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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.

Pressemitteilungen
KLARA LIDÉN: KASTA MACKA | LOOP FESTIVAL | 2019
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RHINELAND INDEPENDENT | 2019
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SAMSUNG x JSC | ART DÜSSELDORF | 2019
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A.K. BURNS / A.L STEINER: COMMUNITY ACTION CENTER | 2019
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STAN DOUGLAS: SPLICING BLOCK | 2019 – 2020
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SCREENING: FILMS BY ANNA ZETT | 2019
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A.K. BURNS: NEGATIVE SPACE | 2019 – 2020
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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 SKY HOPINKA | 2019
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ACUTE ART | JSC: BJARNE MEELGARD | KOO JEONG A | 2019
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KOOPERATION: JSC MIT ACUTE ART, LONDON | 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

A.K. BURNS / A.L STEINER: COMMUNITY ACTION CENTER | 2019

A.K. Burns & A.L. Steiner, Community Action Center, 2010, Video, 69’, Farbe, Ton. Filmstill. 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’, Farbe, Ton. Filmstill. 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’, Farbe, Ton. Filmstill. 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’, Farbe, Ton. Filmstill. 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, 16-mm-Film, transferiert auf Video, 20′50″, Farbe, Ton. Filmstill, © VG Bild-Kunst, Bonn 2019. Courtesy of the artist.

Loretta Fahrenholz, Implosion, 2011, HD-Video, 30′, Farbe, Ton. Videostill. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne/New York.

Wu Tsang, Wildness, 2012, HD-Video, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Galerie Isabella Bortolozzi, Berlin.

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


Klara Lidén – KASTA MACKA

Klara Lidén, Kasta Macka, 2009, Video, 3′45″, Farbe, Ton. Videostill. Courtesy of the artist, Reena Spaulings Fine Art, New York and Galerie Neu, Berlin.

Klara Lidén, Paralyzed, 2003, Video, 3′, Farbe, Ton. Videostill. 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, transferiert auf Video, 13’, Farbe, kein Ton. Installationsansicht (Detail). Foto: 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’’, Ton, schwarze Nitril-Handschuhe, durchsichtigen Ziplockbeutel mit Gedicht, Siebdruck-Verfahren mit weißer Tinte. Installationsansicht (Detail). Foto: 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, Vierkanal-Videoinstallation, bestehend aus: HD-Video 1-3, 53’13’’, Farbe, Ton, Loop; SD-Video 4, 4’, S/W, kein Ton, Loop. Installationsansicht (Detail). Foto: 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, Zweikanal-HD-Videoinstallation, Aluminiumprofile, Gipsplatte, Sofagestell, LED Lichterkette, Teppich, Farbe; Video: 36’, Ton, Loop. Installationsansicht (Detail). Foto: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.

 

A.K. BurnsLeave No Trace (Negative Space 000), 2019, Fünfkanal-HD-Videoinstallation, Plastikschädel, Autoreifen, Video, 31’8’’, Farbe, Ton. Installationsansicht (Detail). Foto: 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, Fünfkanal-HD-Videoinstallation, Plastikschädel, Autoreifen, Video, 31’8’’, Farbe, Ton. Installationsansicht (Detail). Foto: Alwin Lay, Courtesy of the artist, Callicoon Fine Arts, New York and Michel Rein Gallery, Paris/Brussels.

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.


Stan Douglas – SPLICING BLOCK

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.


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.


Horizontal Vertigo: WangShui

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, 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-Videoinstallation; flexibles LED-Meshgewebe, Glimmer, Dreikanal-Video, 5’, Farbe, Ton, Loop. Installationsansicht (Detail). Foto: Alwin Lay. Courtesy of the artist.

WangShui, Weak Pearl, 2019, Mixed-Media-Videoinstallation; flexibles LED-Meshgewebe, Glimmer, Dreikanal-Video, 5’, Farbe, Ton, Loop. Installationsansicht (Detail). Foto: Alwin Lay. Courtesy of the artist.

WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018, Video, 13’, Farbe, Surround-Sound, Loop. Installationsansicht. Foto: 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, 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.


Kooperation: 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.

Bjarne Melgaard, My Trip, 2019, Virtual Reality-Installation, 15′. Filmstill. 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″, Farbe, Sound. Videostill. Courtesy of the artist.

Anna Zett, This Unwieldy Object, 2014, 47’00’’, Farbe, Sound. Videostill. Courtesy of the artist.

Anna Zett, Endarchiv, 2019, 18′ 21″, Farbe, Sound. Videostill. Courtesy of the artist.


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


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.

Presseverteiler

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Pressekontakt

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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