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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.

 

PRESSETERMINE

 

BJARNE MELGAARD / KOO JEONG A

JULIA STOSCHEK COLLECTION IN COLLABORATION WITH ACUTE ART, LONDON
Freitag, 11. Oktober 2019, 11 Uhr. Anmeldung unter: press@jsc.art

Pressemitteilungen
ACUTE ART | JSC: BJARNE MEELGARD | KOO JEONG A
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A.K. BURNS: NEGATIVE SPACE | 2019
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KOLLABORATION: JSC MIT ACUTE ART, LONDON
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JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN. WORKS FROM THE JULIA STOSCHEK COLLECTION | 2019
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SCREENING: FILMS BY CHELSEA KNIGHT WITH SHANE ASLAN SELZER | 2019
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SCREENING: FILMS BY ARJUNA NEUMAN & DENISE FERREIRA DA SILVA | 2019
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PAULINE BOUDRY / RENATE LORENZ: ONGOING EXPERIMENTS WITH STRANGENESS | 2019
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RINDON JOHNSON: CIRCUMSCRIBE | 2019
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SCREENING: FILMS BY EDUARDO WILLIAMS | 2019
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JAHRESPROGRAMM: HORIZONTAL VERTIGO | 2019 – 2020
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HORIZONTAL VERTIGO | KÜNSTLER*INNENBIOGRAFIEN
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NEW METALLURGISTS | 2018 – 2019
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GENERATION LOSS | 2017 – 2018
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JAGUARS AND ELECTRIC EELS | 2017
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NUMBER THIRTEEEN: FACTORY OF THE SUN & MISSED CONNECTIONS | 2016 – 2017
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WELT AM DRAHT | 2016
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NUMBER ELEVEN: CYPRIEN GAILLARD | 2015 – 2016
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WU TSANG: A DAY IN THE LIFE OF BLISS | 2015
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THE NEW HUMAN - YOU AND I IN GLOBAL WONDERLAND | 2015
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TURN ON - ZEITBASIERTE MEDIENKUNST AUS DER JULIA STOSCHEK COLLECTION | 2015
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NUMBER TEN: TRISHA DONNELLY | 2015
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NUMBER NINE: ELIZABETH PRICE | 2014 – 2015
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NUMBER EIGHT: STURTEVANT | 2014
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HIGH PERFORMANCE. DIE JULIA STOSCHEK COLLECTION ZU GAST IM ZKM | 2014
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NUMBER SEVEN: ED ATKINS / FRANCES STARK | 2013 – 2014
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DAS BILDERMUSEUM BRENNT | 2013
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NUMBER SIX: FLAMING CREATURES | 2012 - 2013
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MONTBLANC DE LA CULTURE ARTS PATRONAGE AWARD | PREISTRÄGERIN 2012 | JULIA STOSCHEK
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SCREENINGS ART COLOGNE | KLUB GEWÖLBE | 2012
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VENUS & APOLL | 2012
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NUMBER FIVE: CITIES OF GOLD AND MIRRORS | 2011 – 2012
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NUMBER FOUR: DEREK JARMAN - SUPER8 | 2010 – 2011
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I WANT TO SEE HOW YOU SEE | 2010
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NUMBER THREE: HERE AND NOW | 2009 – 2010
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100 YEARS (VERSION #1, DUESSELDORF) | 2009 – 2010
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OUT OF SPACE 1: CAO FEI - WHOSE UTOPIA | 2009
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NUMBER TWO: FRAGILE | 2008 – 2009
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RHINE ON THE DNIPRO: JULIA STOSCHEK COLLECTION/ANDREAS GURSKY | 2008
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NUMBER ONE: DESTROY, SHE SAID | 2007 – 2008
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Bildmaterial

JSC ON VIEW: Lutz Bacher, Barbara Hammer, Carolee Schneemann

Carolee Schneemann, Fuses, 1964–67, 16mm film, transferred to HD video, 29’37“, color, no sound. Courtesy of the Estate of Carolee Schneemann and Electronic Arts Intermix, New York.

Installationsansicht, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Barbara Hammer, Double Strength, 1978, 16-mm-Film, transferiert auf Video, 14’03’’, Farbe, Ton. Installationsansicht, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Installationsansicht, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Installationsansicht, JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Lutz Bacher, James Dean, 1986/2014, HD-Videoinstallation (16 Paare von Videostills auf 2 Monitoren), Loop, S/W, kein Ton. Courtesy of the Estate of Lutz Bacher and Galerie Buchholz.

 

Carolee Schneemann, Up to and including her Limits, 1976, Video, 29’, Farbe, Ton. Videostill. Courtesy of the Estate of Carolee Schneemann and EAI-Electronic Arts Intermix, New York.

Barbara Hammer, Double Strength, 1978, 16-mm-Film, transferiert auf Video, 14’03’’, Farbe, Ton. Videostill. Courtesy of the Estate of Barbara Hammer and KOW, Berlin/Madrid.

Barbara Hammer, X, 1975, 16-mm-Film, transferiert auf Video, 7’04’’, Farbe, Ton. Videostill. Courtesy of the Estate of Barbara Hammer and KOW, Berlin/Madrid.

Barbara Hammer, I Was/I Am, 1973, 16-mm-Film, transferiert auf Video, 5’35’’, S/W, Ton. Videostill. Courtesy of the artist and KOW, Berlin/Madrid.


Ausstellung JSC Düsseldorf: A.K. Burns – Negative Space

Installationsansicht, A.K. BURNS, NEGATIVE SPACE, JSC Düsseldorf. Foto: Alwin Lay.

Installationsansicht, A.K. BURNS, NEGATIVE SPACE, JSC Düsseldorf. Foto: Alwin Lay.

Installationsansicht, A.K. BURNS, NEGATIVE SPACE, JSC Düsseldorf. Foto: Alwin Lay.

A.K. Burns, ‚Negative Space Poster‘
für die Ausstellung in der JSC, 2019, digitale Collage, unbegrenzte Auflage, Größe variabel. Courtesy of the artist.

A.K. Burns, Leave No Trace (Negative Space 000), 2019, Fünfkanal-HD-Videoinstallation, Plastikschädel, Autoreifen, Video, 31’8’’, Farbe, Ton. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery, Paris/Brussels.

A.K. Burns, Leave No Trace (Negative Space 000), 2019, Fünfkanal-HD-Videoinstallation, Plastikschädel, Autoreifen, Video, 31’8’’, Farbe, Ton. Videostill. Courtesy of the artist, Callicoon Fine Arts and Michel Rein Gallery, Paris/Brussels.

A.K. Burns, Living Room (Negative Space 00), 2017, Zweikanal-HD-Videoinstallation, Aluminiumprofile, Gipsplatte, Sofagestell, LED-Lichterkette, Teppich, Farbe; Video: 36’, Ton, Loop. Videostill. Courtesy of the artist, Callicoon Fine Arts, NY and Michel Rein Gallery, Paris/Brussels.

A.K. Burns, A Smeary Spot (Negative Space 0), 2015, Vierkanal-Videoinstallation, bestehend aus: HD-Video 1–3, 53’13’’, Farbe, Ton, Loop; SD-Video 4, 4’, S/W, kein Ton, Loop. Videostill. Courtesy of the artist, Callicoon Fine Arts, NY and Michel Rein Gallery, Paris/Brussels.


Ausstellung JSC Berlin: WangShui

Installationsansicht, WANGSHUI, JSC Berlin. Foto: Alwin Lay.

Installationsansicht, WANGSHUI, JSC Berlin. Foto: Alwin Lay.

Installationsansicht, WANGSHUI, JSC Berlin. Foto: Alwin Lay.

Installationsansicht, WANGSHUI, JSC Berlin. Foto: Alwin Lay.

 

Installationsansicht, WANGSHUI, JSC Berlin. Foto: Alwin Lay.

 

 

Installationsansicht, WANGSHUI, JSC Berlin. Foto: Alwin Lay.

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, verschiedene verchromte Badarmaturen, lebende Seidenwürmer, Audio-Loop, Dachreparaturgewebe, laminiertes Haar, Glastropfen, Fernseher, Selfie-Ringlichter, Plexiglas, Ohrringe, HD-Camcorder, rehydrierte Maulbeerblätter, Seide, Magnete. Installationsansicht (Detail), SculptureCenter, New York. Courtesy of the artist.

WangShui, Gardens of Perfect Exposure, 2018, verschiedene verchromte Badarmaturen, lebende Seidenwürmer, Audio-Loop, Dachreparaturgewebe, laminiertes Haar, Glastropfen, Fernseher, Selfie-Ringlichter, Plexiglas, Ohrringe, HD-Camcorder, rehydrierte Maulbeerblätter, Seide, Magnete. Installationsansicht (Detail),  SculptureCenter, New York. Courtesy of the artist.

WangShui, From its mouth came a river of high-end residential appliances, 2018, Einkanal-Video, 13’. Videostill. Courtesy of the artist.


Kollaboration: JSC mit ACUTE ART, London

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. Courtesy of the artist and Acute Art, London.

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. Courtesy of the artist and Acute Art, London.

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. Courtesy of the artist and Acute Art, London.

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. Courtesy of the artist and Acute Art, London.

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. 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

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. Courtesy of the artist and Acute Art, London.


Screening-Programm Horizontal Vertigo: FILMS BY: Sky Hopinka

Sky Hopinka, Dislocation Blues, 2017, Video, 16’57’’, Farbe, Ton. Videostill. © Sky Hopinka. Courtesy of the artist and Video Data Bank at the School of the Art Institute of Chicago.

Sky Hopinka, Fainting Spells, 2018, Video, 10’45’’, Farbe, Ton. Videostill. © Sky Hopinka. Courtesy of the artist and Video Data Bank at the School of the Art Institute of Chicago.


Jahresprogramm Horizontal Vertigo 2019 / 2020

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.

Meriem BennatiParty on the caps, 2018, Achtkanal-Videoinstallation, 30’. Installationsansicht, BIENNALE DE L’IMAGE EN MOUVEMENT 2018, Centre d’Art Contemporain Genève. Foto: Mathilda Olmi. Courtesy of the artist.

Meriem Bennani, Party on the caps, 2018, Achtkanal-Videoprojektion, digitale Video-Installation, 30’. Installationsansicht, BIENNALE DE L’IMAGE EN MOUVEMENT 2018, Centre d’Art Contemporain Genève. Foto: Mathilda Olmi. Courtesy of the artist.

Sophia Al-Maria, Major Motions, 2018, Mixed-Media-Installation, VHS, VCR, 13’’, Endlos-Loop, Stroboskop-Licht, VHS-Bänder, Größe variabel. Installationsansicht, 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, Größe variabel. Installationsansicht, ILYSM, Project Native Informant, London. Courtesy of the artist, Anna Lena Films and Project Native Informant, London


Ausstellung JSC Düsseldorf: Rindon Johnson – Circumscribe

Rindon Johnson, I First you, (11/11), 2018, HD-Video, 5’28’’, Farbe, Ton. Installationsansicht, RINDON JOHNSON, CIRCUMSCRIBE, JSC Düsseldorf. Foto: Alwin Lay.

Installationsansicht, RINDON JOHNSON, CIRCUMSCRIBE, JSC Düsseldorf. Foto: Alwin Lay.

Installationsansicht, RINDON JOHNSON, CIRCUMSCRIBE, JSC Düsseldorf. Foto: Alwin Lay.

Installationsansicht, RINDON JOHNSON, CIRCUMSCRIBE, JSC Düsseldorf. Foto: Alwin Lay.

Rindon Johnson, Among other things, 2019, Einkanal-HD-Video, 26’34’’, Farbe, Ton. Größe variabel. Soundtrack von Zeelie Brown. Installationsansicht, RINDON JOHNSON, CIRCUMSCRIBE, JSC Düsseldorf. Foto: Alwin Lay.

Rindon Johnson, Diana Said: / If you stop me / from cutting / your hair, / there is a sense / in which / you are / interfering. / * / But, since you are entitled / to determine / whether I cut your hair / or not, you do not / wrong me. / * / I make your trip to the store a waste. / * / I buy the last quart of milk /before you / get there, 2019, Virtual Reality-Installation, 7’15’’. Animation von Pariah Interactive. Installationsansicht, RINDON JOHNSON, CIRCUMSCRIBE, JSC Düsseldorf. Foto: Alwin Lay.

Rindon Johnson, Diana Said: / If you stop me / from cutting / your hair, / there is a sense / in which / you are / interfering. / * / But, since you are entitled / to determine / whether I cut your hair / or not, you do not / wrong me. / * / I make your trip to the store a waste. / * / I buy the last quart of milk /before you / get there, 2019, Virtual-Reality-Installation, 7’15’’. Animation von Pariah Interactive. Courtesy the artist.

 

Rindon Johnson, Among other things, 2019, Einkanal-HD-Video, 26’34’’, Farbe, Ton. Größe variabel. Videostill. Courtesy of the artist. Soundtrack von Zeelie Brown.

 


Ausstellung JSC Berlin: Pauline Boudry / Renate Lorenz

Pauline Boudry / Renate Lorenz, Telepathic Improvisation, 2017, Einkanal-HD-Videoinstallation, 20’. Installationsansicht, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

Installationsansicht, Pauline Boudry / Renate Lorenz, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

Pauline Boudry / Renate Lorenz, Silent, 2016, Einkanal-HD-Videoinstallation, 7’, Farbe, Ton. Performance: Aérea Negrot. Installationsansicht, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

Pauline Boudry / Renate Lorenz, I WANT, 2015, Zweikanal-HD-Videoinstallation, 16’, Farbe, Ton. Performance: Sharon Hayes. Installationsansicht, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

Installationsansicht, Pauline Boudry / Renate Lorenz, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

 

Pauline Boudry / Renate Lorenz, To Valerie Solanas and Marilyn Monroe in Recognition of their desperation, 2013, Einkanal-HD-Videoinstallation, Super-16-mm-Film, transferiert auf HD-Video, 18’. Performance: Rachel Aggs, Peaches, Catriona Shaw, Verity Susman, Ginger Brooks Taka-hashi, William Wheeler. Installationsansicht, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay. Courtesy of the artists and Ellen de Bruijne Projects, Amsterdam and Marcelle Alix, Paris.

Installationsansicht, Pauline Boudry / Renate Lorenz, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

Pauline Boudry / Renate Lorenz, Telepathic Improvisation, 2017, Einkanal-HD-Videoinstallation, 20’. Videostill. Courtesy of Ellen de Bruijne Projects and Marcelle Alix, Paris.

Installationsansicht, Pauline Boudry / Renate Lorenz, ONGOING EXPERIMENTS WITH STRANGENESS, JSC Berlin. Foto: Alwin Lay.

Pauline Boudry / Renate Lorenz, Telepathic Improvisation, 2017, Einkanal-HD-Videoinstallation, 20’. Videostill. Courtesy of Ellen de Bruijne Projects and Marcelle Alix, Paris.


Screening-Programm Horizontal Vertigo: FILMS BY: Chelsea Knight mit Shane Aslan Selzer

Chelsea Knight mit Shane Aslan Selzer, Lonely Planet, 2018, Einkanal-Video, 15’30”. Videostill. Courtesy of the artists.


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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Pressekontakt

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
press@jsc.art