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Herzlich willkommen in unserem Pressebereich. Hier fin­d­en Sie aktuelle In­for­ma­tio­nen über die Ausstel­lun­gen und Ve­r­an­s­tal­tun­gen der JULIA STOSCHEK COLLECTION sowie Bild­ma­te­rial in druck­fähiger Qual­ität zum Down­load. Alle zum Down­load ange­bote­nen Ab­bil­dun­gen sind urhe­ber­rechtlich geschützt und dür­fen aussch­ließlich zur aktuellen Berichter­s­tat­tung ver­wen­det wer­den. Sprechen Sie uns gerne an, wenn Sie weiteres Material benötigen oder Fragen haben: press@jsc.art

Pressemitteilungen
SOPHIA AL-MARIA: BITCH OMEGA | 2020
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HORIZONTAL VERTIGO: FILMS BY MOREHSHIN ALLAHYARI | 2020
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JSC ON VIEW: WORKS FROM THE JULIA STOSCHEK COLLECTION | BASEL ABBAS & RUANNE ABOU-RAHME, THOMAS DEMAND, BEATRICE GIBSON, ARTHUR JAFA, SIGALIT LANDAU, ADAM MCEWEN, COLIN MONTGOMERY, TARYN SIMON, HITO STEYERL, TOBIAS ZIELONY | 2020
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ACUTE ART | JSC: NATHALIE DJURBERG & HANS BERG | 2020
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MERIEM BENNANI: PARTY ON THE CAPS | 2020
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STAN DOUGLAS: SPLICING BLOCK | 2019 – 2020
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KOOPERATION: JSC MIT ACUTE ART, LONDON | 2019
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JAHRESPROGRAMM: HORIZONTAL VERTIGO | 2019 – 2020
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HORIZONTAL VERTIGO | KÜNSTLER*INNENBIOGRAFIEN
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Bildmaterial

JSC ON VIEW: Thomas Demand, Beatrice Gibson, Arthur Jafa, Sigalit Landau, Hito Steyerl & Andere

Basel Abbas & Ruanne Abou-Rahme, The Incidental Insurgents: The Part About The Bandits (Chapter 2), 2012/13. Installationsansicht, JSC ON VIEW, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Arthur Jafa, Apex, 2013. Installationsansicht, JSC ON VIEW, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Links: Tobias Zielony, The Street (C.P.A.), 2013. Installationsansicht, JSC ON VIEW, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Von links nach rechts: Sigalit Landau, Barbed Hula, 2000; Basel Abbas & Ruanne Abou-Rahme, The Incidental Insurgents: The Part About The Bandits (Chapter 2), 2012/13; Hito Steyerl, November, 2004. Installationsansicht, JSC ON VIEW, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Thomas Demand, Badezimmer, 1997. Installationsansicht, JSC ON VIEW, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Von links nach rechts: Taryn Simon, CALVIN WASHINGTON (…), 2002; LARRY MAYES (…), 2002; RONALD JONES (…), 2002. Installationsansicht, JSC ON VIEW, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Thomas Demand, Badezimmer, 1997, C-Print, Diasec, 160 × 122 cm. © VG Bild-Kunst, Bonn 2019. Courtesy of the artist.

Taryn Simon, RONALD JONES Scene of arrest, South Side, Chicago, Illinois. Served 8 years of a death sentence for Rape and Murder, 2002, C-Print auf Aluminium, 121,9 × 157,5 cm. Courtesy of the artist and Gagosian Gallery, New York.

Hito Steyerl, November, 2004, Video, 25′, Farbe, Ton. Videostill, © VG Bild-Kunst, Bonn 2019. Courtesy of the artist and KOW, Berlin.

Arthur Jafa, Apex, 2013, Video, 8’22’’, Farbe, Ton. Videostill. Courtesy of the artist and Gavin Brown’s Enterprise, New York/Rome.

Sigalit Landau, Barbed Hula, 2000, Video, 1′48′′, Loop, Farbe, Ton. Videostill. Courtesy of the artist.

Tobias Zielony, Maskirovka, 2017, HD-Video, Stop-Motion, 8′46″, Farbe, kein Ton. Videostill. Courtesy of the artist and KOW, Berlin/Madrid.


ACUTE ART AT JSC: Nathalie Djurberg & Hans Berg

Nathalie Djurberg & Hans Berg, It Will End in Stars, 2018, Virtual Reality. Courtesy of the artist and Acute Art.

Nathalie Djurberg & Hans Berg, It Will End in Stars, 2018, Virtual Reality. Courtesy of the artist and Acute Art.

Nathalie Djurberg & Hans Berg, It Will End in Stars, 2018, Virtual Reality. Courtesy of the artist and Acute Art.

Nathalie Djurberg & Hans Berg, It Will End in Stars, 2018, Virtual Reality. Courtesy of the artist and Acute Art.

Nathalie Djurberg & Hans Berg, It Will End in Stars, 2018, Virtual Reality. Courtesy of the artist and Acute Art.


HORIZONTAL VERTIGO: Meriem Bennani – Party on the CAPS

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay, Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay, Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay, Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay, Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay, Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Videostill. Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Videostill. Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Videostill. Courtesy of the artist and C L E A R I N G, New York / Brussels.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Videostill. Courtesy of the artist and C L E A R I N G, New York / Brussels.


Stan Douglas – Splicing Block

Stan Douglas, Hors-champs, 1992, Zweikanal-Videoinstallation, 13’20’’, S/W, Ton. Installationsansicht (Detail), JSC Berlin. Foto: Alwin Lay. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Hors-champs, 1992, Zweikanal-Videoinstallation, 13’20’’, S/W, Ton. Installationsansicht (Detail), JSC Berlin. Foto: Alwin Lay. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Luanda-Kinshasa, 2013, Einkanal-Videoinstallation, 361’ (Loop), Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Luanda-Kinshasa, 2013, Einkanal-Videoinstallation, 361’ (Loop), Farbe, Ton. Installationsansicht, JSC Berlin. Foto: Alwin Lay. Courtesy of the artist, Victoria Miro and David Zwirner.

Links: Stan Douglas, Exodus, 1975, 2012. Rechts: Stan Douglas, Two Friends, 1975. Installationsansicht, JSC Berlin. Foto: Alwin Lay. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Exodus, 1975, 2012, Digitaler C-Print auf Aluminium: 187,7 x 265,1 cm. Installationsansicht, JSC Berlin. Foto: Alwin Lay. Courtesy of Sammlung Goetz.

Stan Douglas, Two Friends, 1975, 2012, Digitaler C-Print auf Aluminium: 106,7 x 142,2 cm. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, A Luta Continua, 1974, 2012, Digitaler C-Print auf Aluminium, 120,7 x 181 cm. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Hors-champs, 1992, Zweikanal-Videoinstallation, 13’20’’, S/W, Ton, Dimensionen variabel. Videostill. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Luanda-Kinshasa, 2013, Einkanal-Videoinstallation, 361’ (Loop), Farbe, Ton, Dimensionen variabel. Videostill. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Luanda-Kinshasa, 2013, Einkanal-Videoinstallation, 361’ (Loop), Farbe, Ton, Dimensionen variabel. Videostill. Courtesy of the artist, Victoria Miro and David Zwirner.

Stan Douglas, Luanda-Kinshasa, 2013, Einkanal-Videoinstallation, 361’ (Loop), Farbe, Ton, Dimensionen variabel. Videostill. Courtesy of the artist, Victoria Miro and David Zwirner.


HORIZONTAL VERTIGO: Sophia Al-Maria – Bitch Omega

Sophia Al-Maria, Beast Type Song, 2019, Video, 38’03’’, Farbe, Ton. Videostill. Courtesy of the artist and Project Native Informant, London.

Sophia Al-Maria, Major Motions, 2018, Videoinstallation, bestehend aus VHS, VCR, Stroboskoplich, HD-Video, 38’03’’, Farbe, Ton. Videostill. Courtesy of the artist and Project Native Informant, London.

Sophia Al-MariaWhite Man’s Bible (Revenge Porn), 2018, Videoinstallation, 59 Zeitschriften, Kopfhörer, iPhone. Installationsansicht. Courtesy the artist, Anna Lena Films and Project Native Informant, London.

Links: Sophia Al-Maria, Rape Gaze, 2014, Collage auf Leinwand, 198 x 320 x 4 cm. Rechts: Torturous Journey, 2014, Videoinstallation, bestehend aus Bildschirm, Kophörer, HD-Video, 11‘, Farbe, Ton. Courtesy of the artist and Project Native Informant, London.


HORIZONTAL VERTIGO: Films by Morehshin Allahyari

Morehshin Allahyari, She Who Sees The Unknown: Ya’jooj Ma’jooj, 2017-18, 7’14’’, Farbe, Ton. Videostill. Courtesy of the artist.

Morehshin Allahyari, She Who Sees The Unknown: Aisha Qandisha, 2018, 7’14’’, Farbe, Ton. Videostill. Courtesy of the artist.

Morehshin Allahyari, She Who Sees The Unknown: Huma, 2016, 6’4’’, Farbe, Sound. Videostill. Courtesy of the artist.


Jahresprogramm Horizontal Vertigo 2019 / 2020

Sophia Al-Maria, Beast Type Song, 2019, Video, 38’03’’, Farbe, Ton. Videostill. Courtesy of the artist and Project Native Informant, London.

Meriem Bennani, Party on the CAPS, 2018, Achtkanal-Videoinstallation, 30’, Farbe, Ton. Videostill. Courtesy of the artist and C L E A R I N G, New York / Brussels.

Rindon Johnson, Leah and I … , 2019,
35-mm-Dias. Still. Courtesy of the artist.

Pauline Boudry / Renate Lorenz, I Want, 2015, Installation mit Doppel-HD-Projektion, 16’. Filmstill. Performance: Sharon Hayes. Filmstill: 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 mit Super-16-mm-Film, transferiert auf Video, HD, 18’. Performance: Rachel Aggs, Peaches, Catriona Shaw, Verity Susman, Ginger Brooks Taka-hashi, William Wheeler. Filmstill: Andrea Thal. Courtesy of Ellen de Bruijne Projects and Galerie Marcelle Alix.

A.K. Burns, Negative Space: A Smeary Spot, 2015, Vierkanal-Videoinstallation. Videos 1–3: HD, Farbe, Sechskanal-Sound, 53’13’’, synchronisierter Loop. Video 4: SD, S/W, ohne Ton, 4’ Loop. Videostill. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery.

A.K. Burns, Negative Space: Living Room2017, Zweikanal-HD-Videoinstallation, Farbe, 36’, synchronisierter Loop. Filmstill. Foto: 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. Foto: Maria Barranova. © VG Bild-Kunst, Bonn 2019. Courtesy of the artist.


Architektur JSC Düsseldorf

Installationsansicht, GENERATION LOSS, JSC Düsseldorf, erste Etage. Foto: Simon Vogel, Köln.

JSC Düsseldorf, Foyer, erste Etage. Foto: Şirin Şimşek, Köln.

JSC Düsseldorf, Foyer, erste Etage. Foto: Şirin Şimşek, Köln.

JSC Düsseldorf, Gebäude (außen). Foto: © Ulrich Schwarz, Berlin.

JSC Düsseldorf, Gebäude (außen). Foto: Simon Vogel, Köln.

JSC Düsseldorf, Gebäude (außen). Foto: © Ulrich Schwarz, Berlin.


Architektur JSC Berlin

JSC Berlin, Foyer, Erdgeschoss. Foto: Robert Haumacher, Berlin.

JSC Berlin, Foyer, Erdgeschoss. Foto: Robert Hamacher, Berlin.

JSC Berlin, Foyer, Erdgeschoss. Foto: Robert Hamacher, Berlin.

JSC Berlin, Gebäude (außen). Foto: Robert Hamacher, Berlin.

 

 

JSC Berlin, Foyer, erste Etage. Foto: Robert Hamacher, Berlin.

 

 


Julia Stoschek

Julia Stoschek, Foto: Peter Rigaud.

Julia Stoschek, Foto: Peter Rigaud.

Julia Stoschek, Photo: Peter Rigaud.

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Leo und Wolf
Leonie Pfennig und Corinna Wolfien
Kommunikation, Text und Redaktion
Corinna Wolfien, Berlin: +49 (0) 175 567 604 6
Leonie Pfennig, Köln: +49 (0) 151 116 306 37