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Herzlich willkommen in unserem Pressebereich. Hier fin­d­en Sie aktuelle In­for­ma­tio­nen über die Ausstel­lun­gen und Ve­r­an­s­tal­tun­gen der JULIA STOSCHEK FOUNDATION 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@jsfoundation.art

Pressemitteilungen
LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?
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CURATORIAL & RESEARCH RESIDENCY PROGRAM 2024/25: LOU VON DER HEYDE
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DOUBLE FEATURE: TAREK LAKHRISSI
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KUNSTAKADEMIE DÜSSELDORF X JULIA STOSCHEK FOUNDATION
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UNBOUND: PERFORMANCE AS RUPTURE
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JSC DÜSSELDORF ERÖFFNET FORSCHUNGSZENTRUM FÜR ZEITBASIERTE MEDIENKUNST
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JULIA STOSCHEK STELLT IHRE MEDIENKUNSTSAMMLUNG ONLINE
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Bildmaterial

LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, Reach, 1986, Fotografie; Silbergelatinedruck, 80 x 61 cm, Teil der Serie Phantom Limbs, 1985–90.

Lynn Hershman Leeson, Camerawoman, 1990, Fotografie; Digitaldruck, 76,2 x 101,6 cm, Teil der Serie Phantom Limbs, 1985–1990. Courtesy of the artist, Bridget Donahue and Altman Siegel.

Lynn Hershman Leeson, Shadow Stalker, 2018–2021, Video, 10′, Farbe, Ton. Videostill. Courtesy of the artist, Bridget Donahue and Altman Siegel.

Lynn Hershman Leeson, CyberRoberta, 1996, Mixed-Media-Installation; maßgefertigte Puppe, Textilien, Brille, Webcam, Überwachungskamera, Spiegel, eigene Programmierung und ferngesteuertes System zum Drehen des Kopfes, ca. 45 x 45 x 20 cm. Courtesy of Hess Art Collection GmbH, Bolligen, Switzerland.

Lynn Hershman Leeson, Paranoid, 1968-2022, Mixed-Media-Skulptur; Wachsabguss der Künstlerin, Glasaugen, Kunsthaar, Make-up, Acryl, Ton, 25,4 x 42 x 42 cm,  Teil der Serie Breathing Machines, 1965–2022. Courtesy of the artist, Bridget Donahue and Altman Siegel. 


DIGITAL DIARIES

Wolfgang Tillmans, LA still life, 2001, Fotografie; ungerahmter Inkjetprint auf Papier, 138 × 208 cm. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne.

Hannah Perry, What are you thinking about, 2015, HD-Video, 1′34′′, Farbe, Ton, Teil von Hannah Perry, SPLIT SECOND, 2015. Courtesy of the artist and Daata, London.

Hannah Perry, aahhhhhh, 2015, HD-Video, 1′18′′, Farbe, Ton, Teil von Hannah Perry, SPLIT SECOND, 2015. Courtesy of the artist and Daata, London.

Jota Mombaça, What Has No Space is Everywhere, 2021, Video, 10′19′′, Farbe, Ton. Videostill. Courtesy of the artist.

Jota Mombaça, What Has No Space is Everywhere, 2021, Video, 10′19′′, Farbe, Ton. Videostill. Courtesy of the artist.

Sophie Calle, Double Blind, 1992, Video, 65′58″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York.

Sarah Lucas, Selfish In Bed II, 2000, Fotografie; Digitalprint, 122 × 122 cm. Courtesy of the artist and Sadie Coles HQ, London.

Frances Stark, Nothing is enough, 2012, HD-Video, 14′, S/W, Ton. Installationsansicht, NUMBER SEVEN: ED ATKINS/FRANCES STARK, JSC Düsseldorf. Foto: Simon Vogel, Köln. Courtesy of the artist and JULIA STOSCHEK FOUNDATION.

Rindon Johnson, I First you (11/11), 2018, HD-Video, 5′28″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York.

Kristin Lucas, Host, 1997, Video, 7′36″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York.

Martine Syms, Ate or Act III, 2023, Skulptur; Spezialrahmen, 101 x 101 x 30 cm, Video, 4′52′′, Farbe, Ton. Installationsansicht „Martine Syms – Present Goo“, Sadie Coles HQ, London. Foto: Katie Morrison, © Martine Syms, 2023. Courtesy of the artist and Sadie Coles HQ, London.

Martine Syms, Steven or Act II, 2023, Skulptur; Spezialrahmen, 131 x 131 x 31 cm, Video, 2′52′′, Farbe, Ton, . Installationsansicht „Martine Syms – Present Goo“, Sadie Coles HQ, London. Foto: Katie Morrison, © Martine Syms, 2023. Courtesy of the artist and Sadie Coles HQ, London.

Tromarama, Deep Pressure, 2023, Skulptur; Thera Cane, Monitore, Dimensionen variabel. Courtesy of the artists and DOCUMENT, Chicago.


DOUBLE FEATURE: TAREK LAKHRISSI

Tarek Lakhrissi, Hard to Love, 2017, Video, 4′57″, S/W, Ton. Installationsansicht, DOUBLE FEATURE: TAREK LAKHRISSI, JSF Berlin. Foto: Robert Hamacher.

Tarek Lakhrissi, Spiraling, 2021, Video, 7′00″, Farbe, Ton. Installationsansicht, DOUBLE FEATURE: TAREK LAKHRISSI, JSF Berlin. Foto: Robert Hamacher.

Tarek Lakhrissi, Bright Heart, 2023, Video, 14′08″, Farbe, Ton. Installationsansicht, DOUBLE FEATURE: TAREK LAKHRISSI, JSF Berlin. Foto: Robert Hamacher.

Tarek Lakhrissi, Bright Heart, 2023, Video, 14′08″, Farbe, Ton. Videostill. Courtesy of the artist and gallery Allen, Paris

Tarek Lakhrissi, Spiraling, 2021, Video, 7′, Farbe, Ton. Videostill. Courtesy of the artist and gallery Allen, Paris


UNBOUND: PERFORMANCE AS RUPTURE

Akeem Smith, Social Cohesiveness, 2020, Drei-Kanal-Videoinstallation, 32′53″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Akeem Smith, Social Cohesiveness, 2020, Drei-Kanal-Videoinstallation, 32′53″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Julien Creuzet, Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

mandla & Graham Clayton-Chance, as british as a watermelon, 2021, HD-Video, 28′30′′, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Pipilotti Rist, (Entlastungen) Pipilottis Fehler, 1988, Video, 11′10″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Tarek Lakhrissi, Perfume of Traitors III, 2021–23, Mixed-Media-Installation; acht Stahl- ketten, acht Messer, lichtdurchlässige grüne Folie, Dimensionen variabel. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Senga Nengudi, Masked Taping, 1978–79, Fotografien; drei Silbergelatineabzüge, Kontaktbogen, 104,1 x 253,8 cm. Fotos: Adam Avila. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Panteha Abareshi, Unlearn the Body, 2021, Super-8-Farbnegativ-Film, transferiert auf Video, 4′55′′, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, Zweikanal-Videoinstallation, 9′, Farbe, kein Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Links: Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, Zweikanal-Videoinstallation, 9′, Farbe, kein Ton. Rechts: Mame-Diarra Niang, Qui doit être vu, 2021, Fotografie; Archivpigmentdruck auf Baumwollpapier, 100 x 100 cm. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

P. Staff, Pure Means, 2021, Zweikanal-HD-Video, 4′37″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Pipilotti Rist, (Entlastungen) Pipilottis Fehler, 1988, Video, 11′10″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York. 

P. Staff, Pure Means, 2021, Zweikanal-HD-Video, 4′37″, Farbe, Ton. Videostill. Courtesy of the artist and Commonwealth and Council.

Vaginal Davis, The White to be Angry, 1999, Video, 19′22″, S/W, Ton. Videostill. Courtesy the artist and Galerie Isabella Bortolozzi, Berlin.

Howardena Pindell, Free, White and 21, 1980, U-matic Video, 12′15″, Farbe, Ton. Videostill. Courtesy of the artist and Garth Greenan Gallery, New York.

mandla & Graham Clayton-Chance, as british as a watermelon, 2019, HD Video, 28′30″, Farbe, Ton. Videostill. Courtesy of the artists. 

Julien Creuzet, Sonjé Yo ? Rappelle-toi d’eux ? En Créole, propose un au-delà aux blessure toujours actuelles de l’histoire coloniale. Non pour les oublier mais pour pallier les manques dont elles sont porteuses, 2023, 4K-Videoanimation,13′30″, Farbe, Ton. Videostill. Courtesy of the artist and High Art. 

Akeem Smith, Social Cohesiveness, 2020, Drei-Kanal-Videoinstallation, 32′53″, Farbe, Ton. Soundtrack: Ashland Mines. Videostill. Courtesy of the artist and Heidi gallery. 

Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, Zwei-Kanal-Videoinstallation, 9′, Farbe, kein Ton. Performer*innen:  Danny Giles und Joiri Minaya. Videostill. Courtesy of the artist and Bridget Donahue.

Peter Campus, Three Transitions, 1973, Video, 4′53″, Farbe, Ton. Videostill. Courtesy of the artist and Cristin Tierney, New York.

VALIE EXPORT, Körperkonfiguration, 1982, Fotografie; Silbergelatineprint, 119,5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy of the artist and Charim Galerie, Wien. 

Patty Chang, Shaved (At A Loss), 1998, Video, 5′19″, Farbe, Ton. Videostill. Courtesy of the artist.

Pope.L, A.T.M. Piece, 1997, Video, 1′52″, Farbe, Ton. Videostill. Courtesy of the artist and Mitchell Innes & Nash, New York. 


WORLDBUILDING: VIDEOSPIELE UND KUNST IM DIGITALEN ZEITALTER, kuratiert von Hans Ulrich Obrist

Gabriel Massan, THIRD WORLD: THE BOTTOM DIMENSION, 2022–fortlaufend, 4K-Video, Farbe, ohne Ton, Loop; Videospiel, unbegrenzte Dauer, Farbe, ohne Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Simon Vogel, Köln.

Cory Arcangel, Space Invader, 2004, Videospiel, unbegrenzte Dauer, Farbe, Ton, gehackter Space Invader Datenträger, Atari 2600 Videospielsystem, Künstler-Software (kodiert von Alex Galloway), Dimensionen variabel. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Simon Vogel, Köln.

Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Simon Vogel, Köln.

Dominique Gonzalez-Foerster, Ann Lee in Anzen Zone, 2000, Video, 3′25′′, Farbe, Ton. Courtesy of the artist and Esther Schipper, Berlin/Paris/Seoul. 

Neïl Beloufa & EBB, Screen Talk & Host C – trying to reach out to its audience, 2021, interactive installation, infinite duration, color, sound. Courtesy of the artist.

Gabriel Massan, Third World: The Bottom Dimension, 2023, Videospiel, unbegrenzte Dauer, Farbe, Ton. Featuring Castiel Vitorino Brasileiro, Novíssimo Edgar & LYZZA. Image courtesy Gabriel Massan

Debbie Ding, Lost Horizons, 2022, immersive VR-Erfahrung, unbegrenzte Dauer, Farbe, Ton. Courtesy of the artist.

Von links nach rechts: LaTurbo Avedon, Permanent Sunset, 2020–fortlaufend, Video, 6′13′′, Farbe, Ton. Pierre Huyghe, Two Minutes out of Time, 2000, animierter Film, 4′, Farbe, Ton. Gabriel Massan, THIRD WORLD: THE BOTTOM DIMENSION, 2022–fortlaufend, 4K-Video, Farbe, ohne Ton, Loop; Videospiel, unbegrenzte Dauer, Farbe, ohne Ton. Transmoderna, Terraforming (CIR), 2022, Virtual-Reality-Installation, 8′, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSC Düsseldorf. Foto: Simon Vogel, Köln.

Jacolby Satterwhite, We Are In Hell When We Hurt Each Other, 2020, HD-Video und Virtual-Reality-Installation, 24′22″, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Lawrence Lek, Nepenthe Zone, 2022, Open-World-Videospiel, unbegrenzte Dauer, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Keiken, PLAYER OF COSMIC REALMS, 2022, interaktive Installation, unbegrenzte Dauer, Farbe, Ton, Dimensionen variabel. Bestehend aus: Keiken, The Life Game, 2021, Mehrkanal-Videospiel, unbegrenzte Dauer, Farbe, Ton; Keiken, Bet(a) Bodies, 2021–2022, tragbare haptische Gebärmutter, digitale Audiodatei, 9′12″, Ton, Silikon, LED-Licht, Minicomputer, Haptik, AMP. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Rindon Johnson, May the moon meet us apart, may the sun meet us together, 2021, Virtual-Reality-Videospiel, unbegrenzte Dauer, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Kim Heecheon, Sleigh Ride Chill, 2016, HD-Video, 17′27″, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Harun Farocki, Serious Games I: Watson is Down, 2009–2010, Video, 8′, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Von links nach rechts: Cory Arcangel, Space Invader, 2004, Videospiel, unbegrenzte Dauer, Farbe, Ton, gehackter Space Invader Datenträger, Atari 2600 Videospielsystem, Künstler-Software (kodiert von Alex Galloway), Dimensionen variabel. Sturtevant, Pacman, 2012, Video, 1′15″, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF DÜSSELDORF. Foto: Alwin Lay, Köln.

Rebecca Allen, The Bush Soul #3, 1999, interaktive Software-Installation, unbegrenzte Dauer, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay, Köln.

Danielle Brathwaite-Shirley, SHE KEEPS ME DAMN ALIVE, 2021, Unity-Game-Installation, unbegrenzte Dauer, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

Danielle Brathwaite-Shirley, SHE KEEPS ME DAMN ALIVE, 2021, Unity-Game-Installation, unbegrenzte Dauer, Farbe, Ton; DECISION MAKER, 2021, Unity-Game-Installation-Controller. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

Ian Cheng, BOB (Bag of Beliefs), 2018–2019, künstliche Lebensform, unbegrenzte Dauer, Farbe, Ton, Dimensionen variabel. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

Basmah Felemban, The Jirry Tribe Stop, 2021, Videospiel, unbegrenzte Dauer, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

Theo Triantafyllidis, Pastoral, 2019, Videospiel, unbegrenzte Dauer, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

LuYang, The Great Adventure of Material World, 2019, Videospiel und Dreikanal-Videoinstallation, 26′22″, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

LuYang, The Great Adventure of Material World, 2019, Videospiel und Dreikanal-Videoinstallation, 26′22″, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

Ed Atkins, Even Pricks, 2013, HD-Video, 7′32″, Farbe, Ton. Installationsansicht, WORLDBUILDING, JSF Düsseldorf. Foto: Alwin Lay.

David OReilly, Everything, 2017, Videospiel, unbegrenzte Dauer, Farbe, Ton. Courtesy of the artist and YveYANG Gallery, New York.

Sahej Rahal, Anhad, 2023, audio-reaktive KI-Simulation, unbegrenzte Dauer, Farbe, Ton. Gesprochen von Niyati Upadhya. Courtesy of the artist, JUNGE AKADEMIE AdK, Berlin, and Chatterjee & Lal, Mumbai.

Afrah Shafiq, Nobody Knows For Certain, 2023, Videospielinstallation, unbegrenzte Dauer, Farbe, Ton. Courtesy of the artist. Gefördert von Garage Museum of Contemporary Art, Moskau.

Koo Jeong A, CHAMNAWANA (true me & i), 2018, animierter Film, 3, Schwarz/Weiß, kein Ton. Courtesy of the artist.

Porpentine Charity Heartscape, almanac of girlswampwar territory & the _girls who swim as fertilizer through the warm soil cloaking the roots of the glorious tree of eugenics (giving birth to a black hole in a walmart parking lot at 1am), 2018, Videospiel, unbegrenzte Dauer, Farbe, Ton. Courtesy of the artist. Musik von Ash Nerve, Lauren Bousfield, Rook, und Esper99. Weitere Programmierung von Laevos. Gefördert von Yerba Buena Center for the art.

Ericka Beckman, Hiatus, 1999/2015, Zwei-Kanal-Filminstallation, 16-mm-Film transferiert auf HD-Video, 22′, Farbe, Ton. Courtesy of the artist.

Pierre Huyghe, Two Minutes out of Time, 2000, animierter Film, 4′, Farbe, Ton. Courtesy of the artist and Esther Schipper, Berlin/Paris/Seoul. 

LaTurbo Avedon, Permanent Sunset, 2020–fortlaufend, Video, 6′13″, Farbe, Ton. Videostill. Courtesy of the artist.

Jakob Kudsk Steensen, RE-ANIMATED, 2018, Video, 24′, Farbe, Ton; Virtual-Reality-Installation, 15′, Farbe, Ton. Courtesy of the artist. 

Sarah Friend, Eve and the Interface, 2021, Video, 6’12“, Farbe, Ton. Courtesy of the artist and Galerie Nagel Draxler, Berlin / Cologne / Munich. 

Keiken, PLAYER OF COSMIC REALMS, 2022, interaktive Installation, unbegrenzte Dauer, Farbe, Ton, Dimensionen variabel. Courtesy of the artists. Bestehend aus: Keiken, The Life Game, 2021, Mehrkanal-Videospiel, unbegrenzte Dauer, Farbe, Ton. Keiken, Bet(a) Bodies, 2021–2022, tragbare haptische Gebärmutter, digitale Audiodatei, 9’12“, Ton, Silikon, LED-Licht, Minicomputer, Haptik, AMP. 

 

Angela Washko, The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, 2012–2016, Videospiel-Intervention/Performance, Farbe, Ton. Courtesy of the artist. 

Harun Farocki, Serious Games I: Watson is Down, 2009–2010, Video, 8′, Farbe, Ton. Courtesy of Harun Farocki Filmproduction, 2022. 

The Institute of Queer Ecology, H.O.R.I.Z.O.N. (Habitat One: Regenerative Interactive Zone of Nurture), 2021, Videospiel, unbegrenzte Dauer, Farbe, Ton. 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′, Farbe, Ton. 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, CD-ROM-Computerspiel, unbegrenzte Dauer, Farbe, Ton. 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, HD-Video und Virtual-Reality-Installation, 24’22“, Farbe, Ton. Courtesy of the artist and Mitchell-Innes & Nash, New York. 

Sondra Perry, IT’S IN THE GAME ’17, 2017, HD-Video, 16’20“, Farbe, Ton. Courtesy of the artist, Bridget Donahue, New York, and Electronic Arts Intermix (EAI), New York. 

LuYang, The Great Adventure of Material World, 2019, Videospiel und Dreikanal-Videoinstallation, 26’22“, Farbe, Ton. Courtesy of the artist and Société, Berlin. 

Lawrence Lek, Nepenthe Zone, 2022, Open-World-Videospiel, unbegrenzte Dauer, Farbe, Ton; Video, 21’, Farbe, Ton. 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, Videospiel, unitled-game.org, unbegrenzte Dauer, Farbe, Ton. Courtesy of the artists. 

Kim Heecheon, Sleigh Ride Chill, 2016, HD-Video, 17’27“, Farbe, Ton. Courtesy of the artist. 

Ed Fornieles, Falling, 2015, HD-Video, 3’03“, Farbe, Ton. Courtesy of the artist and Cabinet, London.  

Rebecca Allen, The Bush Soul #3, 1999, interaktive Software-Installation, unbegrenzte Dauer, Farbe, Ton. Courtesy of the artist and ZELDA. 

Peggy Ahwesh, She Puppet, 2001, Video, 15′, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix (EAI), New York.

Meriem Bennani, Party on the CAPS, 2018, Video, 25′28″, Farbe, Ton. Videostill. Courtesy of the artist, BIM 2018 and C L E A R I N G, New York/Brussels.

Ian Cheng, BOB (Bag of Beliefs), 2018–2019, künstliche Lebensform, unbegrenzte Dauer, Farbe, Ton, Dimensionen variabel. Videostill. Courtesy of the artist, Gladstone Gallery, New York/Brussels/Seoul/Los Angeles and Pilar Corrias, London.

Frances Stark, My Best Thing, 2011, Video, 99′17″, Farbe, Ton. Videostill. Courtesy of the artist and Gladstone Gallery, Brussels/New York.

Ed Atkins, Even Pricks, 2013, HD-Video, 7′32″, Farbe, Ton. Videostill. Courtesy of the artist and Cabinet, London.

Cao Fei, i.Mirror by China Tracy (AKA: Cao Fei), 2007, Video, 28′, Farbe, Ton. Videostill. Courtesy of the artist and Creative Vitamine Space, Guangzhou.

Sturtevant, Pacman, 2012, HD-Video, 1′15″, Farbe, Ton. Videostill. © Estate Sturtevant, Paris. Courtesy Galerie Thaddaeus Ropac, London/Paris/Salzburg/Seoul.


WORLDBUILDING: VIDEOSPIELE UND KUNST IM DIGITALEN ZEITALTER – Kurator und Künstler*innen

Hans Ulrich Obrist, Photo: Lukas Wassmann.

Sahej Rahal, Photo: Reece Straw.

David OReilly, Photo: Courtesy of the artist.

Afrah Shafiq, Photo: Anna Fox, Courtesy of the artist.

Koo Jeong A, Photo: Courtesy of the artist.

Porpentine Charity Heartscape, Photo: Courtesy of the artist.

Pierre Huyghe, Photo: Ola Rindal

Ericka Beckman, Photo: Courtesy of the artist.

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.

Harun Farocki, Photo: Markus J. Feger 2009.

Basmah Felemban, Photo: Jalil Felemban.

Ed Fornieles, Photo: Courtesy of the artist.

Sarah Friend, Photo: Finlay Paterson.

Rindon Johnson, Photo: Sophronia Cook.

Keiken, Photo: Callum Leo Hughes.

Kim Heecheon, Photo: Sangtae Kim.

Lawrence Lek, Photo: Ilyes Griyeb. © Art Basel

LuYang, Photo: Courtesy of the artist.

Gabriel Massan, Photo: Marina Vieira.

Sondra Perry, Photo: Courtesy of the artist.

Jacolby Satterwhite, Photo: Andreas Laszlo Konrath.

Frances Stark, Photo: Cynthia Perez.

Jakob Kudsk Steensen, Photo: Bastian Thiery.

Sturtevant, Photo: Thomas Lehners.

Suzanne Treister, Photo: Claudia Marcelloni.

Theo Triantafyllidis, Photo: Courtesy of the artist.

Angela Washko, Photo: Gray Schwartzel.


Stiftungsbeirat

Im Uhrzeigersinn: Arthur Jafa, Foto: Robert Hamacher. Courtesy the artist and Gladstone Gallery, New York and Brussels; Udo Kittelmann, Foto: Juliane Eirich; Meriem Bennani, Foto: Sunny Shokrae; Andrea Lissoni, Foto: Max Geuter; Chrissie Iles

Meriem Bennani, Foto: Sunny Shokrae

Chrissie Iles

Arthur Jafa, Foto: Robert Hamacher. Courtesy of the artist and Gladstone Gallery, New York.

Udo Kittelmann, Foto: Juliane Eirich

Andrea Lissoni, Foto: Max Geuter


JSC Forschungszentrum

JSC Düsseldorf, Forschungszentrum. Foto: Şirin Şimşek.

JSC Düsseldorf, Präsenzbibliothek des Forschungszentrums. Foto: Şirin Şimşek.


JSC ONLINE: Auswahl online einsehbarer Werken

Medienkunstsammlung von Julia Stoschek online

Peter Fischli & David Weiss, Büsi, 2001, Video, 6′30″, Farbe, kein Ton. Videostill. Courtesy of the artists.

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

Lutz Mommartz, Soziale Plastik, 1969, 16-mm-Film, transferiert auf Video, 11′41″, S/W, kein Ton. Videostill. Courtesy of the artist.

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.

Jen DeNike, Girls like me, 2006, Video, 6′, Farbe, Ton. Videostill. Courtesy of the artist and Anat Ebgi Gallery, Los Angeles.

Wolfgang Tillmans, Heartbeat/Armpit, 2003, Video, 2′27″, Farbe, Ton. Videostill. Courtesy of the artist.

Nathalie Djurberg & Hans Berg, It’s the Mother, 2008, Video, 6′, Farbe, Ton. Videostill. Courtesy of the artists and Gió Marconi, Milan.


Julia Stoschek

Julia Stoschek, Foto: Gordon Welters.

Julia Stoschek, Foto: Gordon Welters.

Julia Stoschek, Foto: Şirin Şimşek. [CC BY-NC-ND]

Julia Stoschek, Foto: Şirin Şimşek. [CC BY-NC-ND]

Julia Stoschek, Foto: Peter Rigaud. [CC BY-NC-ND]

Julia Stoschek, Foto: Peter Rigaud. [CC BY-NC-ND]

Julia Stoschek, Foto: Peter Rigaud. [CC BY-NC-ND]


Architektur JSF Düsseldorf

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

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

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


Architektur JSF Berlin

Julia Stoschek Foundation Berlin, Foto: Robert Hamacher

Julia Stoschek Foundation Berlin, Foto: Robert Hamacher

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

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

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

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

 

 

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