Welcome to our press section. Please find here all information and material on the JULIA STOSCHEK COLLECTION exhibitions and events, as well as images for download in print quality. All reproductions offered as downloads are under copyright and are solely to be used for current reporting about the program. If you have any questions or require additional material, please contact us directly: press@jsc.art
Press releases
ULYSSES JENKINS: WITHOUT YOUR INTERPRETATION
at dawn
PIÑA, WHY IS THE SKY BLUE?
WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE
WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE – Artist Bios
JULIA STOSCHEK FOUNDATION ANNOUNCES ADVISORY BOARD
CURATORIAL & RESEARCH RESIDENCY PROGRAM 2021/22
JSC DÜSSELDORF INAUGURATES THE RESEARCH CENTER FOR TIME-BASED MEDIA ART
JULIA STOSCHEK PRESENTS HER MEDIA ART COLLECTION ONLINE
Images
ULYSSES JENKINS: WITHOUT YOUR INTERPRETATION
Ulysses Jenkins, Two Zone Transfer, 1979, video, 23’52“, color, sound. Video still. Courtesy of the artist and Electronic Arts Intermix.
Original credits, Hammer Museum:
Ulysses Jenkins, Two Zone Transfer, 1979. Still of video transferred to DVD, color, sound. 23:52 min. Courtesy of the artist and Electronic Arts Intermix
Ulysses Jenkins, Without Your Interpretation rehearsal documentation, 1984, photograph; color print, 8.9 × 12.7 cm. Courtesy of the artist.
Original credits, Hammer Museum:
Ulysses Jenkins, Without Your Interpretation rehearsal documentation, 1984. Color print. 3 1/2 × 5 in. (8.9 × 12.7 cm). Courtesy of the artist
Ulysses Jenkins, Just Another Rendering of the Same Old Problem, 1979, photograph. Performance at Otis College of Art and Design, Los Angeles. Courtesy of the artist. Photo: Nancy Buchanan.
Original credits, Hammer Museum:
Ulysses Jenkins, Just Another Rendering of the Same Old Problem, 1979. Performance at Otis College of Art and Design, Los Angeles. Courtesy of the artist. Photo: Nancy Buchanan.
Ulysses Jenkins, Peace and Anwar Sadat performance documentation, 1985, black & white print, 20.3 × 25.4 cm. Courtesy of the artist. Photo: BASIA.
Original credits, Hammer Museum:
Ulysses Jenkins, Peace and Anwar Sadat performance documentation, 1985. Black-and-white print. 8 × 10 in. (20.3 × 25.4 cm). Courtesy of the artist. Photo: BASIA
Televiews and Cable Radio, 1981, video, 11’18“, color, sound. Video still. Courtesy of the artist.
Peace and Anwar Sadat, 1985, video, 21’32“, color, sound. Video still. Courtesy of the artist.
Documenta 9 Video Phone Performance, 1992, video, 11’29“, color, sound. Video still. Courtesy of the artist.
Documenta 9 Video Phone Performance, 1992, video, 11’29“, color, sound. Video still. Courtesy of the artist.
Ulysses Jenkins, Centinela Valley Juvenile Diversion Mural Project documentation, 1976, Boulevard Market, Lennox, CA. Courtesy of the artist.
Original credits, Hammer Museum:
Ulysses Jenkins, Centinela Valley Juvenile Diversion Mural Project documentation, 1976. Boulevard Market, Lennox, CA. Courtesy of the artist
Documenta 9 Video Phone Performance, 1992, video, 11’29“, color, sound. Video still. Courtesy of the artist.
Peace and Anwar Sadat, 1985, video, 21’32“, color, sound. Video still. Courtesy of the artist.
Peace and Anwar Sadat, 1985, video, 21’32“, color, sound. Video still. Courtesy of the artist.
Televiews and Cable Radio, 1981, video, 11’18“, color, sound. Video still. Courtesy of the artist.
Televiews and Cable Radio, 1981, video, 11’18“, color, sound. Video still. Courtesy of the artist.
Televiews and Cable Radio, 1981, video, 11’18“, color, sound. Video still. Courtesy of the artist.
WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE, curated by Hans Ulrich Obrist
Frances Stark, My Best Thing, 2011, video, 99′17″, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Courtesy of the artist and Gladstone Gallery, Brussels/New York. Photo: Alwin Lay.
Larry Achiampong & David Blandy, A Lament for Power, 2020, Video, Farbe, Ton. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.
Ian Cheng, BOB (Bag of Beliefs), 2018–2019, artificial lifeform, infinite duration, color, sound, dimensions variable. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.
Theo Triantafyllidis, Pastoral, 2019, video game, infinite duration, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.
Ed Atkins, Even Pricks, 2013, HD video, 7′32″, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.
LuYang, The Great Adventure of Material World, 2019, video game and 3-channel video installation, 26′22″, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.
LuYang, The Great Adventure of Material World, 2019, video game and 3-channel video installation, 26′22″, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.
LaTurbo Avedon, Permanent Sunset, 2020–ongoing, video, 6′13″, color, sound. Video still. Courtesy of the artist.
Danielle Brathwaite-Shirley, SHE KEEPS ME DAMN ALIVE, 2021, Unity-Game installation, infinite duration, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay, Cologne. On loan from the artist and ZELDA.
Jakob Kudsk Steensen, RE-ANIMATED, 2018, video, 24′, color, sound; virtual reality installation, 15′, color, sound. Courtesy of the artist.
SarahFriend,EveandtheInterface,2021,video,6’12“,color,sound. Courtesy of the artist and Galerie Nagel Draxler, Berlin / Cologne / Munich.
Keiken, PLAYER OF COSMIC REALMS, 2022, interactive installation, infinite duration, color, sound, dimensions variable.Consisting of: Keiken, The Life Game, 2021, multiscreen game, infinite duration, color, sound.Keiken, Bet(a) Bodies, 2021–2022, wearable haptic womb, digital audio, 9’12“, sound, silicone, LED light, mini computer, haptics, amp.Courtesy of the artists.
AngelaWashko,TheCouncil onGenderSensitivityandBehavioralAwareness inWorldofWarcraft,2012–2016, video game intervention/performance, color, sound. Courtesy of the artist.
HarunFarocki,SeriousGamesI:WatsonisDown,2009–2010,video,8′,color,sound. Courtesy of Harun FarockiFilmproduction, 2022.
The Institute of Queer Ecology, H.O.R.I.Z.O.N. (Habitat One: Regenerative Interactive Zone of Nurture), 2021, videogame,infiniteduration,color,sound. Courtesy of the artists. Concept & Production: Nicolas Baird, Raphaëlle Cormier, Ceci Moss, Lee Pivnik, Jake Sillen; 3D Modelling &Sound Design: Valerie Caputo; Soundtrack: Mechatok. Commissioned by the Solomon R. Guggenheim Museum, New York, as a form of public programming for Countryside, The Future.
Transmoderna, Terraforming CIR, 2022, virtual reality installation, 8′, color, sound. Courtesy of Transmoderna. In collaboration with Sofia Crespo, Feileacan McCormick, Moisés Horta, Alan Ixba, and Gabriel Massan.
Suzanne Treister, No Other Symptoms—Time Travelling with Rosalind Brodsky, 1995–1999, -ROM computer game, infinite duration, color, sound.Courtesy of the artist, Annely Juda Dine Art, London, and P.P.O.W. Gallery, New York.
Jacolby Satterwhite, We Are In Hell When We Hurt Each Other, 2020, video and virtual reality installation, 24’22“, color, sound. Courtesy of the artist and Mitchell-Innes & Nash, New York.
Sondra Perry, IT’S IN THE GAME ’17, 2017, HD video, 16’20“, color, sound. Courtesy of the artist, Bridget Donahue, New York, and Electronic Arts Intermix (EAI), New York.
LuYang, The Great Adventure of Material World, 2019, video game and 3-channel video installation, 26’22“, color, sound. Courtesy of the artist and Société, Berlin.
Lawrence Lek, Nepenthe Zone, 2022, open-world video game, infinite duration, color, sound; video, 21’, color, sound. Courtesy of the artist and Sadie Coles, London. Commissioned for 34th Ljubljana Biennale of Graphic Arts.
JODI, Untitled Game. Modifications of Video Game (Quake 1), 1998–2001, video game, unitled-game.org, infinite duration, color, sound. Courtesy of the artists.
Kim Heecheon, Sleigh Ride Chill, 2016, HD video, 17’27“, color, sound. Courtesy of the artist.
Ed Fornieles, Falling, 2015, HD video, 3’03“, color, sound. Courtesy of the artist and Cabinet, London.
Rebecca Allen, The Bush Soul #3, 1999, interactive software installation, infinite duration, color, sound. Courtesy of the artist and ZELDA.
Peggy Ahwesh, She Puppet, 2001, video, 15′, color, sound. Video still. Courtesy of the artist and Electronic Arts Intermix (EAI), New York.
Ed Atkins, Even Pricks, 2013, HD video, 7′32″, color, sound. Video still. Courtesy of the artist and Cabinet, London.
Ian Cheng, BOB (Bag of Beliefs), 2018–2019, artificial lifeform, infinite duration, color, sound, dimensions variable. Video still. Courtesy of the artist, Gladstone Gallery, New York/Brussels/Seoul/Los Angeles and Pilar Corrias, London.
Cao Fei, i.Mirror by China Tracy (AKA: Cao Fei), 2007, video, 28′, color, sound. Video still. Courtesy of the artist and Creative Vitamine Space, Guangzhou.
Meriem Bennani, Party on the CAPS, 2018, video, 25′28″, color, sound. Video still. Courtesy of the artist, BIM 2018 and C L E A R I N G, New York/Brussels.
Frances Stark, My Best Thing, 2011, video, 99′17″, color, sound. Video still. Courtesy of the artist and Gladstone Gallery, Brussels/New York.
WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE – Curator and Artists
Hans Ulrich Obrist, Photo: Lukas Wassmann.
Larry Achiampong, Photo: Roger Sinek.
David Blandy, Photo: Claire Barrett.
Peggy Ahwesh, Photo: Paul Samuel White.
Rebecca Allen, Photo: Linda Law.
Cory Arcangel, Photo: Tim Barber.
LaTurbo Avedon, Photo: Courtesy of the artist.
Meriem Bennani, Photo: Sunny Shokrae.
Danielle Brathwaite-Shirley, Photo: Courtesy of the artist.
Cao Fei, Photo: Jin Jiaji.
Ian Cheng, Photo: Courtesy of the artist, Gladstone Gallery, Pilar Corrias, London, and Standard (Olso), Oslo.
Jacolby Satterwhite, Birds in Paradise, 2019, two-channel video, 5′25′′, color, sound. Installation view, at dawn, JSC Berlin. Photo: Alwin Lay.
Left: Cauleen Smith, Sky Learn Sky, 2018/2022, site-specific installation comprises of differently colored overlapping gels and installation instructions, dimensions variable. Right: Jeppe Hein, 2-Dimensional Mirror Labyrinth, 2006, sculpture; polished stain- less steel, Ø 350 cm, 22 parts: 220 × 23 × 5.5 cm; 21 parts: 220 × 10 × 5.5 cm. Installation view, at dawn, JSC Berlin. Photo: Alwin Lay.
Cauleen Smith, Sky Learn Sky, 2018/2022, site-specific installation comprises of differently colored overlapping gels and installation instructions, dimensions variable. Installation view, at dawn, JSC Berlin. Photo: Alwin Lay.
Cauleen Smith, Pilgrim, 2017, 16mm film transferred to digital video, 7′41′′. Video still. Courtesy of the artist and Morán Morán, Los Angeles.
Jacolby Satterwhite, Shrines, 2021, video, 13′38′′, color, sound. Video still. Courtesy of the artist, Mitchell-Innes & Nash, New York, and Morán Morán, Los Angeles.
A.K. Burns and A.L. Steiner, Community Action Center, 2010, video, 69′, color, sound. Video still. Courtesy of the artists.
DIS, Circle Time with Ceyenne Doroshow, 2021, single-channel video installation; Wallpaper, carpet, video, 16′12′′, color, sound. Video still. Courtesy the artists and Project Native Informant, London.
Jacolby Satterwhite, Venus Region Two, 2017, wallpaper, dimensions variable. Courtesy of the artist and Mitchell-Innes & Nash, New York
STEPHANIE COMILANG & SIMON SPEISER: PIÑA, WHY IS THE SKY BLUE?
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Mixed-media video installation; virtual reality headsets. Video, 28′, 360°-Video, 16’18“, color, sound. Installation view, Piña, Why is the Sky Blue?, JSC Berlin. Photo: Alwin Lay.
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Mixed-media video installation; virtual reality headsets. Video, 28′, 360°-Video, 16’18“, color, sound. Installation view, Piña, Why is the Sky Blue?, JSC Berlin. Photo: Alwin Lay.
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Video-/Virtually-Reality-Installation, color, sound. Installation view, Piña, Why is the Sky Blue?, JSC Berlin. Photo: Alwin Lay.
Portrait Simon Speiser, Stephanie Comilang
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Video-/Virtually-Reality-Installation, color, sound. Video still. Courtesy of the artists.
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Video-/Virtually-Reality-Installation, color, sound. Video still. Courtesy of the artists.
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Video-/Virtually-Reality-Installation, color, sound. Video still. Courtesy of the artists.
Stephanie Comilang & Simon Speiser, Piña, Why is the Sky Blue?, 2021, Video-/Virtually-Reality-Installation, color, sound. Video still. Courtesy of the artists.
Advisory Board
Clockwise from top left: Arthur Jafa, photo: Robert Hamacher. Courtesy the artist and Gladstone Gallery, New York and Brussels; Udo Kittelmann, photo: Juliane Eirich; Meriem Bennani, photo: Sunny Shokrae; Andrea Lissoni, photo: Max Geuter; Chrissie Iles
Meriem Bennani, photo: Sunny Shokrae
Chrissie Iles
Arthur Jafa, photo: Robert Hamacher. Courtesy of the artist and Gladstone Gallery, New York.
Udo Kittelmann, photo: Juliane Eirich
Andrea Lissoni, photo: Max Geuter
JSC Research Center
JSC Düsseldorf, Research Center. Photo: Şirin Şimşek.
JSC Düsseldorf, Reference Library of the Research Center. Photo: Şirin Şimşek.
JSC ONLINE: A selection of works viewable online
Media Art Collection of Julia Stoschek online
Peter Fischli & David Weiss, Büsi, 2001, video, 6′30″, color, no sound. Video still. Courtesy of the artists.
Tobias Zielony, Maskirovka, 2017, HD video, stop motion, 8′46″, color, no sound. Video still. Courtesy of the artist and KOW, Berlin/Madrid.
Lutz Mommartz, Soziale Plastik, 1969, 16mm film transferred to video, 11′41″, b/w, no sound. Video still. Courtesy of the artist.
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.
Jen DeNike, Girls like me, 2006, video, 6′, color, sound. Video still. Courtesy of the artist and Anat Ebgi Gallery, Los Angeles.
Wolfgang Tillmans, Heartbeat/Armpit, 2003, video, 2′27″, color, sound. Video still. Courtesy of the artist.
Nathalie Djurberg & Hans Berg, It’s the Mother, 2008, video, 6′, color, sound. Video still. Courtesy of the artists and Gió Marconi, Milan.
Julia Stoschek
Julia Stoschek, Photo: Gordon Welters.
Julia Stoschek, Photo: Gordon Welters.
Julia Stoschek, Photo: Şirin Şimşek. [CC BY-NC-ND]
Julia Stoschek, Photo: Şirin Şimşek. [CC BY-NC-ND]
Julia Stoschek, Photo: Peter Rigaud. [CC BY-NC-ND]
Julia Stoschek, Photo: Peter Rigaud. [CC BY-NC-ND]
Julia Stoschek, Photo: Peter Rigaud. [CC BY-NC-ND]
Architecture JSC Düsseldorf
Installation view, GENERATION LOSS, JSC Düsseldorf, first floor. Photo: Simon Vogel, Cologne.