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RHINELAND INDEPENDENT

Save the Date! With #RhinelandIndependent, four private foundations and collections of modern and contemporary art in the Rhineland will merge for the first time to jointly present their multifaceted programs and conceive new projects in the future. We look forward to seeing you at our joint booth at Art Düsseldorf, where we will team up with KAI 10 Arthena Foundation, Langen Foundation, and Sammlung Philara.

 

ART DÜSSELDORF, BOOTH D01
15 – 17 NOVEMBER 2019

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ARTIST TALK WITH BJARNE MELGAARD, DANIEL BIRNBAUM & JULIA STOSCHEK

This Friday will be the first Friday to see works in the context of the long-term cooperation between the Julia Stoschek Collection and Acute Art. Before the opening of Bjarne Melgaard and Koo Jeong A, an artist talk with Melgaard, Acute Art director Daniel Birnbaum and Julia Stoschek will take place at 6 P.M. in the JSC Berlin.

 

Please note the limitation of seats. No reservation. Admission is free.

 

FRIDAY, 11 OCTOBER 2019, 6:00 P.M.

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PUBLIC GUIDED TOUR IN GERMAN ON SUNDAY, 20 OCTOBER 2019

This Sunday, there are still free places available for our guided tour in German through the current exhibitions JSC ON VIEW: LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN and A.K. BURNS, NEGATIVE SPACE at JSC Düsseldorf. If you are interested, you are welcome to register here for the guided tour from 3:00 p.m. to 4:30 p.m.

 

We look forward to your participation and your visit!


SPECIAL OPENING HOURS ON THE OCCASION OF DC OPEN 2019

 

On the occasion of DC Open the JSC Düsseldorf is also open on Friday, 6 September and on Saturday, 7 September 2019 from 11 a.m. to 6 p.m.

 

 

 

OPEN MONUMENT DAY ON SUNDAY, 8 SEPTEMBER 2019

 

The exhibition house of JSC Düsseldorf was built in 1907 as a four-storey factory building for Die Bühne GmbH and acquired by the collector Julia Stoschek in 2005. The Berlin architectural office Kuehn Malvezzi was responsible for the conversion into an exhibition house. After several years of standstill, the factory building found a completely new purpose in 2007 as a cultural venue and private exhibition house for contemporary art.

 

The Open Monument Day offers the opportunity to learn more about this early example of modern industrial architecture and its transformation into a private collection and exhibition house for contemporary art. In addition to visit the architecture and the current exhibitions, special architectural guided-tours and a video screening with works from the collection, which deals with the subject of architecture in the broadest sense, are offered. Admission is free.

 

12:00 a.m.
Public guided tour in German through the current exhibitions
Duration: 90 minutes. Cost: EUR 10. Reservation under

 

2:00 & 3:00 p.m.
Public, German-language guided tour about the architecture of JSC Düsseldorf
Duration: 45 minutes each. Free of charge. No reservation necessary.

 

11:00 a.m. – 6:00 p.m.
Screening with works by Manuel Graf, Elizabeth Price, Cyprien Gaillard, Amir Yatzi, Tobias Zielony, Rachel Rose und Cao Fei from the JULIA STOSCHEK COLLECTION (focus on „architecture“). Here you will find further information


Cordial invitation!

 

On the 5th September 2019 we are pleased to open the first institutional solo exhibition in Germany by New York-based artist A.K. Burns. The opening of the exhibition NEGATIVE SPACE will take place at the JSC Düsseldorf from 6:00 to 10:00 p.m. We are looking forward to welcome you!


We’re taking a summer break!

 

JSC Düsseldorf and JSC Berlin are closed in August.

 

SAVE THE DATES:

 

A. K. Burns: NEGATIVE SPACE
Opening: 5 September 2019, 6 p.m., JSC Düsseldorf

 

WangShui
Opening: 11 September 2019, 19 hrs, JSC Berlin

 

Further information on the exhibitions can be found here.


CURATORIAL & RESEARCH RESIDENCY PROGRAM AT JULIA STOSCHEK COLLECTION

The JULIA STOSCHEK COLLECTION is pleased to announce a new residency for emerging curators working in the field of time-based art. For this initial iteration, the collection will partner with the Center for Curatorial Studies, Bard College (CCS Bard). The first resident will be Rachel Vera Steinberg, a current M.A. candidate at CCS Bard.

 

The Curatorial & Research Residency Program (CRRP) seeks to bring one emerging curator to the JSC Düsseldorf for a two-part research and exhibition residency. The program consists of a four-week summer period and a project at the JSC in year two.

 

The goal of the residency is to enable research on time-based art. A curated project will supplement the program, providing hands-on experience at a leading art institution in Germany. During their stay, the resident will be introduced to the Rhineland art scene, produce joint publications, and organize events. The residency (CRRP) is by invitation only. The JSC chooses one promising candidate from around the world and is eager to collaborate with institutions featuring graduate programs in curatorial studies. JSC looks for outstanding candidates specializing in time-based art. Selection is based on the candidates’ comprehensive theoretical knowledge and relevant practical experience.

 

The 2019/20 resident, Rachel Vera Steinberg, stood out for her experimental and challenging group exhibitions and video programming.

 

 

CV

 

Rachel Vera Steinberg is an independent curator, organizer, and writer based in Brooklyn, NY. Her work focuses on digital and time-based media, science fiction, and examining the role of alternative art spaces and artistic agency. She holds a BFA from Pratt Institute, and is an M.A. candidate at the Center for Curatorial Studies, Bard College. Most recently, she was the Director at SOHO20 Artists Inc., a feminist, artist-run nonprofit organization founded in 1973. During her three years with SOHO20, she implemented new programs and partnerships, and moved the organization to its current location in Bushwick, Brooklyn. She has previously held positions at The Museum of Arts and Design and at NURTUREart Non-Profit Inc., where she curated the semi-annual video series, Videorover. She is the co-founder of Custom Program, an irradiant project space for radically-scaled, site specific work in Greenpoint, Brooklyn, NY.

 

She has curated exhibitions locally at Radiator Gallery (Long Island City, NY), SOHO20 (Brooklyn, NY), NURTUREart Gallery (Brooklyn, NY), Solivagant* (NYC), inCube Arts (NYC), the UMass NYPOP Gallery (NYC), Helper Projects (Brooklyn, NY), and Interstate Projects (Brooklyn, NY); and internationally at the Naughton Gallery at Queens University (Belfast, Northern Ireland), and Syndicat Potentiel (Strasbourg, FR). She is currently a Co-Coordinator of The Feminist Art Project (TFAP)’s NYC chapter, and was a Co-Organizer of Trade School New York from 2012-2014. She has spoken at the University of Massachusetts at Amherst, Pratt Institute, Rutgers University, and Vermont College of Fine Arts.


LKART STUDIO SPONSORSHIP 2019

The JULIA STOSCHEK COLLECTION is delighted to announce that the 2019 LKART studio scholarship has been awarded to the artists Catherina Cramer and Dominik Geis.

 

“I am very happy that the LKART scholarship can be continued.” says Julia Stoschek. “It is a great initiative, which is based and developed by the private commitment of Philipp Maiburg. Studio rooms are rare in these times, to use these open spaces meaningfully is more important than ever. Perhaps it is also an incentive for the city of Dusseldorf to build on it. I would be delighted!”

 

In her videos, Catherina Cramer orchestrates seemingly fantastic situations in which body and language serve as primary media. Her works characterize an affirmative state in which the world we live in appears to no longer be “purely human,” but inhabited by numerous technical, animal, and symbolic partners which, unchecked, interact and challenge one another. Dichotomies such as nature and culture are seen as problems and nullified so as to realize a form of perception that does not offer a “realistic” picture of human reality, but instead one that is genuine.

 

Dominik Geis’ video collages are based on found-footage videos and animations of his own. His rhythmic cut, self-composed music, and sound collages produce dramaturgical, choreographic videos and video installations. He dissects the footage, thereby redirecting our attention and, for example by means of loops, opening up untapped visual spaces and levels. His physical and poetic video compositions enable an aesthetic experience that opens up a narrative thread of its own, one that makes reference to a wider context and at the same time to the observer.

 

Each of the artists will be provided with a studio until the end of 2019. The JULIA STOSCHEK COLLECTION will cover rental and ancillary costs. The studios are at Völklinger Strasse 24, the former state criminal investigation bureau in Düsseldorf’s Unterbilk district. LKART was established by the Open Source Festival gGmbH. Since January 2018, 15 studio spaces for 30 artists have been available on favorable terms. In this context the JULIA STOSCHEK COLLECTION sponsors two studios for artists from the Rhineland who work in the field of time-based art and are under 40 years of age. In 2018 the LKART studio scholarships went to the artist Harkeerat Mangat and the artist duo Hedda Schattanik & Roman Szczesny.

 

 

BIOGRAPHIES

 

Catherina Cramer was born in 1988 in Wesel, Germany. Between 2012 and 2014 she studied at the University of Fine Arts Münster, in Shana Moulton’s class. In 2015 she transferred to Kunstakademie Düsseldorf. She initially studied under Keren Cytter and Rita McBride, before in 2019 becoming a master student of Dominique Gonzalez-Foerster.

Among other places her works have been shown at Museum Folkwang in Essen, Kunsthalle Münster, the Moving Image Festival EAMIF Edinburgh, the 35th Kasseler Dokfest, Kunstverein Kassel, and Kunsthaus NRW Kornelimünster.

 

 

Dominik Geis was born in 1985 in Würzburg, Germany. Between 2007 and 2010 he studied Painting and Sculpture at Freie Akademie der bildenden Künste in Essen, and between 2010 and 2018 Fine Art at Kunstakademie Düsseldorf in Prof. Marcel Odenbach’s class. In 2018 he completed his studies as a master student.

His works have been shown in solo exhibitions (das junge museum in Bottrop, Galerie Engelage & Lieder) and various group exhibitions including in Paris and Los Angeles. In Düsseldorf his work was recently on display at KIT – Kunst im Tunnel and K21 Kunstsammlung Nordrhein-Westfalen. In 2018 he was awarded the Baker Tilly artists’ scholarship for his graduation project The Beauty of it.

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Exhibitions
Elsewhere
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Elsewhere
Düsseldorf
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Düsseldorf

current
  • HORIZONTAL VERTIGO
    JSC DÜSSELDORF / BERLIN


    31 MARCH 2019 – 26 APRIL 2020
  • JSC ON VIEW:
    LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN
    WORKS FROM THE JULIA STOSCHEK COLLECTION


    21 JULY 2019 – 22 DECEMBER 2019
  • HORIZONTAL VERTIGO:
    A.K. BURNS
    NEGATIVE SPACE


    6 SEPTEMBER 2019 – 2 FEBRUARY 2020
  • HORIZONTAL VERTIGO:
    FILMS BY ANNA ZETT
    SCREENING


    17 OCTOBER 2019 – 24 NOVEMBER 2019

coming up
  • HORIZONTAL VERTIGO:
    FILMS BY TRINH T. MINH-HA
    SCREENING


    28 NOVEMBER 2019 – 2 FEBRUARY 2020
  • JSC ON VIEW:
    BASEL ABBAS & RUANNE ABOU-RAHME, THOMAS DEMAND, BEATRICE GIBSON, ARTHUR JAFA, SIGALIT LANDAU, ADAM MCEWEN, TARYN SIMON, HITO STEYERL, TOBIAS ZIELONY
    WORKS FROM THE JULIA STOSCHEK COLLECTION


    9 FEBRUARY 2020 – 19 JULY 2020
  • HORIZONTAL VERTIGO:
    FILMS BY MOREHSHIN ALLAHYARI
    SCREENING


    8 MARCH 2020 – 3 MAY 2020
  • HORIZONTAL VERTIGO:
    SOPHIA AL-MARIA
    BITCH OMEGA


    8 MARCH 2020 – 19 JULY 2020
  • HORIZONTAL VERTIGO:
    FILMS BY DOROTA GAWĘDA & EGLĖ KULBOKAITĖ
    SCREENING


    10 MAY 2020 – 19 JULY 2020

past
  • HORIZONTAL VERTIGO:
    FILMS BY SKY HOPINKA
    SCREENING


    6 SEPTEMBER 2019 – 13 OCTOBER 2019
  • HORIZONTAL VERTIGO:
    FILMS BY CHELSEA KNIGHT WITH
    SHANE ASLAN SELZER
    SCREENING


    27 JUNE 2019 – 28 JULY 2019
  • HORIZONTAL VERTIGO:
    FILMS BY ARJUNA NEUMAN &
    DENISE FERREIRA DA SILVA
    SCREENING


    15 MAY 2019 – 23 JUNE 2019
  • HORIZONTAL VERTIGO:
    RINDON JOHNSON
    CIRCUMSCRIBE


    31 MARCH 2019 – 28 JULY 2019
  • HORIZONTAL VERTIGO:
    FILMS BY EDUARDO WILLIAMS
    SCREENING


    31 MARCH 2019 – 5 MAY 2019
  • NEW METALLURGISTS


    7 OCTOBER 2018 – 28 APRIL 2019
  • GENERATION LOSS
    10 YEARS JULIA STOSCHEK COLLECTION


    10 JUNE 2017 – 9 SEPTEMBER 2018
  • NUMBER THIRTEEN:
    FACTORY OF THE SUN /
    MISSED CONNECTIONS


    15 OCTOBER 2016 – 26 FEBRUARY 2017
  • NUMBER TWELVE:
    HELLO BOYS


    13 FEBRUARY 2016 – 31 JULY 2016
  • NUMBER ELEVEN:
    CYPRIEN GAILLARD


    26 SEPTEMBER 2015 – 31 JULY 2016
  • WU TSANG
    A DAY IN THE LIFE OF BLISS


    15 APRIL 2015 – 2 AUGUST 2015
  • NUMBER TEN:
    TRISHA DONNELLY


    7 FEBRUARY 2015 – 31 JANUARY 2016
  • NUMBER NINE:
    ELIZABETH PRICE


    6 SEPTEMBER 2014 – 1 FEBRUARY 2015
  • NATHALIE DJURBERG & HANS BERG
    THE EXPERIMENT


    8 APRIL 2014 – 1 JUNE 2014
  • NUMBER EIGHT:
    STURTEVANT


    5 APRIL 2014 – 10 NOVEMBER 2014
  • NUMBER SEVEN:
    ED ATKINS / FRANCES STARK


    7 SEPTEMBER 2013 – 22 FEBRUARY 2014
  • NUMBER SIX:
    FLAMING CREATURES


    8 SEPTEMBER 2012 – 29 JUNE 2013
  • NUMBER FIVE:
    CITIES OF GOLD AND MIRRORS


    2 JULY 2011 – 30 JUNE 2012
  • NUMBER FOUR:
    DEREK JARMAN
    SUPER8


    11 SEPTEMBER 2010 – 26 FEBRUARY 2011
  • NUMBER THREE:
    HERE AND NOW


    27 OCTOBER 2009 – 29 JULY 2010
  • 100 YEARS
    (VERSION #1, DUESSELDORF)


    10 OCTOBER 2009 – 29 JULY 2010
  • OUT OF SPACE 1:
    CAO FEI
    WHOSE UTOPIA


    25 APRIL 2009 – 27 JUNE 2009
  • NUMBER TWO:
    FRAGILE


    11 OCTOBER 2008 – 1 AUGUST 2009
  • NUMBER ONE:
    DESTROY, SHE SAID


    18 JUNE 2007 – 2 AUGUST 2008

Berlin

current
  • HORIZONTAL VERTIGO
    JSC DÜSSELDORF / BERLIN


    31 MARCH 2019 – 26 APRIL 2020
  • HORIZONTAL VERTIGO:
    WANGSHUI


    12 SEPTEMBER 2019 – 15 DECEMBER 2019
  • ACUTE ART AT JULIA STOSCHEK COLLECTION
    BJARNE MELGAARD / KOO JEONG A


    12 OCTOBER 2019 – 15 DECEMBER 2019

coming up
  • STAN DOUGLAS
    SPLICING BLOCK


    2 NOVEMBER 2019 – 1 MARCH 2020
  • HORIZONTAL VERTIGO:
    MERIEM BENNANI
    PARTY ON THE CAPS


    25 JANUARY 2020 – 3 MAY 2020

past
  • HORIZONTAL VERTIGO:
    COLIN SELF
    SUBTEXT
    PERFORMANCE


    31 MAY 2019 – 1 JUNE 2019
  • HORIZONTAL VERTIGO:
    PAULINE BOUDRY / RENATE LORENZ
    ONGOING EXPERIMENTS WITH STRANGENESS


    26 APRIL 2019 – 28 JULY 2019
  • KW PRODUCTION SERIES
    BEATRICE GIBSON & JAMIE CREWE


    27 SEPTEMBER 2018 – 25 NOVEMBER 2018
  • IAN CHENG
    EMISSARIES


    27 APRIL 2018 – 1 JULY 2018
  • ARTHUR JAFA
    A SERIES OF UTTERLY IMPROBABLE,
    YET EXTRAORDINARY RENDITIONS


    11 FEBRUARY 2018 – 25 NOVEMBER 2018
  • JAGUARS AND ELECTRIC EELS


    5 FEBRUARY 2017 – 26 NOVEMBER 2017
  • WELT AM DRAHT


    2 JUNE 2016 – 13 NOVEMBER 2016
coming up
  • RHINELAND INDEPENDENT


    15 NOVEMBER 2019 – 17 NOVEMBER 2019

past
  • TIME KILLS
    SESC, SÃO PAULO, BRAZIL


    21 MARCH 2019 – 16 JUNE 2019
  • TURN ON
    TIME-BASED MEDIA ART FROM THE JULIA STOSCHEK COLLECTION
    TEL AVIV MUSEUM OF ART, TEL AVIV, ISRAEL


    31 MARCH 2015 – 29 AUGUST 2015
  • THE NEW HUMAN
    MODERNA MUSEET, MALMÖ, SWEDEN
    MODERNA MUSEET, STOCKHOLM, SWEDEN


    14 MARCH 2015 – 4 DECEMBER 2016
  • HIGH PERFORMANCE
    TIME-BASED MEDIA ART SINCE 1996
    ZKM | ZENTRUM FÜR KUNST UND MEDIEN, KARLSRUHE, GERMANY


    16 MARCH 2014 – 22 JUNE 2014
  • I WANT TO SEE HOW YOU SEE
    DEICHTORHALLEN, HAMBURG, GERMANY


    16 APRIL 2010 – 25 JULY 2010
  • RHINE ON THE DNIPRO
    JULIA STOSCHEK COLLECTION/ANDREAS GURSKY
    PINCHUK ART CENTRE, KIEV, UKRAINE


    28 SEPTEMBER 2008 – 14 DECEMBER 2008
  • VIDEO KOOP
    KIT – KUNST IM TUNNEL, DÜSSELDORF, GERMANY


    3 MAY 2008 – 27 JULY 2008

The JULIA STOSCHEK COLLECTION has always worked closely with other museums and art institutions both locally and at an international level. Like time-based media themselves, these collaborations expand, appropriate, reinterpret, and repurpose the collection in new and exciting ways, highlighting and discovering multiple historical threads and thematic clusters.

 

In past years, largescale presentations of the JULIA STOSCHEK COLLECTION were hosted at major museums and art institutionsin Germany and abroad. One of the first major collaborations, named after Pipilotti Rist’s work I WANT TO SEE HOW YOU SEE, took place at Deichtorhallen, Hamburg, Germany in 2010. Referencing the FIRE, EARTH, WATER, AIR exhibition, organized at the Deichtorhallen in 1993, I WANT TO SEE HOW YOU SEE paired seminal early film and video works by Marina Abramović, Vito Acconci, and Chris Burden with later pieces by Heike Baranowsky, Monica Bonvicini, and Nathalie Djurberg, among others.

 

In 2014, the collaboration with ZKM | Zentrum für Kunst & Medien, Karlsruhe, Germany, titled HIGH PERFORMANCE. Time-based media art since 1996, explored video as a form of scenic art, strongly influenced by the so-called performative turn which pervaded not only the humanities but also society and art at the time. The exhibition, curated by Bernhard Serexhe and Julia Stoschek, was divided into sections, investigating concepts of body and soul, public space, environment, and virtual reality through different artistic positions. It was one of the largest projects to take place outside the JULIA STOSCHEK COLLECTION space and featured over 25 artists, such as Doug Aitken, Francis Alÿs, Allora & Calzadilla, Trisha Baga, John Bock, Paul Chan, Keren Cytter, Simon Denny, Cyprien Gaillard, Christian Jankowski, Mike Kelley, Klara Liden, Helen Marten, Mika Rottenberg, Ryan Trecartin, Andro Wekua, Tobias Zielony, and others.

 

Further major collaborations include TURN ON at the Tel Aviv Museum of Art, Israel, and THE NEW HUMAN at Moderna Museet, Malmö, Sweden in 2015.

 

In the future, the JULIA STOSCHEK COLLECTION looks forward to expanding its reach through close and meaningful collaborations around the globe.

HORIZONTAL VERTIGO
JSC DÜSSELDORF / BERLIN

31 MARCH 2019 – 26 APRIL 2020

For the first time in its history, the JULIA STOSCHEK COLLECTION will present an ensemble of solo exhibitions, performances, and screenings of works not included the collection. Over the course of a year, six exhibitions—three in Düsseldorf and three in Berlin—will open successively, beginning in March 2019 and running until April 2020. They will be accompanied by screening and performance programs, artist talks, lectures, and readings at both locations. Most of the artists featured in HORIZONTAL VERTIGO will show their work for the first time in Germany.

 

HORIZONTAL VERTIGO will feature commissions and new productions as well as existing works by a group of international artists whose interdisciplinary time-based practices share focused perspectives infused with feminist, queer, and decolonial critique, in resistance to restrictive concepts of identity, history, and representation. Each project deals with a specific context driven by the artist and what the artwork affords, creating a web of associations and stories over time that is both fluid and multivalent.

 

The curatorial framework for this year of programming is inspired by the writing of artist, writer, and filmmaker Trinh T. Minh-ha. The title is quoted from “Cotton and Iron” (1991), an essay in which Minh-Ha foregrounds plurality and “non-totalness,” challenging systems of binary opposition and definitive categorizations. Echoing this commitment, HORIZONTAL VERTIGO does not propose one overarching theme but thrives on the multiplicity of narratives and narrators at hand, exploring the inherent plurality of the entire program without prescribing a “right” way of reading it. HORIZONTAL VERTIGO ‘speaks to’ and not ‘about’ the participating artists, to quote Minh-ha, embracing dialogue instead of representation.

 

Curated by Lisa Long

 

 

SCREENINGS

 

The accompanying screening series at JSC Düsseldorf will feature artists or artist duos for a duration of six weeks. At JSC Berlin there will be a number of one-time screening events. Participating artists include: Morehshin Allahyari, Dorota Gawęda and Eglė Kulbokaitė, Sky Hopinka, Chelsea Knight, Trinh T. Minh-ha, Arjuna Neuman & Denise Ferreira da Silva, Martine Syms, Eduardo Williams, and Anna Zett.

 

 

PERFORMANCE PROGRAM AT JSC BERLIN

 

Colin Self: SIBLINGS
31 May & 1 June 2019

 

Throughout the year, composer and choreographer Colin Self will present multiple performances related to his recently released album SIBLINGS.  Self’s program weaves music and dance performances, dialogue, workshops, and game formats together to tell stories of non-anthropocentric interdependence; stories that draw into the plurality and multiplicity of our common terra conundrum of survival. The artist’s interdisciplinary and collaborative practice aspires to expand consciousness, troubling binaries and boundaries of perception and communication.

ARTIST LIST

Sophia Al-Maria, Morehshin Allahyari, Meriem Bennani, Pauline Boudry / Renate Lorenz, A.K. Burns, Dorota Gawęda und Eglė Kulbokaitė, Sky Hopinka, Rindon Johnson, Chelsea Knight, Trinh T. Minh-ha, Arjuna Neuman & Denise Ferreira da Silva, Colin Self, Martine Syms, WangShui, Eduardo Williams, Anna Zett

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JSC ON VIEW:
LUTZ BACHER, BARBARA HAMMER, CAROLEE SCHNEEMANN
WORKS FROM THE JULIA STOSCHEK COLLECTION

21 JULY 2019 – 22 DECEMBER 2019

JSC ON VIEW is the title of a new series of exhibitions focusing explicitly on the inventory of works in the JULIA STOSCHEK COLLECTION. The series is being introduced by a tribute to three female artists who have recently passed away: Lutz Bacher, Barbara Hammer, and Carolee Schneemann.

 

The presentation will cover the entire ground floor of JSC Düsseldorf, comprising six key video works from the artists’ respective oeuvres, as well as the large-format photographic series Sex with Strangers (1986), one of Lutz Bacher’s key early works.

 

The U.S. American artist Lutz Bacher who, since the 1970s, had concealed her identity behind a male pseudonym used a deliberately unaccommodating approach in her frequently parodic art to forego it being categorized within a feminist context. She employs imagery and text from popular culture in her objects and time-based work, which by means of deconstruction and alienation broaches central questions concerning authorship, power, and the influence of mass media on society.
For the nine-part photographic series Sex with Strangers that, to date, has not been presented at the JULIA STOSCHEK COLLECTION, she enlarged photographs of pages with illustrations together with captions from a book presenting itself as an informative sociological study of female psychology and deviant sexual behavior. However, it is in fact hard pornographic imagery that is on display, once again denying the viewer the opportunity of ascribing any specific classification to the work.

 

The filmmaker Barbara Hammer is one of the pioneers of queer cinema. Her experimental films evolved from the notion that conventional narrative film is too limited to be capable of representing homosexual reality in general and her lesbian one in particular. Her documentary and experimental films are regarded as one of the earliest and most wide-ranging representations of lesbian identity, love, and sexuality. The work Double Strength (1978), one of three works by Hammer in the exhibition, is a poetic study of the different stages of a lesbian love affair between Hammer herself and her then partner, the choreographer and female trapeze artist Terry Sandgreff. In a montage comprising film footage of both women swinging on the trapeze, Sandgreff performing acrobatic dance moves, and also including private photographs, the film traces the relationship from its intense beginnings, via alienation to the eventual end of their love. Hammer’s work is distinguished by its physical presence and expressivity, in which the camera enters into a relationship with its surroundings. Space and time become blurred, providing instead an insight into Hammer’s very personal experiential space.

 

Carolee Schneemann, in her performative, kinetic painting and experimental practice, opened the social discourse around physicality and gender roles earlier than many other female artists. She is considered as one of the most radical representatives of such a genre and, as she has stated herself, has always considered her practice to be that of a “painter who has left the canvas to activate actual space and lived time.”
Schneemann’s video Up to and Including Her Limits of 1975 is regarded as a direct response to Jackson Pollock’s physicalized painting process. “I am suspended in a tree surgeon’s harness on a three-quarter-inch manila rope, a rope which I can raise or lower manually to sustain an entranced period of drawing – my extended arm holds crayons which stroke the surrounding walls, accumulating a web of colored marks. My entire body becomes the agency of visual traces, vestige of the body’s energy in motion.”
One of her central works, Fuses from 1964-67, was created over several years, showing Schneemann with her partner, the composer James Tenney engaging in intimate sexual activities. The act, which she filmed herself, has been collaged with color overlays and burn marks that have been inscribed into the film over time. Fuses is the first part of her Autobiographical Trilogy and was based on the question of how and whether the sexual act itself differs from pornography and traditional art.

 

All three artists were pioneers in their respective fields. All three died this year, in their seventies. The JULIA STOSCHEK COLLECTION is proud to be able to offer an insight into the work of these three artists and their disparate interpretation.

 

Please note!
Summer break: JSC Düsseldorf will be closed from 29 July to 5 September 2019.

 

ARTIST LIST

Lutz Bacher, Barbara Hammer, Carolee Schneemann

BOOKLET

A free booklet accompanied the exhibition, which is here as download available.

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HORIZONTAL VERTIGO:
A.K. BURNS
NEGATIVE SPACE

6 SEPTEMBER 2019 – 2 FEBRUARY 2020

SCREENING

A.K. Burns & A.L. Steiner, COMMUNITY ACTION CENTER (2010), 15–17 November 2019, 11:00 a.m. / 12:30 p.m. / 2:00 p.m. / 3:30 p.m. & 5:00 p.m. at the cinema of the JSC Düsseldorf (second floor)

 

ARTIST TALK

A talk with A.K. Burns and curator Lisa Long, 16 November 2019, 4:00 p.m.

 

STUDIO 54 FILM PROGRAM

Works selected by A.K. Burns, 12 December 2019, 7:30 p.m., Cinema of the JSC Düsseldorf

 

 

A.K. Burns’s interdisciplinary practice explores the body as a contentious domain where social, political, and material forces collide. Engaging deeply with questions of materiality and (re)production, Burns examines how power is connected to the body, its functions, physiological processes, sensations, and pleasures. For Burns, the body is not an object with inherent boundaries and properties but multifaceted and porous, permeating and penetrated by its surroundings. These inquiries take shape as visually seductive and socially critical videos, sculptures, writing, sound, drawings, and collages.

 

NEGATIVE SPACE, A.K. Burns’s first institutional solo exhibition in Germany, is comprised of three multi-channel video installations that are a part of an ongoing cycle of works by the same name. Conceived as a non-linear and layered narrative, this series envisions a world wherein boundaries are fluid and hierarchical relations permute. This cycle of works playfully corrupts science-fiction tropes exploring the intersection of politics and fantasy to build idiosyncraticallegorical imagery.

 

Burns deliberately locates the work in a speculative present filled with the detritus of everyday life. Filmed in stunning but familiar landscapes, like the desert of the Southwest United States, the Negative Space series exposes the tension between utopian proposals of sociality and apocalyptic anxieties. The works challenge long-standing assumptions about social orders, marshaling familiar images and objects to ask how value is assigned to resources, how marginalized bodies navigate a fraught social reality, and how different forms of matter come to matter.

 

At JSC Düsseldorf, Burns will restage two video installations A Smeary Spot (Negative Space 0) (2015) and Living Room (Negative Space 00) (2017), and premiere a new episode entitled Leave No Trace (Negative Space 000) (2019). In addition, the exhibition will include twenty-one collages related to the series, a new film observing a total solar eclipse, and an experimental sound work presented as a vinyl record.

 

NEGATIVE SPACE is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

A.K. Burns

BOOKLET

A free booklet accompanied the exhibition, which is here as download available.

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HORIZONTAL VERTIGO:
FILMS BY ANNA ZETT
SCREENING

17 OCTOBER 2019 – 24 NOVEMBER 2019

OPENING

17 October 2019, 7:30 p.m.

With an introduction by curator Lisa Long

Please note the limitation of seats. Admission is free.

 

Two films by Anna Zett are the focus of horizontal vertigo’s fifth screening program at JSC Düsseldorf. Zett’s interdisciplinary practice, spanning video, performance, installation, audio plays, and writing, combines dense historical research with personal associations and performative interventions. The video works featured here, This Unwieldy Object (2014) and Endarchiv (2019), examine how shifts in power and ideology are simultaneously inscribed in the body, psyche, and the earth. Zett asks: How do human bodies perform, come to terms with, document, and resist these shifts?

 

This Unwieldy Object is an essay film meets road movie through the US-American West. It is split into two parts. Part 1 focuses on the modernist idea of progress and part 2 centers around the aftermath of colonial violence. The turning point of the film is marked by a scene where Zett encounters a fragment of the Berlin Wall in Rapid City, South Dakota, as part of a monument for the US-American victory over socialism. For Zett, this wall fragment is both symbolizing the so-called “end of history” and serving as a biographical anchor for their personal presence in the film. This Unwieldy Object is the culmination of Zett’s long-term research into the genre of American dinosaur films and modern-day paleontology and how they both are intertwined with the myth of the Western frontier, the genocide of the indigenous populatation and the erasure of indigenous history.

 

In Endarchiv, Zett examines the symbolic process of disposal and forgetting while raising questions about how the material and emotional remains of the GDR still affect the environment, society, and individuals today. In the video, footage of the artist climbing large mounds of small rocks while spray painting short verses and questions onto their surfaces is interspersed with found footage of protesters painting on the east side of the Berlin Wall shortly after it was opened in November 1989. Endarchiv is part of the artist’s “DUMP” series, in which historical video material from the archive of the opposition to the GDR, founded by the Robert Havemann Society, is paired with contemporary interviews and performative explorations in an attempt to simultaneously uncover and work through past trauma.

 

This Unwieldy Object, 2014, 47’, HD video, color, sound.
Endarchiv, 2019,18’21‘‘, HD video, color, sound.

 

 

ANNA ZETT is a Berlin-based artist, writer, maker of films and radio plays. Their films have been screened at Serpentine Cinema, London; Whitney Museum, New York; Contemporary Art Center, Vilnius; Sonic Acts Festival, Amsterdam; Rhizome.org; Human Resources, Los Angeles; SALT, Istanbul among others.

 

FILMS BY ANNA ZETT is part of horizontal vertigo, a year-long program of solo exhibitions, performances, screenings, and events at the Julia Stoschek Collection Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

Anna Zett

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HORIZONTAL VERTIGO:
FILMS BY TRINH T. MINH-HA
SCREENING

28 NOVEMBER 2019 – 2 FEBRUARY 2020

OPENING

28 November 2019, 7:30 p.m.

 

 

FILMS BY TRINH T. MINH-HA is part of HORIZONTAL VERTIGO, a year-long program of solo exhibitions, performances, screenings, and events at the Julia Stoschek Collection Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

Trinh T. Minh-ha

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JSC ON VIEW:
BASEL ABBAS & RUANNE ABOU-RAHME, THOMAS DEMAND, BEATRICE GIBSON, ARTHUR JAFA, SIGALIT LANDAU, ADAM MCEWEN, TARYN SIMON, HITO STEYERL, TOBIAS ZIELONY
WORKS FROM THE JULIA STOSCHEK COLLECTION

9 FEBRUARY 2020 – 19 JULY 2020

OPENING

8 February 2020, 6:00–10:00 p.m.

ARTIST LIST

Basel Abbas & Ruanne Abou-Rahme, Thomas Demand, Beatrice Gibson, Arthur Jafa, Sigalit Landau, Adam McEwen, Taryn Simon, Hito Steyerl, Tobias Zielony

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HORIZONTAL VERTIGO:
FILMS BY MOREHSHIN ALLAHYARI
SCREENING

8 MARCH 2020 – 3 MAY 2020

OPENING

5 March 2020, 7:30 p.m.

 

 

FILMS BY MOREHSHIN ALLAHYARI is part of HORIZONTAL VERTIGO, a year-long program of solo exhibitions, performances, screenings, and events at the Julia Stoschek Collection Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

Morehshin Allahyari

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HORIZONTAL VERTIGO:
SOPHIA AL-MARIA
BITCH OMEGA

8 MARCH 2020 – 19 JULY 2020

OPENING

6 March 2020, 6:00–10:00 p.m.

 

STUDIO 54

8 April 2020, 7:30 p.m.

 

 

Sophia Al-Maria’s first solo exhibition in Germany will feature a survey of video works and moving-image installations. An artist, writer, and filmmaker, Al-Maria’s works grapple with the fiction of history and the fact of the future, and how we cope with the encounter of a non- consensual reality. The Qatari-American artist’s work is deeply impacted by the experience of growing up in the Gulf region in a time of extreme cultural and environmental change precipitated by the oil industry, climate change, and mobile technologies in late capitalism. Al- Maria’s films, installations, and writings therefore oscillate between a critique of history written and an inescapable future defined by collapse, delving into the murky folds of cross-cultural identity, representation, and desire.

 

BITCH OMEGA is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

Sophia Al-Maria

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HORIZONTAL VERTIGO:
FILMS BY DOROTA GAWĘDA & EGLĖ KULBOKAITĖ
SCREENING

10 MAY 2020 – 19 JULY 2020

OPENING

7 May 2020, 7:30 p.m.

 

 

FILMS BY DOROTA GAWĘDA & EGLĖ KULBOKAITĖ is part of HORIZONTAL VERTIGO, a year-long program of solo exhibitions, performances, screenings, and events at the Julia Stoschek Collection Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

Dorota Gawęda, Eglė Kulbokaitė

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HORIZONTAL VERTIGO:
FILMS BY SKY HOPINKA
SCREENING

6 SEPTEMBER 2019 – 13 OCTOBER 2019

FILMS BY SKY HOPINKA will feature Fainting Spells (2018) and Dislocation Blues (2017), two works that deal with indigenous life and history, landscape, and language. Filmed during the Standing Rock protests resisting to the construction of the Dakota Access Pipeline across indigenous lands, Dislocation Blues (2017) offers an incomplete and imperfect portrait of the demonstrations and the camp with reflections by two participants, Cleo Keahna and Terry Running Wild. In Fainting Spells (2018) Hopinka combines recollections of youth, learning, lore, and departure by retelling an imagined myth of the Xąwįska, the Indian Pipe Plant used by the Ho-Chunk to revive someone who fainted.

 

FILMS BY SKY HOPINKA is part of HORIZONTAL VERTIGO, a year-long program of solo exhibitions, performances, screenings, and events at the Julia Stoschek Collection Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

ARTIST LIST

Sky Hopinka

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HORIZONTAL VERTIGO:
FILMS BY CHELSEA KNIGHT WITH
SHANE ASLAN SELZER
SCREENING

27 JUNE 2019 – 28 JULY 2019

The third iteration of HORIZONTAL VERTIGO’s screening program at JSC Düsseldorf features three moving-image works by artist Chelsea Knight and one work by Knight and Shane Aslan Selzer. When the Moon is Full (2007) and Lonely Planet (2018, a collaboration between Shane Aslan Selzer and Chelsea Knight) have both been shown internationally. My Ecstasy is Your Rapture and Teacher’s College, Columbia University (both 2019) will premiere at JSC Düsseldorf.

 

Spanning twelve years of Knight’s versatile and often collaborative video and performance-based practice, the works in this screening series reveal a strong sociological impulse, diving into the messy and sometimes uncomfortable spaces of social interaction. Part documentary and part fiction, Knight’s narratives are personal and intimate, critical reflections of the way people—including Knight herself, who appears in the works—perform their lives, professions, and emotional selves. Although the works differ in subject matter and style, When the Moon is Full and My Ecstasy is Your Rapture are connected by Knight’s use of the camera: it is never more than an arm’s length away. This very personal point of view facilitates intimacy but also a directness that suggests an unmediated form of experience.

 

In When the Moon is Full, Knight takes her family as a starting point from which to ask questions about the slippage of memory and performance within the home. Following a different type of performance, the visual essay My Ecstasy is Your Rapture weaves together phone camera footage of various musical performances seen both onscreen and onstage. Here, Knight ponders the social and cultural distance the use of screens allows, and how recording things and people is no longer exceptional.

Lonely Planet was also shot entirely on a phone. A travelogue made by Knight and Shane Aslan Selzer in Costa Rica, the video includes footage of their daily routines and travels, interspersed with fragments of written and spoken text taken from conversations between them during and after filming. The process of editing is exposed through Knight and Selzer’s real and performed negotiations about what to hide and reveal in the video, and through the disjunction of image and sound throughout it. Lonely Planet, which touches on the artists sense of place in relation to feminism, mothering, nature, whiteness, fear, and privilege illuminates the layered performance inherent to the framing of any narrative.

 

Knight’s newest work, Teacher’s College, Columbia University, takes a formally different approach. Here, the audience listens to employees of Columbia’s Teacher’s College speak about their own experiences of life and labor as they interpret old photographs taken at the college decades ago. The work questions how institutional spaces, like a university, incorporate the voices of those who often go unheard or unseen.

 

FILMS BY CHELSEA KNIGHT WITH SHANE ASLAN SELZER is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

 

 

 

PUBLIC PROGRAM

 

 

ARTIST TALK

with Chelsea Knight, 27 June 2019, 7:30 p.m.

ARTIST LIST

Chelsea Knight, Shane Aslan Selzer

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HORIZONTAL VERTIGO:
FILMS BY ARJUNA NEUMAN &
DENISE FERREIRA DA SILVA
SCREENING

15 MAY 2019 – 23 JUNE 2019

“Imagine a world without time, measurement, and accrual or notions of value.”

 

Serpent Rain (2016) and 4 Waters: Deep Implicancy (2019) by Arjuna Neuman and Denise Ferreira da Silva are grounded in experimental and collaborative research on migration, displacement, resource extraction, and colonial legacies, as well as quantum physics, blacklight, and cloud subjectivity (a concept developed by Neuman in response to the resurgence of nationalist and racist claims on the sovereign body and state). The artist and philosopher are interested in the politics and poetics of the moving image, focusing on the tensions between what is seen and remains opaque, what seems solid but is in transition. Their films are an assemblage of fragments—visual, aural, material—of an imagined cosmos defined by a moment of total entanglement, or what they call, “Deep Implicancy,” which exposes the lethal abstractions of Western knowledge and rationale.

 

In Serpent Rain Neuman and Ferreira da Silva interlace long landscape shots with images of riots in London, Ferguson, and Baltimore; found footage from promotional videos by Statoil, a Norwegian public oil company, and The Secret Life of Plants (1979); images of drawings or paintings of slave ships (i.e. the Zong massacre depicted in J.M.W. Turner’s The Slave Ship [1840]); and tarot. They highlight the shifting states of the elements and how on a planetary level humans are enmeshed with the elements. Expanding notions of linear time through residence time (which describes the amount of time a material stays in a volume of water or liquid), Neuman and Ferreira da Silva consider the circulation of decomposed matter of bodies that have died crossing the ocean; the matter that is ingested by fish and then humans, or has evaporated, becoming clouds and then falling back to earth as rain. They question “What becomes of the human if expressed by the elements?”

 

Continuing their inquiry into the elements (air, fire, earth, water), matter, and on the displacement of peoples, in 4 Waters: Deep Implicancy, the Mediterranean, the Atlantic, the Pacific, and the Indian Oceans become guiding bodies through which the artists navigate historical and current racial injustices and impending ecological catastrophe. In 4 Waters, the first iteration of a series of works each focusing on one element, they asked themselves how to make a film outside of the existing visual regimes of transparency, turning toward opacity and blacklight (ultraviolet light) as method instead.

 

Arjuna Neuman is an artist, filmmaker and writer. Recent presentations include: Whitechapel Gallery, London; Istanbul Modern, Istanbul; Sharjah Biennial, UAE; Bergen Assembly, Norway; at NTU Centre for Contemporary Art, Singapore; the 56th Venice Biennale and SuperCommunity; the Haus Der Kulturen der Welt, Berlin; at KEM, Warsaw; at Ashkal Alwan and the Beirut Art Centre, Lebanon; Le Gaite Lyric, Paris; the Canadian Centre for Architecture; and the Rat School of Art, Seoul amongst others. As a writer he has published essays in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal and e-flux.

 

Dr. Denise Ferreira da Silva’s academic writings and artistic practice address the ethical questions of the global present and target the metaphysical and ontoepistemological dimensions of modern thought. Currently, she is a Professor and Director of The Social Justice Institute (the Institute for Gender, Race, Sexuality, and Social Justice) at the University of British Columbia. Before joining UBC, she was an Associate Professor of Ethnic Studies, at the University of California, San Diego and, from 2010 to 2015, she held the inaugural chair in Ethics, at the School of Business and Management and the directorship of the Centre for Ethics and Politics, at Queen Mary University of London. Her research areas include Critical Racial and Ethnic Studies, Feminist Theory, Critical Legal Theory, Political Theory, Moral Philosophy, Postcolonial Studies, and Latin American & Caribbean Studies. Her art-related work includes texts for publications linked to the 2016 Liverpool and Sao Paulo Biennales, advising Natasha Ginwala, the curator for the Contour 8 Biennale (Mechelen, 2017).

 

FILMS BY ARJUNA NEUMAN & DENISE FERREIRA DA SILVAS is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

 

 

 

PUBLIC PROGRAM

 

 

ARTIST TALK

with Arjuna Neuman, 15 May 2019, 7:30 p.m.

ARTIST LIST

Arjuna Neuman, Denise Ferreira da Silva

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HORIZONTAL VERTIGO:
RINDON JOHNSON
CIRCUMSCRIBE

31 MARCH 2019 – 28 JULY 2019

In CIRCUMSCRIBE, Rindon Johnson’s first institutional solo show in Europe, the artist examines material and conceptual forms of circulation and containment in relation to capital and consumption, privileging language, images, bodies, and technologies. Alongside existing paintings and sculptures, the exhibition features new videos and virtual reality works, a site-specific livestream installation, and a soundtrack produced in collaboration with Milo McBride.

 

The meaning of the verb “to circumscribe” is manifold: it refers to restriction, to setting limits and keeping within bounds, as well as marking and framing, or to drawing a figure around another touching it at points. Both definitions imply spatial demarcation—gestures whose benevolence and violence depend on context and point of view.

 

Johnson’s inquiries begin with language and return to it through the titles of his works, each of which emerges through the constant triangulation of poetry, the video or object, and the viewer. For Johnson, language is not supplemental but an integral part of each piece—it is just one of the many found, appropriated, recombined, and composed materials he uses to ask questions about agency and power. In this collision of language, object, and viewer, Johnson explores complex hierarchies that structure our societies, challenging their legitimacy and legibility. He does so by introducing radical subjectivity and intimacy to the work and by indulging in moments of ambiguity and ambivalence. Through language, Johnson draws attention to the often invisible but acute violence that permeates his—and our—lived experience. Meaning, however, is obscured and continually deferred; each articulation is thereby also an act of refusal: a refusal to comply and a refusal to disappear. Instead there is a desire to overcome the binding states, the containers, and categories that define our current moment.

 

CIRCUMSCRIBE is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

 

 

 

PUBLIC PROGRAM

 

 

ARTIST TALK

with Rindon Johnson, Eduardo Williams & Lisa Long, 31 March 2019, 3:00 p.m.

 

 

STUDIO 54

Works selected by Rindon Johnson, 17 April 2019, 7:30 p.m.

 

Artists: Aria Dean, Sara Magenheimer, Eduardo Restrepo Castaño, Diamond Stingily, Jordan Strafer and Marina Xenofontos

 

 

READING

by Rindon Johnson, Hannah Black & Shiv Kotecha, 14 July 2019, 3:00 p.m.

ARTIST LIST

Rindon Johnson, Milo McBride

BOOKLET

A free booklet accompanied the exhibition, which is here as download available.

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HORIZONTAL VERTIGO:
FILMS BY EDUARDO WILLIAMS
SCREENING

31 MARCH 2019 – 5 MAY 2019

HORIZONTAL VERTIGO’s screening series begins with three films by Argentinian filmmaker Eduardo Williams: Parsi (2018), Tôi quên rôi! (I forgot!) (2014), and Pude ver un Puma (Could see a Puma) (2011). Williams’s films are characterized by bodies—both of individuals and groups of people—in transit, moving across geographical, social, and cultural landscapes interconnected by technology.

 

Williams’s most recent work, Parsi, is shot on a 360° camera by the participants in the film and then edited by Williams in a virtual reality headset. The film is inspired by the poem No Es by Mariano Blatt—an ongoing list of “what seems to be but isn’t” that the poet plans to continue writing throughout his life. The current iteration of the poem determined the length of the film as well as its rhythm. During the editing process, Williams let the rhythm of the language and the images captured by his collaborators guide his own movements in VR to determine the final frame, which is then exported in 16:9 ratio. Although Williams was present during the filming, he handed the camera to his collaborators, who walked, ran, and rollerbladed across the city of Bissau, the capital of Guinea Bissau, as they might do on a daily basis. As often happens in Williams’s films, the actors are not in service of the camera or the viewer. The viewer is instead nonchalantly invited to tag along while the actors move through their familiar surroundings.

 

Similary peripatetic, Tôi quên rôi! (I forgot!) rambles through the neighborhoods, supermarkets, and street bars of Hanoi, Vietnam, following the main character Trung and his friends. The film begins underwater, off the coast of Vietnam and ends high up in the sky overlooking a desolate suburban landscape of unfinished, empty homes. As the film unfolds it presents a slow and gradual ascent, an intentional shift of position and point of view. In comparison, Pude ver un Puma (Could see a Puma) is distinguished by downward movement from start to finish. In this film, a group of young men descend from rooftops to traverse and explore a deserted and devasted landscape until they suddenly disappear, seemingly swallowed by the earth.

 

Williams’s long, unstable takes disperse attention across each frame, offering multiple focal points as well as fragments of images or language that confound the viewer with the strangeness of such encounters. As the poem by Blatt in Parsi suggests, Williams’s films could be described as “what seems to be but isn’t.” At least, not yet.

 

FILMS BY BY EDUARDO WILLIAMS is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

Supported by the Cultural Office of the City of Düsseldorf.

 

 

 

PUBLIC PROGRAM

 

 

ARTIST TALK

with Rindon Johnson, Eduardo Williams & Lisa Long, 31 March 2019, 3:00 p.m.

ARTIST LIST

Eduardo Williams

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NEW METALLURGISTS

7 OCTOBER 2018 – 28 APRIL 2019

For the first time, the JULIA STOSCHEK COLLECTION is focusing on a new generation of Chinese contemporary artists in a show entitled NEW METALLURGISTS.

 

The idea for this exhibition was developed in collaboration with Chinese artist Cao Fei and scientist and curator Yang Beichen.

 

The JULIA STOSCHEK COLLECTION has been accompanying the work of Beijing-based artist Cao Fei since the early 2000s. In addition to her expansive installation Whose Utopia (2006), the collection also holds three of her other time-based works. The presentation of these works in the artist’s show at K21 in Düsseldorf (October 7, 2018 – January 15, 2019) coincides with NEW METALLURGISTS.

 

Starting with the French theorists Gilles Deleuze and Félix Guattari, who described the production and processing of metal, so-called “metallurgy,”as a paradigmatic example of a nomadic art, the exhibition presents the artist as new metallurgist. According to curator Yang Beichen this is an obvious analogy, as metallurgists are not only guided by the specific properties of various materials and their processing, and indeed in their works also hybridize and meld a wide variety of contemporary themes.

 

“The work of the new metallurgists overcomes all the divides between knowledge and activity; these are transdisciplinary artists, who in their works defy their own physical existence. What the exhibition attempts to show is the working itself.” (Yang Beichen)

 

The result is an exhibition featuring 16 works by eight contemporary artists from China who reflect on their pluralistic and global worldview while simultaneously demonstrating that the view of classic China shaped by exotic Orientalism has become obsolete. Many of the works mirror this new reality by visualizing the multi-dimensional nature of time. For example, in his work Dream Delivery (2018), which was filmed in a Shanzhai amusement park, artist Zheng Yuan demonstrates the concept of temporality in a decelerated setting: In this artificial landscape, couriers who are normally in a permanent rush are transformed into statues. Through this deceleration the artist makes palpably clear his own view of society and visualizes the downsides of global capitalism.

 

In the piece Competition of Spokesperson (2017), Zhu Payne critically highlights China’s increasing economic clout. In his work the artist takes up a central topic of his: the means of production and communication typical of capitalism. Zhu Payne has produced a promotional film about a fictional sports brand, whose name LIKE is modelled on NIKE, to take a critical yet humorous swipe at the global player. He has designed a logo and sports clothing and has African immigrants act as brand ambassadors for the fictional brand, parodying the way African-American athletes feature in commercial advertising.

 

The artist Fang Di comments in his work Hit Me! (2013) on the influence of African-American culture on American society by having his protagonist, a black dancer, walk along a street and repeatedly break into an improvised dance. It is typical for the artist to embed contemporary topics in a new context. The dance, African-American culture, American society and history – none of this belongs to the culture of the artist’s native country.

 

The artworks featured in NEW METALLURGISTS point to a futuristic understanding of non-linear temporality and vitality. They reveal not only which marginal areas the artists operate in, but also how they strive to open them up.

ARTIST LIST

Fang Di, Liu Yujia, Shen Xin, Song Ta, Wang Tuo, Yao Qingmei, Zheng Yuan, Zhu Payne

EXHIBITION BROCHURE

The exhibition is accompanied by a brochure with essays by CAO Fei, Yang Beichen and Monika Kerkmann. Order now

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GENERATION LOSS
10 YEARS JULIA STOSCHEK COLLECTION

10 JUNE 2017 – 9 SEPTEMBER 2018

After more than 15 exhibitions and eight international collaborative projects attracting over 100,000 visitors, JULIA STOSCHEK COLLECTION is now celebrating its 10th anniversary in June 2017.

 

The anniversary exhibition titled GENERATION LOSS is being conceived in collaboration with British artist Ed Atkins.

 

As a singularly holistic technology, video has maintained its status as the most popular medium. In the last decade the distribution of video has become simpler in terms of access, and more complex as regards the mode of distribution itself.The technological advances that account for these changes pervade artistic practice particularly, pragmatically as well as conceptually: Not only new reflexively approached formats abound, but new modes of behavior, communication and forms of representation, forms that are able to decisively alter our perception. Unique among art forms, artist moving image has always been singularly driven by the medium, as it moves within the mainstream – cleaving, albeit critically, to the technologies’ processes of fidelity and capitalistic progress.

 

The term “Generation Loss” generally refers to the process of a qualitative loss in successively copied data. Everything that reduces the representative quality as copies of data are made, can be regarded as a form of ‘generation loss’. However, this holds true not just for data formats or material media, but also manifests itself in an ideological sense in politics, culture, nature, from one generation to the next.

 

The basic idea of the exhibition concept is to show the ways in which generations of artists affect one another; the discourses that awkwardly straddle technology-specific periods of artists’ moving image makers; how influence may auger revolt, revision, renewed accord; how artists’ moving image is a uniquely reactive, dependent medium whose intimacy with the vicissitudes of mainstream tech confers a kind of automatic collusion with the culture at large that is pretty much unique to it – to moving image works.

 

Formally, the exhibition will very visibly connect works, in a sort of straightforward, socially demonstrative way: projected works will be screened in choreographed sequences and in proximity to one another. This will be partially achieved using acoustic glass to divide the works and effectively block sound leaks, but allows you to see through to other spaces, works. We plan to pretty much do away with the preeminent, isolated black box of video installation. No work alone, all works in relation.

ARTIST LIST

Eleanor Antin, Ed Atkins & Simon Thompson, Charles Atlas, Lutz Bacher, Bernadette Corporation, Lynda Benglis, Johanna Billing, Dara Birnbaum, Hannah Black, Chris Burden, Matt Calderwood, Patty Chang, Ian Cheng, Jen DeNike, Nathalie Djurberg & Hans Berg, Cheryl Donegan, Trisha Donnelly, Cao Fei, Peter Fischli & David Weiss, Dara Friedman, Cyprien Gaillard, Douglas Gordon, Barbara Hammer, Christian Jankowski, Joan Jonas, Jesper Just, Imi Knoebel, Mark Leckey, Klara Lidén, Gordon Matta-Clark, Paul McCarthy, Lutz Mommartz, Bruce Nauman, Jon Rafman, Lucy Raven, Reynold Reynolds & Patrick Jolley, James Richards, Rachel Rose, Jack Smith, Wolfgang Tillmans, Ulay & Marina Abramović, Steina Vasulka, Klaus vom Bruch, Hannah Wilke, Jordan Wolfson, Tobias Zielony

EXHIBITION CATALOGUE

JULIA STOSCHEK FOUNDATION e.V.
Texts by Ed Atkins, Julia Stoschek, Andreas Weisser
Languages: German, English
June 2017. 468 pages
Size: 21,50 x 27,50 cm
hard cover, bound

 

ISBN: 978-3-7356-0384-5
Museum edition: € 60
Bookshop edition: € 68

 

On the occasion of the ten-year anniversary of the JULIA STOSCHEK COLLECTION, the British artist Ed Atkins conceived the exhibition GENERATION LOSS. The term means first and foremost the process of data quality deterioration that results from changing technologies. This loss of quality, at the same time, also materializes in an ideological sense in the social change from one generation to the next. The catalogue takes up this question and addresses how the reception of the moving image has changed from the nineteen-seventies until today. In addition to video and film stills, the catalogue also includes historical material about the works presented as well as installation views of the exhibition. Order now

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NUMBER THIRTEEN:
FACTORY OF THE SUN /
MISSED CONNECTIONS

15 OCTOBER 2016 – 26 FEBRUARY 2017

Under the title NUMBER THIRTEEN two exhibition concepts will be presented together at the JULIA STOSCHEK COLLECTION in Düsseldorf.

 

At the centre of the presentation will be the large-format video installation Factory of the Sun by Hito Steyerl, which was shown for the first time in the German Pavilion at the Venice Biennale in 2015 with the support of the JULIA STOSCHEK COLLECTION, and which now takes centre stage on the second floor of the exhibition. The filmmaker and author is considered a critical observer of our globalised world in the digital age. Her artistic practice precisely describes the fluidity and mutability of images – starting with their production and translation through to their interpretation and circulation.

 

In Factory of the Sun Hito Steyerl links the symbolically charged power of the sun with the enormous power of our current digitalised reality. In the installation, Steyerl uses the motif of sunlight allegorically to represent a complex exploration of everyday and surveillance technologies in order to tackle the dialectic of freedom and incarceration.

 

Parallel to this, but separated from it spatially, the artist Jennifer Chan curated the group exhibition MISSED CONNECTIONS on the first floor at the invitation of Hito Steyerl and in cooperation with the JULIA STOSCHEK COLLECTION.

 

MISSED CONNECTIONS takes a critical look at the indulgences and excesses of our technocratic society. The exhibition takes its name after the “Missed Connections” forum on Craigslist, where people who have fallen in love with strangers can leave messages. Chan assumes that in the areas of technology and culture there are many missed opportunities for critical analysis of power and identity.

 

The exhibition comprises eleven works by six artists who, in their own visual vocabulary, attempt to detach themselves from the traditional narratives of our digital reality and pop culture. Chan’s approach deliberately calls into question the supposed conveniences that digitalisation brings with it. Thus the individual positions point to a subtle, postcolonial discourse on the intersections of ethnicity, gender and contemporary work conditions.

 

Furthermore the exhibition included an opening programme with the performance A Small Bird Will Drop Frozen (The Arc Bends Towards Justice) by Devin Kenny followed by a talk between artists Devin Kenny, Lawrence Lek, Hito Steyerl and curator Jennifer Chan, moderated by lecturer and writer Melissa Gronlund (in English).

ARTIST LIST

Morehshin Allahyari, Hamishi Farah, Devin Kenny, Lawrence Lek, Sandra Mujinga, Sondra Perry, Hito Steyerl

EXHIBITION BROCHURE

On the occasion of the exhibitions a bilingual brochure was published with texts on individual works. Order now

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NUMBER TWELVE:
HELLO BOYS

13 FEBRUARY 2016 – 31 JULY 2016

NUMBER TWELVE: HELLO BOYS draws a line from the feminist video and performance pioneers of the 1970s to selected contemporary positions among female photographers and video artists.

 

The exhibition featuring works from the JULIA STOSCHEK COLLECTION has borrowed its title from that of Hannah Wilke’s video performance Hello Boys (1975), which it also takes as the curatorial starting point for the perception and representation of female identity. A large number of female artists used video, which was then still a new medium, to document their performance-based works. In the process they elaborated a genuinely artistic approach and aesthetic. Eleanor Antin, Lynda Benglis, VALIE EXPORT, Barbara Hammer, Joan Jonas,  Martha Rosler, Gwenn Thomas and Hannah Wilke all advocated the expression of the female self from the point of view of their respectively unique approaches to corporeality, gender roles and perspectives.

 

In the contemporary photographs and video pieces by Lutz Bacher, Jen DeNike, Trisha Donnelly, Marie-Jo Lafontaine and Klara Lidén one can discern a change in the quality of contents perceived and how these are formulated artistically. These works have emancipated themselves from direct self-observation. From a more distanced viewpoint, femininity and masculinity are renegotiated in the media lifeworld, in filmic archetypes and in performance-based activities.

ARTIST LIST

Eleanor Antin, Lutz Bacher, Lynda Benglis, Jen DeNike, Trisha Donnelly, VALIE EXPORT, Barbara Hammer, Joan Jonas, Marie-Jo Lafontaine, Klara Lidén, Martha Rosler, Gwenn Thomas, Hannah Wilke

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NUMBER ELEVEN:
CYPRIEN GAILLARD

26 SEPTEMBER 2015 – 31 JULY 2016

The exhibition at the JULIA STOSCHEK COLLECTIONwas dedicated to French artist Cyprien Gaillard (1980 born in Paris, lives and works in New York and Berlin).

 

Cyprien Gaillard often starts a new work by seeking out artefacts, monuments or architectural creations which seem to have lost their significance in the present time. His nomadic gaze takes in backdrops both urban and natural, manicured or wild, focussing on spots where beauty has evolved from decay or where violence has left scars on the landscape. Thus the artist vividly depicts the times and places where our present-day economic and cultural needs interact with architectural legacies or the cultural heritage of a region. Each of Gaillard’s film works orbits in its own ways the myths surrounding the various settings, describing how outworn utopian urges or belief systems collide with current social conditions and political realities.

 

The exhibition offered a concentrated overview of Gaillard’s films alongside works on paper in sculptural displays, from the mid-2000s to work purpose − made for the presentation at the JULIA STOSCHEK COLLECTION.

 

The exhibtion was accompanied by a public program consisting of lectures, as well as the monthly STUDIO 54 film program, for which Gaillard selected other film positions.

 

The highlight of the exhibition was the 3D film Nightlife (2015). For the first time the JULIA STOSCHEK COLLECTION collaborated with an external institution to exhibit the work offsite. The large-format film was exhibited at the K20 – Kunstsammlung Nordrhein-Westfalenin Duesseldorf. Nightlife was on show there from 30 January to 3 April 2016.

ARTIST LIST

Cyprien Gaillard

EXHIBITION BROCHURE

On the occasion of the exhibition a bilingual brochure was published with texts on individual works and an essay by Natalia Valencia Arango (Independent curator based in Mexico City), including an in-depth discussion of NightlifeOrder now

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WU TSANG
A DAY IN THE LIFE OF BLISS

15 APRIL 2015 – 2 AUGUST 2015

JULIA STOSCHEK COLLECTION presented the two-channel video installation A day in the life of bliss (2014) by American artist, performer and filmmaker Wu Tsang (born 1982, lives and works in Los Angeles) in its Düsseldorf collection building on the occasion of Art Cologne 2015. Wu Tsang is interested in the formation of identites and the coding of social communities. Her involvement in the queer and transgender scene locates her films and videos in the “underground” as a space of action for cultural resistance.

 

A day in the life of bliss tells the story of Bliss, a performer celebrated as a Pop star, in the style of a science fiction scenario. Bliss lives in the near future, in a world dominated by totalitarian surveilance systems. An artificial intelligence named Looks uses humanity’s obsession with self-promotion and self-presentation in digital networks to control society. Bliss has an ambivalent relationship with her own fame and leads a subversive double-life in the underground scene. Bliss is played by American performance artist boychild. Her androgynous physique and the expressive force of her dancing counters the overwhelming loss of the physical and the de-personalization of social contact.

 

The two-channel video installation is doubled by two large format mirror screens, one of which is a two-way mirror. These transmit the transitions between the layers of meaning from digital to “actual” reality into the exhibition space.

 

A day in the life of bliss is conceived as an ongoing film project by Wu Tsang and boychild and is directly linked to the performance Moved by the Motion by Wu Tsang, boychild and the musician Patrick Belaga carried out at JULIA STOSCHEK COLLECTION in February 2015 in cooperation with Kunsthalle Düsseldorf.

 

This performance is incorporated into the plot of A day in the life of bliss as a dream sequence. The dream represents protagonist Bliss’ different psychological conditions or alter egos and explores complex psychological patterns.

ARTIST LIST

Wu Tsang

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NUMBER TEN:
TRISHA DONNELLY

7 FEBRUARY 2015 – 31 JANUARY 2016

The JULIA STOSCHEK COLLECTIONis pleased to present, in its eighth year, its tenth exhibition with a selection of works by US-American artist Trisha Donnelly (born 1974).

 

The presentation comprises works from the collection ranging from moving image, photography, sound installation to sculpture. The ensemble is creating a space saturated with a potential for transformations and reconfigurations of the senses, of realities. In continually fluid interactions between the material and the immaterial Donnelly generates moments of absolute concentration.

ARTIST LIST

Trisha Donnelly

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NUMBER NINE:
ELIZABETH PRICE

6 SEPTEMBER 2014 – 1 FEBRUARY 2015

This exhibition at the JULIA STOSCHEK COLLECTION was dedicated to British artist and 2012 Turner Prize winner Elizabeth Price (born 1966 in Bradford, Great Britain, lives and works in London).

 

Since 2006, Elizabeth Price has mainly worked with digital moving images. The key focus of her conceptual, institution-critical works has been to examine the significance of cultural artifacts, collections and archives.

 

Each work initially arises from an idea on a place and its history. In an analytical approach to the location, Price then explores the broadest variety of different sources of material and devises dramas to occur in that location, which feature no direct human action. Instead historical artifacts, archival images and documents are used to enact social occurrences and play out collective fears and desires. Images, texts and sounds are composed in episodes that we migrate to through sections variously reminiscent of pedagogic lectures, cinematic melodrama or commercial advertising. In this process-based practice, categorizations and referential systems shed their original meaning, develop a life of their own, and expand in time and space through the rearrangement by narration in video.

 

An exhibition has been organized in close collaboration with Elizabeth Price, showing  works from the JULIA STOSCHEK COLLECTION and one piece on loan from the artist. The scenography of the exhibition corresponds to the videos in that it unfolds in a special rhythmic sequence that includes the interiors and spatial elements of the installation. This exhibition offers the first in-depth overview in Germany of Price’s oeuvre to date.

 

 

PUBLIC PROGRAM

 

The show was accompanied by a comprehensive line-up consisting of STUDIO 54, a film program compiled by the artist, a multi-part concert series entitled The Architecture of Sound and a lecture by the artist (23 January 2015, 7:30 p.m.).

ARTIST LIST

Elizabeth Price

EXHIBITION BROCHURE

On the occasion of the exhibition a bilingual brochure was published with texts on individual works. Order now

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NATHALIE DJURBERG & HANS BERG
THE EXPERIMENT

8 APRIL 2014 – 1 JUNE 2014

To coincide with Art Cologne 2014, JULIA STOSCHEK COLLECTION presented Nathalie Djurberg’s three-channel video installation The Experiment in the Collection premises in Düsseldorf.

 

Djurberg (born 1978 in Lysekil, Sweden) creates animated films that fascinate, amuse, disturb and shock. In her work she looks at the dark side of the human psyche – running through the whole gamut of perversions, sexual violence, fear, arrogance and vanity in a way that is both full of irony and at the same time almost painful to watch. In her videos, which are aesthetically reminiscent of children’s films, clay characters made from Plasticine are brought to life in a stop-motion process.

 

The three-channel video installation The Experiment (2009), which consists of the videos Forest, Cave and Greed, was first screened in 2009 at the 53rd Venice Biennale. While Greed alludes with Biblical symbols to power, greed and sexual violence within the Catholic Church, Cave and Forest focus on issues of exhibitionism, voyeurism and sadism. At first glance, the colorful figures in painted scenery suggest a cute, funny scene. But the idyll is deceptive: Behind the facade, a world seemingly beyond good and evil comes to light, revealing the abysses of society in a brutally honest fashion. The Plasticine figures live out their sexual desires or are tortured with great brutality. In this way the scenes trigger in the viewer both a sense of fascination with something forbidden and at the same time kindle a sense of repugnance.

 

The video installation is accompanied by music and sound effects by musician Hans Berg.

 

Parallel to the special presentation at JULIA STOSCHEK COLLECTION, Kölnischer Kunstverein presented recent work by the duo Nathalie Djurberg & Hans Berg under the title Maybe This Is A Dream. The exhibition was supported by Julia Stoschek.

ARTIST LIST

Nathalie Djurberg & Hans Berg

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NUMBER EIGHT:
STURTEVANT

5 APRIL 2014 – 10 NOVEMBER 2014

As part of the Quadriennale 2014, the JULIA STOSCHEK COLLECTION presented a solo exhibition of the work of American artist STURTEVANT (born 1930 in Lakewood, Ohio; died in 2014 in Paris). The exhibition was conceived in close collaboration with the artist and focuses for the first time in such detail on the artist’s media-based output.

 

Ever since her first show in 1965 at New York’s Bianchini Gallery, STURTEVANT has used the process of recreating artworks to question the traditional understanding of artistic creative processes along with the purpose, autonomy and authorship of art.

 

STURTEVANT’s radical, conceptually rigorous approach was often misconstrued. Her work did not center on the pure emulation or imitation of an artwork, rather she was using the power and heightened awareness that ensues from this differentiated “repetition”. STURTEVANT is interested in the thought process, in making the step from the representation in the image to the concept in the mind – she doesn’t simply depict things, but she gets to the bottom of them.

 

The artist was no stranger to controversy as early as the 1960s and 1970s. The works she recreated, including pieces by Marcel Duchamp, Andy Warhol, Jasper Johns and Joseph Beuys were later often considered iconic masterpieces.

 

In the age of the digital revolution, she first of all noticeably acts at one remove from the original. She feels the idea of handmade repetition is outdated. The inclusion of images from the mass media and her own filmed material have given rise to an increasing number of time-based works since 2000. With the aesthetic and formal possibilities offered by the World Wide Web she analyzes the origins of knowledge, art and culture, and addresses the question how they can be produced and shared. Presently the work is considered crucial and dynamic towards our present cybernetics world with its digital implications and the question of what constitutes the original in a cyber-reality characterized by simulacra.

 

For decades, she has commented on the art currents of that particular time, demonstrating to this day extraordinary farsightedness in both art-historical and philosophical terms. Her distinct contemporary approach represents the focal point of the JULIA STOSCHEK COLLECTION and, in keeping with the motto of the Quadriennale, extends “Beyond Tomorrow”.

 

Media-based works from the collection were on display in the show completed with loan works.

ARTIST LIST

STURTEVANT

EXHIBITION BROCHURE

On the occasion of the exhibition a bilingual brochure was published. Order now

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NUMBER SEVEN:
ED ATKINS / FRANCES STARK

7 SEPTEMBER 2013 – 22 FEBRUARY 2014

As its NUMBER SEVEN show, JULIA STOSCHEK COLLECTION presented two artists in a dual exhibition: British artist Ed Atkins and US-american artist Frances Stark.

 

In their multi-disciplinary approaches, Ed Atkins and Frances Stark reflect the change in how artists define forms and the discourse of representation in the world of media images. The work of both artists, each of whom is also active in literature, is characterized by an exploration of the various interactions between image and text. By means of state-of-the-art computer technology they weave a complex fabric of signs, text fragments and autobiographical references that then enter their visual pieces as hypertext. The exhibition will focus on video installations, with collages, conceptual wall pieces and sculptural objects rounding out the selection.

 

The exhibition concept centers on sequences of individual rooms to broach a dialog between the two artists. The configuration of works highlights the transformation of the classical moving image into digital image production processing. The JULIA STOSCHEK COLLECTION is thus reiterating its emphasis on presenting contemporary time-based media.

 

High definition image technologies form the basis of Ed Atkins’ artistic practice. He primarily explores the one-sided focus on technical perfection in image quality as opposed to the fact that the media formats can no longer be grasped haptically. Given the consequent de-corporealization, in his installations Atkins seeks to develop an aesthetic of disappearance, taking as his leitmotifs illness and death.

 

For her art projects, Frances Stark relies on a self-created and multifaceted system of references that above all stem from questioning the notion of authorship and her own artistic creative process. Her work cuts across genres and expresses a tussle with words and their meaning. Short quotes, music, literature, pop culture, autobiographical notes and events all serve as the basis for her video installations, performances, sculptures and works on paper.

 

A monograph about Ed Atkin’s works was published in collaboration with Kunsthalle Zürich and the Kunsthalle Mainz (sold out).

ARTIST LIST

Ed Atkins, Frances Stark

EXHIBITION BROCHURE

On the occasion of the exhibition a bilingual brochure was published with texts on individual works. Order now

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NUMBER SIX:
FLAMING CREATURES

8 SEPTEMBER 2012 – 29 JUNE 2013

A “love of the unnatural: of artifice and exaggeration,” is how writer Susan Sontag described the concept of “camp”, which forms the red thread running through this exhibition from the JULIA STOSCHEK COLLECTION. “Camp” is an exaggerated kind of perception that emerged in the course of aestheticism and dandyism. “Camp” first came into being at the turn of the 20th century and peaked in the 1950s and 1960s.

 

A key starting point for the exhibition, and one of immense historical importance, is the work of US underground artist, performer and filmmaker Jack Smith (born in 1932, died in 1989); his scandal-sparking film Flaming Creatures (1962-63) is the source of the title of the new presentation.

 

Jack Smith’s oeuvre strongly inspired an entire generation of artists such as Andy Warhol, Robert Wilson, Cindy Sherman, John Waters and Mike Kelley. Without him, “Camp”, Punk and Pop-Postmodernism would be inconceivable, as would experimental theater. Flaming Creatures is a surrogate for something that manifestly materializes as an extreme, excessive and exuberant element in the positions taken by the individual artists. In this context, Jack Smith should be seen not as the source of the idea, but as a key position in a critical enquiry into reality and fiction, identity and gender.

 

An appropriation of fictitious realities or creaturely processes is common to all the works represented in the show. Pieces by Aura Rosenberg, Tony Oursler, Bruce Nauman and Paul McCarthy, serve to sharpen the exhibition’s focus on how each artist explores the self and self-alienation. By using disguise or clown-like exaggeration the artists involved create a new dimension, one not limited to film and instead also including a physical level.

 

Moreover, a conscious addressing of pop and trivial culture is a further connecting element. In particular, Ryan Trecartin, Ed Ruscha as well as Paper Rad, Mike Kelley and John Bock adapt these themes in their works, subjecting them to an ironic twist.

ARTIST LIST

John Bock, Lizzie Fitch, Birgit Hein, Mike Kelley, Paul McCarthy, Bruce Nauman, Tony Oursler, Paper Rad, Peaches, Aura Rosenberg, Ed Ruscha, Jack Smith, Gwenn Thomas, Ryan Trecartin

EXHIBITION CATALOGUE

Edited by JULIA STOSCHEK FOUNDATION e.V., foreword by Julia Stoschek. Essay by Susan Sontag „Notes on Camp“ (1963). Texts by Philipp Fürnkäs, Benny Höhne, Monika Lahrkamp, Marlen Lienkamp, Anna-Alexandra Nadig, Anke Volkmer.

 

Languages: German/English. 2012. 324 pages. 258 colour pictures.
Size: 21 x 27 cm. hardcover.
Will be published by Hatje Cantz Verlag, Ostfildern, in November 2012.
ISBN 978-3-7757-3524-7
Sold out!

 

In seeking out Modernism, artists and intellectuals around the turn of the century developed new styles and forms that broke with tradition and were said to have left behind a conservative Europe and its historically oriented art. The concept of “camp” sums up a particularly exciting, yet little-noticed characteristic of Modernism, defined by Susan Sontag as a “love of the unnatural: of artifice and exaggeration.” During the 1950s and ‘60s it was developed to a culmination by artists who were interested in everyday culture, kitsch, and retro design, as well as by those involved in punk culture and Pop Art. Jack Smith’s film Flaming Creatures (1963) set the standard for an entire generation of artists centered on Andy Warhol, Cindy Sherman, and Mike Kelley. This publication presents camp’s aesthetics, its desire for the fictional and play with masks, its clown-like exaggeration, and its exceedingly fine perception.

 

Artists featured: John Bock, Lizzie Fitch, Birgit Hein, Mike Kelley, Paul McCarthy, Bruce Nauman, Tony Oursler, Paper Rad, Aura Rosenberg, Ed Ruscha, Jack Smith, Gwenn Thomas, Ryan Trecartin.

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NUMBER FIVE:
CITIES OF GOLD AND MIRRORS

2 JULY 2011 – 30 JUNE 2012

From 25 June 2011, the JULIA STOSCHEK COLLECTION presented selected works in a newly designed exhibition.

 

The show features 44 works by 35 artists in all, including many that have never been shown before, works acquired in the past few years and site-specific spatial interventions. Each work is presented in its own, carefully elaborated setting.

 

Rather than being organised around a single theme, the exhibition picked up on several content strands and reflects current themes in contemporary art.

 

Its title, CITIES OF GOLD AND MIRRORS, taken from a film by Cyprien Gaillard shown in the exhibition is a metaphor for the fact that the pieces on display explore socio-political questions relating to urban development, humankind’s relationship to architecture, and our own personal vanities and desires.

 

The first exhibition area presented artists like Gordon Matta-Clark, Tobias Zielony, Cyprien Gaillard and Francis Alÿs, whose works reflect on the relationship between humankind and architecture.

 

With his spatial interventions, or “building cuts”, Gordon Matta-Clark was already opposing traditional concepts of space back in the 1970s, openly criticising urban planning and the conditions governing public life and private spaces. His films not only document his sometimes anarchic activities, they also map the city as an urban space in all its many facets and are all that remains of his processive interventions.

 

In his 2009 photo animation made up of 7,000 individual images, Tobias Zielony documents the Le Vele Di Scampia (2009) urban housing project, built by architect Francesco di Salvo in the 60s. This complex in a suburb of Naples has now achieved tragic notoriety as a mafia stronghold. Zielony’s animation presents the decayed, crumbling buildings and their inhabitants, recording the decline of the complex and the strange, mystical appeal it has come to possess.

 

The 16mm film which gave the exhibition its title, Cyprien Gaillard’s Cities of Gold and Mirrors (2009), places fictional elements from the Japanese-French TV series “The Mysterious Cities of Gold” alongside scenes of tourists on package holidays. Gaillard contrasts a Cancún hotel complex in Mexico built in the 1970s with the ruins of the once-mighty Mayan civilisation. Donning the hat of a documentary filmmaker rather than that of an archaeologist, Gaillard shows American students celebrating spring break with excessive binge drinking against the impressive backdrop of a hotel complex, which imitates Mayan pyramids – thus confronting viewers with the banalisation of culture.

 

Rehearsal I (Ensayo I) (1999–2001) is the title of a key piece by Belgian artist Francis Alÿs. In the guise of a modern Sisyphus, a red Volkswagen Beetle repeatedly attempts to drive up a hill to the sound of a Mexican “Mariachi”-brass band. Just before it reaches the top the band stops playing and the car rolls back down the hill, meaning that it has to start all over again. The video is an existential metaphor for the political situation in Mexico and for the economic discrepancy between the country and its larger neighbour, the United States.

 

The second exhibition area marked a break from the dominance of filmic works. Here, pieces by Andreas Gursky, Mark Manders, Andro Wekua, David Claerbout, etc. exemplify the complexity of the forms of expression shown.

 

Andreas Gursky’s large-format photograph Untitled XII, No. 4 (2000) shows a page from Robert Musil’s epic novel The Man Without Qualities – page 769, it turns out. This section of the book addresses the relative scale of the human spirit, humankind and nature – indeed, humankind’s position within the cosmos. Yet, we learn, Gursky’s photograph is not a faithful copy; he has digitally altered several passages, replacing some words with others of his choosing. And these insidious changes are not obvious simply from looking at the page. The oversized reproduction of the photographed page also breaks with the conventional perception of art.

 

Mark Manders’ sculpture Large Figure With Thin Newspaper (2010) is part of his “Self Portrait as a Building” concept, begun in 1986. The unfinished project is Manders’ archive of his own experiences, thoughts and interactions with reality. The installations and sculptures that arise from this exploration of the self take on many different forms – they may incorporate objects from the artist’s everyday life; they may constitute installations that fill an entire room. His works constitute hermetic, self-referencing, humorous or profoundly poetic representations of an abstract version of his biography. They consist of various components and are resonant with deep emotion and melancholy.

 

Much like Manders, Andro Wekua stages his own imaginary biography in his video Never Sleep With A Strawberry In Your Mouth (2010). Wekua has his alter ego – a boy wearing a mask – set out in search of traces of his childhood within a nightmarish setting. Wekua’s imagery, borrowed from the Science Fiction and Horror genres, does not provide a coherent portrayal of his memories, but is rather a construct that incorporates elements of the past as it really happened and the past as remembered. At the same time, the work’s title carries a warning that develops an oddly seductive power through mere associative allusion. The video does not tell a straightforward story; its bizarre images and colours are more reminiscent of dream sequences. Wekua’s work is based on principles of dramatic composition; stages and spatial interventions are important elements that serve to further heighten the auratic impact of his installations.

 

David Claerbout’s work draws on the forms of representation used in cinema. In his two channel video installation American Car (2002–2004), Claerbout confronts the viewers with two projections they cannot see simultaneously. The first shows the interior of a car; two men seen from behind stare out of the window as rain drums on the windscreen. The second shows the car from the outside, standing all by itself in the middle of an unspecified landscape. The viewers visit the two rooms one after the other, so that the period of time between viewing the two screens reflects the time represented in the film. This allows viewers to leave the traditional perspective of the moviegoer behind and step inside the film. The illusionary movie space thus merges with real space, an effect that is subtly enhanced by the use of two audio channels, which unsettles the viewers, making them feel uncertain as to where exactly they are positioned. Claerbout throws a questioning light on the moving images of the film medium from the perspective of photography and by exploiting the editing options available to him. Screen 2 does not display an actual film, but a montage of digital photographs.

 

In accordance with the collection’s focus, filmic works were given prominence in the exhibition. At the same time, works like those of the described ones like Mark Manders or Andro Wekua, Simon Denny, Jon Kessler, Zilvinas Kempinas or Wolfgang Tillmans defy the strict definition of the medium and thus testify to the “contagious power” of the complex issues they explore.

ARTIST LIST

Francis Alÿs, Charles Atlas, Salvatore Bevilacqua, Johanna Billing, David Claerbout, Jane Crawford, Keren Cytter, Simon Denny, Olafur Eliasson, Robert Fiore, Cyprien Gaillard, Andreas Gursky, Nancy Holt, DAS INSTITUT, Zilvinas Kempinas, Jon Kessler, Mark Manders, Gordon Matta-Clark, Jessica Mein, Adrian Paci, Oliver Payne, Davide Pepe, Rob Pruitt, Nick Relph, Robin Rhode, Christoph Schlingensief, Jeremy Shaw, Robert Smithson, Wolfgang Tillmans, Clemens von Wedemeyer, Andro Wekua, Christoph Westermeier, Tobias Zielony

EXHIBITION CATALOGUE

Edited by JULIA STOSCHEK FOUNDATION e.V., foreword by Julia Stoschek. Essay by Mark von Schlegell. Texts by Renate Buschmann, Philipp Fürnkäs, Kathrin Jentjens, Monika Lahrkamp, Marlen Lienkamp, Anna-Alexandra Nadig, Anke Volkmer, Julia Wirxel.

 

Languages: German/English. 2012. c. 224 pages. c. 74 colour pictures.
Size: 21 x 27 cm. hardcover.
Will be published by Hatje Cantz Verlag, Ostfildern, on 16 May 2012.
ISBN 978-3-7757-3308-3
Museum edition: €35
Bookshop edition: €39,80

 

This extensive publication documents new works acquired for the JULIA STOSCHEK COLLECTION in recent years as well as site-specific interventions in its exhibition space. Rather than a thematic concept, the forty-four works by thirty-five artists follow various content-related threads that reflect topical themes of contemporary art. The title, CITIES OF GOLD AND MIRRORS, not only refers to the film by Cyprien Gaillard, but is also a metaphor for a confrontation with sociopolitical questions concerning urban development and urbanism, along with the relationship between human beings and architecture as well as their personal desires and vanities. Featuring works by Francis Alÿs, Olafur Eliasson, Cyprien Gaillard, Andreas Gursky, Nancy Holt, Mark Manders, Gordon Matta-Clark, Robin Rhode, Christoph Schlingensief, Wolfgang Tillmans, Andro Wekua, Christoph Westermeier, Tobias Zielony, and many others. Order now

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NUMBER FOUR:
DEREK JARMAN
SUPER8

11 SEPTEMBER 2010 – 26 FEBRUARY 2011

The JULIA STOSCHEK FOUNDATION e.V., in collaboration with James Mackay, and as part of the Quadriennale 2010 in Duesseldorf, presented the first comprehensive retrospective of the experimental film works of Derek Jarman from his Super8 archives. It represented the first solo exhibition of an artist in the JULIA STOSCHEK COLLECTION.

 

The British painter, film maker, set designer and writer Derek Jarman (1942–1994) is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the 1980s and early 1990s. Less well-known, but vital to his oeuvre, are the over 60 Super8 films that Jarman filmed from 1970 until his death in 1994. Taken from the subjective-personal perspective of his hand-held camera, the scenic arrangements mediate Jarman’s artistic approach in which life and art constantly connect with one another as a matter of course. The often autobiographical film documents, which he himself called a “cinema of small gestures”, are defined by spontaneity and lightness on the one hand and symbolism and mythology on the other.

 

The 24 digitalised films from the Super8 archive, complemented by a 16mm sound film and the BlueRay version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema. To begin with the first floor contains 12 films covering the social and (sub)cultural world of Jarman and his circle of friends. The overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works. Two sound films, presented individually, break this sequence: in the first space TG: Psychic Rally in Heaven (1980), an early music-video experiment, originally recorded on Super8 for the British industrial-music group Throbbing Gristle, and in front of the second space, Imagining October (1984), which will be shown – not least because of its references to Sergei Eisenstein and Soviet film – in its original format, as a 16mm sound film.

 

On the second floor 11 films from the group of works covering rituals, mythology and landscape were on display. The works were deliberately presented in the completely open space surrounding the centrally placed, boxed projection of Art of Mirrors I-III (1973). Between them, the various works from 1971 to 1978 generate panoramically stylistic and content-based references.

 

The exhibition finally leads to the cinema room in the Basement, where Derek Jarman’s last elegiac feature film Blue (1993) was presented.

 

Simon Fisher Turner, who was responsible for the soundtracks of many of Jarman’s feature films from the 1980s onwards, has developed a special sound concept with atmospheric and space-specific soundscapes for the exhibition.

 

 

 

PUBLIC PROGRAM

 

On 12/08/2010 the art and film scholar Elke Kania gave a lecture on „Derek Jarman’s Caravaggio or Film as Alchemy“ in which she highlighted the „encounter“ between the two „revolutionaries“ Derek Jarman and Caravaggio.

 

Following the lecture, the movie Caravaggio was presented by Derek Jarman.

ARTIST LIST

Derek Jarman

EXHIBITION CATALOGUE

Edited by JULIA STOSCHEK FOUNDATION e.V.

Foreword by Julia Stoschek and Philipp Fürnkäs. Text by Jon Savage. Interview with Derek Jarman by Simon Field/Michael O’Pray.

Languages: German/English. 2010. 124 pages. 74 colour pictures. Size: 16,4 x 21 cm. Hardback. Published by Verlag der Buchhandlung Walther König, Cologne

ISBN 978-3-86560-875-8

Sold out!

 

British painter, filmmaker and author Derek Jarman (1942-1994) is widely known for his groundbreaking and hugely influential feature films and music videos. However, the Super8 films he made in the 1970s and 80s, although less well known, occupy an equally significant place in his oeuvre. Filmed from the subjective perspective of his hand-held camera, the scenic arrangements convey Jarman’s artistic attitude, in which life and art are merged as if it were a matter of course. Jarman himself described these heavily autobiographical film documents, which are characterised by spontaneity and ease on the one hand and symbolism and mythology on the other, as a “cinema of small gestures.” Stills from Derek Jarman’s Super8 films were published for the first time in this catalog.

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NUMBER THREE:
HERE AND NOW

27 OCTOBER 2009 – 29 JULY 2010

From October 2009 to the end of July 2010, the JULIA STOSCHEK COLLECTION was dedicated to the subject of performance art.

 

Organised by MoMA/P.S.1., the PERFORMA in New York and the JULIA STOSCHEK COLLECTION, the exhibition 100 YEARS (VERSION #1, DUESSELDORF) will be accompanied by a series of live performances on the second floor of the gallery.

 

While the exhibition 100 YEARS (VERSION #1, DUESSELDORF) presents a retrospective of the last century in action and performance art, the event series NUMBER THREE: HERE AND NOW, is all about the live experience of the moment.

 

HERE AND NOW is about the sense of immediacy and the direct presence of the artist and focuses on the fleeting moment, the “here and now” that can never be adequately recaptured or repeated.

 

The JULIA STOSCHEK COLLECTION has invited 28 contemporary performance artists to contribute to the 10-month programme: dancers, choreographers, visual artists and musicians will be performing their pieces in solo or group shows. Some of the works have been developed especially for the programme.

 

 

 

PERFORMANCE PROGRAM

 

 

27 October 2009, Andrea Fraser

 

27 November 2009, Marina Abramović, Eunhye Hwang, Ragnar Kjartansson, Nico Vascellari

 

28 November 2009, WW in concert

 

12 December 2009, Andrea Zittel

 

18 December 2009, Dara Friedman

 

9 January 2010, Xavier Le Roy

 

22 January 2010, Bert Didillon, Stefan Ettlinger, Andreas Korte, Cornelius Quabeck, Sven Vieweg

 

6 February 2010, Christian Jankowski

 

27 February 2010, Jérôme Bel, Eva Meyer-Keller

 

13 March 2010, Sharon Hayes

 

26 March 2010, Keren Cytter, Michalis Nicolaides, Annette Sonnewend & Michael Strasser (Cie. Agar Agar)

 

9 April 2010, Jimmy Robert, Saskia de Keyser, Emma Hedditch, Ian White

 

24 April 2010, Jen DeNike

 

14 May 2010, Manuel Graf

 

28 May 2010, Joan Jonas

 

5 June 2010, Tino Sehgal

 

12 June 2010, Tino Sehgal

 

18 June 2010, Tris Vonna-Michell

 

19 June 2010, Tino Sehgal

 

26 June 2010, Tino Sehgal

 

3 July 2010, Allora & Calzadilla

 

10 July 2010, Allora & Calzadilla

 

16 July 2010, Simon Fujiwara

 

17 July 2010, Allora & Calzadilla

 

24 July 2010, Allora & Calzadilla

 

29 July 2010, John Bock

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100 YEARS
(VERSION #1, DUESSELDORF)

10 OCTOBER 2009 – 29 JULY 2010

Starting in October 2009 the JULIA STOSCHEK COLLECTION presented its first-ever exhibition in collaboration with P.S.1 Contemporary Art Center (New York) and Performa, the international performance biennial (New York). The exhibition documents the past hundred years of performance art.

 

After beginning in Duesseldorf, the exhibition moved to New York’s MoMA/ P.S.1 in November 2009 and then to other institutions around the world. Conceived as a research project that would provide an overview of the most significant movements, events and performances of the past hundred years, the exhibition will take place within the context of this year’s Performa 09 and will honour the one hundredth anniversary of the Futurist Manifesto.

 

The content and number of exhibits will vary depending on the specific location. The exhibition will also establish connections to the local performance scene in each city.

 

The project is organised by P.S.1 Contemporary Art Center, an affiliate of MoMA – The Museum of Modern Art, New York and Performa 09, New York. Curator of this project is Klaus Biesenbach, Chief Curator of MoMA’s Department of Media and Performance and Chief Curiatorial Advisor at P.S.1 with RoseLee Goldberg, acclaimed Performa director and curator. Financial support for the research project comes from the JULIA STOSCHEK FOUNDATION e.V. (Duesseldorf).

ARTIST LIST

Lida Abdul, Allora & Calzadilla, Francis Alÿs, Laurie Anderson, Matthew Barney, Vanessa Beecroft, Jérôme Bel, Joseph Beuys, John Bock, Trisha Brown, James Lee Byars, Patty Chang, Christo und Jeanne-Claude, René Clair, Der Plan, Cheryl Donegan, VALIE EXPORT, Öyvind Fahlström, Simone Forti, Regina José Galindo, Dan Graham, Martha Graham, Anna Halprin, Sharon Hayes, Antony Hegarty, hobbypopMUSEUM, Rebecca Horn, Tehching Hsieh, Zhang Huan, Jamie Isenstein, Christian Jankowski, Joan Jonas, Martin Kippenberger, Yves Klein, Kraftwerk, Yayoi Kusama, Sigalit Landau, Klara Lidén, Gordon Matta-Clark, Ursula Mayer, Ana Mendieta, Klaus Mettig, Meyerhold, Laurel Nakadate, Roman Ondák, Yoko Ono, Philippe Parreno, Adrian Piper, Yvonne Rainer, Robin Rhode, Martha Rosler, Oskar Schlemmer, Christoph Schlingensief, Gerry Schum, Katharina Sieverding, Santiago Sierra, Smith/Stewart, Carolee Schneemann, Tony Tasset, Rirkrit Tiravanija, Ryan Trecartin, Günther Uecker, Ulay & Marina Abramović, Francesco Vezzoli, Guido van der Werve, Mary Wigman, Aaron Young, Andrea Zittel

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OUT OF SPACE 1:
CAO FEI
WHOSE UTOPIA

25 APRIL 2009 – 27 JUNE 2009

The JULIA STOSCHEK COLLECTION is proud to present a new series of exhibition projects entitled OUT OF SPACE. These projects will take place at irregular intervals and, as the name suggests, will not be staged at the collection’s home at Schanzenstrasse 54. The first exhibition in the series puts the spotlight on Beijing-based multimedia artist Cao Fei and will open on 24 April 2009 as part of this year’s Art Cologne – the 43rd international art market – in Duesseldorf’s Gloriahalle at Belsenstrasse 20.

 

Cao Fei is one of the most important Chinese artists of her generation. Born in Guangzhou in 1978, she grew up in a world of advertising and electronic entertainment. Fascinated by the vibrant nature of consumer society, she developed an idiosyncratic visual language that playfully, ironically and humorously juxtaposes how we imagine, desire, criticise and enjoy reality, thus blurring the boundaries between reality and fantasy. In her diverse work, which ranges from photo series, films, performances and installations to prose and plays, Cao Fei seeks above all to investigate the rapid social and cultural changes revolutionising China as well as the new generation of Chinese teenagers.

 

 

WHOSE UTOPIA (2006)

 

The exhibition’s main feature, the extensive installation Whose Utopia, fathoms the lives of migrant workers in the Pearl River Delta in southern China. Produced as part of the Siemens Art Program, Cao Fei’s project entitled “What are you doing here?” actively involved employees at the Osram lightbulb factory in Foshan in the project’s realisation. Workers were interviewed individually about their secret dreams, career ambitions, goals and personal beliefs.

 

My Future is Not a Dream is set within the context of the factory and the “Osram” brand. Here Cao Fei exposes the underbelly of globalisation, which is changing both the Pearl River Delta and China as a whole, and investigates the implications for individuals and their role in society. In the interviews for “What are you doing here?” the employees also talk about the negative aspects of their lives as migrant workers. Additional to the video the photographs show their cramped, shabby apartments where there is almost no personal space as each worker is only allocated a space in a multi-tiered bunk bed.

 

 

I. MIRROR BY CHINA TRACEY (AKA: CAO FEI) (2007)

 

In her works I. Mirror and RMB City, Cao Fei explores the online phenomenon Second Life (www.secondlife.com).

 

Over 15 million users have signed up for this 3-D internet-based world since 2003 and each user has an avatar, a computer-animated digital alter ego that they can style and control, enabling them to visit existing environments in Second Life, talk with other users, earn virtual money and even start up a virtual business.

 

Represented by her avatar, which she named “China Tracy,” Cao Fei spent one year in Second Life researching all the possibilities offered by the role-playing game. She documented her adventures in Second Life by creating machinima films – animation films which convert the online game’s 3-D graphics into digital video animations.

 

I. Mirror is divided into three parts that portray both the beauty and excess of this virtual world. It traces the love story that develops between avatars “China Tracy” and “Hug Yue.” Despite the unlimited possibilities offered by Second Life, there is an air of loneliness and all-pervasive yearning about the video piece, due largely to the melancholy background music. The fantasy world ultimately seems a cold and lonely place.

 

The I. Mirror project came to an end in 2007 when the video trilogy was presented at the 52nd Venice Biennale in the Chinese pavilion.

 

 

RMB CITY (2007)

 

Whereas her first project was an investigative study of Second Life, Cao Fei’s second Second Life project involves the creation of RMB City – a beautiful, dreamlike metropolis within the virtual world.

 

RMB City (RMB is the abbreviation for the Chinese currency Renminbi) reflects the current wave of urbanisation sweeping China as well as the rapid social and cultural changes taking place there. RMB City’s architecture comprises a variety of communist, capitalist and socialist symbols, which are brought to mind using historical and contemporary Chinese icons as well as exponents of Chinese culture. China’s national symbol, the panda bear, appears alongside the new national stadium in Beijing as well as ironic and subversive objects like a sunken statue from Mao. The virtual construction of the city was completed in late 2008 and the buildings in RMB City (www.rmbcity.com) can be bought and occupied by cultural institutions for two years.

 

 

HIP HOP GUANGZHOU (2003)

 

Cao Fei’s earlier hip-hop project, on the other hand, does not focus solely on China. The project was mostly set in Chinese cities, but also included Berlin and New York City. In each city she transformed people from different national, social and cultural backgrounds into hip-hop dancers in an attempt to break down the rigid barriers between the media-dominated world of the younger generation and the everyday lives of the older generation. In Hip Hop Guangzhou Cao Fei plays hip-hop tracks to grocers and builders and introduces them to the basic dance steps, which are in fact reminiscent of the traditional formation dances performed by Chinese workforces.

ARTIST LIST

Cao Fei

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NUMBER TWO:
FRAGILE

11 OCTOBER 2008 – 1 AUGUST 2009

The second exhibition of works from the JULIA STOSCHEK COLLECTION bears the title NUMBER TWO: FRAGILE.

The exhibition focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the 1960s and 1970s, in particular within the genres of Body Art and Performance.

 

The 54 works in the show were selected to shed light on the themes of self-dramatisation, pain, transformation, physicality in the sense of a plasticity that can be experienced as a real, external phenomenon, and also fragility in a literal way. Although the exhibition is unified by these overarching themes, it also allows viewers to discern the positions of the individual artists, since most of them are represented by several pieces.

 

Artistic self-dramatisation is perhaps the show’s most prominent theme. Thus Art-Make-Up No. 1-4 (White, Pink, Green, Black), documents a performance by Bruce Nauman in 1967-68 in which the artist’s body seems to be transformed into a sculpture.

 

The videos, which were originally shot on 16mm film are showing Nauman’s torso in full frontal position and was then overlaid with four different colours (white, pink, green and black) in a painstaking process.

 

Technological advances in film and video and the development of closed-circuit installations in the 1960s made it possible for artists to record their actions on film, to observe themselves in a mirror at the same time and even transfer the recordings in another room. Several other artists featured in the exhibition, such as Vito Acconci and Hannah Wilke, took advantage of the possibilities offered by this technology to expand the concept of sculpture.

 

Thus in one of her best-known performances, Hannah Wilke Through the Large Glass, the artist performs a striptease behind Marcel Duchamps’ Large Glass in the Philadelphia Museum of Art. In posing for the camera like a 1970s model, she exposes the stereotypical role of women in the art world of that day.

 

Women’s presentation of themselves as artists and simultaneously as art objects is also a central theme in Katharina Sieverding’s series of large-scale photographs from 1973, Die Sonne um Mitternacht schauen, and in Marina Abramović’s performance The Onion from the year 1996, in which she also suggests the experience of pain and explores the limits of her own physical endurance.

 

Painful and shocking in equal measure are the performances by Chris Burden, which document self-imposed ordeals verging on martyrdom in the cause of art. In his legendary work Shoot from 1971, Burden has someone shoot him in the arm; in Through the Night Softly (1973) the naked artist writhes his way out of a pile of broken glass with his arms tied.

 

A very special work featured in NUMBER TWO: FRAGILE is The Killing Machine by Janet Cardiff and Georges Bures Miller, completed in 2007. Inspired by Franz Kafka’s short story In the Penal Colony, the installation makes a statement on capital punishment that is at once critical and absurd. It is not film that takes centre stage here, as in the duo’s earlier works, but rather a torture instrument reminiscent of an electric chair. Displayed in a self-contained room and accompanied by screeching violins, the work turns viewers into spectators of a horror scenario.

 

In Happiness (finally) after 35,000 Years of Civilization (after Henry Darger and Charles Fourier), an animated digital video installation in wide-screen format, Paul Chan takes up the thread of his ongoing radical confrontation with politics and society. In his apocalyptic vision, a seemingly naive concept of paradise mutates into a horror scenario in a video-game aesthetic derived from the imagery of cult artist Henry Darger.

 

Terence Koh’s installation Snow White was created specifically for NUMBER TWO: FRAGILE and is one of its highlights. The work’s main feature is a cube of neon tubes suspended from the ceiling; their bright glare makes entering the room virtually unbearable. A glass coffin, porcelain chrysanthemums and a live performance recorded in the same room complete the opera-inspired, fairytale-like scenario.

 

Cheese (2007) and Dough (2006) by Mika Rottenberg are being shown together for the first time. Viewers can see Rottenberg’s most recent work Cheese in a rough-hewn, walk-in “goat shed”. The main protagonists are six sisters with long, Rapunzel-like tresses who have magic powers and can make cheese with their hair. Much like Dough, Cheese deals with global themes such as the economy and working life in the post-industrial age. Using poetic imagery, Rottenberg repeats the production processes ad absurdum, incorporating the female body as a dynamic part of these processes and transporting viewers into a world that is at once comfortably familiar and bizarre.

ARTIST LIST

Marina Abramović, Vito Acconci, Peggy Ahwesh, Walead Beshty, Encyclopedia Pictura & Björk, John Bock, Chris Burden, Janet Cardiff, George Bures Miller, Paul Chan, Patty Chang, Jen DeNike, Nathalie Djurberg, Cheryl Donegan, Encyclopedia Pictura & Björk, Kate Gilmore, Cao Guimarães, Terence Koh, Alex McQuilkin, Nandipha Mntambo, Lutz Mommartz, Bruce Nauman, Rob Pruitt, Adam Putnam, Pipilotti Rist, Torbjørn Rødland, Mika Rottenberg, Katharina Sieverding, Rosemarie Trockel, Hannah Wilke, Aaron Young

EXHIBITION CATALOGUE

Edited by JULIA STOSCHEK FOUNDATION e.V.

Texts by Elisabeth Bronfen, Jenny Dirksen, Philipp Fürnkäs, Elke Kania, Monika Lahrkamp, Bettina Malcomess, Emmanuel Mir, Rodrigo Moura, Anna-Alexandra Nadig, Angela Rosenberg, Andreas Schlaegel, Beate Söntgen, Anke Volkmer.

 

Languages: German/English. 2009. 432 pages. 333 colour pictures. Size: 21,70 x 27,70 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern

German edition: ISBN 978-3-7757-2380-0

English edition: ISBN 978-3-7757-2379-4

Museum edition: €35

Bookshop edition: €68

 

This volume NUMBER TWO: FRAGILE documents the second exhibition of the Julia Stoschek Collection (11 October 2008 – 1 August 2009). It focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the 1960s and 1970s, in particular within the genres of Body Art and Performance. The book and the exhibition shed light on the themes of self-dramatisation, pain, transformation and physicality in the sense of a plasticity that can be experienced as a real, external phenomenon.

 

The book features over 50 selected artworks from Julia Stoschek’s private collection by 30 internationally renowned artists including Marina Abramović, Vito Acconci, Chris Burden, Janet Cardiff and Georges Bures Miller, Terence Koh, Bruce Nauman, Pipilotti Rist, Katharina Sieverding and Rosemarie Trockel. It also features an article contributed by respected art scholar Elisabeth Bronfen. The volume thus constitutes an informative work on a theme central to the art of the past 50 years. Order now

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NUMBER ONE:
DESTROY, SHE SAID

18 JUNE 2007 – 2 AUGUST 2008

The JULIA STOSCHEK COLLECTION is a private collection of contemporary art focused on media and video art, installations and photography.

 

The collection has found a new home in the former production facilities of the Conzen frame factory. The building, which celebrates its centenary this year, was redeveloped from top to toe by the architectural firm Kuehn Malvezzi to meet the particular requirements of the collection.

 

„The redistribution of space has created an entirely new building within the old shell: the higher roof and addition of skylights and a roof terrace combine to make a very clear statement. This more vertical organization supports the building’s new function as a live-in art warehouse and exhibition space. A large opening connects the two main exhibition rooms and a delicate stairway leads up to the spacious attic floor and roof deck, 23 metres above the ground. The way up and down is the key to the whole design – a building that is less an object to look at than a path to follow. It leads through dark and light spaces, from the little cinema on the ground floor, on through two different exhibition storeys and up to the top floor with its 12-metre ceiling.“ (Wilfried Kuehn, Kuehn Malvezzi)

 

Its new home provides the JULIA STOSCHEK COLLECTION with two exhibition floors open to the public. For the opening exhibition, entitled NUMBER ONE: DESTROY, SHE SAID, Julia Stoschek has assembled approximately 40 creative statements from international artists on the subjects of construction/deconstruction and interior/exterior.Some may recognise the title DESTROY, SHE SAID from the novel of the same name by Marguerite Duras (“Destruire, dit elle“). However, the exhibition’s title actually owes more to the two-channel video installation Destroy She Said by Monica Bonvicini from 1998, which examines the role of women in auteur films of the 1950s to 1970s in a compilation of selected excerpts. It is remarkable to see how, even at the very zenith of the feminist movement, women were still being stereotyped as helpless creatures.

 

The pieces on show centre on extreme spatial, psychological and interpersonal situations. The two exhibition floors are also subdivided according to different questions and themes, both to highlight individual aspects of the works and open up the exhibition as a whole to explore further issues.

 

An exhibition entitled DESTROY, SHE SAID is, of course, immediately associated with the theme of destruction, and indeed, this is an aspect reflected in much of the art shown. Examples of works that centre on the destruction of interiors and structures are Shades of Destructors by Mark Leckey and Hammering Out (an old argument) by Monica Bonvicini. In the piece “Burn“ by artist duo Reynold Reynolds & Patrick Jolley, the cosy hearth at home is the destructive element, creating an atmosphere that is at once frightening and absurd.

 

By contrast, Paul Pfeiffer’s Empire focused on the subject of construction and the efficiency of hierarchical organisations wasps by documenting the laborious three-month process of wasps painstakingly building their nests.

 

Tony Oursler’s three-channel installation near the entrance presented a dialogue between urban indoor and outdoor spaces so complex that conventional designations and rules of what is „inside“ and what „outside“ are completely thrown off balance.

 

There is something profoundly unsettling and disturbing surrounding the act of destruction in the pieces by Robert Boyd and Adam McEwen. In the four-channel video installation Xanadu, Boyd focused on the self-destructive impulses that characterise our society by condensing different elements of mass culture like news bites, documentaries, comics and pop music videos into a sequence of split-second images. The brutal and random interfaces reflect the media world we live in, where the boundaries between entertainment, information and horror have been virtually erased. McEwen’s A-Line then proceeds to literally turn the world upside down by showing us the corpses of Benito Mussolini and Clara Petacci strung up outside a Milan petrol station for all the world to see.

 

The central work on the second floor was Doug Aitken’s 3-channel installation Interiors. The seemingly incongruous stories of different people, which move the protagonists through various interiors and urban landscapes, are projected onto three translucent screens. The works of Anthony Burdin heighten this feeling of disorientation; the protagonist in his Desert Mix leads spectators through a series of bizarre places.

 

Spatial demarcations and marginalisation are another central theme of the show, exemplified in Thomas Demand’s Fence and Taryn Simon’s Calvin Washington. The work is from Simon’s The Innocents, a series of photographs taken in 2002 of innocent people condemned to death at the scenes of their alleged crimes.

 

A number of works in the show are dedicated to the theme Circular Moves: Marina Abramović’s “Relation in Movement“, “High Performance“ by Aaron Young, and Anthony McCall’s Line Describing a Cone. McCall uses a 16mm film projector to direct light at a black surface; with the help of a smoke machine, the beam gradually becomes visible as a perfect cone of light. The space and the projection itself become a kind of sculpture that breaks down the traditional relationship between cinema viewers and the film projector.

ARTIST LIST

Doug Aitken, Francis Alÿs, Heike Baranowsky, Dara Birnbaum, Monica Bonvicini, Robert Boyd, Lonnie van Brummelen, Anthony Burdin, Jeff Burton, Paul Chan, Thomas Demand, Olafur Eliasson, Dara Friedman, Kate Gilmore, Douglas Gordon, Manuel Graf, Dan Graham, Jeppe Hein, Christian Jankowski, Joan Jonas, Mark Leckey, Klara Lidén, Gordon Matta-Clark, Anthony McCall, Adam McEwen, Bruce Nauman, Tony Oursler, Paul Pfeiffer, Reynold Reynolds & Patrick Jolley, Pipilotti Rist, Thiago Rocha Pitta, Natascha Sadr Haghighian, Taryn Simon, Robert Smithson, Mathilde ter Heijne, Kon Trubkovich, Ulay & Marina Abramović, Bill Viola, Clemens von Wedemeyer, Aaron Young

EXHIBITION CATALOGUE

Edited by JULIA STOSCHEK FOUNDATION e.V.

Foreword by Julia Stoschek. Texts by Klaus Biesenbach, Daniel Birnbaum, Jenny Dirksen, Philipp Fürnkäs, Kaye Geipel, Ulrike Groos, Syelle Haase, Elke Kania, Monika Lahrkamp, Emmanuel Mir, Susanne Pfeffer, Cay Sophie Rabinowitz, Angela Rosenberg, Eva Scharrer, Andreas Schlaegel, Valeska Schneider, Anke Volkmer.

 

Languages: German/English. 2008. 316 pages. 318 colour pictures. Size: 21,80 x 27,50 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern

German edition: ISBN 978-3-7757-2230-8

English edition: ISBN 978-3-7757-2231-5

Museum edition: €35. Bookshop edition: €49,80

 

The JULIA STOSCHEK COLLECTION’s first exhibition NUMBER ONE: DESTROY, SHE SAID, opened on 18 June, 2007 in Duesseldorf, attracted great attention in the media. One of the event’s highlights was the space itself, which was crafted by Berlin architects Kuehn Malvezzi to individually spotlight the works of the 40 exhibiting artists. The spatial design is a testament to how an exhibition’s setting can greatly enhance the way contemporary, multimedia art is shown. The volume documents the exhibition and its extraordinary backdrop. It turns to images and text to present the works of artists such as Doug Aitken, Paul Chan, Robert Smithson, Monica Bonvicini, Natasha Sadr Hagidhian, Dara Birnbaum, Klara Liden and Olafur Eliasson and places them within the greater context of Stoschek’s exquisite, private art collection.

 

Daniel Birnbaum’s essay on contemporary, time-based art and prominent aspects of selected works from the JULIA STOSCHEK COLLECTION and Kaye Geipel’s article on the history and architecture of the century-old industrial site of the exhibition bring the book full circle. Order now

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HORIZONTAL VERTIGO
JSC DÜSSELDORF / BERLIN

31 MARCH 2019 – 26 APRIL 2020

For the first time in its history, the JULIA STOSCHEK COLLECTION will present an ensemble of solo exhibitions, performances, and screenings of works not included the collection. Over the course of a year, six exhibitions—three in Düsseldorf and three in Berlin—will open successively, beginning in March 2019 and running until April 2020. They will be accompanied by screening and performance programs, artist talks, lectures, and readings at both locations. Most of the artists featured in HORIZONTAL VERTIGO will show their work for the first time in Germany.

 

HORIZONTAL VERTIGO will feature commissions and new productions as well as existing works by a group of international artists whose interdisciplinary time-based practices share focused perspectives infused with feminist, queer, and decolonial critique, in resistance to restrictive concepts of identity, history, and representation. Each project deals with a specific context driven by the artist and what the artwork affords, creating a web of associations and stories over time that is both fluid and multivalent.

 

The curatorial framework for this year of programming is inspired by the writing of artist, writer, and filmmaker Trinh T. Minh-ha. The title is quoted from “Cotton and Iron” (1991), an essay in which Minh-Ha foregrounds plurality and “non-totalness,” challenging systems of binary opposition and definitive categorizations. Echoing this commitment, HORIZONTAL VERTIGO does not propose one overarching theme but thrives on the multiplicity of narratives and narrators at hand, exploring the inherent plurality of the entire program without prescribing a “right” way of reading it. HORIZONTAL VERTIGO ‘speaks to’ and not ‘about’ the participating artists, to quote Minh-ha, embracing dialogue instead of representation.

 

Curated by Lisa Long

 

 

SCREENINGS

 

The accompanying screening series at JSC Düsseldorf will feature artists or artist duos for a duration of six weeks. At JSC Berlin there will be a number of one-time screening events. Participating artists include: Morehshin Allahyari, Dorota Gawęda and Eglė Kulbokaitė, Sky Hopinka, Chelsea Knight, Trinh T. Minh-ha, Arjuna Neuman & Denise Ferreira da Silva, Martine Syms, Eduardo Williams, and Anna Zett.

 

 

PERFORMANCE PROGRAM AT JSC BERLIN

 

Colin Self: SIBLINGS
31 May & 1 June 2019

 

Throughout the year, composer and choreographer Colin Self will present multiple performances related to his recently released album SIBLINGS.  Self’s program weaves music and dance performances, dialogue, workshops, and game formats together to tell stories of non-anthropocentric interdependence; stories that draw into the plurality and multiplicity of our common terra conundrum of survival. The artist’s interdisciplinary and collaborative practice aspires to expand consciousness, troubling binaries and boundaries of perception and communication.

ARTIST LIST

Sophia Al-Maria, Morehshin Allahyari, Meriem Bennani, Pauline Boudry / Renate Lorenz, A.K. Burns, Dorota Gawęda und Eglė Kulbokaitė, Sky Hopinka, Rindon Johnson, Chelsea Knight, Trinh T. Minh-ha, Arjuna Neuman & Denise Ferreira da Silva, Colin Self, Martine Syms, WangShui, Eduardo Williams, Anna Zett

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HORIZONTAL VERTIGO:
WANGSHUI

12 SEPTEMBER 2019 – 15 DECEMBER 2019

For their first solo presentation in Europe, WangShui will exhibit three moving-image installations produced between 2016 and 2019 that explore intimate modes of transformation. Restaging architecture, live subjects, and everyday detritus, WangShui’s diaristic works activate the hallucinatory spaces between image and object, body and screen, diaspora and descent.

 

In the live video installation Gardens of Perfect Exposure (2016–18), a tiered architecture made of bath fixtures serves as a spa-like habitat for dozens of pupating silkworms. Over the course of the exhibition, the silkworms undergo a slow material metamorphosis, feeding, defecating, and spinning silk cocoons (inside which they resurface their bodies). This transformation is captured by three cameras and livestreamed on the gallery walls. The live video feedback loop creates a disorienting shift between the material presence of the work and its mediated image.

 

In the film From Its Mouth Came a River of High-End Residential Appliances (2017–19), long establishing drone shots slowly approach gaping holes in skyscrapers along the South China Sea. Called “dragon gates,” they are said to be designed as passages for dragons to fly from the mountains to the sea, sustaining the proper flow of energy between the natural and built environments. Locating these dragon gates as portals for formal and ideological therianthropy (shapeshifting) in the film, the narrator embarks on a sprawling sociopolitical critique of gender, cinema, and Western thought.

 

The exhibition will also premiere a new three-channel moving-image work commissioned by the JULIA STOSCHEK COLLECTION. Presented as the final installment in this body of work, this piece is both a place of arrival and a site of disappearance, a presence and an absence. Consisting of woven fragments of translucent LED screens used for skyline advertisements, the work is installed in a way that the ideal viewing distance lies inches beyond the gallery walls, situating the onscreen images at the edge of perception. As one approaches, both image and object begin to dematerialize, entrapping the viewer in a state between cathexis and abstraction.

 

WANGSHUI is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

ARTIST LIST

WangShui

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ACUTE ART AT JULIA STOSCHEK COLLECTION
BJARNE MELGAARD / KOO JEONG A

12 OCTOBER 2019 – 15 DECEMBER 2019

OPENING

11 October 2019, 7:00–10.00 p.m.

 

ARTIST TALK
An artist talk with Daniel Birnbaum, Julia Stoschek und Bjarne Melgaard will take place on October 11, 2019 at 6:00 p.m. at JSC Berlin.

 

 

JULIA STOSCHEK COLLECTION and Acute Art are delighted to present a new VR work by Norwegian artist Bjarne Melgaard alongside augmented reality artwork by Koo Jeong A, as part of their long-term collaboration.

 

Bjarne Melgaard’s new virtual reality artwork, My Trip (2019) takes the viewer on a journey to the farthest reaches of the dark web. Melgaard compares the experience to taking Dimethyltryptamine (DMT), a naturally occurring drug, which is produced by a gland in the brain. DMT is considered the strongest hallucinogenic chemical substance and is found in almost every living organism on earth.

 

Melgaard’s work is influenced by authors Stig Sæterbakken, David Benatar and Paul Ehrlich; The Sofa: A Moral Tale, a 1742 libertine novel by Claude Prosper Jolyot de Crébillon; and, Black Metal band, Darkthrone. Featuring characters that have recurred in the artist’s practice for over 25 years, including Lightbulb Man and Octo, in addition to new mutants and personalities created in collaboration with Acute Art,My Tripis a strikingly stimulating visualization of the illusions of a DMT experience.

 

Beginning with the idea of suicide as an existential question, new psychedelia, and the loss of the self within a DMT trip, this work asks questions regarding life and how we choose to live it whilst introducing Melgaard’s perspective on Anti-Natalism and over-population. The artist is raising the contradictory view that if we are to continue to exist, humans will have to cease to procreate, as a result of the carbon impact of producing new human life.
My Trip also explores the abyss of the technological underground, the endless information consumed every day and the feeling of apathy and dullness that this technology consequently produces.

 

Coinciding with this premiere, the project density (2019) by Korean artist Koo Jeong Awill materialise both at JULIA STOSCHEK COLLECTION and locations in the city of Berlin as part of an ongoing series presented internationally by Acute Art. Koo Jeong A’s AR work was previously shown at the 58th International Art Exhibition – La Biennale di Venezia and at the Beyeler Foundation during Art Basel in Basel, 2019.

 

 

BJARNE MELGAARD

 

Bjarne Melgaard is a Norwegian artist (born 1967 in Sydney, Australia), who lives and works in Oslo. Melgaard started out in the mid 1990ʼs with a neo expressionistic, frantic style of painting, sculpture and installation. Social, political and ideological issues are at the core of Bjarne Melgaard’s oeuvre. Dealing with the dark side of humanity, it often discusses, investigates and pushes the boundaries of societal acceptance. Melgaard has had more than forty-five solo exhibitions in leading galleries around the world. His work has been seen in numerous group shows and at international art fairs; he is a frequent curator and collaborator, has written more than a dozen novels, and produced seven films.

 

In 2011, Melgaard represented Norway at La Biennale di Venezia, 54th International Art Exhibition, Venice. He has twice participated in the Biennale de Lyon. In 2011, Melgaard was given a mid-career retrospective at the Astrup Fearnley Museum in Oslo. In 2014, Melgaard participated in The Whitney Biennial and in January 2015 Melgaard was the focus of the first of six important exhibitions at the Munch Museum in Oslo. MELGAARD + MUNCH The end of it allhas already happened placed Edvard Munch’s oeuvre in direct dialogue with works by Melgaard.

 

 

KOO JEONG A

 

Koo Jeong A (born 1967 in Seoul, South Korea) lives and works everywhere. Since the early 1990s, Koo Jeong A has made works that are seemingly casual and commonplace, yet at the same time remarkably precise, deliberate, and considered. Her reflections on the senses and the body incorporate objects, still and moving images, audio elements, and aromas. Many of her works are conceived within site-specific environments that question the limits of fact and fiction, the imaginary and actuality of our world. Koo considers the connection of energies between a place and people, relying on chance to drive her encounters. Jeong A was named ‘2016 Artist of the Year’ by the Korean Cultural Centre UK. Recent solo exhibitions and commissions of her work include: ajeongkoo, Art Sonje Center, Seoul (2017); Enigma of Beginnings, Yuz Project Room at Yuz Museum, Shanghai (2016); Koo Jeong A x Wheelscape: Evertro, Everton Park, Liverpool (2015) and Oussser, Fondazione La Raia, Novi Ligure (2014).

 

This year, the artist’s AR works have been exhibited by Acute Art as part of Electric at Frieze New York, in the My Art Guides Venice Meeting Point to coincide with the Venice Biennale, and will be presented in the garden of the Fondation Beyeler during Art Basel 2019.

 

ACUTE ART

 

Directed by Daniel Birnbaum, Acute Art collaborates with the world’s most compelling contemporary artists, providing access to cutting-edge technologies that allow them to translate their creative vision into new digital mediums – including virtual, augmented and mixed realities. A curatorial laboratory and research hub, Acute Art are committed to finding new ways to take digital artwork to the public, both physically, through exhibitions, and as a curated offer on the Acute Art website and free app.

 

Since 2017, they have collaborated with artists including Marina Abramović, Olafur Eliasson, Jeff Koons, Anish Kapoor, Nathalie Djurberg & Hans Berg, Christo & Jeanne-Claude and Antony Gormley, as well as other talented and award-winning artists. Available through their website and app, the works can also be downloaded via the App Store or Google Play, as well as Steam and HTC Viveport.

 

www.acuteart.com

ARTIST LIST

Bjarne Melgaard, Koo Jeong A

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STAN DOUGLAS
SPLICING BLOCK

2 NOVEMBER 2019 – 1 MARCH 2020

OPENING

30 October 2019, 7:00 p.m.

 

ARTIST TALK

1 November 2019, 6:00 p.m.

 

 

The JULIA STOSCHEK COLLECTION is pleased to present an exhibition of works by the renowned Canadian artist Stan Douglas (*1960, Vancouver) in Berlin.

 

Since the late 1980s, Stan Douglas has been creating films, photographs, and installations, as well as recently venturing into theater productions and other multidisciplinary projects, exploring the parameters of their respective mediums. The artist queries the past in his works, breaking through traditional narrative structures to blur fact and fiction.

 

The exhibition SPLICING BLOCK examines the relationship between music and society, and is at the same time a reflection on the media of film and photography. The works reconstruct and imagine the 1960s and 70s—an era distinguished by (de-)colonization and migration, but one equally permeated by jazz, underground disco, and Afrobeat.

 

On view are the early two-channel video installation Hors-champs (1992), the six-hour video Luanda-Kinshasa (2013), as well as large-format photographs from the series Disco Angola (2012). The artist shot Luanda-Kinshasa in a space modelled on the legendary New York recording studio The Church, while Hors-champs was filmed in a Parisian television studio. The photographs from the series Disco Angola stage “a costume drama in fragments” (Stan Douglas), set in post-industrial New York and post-colonial Angola, but shot in California.

 

A splicing block is a tool for the cutting and splicing, that is the joining, of both analog film and audio material. The precision of its operation is subject to the abilities of the actual cutter—once cut, the process cannot be undone. Stan Douglas is a master of such work, creating imperceptible transitions between different times and places. It is not just the attentive staging of the filming and photography, but above all the meticulous construction in the editing room, which effortlessly conveys the viewer through space and time. The title SPLICING BLOCK is therefore a metaphor for Stan Douglas’ particular working methods.

 

Stan Douglas is widely regarded as one of the most important representatives of time-based media art. His works are again being shown in a solo exhibition in Berlin for the first time since 2001.

 

Curated by Paola Malavassi, Head of JSC Berlin.

 

 

The exhibition STAN DOUGLAS / SPLICING BLOCK is part of the Culture Program accompanying Canada’s Guest of Honour presentation at the Frankfurt Book Fair 2020. We acknowledge the support of the Canada Council for the Arts and the Government of Canada represented by the Embassy of Canada, Berlin.

ARTIST LIST

Stan Douglas

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HORIZONTAL VERTIGO:
MERIEM BENNANI
PARTY ON THE CAPS

25 JANUARY 2020 – 3 MAY 2020

OPENING

24 January 2020, 7–10 p.m.

 

ARTIST TALK

with Meriem Bennani, 26 January 2020, 4 p.m.

 

 

In Meriem Bennani’s first solo exhibition in Germany, the artist will present PARTY ON THE CAPS (2018), a multi-screen moving-image installation that explores displacement and the connection of identities to the fantasy of place. Clad as a sci-fi documentary about daily life on the Caps, an island in the middle of the Atlantic where illegal migrants are detained, the work amplifies reality through magical realism and humor. Bennani’s works tell stories of fractured identities and cultural hybrids, question gender issues and the ubiquitous dominance of digital technologies to play with the boundaries of what we regard as familiar or strange, real or virtual. In PARTY ON THE CAPS, Bennani continues to employ her unique visual language, comprised of reality TV, documentary, phone footage, social media, oral history, animation, and high production aesthetics.

 

PARTY ON THE CAPS is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

ARTIST LIST

Meriem Bennani

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HORIZONTAL VERTIGO:
COLIN SELF
SUBTEXT
PERFORMANCE

31 MAY 2019 – 1 JUNE 2019

AUTONOMOUS TOGETHER, WORLDING WORLDS, THE RESEARCH SISTER, THE THINKER, WHO IS SHE, A WAVE OF OTHER WAVES, UNNAMED/UNCOUNTED, A TROUBLED ASSEMBLY, MAKING KIN, WITHOUT DOUBT, IRRESOLUTION, FOREVER IN TRANSITION

 

SUBTEXT is the first part of a new performance series by artist and composer Colin Self based on The Siblings Compendium, a collection of writings and quotes that inspired Self’s recently released album Siblings (2018). Focusing on the sedimentary layer, the research, and archive on which the album resides, SUBTEXT (2019) weaves together text, song, and movement into a sequence of ambulatory exercises, or “bets,” performed by a group.

 

The Siblings Compendium is a collective research document inspired by writers and thinkers including Ursula K. Le Guin, Donna Haraway, Every Ocean Hughes, Fred Moten, and José Esteban Muñoz, among others, acting as a binding agent between Self’s various solo and collaborative artistic experiments. In SUBTEXT, Self presents an imaginary stage beneath the opera of Siblings, having agents perform and recount the research in simultaneity, through recitation, song, and games.

 

Performers:

Lori Baldwin, Marie Gailey, Anna Fitoussi, Joey Hansom, Joshua Lerner, Alex Mara, Aaron Reeder, Maciej Sado, Harald Stojan and Melanie-Jame Wolf

 

SUBTEXT is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

ARTIST LIST

Colin Self

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HORIZONTAL VERTIGO:
PAULINE BOUDRY / RENATE LORENZ
ONGOING EXPERIMENTS WITH STRANGENESS

26 APRIL 2019 – 28 JULY 2019

ONGOING EXPERIMENTS WITH STRANGENESS is Pauline Boudry / Renate Lorenz’s most comprehensive exhibition to date. Spanning the ground floor and first-floor cinema of the collection’s Berlin gallery, the show comprises four large-scale moving-image installations, stage elements, lights, and sculptural objects.

 

In their collaborative practice, driven by ongoing conversations about the subjects of performance and performativity, companionship, and resistance, Boudry / Lorenz excavate unrepresented moments and gestures in history, challenging accepted narratives and binary categories of identity and meaning. The moving-image works featured in the exhibition—Telepathic Improvisation (2017), Silent (2016), I Want (2015), and To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation (2013)—all draw on musical scores, scripts, and speeches, adapted and interpreted by performers. Collectively, the artists and performers explore the works’ various political and sexual potentials, examining power relations among themselves and with the viewers.

 

Through their camera work, Boudry / Lorenz reflect the violent history of visualization, questioning who or what is seen and in return goes unseen or unheard. By including various stages and objects from their films in the gallery, the boundaries between the representational space of the film and the actual space of the gallery begin to dissolve. These on- and off-screen human and non-human encounters examine the limits of musical and filmic forms as protest and resistance, calling for an urgently desired future.

 

ONGOING EXPERIMENTS WITH STRANGENESS is part of HORIZONTAL VERTIGO, a year-long program at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, curated by Lisa Long.

 

 

 

PUBLIC PROGRAM

 

 

ARTIST TALK

Pauline Boudry / Renate Lorenz with Irene Revell and Lisa Long, 27 July 2019, 6:30 p.m.

ARTIST LIST

Pauline Boudry, Renate Lorenz

BOOKLET

A free booklet accompanied the exhibition, which is here as download available.

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KW PRODUCTION SERIES
BEATRICE GIBSON & JAMIE CREWE

27 SEPTEMBER 2018 – 25 NOVEMBER 2018

KW PRODUCTION SERIES is a new commissioning project, organized in collaboration with the JULIA STOSCHEK COLLECTION and OUTSET Germany_Switzerland. It is dedicated to artists’ moving image works and concentrates on two new productions per year. The project takes inspiration from KW Institute for Contemporary Art’s founding principles as a place for production, critical exchange, and thoughtful collaboration.

 

Within this ongoing series, KW seeks to identify and serve artists who are at a pivotal moment in their work and career—those who will benefit not only from the financial support and institutional visibility this opportunity provides, but also those who will be able to use KW PRODUCTION SERIES to significantly contribute towards the depth and rigor of their artistic practice.

 

KW PRODUCTION SERIES is produced by Mason Leaver-Yap, KW’s Associate Curator.

 

 

JAMIE CREWE: PASTORAL DRAMA

 

Over the course of a year, Jamie Crewe (born 1987 in Manchester, Great Britain) worked on Pastoral Drama every day. The piece comprises two parallel videos that use allegory and animation to think about progress. Through intricate drawings in ink and pencil, speckled clay, and encrusted plasticine, Crewe reflects upon the evolution of mythic narratives, (inter-) personal change, and collective political time. Pastoral Drama juxtaposes the ancient Greek legend of Eurydice and the Underworld with Agostino Agazzari’s Eumelio, a 17th- century opera composed for the male inhabitants of a Roman seminary. Eumelio’s titular male figure stands in for Eurydice, and so achieves a different fate. In its double telling, Pastoral Drama envisions the collapse of mythic pasts with the dangerous after-world of the present.

 

Pastoral Drama is a co-commission with Tramway, Glasgow (GB).

 

 

BEATRICE GIBSON:  I HOPE I’M LOUD WHEN I’M DEAD

 

Exploring ideas around gender, poetry, and disobedience, Beatrice Gibson’s (born 1978 in London, Great Britain) 16mm film, I Hope I’m Loud When I’m Dead, was developed with two of the USA’s most significant living poets—CAConrad and Eileen Myles. The filmmaker tersely distills material shot on the eve of the 45th presidential inauguration in January 2017 and blends moments of perilous public authority with more intimate scenes and tender portraits. The film uses poetry as a means to reckon with the present, and casts the figure of the poet as a guide in times of chaos. I Hope I’m Loud When I’m Dead is a co-commission with Camden Arts Centre, London, Bergen Kunsthall (NO), and Mercer Union, Toronto (CA).

 

 

KW PRODUCTION SERIES is made possible with generous support by the JULIA STOSCHEK COLLECTION  and OUTSET Germany_Switzerland.

ARTIST LIST

Beatrice Gibson, Jamie Crewe

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IAN CHENG
EMISSARIES

27 APRIL 2018 – 1 JULY 2018

The JULIA STOSCHEK COLLECTION was delighted to present the complete trilogy of the EMISSARIES (2015 – 2017) by us-american artist Ian Cheng for the first time in Germany.

 

Ian Cheng creates live simulations that explore the nature of mutation and our capacity to relate to change. Drawing on principles of video game design and cognitive science, the simulations are populated with characters programmed with behavioral drives, but left to self-evolve amidst otherworldly environmental conditions.

 

EMISSARIES is a trilogy of live simulations about cognitive evolution, past and future, and the ecological conditions that shape it. It is composed of three interconnected episodes, each centered on the life of a narrative agent – the Emissary – who attempts to achieve a series of narrative goals, only to be disrupted by the underlying simulation and deviate into new directions. In this way, EMISSARIES imagines stories that can break their classical determinism, and simulations that acknowledge the influence of inner fictions on how we act upon the external world: Stories shape an agent, an agent shapes the world, the worls shapes back.

 

The presenation included the computer-generated simulations Emissary Forks At Perfection (2015), Emissary In The Squat of Gods (2015) and missary Sunsets The Self (2017) as well as 64 drawings from the making of EMISSARIES. On display for the first time, the drawings offered a unique insight into how Cheng´s complex simulations arise.

ARTIST LIST

Ian Cheng

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ARTHUR JAFA
A SERIES OF UTTERLY IMPROBABLE,
YET EXTRAORDINARY RENDITIONS

11 FEBRUARY 2018 – 25 NOVEMBER 2018

The JULIA STOSCHEK COLLECTION is excited to present the work of the acclaimed US filmmaker, cinematographer and artist Arthur Jafa in his first exhibition in Germany, featuring Ming Smith, Frida Orupabo, and Missylanyus. The exhibition was developed in partnership with Serpentine Galleries, London and curated by Hans-Ulrich Obrist and Amira Gad.

 

Across three decades, Jafa has developed a dynamic, multidisciplinary practice ranging from films and installations to lecture-performances and happenings that tackle, challenge and question prevailing cultural assumptions about identity and race. Jafa’s work is driven by a recurrent question: how might one identify and develop a specifically Black visual aesthetics equal to the „power, beauty and alienation“ of Black music in US culture?

 

The title of the exhibition ARTHUR JAFA: A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS relates to the sense of absence that Jafa observes as haunting Black life. The word „rendition“ refers to the artist’s interpretation of the aesthetics associated with Black being, which are historically-inscribed in images, objects and artefacts. By re-performing these narratives in the present, Jafa imagines and constructs new possibilities for making them visible.

 

Jafa creates work that approximates the radical alienation of Black life in the West while seeking to make visible – or emancipate – the power embedded in modes of African expression. With reference points ranging from Fang sculpture to Mississippi juke joints, Duchamp’s urinal to jazz, he is a filmmaker with a unique understanding of how to cut and juxtapose a sequence to draw out maximum visceral effect.

 

Explaining his favourite medium, Jafa has said: „Film is one of the few things, particularly in the theatrical context, that takes up as much space as architecture but like music is fundamentally immaterial.“

ARTIST LIST

Arthur Jafa, Frida Orupabo, Ming Smith, Missylanyus

EXHIBITION CATALOGUE

ed. Serpentine Galleries, the Store X, JULIA STOSCHEK COLLECTION, and Koenig Books.
Texts by Fred Moten, Tina M. Campt, Ernest Hardy, John Akomfrah, Arthur Jafa, Lucius Shepard, James Tiptree, JR., Saidiya Hartman, Dionne Brand, Sylvia Wynter, Akwaeke Emezi, Leo Bersani, Dave Hickey, Judith Butler, Hortense J. Spillers, Jean Baudrillard, Amiri Baraka, Greg Tate, Samuel R. Delany, Gilles Deleuze, Felix Guattari, Denise Ferreira da Silva, Nathaniel Mackey, Cecil Taylor, NourbeSe Philip, Paolo Bacigalupi, Hilton Als, Jerzy Grotowski, CM Burroughs, John Keene, Greil Marcus, Henry Dumas, Hans Ulrich Obrist, Yana Peel.

 

Language: English

April 2018. 847 pages

Size: 27,4 x 33,9 cm

Hard cover, bound

ISBN: 978-1-908617-44-6

Museum edition: € 90

 

This catalog is published to accompany Arthur Jafa’s exhibition A SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS at the Serpentine Galleries and JULIA STOSCHEK COLLECTION Berlin.

 

Building upon Jafa’s image-based practice, this new volume comprises a series of visual sequences that are cut and juxtaposed across its pages. The artist has been collecting and working from a set of source books since the 1990s, seeking to trace and map unwritten histories and narratives relating to black life. Punctuating this visual material is a series of commissioned texts partnered with a rich compendium of essays, short stories and poetry that has informed Jafa’s artistic practice and which together form an unprecedented resource. Order now

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JAGUARS AND ELECTRIC EELS

5 FEBRUARY 2017 – 26 NOVEMBER 2017

Between 1799 and 1804 a young naturalist, Alexander von Humboldt (1769–1859), visited the American continent for the first time, making two expeditions. The most adventurous section of his journey was the trip down the Orinoco to the Rio Negro in Venezuela. At the time, his report on this journey laid the foundations for a holistic way of looking at nature – one that was way ahead of its time. Von Humboldt was the first researcher to point out how the forces of nature, both animate and inanimate, work together. In 1853, these first chronicles of the New World were published in a special edition entitled „Jaguars and electric eels“, an excerpt from the „Personal Narrative of a Journey to the Equinoctical Regions of the New Continent“.

 

The largely media-based works in the collection of the same name on show at the JULIA STOSCHEK COLLECTION in Berlin described a reality that no longer distinguishes between naturalness and artificiality but sees things as a whole and as equals. Starting with the idea of the kind of ecology that focuses not only on natural circumstances but also on the economic and socio-political situation, as well as on technological progress, the exhibition investigated an alternative interpretation of anthropology and zoology.

 

Accordingly, the selection of works evidenced the search for our evolutionary roots, looking into questions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and that of our constantly changing perceptions of reality due to all kinds of different influences.

 

As the various artists’ contributions to the exhibition illustrate, our modern life science questions both the line between naturalness and artificiality and the ontology of objects of all kinds. The different complexes of subjects move within that intermediate space between nature and art, their various systems offering new approaches to interpretation and methods of classification.

ARTIST LIST

Doug Aitken, Kader Attia, Heike Baranowsky, Trisha Donnelly, Juan Downey, Encyclopedia Pictura & Björk, Cyprien Gaillard, Ryan Gander, Manuel Graf, Cao Guimarães, Nancy Holt & Robert Smithson, Donna Huanca, Martin Honert, Isaac Julien, Simon Martin, Nandipha Mntambo, Ana Mendieta, Paul Pfeiffer, Ben Rivers, Natascha Sadr Haghighian, STURTEVANT, James Richards & Leslie Thornton, Bill Viola, Guan Xiao, Anicka Yi, Aaron Young, Jon Rafman

EXHIBITION MAGAZINE

A free magazine accompanied the exhibition, which is here as download available.

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WELT AM DRAHT

2 JUNE 2016 – 13 NOVEMBER 2016

WELT AM DRAHT was the title of the first presentation in the new JULIA STOSCHEK COLLECTION satellite at Leipziger Strasse 60 in Berlin’s Mitte district. In line with the JULIA STOSCHEK COLLECTION’s insistence that it be contemporary, the exhibition was devoted to media-based pieces that address the influences and changes in our social reality, identity and environment since digitalisation.

 

In 38 main pieces by 20 international artists all drawn from the JULIA STOSCHEK COLLECTION, starting with large video installations, sculptural works, a performance, a monumental live simulation through to a purpose-made piece by artist collective K-HOLE the exhibition highlights current art strategies and a completely new artistic formal idiom first enabled by the latest technologies.

 

WELT AM DRAHT derives from the eponymous two-part 1973 TV movie produced by German filmmaker Rainer Werner Fassbinder (born in 1945 in Bad Wörishofen, died 1982 in Munich). The plot is derived from Simulacron 3, a novel by US author Daniel F. Galoye dating from 1964.

 

Nothing is left to chance at the Institute for Cybernetics and Future Research. Ostensibly for research purposes, a private corporation uses a mainframe to create a computer-animated world where economic and social developments can be simulated in order to make forecasts and thus lay the basis for decision-making. This mainframe goes by the name of Simulacron 1 and is capable of perfectly simulating a section of reality with all the respective inhabitants. All the simulated persons have their own minds, but no idea that they are part of a virtual reality.

 

One of the central pieces in the exhibition was the live simulation by Ian Cheng (born in 1984 in Los Angeles, lives and works in New York) made in 2015. By means of the virtual animated real-time simulations that arise through the 3D videogame design Cheng enables viewers to experience the microscopic but essential mechanisms of the complex, multi- millennia-long process of evolution. The artist construes his real-time simulations as “neurological gymnastics” intended to familiarise the viewer with the experience of constant change and with states of confusion, anxiety and cognitive dissonance.

 

Artists such as Britta Thie or K-HOLE draw on ad images as the primary language for their works. The structure of consumer and product experiences in capitalist societies and the creative industries become the main theme of art.

 

By contrast, Jon Rafman, Wu Tsang, Hannah Blackand Hito Steyerl spotlight the inner turmoil of digital culture as expressed by changed gender roles, political bodies and the subculture of online communities.

 

Another aspect of the show was the definition of mortality, as is especially evident in the two video installations A Minute Ago and Palisades In Palisades made in 2014 by Rachel Rose (born in 1986, she lives and works in New York). Her subject matter and venues range from Philip Johnson’s Glass House to the American War of Independence and park layouts in the 19th century. The narratives overlap with one another, reveal different angles on death, and morph into a kind of deja-vu in the viewer.

 

The works in the exhibition shared in common a critical thrust that asks how digital technology should be limited and justified. In this regard, the individual art forms oscillate between the different genres. They radically cast into question traditional notions of the artwork and the original creation of pictures as the main task of art.

ARTIST LIST

Ed Atkins, Neïl Beloufa, Hannah Black, Ian Cheng, Loretta Fahrenholz, Cao Fei, Melanie Gilligan, Camille Henrot, Juliana Huxtable, K-HOLE, Josh Kline, Helen Marten, Jon Rafman, Rachel Rose, Timur Si-Qin, Frances Stark, Hito Steyerl, Britta Thie, Wu Tsang, Amir Yatziv

EXHIBITION MAGAZINE

A free exhibition magazine accompanied the exhibition with an essay by Hannah Black and introductory texts on the individual works, which can be downloaded here.

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RHINELAND INDEPENDENT

15 NOVEMBER 2019 – 17 NOVEMBER 2019

KAI 10 | ARTHENA FOUNDATION

LANGEN FOUNDATION

SAMMLUNG PHILARA

JULIA STOSCHEK COLLECTION

 

AT

 

ART DÜSSELDORF

BOOTH D01

Areal Böhler
Hansaallee 321

40549 Düsseldorf

 

 

Foundations and collections of modern and contemporary art based on private initiative play a vital role in enriching the diversity of the cultural landscape of public museums, institutions, and artist-run spaces in the Rhineland. Driven by passion and a belief in social responsibility, private initiatives establish self-funded exhibition spaces, initiate art fellowships, make donations and provide loans, act as sponsors, and finance new productions. Alongside the concentrated creation of unique collections of emerging as well as established art, they support artists’ careers and pursue an archival mission.

 

With Rhineland Independent, four of these initiatives will merge for the first time to jointly present their multifaceted programs and conceive new projects. The strength of this cooperation lies above all in the diversity, respective specialisation, and individual agenda of the given players. In the end, the multifarious institutional and thematic focuses mirror the diversity of a dynamic artistic discourse.

 

Admission with a ticket to Art Düsseldorf only.

 

 

OPENING HOURS

Thursday, 14 November, 4.00–8.00 p.m. (Opening)

Friday, 15 November, 12.00–7.00 p.m.

Saturday, 16 November, 11.00 a.m.–7.00 p.m.

Sunday, 17 November, 11.00 a.m.–7.00 p.m.

TIME KILLS
SESC, SÃO PAULO, BRAZIL

21 MARCH 2019 – 16 JUNE 2019

TIME KILLS – MOVING IMAGE FROM THE JULIA STOSCHEK COLLECTION features a selection of works from one of the most important collections of time-based art, started in 2007 by the collector Julia Stoschek and based in Berlin and Düsseldorf, Germany.

 

The exhibition brings together works in film and video by seventeen artists, spanning over six decades of audiovisual production focused on themes such as cultural history, race, gender identity, circulation of images in the media, and the role of artists in contemporary society. Self-representation and its strategies, such as self-portrait and the fictionalization of life, emerge in various works, functioning as a potential guiding thread and uniting productions in the exhibition, as well as appropriation, collection, and montage of images from other sources. These are two possible thematic trends running through the exhibit, serving as useful conceptual cores to navigate it, but which do not exhaust the possibilities of interpreting the works displayed and the relationships between them.

 

Borrowed for the title from one of the phrases aired by Chris Burden in a 1970s TV commercial, “time kills” is a truism, a phrase that states an undeniable truth. Time kills simply by passing, and there is nothing we can do about that or the veracity of the phrase. Nevertheless, it serves to activate other senses in the context of the exhibition. Time-based art relates to works of art produced in video, film, audio, or computerized technologies that unfold to viewers over time, with duration rather than space as their main dimension, unlike painting and sculpture (although duration is also an element of those two- or three-dimensional art forms). To collect time-based artworks, one must compress time in analog and digital media. Therefore, exhibiting them requires decompressing those time frames and creating different forms of spatialization, generating displaysof different lengths occurring simultaneously in a group show. In the case of this exhibit, adding up to ten hours, thirty-one and forty seconds (which viewers break down and recombine at will).

 

Historically, the development of video as an art form occurs in tandem with the spread of the electronic image and its interlacing with everyday life, irreversibly altering our perception of time and space. As early as the 1970s, the artist Hermine Freed described the phenomenon in the following terms: “We may question the quality of the TV product, but not dispute that it has changed our knowledge of time and space.” In other words, the impact of electronic media on our lives goes beyond how we judge it. Even more so in a context in which it is continuously changing, making us anxious to keep up and directly influencing the way capitalism affects our consumer desires and drives. The virtualization of our world experience and increasing temporal (hence subjective) compression are the context the artists must deal with to create their work. Thus, time not only kills passively, it kills a little more every second.

 

The exhibition comprises three halls for large-scale installations on the fifth floor displaying works by Arthur Jafa, Rachel Rose, and Monica Bonvicini, immersive spaces that offer time-based experiences isolated from their surroundings. Despite their striking differences, these three works, which “anchor” the first part of the exhibition, are all created from specific cultural contexts. Jafa composes an epic collage based on the visuality of Afro-American culture; Rose examines the chronology of a region and its connection with several layers of history; Bonvicini creates a choreographed dual screening that relates notions like gender and nostalgia. Around these spaces, in the circulation areas, other works establish new relationships with one another. Two recordings of performances from the 1970s, by Eleanor Antin and Hannah Wilke, both featuring the artist’s face as a stage for complex events, are screened opposite each other in a mirror game. In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works. The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture.

 

On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons. To render the exhibition’s temporality more flexible, four screening areas have been programmed for the lobby, with films by Barbara Hammer, Charles Atlas, Dan Graham, and Jack Smith, in a historical film library of sorts created especially for the exhibition. Finally, on the building’s fa.ade, the Fischli & Weiss video opens out to the city and its passersby, offering a break in the fast pace of Avenida Paulista.

 

Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing. The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time.

 

Curated by Rodrigo Moura.

ARTIST LIST

Eleanor Antin, Charles Atlas, Lutz Bacher, Monica Bonvicini, Chris Burden, Peter Fischli & David Weiss, Cyprien Gaillard, Ryan Gander, Douglas Gordon, Dan Graham, Barbara Hammer, Arthur Jafa, Rachel Rose, Jack Smith, Hito Steyerl, Ulay, Hannah Wilke

TURN ON
TIME-BASED MEDIA ART FROM THE JULIA STOSCHEK COLLECTION
TEL AVIV MUSEUM OF ART, TEL AVIV, ISRAEL

31 MARCH 2015 – 29 AUGUST 2015

From 31 March until 29 August 2015 on the occassion of the 50th anniversary of diplomatic relations between Germany and Israel key works from the JULIA STOSCHEK COLLECTION were presented in the Tel Aviv Museum of Art. The exhibition constituted the largest presentation of time-based media works in Israel. The exhibition title is borrowed from Adrian Paci’s 2004 work TURN ON, allowing multiple, ambiguous associations with actions ranging from switching on, operating, and lighting to igniting, provoking, and titillating.

 

As a whole, the collection centers contemporaneity as an active engagement with the here and now. True to this emphasis, this exhibition focuses on the contemporary part of the collection. The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed. This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists.

 

These range from performative and theatrical elements in the works to different means of narration. Many of the works relate to animation in all meanings of the word: Ed Atkins’ computer-animated, poetic avatars as alter egos in a fragmented, studio-inspired world, Nathalie Djurberg’s and Hans Berg’s animated and orchestrated manic puppetry.

 

More than half of the artists featured in the exhibition are women. This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole. Implicit subtexts of power struggles – between the sexes, between the individual and society, and between different creative traditions – are present throughout, resulting in an exhibition that is contemplative, seductive and reflective.

 

The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time. They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium.

 

Curated by Ruth Direktor.

 

This exhibition was developed in close collaboration with the JULIA STOSCHEK FOUNDATION e.V.

 

The exhibition was made possible through the generous support of the Friends of the Tel Aviv Museum of Art in Israel, Tambour LTD, Goethe Institute Tel Aviv, and marking 50 years of diplomatic relations between Israel and Germany.

ARTIST LIST

Marina Abramović, Ed Atkins, Johanna Billing, Monica Bonvicini, Paul Chan, Keren Cytter, Nathalie Djurberg & Hans Berg, Jesper Just, Klara Lidén, Helen Marten, Adrian Paci, Seth Price, Christoph Schlingensief, STURTEVANT, Mathilde ter Heijne, Andro Wekua

EXHIBITION CATALOGUE

ed. Tel Aviv Museum of Art / Julia Stoschek Foundation e.V.

Language: Hebrew/English

2015. 142 pages, 103 reproductions (85 in color)

Size: 20.5 x 27.5 cm, soft cover

ISBN: 978-965-539-116-9

Museum edition: € 19.80

 

With essays by Ruth Direktor and Elisa Schaar as well as a foreword by Suzanne Landau and an introduction by Julia Stoschek. With works by: Marina Abramović, Ed Atkins, Johanna Billing, Monica Bonvicini, Paul Chan, Keren Cytter, Nathalie Djurberg & Hans Berg, Jesper Just, Klara Lidén, Helen Marten, Adrian Paci, Seth Price, Christoph Schlingensief, Sturtevant, Mathilde ter Heijne, and Andro Wekua.

 

The TURN ON. TIME-BASED ART FROM THE JULIA STOSCHEK COLLECTION catalog documents the exhibition of the same name which ran from March 31 through August 29, 2015 in the framework of the anniversary of 50 years of diplomatic relations between Germany and Israel, presenting main pieces from the JULIA STOSCHEK COLLECTION at the Tel Aviv Museum of Art. It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in 2004, and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on. Order now

THE NEW HUMAN
MODERNA MUSEET, MALMÖ, SWEDEN
MODERNA MUSEET, STOCKHOLM, SWEDEN

14 MARCH 2015 – 4 DECEMBER 2016

THE NEW HUMAN – YOU AND I IN GLOBAL WONDERLAND

MODERNA MUSEET MALMÖ

14 MARCH – 18 OCTOBER 2015

 

THE NEW HUMAN – KNOCK, KNOCK, IS ANYONE HOME?

MODERNA MUSEET MALMÖ

27 FEBRUARY – 4 SEPTEMBER 2016

 

THE NEW HUMAN

MODERNA MUSEET, STOCKHOLM

21 MAY – 4 DECEMBER 2016

 

 

THE NEW HUMAN is a video-based exhibition project that artistically explores feelings of uncertainty, frustration, fear, bewilderment and confusion about the human condition today. It also gives a glimpse of some imagined scenarios of our future. The project has been made possible through a substantial collaboration between Moderna Museet Malmö and the JULIA STOSCHEK COLLECTION in Düsseldorf. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions. At Moderna Museet Malmö, THE NEW HUMAN will be presented in two extensive chapters, each with a different focus and subtitle: YOU AND I IN GLOBAL WONDERLAND (2015) and KNOCK, KNOCK, IS ANYONE AT HOME? (2016). A further chapter will thereafter be presented at Moderna Museet in Stockholm (2016).

 

YOU AND I IN GLOBAL WONDERLAND will focus on how we look at and interact with one another as human beings in a new world. We’ll get to share experiences of gigantic transformation and human migration brought on by war, climate change, and economic globalization. There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today. As an exhibition, YOU AND I IN GLOBAL WONDERLAND may convey a longing for something lost—perhaps an earlier life ruined by war—but it will also present us with feelings of bewilderment, tenderness, disorientation and comedy that arise from confrontations between different cultures, languages and lifestyles.

 

KNOCK, KNOCK, IS ANYONE HOME? will catapult us into a virtual universe of hyper-real avatars and parallel worlds. In this chapter we’ll encounter human-looking characters that appear to have mutated with communication technologies and capitalist strategies to become something Other, something that on the surface looks human but is fundamentally nonhuman. A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new. We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.

 

Curated by Joa Ljungberg, Moderna Museet Malmö.

ARTIST LIST

Ed Atkins, Trisha Baga, Yael Bartana, Robert Boyd, Loulou Cherinet, Ioana Cojocario, Cao Fei, Esra Ersen, Isaac Julien, Helen Marten, Santiago Mostyn, Adrian Paci, Tomáš Rafa, Mika Rottenberg, Frances Stark, Ryan Trecartin, Ferhat Özgür

HIGH PERFORMANCE
TIME-BASED MEDIA ART SINCE 1996
ZKM | ZENTRUM FÜR KUNST UND MEDIEN, KARLSRUHE, GERMANY

16 MARCH 2014 – 22 JUNE 2014

JULIA STOSCHEK COLLECTION presented key works from its collection of time-based media art at the ZKM | Karlsruhe in the exhibition HIGH PERFORMANCE. TIME-BASED MEDIA ART SINCE 1996. With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence.

 

Inspired by the risky maneuvers of a Chris Burden, in his video piece HIGH PERFORMANCE (2000) artist Aaron Young documents a motorbike rider who engages his front brake and burns rubber with his back wheel onto the concrete floor of the studio. Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance. Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill.

 

With over 50 key works from the fields of „Body and Soul“, „Public Space“, „Environment“ and „Virtual Reality“, the exhibition, which covers 3,500 square meters and thus the entire ground floor of ZKM | Medienmuseum offers a close look into the evolution of the JULIA STOSCHEK COLLECTION since 1996.

 

Moreover, there is also an extensive compilation of the most important performances that have taken place in the collection’s domicile in Düsseldorf.

 

With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art.

 

Curated by Bernhard Serexhe and Julia Stoschek.

ARTIST LIST

Doug Aitken, Francis Alÿs, Ed Atkins, Allora & Calzadilla, Trisha Baga, John Bock, Monica Bonvicini, Robert Boyd, Matthew Buckingham, Paul Chan, Keren Cytter, Simon Denny, Cyprien Gaillard, Christian Jankowski, Jesper Just, Mike Kelley, Klara Lidén, Helen Marten, Tony Oursler, Mika Rottenberg, Mathilde ter Heijne, Ryan Trecartin, Clemens von Wedemeyer, Andro Wekua, Aaron Young, Tobias Zielony

EXHIBITION CATALOGUE

Edited by Julia Stoschek Foundation e.V.

Languages: German/English. 2014.

160 pages,  33 shortened pages/approx. 300 color and b/w images.

Size: 20,5 x 28,5 cm. Softcover with flaps.

Will be published by Distanz Verlag, Berlin

Release: June 2014

ISBN 978-3-95476-075-6

Museum edition: 29,80€

Sold out!

 

As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. With more than fifty key works of video art from the fields of “Body and Sould,” “Public Space,” “Environment,” and “Virtual Reality” from the JULIA STOSCHEK COLLECTION, the book offers profound insight into the more recent evolution of media art. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies. The conceptual structure of the exhibition concentrates on media art from the beginning of the 1960s to the present.

 

With essays by Bernhard Serexhe, Susanne Pfeffer, and Peter Weibel as well as a preface by Julia Stoschek.

I WANT TO SEE HOW YOU SEE
DEICHTORHALLEN, HAMBURG, GERMANY

16 APRIL 2010 – 25 JULY 2010

For the first time world-wide, the JULIA STOSCHEK COLLECTION was on show in a museum context and outside the private home of the collector in Düsseldorf. As of 16 April 2010 across a total space of over 2,000 sq. m. works by over 50 artists from this very young private collection were on display in the Deichtorhallen in Hamburg.

 

The exhibition title of I WANT TO SEE HOW YOU SEE is taken from the work of the same name by Pipilotti Rist (2003). The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein).

 

The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector (34). At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in 1993 as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.

 

The exhibition at the Deichtorhallen will feature some classics of video art, such as Marina Abramovic’s Art must be beautiful, Artist must be beautiful dating from 1975-6, Vito Acconci’s Openings (1970) and Chris Burdens Shoot (1971), but the majority of the works were produced since 2000. They range from more lyrical pieces such as Heike Baranowsky’s Mondfahrt via elaborately animated films like Björk’s Wanderlust in 3D through to marvelous installations such as those by Monica Bonvicini, Anthony McCall and Nathalie Djurberg.

ARTIST LIST

Marina Abramović, Vito Acconci, Pep Agut, Peggy Ahwesh, Doug Aitken, Eleanor Antin, Heike Baranowsky, Lynda Benglis, Walead Beshty, Björk, Encyclopedia Pictura & Björk, Monica Bonvicini, Robert Boyd, Chris Burden, Jeff Burton, Matt Calderwood, Paul Chan, Patty Chang, Thomas Demand, Jen DeNike, Nathalie Djurberg, Claus Föttinger, Douglas Gordon, Cao Guimarães, Andreas Gursky, Jeppe Hein, Christian Jankowski, Isaac Julien, Terence Koh, Klara Lidén, Gordon Matta-Clark, Anthony McCall, Adam McEwen, Alex McQuilkin, Nandipha Mntambo, Lutz Mommartz, Bruce Nauman, Carsten Nicolai, Tony Oursler, Paul Pfeiffer, Rob Pruitt, Pipilotti Rist, Aura Rosenberg, Martha Rosler, Mika Rottenberg, Thomas Ruff, Christoph Schlingensief, Carolee Schneemann, Taryn Simon, Wolfgang Tillmans, Steina Vasulka, Clemens von Wedemeyer, Franz West, Hannah Wilke, Aaron Young

EXHIBITION CATALOGUE

Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. Texts by Jenny Dirksen, Philipp Fürnkäs, Elke Kania, Monika Lahrkamp, Marlen Lienkamp, Bettina Malcomess, Emmanuel Mir, Rodrigo Moura, Anna-Alexandra Nadig, Cay Sophie Rabinowitz, Angela Rosenberg, Andreas Schlaegel, Valeska Schneider, Beate Söntgen, Anke Volkmer, Dörte Zbikowski.

 

Language: German. 2010.

148 pages.

127 colour pictures.

Size: 24.5 x 17.5 cm.

Hardback with colour plastic dust jacket.

Published by Snoeck Verlag, Cologne

ISBN 978-3-940953-51-3

Museum and bookshop edition: €24,80

 

For the first time world-wide, the JULIA STOSCHEK COLLECTION will go on show in a museum context and outside the private home of the collector in Duesseldorf. From 16 April 2010 till 25 July 2010, works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2,000 sq. m.

 

The exhibition title of I WANT TO SEE HOW YOU SEE is taken from the work of the same name by Pipilotti Rist (2003). The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein). Order now

RHINE ON THE DNIPRO
JULIA STOSCHEK COLLECTION/ANDREAS GURSKY
PINCHUK ART CENTRE, KIEV, UKRAINE

28 SEPTEMBER 2008 – 14 DECEMBER 2008

The fascination for the treatment of present-day reality in digital pictures and music is a binding force between the collector Julia Stoschek, the artist Andreas Gursky and the band KRAFTWERK, currently made up of Ralf Hütter, Florian Schneider, Fritz Hilpert and Henning Schmitz.

 

From 28 September until 14 December 2008 the PinchukArtCentre in Kiev presented an exhibition combining these three disciplines for the first time as part of Ukraine’s Deutsche Kulturwochen (festival of German culture).

 

Julia Stoschek, who opened her private collection of contemporary art focusing on new media last year, will be exhibiting 19 pieces that offer a cross section of her first exhibition in Duesseldorf, NUMBER ONE: DESTROY, SHE SAID.

 

Deconstruction/construction is the central theme behind the exhibition, which contrasts classical positions from the early days of video art, represented in pieces by artists such as Joan Jonas and Bruce Nauman, with the work of contemporary artists like Christian Jankowski and Robert Boyd.

 

Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images. The exhibition offers an overview of Gursky’s oeuvre to date, bringing together early pieces with his current work to create an exciting analysis of the contemporary world.

 

The musicians behind the German group KRAFTWERK are considered pioneers of electronic music and their work has influenced countless musical styles such as synth pop, electro funk and Detroit techno.

 

The festive opening of the exhibition, entitled Julia Stoschek/Andreas Gursky/KRAFTWERK took place on 27 September 2008 in the PinchukArtCentre, Followed by a live performance of KRAFTWERK in the Arena complex.

ARTIST LIST

Doug Aitken, Monica Bonvicini, Robert Boyd, Kate Gilmore, Manuel Graf, Christian Jankowski, Mark Leckey, Klara Lidén, Gordon Matta-Clark, Anthony McCall, Bruce Nauman, Tony Oursler, Reynold Reynolds & Patrick Jolley, Robert Smithson, Aaron Young

VIDEO KOOP
KIT – KUNST IM TUNNEL, DÜSSELDORF, GERMANY

3 MAY 2008 – 27 JULY 2008

VIDEO KOOP was an exhibition project in the KIT which came into being through an invitation to Julia Stoschek. Julia Stoschek, the initiator of the JUST scholarship and founder of the JULIA STOSCHEK COLLECTION, presents six artists in the VIDEO KOOP context, most of whom come from Duesseldorf and work chiefly with film, video, and installations.

 

Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music. The presentation of their works is in interesting contrast to the architecture of the KIT.

 

The entrée is provided by Bianca Voss with her work Seagulls (2008). With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn.

 

Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power (2006), for example, shows flower buds opening and closing in fast motion to the sound of snoring.

The Driver (2004) by Andreas Korte plays inside a parking building. A person facing away from the viewer is moving towards the exit. Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer.

 

In La Fée Electricité, Andreas Bunter tells the story of electricity in a poetic, almost old-fashioned manner. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history.

 

Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf. 1000 Years are a Day (2005) shows an interior from the 1960s: a stylish record player in the foreground plays excerpts from the song of the same name by Udo Jürgens. A wild, colourful pictorial history of architecture begins to the rhythm of the music.

 

Jan Wagner’s two-channel installation Of the Soul Four (2005) is a precise staging that creates a spatial mood in the observer through sculptural elements and the use of rough cloth. In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox.

 

To accompany the exhibition an issue (02/08) of the Lido magazine has been published.

ARTIST LIST

Andreas Bunte, Christiane Fochtmann, Manuel Graf, Andreas Korte, Bianca Voss, Jan Wagner

The JULIA STOSCHEK COLLECTION has always worked closely with other museums and art institutions both locally and at an international level. Like time-based media themselves, these collaborations expand, appropriate, reinterpret, and repurpose the collection in new and exciting ways, highlighting and discovering multiple historical threads and thematic clusters.

 

In past years, largescale presentations of the JULIA STOSCHEK COLLECTION were hosted at major museums and art institutionsin Germany and abroad. One of the first major collaborations, named after Pipilotti Rist’s work I WANT TO SEE HOW YOU SEE, took place at Deichtorhallen, Hamburg, Germany in 2010. Referencing the FIRE, EARTH, WATER, AIR exhibition, organized at the Deichtorhallen in 1993, I WANT TO SEE HOW YOU SEE paired seminal early film and video works by Marina Abramović, Vito Acconci, and Chris Burden with later pieces by Heike Baranowsky, Monica Bonvicini, and Nathalie Djurberg, among others.

 

In 2014, the collaboration with ZKM | Zentrum für Kunst & Medien, Karlsruhe, Germany, titled HIGH PERFORMANCE. Time-based media art since 1996, explored video as a form of scenic art, strongly influenced by the so-called performative turn which pervaded not only the humanities but also society and art at the time. The exhibition, curated by Bernhard Serexhe and Julia Stoschek, was divided into sections, investigating concepts of body and soul, public space, environment, and virtual reality through different artistic positions. It was one of the largest projects to take place outside the JULIA STOSCHEK COLLECTION space and featured over 25 artists, such as Doug Aitken, Francis Alÿs, Allora & Calzadilla, Trisha Baga, John Bock, Paul Chan, Keren Cytter, Simon Denny, Cyprien Gaillard, Christian Jankowski, Mike Kelley, Klara Liden, Helen Marten, Mika Rottenberg, Ryan Trecartin, Andro Wekua, Tobias Zielony, and others.

 

Further major collaborations include TURN ON at the Tel Aviv Museum of Art, Israel, and THE NEW HUMAN at Moderna Museet, Malmö, Sweden in 2015.

 

In the future, the JULIA STOSCHEK COLLECTION looks forward to expanding its reach through close and meaningful collaborations around the globe.

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ADDRESS

JSC Düsseldorf

Schanzenstraße 54

40549 Düsseldorf

Germany

 

T. +49.211.585.884.0

visit.duesseldorf@jsc.art

 

How to find us

OPENING HOURS

Sundays, 11:00 a.m.–6:00 p.m.

 

Special opening hours:

On the occasion of Art Düsseldorf: Friday, 15 November & Saturday, 16 November 2019, 11:00 a.m.–6:00 p.m.

ADMISSION

Admission to the exhibitions at JSC Düsseldorf is free of charge.
Advance registration for the visit during the opening hours is not required. However, for insurance reasons, we request that you register with your name at JSC Düsseldorf reception desk upon arrival.

PUBLIC GUIDED TOURS IN GERMAN

Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and 3:00 p.m. (duration: 90 minutes).

 

Registration online through our calendar.

 

Cost: EUR 10.00 per person (cash and card payment possible).

 

Free of charge for children and young people under eighteen, as well as school children, students and trainees.

SPECIAL GUIDED TOURS IN ENGLISH

During opening hours: Sunday, 11:00 a.m.–6:00 p.m.

Cost: EUR 10.00 per person for groups of 10–25 persons.

 

Outside opening hours:

Cost: EUR 20.00 per person for groups of 10–25 persons.

 

If you are interested in booking a guided tour in English, please send us an e-mail to visit.duesseldorf@jsc.art stating the desired date and group size.

BARRIER-FREE ACCESS

The JSC Düsseldorf is accessible for those with wheelchairs or prams. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.


ARCHITECTURE

The distinctive nature of the collection carries over into the space in which it is exhibited. The architecture of the JULIA STOSCHEK COLLECTION, which is designed with installations and time-based works in mind, creates narratives that reflect the relationship between the interior and exterior, as well as the arrangement of the space itself. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds – from the closed to the open, from the dark to the light. A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality. A “room within a room” construction makes it possible to vary the intensity of the light on both exhibition levels. The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson. He used a series of kaleidoscopic mirrors to transform one of the inner walls into the permanent in-situ work “When Love Is Not Enough Wall” (2007), which examines the act of looking at the outside world from inside an enclosed space.

 

The building, which dates to 1907, is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building. Having served many different purposes over the course of its 100-year existence, the building reflects how industry evolved during the 20th century. Before 1945 it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for – among other things – military purposes. After the war it was used as a picture frame factory by the Düsseldorf company F.G Conzen.

 

Renovation work in 2007 strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space. The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows. At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.

 

Wilfried Kuehn, architect

 

 

 

KUEHN MALVEZZI

 

Kuehn Malvezzi, founded in Berlin in 2001 by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design. Its references include the architectural design for Documenta 11 in Kassel (2002), the extension for the Friedrich Christian Flick Collection at the Museum für Gegenwart in the Hamburger Bahnhof in Berlin (2004), the JULIA STOSCHEK COLLECTION in Düsseldorf (2007), the renovations at the Liebieghaus sculpture museum in Frankfurt am Main (2008) and at the Belvedere in Vienna (2009). The team’s award-winning design for the Humboldt Forum in Berlin is a much-discussed contribution to the debate surrounding the reconstruction of Berlin City Palace and involves presenting the palace as a process and public display. The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice. Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in 2009.

 

www.kuehnmalvezzi.com


RENTAL

You are looking for a special location for a celebration or a corporate event?

As a monument to early modern industrial architecture, the JSC Düsseldorf offers a unique, historic architecture with an exclusive ambience. Celebrate exclusively in the rooms of an internationally renowned art collection.

 

We would be pleased to submit you an individual offer.

 

Contact:

Şirin Şimşek
simsek@jsc.art

Düsseldorf
JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf. Photo: © Simon Vogel, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: © Şirin Şimşek, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: © Şirin Şimşek, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: © Şirin Şimşek, Cologne.
Stairwell, JSC Düsseldorf. Photo: © Şirin Şimşek, Cologne.
Installation view, NUMBER ONE: DESTROY, SHE SAID. Central corridor on the first exhibition floor, JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
Space for the performance programme NUMBER THREE: HERE AND NOW, JSC Düsseldorf, second floor. Photo: © Ulrich Schwarz, Berlin.
Installation view, GENERATION LOSS, JSC Düsseldorf, first floor. Photo: Simon Vogel, Cologne.
Installation view, GENERATION LOSS, JSC Düsseldorf, first floor. Photo: Simon Vogel, Cologne.
16mm & 35mm film cinema, JSC Düsseldorf, second floor. Photo: © Achim Kukulies, Düsseldorf.
Cinema, JSC Düsseldorf, basement. Photo: © Achim Kukulies, Düsseldorf.
Historical photograph of the JSC Düsseldorf building, circa 1911/12.
Berlin
JSC Berlin. Photo: Robert Hamacher, Berlin.
JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSC Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.

ADRESS

JSC Berlin

Leipziger Straße 60 (entrance: Jerusalemer Straße)
10117 Berlin
Germany

 

T. +49.30.921.062.461
visit.berlin@jsc.art

 

How to find us

OPENING HOURS

Saturdays & Sundays, 12:00 p.m.–6:00 p.m.

ADMISSION

Admission to the exhibitions at JSC Berlin: EUR 5.00.
Advance registration for the visit during the opening hours is not required.

 

Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA.

PUBLIC GUIDED TOURS IN ENGLISH

Public guided tours in English through the current exhibitions on Saturdays, 3:00 p.m. (duration: 60 minutes). Registration online through our calendar.

 

Cost: EUR 5.00 per person (cash and card payment possible).

 

Free of charge for children and young people under eighteen, school pupils, students and trainees.

SPECIAL GUIDED TOURS

During opening hours: Saturday & Sunday, 12:00 p.m.–6:00 p.m.
Cost: EUR 10.00 per person for groups of 10–25 persons.

 

Outside opening hours:
Cost: EUR 20.00 per person for groups of 10–25 persons.

 

If you are interested in booking a guided tour, please send us an e-mail to visit.berlin@jsc.art.

PARTLY BARRIER-FREE ACCESS

Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers (access only via the staircase; no lift).


ARCHITECTURE

The JULIA STOSCHEK COLLECTION is devoted to make its collection available to the public and, in cooperation with other institutions, curators, and artists, to provide a vibrant platform for interaction in the form of exhibitions and events.

 

In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the 1960s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof. Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state.

 

The building’s new function, which is also its first official new use, was to be made possible and visible without eradicating the existing substance or history of the site. Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation.

 

A white curtain runs continuously through both floors, partially outside in front of the façade and partially inside covering the existing walls, marking the transition from light to dark space both inside and out. It cloaks the existing glass façade whilst folding it towards the inside, creating bright public spaces there as well.

 

These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work. This is also where openings and public events are held. The furniture, most of which was designed especially for this site, supports these activities.

 

The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time – leaving the building open to change respectively to the collection and for subsequent use.

 

Johanna Meyer-Grohbrügge, architect

 

 

 

MEYER-GROHBRÜGGE

 

The Berlin architecture office Meyer-Grohbrügge searches for simple spatial answers to complex questions. In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities.

 

Johanna Meyer-Grohbrügge worked at SANAA in Tokyo for five years after receiving her degree from ETH Zürich. In 2010 she cofounded the office June 14 Meyer-Grohbrügge & Chermayeff and in 2015 she initiated the office Meyer-Grohbrügge. She is a guest professor at DIA Dessau and has also taught at Washington University in St. Louis and at Columbia GSAPP.

 

www.meyer-grohbruegge.com


RENTAL

You are looking for a special location for a celebration or a corporate event?

 

The JULIA STOSCHEK COLLECTION in Berlin-Mitte, with its 2,500 square meters, is one of the most impressive and versatile locations in the city.

 

The location between Leipziger Straße, Gendarmenmarkt and Friedrichsstraße as well as the possibilities of very individual usable premises make your event in this place a unique experience. Celebrate exclusively in the rooms of an internationally renowned art collection.

 

We would be pleased to submit you an individual offer.

 

Contact:
Christian Nickolai
nickolai@jsc.art

Düsseldorf
Berlin

ADDRESS

JSC Düsseldorf

Schanzenstraße 54

40549 Düsseldorf

Germany

 

T. +49.211.585.884.0

visit.duesseldorf@jsc.art

 

How to find us

OPENING HOURS

Sundays, 11:00 a.m.–6:00 p.m.

 

Special opening hours:

On the occasion of Art Düsseldorf: Friday, 15 November & Saturday, 16 November 2019, 11:00 a.m.–6:00 p.m.

ADMISSION

Admission to the exhibitions at JSC Düsseldorf is free of charge.
Advance registration for the visit during the opening hours is not required. However, for insurance reasons, we request that you register with your name at JSC Düsseldorf reception desk upon arrival.

PUBLIC GUIDED TOURS IN GERMAN

Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and 3:00 p.m. (duration: 90 minutes).

 

Registration online through our calendar.

 

Cost: EUR 10.00 per person (cash and card payment possible).

 

Free of charge for children and young people under eighteen, as well as school children, students and trainees.

SPECIAL GUIDED TOURS IN ENGLISH

During opening hours: Sunday, 11:00 a.m.–6:00 p.m.

Cost: EUR 10.00 per person for groups of 10–25 persons.

 

Outside opening hours:

Cost: EUR 20.00 per person for groups of 10–25 persons.

 

If you are interested in booking a guided tour in English, please send us an e-mail to visit.duesseldorf@jsc.art stating the desired date and group size.

BARRIER-FREE ACCESS

The JSC Düsseldorf is accessible for those with wheelchairs or prams. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.


ARCHITECTURE

The distinctive nature of the collection carries over into the space in which it is exhibited. The architecture of the JULIA STOSCHEK COLLECTION, which is designed with installations and time-based works in mind, creates narratives that reflect the relationship between the interior and exterior, as well as the arrangement of the space itself. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds – from the closed to the open, from the dark to the light. A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality. A “room within a room” construction makes it possible to vary the intensity of the light on both exhibition levels. The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson. He used a series of kaleidoscopic mirrors to transform one of the inner walls into the permanent in-situ work “When Love Is Not Enough Wall” (2007), which examines the act of looking at the outside world from inside an enclosed space.

 

The building, which dates to 1907, is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building. Having served many different purposes over the course of its 100-year existence, the building reflects how industry evolved during the 20th century. Before 1945 it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for – among other things – military purposes. After the war it was used as a picture frame factory by the Düsseldorf company F.G Conzen.

 

Renovation work in 2007 strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space. The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows. At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.

 

Wilfried Kuehn, architect

 

 

 

KUEHN MALVEZZI

 

Kuehn Malvezzi, founded in Berlin in 2001 by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design. Its references include the architectural design for Documenta 11 in Kassel (2002), the extension for the Friedrich Christian Flick Collection at the Museum für Gegenwart in the Hamburger Bahnhof in Berlin (2004), the JULIA STOSCHEK COLLECTION in Düsseldorf (2007), the renovations at the Liebieghaus sculpture museum in Frankfurt am Main (2008) and at the Belvedere in Vienna (2009). The team’s award-winning design for the Humboldt Forum in Berlin is a much-discussed contribution to the debate surrounding the reconstruction of Berlin City Palace and involves presenting the palace as a process and public display. The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice. Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in 2009.

 

www.kuehnmalvezzi.com


RENTAL

You are looking for a special location for a celebration or a corporate event?

As a monument to early modern industrial architecture, the JSC Düsseldorf offers a unique, historic architecture with an exclusive ambience. Celebrate exclusively in the rooms of an internationally renowned art collection.

 

We would be pleased to submit you an individual offer.

 

Contact:

Şirin Şimşek
simsek@jsc.art

JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
JSC Düsseldorf. Photo: © Simon Vogel, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: © Şirin Şimşek, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: © Şirin Şimşek, Cologne.
JSC Düsseldorf, foyer, first floor. Photo: © Şirin Şimşek, Cologne.
Stairwell, JSC Düsseldorf. Photo: © Şirin Şimşek, Cologne.
Installation view, NUMBER ONE: DESTROY, SHE SAID. Central corridor on the first exhibition floor, JSC Düsseldorf. Photo: © Ulrich Schwarz, Berlin.
Space for the performance programme NUMBER THREE: HERE AND NOW, JSC Düsseldorf, second floor. Photo: © Ulrich Schwarz, Berlin.
Installation view, GENERATION LOSS, JSC Düsseldorf, first floor. Photo: Simon Vogel, Cologne.
Installation view, GENERATION LOSS, JSC Düsseldorf, first floor. Photo: Simon Vogel, Cologne.
16mm & 35mm film cinema, JSC Düsseldorf, second floor. Photo: © Achim Kukulies, Düsseldorf.
Cinema, JSC Düsseldorf, basement. Photo: © Achim Kukulies, Düsseldorf.
Historical photograph of the JSC Düsseldorf building, circa 1911/12.

ADRESS

JSC Berlin

Leipziger Straße 60 (entrance: Jerusalemer Straße)
10117 Berlin
Germany

 

T. +49.30.921.062.461
visit.berlin@jsc.art

 

How to find us

OPENING HOURS

Saturdays & Sundays, 12:00 p.m.–6:00 p.m.

ADMISSION

Admission to the exhibitions at JSC Berlin: EUR 5.00.
Advance registration for the visit during the opening hours is not required.

 

Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA.

PUBLIC GUIDED TOURS IN ENGLISH

Public guided tours in English through the current exhibitions on Saturdays, 3:00 p.m. (duration: 60 minutes). Registration online through our calendar.

 

Cost: EUR 5.00 per person (cash and card payment possible).

 

Free of charge for children and young people under eighteen, school pupils, students and trainees.

SPECIAL GUIDED TOURS

During opening hours: Saturday & Sunday, 12:00 p.m.–6:00 p.m.
Cost: EUR 10.00 per person for groups of 10–25 persons.

 

Outside opening hours:
Cost: EUR 20.00 per person for groups of 10–25 persons.

 

If you are interested in booking a guided tour, please send us an e-mail to visit.berlin@jsc.art.

PARTLY BARRIER-FREE ACCESS

Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers (access only via the staircase; no lift).


ARCHITECTURE

The JULIA STOSCHEK COLLECTION is devoted to make its collection available to the public and, in cooperation with other institutions, curators, and artists, to provide a vibrant platform for interaction in the form of exhibitions and events.

 

In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the 1960s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof. Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state.

 

The building’s new function, which is also its first official new use, was to be made possible and visible without eradicating the existing substance or history of the site. Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation.

 

A white curtain runs continuously through both floors, partially outside in front of the façade and partially inside covering the existing walls, marking the transition from light to dark space both inside and out. It cloaks the existing glass façade whilst folding it towards the inside, creating bright public spaces there as well.

 

These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work. This is also where openings and public events are held. The furniture, most of which was designed especially for this site, supports these activities.

 

The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time – leaving the building open to change respectively to the collection and for subsequent use.

 

Johanna Meyer-Grohbrügge, architect

 

 

 

MEYER-GROHBRÜGGE

 

The Berlin architecture office Meyer-Grohbrügge searches for simple spatial answers to complex questions. In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities.

 

Johanna Meyer-Grohbrügge worked at SANAA in Tokyo for five years after receiving her degree from ETH Zürich. In 2010 she cofounded the office June 14 Meyer-Grohbrügge & Chermayeff and in 2015 she initiated the office Meyer-Grohbrügge. She is a guest professor at DIA Dessau and has also taught at Washington University in St. Louis and at Columbia GSAPP.

 

www.meyer-grohbruegge.com


RENTAL

You are looking for a special location for a celebration or a corporate event?

 

The JULIA STOSCHEK COLLECTION in Berlin-Mitte, with its 2,500 square meters, is one of the most impressive and versatile locations in the city.

 

The location between Leipziger Straße, Gendarmenmarkt and Friedrichsstraße as well as the possibilities of very individual usable premises make your event in this place a unique experience. Celebrate exclusively in the rooms of an internationally renowned art collection.

 

We would be pleased to submit you an individual offer.

 

Contact:
Christian Nickolai
nickolai@jsc.art

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

“Many of the works in this collection construct multi-temporal worlds; they harbor not one flow of events, but a labyrinth of diverging paths, each with its own pace and temporality. The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times.”

 

Daniel Birnbaum

 

from: Daniel Birnbaum, Repetitions, in Number One: Destroy, She Said (Ostfildern: Hatje Cantz Verlag, 2007), 12.

 

 

Established in 2002 by Julia Stoschek, the JULIA STOSCHEK COLLECTION has grown to be an expansive collection of time-based art spanning film, video, sound, performance, and computer and software-based works. At present, over 850 artworks by more than 250 contemporary artists and artist groups across genres and generations offer an overview of time-based art from the 1960s to today with a strong focus on works made after 2000. 

 

The term time-based art (or time-based media) describes works of art that unfold in time. Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art. These works are often allographic, meaning they are only visible when installed or projected. 

 

At the JULIA STOSCHEK COLLECTION, early expanded cinema, video, and performance works by Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović meet Doug Aitken’s video installations, Ian Cheng’s live simulations, and Hito Steyerl’s all-encompassing environments. The collection contains many artworks by pioneering female and feminist artists and experimental filmmakers from the 1960s and ’70s, among them Dara Birnbaum, VALIE EXPORT, Barbara Hammer, and Hannah Wilke. A younger generation of artists includes Ed Atkins, Loretta Fahrenholz, Cyprien Gaillard, Josh Kline, Jon Rafman, Rachel Rose, Mika Rottenberg, Anicka Yi, and Tobias Zielony, to name a few. The collection strives to build sustainable relationships with artists and galleries, focusing on key works and groups of works made throughout artists’ careers, growing with and reflecting their evolving practice. 

 

The collection is characterized by an ever-growing technological convergence and interdisciplinary approach: “The video art of today is theater, performance, musical performance, sculpture, projection, moving image, moving bodies, dance, stage, screen, real space, real time, all in one,” writes Peter Weibel in the catalog accompanying the exhibition “High Performance,” jointly organized by JULIA STOSCHEK COLLECTION and ZKM | Center for Art and Media in 2015. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world. 

 

Some of these themes have been explored in exhibitions and programs at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, as well as at several international institutions. 27 large-scale exhibitions have taken place at the collection’s exhibitions spaces in Düsseldorf and Berlin since 2007. Among these were significant solo exhibitions by Derek Jarman, Sturtevant, Elizabeth Price, Ed Atkins, Frances Stark, Trisha Donnelly, Cyprien Gaillard, Arthur Jafa, and Ian Cheng. 

 

The first large-scale group exhibition at the collection, Number One: Destroy, She Said (2007–08), was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number Two: Fragile (2008–09) focused on the body and corporality, bringing together video, performance, and body art. Number Three: Here and Now (2009–10) was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys (2015–16) revisited performance and feminist video, questioning the representation of female identity and the performance document. To celebrate its tenth anniversary, the JULIA STOSCHEK COLLECTION invited artist Ed Atkins to curate a group exhibition in Düsseldorf, which he called Generation Loss (2017). The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next. 

 

The inaugural exhibition in Berlin, Welt am Draht (2016), addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization. Another group show, Jaguars and Electric Eels (2017), explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality. Large-scale solo presentations supplement the collection exhibition program. In 2018, the JULIA STOSCHEK COLLECTION, Berlin, presented a comprehensive exhibition by Arthur Jafa, his first in Germany. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. There are two cinemas in Düsseldorf equipped to screen 16mm and 35mm films in their original format. 


LOAN REQUESTS

Loan requests for works of the JULIA STOSCHEK COLLECTION should be sent by e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.art

 

The loan request will be processed if the following conditions are met:

 

Loan requests must be made at least 6 months before the desired start of the loan period. The request must contain the following information and documents:

 

Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.

 

Please note that works that have a reference to Electronic Arts Intermix in the Courtesy line may not be lend through the JULIA STOSCHEK COLLECTION. Please contact Electronic Arts Intermix, New York directly.

 


RESTORATION & PRESERVATION

Long-Term Archiving

 

The conservation requirements for time-based media (TBM) have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works.

 

Yet aging is only one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware. All of these components can age: not only the media themselves are affected by the processes of decay, but even the content can become unreadable over of the years due to incompatibilities. Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their way to becoming obsolete. To this end all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository.

 

To meet all of the different requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK COLLECTION, based on the “three-pillar approach.” The goal is to consolidate the heterogenous collection on a digital level in just a few established and homogeneous target formats. This noticeably reduces the conservation effort since only a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are becoming obsolete. This is flanked by individual solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved.

Media-Art Repository

 

The media art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the most important factors during the planning. Temperatures of around 15 degrees Celsius (59 degrees Fahrenheit) and 35 percent relative humidity (RF) are considered optimal for storing magnetic tapes and was therefore chosen for the repository. These conditions are also appropriate for film and slides.

 

The media art depot, designed and individually planned for the JULIA STOSCHEK COLLECTION, has two airlocks: one prevents abrupt changes in climate when people enter, while the second airlock is conceived for tapes and media that are stored in the media depository. They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-bearing mountings, ensures that the space is used optimally. The floor has a stove-enamel finish and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes. In addition, the shelves are grounded to prevent any static electricity.

 

Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the conditioning process. Smoke and water detectors as well as an alarm system simultaneously offer comprehensive hazard protection.

 

The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe.

 

Andreas Weisser

Time-based media conservator

 

Camp
Queer Cinema
1920s
1910s
8mm film
1950s
Lithograph
Drawing
2010s
2000s
1990s
1980s
1970s
1960s
Virtual reality
Time-based art
Site-specific
Mixed media
Light object
Sound art
Painting
Live simulation
Collage
Diaprojektion
Installation
Skulptur
Photography
Video
Film
35mm film
16mm film
Super-8-Film
video sculpture
The Dusseldorf School of Photography
Performance art
Land art
Body art
Jacolby Satterwhite
1-8. En Plein Air Abstraction (full length feature), 2018
Katharina Sieverding
24/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Manuel Graf
1000 Jahre sind ein Tag, 2005
Katharina Sieverding
11/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Christian Jankowski
16 mm Mystery, 2004
Christoph Schlingensief
18 Bilder pro Sekunde (Dokumentation der Ausstellung im Haus der Kunst, München), 2007
Roxy Paine
182212102002B, 2002
Jeppe Hein
2-Dimensional Mirror Labyrinth, 2006
Katharina Sieverding
26/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Charles Richardson
27th March, 2015
Klara Lidén
550, 2004
A
Wu Tsang
A day in the life of bliss, 2014
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. 14 performances Relation Work (1976–1980), 1976–1980.
Relation in Space, 1976
Talking about Similarity, 1976
Breathing in, Breathing out, 1977
Imponderabilia, 1977
Expansion in Space, 1977
Relation in Movement, 1977
Relation in Time, 1977
Light/Dark, 1977
Balance Proof, 1977
AAA-AAA, 1978
Incision, 1978
Kaiserschnitt, 1978
Charged Space, 1978
Three, 1978
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. Action in 14 predetermined sequences, 1976.
There is a Criminal Touch to Art, 1976
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. Four performances by Abramović (1975–1976), 1975–1976.
Art must be beautiful, Artist must be beautiful, 1975
Freeing the Voice, 1976
Freeing the Memory, 1976
Freeing the Body, 1976
Helen Benigson
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 1, 2015
Helen Benigson
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 2, 2015
Helen Benigson
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 3, 2015
Helen Benigson
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 4, 2015
Helen Benigson
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 5, 2015
Helen Benigson
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 6, 2015
Hannah Perry
aahhhhhh, 2015
Basel Abbas & Ruanne Abou-Rahme
Marina Abramović
Vito Acconci
Manuel Acevedo
DAS INSTITUT
Adele Röder For Das Institut Starline, 2010
Christoph Schlingensief
Affenbilder, 2005
Pep Agut
Peggy Ahwesh
Leo Gabin
Ain’t Gon Do It, 2015
Doug Aitken
Leo Gabin
Aliens, 2015
Pipilotti Rist
Als der Bruder meiner Mutter geboren wurde, duftete es nach wilden Birnenblüten vor dem braungebrannten Sims, 1992
Peter Weibel
Als Fuji noch ein Berg war, 1990
Lutz Mommartz
Als wär’s von Beckett, 1975
Francis Alÿs & Rafael Ortega
Francis Alÿs
David Claerbout
American Car, 2004
Matthew Buckingham
Amos Fortune Road, 1996
Matt Copson
Anarchist, 2015
Jen DeNike
Anat, 2006
Jacky Connolly
Anhedonia (full length feature), 2017
Ana Mendieta
Anima, Silueta de Cohetes (Firework Piece), 1976
Christoph Schlingensief
Animatograph, Odins Parsipark, Neuhardenberg, 2005
Kerstin Brätsch, Adele Röder
Announcement Poster 1 and 2, 2011
Ant Farm & T.R. Uthco
Eleanor Antin
DAS INSTITUT
Apes and Shapes (I’ll see you again in 25 years), 2011
Arthur Jafa
Apex, 2013
Vito Acconci
Applications, 1970
Cory Arcangel
Colin Montgomery
Arlington National Cemetry (JFK funeral model), 2005
Bruce Nauman
Art Make-Up, 1967–1968
Art Make-Up, No. 1, White, 1967
Art Make-Up, No. 2, Pink, 1967
Art Make-Up, No. 3, Green, 1967–1968
Art Make-Up, No. 4, Black, 1967–1968
Cyprien Gaillard
Artefacts, 2011
Natascha Sadr Haghighian
Artificial Life, 1995
Richard Artschwager
Elizabeth Price
At the House of Mr. X, 2007
Ed Atkins
Charles Atlas
Kader Attia
Leo Gabin
Awesome, 2015
Ilit Azoulay
B
Lutz Bacher
Jo Baer
Trisha Baga
John Baldessari
John Baldessari
Baldessari sings LeWitt, 1972
Jules de Balincourt
Heike Baranowsky
Claus Föttinger
Barbarella, Matmos and Chief of Matmos, 2006
Christoph Westermeier
Barbarian + Classics, 2012
Sigalit Landau
Barbed Hula, 2000
Hernan Bas
Ed Fornieles
Bathing, 2015
Thomas Demand
Beau Rivage, 1997
Francis Alÿs
Beggars, 2004
Neïl Beloufa
Lynda Benglis
Helen Benigson
Bernadette Corporation
Thomas Bernstein
Walead Beshty
Jeremy Shaw
Best Minds Part One, 2007
Jon Rafman
Betamale Trilogy (Glass Cabin), 2015
Still Life (Betamale), 2013
Mainsqueeze, 2014
Erysichthon, 2015
Joseph Beuys
Clemens von Wedemeyer
Big Business + The Making of Big Business, 2002
Big Business, 2002
The Making of Big Business, 2002
Johanna Billing
Mary Lucier
Bird’s Eye, 1978
Dara Birnbaum
Hannah Black
Paul McCarthy
Black and White Tapes, 1970-1975
Ma Bell, 1971
Painting Face Down – White Line, 1972
Spit – Not Looking at the Camera, 1974
Spinning, Short segment of 20-minute Tape, 1970–71
Whipping the Wall with Paint, 1975
Up Down Penis Show, 1974
Zippedy Doo Dance, 1974
Icicle Slobber, 1975
Pipe Shadow, 1975
Upside Down Spitting – Bat, 1975
Drawing – Semen Drawing, 1975
Spitting on the Camera Lens, 1974
Upside Down Pipe, 1975
Bruce Nauman
Black Balls, 1969
Christoph Westermeier
Blaker, 2011
David Blandy
Jesper Just
Bliss and Heaven, 2004
Doug Aitken
Blow Debris, 2000
Sean Bluechel
Pipilotti Rist
Blutclip, 1993
John Bock
Hannah Black
Bodybuilding, 2015
Monica Bonvicini
Adam Putnam
Bookshelf, 1997
Matt Copson
Booty Call, 2015
Nam June Paik
Born Again, 1991
Alexander Bornschein
Bruce Nauman
Bouncing Balls, 1969
Bruce Nauman
Bouncing in the Corner No. 1, 1968
Bruce Nauman
Bouncing in the Corner, No. 2: Upside Down, 1969
Bruce Nauman
Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967–1968
Carol Bove
Robert Boyd
Leo Gabin
Break Up, 2015
Matt Copson
Broadcast, 2015
Doug Aitken
Broken Glass in the Slipstream, 2003
Klaus vom Bruch
Lonnie van Brummelen & Siebren de Haan
Matthew Buckingham
Chris Burden
Anthony Burdin
Reynold Reynolds & Patrick Jolley
Burn, 2002
Jeff Burton
Peter Fischli & David Weiss
Büsi, 2001
Joseph Beuys
Buttocklifting (Edition Staeck), 1974
C
Matt Calderwood
Sophie Calle
Taryn Simon
CALVIN WASHINGTON, C&E Motel, Room No.24, Waco, Texas. Where an informant claimed to have heard Washington confess. Served 13 years of a life sentence for murder, 2002
Peter Campus
Robin Rhode
Candle, 2007
Karl Wilhelm Diefenbach
Capri, 1911
Till Gerhard
Captain America, 2004
Charles Richardson
Carramesh, 2015
Julius Shulman
Case Study House #22. Los Angeles, CA, Pierre Koenig Architect, 1960
Andreas Gursky
Centre Pompidou, 1995
Richard Artschwager
Chair/Chair, 1980
Richard Artschwager
Chair/Chair, 1980
Paul Chan
Patty Chang
Mika Rottenberg
Chasing Waterfall. The Rise and Fall of the Amazing Seven Sutherland Sisters, 2006
Mika Rottenberg
Cheese, 2008
House, 2008
Cheese, 2008
Hairwash, 2008
Milk, 2008
Concert, 2008
Chicken Soup, 2008
Ian Cheng
Brock Enright
Chrystal Anarchy Sign (pink), 2007
Mark Leckey
Cinema-in-the-Round, 2006-2008
Cyprien Gaillard
Cities of Gold and Mirrors, 2009
David Claerbout
Klara Lidén
Claim, 2010
Clegg & Guttman
Ed Fornieles
Climbing, 2015
Andreas Gursky
Cocoon II, 2008
Catherine Opie
Commissioned Portrait: Julia and Jacob, 2019
Jacky Connolly
Ulay & Marina Abramović
Continental Videoseries. Abramović/Ulay (1983-1986), 1983-1986
City of Angels, 1983
Terra Degla Dea Madre, 1984
Terminal Garden, 1986
China Ring, unedited video notebook, 1988
Matt Copson
Michael Snow
*Corpus Callosum, 2002
Vito Acconci
Corrections, 1970
Jane Crawford & Robert Fiore
Jamie Crewe
James Richards & Leslie Thornton
Crossing, 2016
Lucy Raven
Curtains, 2014
Keren Cytter
D
Bruce Nauman
Dance or Exercise on the Perimeter of a Square (Square Dance), 1967-1968
Klaus vom Bruch
Das Alliiertenband, 1982
Clemens von Wedemeyer
Das Bildermuseum brennt, 2004/05
Carol Bove
Das Energi, 2005/06
DAS INSTITUT
Leo Gabin
Date Yourself, 2015
Ed Atkins
Death Mask II: The Scent, 2010
Jessica Mein
DeleveleD, 2007
Asier Mendizabal
Delimitar #1, 2009
Asier Mendizabal
Delimitar #2, 2009
Asier Mendizabal
Delimitar #3, 2009
Asier Mendizabal
Delimitar #4, 2009
Asier Mendizabal
Delimitar #5, 2009
Ed Atkins
Delivery to the Following Recipient Failed Permanently, 2011
Thomas Demand
Jen DeNike
Simon Denny
Jan Paul Evers
Der Abstand zwischen den Gipfeln menschlicher Möglichkeiten, 2011
Tobias Zielony
Der Brief (The Letter), 2013
Anthony Burdin
Desert Mix, „Go See um Black Feather“, 2003
Josh Kline
Designer’s Head in Tim Coppens (Tim), 2013
Cyprien Gaillard
Desniansky Raion, 2007
Monica Bonvicini
Destroy She Said, 1998
Thomas Demand
Details (Sportscar), 2005
Frances Stark
Detumescence and/or its Opposite (from a Torment of Follies), 2012
Maria Anna Dewes
Christoph Schlingensief
Diana Altar, 2006
Jana Euler
Die Höhle aus Löwen, 2013
Christian Jankowski
Die Jagd, 1992/1997
Till Gerhard
Die Ordnung der Dinge, 2004
Lutz Mommartz
Die Treppe, 1967
Karl Wilhelm Diefenbach
STURTEVANT
Dillinger Running Series, 2000
Christoph Steinmeyer
Disco Inferno Edition, 2008
Adam Putnam
Dish Cabinet, 1997
Timur Si-Qin
Display (Peace), 2015
Joan Jonas
Disturbances, 1974
Nathalie Djurberg & Hans Berg
Chloe Wise
do you really think he fingered her, 2015
Chris Burden
Documentation of selected works, 1971-1975
Deadman, 1972
Bed Piece, 1972
Through the Night Softly, 1973
Icarus, 1973
Shoot, 1971
Cheryl Donegan
Trisha Donnelly
Thorben Eggers
Doppelseite, 2015
Sophie Calle
Double Blind, 1992
Thiago Rocha Pitta
Double fountain or cooked landscape, 2005
Barbara Hammer
Double Strength, 1978
Mika Rottenberg
Dough, 2006
Juan Downey
Jon Rafman
Dream Journal 2016 – 2019, 2019
Alex Müller
Drei Finger Dick, 2005
Jen DeNike
Dunking, 2003
Helen Marten
Dust and Piranhas, 2011
Marcel Dzama
E
Mika Rottenberg
e20, 2005
Mika Rottenberg
e24, 2005
Rosemarie Trockel
Egg-trying to get warm (Versuch nach Mach), 1994
Thorben Eggers
Rosemarie Trockel
Ei-Dorado, 1992/1998
John Bock
Ein Haufen voller Flacker, 2012
Die abgeschmierte Knicklenkung im Gepäck verheddert sich im weißen Hemd , 2009
Im Schatten der Made, 2010
Pi-Bean, 2010
Seewolf, 2010
Bauchhöhle bauchen, 2011
Lichterloh Roh, 2011
Monsieur et Monsieur, 2011
Nichts unter der Kinnlade, 2011
Lütte mit Rucola, 2006
Martin Honert
Eisbär, 1995/2001
STURTEVANT
Elastic Tango, 2010
Olafur Eliasson
Elmgreen & Dragset
Colin Montgomery
Emergency Doors (Smithsonian American History Museum), 2006
Tracey Emin
Ian Cheng
Emissary Forks At Perfection, 2015
Ian Cheng
Emissary in the Squat of Gods, 2015
Ian Cheng
Emissary Sunsets The Self, 2017
Paul Pfeiffer
Empire, 2004
Natascha Sadr Haghighian
Empire of the Senseless Part II, 2006
Nam June Paik
EMPIRE STATE BUILDING, 1995
Encyclopedia Pictura & Björk
Brock Enright
Pipilotti Rist
(Entlastungen) Pipilottis Fehler, 1988
Anicka Yi
Escape From the Shade 5, 2016
Rob Pruitt
Esprit de Corps: Guitar Jam, 2006
Jana Euler
Ed Atkins
Even Pricks, 2013
Jan Paul Evers
Mathilde Rosier
Every Day the Same, 2002
Helen Marten
Evian Disease, 2012
Tony Oursler
EVOL, 1984
Martti Kalliala & Daniel Keller
Exitscape 1, 2015
Martti Kalliala & Daniel Keller
Exitscape 2, 2015
Martti Kalliala & Daniel Keller
Exitscape 3, 2015
Martti Kalliala & Daniel Keller
Exitscape 4, 2015
Martti Kalliala & Daniel Keller
Exitscape 5, 2015
Martti Kalliala & Daniel Keller
Exitscape 6, 2015
VALIE EXPORT
Charles Richardson
Extra, 2015
Mike Kelley
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011
Mike Kelley
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011
F
VALIE EXPORT
Facing a Family, 1971
Hito Steyerl
Factory of the Sun, 2015
Loretta Fahrenholz
Ed Fornieles
Falling, 2015
Patty Chang
Fan Dance, 2003
Leo Gabin
Fast Lost by Ho Ho Click, 2015
Walead Beshty
FedEx® Medium Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex Priority Overnight, Los Angeles-Dusseldorf, trk#865282057872, September 19-20, 2008FedEx® Medium Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex Priority Overnight, Los Angeles-Dusseldorf, trk#865282057894, September 19-20, 2008FedEx® Medium Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex PriorityOvernight, Los Angeles-Dusseldorf, trk#865282057909, September 19-20, 2008FedEx® Medium Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex Priority Overnight, Los Angeles-Dusseldorf, trk#865282057861, September 19-20, 2008FedEx® Medium Kraft Box ©2005 FEDEX 330504 REV 10/05 CC, Fedex Priority Overnight, Los Angeles-Dusseldorf,trk#865282057883, September 19-20, 2008, 2008
Tracey Emin
Feel Your Touch, 2016
Cao Fei
Mark Leckey
Felix Gets Broadcasted, 2007
Jen DeNike
Fell, 2006
Lynda Benglis
Female Sensibility, 1973
Thomas Demand
Fence, 2004
Moritz Wegwerth
Fenster, 2013
Laurel Nakadate
Fever Dream with Rabbit, 2009
GCC
Figure A: Amalgamated City, 2013
Asier Mendizabal
Figures and Prefigurations (Divers, A. Rodchenko, 1930, Political Football), 2009
Asier Mendizabal
Figures and Prefigurations (Divers, V. Palladini, 1926), 2009
STURTEVANT
Finite/Infinite, 2010
Mark Leckey
Fiorucci Made Me Hardcore, 1999
Peter Fischli & David Weiss
Jack Smith
Flaming Creatures, 1962/63
Christiane Fochtmann
Josh Kline
Forever 27 (Kurt), 2013
Josh Kline
Forever 48 (Whitney), 2013
Ed Fornieles
Claus Föttinger
Paul Pfeiffer
Four Horsemen of the Apocalypse (15), 2004
Paul Pfeiffer
Four Horsemen of the Apocalypse (16), 2004
Keren Cytter
Four Seasons, 2009
Claus Föttinger
Fragile-Bar, 2008
Aaron Young
Freedom Fries, 2005
Aaron Young
Freeformdome, 2003
Wolfgang Tillmans
Freischwimmer 21, 2004
Dara Friedman
Charles Richardson
Friend, 2015
Alex McQuilkin
Fucked, 1999
Carolee Schneemann
Fuses, 1964–1967
G
Leo Gabin
Cyprien Gaillard
Ryan Gander
Andreas Gursky
Gasherd, 1980
Bruce Nauman
Gauze, 1969
GCC
Oliver Payne & Nick Relph
Gentlemen, 2003
Isa Genzken
Till Gerhard
Hannah Wilke
Gestures, 1974
Bernadette Corporation
Get rid of yourself, 2003
Alex McQuilkin
Get Your Gun Up, 2002
Beatrice Gibson
Melanie Gilligan
Kate Gilmore
Leo Gabin
Girlhood, 2015
Jen DeNike
Girls like me, 2006
Nam June Paik
Global Groove, 1973
Rob Pruitt
Global Warming, 2006
Matt Calderwood
Gloss, 2004
Torbjørn Rødland
Goldene Tränen, 2002
Aaron Young
Good Boy, 2001
Douglas Gordon
Manuel Graf
Dan Graham
Heike Baranowsky
Gras, 2001
Mark Leckey
GreenScreenRefrigerator, 2010
Jan Paul Evers
Große rekursive Funktion, 2010
Lonnie van Brummelen & Siebren de Haan
Grossraum (Borders of Europe), 2004/05
Manuel Graf
Gründer, 2014
Guerrilla Girls
Cao Guimarães
Andreas Gursky
H
Charles Atlas
Hail the New Puritan, 1985/86
Barbara Hammer
Monica Bonvicini
Hammering out (An old argument), 1998-2003
Klara Lidén
Handicap (Konst Fack), 2007
Hannah Wilke
Hannah Wilke Through the Large Glass, 1976
Claus Föttinger
Hanoi/Saigon, 2007
Paul Chan
Happiness (Finally) After 35,000 Years of Civilization (after Henry Darger and Charles Fourier), 2000-2003
Asier Mendizabal
Hard Edge 4, 2010
Aura Rosenberg
Harmony Korine/Carmen, 1998
Bill Viola
Hatsu-Yume (First Dream), 1981
Amir Yatziv
Hausbaumaschine, 2013
Britta Thie
„HD“, 2016
Anthony Burdin
He Ain’t No Fuckin’ Drumma, Summer P-lot Tour 2003, Oxnard CA (1. Light My Fire, 2. Kashmiur), 2003
Cheryl Donegan
Head, 1993
Wolfgang Tillmans
Heartbeat/Armpit, 2003
Jon Kessler
Heaven’s Gate, 2004
Paul McCarthy & Mike Kelley
Heidi, 1992
Mathilde ter Heijne
Jeppe Hein
Hannah Wilke
Hello Boys, 1975
Trisha Baga
Hercules, 2012
Aaron Young
High Performance, 2000
Florian Meisenberg
hihihihihihihihihihihih, 2015
Gary Hill
Cao Fei
Hip Hop Guangzhou, 2003
Candida Höfer
Christian Jankowski
Hollywoodschnee, 2004
Nancy Holt & Robert Smithson
Nancy Holt
Thiago Rocha Pitta
Homage to JMW Turner, 2002
Martin Honert
Kristin Lucas
Host, 1997
Jack Smith
Hot Air Specialists, 1980s
Peter Fischli & David Weiss
Hunde, 2003
Lina Lapelyte
Hunky Bluff ACT 1, 2015
Lina Lapelyte
Hunky Bluff ACT 2, 2015
Lina Lapelyte
Hunky Bluff ACT 3, 2015
Lina Lapelyte
Hunky Bluff ACT 4, 2015
Lina Lapelyte
Hunky Bluff ACT 5, 2015
Lina Lapelyte
Hunky Bluff ACT 6, 2015
I
Sean Bluechel
I am in love with a succubus, 2006
Jeremy Shaw
I CAN SEE FOREVER, 2018
Tracey Emin
I Can’t Love Anymore, 2016
Rindon Johnson
I First you (11/11), 2018
Britta Thie
„I googled my mom and was relieved that she is still safe“, 2016
Beatrice Gibson
I HOPE I’M LOUD WHEN I’M DEAD, 2018
Tracey Emin
I Lay Here, 2016
Christoph Schlingensief
I want to destroy, 2005
Claus Föttinger
I Want To See How You See, 2010
Barbara Hammer
I Was/I Am, 1973
Cao Fei
I. Mirror by China Tracy (aka: Cao Fei), 2007
Aaron Young
I.P.O (25 Offerings), 2006
Philip Topolovac
I’ve Never Been to Berghain, 2016
Pipilotti Rist
I’m a Victim of This Song, 1995
Pipilotti Rist
I’m not the Girl who misses much, 1986
David Blandy
Ice, 2015
Britta Thie
„If something turns into hype that once saved you, it feels like you are back on the Titanic again. But Jack Dawson has already left you“, 2016
Anne Imhof
Loretta Fahrenholz
Implosion, 2011
Timur Si-Qin
In Memoriam 9, 2015
Stephen Vitiello
In The Woods, 2015
Gary Hill
Incidence of Catastrophe, 1987-1988
Alex McQuilkin
Indefinite Line Towards Becoming the Perfect SoHo Girl, 2000
Lawrence Weiner
Inherent in the Rhumb Line, 2005
Matt Copson
Inherited Deficit, 2015
Hannah Wilke
Intercourse with …, 1978
Britta Thie
„Interfaces become our weather“, 2016
Doug Aitken
Interiors, 2002
Rosemarie Trockel
Interview, 1994
Nandipha Mntambo
Intsandvokati, 2008
Thiago Rocha Pitta
Inverted zenith, 2005
Nathalie Djurberg & Hans Berg
It’s the Mother, 2008
Britta Thie
„It’s all good in Italics“, 2016
J
Arthur Jafa
Neïl Beloufa
Jaguacuzzi, 2015
APRIL THE SECOND, 2007
KEMPINSKI, 2007
TOUR, 2009
BRUNE RENAULT, 2010
SANS TITRE, 2010
SAYRE AND MARCUS, 2010
THE ANALYST, THE RESEARCHER, THE SCREENWRITER, THE CGI TECH AND THE LAWYER, 2011
CATENACCIO SYSTEM, 2011
PEOPLE’S PASSION, LIFESTYLE, BEAUTIFUL WINE, GIGANTIC GLASS TOWERS, ALL SURROUNDED BY WATER, 2011
PARTY ISLAND, 2012
REAL ESTATE, 2012
WORLD DOMINATION, 2012
TONIGHT AND THE PEOPLE, 2013
DESIRE FOR DATA, 2014
HOME IS WHENEVER I’M WITH YOU, 2014
VENGEANCE, 2014
Lutz Bacher
James Dean, 1986/2014
Christian Jankowski
Hernan Bas
Jetsam from the wreck of the Half Moon, 2016
Rindon Johnson
Joan Jonas
Benjamin Jones
Richard Phillips
Julia, 2014
Candida Höfer
Julia Stoschek Collection Düsseldorf VIII, 2008
Candida Höfer
Julia Stoschek Collection IV, 2008
Isaac Julien
Jack Smith
Jungle Island, 1967
Jesper Just
Tracey Emin
Just Let Me Love You, 2016
K
K-HOLE
K-HOLE
K-HOLE for education, 2016
Martti Kalliala & Daniel Keller
Klara Lidén
Kasta Macka, 2009
Wolfgang Tillmans
Kate McQueen, 1996
Hannah Perry
keep the peace, 2015
Mike Kelley
Zilvinas Kempinas
Jon Kessler
Till Gerhard
Kleiner Hunger, 2006
Josh Kline
Pierre Klossowski
Imi Knoebel
Cyprien Gaillard
KOE, 2015
Terence Koh
VALIE EXPORT
Körperkonfiguration, 1982
Andreas Korte
Franz West
Künstlerstuhl K095, 2011
Franz West
Künstlerstuhl K104, 2011
Franz West
Künstlerstuhl K107, 2011
Franz West
Künstlerstuhl K108, 2011
Franz West
Künstlerstuhl K116, 2011
Franz West
Künstlerstuhl K117, 2011
Franz West
Künstlerstuhl K118, 2011
Franz West
Künstlerstuhl K121, 2011
Franz West
Künstlerstuhl K126, 2011
Franz West
Künstlerstuhl K130, 2011
Franz West
Künstlerstuhl K131, 2011
L
Cyprien Gaillard
L’Ange du foyer (Vierte Fassung), 2019
Wolfgang Tillmans
LA still life, 2001
Marie-Jo Lafontaine
Sigalit Landau
Lina Lapelyte
Mark Manders
Large Figure with Thin Newspaper, 2010
Taryn Simon
LARRY MAYES Scene of arrest, The Royal Inn, Gary, Indiana. Police found Mayes hiding beneath a mattress in this room. Served 18,5 years of an 80-years sentence for rape, robbery and unlawful deviate conduct, 2002
Tobias Zielony
Le Vele di Scampia, 2009
Mark Leckey
Marcel Dzama
Leila Khaled does not need me, 2008
Marie-Jo Lafontaine
Les Larmes d’Acier, 1988
Keren Cytter
Les Ruissellements du Diable, 2008
Hannah Perry
let go beat, 2015
Rachel Maclean
Let It Go – Part 1, 2015
Rachel Maclean
Let It Go – Part 2, 2015
Rachel Maclean
Let It Go – Part 3, 2015
Rachel Maclean
Let It Go – Part 4, 2015
Rachel Maclean
Let It Go – Part 5, 2015
Rachel Maclean
Let It Go – Part 6, 2015
Matt Copson
Letter from War, 2015
Klara Lidén
Thomas Demand
Lift, 2004
Matt Calderwood
Light, 2004
Claus Föttinger
Light Object Jaguars and Electric Eels, 2017
Claus Föttinger
Light Object Kill, 2014
Claus Föttinger
Light Object No. 1: Destroy, She Said, 2007
Claus Föttinger
Light Object No. 10: Trisha Donnelly, 2015
Claus Föttinger
Light Object No. 11: Cyprien Gaillard, 2015
Claus Föttinger
Light Object No. 12: Hello Boys, 2016
Claus Föttinger
Light Object No. 13: Hito Steyerl – Missed Connections, 2016
Claus Föttinger
Light Object No. 2: Fragile, 2008
Claus Föttinger
Light Object No. 3: Here and Now, 2009
Claus Föttinger
Light Object No. 4: Derek Jarman – Super8, 2010
Claus Föttinger
Light Object No. 6: Flaming Creatures, 2012
Claus Föttinger
Light Object No. 7: Ed Atkins – Frances Stark, 2013
Claus Föttinger
Light Object No. 8: Sturtevant, 2014
Claus Föttinger
Light Object Welt am Draht, 2016
Claus Föttinger
Light Object: Arthur Jafa – A Series of utterly improbable, extraordinary renditions, 2018
Kurt Lightner
Matt Calderwood
Lightning, 2005
Jeremy Shaw
Liminals, 2017
Anthony McCall
Line Describing a Cone, 1973
Bruce Nauman
Lip Sync, 1969
Leo Gabin
Lips, 2015
Arthur Jafa
Love Is The Message, The Message Is Death, 2016
Hito Steyerl
Lovely Andrea, 2007
Sarah Lucas
Kristin Lucas
Mary Lucier
Christoph Westermeier
Lüster, 2011
M
Rachel Maclean
Mark Leckey
Made in ‘Eaven, 2004
Britta Thie
„MALL-E“, 2016
Mark Manders
Bunny Rogers
Mandy’s Piano Solo in Columbine Cafeteria, 2016
Christian Marclay
Helen Marten
Mika Rottenberg
Mary’s Cherries, 2004
Tobias Zielony
Maskirovka, 2017
Mathilde ter Heijne
Mathilde, Mathilde, 2000
Gordon Matta-Clark
Anthony McCall
Paul McCarthy & Mike Kelley
Paul McCarthy
Adam McEwen
Alex McQuilkin
Jessica Mein
Florian Meisenberg
Bjørn Melhus
Ana Mendieta
Asier Mendizabal
Carol Bove
Mia, 2005
Aura Rosenberg
Mike Kelley/Carmen, 1996
Kader Attia
Mimesis as Resistance, 2013
David Blandy
Mist, 2015
Nandipha Mntambo
Ulay & Marina Abramović
Modus Vivendi. Abramović/Ulay (1979-1986), 1979-1986
Communist Body/Fascist Body, 1979
That Self, 1980
Anima Mundi, 1983
Positive Zero, 1983
Modus Vivendi, 1985
Night See Crossing Conjunction, 1983
The Observer with Remy Zaugg, 1984
Lutz Mommartz
Pep Agut
Mon ombre est un mur, 1996
Heike Baranowsky
Mondfahrt, 2001
Nancy Holt
Mono Lake, 1968-2004
Colin Montgomery
David Blandy
Moon, 2015
Alex Morrison
Tony Oursler
Movie Block (time shift edit), 1994-2007
Otto Mueller
Alex Müller
Simon Denny
Multimedia Double Canvas progression, 2009
Multimedia Double Canvas Toshiba, 2009
Multimedia Double Canvas Thomson, 2009
Multimedia Double Canvas Tevion, 2009
Multimedia Double Canvas Hantarex, 2009
Multimedia Double Canvas Philips, 2009
Multimedia Double Canvas Samsung, 2009
Takeshi Murata
Frances Stark
My Best Thing, 2011
Kate Gilmore
My love is an anchor, 2004
Loretta Fahrenholz
My Throat, My Air, 2013
N
Asier Mendizabal
N,S,O,T,C, 2008
Wolfgang Tillmans
nackt, 2003
Laurel Nakadate
Christoph Westermeier
Nancy, Pamela, Thomas, Diana, Unity, Jessica, Deborah, 2011
Cao Guimarães
Nanofania, 2003
Bruce Nauman
Charles Richardson
Needles, 2015
Andro Wekua
Never Sleep with a Strawberry in Your Mouth, 2010
Douglas Gordon
New Colour Empire, 2006-2010
Douglas Gordon
New Colour Empires, 2006-2010
Carsten Nicolai
Cyprien Gaillard
Nightlife, 2015
Jack Smith
No President, 1967–1970
Bjørn Melhus
No Sunshine, 1997
Jack Smith
Normal Love, 1963–1965
Frances Stark
Nothing is enough, 2012
Hito Steyerl
November, 2004
O
Katharina Sieverding
o.T., 1990
Ilit Azoulay
Object #1, 2015
Ilit Azoulay
Object #2, 2015
Ilit Azoulay
Object #3, 2015
Ilit Azoulay
Object #4, 2015
Ilit Azoulay
Object #5, 2015
Ilit Azoulay
Object #6, 2015
Matt Copson
Oh-reg-ah-no, 2015
Alexander Bornschein
Ohne Titel, 2011
Claus Föttinger
Ohne Titel, 2004
Franz West
ohne Titel (L28), 2006
Franz West
ohne Titel (L31), 2006
Takeshi Murata
OM Making it Rain, 2015
Takeshi Murata
OM Passenger, 2015
Jon Rafman
On the humanity, 2015
Till Gerhard
Online Polonäse, 2006
Vito Acconci
Openings, 1970
Catherine Opie
Dennis Oppenheim
Frances Stark
Osservate, leggete con me, 2012
Tony Oursler
Jack Smith
Overstimulated, 1959–1963
P
Paper Rad
P-Unit Mixtape, 2005
Adrian Paci
STURTEVANT
Pacman, 2012
Nam June Paik
Roxy Paine
Seth Price
„Painting“ Sites, 2000/01
Rachel Rose
Palisades, 2015
Palisades in Palisades, 2014
Palisades (audio piece), 2015
A Minute Ago, 2014
Carol Bove
Panegyric (Vogue Photocollage), 2003
Paper Rad
Mark Leckey
Parade, 2003
Klara Lidén
Paralyzed, 2003
Ed Atkins
Paris Green, 2009
Jamie Crewe
Pastoral Drama, 2018
Oliver Payne & Nick Relph
Wolfgang Tillmans
Peas, 2003
Dan Graham
Performer/ Audience/ Mirror, 1975
Hannah Perry
Paul Pfeiffer
Richard Phillips
Hannah Wilke
Philly, 1977
Tony Oursler
Phone Block (time shift edit), 1994-2007
Pipilotti Rist
Pickelporno, 1992
Manuel Graf
Ping Pong, 2005
Jan Paul Evers
Place de Pyramide, 2009
Takeshi Murata
Plant Whisperer, 2015
Bruce Nauman
Playing A Note on the Violin While I Walk Around the Studio, 1967–1968
Bunny Rogers
Poetry reading in Columbine Library with Joan of Arc / Poetry reading with Gazlene Membrane in Columbine Cafeteria, 2014
Jon Rafman
Poor Magic, 2017
Dara Birnbaum
Pop Pop Video, 1980
Guerilla Girls
Portfolio Compleat, 1985-2016
Jan Paul Evers
Portrait Julia Stoschek, 2011
Ryan Gander
Portrait Of A Colour Blind Artist Obscured By Flowers, 2016
Clegg & Guttman
Portrait of a Lady, 2018
Thomas Ruff
Porträt 2009 (J. Stoschek), 2009
Elmgreen & Dragset
Powerless Structures, Fig. 101 (Maquette), 2015
Elizabeth Price
Seth Price
Gary Hill
Primarily Speaking, 1981-1983
Hannah Perry
Princess & princesses, 2015
Gordon Matta-Clark
Program Five, 1972-1976
Automation House, 1971
Clockshower, 1973
City Slivers, 1976
Dennis Oppenheim
Program One: Aspen Projects, 1970
Material Interchange, 1970
Identity Transfer, 1970
Rocked Hand, 1970
COMPRESSION – FERN #1, 1970
Pressure Piece #1, 1970
Glassed Hand, 1970
Compression – Poison Oak, 1970
COMPRESSION – FERN #2, 1970
Leafed Hand, 1970
Gordon Matta-Clark
Program One: Chinatown Voyeur, 1971
Gordon Matta-Clark
Program Seven, 1974-2005
Sous-Sols de Paris (Paris Underground), 1977-2005
Conical Intersect, 1975
Gordon Matta-Clark
Program Six, 1974-1976
Substrait (Underground Dailies), 1976
Bingo/Ninths, 1974
Splitting, 1974
Dennis Oppenheim
Program Six, 1971/72
Forming Sounds, 1971
2 Stage Transfer Drawing (Advancing to Future State), 1971
2 Stage Transfer Drawing (Retreating to a Past State), 1971
A Feedback Situation, 1972
3 Stage Transfer Drawing, 1971
Two Stage Transfer Drawing (Returning to a Past State), 1971
Objectified Counterforces, 1971
Shadow Project, 1971
Gordon Matta-Clark
Program Three, 1971-1975
Fire Child, 1971
Fresh Kill, 1972
Day’s End, 1975
Johanna Billing
Project for a Revolution, 2000
Imi Knoebel
Projektion X, 1972
Imi Knoebel
Projektion X (Remake 2005), 2005
Rob Pruitt
Bruce Nauman
Pulling Mouth, 1969
Takeshi Murata
Pumpjack Popeye, 2015
Adam Putnam
Q
Jeremy Shaw
Quickeners, 2014
R
James Richards
Radio At Night, 2015
Jon Rafman
Stephen Vitiello
Ratner’s Star, 2015
Lucy Raven
Francis Alÿs in collaboration with Rafael Ortega
Rehearsal I (Ensayo I), 1999-2001
Claus Föttinger
Remix Luhmanneck for Cities of Gold and Mirrors, 2011
Kon Trubkovich
Repeat Offenders, 2006
Jack Smith
Respectable Creatures, 1950–1966
Dara Friedman
Revolution, 2003
Reynold Reynolds & Patrick Jolley
Florian Meisenberg
rghwori, 2015
Andreas Gursky
Rhein II, 1999
Robin Rhode
James Richards & Leslie Thornton
James Richards
Charles Richardson
Clemens von Wedemeyer & Maya Schweizer
Rien du tout, 2006
Thiago Rocha Pitta
Rio de Janeiro X Sao Paulo, air trip with highway time or addressless love letter, 2005
Pipilotti Rist
Cao Fei
RMB City – A Second Life City Planning by China Tracy, 2007
Pierre Klossowski
Roberte aux barres parallèles, 1984
Thiago Rocha Pitta
Dan Graham
Rock my Religion, 1982-84
Torbjørn Rødland
Bunny Rogers
Taryn Simon
RONALD JONES Scene of arrest, South Side, Chicago, Illinois. Served 8 years of a death sentence for Rape and Murder, 2002
Rachel Rose
Aura Rosenberg
Mathilde Rosier
Martha Rosler
Mika Rottenberg
Thomas Ruff
David Blandy
Ruin, 2015
Jane Crawford & Robert Fiore
Rundown, 1994
Ed Ruscha
S
Natascha Sadr Haghighian
Barbara Hammer
Sanctus, 1990
Jen DeNike
Sasha, 2003
Trisha Donnelly
Satin Operator, 2007
Jacolby Satterwhite
Christoph Schlingensief
Carolee Schneemann
Heike Baranowsky
Schwimmerin, 2000
Trisha Donnelly
Sconce, 2013
Jack Smith
Scotch Tape, 1959–1962
Matt Calderwood
Screen, 2005
David Blandy
Sea, 2015
Klara Lidén
Seine, 2010
Lutz Mommartz
Selbstschüsse, 1967
Timur Si-Qin
Selection Display: Ancestral Prayer, 2011, 2011
William Wegman
Selections from 1970–78, 1981
Andreas Korte
Self Coded, 2008
Klara Lidén
Self Portrait with the Keys to the City, 2005
Elmgreen & Dragset
Self-Portrait, No.41, 2016
Sarah Lucas
Selfish In Bed II, 2000
Martha Rosler
Semiotics of the kitchen, 1975
Lutz Bacher
Sex with Strangers, 1986
Pipilotti Rist
Sexy Sad I, 1987
Mark Leckey
Shades of Destructors, 2005
Patty Chang
Shaved (At A Loss), 1998
Jeremy Shaw
Tracey Emin
She Lay There, 2016
Peggy Ahwesh
She Puppet, 2001
Chloe Wise
she’s so talented, 2015
Jen DeNike
Shipwreck, 2005
Andro Wekua
Should be titled, 2010/2011
Chloe Wise
should I add an emoji, 2015
Julius Shulman
Manuel Graf
Shulmantonioni, 2004
Timur Si-Qin
Hannah Perry
sick off smoke, 2015
Katharina Sieverding
Clemens von Wedemeyer
Silberhöhe + Die Siedlung, 2003/04
Silberhöhe, 2003
Die Siedlung, 2004
Taryn Simon
Ed Ruscha
Sin-Without, 2002
Ed Fornieles
Sitting, 2015
Tony Oursler
Sixth (Dusseldorf Variation), 2005-2007
Ed Fornieles
Sleeping, 2015
Jack Smith
Robert Smithson
Hannah Perry
smoke, 2015
Michael Snow
Terence Koh
Snow White, 2008
Jesper Just
Something to Love, 2005
Tracey Emin
Sometimes the dress is worth more money than the money, 2001
Florian Meisenberg
somewhere_sideways, 2015
Tony Oursler
Son of Oil, 1982
Till Gerhard
Sondervorstellung, 2006
Nandipha Mntambo
Sondzela, 2008
Jack Smith
Song for Rent, 1969
Joan Jonas
Songdelay, 1973
Lutz Mommartz
Soziale Plastik, 1969
Robert Smithson
Spiral Jetty, 1970
Carsten Nicolai
Spray, 2004
Terence Koh
Sprungkopf, 2006
Bruce Nauman
Stamping in the Studio, 1968
Jordan Wolfson
Star Field (month 25), 2004
Frances Stark
Stephen Vitiello
Stars In My Pockets Like Grains Of Sand, 2015
Tony Oursler
Station Block (time shift edit), 1994-2007
Douglas Gordon
Staying home (18.14) and going out (21.14), 2005
Douglas Gordon
Staying home (18.16) and going out (21.16), 2005
Christoph Steinmeyer
Hito Steyerl
Olivia Walsh
(Still) Doubt II, 2016
Matt Calderwood
Strips (vertical), 2005
STURTEVANT
Thiago Rocha Pitta
Sublimation, condensation, zenith and precipitation, 2005
Mathilde ter Heijne
Suicide Bomb, 2000
Carol Bove
Summer Solstice, Düsseldorf, 2031, 2006
Nancy Holt
Sun Tunnels, 1978
Elizabeth Price
Sunlight, 2013
David Blandy
Sunset, 2015
Andreas Gursky
Supernova, 1999
Leo Gabin
Surfer Ho Remix, 2015
Nancy Holt & Robert Smithson
Swamp, 1971
Ed Fornieles
Swimming, 2015
T
Christiane Fochtmann
Talkshow, 2006
Andreas Korte
Tanzfilm, 2011
Matt Calderwood
Tape, 2005
VALIE EXPORT
Tapp- und Tastkino (Touch Cinema), 1968
Dara Birnbaum
Technology/Transformation: Wonder Woman, 1978/79
Alex McQuilkin
Teenage Daydream: In Vain, 2002-2003
Alex McQuilkin
Teenage Daydream: It’s only Rock & Roll, 2002
Carsten Nicolai
telefunken anti, 2004
Christian Marclay
Telephones, 1995
Aaron Young
Tender Buttons with Mirrors, 2004
Takeshi Murata
Tennis, 2015
Ed Atkins
The Anthrophagus!, 2010
Stephen Vitiello
The Bone Clocks, 2015
Terence Koh
The Camel was God, the Camel Was Shot, 2007
Melanie Gilligan
The Common Sense, 2014/15
Leo Gabin
The Concept, 2015
Jen DeNike
The Deadman’s Float, 2005
Reynold Reynolds & Patrick Jolley
The Drowning Room, 2000
Ant Farm & T.R. Uthco
The Eternal Frame, 1975
Nathalie Djurberg & Hans Berg
The Experiment, 2009
Cave, 2009
Forest, 2009
Greed, 2009
Anicka Yi
The Flavor Genome, 2016
Leo Gabin
The Heart Wants, 2015
Marina Abramović
The Hero, 2000
Marina Abramović
The Hero, 2001
Chloe Wise
the hotel gave us wine, 2015
Frances Stark
The Inchoate Incarnate: After a Drawing, Toward an Opera, but Before a Libretto Even Exists, 2009
Basel Abbas & Ruanne Abou-Rahme
The Incidental Insurgents: The Part About the Bandit, Chapter 2, 2012/13
Eleanor Antin
The King, 1972
Cyprien Gaillard
The Lake Arches, 2007
Juan Downey
The Laughing Alligator, 1979
Jesper Just
The Lonely Villa, 2004
Cory Arcangel
The Making of Super Mario Clouds, 2004
Amir Yatziv
The National Park, 2015
Douglas Gordon
The nature of relationships between few words, 2006
Marina Abramović
The Onion, 1996
Jen DeNike
The Pimp, 2015
Vito Acconci
The Red Tapes, 1977
Tape 1: Common Knowledge, 1977
Tape 2: Local Color, 1977
Tape 3: Time Lag, 1977
Bill Viola
The Reflecting Pool – Collected Work 1977–80, 1977–80
The Reflecting Pool, 1977–79
Moonblood, 1977–79
Silent Life, 1979
Ancient of Days, 1979–81
Vegetable Memory, 1978–80
Asier Mendizabal
The Staff That Matters (30,000), 2009
Asier Mendizabal
The Staff That Matters (SI), 2009
Tobias Zielony
The Street (C.P.A.), 2013
Chris Burden
The T.V. Commercials, 1973-1977
Stephen Vitiello
The Waves, 2015
Tony Oursler
The Weak Bullet, 1980
Elizabeth Price
The Woolworths Choir of 1979, 2012
Hannah Perry
The worse you feel the better I look, 2015
Stephen Vitiello
The Wrath of Angels, 2015
Florian Meisenberg
the_anciety_of_influence, 2015
Florian Meisenberg
the_tacit_one, 2015
Vito Acconci
Theme Song, 1973
Britta Thie
Gwenn Thomas
Britta Thie
„Three Infomercials“, 2016
Vito Acconci
Three Relationship Studies, 1970
Shadow-Play, 1970
Imitations, 1970
Manipulations, 1970
Peter Campus
Three Transitions, 1973
Wolfgang Tillmans
Hannah Perry
To say you feel something, 2015
Hannah Perry
too loud and too wavy, 2015
Philip Topolovac
Florian Meisenberg
towards_a_new_architecture, 2015
Jon Rafman
Transdimensional Serpent, 2016
Ryan Trecartin
Ryan Trecartin
Trill-ogy Comp., 2009
P.opular S.ky (section ish), 2009
K-CoreaINC.K (section a), 2009
Sibling Topics (section a), 2009
Rosemarie Trockel
Mika Rottenberg
Tropical Breeze, 2004
Manuel Acevedo
Tropisms – WTC (World Trade Center) Site, 2007
Kon Trubkovich
Isaac Julien
True North, 2004
Wu Tsang
Tony Oursler
Tunic (Song for Karen), 1990
Adrian Paci
Turn on, 2004
Gwenn Thomas
Twilight, 1975
Dan Graham
Two-way Mirror Power, 2006
Manuel Graf
Über die aus der Zukunft fließende Zeit, 2006
Asier Mendizabal
Überbau (Superstructure), 2005
U
Ulay
Ulay & Marina Abramović
Amalia Ulman
John Bock
Unheil, 2018
Franz West
Künstlerstuhl K122, 2011
U
Marcel Dzama
Untitled, 2008
Anne Imhof
Untitled, 2017
Anne Imhof
Untitled, 2017
Anne Imhof
Untitled, 2017
Anne Imhof
Untitled, 2017
Kurt Lightner
Untitled, 2004
Frances Stark
Untitled, 2012
Keren Cytter
Untitled, 2009
Nadim Vardag
Untitled, 2011
Trisha Donnelly
Untitled, 2005
Trisha Donnelly
Untitled, 2008
Trisha Donnelly
Untitled, 2010
Trisha Donnelly
Untitled, 2012
Trisha Donnelly
Untitled, 2011
Trisha Donnelly
Untitled, 2013
Marcel Dzama
Untitled, 2008
Marcel Dzama
Untitled, 2008
Marcel Dzama
Untitled, 2008
Isa Genzken
Untitled, 2017
Jo Baer
Untitled, 1966-1974
Ed Atkins
Untitled (1), 2013
Ed Atkins
Untitled (2), 2013
Ed Atkins
Untitled (3), 2013
Ed Atkins
Untitled (4), 2013
Ed Atkins
Untitled (5), 2013
Ed Atkins
Untitled (7), 2013
Ed Atkins
Untitled (8), 2013
Ed Atkins
Untitled (9), 2013
Adam McEwen
Untitled (A-Line), 2002
Paul Chan
Untitled (After St. Caravaggio), 2003-2006
Klara Lidén
Untitled (Column Monkey), 2010
Klara Lidén
Untitled (Down), 2011
Patty Chang
Untitled (For Abramović, Love Cocteau), 2000
Trisha Donnelly
Untitled (mountain), 2008
Jules de Balincourt
Untitled (Pastoral Scene), 2006
Klara Lidén
Untitled (Trashcan), 2011
Klara Lidén
Untitled (Under Mattan), 2006–2010
Jeff Burton
Untitled #151 (Picket Fence), 2001
Jeff Burton
Untitled #176 (Rods and Clamps), 2003
Jeff Burton
Untitled #182 (Spa Rules), 2003
Trisha Donnelly
Untitled I (Double Alpha), 2007
Andreas Gursky
Untitled XII, No.4, 2000
Carolee Schneemann
Up to and including her Limits, 1976
Ed Atkins
Us Dead Talk Love, 2012
Hannah Perry
Useless, 2015
Kurt Lightner
Useless Fruit, 2006
V
Charles Richardson
Vanish, 2015
Nadim Vardag
Steina Vasulka
Bruce & Norman Yonemoto
Vault, 1984
Joan Jonas
Vertical Roll, 1972
Nam June Paik
Video-Film Concert, 1966-1972/1992
Colin Montgomery
View, 101 Constitution Anvenue (U.S. Capitol), 2006
Bill Viola
Bruce Nauman
Violin Film #1 (Playing The Violin As Fast As I Can), 1967-1968
Steina Vasulka
Violin Power, 1970-76
Timur Si-Qin
Visit Mirrorscape 2016: Arrive, 2016
Timur Si-Qin
Visit Mirrorscape 2016: Here, 2016
Timur Si-Qin
Visit Mirrorscape 2016: Now, 2016
Stephen Vitiello
Anthony Burdin
Voodoo Vocals, Agent of Fortune Cassette Tour 1999 – Don’t Fear the Reaper, New York, 11 / 22 / 02, 2002
Anthony Burdin
Voodoo Vocals, Drive Hwy 101 N (1. You only live twice, 2. It was a very good year), 2005
Jan Paul Evers
Vorhang, 2010
W
Hannah Perry
Waiting here, 2015
Bruce Nauman
Walking in an Exaggerated Manner Around the Perimeter of a Square, 1967-1968
Monica Bonvicini
Wallfuckin’, 1995
Olivia Walsh
Encyclopedia Pictura & Björk
Wanderlust, 2008
Thomas Bernstein
Wandler, 2007