2012NUMBER FOUR:
DEREK JARMAN
SUPER8
11 SEPTEMBER 2010 – 26 FEBRUARY 2011NUMBER THREE:
HERE AND NOW
27 OCTOBER 2009 – 29 JULY 2010100 YEARS
(VERSION #1, DUESSELDORF)
10 OCTOBER 2009 – 29 JULY 2010OUT OF SPACE 1:
CAO FEI
WHOSE UTOPIA
25 APRIL 2009 – 27 JUNE 2009NUMBER TWO:
FRAGILE
11 OCTOBER 2008 – 1 AUGUST 2009NUMBER ONE:
DESTROY, SHE SAID
18 JUNE 2007 – 2 AUGUST 2008
HORIZONTAL VERTIGO
JSC DÜSSELDORF / BERLIN
31 MARCH 2019 – 19 JULY 2020HORIZONTAL VERTIGO:
WANGSHUI
12 SEPTEMBER 2019 – 15 DECEMBER 2019ACUTE ART AT JSC:
BJARNE MELGAARD / KOO JEONG A
12 OCTOBER 2019 – 12 JANUARY 2020STAN DOUGLAS
SPLICING BLOCK
1 NOVEMBER 2019 – 1 MARCH 2020
HORIZONTAL VERTIGO:
MERIEM BENNANI
PARTY ON THE CAPS
25 JANUARY 2020 – 3 MAY 2020ACUTE ART AT JSC:
NATHALIE DJURBERG & HANS BERG
25 JANUARY 2020 – 26 APRIL 2020JEREMY SHAW
QUANTIFICATION TRILOGY
1 MAY 2020 – 26 JULY 2020
HORIZONTAL VERTIGO:
COLIN SELF
SUBTEXT
PERFORMANCE
31 MAY 2019 – 1 JUNE 2019HORIZONTAL VERTIGO:
PAULINE BOUDRY / RENATE LORENZ
ONGOING EXPERIMENTS WITH STRANGENESS
26 APRIL 2019 – 28 JULY 2019KW PRODUCTION SERIES
BEATRICE GIBSON & JAMIE CREWE
27 SEPTEMBER 2018 – 25 NOVEMBER 2018IAN CHENG
EMISSARIES
27 APRIL 2018 – 1 JULY 2018ARTHUR JAFA
A SERIES OF UTTERLY IMPROBABLE,
YET EXTRAORDINARY RENDITIONS
11 FEBRUARY 2018 – 25 NOVEMBER 2018JAGUARS AND ELECTRIC EELS
5 FEBRUARY 2017 – 26 NOVEMBER 2017WELT AM DRAHT
2 JUNE 2016 – 13 NOVEMBER 2016
MICHELE RIZZO
REACHING
27 MAY 2020 – 30 MAY 2020
KLARA LIDÉN
KASTA MACKA
LOOP FESTIVAL, BARCELONA PAVILION, SPAIN
16 NOVEMBER 2019 – 24 NOVEMBER 2019SAMSUNG x JSC
ART DÜSSELDORF
15 NOVEMBER 2019 – 17 NOVEMBER 2019RHINELAND INDEPENDENT
ART DÜSSELDORF
15 NOVEMBER 2019 – 17 NOVEMBER 2019TIME KILLS
SESC, SÃO PAULO, BRAZIL
21 MARCH 2019 – 16 JUNE 2019TURN ON
TIME-BASED MEDIA ART FROM THE JULIA STOSCHEK COLLECTION
TEL AVIV MUSEUM OF ART, TEL AVIV, ISRAEL
31 MARCH 2015 – 29 AUGUST 2015THE NEW HUMAN
MODERNA MUSEET, MALMÖ, SWEDEN
MODERNA MUSEET, STOCKHOLM, SWEDEN
14 MARCH 2015 – 4 DECEMBER 2016HIGH PERFORMANCE
TIME-BASED MEDIA ART SINCE 1996
ZKM | ZENTRUM FÜR KUNST UND MEDIEN, KARLSRUHE, GERMANY
16 MARCH 2014 – 22 JUNE 2014I WANT TO SEE HOW YOU SEE
DEICHTORHALLEN, HAMBURG, GERMANY
16 APRIL 2010 – 25 JULY 2010RHINE ON THE DNIPRO
JULIA STOSCHEK COLLECTION/ANDREAS GURSKY
PINCHUK ART CENTRE, KIEV, UKRAINE
28 SEPTEMBER 2008 – 14 DECEMBER 2008VIDEO KOOP
KIT – KUNST IM TUNNEL, DÜSSELDORF, GERMANY
3 MAY 2008 – 27 JULY 2008
The JULIA STOSCHEK COLLECTION has always worked closely with other museums and art institutions both locally and at an international level. Like time-based media themselves, these collaborations expand, appropriate, reinterpret, and repurpose the collection in new and exciting ways, highlighting and discovering multiple historical threads and thematic clusters.
In past years, largescale presentations of the JULIA STOSCHEK COLLECTION were hosted at major museums and art institutionsin Germany and abroad. One of the first major collaborations, named after Pipilotti Rist’s work I WANT TO SEE HOW YOU SEE, took place at Deichtorhallen, Hamburg, Germany in 2010. Referencing the FIRE, EARTH, WATER, AIR exhibition, organized at the Deichtorhallen in 1993, I WANT TO SEE HOW YOU SEE paired seminal early film and video works by Marina Abramović, Vito Acconci, and Chris Burden with later pieces by Heike Baranowsky, Monica Bonvicini, and Nathalie Djurberg, among others.
In 2014, the collaboration with ZKM | Zentrum für Kunst & Medien, Karlsruhe, Germany, titled HIGH PERFORMANCE. Time-based media art since 1996, explored video as a form of scenic art, strongly influenced by the so-called performative turn which pervaded not only the humanities but also society and art at the time. The exhibition, curated by Bernhard Serexhe and Julia Stoschek, was divided into sections, investigating concepts of body and soul, public space, environment, and virtual reality through different artistic positions. It was one of the largest projects to take place outside the JULIA STOSCHEK COLLECTION space and featured over 25 artists, such as Doug Aitken, Francis Alÿs, Allora & Calzadilla, Trisha Baga, John Bock, Paul Chan, Keren Cytter, Simon Denny, Cyprien Gaillard, Christian Jankowski, Mike Kelley, Klara Liden, Helen Marten, Mika Rottenberg, Ryan Trecartin, Andro Wekua, Tobias Zielony, and others.
Further major collaborations include TURN ON at the Tel Aviv Museum of Art, Israel, and THE NEW HUMAN at Moderna Museet, Malmö, Sweden in 2015.
In the future, the JULIA STOSCHEK COLLECTION looks forward to expanding its reach through close and meaningful collaborations around the globe.
ADDRESS
JSC Düsseldorf
Schanzenstraße 54
40549 Düsseldorf
Germany
OPENING HOURS
Sundays, 11:00 a.m.–6:00 p.m.
ADMISSION
Admission to the exhibitions at JSC Düsseldorf is free of charge.
Advance registration for the visit during the opening hours is not required. However, for insurance reasons, we request that you register with your name at JSC Düsseldorf reception desk upon arrival.
PUBLIC GUIDED TOURS IN GERMAN
Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and 3:00 p.m. (duration: 90 minutes).
Registration online through our calendar.
Cost: EUR 10.00 per person (cash and card payment possible).
Free of charge for children and young people under eighteen, as well as school children, students and trainees.
SPECIAL GUIDED TOURS IN ENGLISH
During opening hours: Sunday, 11:00 a.m.–6:00 p.m.
Cost: EUR 10.00 per person for groups of 10–25 persons.
Outside opening hours:
Cost: EUR 20.00 per person for groups of 10–25 persons.
If you are interested in booking a guided tour in English, please send us an e-mail to visit.duesseldorf@jsc.art stating the desired date and group size.
BARRIER-FREE ACCESS
The JSC Düsseldorf is accessible for those with wheelchairs or prams. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.
ARCHITECTURE
The distinctive nature of the collection carries over into the space in which it is exhibited. The architecture of the JULIA STOSCHEK COLLECTION, which is designed with installations and time-based works in mind, creates narratives that reflect the relationship between the interior and exterior, as well as the arrangement of the space itself. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds – from the closed to the open, from the dark to the light. A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality. A “room within a room” construction makes it possible to vary the intensity of the light on both exhibition levels. The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson. He used a series of kaleidoscopic mirrors to transform one of the inner walls into the permanent in-situ work “When Love Is Not Enough Wall” (2007), which examines the act of looking at the outside world from inside an enclosed space.
The building, which dates to 1907, is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building. Having served many different purposes over the course of its 100-year existence, the building reflects how industry evolved during the 20th century. Before 1945 it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for – among other things – military purposes. After the war it was used as a picture frame factory by the Düsseldorf company F.G Conzen.
Renovation work in 2007 strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space. The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows. At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.
Wilfried Kuehn, architect
KUEHN MALVEZZI
Kuehn Malvezzi, founded in Berlin in 2001 by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design. Its references include the architectural design for Documenta 11 in Kassel (2002), the extension for the Friedrich Christian Flick Collection at the Museum für Gegenwart in the Hamburger Bahnhof in Berlin (2004), the JULIA STOSCHEK COLLECTION in Düsseldorf (2007), the renovations at the Liebieghaus sculpture museum in Frankfurt am Main (2008) and at the Belvedere in Vienna (2009). The team’s award-winning design for the Humboldt Forum in Berlin is a much-discussed contribution to the debate surrounding the reconstruction of Berlin City Palace and involves presenting the palace as a process and public display. The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice. Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in 2009.
RENTAL
You are looking for a special location for a celebration or a corporate event?
As a monument to early modern industrial architecture, the JSC Düsseldorf offers a unique, historic architecture with an exclusive ambience. Celebrate exclusively in the rooms of an internationally renowned art collection.
We would be pleased to submit you an individual offer.
Contact:
Şirin Şimşek
simsek@jsc.art
ADRESS
JSC Berlin
Leipziger Straße 60 (entrance: Jerusalemer Straße)
10117 Berlin
Germany
T. +49.30.921.062.461
visit.berlin@jsc.art
OPENING HOURS
Saturdays & Sundays, 12:00 p.m.–6:00 p.m.
ADMISSION
Admission to the exhibitions at JSC Berlin: EUR 5.00.
Advance registration for the visit during the opening hours is not required.
Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA.
PUBLIC GUIDED TOURS IN ENGLISH
Public guided tours in English through the current exhibitions on Saturdays, 3:00 p.m. (duration: 60 minutes). Registration online through our calendar.
Cost: EUR 5.00 per person (cash and card payment possible).
Free of charge for children and young people under eighteen, school pupils, students and trainees.
SPECIAL GUIDED TOURS
During opening hours: Saturday & Sunday, 12:00 p.m.–6:00 p.m.
Cost: EUR 10.00 per person for groups of 10–25 persons.
Outside opening hours:
Cost: EUR 20.00 per person for groups of 10–25 persons.
If you are interested in booking a guided tour, please send us an e-mail to visit.berlin@jsc.art.
PARTLY BARRIER-FREE ACCESS
Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers (access only via the staircase; no lift).
ARCHITECTURE
The JULIA STOSCHEK COLLECTION is devoted to make its collection available to the public and, in cooperation with other institutions, curators, and artists, to provide a vibrant platform for interaction in the form of exhibitions and events.
In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the 1960s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof. Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state.
The building’s new function, which is also its first official new use, was to be made possible and visible without eradicating the existing substance or history of the site. Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation.
A white curtain runs continuously through both floors, partially outside in front of the façade and partially inside covering the existing walls, marking the transition from light to dark space both inside and out. It cloaks the existing glass façade whilst folding it towards the inside, creating bright public spaces there as well.
These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work. This is also where openings and public events are held. The furniture, most of which was designed especially for this site, supports these activities.
The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time – leaving the building open to change respectively to the collection and for subsequent use.
Johanna Meyer-Grohbrügge, architect
MEYER-GROHBRÜGGE
The Berlin architecture office Meyer-Grohbrügge searches for simple spatial answers to complex questions. In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities.
Johanna Meyer-Grohbrügge worked at SANAA in Tokyo for five years after receiving her degree from ETH Zürich. In 2010 she cofounded the office June 14 Meyer-Grohbrügge & Chermayeff and in 2015 she initiated the office Meyer-Grohbrügge. She is a guest professor at DIA Dessau and has also taught at Washington University in St. Louis and at Columbia GSAPP.
RENTAL
You are looking for a special location for a celebration or a corporate event?
The JULIA STOSCHEK COLLECTION in Berlin-Mitte, with its 2,500 square meters, is one of the most impressive and versatile locations in the city.
The location between Leipziger Straße, Gendarmenmarkt and Friedrichsstraße as well as the possibilities of very individual usable premises make your event in this place a unique experience. Celebrate exclusively in the rooms of an internationally renowned art collection.
We would be pleased to submit you an individual offer.
Contact:
Christian Nickolai
nickolai@jsc.art
COLLECTION
“Many of the works in this collection construct multi-temporal worlds; they harbor not one flow of events, but a labyrinth of diverging paths, each with its own pace and temporality. The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times.”
Daniel Birnbaum
from: Daniel Birnbaum, Repetitions, in Number One: Destroy, She Said (Ostfildern: Hatje Cantz Verlag, 2007), 12.
Established in 2002 by Julia Stoschek, the JULIA STOSCHEK COLLECTION has grown to be an expansive collection of time-based art spanning film, video, sound, performance, and computer and software-based works. At present, over 850 artworks by more than 250 contemporary artists and artist groups across genres and generations offer an overview of time-based art from the 1960s to today with a strong focus on works made after 2000.
The term time-based art (or time-based media) describes works of art that unfold in time. Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art. These works are often allographic, meaning they are only visible when installed or projected.
At the JULIA STOSCHEK COLLECTION, early expanded cinema, video, and performance works by Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović meet Doug Aitken’s video installations, Ian Cheng’s live simulations, and Hito Steyerl’s all-encompassing environments. The collection contains many artworks by pioneering female and feminist artists and experimental filmmakers from the 1960s and ’70s, among them Dara Birnbaum, VALIE EXPORT, Barbara Hammer, and Hannah Wilke. A younger generation of artists includes Ed Atkins, Loretta Fahrenholz, Cyprien Gaillard, Josh Kline, Jon Rafman, Rachel Rose, Mika Rottenberg, Anicka Yi, and Tobias Zielony, to name a few. The collection strives to build sustainable relationships with artists and galleries, focusing on key works and groups of works made throughout artists’ careers, growing with and reflecting their evolving practice.
The collection is characterized by an ever-growing technological convergence and interdisciplinary approach: “The video art of today is theater, performance, musical performance, sculpture, projection, moving image, moving bodies, dance, stage, screen, real space, real time, all in one,” writes Peter Weibel in the catalog accompanying the exhibition “High Performance,” jointly organized by JULIA STOSCHEK COLLECTION and ZKM | Center for Art and Media in 2015. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world.
Some of these themes have been explored in exhibitions and programs at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, as well as at several international institutions. 27 large-scale exhibitions have taken place at the collection’s exhibitions spaces in Düsseldorf and Berlin since 2007. Among these were significant solo exhibitions by Derek Jarman, Sturtevant, Elizabeth Price, Ed Atkins, Frances Stark, Trisha Donnelly, Cyprien Gaillard, Arthur Jafa, and Ian Cheng.
The first large-scale group exhibition at the collection, Number One: Destroy, She Said (2007–08), was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number Two: Fragile (2008–09) focused on the body and corporality, bringing together video, performance, and body art. Number Three: Here and Now (2009–10) was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys (2015–16) revisited performance and feminist video, questioning the representation of female identity and the performance document. To celebrate its tenth anniversary, the JULIA STOSCHEK COLLECTION invited artist Ed Atkins to curate a group exhibition in Düsseldorf, which he called Generation Loss (2017). The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next.
The inaugural exhibition in Berlin, Welt am Draht (2016), addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization. Another group show, Jaguars and Electric Eels (2017), explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality. Large-scale solo presentations supplement the collection exhibition program. In 2018, the JULIA STOSCHEK COLLECTION, Berlin, presented a comprehensive exhibition by Arthur Jafa, his first in Germany. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. There are two cinemas in Düsseldorf equipped to screen 16mm and 35mm films in their original format.
LOAN REQUESTS
Loan requests for works of the JULIA STOSCHEK COLLECTION should be sent by e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.art
The loan request will be processed if the following conditions are met:
Loan requests must be made at least 6 months before the desired start of the loan period. The request must contain the following information and documents:
Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.
Please note that works that have a reference to Electronic Arts Intermix in the Courtesy line may not be lend through the JULIA STOSCHEK COLLECTION. Please contact Electronic Arts Intermix, New York directly.

RESTORATION & PRESERVATION
Long-Term Archiving
The conservation requirements for time-based media (TBM) have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works.
Yet aging is only one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware. All of these components can age: not only the media themselves are affected by the processes of decay, but even the content can become unreadable over of the years due to incompatibilities. Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their way to becoming obsolete. To this end all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository.
To meet all of the different requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK COLLECTION, based on the “three-pillar approach.” The goal is to consolidate the heterogenous collection on a digital level in just a few established and homogeneous target formats. This noticeably reduces the conservation effort since only a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are becoming obsolete. This is flanked by individual solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved.

Media-Art Repository
The media art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the most important factors during the planning. Temperatures of around 15 degrees Celsius (59 degrees Fahrenheit) and 35 percent relative humidity (RF) are considered optimal for storing magnetic tapes and was therefore chosen for the repository. These conditions are also appropriate for film and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK COLLECTION, has two airlocks: one prevents abrupt changes in climate when people enter, while the second airlock is conceived for tapes and media that are stored in the media depository. They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-bearing mountings, ensures that the space is used optimally. The floor has a stove-enamel finish and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes. In addition, the shelves are grounded to prevent any static electricity.
Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the conditioning process. Smoke and water detectors as well as an alarm system simultaneously offer comprehensive hazard protection.
The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe.
Time-based media conservator