Images
A.K. BURNS / A.L STEINER: COMMUNITY ACTION CENTER | 2019
A.K. Burns & A.L. Steiner, Community Action Center, 2010, video, 69’, color, sound. Film still. Courtesy of the artists and Video Data Bank at the School of the Art Institute of Chicago.
A.K. Burns & A.L. Steiner, Community Action Center, 2010, video, 69’, color, sound. Film still. Courtesy of the artists and Video Data Bank at the School of the Art Institute of Chicago.
A.K. Burns & A.L. Steiner, Community Action Center, 2010, video, 69’, color, sound. Film still. Courtesy of the artists and Video Data Bank at the School of the Art Institute of Chicago.
A.K. Burns & A.L. Steiner, Community Action Center, 2010, video, 69’, color, sound. Film still. Courtesy of the artists and Video Data Bank at the School of the Art Institute of Chicago.
SAMSUNG x JSC
Beatrice Gibson, I HOPE I’M LOUD WHEN I’M DEAD, 2018, 16mm film transferred to video, 20′50″, color, sound. Film still, © VG Bild-Kunst, Bonn 2019. Courtesy of the artist.
Loretta Fahrenholz, Implosion, 2011, HD video, 30′, color, sound. Video still. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne/New York.
Wu Tsang, Wildness, 2012, HD video, 74′, color, sound. Video still. Courtesy of the artist and Galerie Isabella Bortolozzi, Berlin.
Tobias Zielony, Maskirovka, 2017, HD video, stop motion, 8′46″, color, no sound. Video still. Courtesy of the artist and KOW, Berlin/Madrid.
Klara Lidén – KASTA MACKA
Klara Lidén, Kasta Macka, 2009, video, 3′45″, color, sound. Video still. Courtesy of the artist, Reena Spaulings Fine Art, New York and Galerie Neu, Berlin.
Klara Lidén, Paralyzed, 2003, video, 3′, color, sound. Video still. Courtesy of the artist, Reena Spaulings Fine Art, New York and Galerie Neu, Berlin.
Horizontal Vertigo: A.K. Burns – Negative Space
A.K. Burns, Untitled, Eclipse, 2019, 16-mm-Film, transferred to video, 13’, color, no sound. Installation view (detail). Photo: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, Leave No Trace, 2019, vinyl; 31’08’’, sound, black nitrile gloves, clear zip-lock bag silkscreen in white ink with poem printed on reverse. Installation view (detail). Photo: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, A Smeary Spot (Negative Space 0), 2015, four-channel video installation, consisting of: HD video 1-3, 53’13’’, color, sound, loop; SD-video 4, 4’, b/w, no sound, loop. Installation view (detail). Photo: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, Living Room (Negative Space 00), 2017, two-channel HD video installation, aluminum framing studs, dry wall, gutted couch, LED lights, carpet; Video: 36’, color, sound, loop. Installation view (detail). Photo: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, Leave No Trace (Negative Space 000), 2019, five-channel HD video installation, plastic skull, rubber tires, 31’8’’, color, sound. Installation view (detail). Photo: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, Leave No Trace (Negative Space 000), 2019, five-channel HD video installation, plastic skull, rubber tires, 31’8’’, color, sound. Installation view (detail). Photo: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels
A.K. Burns, ‚Negative Space Poster‘ for exhibition at the JSC, 2019, digital collage, open edition, dimensions variable. Courtesy of the artist.
A.K. Burns, Leave No Trace (Negative Space 000), 2019, five-channel HD video installation, plastic skull, rubber tires, 31’8’’, color, sound. Video still. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery, Paris/Brussels.
A.K. Burns,Leave No Trace (Negative Space 000), 2019, five-channel HD video installation, plastic skull, rubber tires, 31’8’’, color, sound. Video still. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, Living Room (Negative Space 00), 2017, two-channel HD video installation, aluminum framing studs, dry wall, gutted couch, LED lights, carpet; Video: 36’, color, sound, loop. Video still. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery, Paris/Brussels.
A.K. Burns, A Smeary Spot (Negative Space 0), 2015, Four-channel video installation, consisting of: HD video 1–3, 53’13’’, color, sound, loop; SD-video 4, 4’, b/w, no sound, loop. Video still. Courtesy of the artist, Callicoon Fine Arts, NY and Michel Rein Gallery, Paris/Brussels.
Stan Douglas – SPLICING BLOCK
Stan Douglas, Two Friends, 1975, 2012, Digital C-print mounted on aluminum: 106.7 x 142.2 cm. Courtesy of the artist, Victoria Miro and David Zwirner.
Stan Douglas, A Luta Continua, 1974, 2012, Digital C-print mounted on aluminum, 120.7 x 181 cm. Courtesy of the artist, Victoria Miro and David Zwirner.
Stan Douglas, Hors-champs, 1992, two-channel video installation, 13’20’’, b/w, sound, dimensions variable. Video still. Courtesy of the artist, Victoria Miro and David Zwirner.
Stan Douglas, Luanda-Kinshasa, 2013, one-channel video installation, 361’ (loop), color, sound, dimensions variable. Video still. Courtesy of the artist, Victoria Miro and David Zwirner.
Stan Douglas, Luanda-Kinshasa, 2013, one-channel video installation, 361’ (loop), color, sound, dimensions variable. Video still. Courtesy of the artist, Victoria Miro and David Zwirner.
Stan Douglas, Luanda-Kinshasa, 2013, one-channel video installation, 361’ (loop), color, sound, dimensions variable. Video still. Courtesy of the artist, Victoria Miro and David Zwirner.
JSC ON VIEW: Lutz Bacher, Barbara Hammer, Carolee Schneemann
Carolee Schneemann, Fuses, 1964–67, 16-mm-Film, transferiert auf HD-Video, 29’37“, Farbe, ohne Ton. Courtesy of the Estate of Carolee Schneemann and Electronic Arts Intermix, New York.
Installation view, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Photo: Simon Vogel, Cologne.
Barbara Hammer, Double Strength, 1978, 16-mm-Film, transferred to video, 14’03’’, color, sound. Installation view, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Photo: Simon Vogel, Cologne.
Installation view, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Photo: Simon Vogel, Cologne.
Installation view, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Photo: Simon Vogel, Cologne.
Lutz Bacher, James Dean, 1986/2014, HD video installation (16 pairs of video stills on 2 monitors), loop, b/w, no sound. Courtesy of the Estate of Lutz Bacher and Galerie Buchholz.
Carolee Schneemann, Up to and including her Limits, 1976, Video, 29’, color, sound. Video still. Courtesy of the Estate of Carolee Schneemann and EAI-Electronic Arts Intermix, New York.
Barbara Hammer, Double Strength, 1978, 16mm film transferred to video, 14’03’’, color, sound. Video still. Courtesy of the Estate of Barbara Hammer and KOW, Berlin/Madrid.
Barbara Hammer, X, 1975, 16mm film transferred to video, 7’04’’, color, sound. Video still. Courtesy of the Estate of Barbara Hammer and KOW, Berlin/Madrid.
Barbara Hammer, I Was/I Am, 1973, 16mm film transferred to video, 5’35’’, b/w, sound. Video still. Courtesy of the artist and KOW, Berlin/Madrid.
Horizontal Vertigo: WangShui
WangShui,Gardens of Perfect Exposure, 2018, mixed-media video installation; assorted chromed bath fixtures, live silkworms, audio loop, roof repair fabric, laminated hair, glass gobs, selfie ring lights, plexiglas, earrings, rehydrated mulberry leaves, silk, magnets, TV, HD camcorders, four-channel video, livestream, color, audio loop. Installation view. Photo: Alwin Lay. Courtesy of the artist.
WangShui, Gardens of Perfect Exposure, 2018, Mixed-Media-Videoinstallation; verschiedene verchromte Badarmaturen, lebende Seidenraupen, Dachreparaturgewebe, laminiertes Haar, Glastropfen, Selfie-Ringlichter, Plexiglas, Ohrringe, rehydrierte Maulbeerblätter, Seide, Magnete, Fernseher, HD-Kamerarekorder, Vierkanal-Video, Livestream, Farbe, Audio Loop. Installationsansicht. Foto: Alwin Lay. Courtesy of the artist.
WangShui, Weak Pearl, 2019, mixed-media video installation; flexible LED mesh, mica flakes, three-channel video, 5’, color, surround sound, loop. Installation view (detail). Photo: Alwin Lay. Courtesy of the artist.
WangShui, Weak Pearl, 2019, mixed-media video installation; flexible LED mesh, mica flakes, three-channel video, 5’, color, surround sound, loop. Installation view (detail). Photo: Alwin Lay. Courtesy of the artist.
WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018, video, 13’, color, surround sound, loop. Installation view. Photo: Alwin Lay. Courtesy of the artist.
WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018. Production still (detail). Courtesy of the artist.
WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018. Production still (detail). Courtesy of the artist.
WangShui, Sliver, 2019, two-channel video, 2’. Flexible LED mesh, mineral dust. Installation view (detail) The Shed , New York, 2019. Courtesy of the artist.
WangShui, Gardens of Perfect Exposure, 2018, Assorted chromed bath fixtures, live silkworms, audio loop, roof repair fabric, laminated hair, glass gobs, tv, selfie ring lights, plexiglas, earrings, hd camcorders, rehydrated mulberry leaves, silk, magnets. Installation view (detail) SculptureCenter, New York. Courtesy of the artist.
WangShui, Gardens of Perfect Exposure, 2018, Assorted chromed bath fixtures, live silkworms, audio loop, roof repair fabric, laminated hair, glass gobs, tv, selfie ring lights, plexiglas, earrings, hd camcorders, rehydrated mulberry leaves, silk, magnets. Installation view (detail) SculptureCenter, New York. Courtesy of the artist.
WangShui, From its mouth came a river of high-end residential appliances, 2018, single-channel video, 13’. Video still. Courtesy of the artist.
Collaboration: JSC and ACUTE ART, London
Bjarne Melgaard, My Trip, 2019, virtual reality installation, 15′. Film still. Courtesy of the artist and Acute Art, London.
Bjarne Melgaard, My Trip, 2019, virtual reality installation, 15′. Film still. Courtesy of the artist and Acute Art, London.
Bjarne Melgaard, My Trip, 2019, virtual reality installation, 15′. Film still. Courtesy of the artist and Acute Art, London.
Bjarne Melgaard, My Trip, 2019, virtual reality installation, 15′. Film still. Courtesy of the artist and Acute Art, London.
Bjarne Melgaard, My Trip, 2019, virtual reality installation, 15′. Film still. Courtesy of the artist and Acute Art, London.
Bjarne Melgaard, My Trip, 2019, virtual reality installation, 15′. Film still. Courtesy of the artist and Acute Art, London.
Koo Jeong A, density, 2019, augmented reality. Courtesy of the artist and Acute Art, London
Koo Jeong A, density, 2019, augmented reality. Courtesy of the artist and Acute Art, London
Koo Jeong A, AR visualisation of density, 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Koo Jeong A, density, 2019, augmented reality. Courtesy: the artist and Acute Art.
Koo Jeong A, Ice Cube, 2019, augmented reality. Courtesy: the artist and Acute Art.
Koo Jeong A, drawing reference for Ki In Sang Bong ( eccentricities reunion ) , 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Koo Jeong A, drawing reference for feasibility, 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Koo Jeong A, drawing reference for complete answer , 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Koo Jeong A, drawing reference for abstruse, 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Koo Jeong A, drawing reference for implosion, 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Koo Jeong A, drawing reference for one should stay away from anything worldly, 2019. From the series Prerequisites 7. Augmented Reality. Courtesy of Acute Art and the artist
Screenings Horizontal Vertigo: Anna Zett
Anna Zett, This Unwieldy Object, 2014, 47′00″, color, sound. Video still. Courtesy of the artist.
Anna Zett, This Unwieldy Object, 2014, 47′00″, color, sound. Video still. Courtesy of the artist.
Anna Zett, Endarchiv, 2019, 18′ 21″, color, sound. Video still. Courtesy of the artist.
One Year-Program Horizontal Vertigo 2019 / 2020
Rindon Johnson, Leah and I … , 2019,
35 mm slides. Still. Courtesy of the artist.
Pauline Boudry / Renate Lorenz, I Want, 2015, installation with double HD projection, 16’. Film still. Performance: Sharon Hayes. Film still: Andrea Thal. Courtesy of Ellen de Bruijne Projects and Galerie Marcelle Alix.
Pauline Boudry / Renate Lorenz, To Valerie Solanas and Marilyn Monroe in Recognition of their desperation, 2013, installation with super 16mm film transferred to video, HD, 18’. Performance: Rachel Aggs, Peaches, Catriona Shaw, Verity Susman, Ginger Brooks Taka-hashi, William Wheeler. Film still: Andrea Thal. Courtesy of Ellen de Bruijne Projects and Galerie Marcelle Alix.
A.K. Burns, Negative Space: A Smeary Spot, 2015, four-channel video installation. Videos 1–3: HD, color, six-channel sound, 53’13’’, synchronized loop. Video 4: SD, b/w, silent, 4’ loop. Video still. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery.
A.K. Burns, Negative Space: Living Room, 2017, two-channel HD video installation, color, 36’, synchronized loop. Film still. Photo: Eden Batki. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery.
Colin Self, Siblings (Elation VI), 2018, live performance MoMA PS1, New York. Photo: Maria Barranova. © VG Bild-Kunst, Bonn 2019. Courtesy of the artist.
Meriem Bennani, Party on the caps, 2018, eight-channel video installation, mapped digital video installation, 30’. Installation view, BIENNALE DE L’IMAGE EN MOUVEMENT 2018, Centre d’Art Contemporain Genève. Photo: Mathilda Olmi. Courtesy of the artist.
Meriem Bennani, Party on the caps, 2018, eight-channel projection, mapped digital video installation, 30’. Installation view, BIENNALE DE L’IMAGE EN MOUVEMENT 2018, Centre d’Art Contemporain Genève. Photo: Mathilda Olmi. Courtesy of the artist.
Sophia Al-Maria, Major Motions, 2018, mixed media installation, VHS, VCR, 13’’, infinite loopstrobe light, unlimited VHS film, dimensions variable. Installation view, ILYSM, Project Native Informant, London. Courtesy of the artist, Anna Lena Films and Project Native Informant, London.
Sophia Al-Maria, Mirror Cookie, 2018, HD video installation, 7’35’’, loop, dimensions variable. Installation view, ILYSM, Project Native Informant, London. Courtesy of the artist, Anna Lena Films and Project Native Informant, London
Architecture JSC Düsseldorf
Installation view, GENERATION LOSS, JSC Düsseldorf, first floor. Photo: Simon Vogel, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: Şirin Şimşek, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: Şirin Şimşek, Cologne.
JSC Düsseldorf, building (outside). Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf, building (outside). Photo: Simon Vogel, Cologne.
JSC Düsseldorf, building (outside). Photo: © Ulrich Schwarz, Berlin.
Architecture JSC Berlin
JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSC Berlin, building (outside). Photo: Robert Hamacher, Berlin.
JSC Berlin, foyer, first floor. Photo: Robert Hamacher, Berlin.
Julia Stoschek
Julia Stoschek, Photo: Peter Rigaud.
Julia Stoschek, Photo: Peter Rigaud.
Julia Stoschek, Foto: Peter Rigaud.
