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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

 

 

Up-to-date:

 

COLLECTING—RESEARCH—LEARNING

JSC DÜSSELDORF INAUGURATES THE RESEARCH CENTER FOR TIME-BASED MEDIA ART

 

On 12 October 2021 the JSC Research Center was inaugurated at the Düsseldorf headquarters by Isabel Pfeiffer-Poensgen, Minister of Culture and Science of the State of North Rhine-Westphalia. The Research Center and library provide accessto the entire holdings of the collection. In the future, JSC Düsseldorf’s focus on research and education will be augmented by new cooperative ventures with partners in the areas of art and science, fellowships awarded to students, and workshops focusing on time-based media art.

 

 

JULIA STOSCHEK PRESENTS HER MEDIA ART COLLECTION ONLINE

 

The JULIA STOSCHEK COLLECTION has begun to make its collection of over 890 works by 300 artists available online for free and without any restrictions. As one of the largest private collections of time-based media art in the world, the Julia Stoschek Collection strives to advance the consistent democratization of this art form.

To date over 220 film-, video- and sound-based works by 62 artists from the collection can be viewed in their entirety in the Online Collection Catalogue. Among the works in this first selection are pieces by John Bock, Monica Bonvicini, Klaus vom Bruch, Ian Cheng, Keren Cytter, Jen DeNike, Nathalie Djurberg & Hans Berg, Tracey Emin, Cao Fei, Fischli & Weiss, Dara Friedman, Kate Gilmore, Douglas Gordon, Christian Jankowski, Imi Knoebel, Klara Lidén, Lutz Mommartz, Elizabeth Price, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.

Press releases
JSC DÜSSELDORF INAUGURATES THE RESEARCH CENTER FOR TIME-BASED MEDIA ART
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JULIA STOSCHEK FOUNDATION ANNOUNCES ADVISORY BOARD
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CURATORIAL & RESEARCH RESIDENCY PROGRAM 2021/22
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BEUYS 2021: JAN BONNY & ALEX WISSEL, JUPP, WATT HAMWER JEMAHT?, 2019
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BEUYS 2021: LUTZ MOMMARTZ, SOZIALE PLASTIK, 1969
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CHRISTOPH SCHLINGENSIEF: MESSAGE IN A BOTTLE
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JSC ON VIEW: MYTHOLOGISTS. WORKS FROM THE JULIA STOSCHEK COLLECTION
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JEREMY SHAW: QUANTIFICATION TRILOGY
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DAATA x JULIA STOSCHEK COLLECTION
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JULIA STOSCHEK PRESENTS HER MEDIA ART COLLECTION ONLINE
Group 7 Created with Sketch.
Images

JSC Research Center

JSC Düsseldorf, Research Center. Photo: Şirin Şimşek.

JSC Düsseldorf, Reference Library of the Research Center. Photo: Şirin Şimşek.


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 ON VIEW: MYTHOLOGISTS. WORKS FROM THE JULIA STOSCHEK COLLECTION

WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

From left to right: Mark Leckey, Parade, 2003; WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Mark Leckey, Parade, 2003. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

From left to right: Klara Lidén, Grounding, 2018; Mark Leckey, Fiorucci Made Me Hardcore, 1999; Parade, 2003. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Mark Leckey, Fiorucci Made Me Hardcore, 1999. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Mika Rottenberg, Chasing Waterfalls. The Rise and Fall of the Amazing Seven Sutherland Sisters, 2006. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Klara Lidén, Grounding, 2018. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Wu Tsang, Wildness, 2012. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Wu Tsang, Wildness, 2012. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Mike Kelley, Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Mike Kelley, Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

From left to right: Laure Prouvost, They Parlaient Idéale, 2019; Mike Kelley, Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Laure Prouvost, They Parlaient Idéale, 2019. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

From left to right: Jamie Crewe, Pastoral Drama, 2018; Natascha Sadr Haghighian, Artificial Life, 1995; Laure Prouvost, They Parlaient Idéale, 2019. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Jamie Crewe, Pastoral Drama, 2018. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Jamie Crewe, Pastoral Drama, 2018. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Natascha Sadr Haghighian, Artificial Life, 1995. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Jacolby Satterwhite, 1–8. En Plein Air Abstraction (full length feature), 2018. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Lina Lapelytė, Hunky Bluff Act 1–6, 2015. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

Klara Lidén, Paralyzed, 2003. Installation view, JSC ON VIEW: MYTHOLOGISTS, JSC Düsseldorf. Photo: Simon Vogel, Cologne.

WangShui, From Its Mouth Came a River of High-End Residential Appliances, 2018, video, 13′, loop, color, surround sound. Video still. Courtesy of the artist.

Mark Leckey, Parade, 2003, video, 7′19″, color, sound. Video still. Courtesy of the artist and Gladstone Gallery, New York/Brussels.

Mark Leckey, Fiorucci Made Me Hardcore, 1999, video, 15′, color, sound. Video still. Courtesy of the artist and Galerie Buchholz, Cologne.

Mika Rottenberg, Chasing Waterfalls. The Rise and Fall of the Amazing Seven Sutherland Sisters, 2006, video, 9′, color, sound. Video still. Courtesy of the artist and Hauser & Wirth.

Wu Tsang, Wildness, 2012, HD video, 74′, color, sound. Video still. Courtesy of the artist and Galerie Isabella Bortolozzi, Berlin.

Mike Kelley, Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011, video, 25′15″, color, sound. Video still, © VG Bild-Kunst, Bonn 2019. Courtesy of the Mike Kelley Foundation for the Arts and Electronic Arts Intermix, New York.

Laure Prouvost, They Parlaient Idéale, 2019, HD video, 28′30″, color, sound. Video still. Courtesy of the artist and carlier | gebauer, Berlin/Madrid.

Jamie Crewe, Pastoral Drama, 2018, two-channel video installation, 30′, color, sound. Video still. Courtesy of the artist.


BEUYS 2021: LUTZ MOMMARTZ / JAN BONNY & ALEX WISSEL

Jan Bonny & Alex Wissel, JUPP, WATT HAMWER JEMAHT?, 2019, feature film, 91′, color, sound. Film still. Courtesy of the artists and Galerie Nagel Draxler, Cologne.

Jan Bonny & Alex Wissel, JUPP, WATT HAMWER JEMAHT?, 2019, feature film, 91′, color, sound. Film still. Courtesy of the artists and Galerie Nagel Draxler, Cologne.

Jan Bonny & Alex Wissel, JUPP, WATT HAMWER JEMAHT?, 2019, feature film, 91′, color, sound. Film still. Courtesy of the artists and Galerie Nagel Draxler, Cologne.

Jan Bonny & Alex Wissel, JUPP, WATT HAMWER JEMAHT?, 2019, feature film, 91′, color, sound. Film still. Courtesy of the artists and Galerie Nagel Draxler, Cologne.

Jan Bonny & Alex Wissel, JUPP, WATT HAMWER JEMAHT?, 2019, feature film, 91′, color, sound. Film still. Courtesy of the artists and Galerie Nagel Draxler, Cologne.

Lutz Mommartz, Soziale Plastik, 1969, 16mm film transferred to video, 11′41″, b/w, no sound. Video still. Courtesy of the artist.

Lutz Mommartz, Soziale Plastik, 1969. Installation view, JSC Düsseldorf. Photo: Simon Vogel, Cologne.


CHRISTOPH SCHLINGENSIEF – MESSAGE IN A BOTTLE

Christoph Schlingensief, Diana Altar, 2006, mixed media video installation; portable altar, former component of the performance Diana II – What happened to Allan Kaprow?, London, 10–12 October 2006, wood, xerox copies, 3 monitors, 3 videos (screen 1: 4′16″, screen 2: 2′51″, screen 3: 2′41″), color, sound, 3 mp4 players, car battery, 143 × 250 × 45 cm. Installation view, CHRISTOPH SCHLINGENSIEF: MESSAGE IN A BOTTLE, JSC Düsseldorf. Photo: Simon Vogel. Courtesy of the Estate of Christoph Schlingensief.

From left to right: Christoph Schlingensief, Diana Altar, 2006; Message in a Bottle, 2008; Affenbilder, 2005. Installation view, CHRISTOPH SCHLINGENSIEF: MESSAGE IN A BOTTLE, JSC Düsseldorf. Photo: Simon Vogel. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, Affenbilder, 2005, 6 photo prints on canvas, dimensions variable. Part of The Animatograph, German Edition: Odin’s Parsipark, Neuhardenberg, 2005. Photos: Aino Laberenz. Installation view, CHRISTOPH SCHLINGENSIEF: MESSAGE IN A BOTTLE, JSC Düsseldorf. Photo: Simon Vogel. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, Affenführer, 2005, video, 3′47″, b/w, sound. Part of The Animatograph, German Edition: Odin’s Parsipark, Neuhardenberg, 2005. Installation view, CHRISTOPH SCHLINGENSIEF: MESSAGE IN A BOTTLE, JSC Düsseldorf. Photo: Simon Vogel. Courtesy of the Estate of Christoph Schlingensief.

 

Christoph Schlingensief, I want to destroy, 2005, video, 1′39″, color, sound. Part of The Animatograph, Iceland Edition: House of Obsession, Reykjavík, 2005. Installation view, CHRISTOPH SCHLINGENSIEF: MESSAGE IN A BOTTLE, JSC Düsseldorf. Photo: Simon Vogel. Courtesy of the Estate of Christoph Schlingensief.

 

Christoph Schlingensief, Message in a Bottle, 2008, object; wooden frame, Plexiglas, Super 8mm film inverse positive in envelope, addressed, franked and stamped. Photo: Simon Vogel. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, I want to destroy, 2005, video, 1′39″, color, sound. Part of The Animatograph, Iceland Edition: House of Obsession, Reykjavík, 2005. Video still. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, Affenführer, 2005, video, 3′47″, b/w, sound. Part of The Animatograph, German Edition: Odin’s Parsipark, Neuhardenberg, 2005. Video still. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, Affenbilder, 2005, 6 photo prints on canvas, dimensions variable. Part of The Animatograph, German Edition: Odin’s Parsipark, Neuhardenberg, 2005. Photos: Aino Laberenz. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, Affenbilder, 2005, 6 photo prints on canvas, dimensions variable. Part of The Animatograph, German Edition: Odin’s Parsipark, Neuhardenberg, 2005. Photos: Aino Laberenz. Courtesy of the Estate of Christoph Schlingensief.

Christoph Schlingensief, Photo: Aino Laberenz.


A FIRE IN MY BELLY

Arthur Jafa, Love is the Message, The Message is Death, 2016. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

Laure Provost, They Parlaient Idéale, 2019. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

Barbara Hammer, I Was / I Am, 1973. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

David Wojnarowicz, A Fire In My Belly (Film In Progress) and A Fire In My Belly (Excerpt), 1986-87. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

Sophia Al-Maria, Beast Type Song, 2019. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

P. Staff, Weed Killer, 2017. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

P. Staff, Weed Killer, 2017. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

Kandis Williams, Eurydice, 2018. Installation view. A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

Anne Imhof, Untitled (Wave), 2021. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

Anne Imhof, Untitled (Wave), 2021. Installation view, A FIRE IN MY BELLY, JSC Berlin. Photo: Alwin Lay.

David Wojnarowicz, A Fire In My Belly (Film In Progress) and A Fire In My Belly (Excerpt), 1986–87, Super 8 film transferred to video, 13′06′′ & 7′, Color & b/w, no sound. Video still. Courtesy of the Estate of David Wojnarowicz and PPOW Gallery, New York.

David Wojnarowicz, A Fire In My Belly (Film In Progress) and A Fire In My Belly (Excerpt), 1986–87, Super 8 film transferred to video, 1306′′ & 7, Color & b/w, no sound. Video still. Courtesy of the Estate of David Wojnarowicz and PPOW Gallery, New York.

Arthur Jafa, Love is the Message, The Message is Death, 2016, video, 7′25″, color, sound. Video still. Courtesy of the artist and Gavin Brown’s Enterprise, New York/Rome.

Barbara Hammer, I Was / I Am, 1973, 16-mm film transferred to video, 5′35″, b/w, sound. Film still. Courtesy of the Estate of Barbara Hammer and KOW, Berlin.

Sophia Al-Maria, Beast Type Song, 2019, video, 38’03’’, color, sound. Video still. Courtesy of the artist and Project Native Informant, London.

Cyprien Gaillard, Cities of Gold and Mirrors, 2009, 16-mm film, 8′52″, color, sound. Film still. Courtesy of the artist and Sprüth Magers, Berlin/London/Los Angeles.

Bernadette Corporation, Get Rid of Yourself, 2003, video, 61′, color, sound. Video still. Courtesy of the artists and Greene Naftali, New York.

Laure Provost, They Parlaient Idéale, 2019, single-channel video installation; carpet and cushions with digital print, HD video, 28′30″, color, sound. Video still. Courtesy of the artist and carlier | gebauer, Berlin/Madrid.

Leila Hekmat, CROCOPAZZO!, 2020, Mixed-media video installation; mannequins, handmade costumes, curtain with digital collage on silk-rayon velvet, daybed with digital collage on silk-rayon velvet and quilted frame, HD video, 80′, color, sound, dimensions variable. Video still. Courtesy of the artist and Galerie Isabella Bortolozzi, Berlin.

P. Staff, Weed Killer, 2017, single-channel HD video installation; screen, acrylic sheets, vinyl flooring, cushions, HD video, 16′49″, color, sound. Video still. Courtesy of the artist and Commonwealth and Council, Los Angeles.

Thomas Demand, Zaun / Fence, 2004, Photograph; C-Print, Diasec. 180 x 230 cm. Courtesy of the artist.

 


JEREMY SHAW: QUANTIFICATION TRILOGY

Jeremy Shaw, Quickeners, 2014, 16mm film transferred to video, 36′24″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Jeremy Shaw, Liminals, 2017, 16mm film and HD video transferred to video, 31′25″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Jeremy Shaw, Liminals, 2017, 16mm film and HD video transferred to video, 31′25″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Jeremy Shaw, Liminals, 2017, 16mm film and HD video transferred to video, 31′25″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Jeremy Shaw, I Can See Forever, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Jeremy Shaw, I Can See Forever, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Installation view, JEREMY SHAW, QUANTIFICATION TRILOGY, JSC Düsseldorf. Photo: Timo Ohler.

Jeremy Shaw, Quickeners, 2014, 16mm film transferred to video, 36′24″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, Liminals, 2017, 16mm film and HD video transferred to video, 31′16″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, I CAN SEE FOREVER, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, I CAN SEE FOREVER, 2018, two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound. Video still. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, Towards Universal Pattern Recognition (Children of God, OCT 31, 1971), 2019, archival black/white photo, acrylic, chrome, 38,4 x 45,5 x 8 cm, unique. Photo: Timo Ohler. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, Towards Universal Pattern Recognition (War Prisoner Tells of Charismatic Uplift, 1977), 2020, archival black/white photo, acrylic, chrome, 43,4 x 38,6 x 16 cm, unique. Photo: Timo Ohler. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, Towards Universal Pattern Recognition (Psychics OCT 17 1071), 2018, archival black/white photo, acrylic, chrome, 42,5 x 38 x 16 cm, unique. Photo: Timo Ohler. Courtesy of the artist and König Galerie, Berlin.

Jeremy Shaw, Towards Universal Pattern Recognition (Swami Kriyandi Meditating, 1968), 2020, archival black/white photo, acrylic, chrome, 39,1 x 44,8 x 16 cm, unique. Photo: Timo Ohler. Courtesy of the artist and Projekt Bisky.


DAATA x JULIA STOSCHEK COLLECTION

DAATA x JULIA STOSCHEK COLLECTION. Courtesy of Daata, London and the artists: Ilit Azoulay, Helen Benigson, David Blandy, Jacky Connolly, Matt Copson, Tracey Emin, Ed Fornieles, Rindon Johnson, Martti Kalliala & Daniel Keller, Lina Lapelytė, Rachel Maclean, Florian Meisenberg, Takeshi Murata, Hannah Perry, Jon Rafman, Charles Richardson, Jacolby Satterwhite, Amalia Ulman, Stephen Vitiello, and Chloe Wise. © VG Bild-Kunst, Bonn 2021.

Ed Fornieles, Sitting, 2015, HD video, 3′04″, color, sound. Video still. Courtesy of the artist and Daata, London.

Rindon Johnson, I First you (11/11), 2018, HD video, 5′28″, color, sound. Video still. Courtesy of the artist and Daata, London. Sound by Milo McBride.

Jacolby Satterwhite, 1–8. En Plein Air Abstraction (full length feature), 2018, HD video, 8′18″, color, sound. Video still. Courtesy of the artist and Daata, London.

Hannah Perry, Princess & princesses, 2015, sound file, 1′38″. Still. Courtesy of the artist and Daata, London.

Chloe Wise, we had a traumatic threeway, 2015, HD video, 1′03″, color, sound. Video still, © VG Bild-Kunst, Bonn 2021. Courtesy of the artist and Daata, London.

Takeshi Murata, Tennis, 2015, HD video, 33″, color, sound. Video still. Courtesy of the artist and Daata, London.


Kurator*innen

A FIRE IN MY BELLY: Julia Stoschek & Lisa Long. Photo: Robert Hamacher. Courtesy of the JULIA STOSCHEK FOUNDATION.

A FIRE IN MY BELLY: Lisa Long & Julia Stoschek. Photo: Robert Hamacher. Courtesy of the JULIA STOSCHEK FOUNDATION.

JSC ON VIEW: MYTHOLOGISTS: Rachel Vera Steinberg.


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.

Jon Rafman, Erysichthon, 2015, HD video, 8′03″, color, sound. Video still. Courtesy of the artist.

Part of:

Jon Rafman, Betamale Trilogy (Glass Cabin), 2015


Julia Stoschek

Julia Stoschek, Photo: Şirin Şimşek.

Julia Stoschek, Photo: Şirin Şimşek.

Julia Stoschek, Photo: Peter Rigaud.

Julia Stoschek, Photo: Peter Rigaud.

Julia Stoschek, Photo: Peter Rigaud.


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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