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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

 

 

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WORLDBUILDING
GAMING AND ART IN THE DIGITAL AGE

Press Preview: 2 June 2022, 12:00 p.m.
Opening: 4 June 2022, 12:00 – 6:00 p.m.

 

Curated by Hans Ulrich Obrist to celebrate the fifteenth anniversary of the JULIA STOSCHEK COLLECTION, the group exhibition WORLDBUILDING: Gaming and Art in the Digital Age opens in Düsseldorf this June.

WORLDBUILDING examines the relationship between gaming and time-based media art with a journey through various ways in which artists have interacted with video games and made them into an art form. In the words of the curator Hans Ulrich Obrist: “In 2021 2.8 billion people—almost a third of the world’s population—played video games, making a niche pastime into the biggest mass phenomenon of our time. Many people spend hours every day in a parallel world and live a multitude of different lives. Video games are to the twenty-first century what movies were to the twentieth century and novels to the nineteenth century.”

 

 

at dawn
Opening: 27 April 2022, 4:00 – 10:00 p.m.

 

The group exhibition at dawn draws connections between techniques of image production and the social and political work that goes into imagining alternatives to what the late Cuban American thinker José Esteban Muñoz called our “poisonous and insolvent” present. The show seeks to express a sense of art’s utopian horizon—a generative space of desire, experimentation, and queer relationality aligned with what he described as “ecstatic time.” Featuring thirty works that range from an early performance video by Joan Jonas to the allegorical and animated worlds of Jacolby Satterwhite, the exhibition insists on the possibility of “something else, something better, something dawning.”

 

 

PIÑA, WHY IS THE SKY BLUE?
Stephanie Comilang & Simon Speiser
Opening: 27 April 2022, 4:00 – 10:00 p.m.

 

Piña, Why is the Sky Blue? is an affirming techno-feminist vision of a future in which ancestral knowledge and new technologies converge. The centerpiece of the exhibition is a video/virtual-reality installation (2021) of the same title, a speculative documentary that narrates the story of a spiritual medium known as Piña. As a form of artificial intelligence, Piña is able to receive and collect inherited knowledge, messages, and dreams from people around the world in order to secure their survival. The show featuring this newly acquired installation marks the first institutional solo exhibition in Germany of Berlin-based artists Stephanie Comilang and Simon Speiser.

Press releases
PIÑA, WHY IS THE SKY BLUE?
Group 7 Created with Sketch.
WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE
Group 7 Created with Sketch.
WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE – Artist Bios
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SCREENING: LAURE PROUVOST
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PERFORMANCE DINNER BY CAIQUE TIZZI
Group 7 Created with Sketch.
JULIA STOSCHEK FOUNDATION ANNOUNCES ADVISORY BOARD
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CURATORIAL & RESEARCH RESIDENCY PROGRAM 2021/22
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JSC DÜSSELDORF INAUGURATES THE RESEARCH CENTER FOR TIME-BASED MEDIA ART
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JULIA STOSCHEK PRESENTS HER MEDIA ART COLLECTION ONLINE
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Images

WORLDBUILDING: GAMING AND ART IN THE DIGITAL AGE, curated by Hans Ulrich Obrist

Larry Achiampong & David Blandy, A Lament for Power, 2020, Video, Farbe, Ton. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.

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.

Basmah Felemban, The Jirry Tribe Stop, 2021, video game, infinite duration, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.

Danielle Brathwaite-Shirley, SHE KEEPS ME DAMN ALIVE, 2021, Unity-Game installation, infinite duration, color, sound. Installation view, WORLDBUILDING, JSC Düsseldorf. Photo: Alwin Lay.

Danielle Brathwaite-Shirley, SHE KEEPS ME DAMN ALIVE, 2021, Unity-Game installation, infinite duration, color, sound; DECISION MAKER, 2021, Unity-Game installation controller. 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. 

Sarah Friend, Eve and the Interface, 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. 

Angela Washko, The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, 2012–2016, video game intervention/performance, color, sound. Courtesy of the artist. 

 

Harun Farocki, Serious Games I: Watson is Down, 2009–2010, video, 8′, color, sound. 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, 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.

Sturtevant, Pacman, 2012, HD video, 1′15″, color, sound. Video still. © Estate Sturtevant, Paris. Courtesy Galerie Thaddaeus Ropac, London/Paris/Salzburg/Seoul.

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.

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.


at dawn

Jacolby Satterwhite, Shrines, 2021, video, 13′38′′, color, sound. Installation view, at dawn, JSC Berlin. Photo: Alwin Lay.

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.

Joan Jonas, Songdelay, 1973, 16mm film transferred to video, 18′35′′, b/w, sound. Video still, © VG Bild-Kunst, Bonn 2022. Courtesy of the artist and Electronic Arts Intermix, New York.

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.

Nancy Holt, Sun Tunnels, 1978, 16mm film transferred to video, 26′31″, color, sound. Video still, © VG Bild-Kunst, Bonn 2021. Courtesy of the Holt/Smithson Foundation and Electronic Arts Intermix, New York.

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.


OUT OF SPACE – Festival for Time-Based Media Art

Tony Oursler, Sixth (Dusseldorf Variation), 2005–2007, wall projection; video, 21′59″, color, no sound. Installation view, NUMBER ONE: DESTROY, SHE SAID, JSC Düsseldorf. Photo: Achim Kukulies, Düsseldorf. Courtesy of the artist and JULIA STOSCHEK FOUNDATION.

Tony Oursler, Sixth (Dusseldorf Variation), 2005–2007, wall projection; video, 21′59″, color, no sound. Installation view, NUMBER ONE: DESTROY, SHE SAID, JSC Düsseldorf. Photo: Achim Kukulies, Düsseldorf. Courtesy of the artist and JULIA STOSCHEK FOUNDATION.

Dara Friedman, Revolution, 2003, SD video, 9′20″, color, no sound. Video still. Courtesy of the artist.

Cyprien Gaillard, Ocean II Ocean, 2019, HD video, 10′56″, color, sound. Video still. Courtesy of the artist and Sprüth Magers, Berlin.


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: 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.

JSC Düsseldorf, building (outside). Photo: © Ulrich Schwarz, Berlin.

JSC Düsseldorf, building (outside). Photo: Simon Vogel, Cologne.

JSC Düsseldorf, building (outside). Photo: © Ulrich Schwarz, Berlin.

JSC Düsseldorf, foyer, first floor. Photo: Şirin Şimşek, Cologne.

JSC Düsseldorf, foyer, first floor. Photo: Şirin Şimşek, Cologne.


Architecture JSC Berlin

JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.

JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.

JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.

JSC Berlin, building (outside). Photo: Robert Hamacher, Berlin.

JSC Berlin, foyer, first floor. Photo: Robert Hamacher, Berlin.

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