25 July 2024
6–10 p.m.
With readings by Lou Ferrand, Kat Kitay, Günseli Yalcinkaya from the publication accompanying the exhibition “Digital Diaries”, music by Jan Schulte, drinks and food.
25 July 2024
6–10 p.m.
With readings by Lou Ferrand, Kat Kitay, Günseli Yalcinkaya from the publication accompanying the exhibition “Digital Diaries”, music by Jan Schulte, drinks and food.
OPENING
9 April 2024, 6–10 p.m.
ARTIST TALK
9 April 2024, 6:30 p.m.
LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS? is the first solo exhibition by the renowned artist and media pioneer in Düsseldorf, and the first presentation of Leeson’s work as part of the Julia Stoschek Collection.
The Julia Stoschek Foundation will also open the group exhibition DIGITAL DIARIES in Düsseldorf with works by twelve artists and one collective that examine the use and transformation of diaries in video and other technologies of representation from the 1970s onward.
From 6 January in Berlin and Düsseldorf
Since September 2023, the Julia Stoschek Foundation presents a series of solo presentations by emerging artists called DOUBLE FEATURE, which takes place across JSF Berlin and Düsseldorf simultaneously.
For the second iteration of Double Feature, three films by French artist and poet Tarek Lakhrissi will take center stage. Through text, film, installation, and performance imbued with speculative potential, Lakhrissi explores sociopolitical narratives that relate to diasporic and queer embodied experience in Europe. Lakhrissi often sets his work in surrealist environments and gives them magical attributes, with an approach that seeks to transform situations.
Screening: 7:30 p.m.
Free admission. Limited capacity. No reservation needed.
Since September 2023, the Julia Stoschek Foundation presents a new series of solo presentations by emerging artists called DOUBLE FEATURE, which will take place across JSF Berlin and Düsseldorf simultaneously.
For its inaugural edition, Berlin-based artist Young-jun Tak presents two recent films, Wish You a Lovely Sunday (2021) and Wohin? (2022), which will play in a loop in the galleries. Both shot in Berlin, these works consider how place, architecture, movement, and belief inform community and queerness.
In conversation with Lisa Long, Artistic Director of JSF, Young-jun Tak talks about his work.
Die Kunstakademie Düsseldorf und die Julia Stoschek Foundation geben langfristige Kooperation bekannt.
Im Rahmen des 250-jährigen Jubiläums der Kunstakademie Düsseldorf geben die beiden Institutionen, initiiert durch die Klassenprojekte der 250-Jahre und durch Robert Fleck, der die Studierendenprojekte mitbetreut, eine längerfristig angedachte Kooperation in verschiedenen Bereichen bekannt.
Den Auftakt bildet ein Screeningprogramm, das drei anlässlich des Kunstakademie-Jubiläums realisierte Projekte von Studierenden der Kunstakademie Düsseldorf im Kino der JSF vorstellt.
Starting 2 September 2023, 11 a.m.–6 p.m.
JSF Düsseldorf
The Julia Stoschek Foundation presents the third expansion of WORLDBUILDING, an ongoing investigation of the relationship between gaming and time-based art, curated by Hans Ulrich Obrist. Starting 2 September 2023 on the occasion of the gallery festival DC Open, the final expansion of WORLDBUILDING will showcase works by Neïl Beloufa & EBB, Debbie Ding, Dominique Gonzalez-Foerster, Harmony Korine, and Gabriel Massan.
In collaboration with C/O Berlin
Doors open 6:30 p.m.
Free admission. Limited capacity. No reservation needed.
In parallel to Farah Al Qasimi’s exhibition at C/O Berlin, POLTERGEIST, the Julia Stoschek Foundation is pleased to present a screening of films by Al Qasimi.
To celebrate the closing of the first European solo exhibition by the pioneering video and performance artist Ulysses Jenkins, the Julia Stoschek Foundation is happy to announce two consecutive evening programs on 26 and 27 July 2023, from 7:00–9:00 p.m in Berlin.
26. Juli 2023
Lectures & Talk with curator Erin Christovale and Greg de Cuir jr.
27. Juli 2023
Julia Stoschek Foundation & Panthertainment present SYNERGIE
Starting 4 June 2023, 11:00 a.m. – 6:00 p.m.
JSF Düsseldorf
Starting on 4 June 2023, following the first expansion of WORLDBUILDING, in which works by the artists Koo Jeong A, Ericka Beckman, Porpentine Charity Heartscape, and Pierre Huyghe were added to the exhibition, additional works by David OReilly, Philippe Parreno, Sahej Rahal, and Afrah Shafiq will be included.
David OReilly began his career as an artist working as an animator and is especially known for his short films. In addition, OReilly has written screenplays for television series such as South Park and developed fictive video games for Spike Jonze’s Oscar-winning film Her. In the computer game Everything (2017), on view at JSF Düsseldorf, players can travel through the universe and take on the roles of various animals, plants, and other things, giving them the ability to see the world from different perspectives and to change between various micro- and macrocosms.
The starting point of the video game installation Nobody Knows for Certain (2023) by Indian artist Afrah Shafiq is the historical cultural exchange between the former USSR and the region of South Asia. Slavic fairy tales and Soviet stories play a central role in the childhood memories of the generation that grew up in India between the 1960s and mid-1980s. In Nobody Knows for Certain, Shafiq uses this material to create a unique narrative in which she critically reflects on folkloristic fairy tales and examines their philosophy and politics from the perspective of the present.
In the audioreactive AI installation Anhad (2023) by Sahej Rahal, a sensitive artificial intelligence program in the form of an unknown being reacts to sound stimuli from the outside world such as sounds made by visitors to the exhibition. The organism seems to disregard all comprehensible hierarchies and reacts without judging the information—a practice that no human is capable of.
In 1999 Pierre Huyghe and Philippe Parreno bought the rights to a virtual avatar that was originally developed for computer games. They named it AnnLee and, in collaboration with other artists, they endeavored to fill this blank “being” with stories and ideas in order to give the avatar an identity and a life of her own. Following the presentation of Huyghe’s version in the exhibition, Parreno’s animated film will present one more “chapter” in the life of AnnLee.
In September 2023 additional works will be added to WORLDBUILDING. A comprehensive exhibition catalog will reflect on the research project and give various perspectives on the phenomenon of gaming.
Please join us for the first institutional solo exhibition by the collective (LA)HORDE will feature a selection of video installations that stem from their choreographic practice rooted in ritual, classical dance, subcultures, and the everyday. During the opening, the exhibition will be activated by one of the collective’s most influential performances, To Da Bone, utilizing the ground floor of the Julia Stoschek Foundation Berlin as both a stage and exhibition space.
OPENING
26 April 2023, 6:00–10:00 p.m.
PERFORMANCES
26 and 27 April 2023, 6:00 – 10:00 p.m.
Starting 5 March 2023, 11:00 a.m. – 6:00 p.m.
JSF Düsseldorf
WORLDBUILDING is the first exhibition at the JULIA STOSCHEK FOUNDATION to last for eighteen months. Central to the concept of the exhibition, which has been on view since June 2022, is to constantly augment it with new works. The focus of the ongoing investigation is the relationship between gaming and time-based media art. In the words of curator Hans Ulrich Obrist, “WORLDBUILDING is an evolutive notion of what an exhibition can be. Like many games themselves, the exhibition started as one version of itself, and through feedback, our research—which includes studio visits with artists on all continents—it grows and changes into an altered and expanded version.”
Following Koo Jeong A’s CHAMNAWANA (2018), the first piece to be integrated into the exhibition, works by Ericka Beckman, Porpentine Charity Heartscape, and Pierre Huyghe will be added on 5 March 2023. The two-channel film installation Hiatus (1999/2015) by Ericka Beckman is an experimental narrative about Madi, a young woman who meets a series of game identities that trick and confuse her as she plays the interactive computer game Hiatus. In the video game almanac of girlswampwar territory (2018) by Porpentine Charity Heartscape, the artist attempts to recreate the feeling of video games from their early childhood by creating a girl who wanders through a blurry, pixelated dream world with child soldiers and edible ponies. The animated film Two Minutes Out Of Time (2000) by Pierre Huyghe is based on the multi-artist project No Ghost Just A Shell (1999–2002). In 1999 Huyghe and Philippe Parreno purchased the rights to a virtual avatar that was originally developed for computer games. They named it AnnLee and, in collaboration with other artists, they intended to complete her blank “being” with stories and ideas in collaboration with other artists, lending the avatar an identity and a life of her own. Huyghe’s animated film, which can now be seen in the exhibition, is one “chapter” in the story that is taking shape.
WORLDBUILDING will be further expanded with additional works in two stages in June and September 2023. A comprehensive exhibition catalog will reflect on the research project and the phenomenon of gaming from several different perspectives.
From now on we are open every first Thursday of the month between 6 and 10 pm. Free entry, please join us!
It is our great pleasure to announce that from 2023 onward, we will officially be operating as the Julia Stoschek Foundation. The new name coincides with a new visual identity, conceptualized by Bureau Borsche.
Established in 2017, the Julia Stoschek Foundation is a non-profit arts and culture organization dedicated to the public presentation, advancement, conservation, and scholarship of time-based art. Across two publicly accessible exhibition spaces in Berlin and Düsseldorf, the Julia Stoschek Foundation presents pioneering media and performance art in large-scale exhibitions and discursive events. It also manages the Julia Stoschek Collection, one of the world’s most comprehensive private collections of time-based art.
Since the collection’s inception and opening in 2007, audience engagement and the advancement of time-based art have been a fundamental paradigm of what we do. In recent years, the work has become ever more comprehensive and dynamic in scope, especially regarding our public-facing program, institutional exchange, conservation, and scholarship of time-based art. The new title represents this development.
“From the very moment I started collecting time-based art over twenty years ago, I made a commitment to make it available for a wider public because I believe art must be accessible. This is the next step to securing public access to everything the foundation does, which goes beyond the scope of a private collection.” (Julia Stoschek)
The new title coincides with a reinvented visual identity, conceptualized by Bureau Borsche. The design takes inspiration from the often overlooked surface that formats our world: the screen.
10 February 2023, 6:00 – 10:00 pm.
The Julia Stoschek Foundation presents the European premiere of Ulysses Jenkins: Without Your Interpretation, the first major retrospective of the work of groundbreaking video and performance artist Ulysses Jenkins (b. 1946 in Los Angeles). A pivotal influence on contemporary art for over fifty years, Jenkins has produced video and media work that conjures vital expressions of how image, sound, and cultural iconography inform representation.
Using archival footage, photographs, image processing, and soundtracks, Jenkins interrogates questions of race and gender as they relate to ritual, history, and the power of the state. Organized closely with the artist—including the digitization of a sprawling archive and conversations with Ulysses Jenkins and his collaborators—the exhibition encompasses a broad range of over fifteen videos and almost sixty works in total that showcase his collaborations, mural paintings, photography, and performances, revealing the scope of Jenkins’s practice.
Ulysses Jenkins: Without Your Interpretation was co-organized by the Institute of Contemporary Art, University of Pennsylvania and the Hammer Museum, Los Angeles, and curated by Erin Christovale, Curator, Hammer Museum, and Meg Onli, Independent Curator, where the exhibition was previously on view. The Julia Stoschek Foundation presentation was organized by Lisa Long with curatorial assistance by Savannah Jade Thümler.
CONCERT
From 10:00 pm. The opening will culminate in a 30-minute, responsive concert by renowned composer and saxophonist Matana Roberts, which will take place in our cinema. Limited capacity.
In celebration of the exhibition “Piña, Why is the Sky Blue?” artists Stephanie Comilang and Simon Speiser will be in conversation with the curator Lisa Long on Friday, 2 December 2022, 8:00 p.m.
Piña, Why is the Sky Blue? is an affirming techno-feminist vision of a future in which ancestral knowledge and new technologies converge. The centerpiece of the exhibition is a video/virtual-reality installation (2021) of the same title, a speculative documentary that narrates the story of a spiritual medium known as Piña. As a form of artificial intelligence, Piña is able to receive and collect inherited knowledge, messages, and dreams from people around the world in order to secure their survival. The show featuring this newly acquired installation marks the first institutional solo exhibition in Germany of Berlin-based artists Stephanie Comilang and Simon Speiser.
This occasion marks the closing weekend for both exhibitions currently on view: “Piña, Why is the Sky Blue?” and “at dawn”. The foundation will have special opening hours on Friday, December 2, 6:00 – 10:00 p.m. The exhibitions will also be open to the public on Saturday and Sunday during the regular opening times between noon and 6:00 p.m.
LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?
DIGITAL DIARIES
DOUBLE FEATURE: THEODOULOS POLYVIOU
DOUBLE FEATURE: TAREK LAKHRISSI
KUNSTAKADEMIE DÜSSELDORF X JULIA STOSCHEK FOUNDATION
DOUBLE FEATURE: YOUNG-JUN TAK
OUT OF SPACE: DUSSELDORF VARIATION
WORLDBUILDING
GAMING AND ART IN THE DIGITAL AGE
SCREENING: LAURE PROUVOST
SCREENING: MARK LECKEY
CHRISTOPH SCHLINGENSIEF
MESSAGE IN A BOTTLE
BEUYS 2021:
LUTZ MOMMARTZ
SOZIALE PLASTIK
SCREENING
BEUYS 2021:
JAN BONNY & ALEX WISSEL
JUPP, WATT HAMWER JEMAHT?
SCREENING
JSC ON VIEW: MYTHOLOGISTS
WORKS FROM THE JULIA STOSCHEK COLLECTION
JEREMY SHAW
QUANTIFICATION TRILOGY
HORIZONTAL VERTIGO:
FILMS BY DOROTA GAWĘDA AND EGLĖ KULBOKAITĖ
SCREENING
HORIZONTAL VERTIGO:
SOPHIA AL-MARIA
BITCH OMEGA
HORIZONTAL VERTIGO:
FILMS BY MOREHSHIN ALLAHYARI
SCREENING
JSC ON VIEW II
WORKS FROM THE JULIA STOSCHEK COLLECTION
HORIZONTAL VERTIGO:
FILMS BY TRINH T. MINH-HA
SCREENING
HORIZONTAL VERTIGO:
FILMS BY ANNA ZETT
SCREENING
HORIZONTAL VERTIGO:
A.K. BURNS
NEGATIVE SPACE
HORIZONTAL VERTIGO:
FILMS BY SKY HOPINKA
SCREENING
JSC ON VIEW I
WORKS FROM THE JULIA STOSCHEK COLLECTION
HORIZONTAL VERTIGO:
FILMS BY CHELSEA KNIGHT &
SHANE ASLAN SELZER
SCREENING
HORIZONTAL VERTIGO:
FILMS BY ARJUNA NEUMAN &
DENISE FERREIRA DA SILVA
SCREENING
HORIZONTAL VERTIGO
JSC DÜSSELDORF / BERLIN
HORIZONTAL VERTIGO:
RINDON JOHNSON
CIRCUMSCRIBE
HORIZONTAL VERTIGO:
FILMS BY EDUARDO WILLIAMS
SCREENING
NEW METALLURGISTS
GENERATION LOSS
10 YEARS JULIA STOSCHEK COLLECTION
NUMBER THIRTEEN:
FACTORY OF THE SUN /
MISSED CONNECTIONS
NUMBER TWELVE:
HELLO BOYS
NUMBER ELEVEN:
CYPRIEN GAILLARD
WU TSANG
A DAY IN THE LIFE OF BLISS
NUMBER TEN:
TRISHA DONNELLY
NUMBER NINE:
ELIZABETH PRICE
NATHALIE DJURBERG & HANS BERG
THE EXPERIMENT
NUMBER EIGHT:
STURTEVANT
NUMBER SEVEN:
ED ATKINS / FRANCES STARK
NUMBER SIX:
FLAMING CREATURES
NUMBER FIVE:
CITIES OF GOLD AND MIRRORS
NUMBER FOUR:
DEREK JARMAN
SUPER8
NUMBER THREE:
HERE AND NOW
100 YEARS
(VERSION #1, DUESSELDORF)
OUT OF SPACE 1:
CAO FEI
WHOSE UTOPIA
NUMBER TWO:
FRAGILE
NUMBER ONE:
DESTROY, SHE SAID
UNBOUND: PERFORMANCE AS RUPTURE
ANT FARM & T.R. UTHCO
THE ETERNAL FRAME
DOUBLE FEATURE: THEODOULOS POLYVIOU
AFTER IMAGES
DOUBLE FEATURE: THEODOULOS POLYVIOU
DOUBLE FEATURE: TAREK LAKHRISSI
SCREENING: MIKA ROTTENBERG & MAHYAD TOUSI
DOUBLE FEATURE: YOUNG-JUN TAK
SCREENING: FARAH AL QASIMI
CLOSING PROGRAM | ULYSSES JENKINS: WITHOUT YOUR INTERPRETATION
(LA)HORDE
ULYSSES JENKINS: WITHOUT YOUR INTERPRETATION
SCREENING:
MARTINE SYMS
THE AFRICAN DESPERATE
PERFORMANCE:
JSC X REIF PRESENT EVENTIDE BY FA‘ PAWAKA & LABOUR
STEPHANIE COMILANG & SIMON SPEISER
PIÑA, WHY IS THE SKY BLUE?
at dawn
PERFORMANCE DINNER:
TROPICAL ANTHOLOGY, A SINGING DINNER
SCREENING: STEVE REINKE & JAMES RICHARDS
PERFORMANCE: CANER TEKER
KIRKPINAR
A FIRE IN MY BELLY
HORIZONTAL VERTIGO:
MERIEM BENNANI
PARTY ON THE CAPS
JEREMY SHAW
QUANTIFICATION TRILOGY
HORIZONTAL VERTIGO:
MARTINE SYMS –
INCENSE SWEATERS & ICE
ONLINE SCREENING
STAN DOUGLAS / SPLICING BLOCK
ACUTE ART AT JSC:
BJARNE MELGAARD / KOO JEONG A
HORIZONTAL VERTIGO:
WANGSHUI
HORIZONTAL VERTIGO:
COLIN SELF
SUBTEXT
PERFORMANCE
HORIZONTAL VERTIGO:
PAULINE BOUDRY / RENATE LORENZ
ONGOING EXPERIMENTS WITH STRANGENESS
HORIZONTAL VERTIGO
JSC DÜSSELDORF / BERLIN
KW PRODUCTION SERIES
BEATRICE GIBSON & JAMIE CREWE
IAN CHENG
EMISSARIES
ARTHUR JAFA
A SERIES OF UTTERLY IMPROBABLE,
YET EXTRAORDINARY RENDITIONS
JAGUARS AND ELECTRIC EELS
WELT AM DRAHT
ANTI-MONUMENTS
ARTMONTE-CARLO
MERIEM BENNANI
MISSION TEENS: FRENCH SCHOOL IN MOROCCO
JSC X EYE FILMMUSEUM
KLARA LIDÉN
KASTA MACKA
LOOP FESTIVAL, BARCELONA PAVILION, SPAIN
RHINELAND INDEPENDENT
ART DÜSSELDORF
SAMSUNG x JSC
ART DÜSSELDORF
TIME KILLS
SESC, SÃO PAULO, BRAZIL
TURN ON
TIME-BASED MEDIA ART FROM THE JULIA STOSCHEK COLLECTION
TEL AVIV MUSEUM OF ART, TEL AVIV, ISRAEL
THE NEW HUMAN
MODERNA MUSEET, MALMÖ, SWEDEN
MODERNA MUSEET, STOCKHOLM, SWEDEN
HIGH PERFORMANCE
TIME-BASED MEDIA ART SINCE 1996
ZKM | ZENTRUM FÜR KUNST UND MEDIEN, KARLSRUHE, GERMANY
I WANT TO SEE HOW YOU SEE
DEICHTORHALLEN, HAMBURG, GERMANY
RHINE ON THE DNIPRO
JULIA STOSCHEK COLLECTION/ANDREAS GURSKY
PINCHUK ART CENTRE, KIEV, UKRAINE
VIDEO KOOP
KIT – KUNST IM TUNNEL, DÜSSELDORF, GERMANY
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.
JSF Düsseldorf
Schanzenstrasse 54
40549 Düsseldorf
Germany
Saturday – Sunday, 12–6 p.m.
Every first Thursday of the month, 6–10 p.m.
düsseldorf photo+
Special opening hours: 17 May 2024, 6-10 p.m.
5 €
Tickets are valid for six months after the first visit. Admission is free of charge for visitors under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed, and people on welfare as well as members of ICOM and AICA upon presentation of an ID.
The registration is required online via our booking system, from which you can also find the exact tour dates.
Duration: 90 minutes
Tickets: 10€ 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.
You can also find our offers on Musenkuss, the platform for cultural education in Düsseldorf.
During opening hours:
Saturday – Sunday, 12–6 p.m.
Tickets: 10€ per person for groups of 10 persons.
Outside opening hours:
Tickets: 20€ per person for groups of 10 persons.
If you are interested in booking a guided tour in English, please send us an e-mail to [email protected] stating the desired date and group size.
The JSF 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.
The JSF Research Center at the Düsseldorf location of the JULIA STOSCHEK FOUNDATION enables visitors to consult Julia Stoschek’s entire collection of time-based media art and to do research in the library.
The collection’s spectrum ranges from works of the 1960s, including pieces by Bruce Nauman, Carolee Schneemann, Jack Smith, and VALIE EXPORT, to contemporary works by Arthur Jafa, Anne Imhof, and Kandis Williams.
The reference library contains over four thousand publications on art of the twentieth and twenty-first centuries. The holdings include important source material for research such
as crucial art-theoretical publications on philosophy and aesthetics. These are augmented by handbooks, exhibition catalogues, monographs, specialized and theoretical texts, and lexica with a focus on time-based art and media, photography, the art market, exhibition practice, and archiving practices for time-based artefacts in the context of museums and collections.
Open Monday to Friday, 11:00 a.m. to 6:00 p.m. (by appointment only, four weeks in advance).
Please register by e-mail to [email protected] and indicate the following:
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.
You are looking for a special location for a celebration or a corporate event?
As a monument to early modern industrial architecture, the JSF 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:
Robert Schulte
[email protected]
JSF Berlin
Leipziger Straße 60 (entrance: Jerusalemer Straße)
10117 Berlin
Germany
Saturday – Sunday, 12–6 p.m.
Every first Thursday of the month, 6–10 p.m.
5 €
Tickets are valid for six months after the first visit. Admission is free of charge for visitors under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed, and people on welfare as well as members of ICOM and AICA upon presentation of an ID.
The registration is required online via our booking system, from which you can also find the exact tour dates.
Tickets: EUR 10.00 per person (cash and card payment possible).
Free of charge for children and people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed, and people on welfare, as well as members of ICOM upon presentation of a valid ID.
During opening hours:
Saturday – Sunday, 12–6 p.m.
Every first Thursday of the month, 6–10 p.m.
Tickets: EUR 10.00 per person for groups of 10 persons.
Outside opening hours:
Tickets: EUR 20.00 per person for groups of 10 persons.
If you are interested in booking a guided tour in English, please send us an e-mail to [email protected] stating the desired date and group size.
For visitors with strollers or in wheelchairs, please register in advance at [email protected] to ensure accessibility.
The JULIA STOSCHEK FOUNDATION 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.
You are looking for a special location for a celebration or a corporate event?
The premises of the JULIA STOSCHEK FOUNDATION 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 possibility of highly customisable rooms will make your event at this venue a unique experience. Celebrate exclusively in the rooms of an internationally renowned art collection.
We are happy to provide you with a personalised offer.
Contact:
Sven Weigel
[email protected]
Watch more than 220 time-based media artworks by over 60 artists from the JULIA STOSCHEK COLLECTION online at JSC Collection Catalogue
The online collection catalog offers the opportunity to research and view over 900 works by 300 artists from the JULIA STOSCHEK COLLECTION.
Over the next months, videos and films will be continually uploaded and made accessible online. They are accompanied by explanatory texts about the works. Or you can drop by our JSC Video Lounge directly.
A list of all accessible works can be found by clicking on „viewable online“ „under Tags“ and then selecting „Works“.
To date over 220 film-, video- and sound-based works by 62 artists from the collection can be viewed in their entirety. Among the works in this first selection are pieces by John Bock, Monica Bonvicini, Klaus vom Bruch, Ian Cheng, Keren Cytter, Jen DeNike, Nathalie Djurberg & Hans Berg, Tracey Emin, Cao Fei, Fischli & Weiss, Dara Friedman, Kate Gilmore, Douglas Gordon, Christian Jankowski, Imi Knoebel, Klara Lidén, Lutz Mommartz, Elizabeth Price, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.
JSC’s long-term goal is to make the entire collection available online, thus creating a platform for time-based art that supports the accessibility and engagement of time-based art.
“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 2007 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 860 artworks by more than 282 contemporary artists 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 Mika Rottenberg’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 for works of the JULIA STOSCHEK COLLECTION should be sent by e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, [email protected]
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.
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.
Time-based media conservator
Watch more than 220 time-based media artworks by over 60 artists from the JULIA STOSCHEK COLLECTION online at JSC Collection Catalogue
The online collection catalog offers the opportunity to research and view over 900 works by 300 artists from the JULIA STOSCHEK COLLECTION.
Over the next months, videos and films will be continually uploaded and made accessible online. They are accompanied by explanatory texts about the works. Or you can drop by our JSC Video Lounge directly.
A list of all accessible works can be found by clicking on „viewable online“ „under Tags“ and then selecting „Works“.
To date over 220 film-, video- and sound-based works by 62 artists from the collection can be viewed in their entirety. Among the works in this first selection are pieces by John Bock, Monica Bonvicini, Klaus vom Bruch, Ian Cheng, Keren Cytter, Jen DeNike, Nathalie Djurberg & Hans Berg, Tracey Emin, Cao Fei, Fischli & Weiss, Dara Friedman, Kate Gilmore, Douglas Gordon, Christian Jankowski, Imi Knoebel, Klara Lidén, Lutz Mommartz, Elizabeth Price, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.
JSC’s long-term goal is to make the entire collection available online, thus creating a platform for time-based art that supports the accessibility and engagement of time-based art.
“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 2007 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 860 artworks by more than 282 contemporary artists 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 Mika Rottenberg’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 for works of the JULIA STOSCHEK COLLECTION should be sent by e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, [email protected]
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.
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.
Time-based media conservator
The Hero, 2000
C-print, 120 × 120 cm
The Onion, 1996
video, 20′, color, sound
The Hero, 2001
video, 14′21″, b/w, sound
Applications, 1970
Super 8mm film transferred to video, 19′32″, color, no sound
The Red Tapes, 1977
video, 141′27″, b/w, sound
Consisting of:
, 1977
, 1977
, 1977
Tape 1: Common Knowledge, 1977
video, 40’27’’, b/w, sound
Part of:
Tape 2: Local Color, 1977
video, 57’50’’, b/w, sound
Part of:
Tape 3: Time Lag, 1977
video, 44’15’’, b/w, sound
Part of:
Theme Song, 1973
video, 33′15″, b/w, sound
Three Relationship Studies, 1970
Super 8mm film transferred to video, 12′30″, b/w & color, no sound
Consisting of:
, 1970
, 1970
, 1970
Shadow-Play, 1970
Super 8mm film transferred to video, 2’40’’, b/w, no sound
Part of:
Imitations, 1970
Super 8mm film transferred to video, 4’26’’, b/w, no sound
Part of:
Manipulations, 1970
Super 8mm film transferred to video, 5’, color, no sound
Part of:
Corrections, 1970
Super 8mm film transferred to video, 12′, b/w, no sound
Openings, 1970
Super 8mm film transferred to video, 14′, b/w, no sound
Mon ombre est un mur, 1996
oil and stucco on canvas on wood, acrylic board, dymolabel, 184,5 × 266 cm
Broken Glass in the Slipstream, 2003
C-print mounted to plexiglass, 120,6 × 233,7 cm
Blow Debris, 2000
video, 20′27″, color, sound
Interiors, 2002
three-channel video installation, 27′40″, color, sound
Chair/Chair, 1980
chair; red oak, Formica, painted steel, hide, 99,1 × 101,6 × 132,1 cm
Chair/Chair, 1980
chair; red oak, Formica, painted steel, hide, 99,1 × 101,6 × 132,1 cm
Untitled (8), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Untitled (9), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Untitled (4), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Death Mask III, 2011
HD video, 34′46″, color, sound
Paris Green, 2009
HD video, 7′37″, color, sound
Delivery to the Following Recipient Failed Permanently, 2011
HD video, 17′09″, color, sound
Untitled (7), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Untitled (1), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Even Pricks, 2013
HD-video, 7′32″, color, sound
Untitled (2), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Untitled (3), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Death Mask II: The Scent, 2010
HD video, 8′19″, color, sound
Warm, Warm, Warm Spring Mouths, 2013
HD video, 12′50″, color, sound
The Anthrophagus!, 2010
HD video, 8′15″, color, sound
Untitled (5), 2013
collage; paper, wood, steel, 243,8 × 121,4 cm
Us Dead Talk Love, 2012
two-channel HD video installation, 37′24″, color, sound
James Dean, 1986/2014
HD video installation (16 pairs of video stills on 2 monitors), loop, b/w, no sound
Sex with Strangers, 1986
9-part b/w photograph series, Each 182,8 × 101,6 cm
Mondfahrt, 2001
single-channel video installation, 6′22″, color, no sound
Gras, 2001
single-channel video installation, 2′, color, no sound
Schwimmerin, 2000
single-channel video installation, 2′, color, no sound
Jaguacuzzi, 2015
mixed media video installation; TV screens, paint on fibreglass, paint on MDF, steel, pigments and cigarettes in resin, 16 videos, 140,97 × 340,36 × 226,06 cm
Consisting of:
, 2007
, 2007
, 2009
, 2010
, 2010
, 2010
, 2011
, 2011
, 2011
, 2012
, 2012
, 2012
, 2013
, 2014
, 2014
, 2014
APRIL THE SECOND, 2007
video, 13’40’’, color, sound
Part of:
KEMPINSKI, 2007
video, 13’, color, sound
Part of:
TOUR, 2009
video, 14’37’’, color, sound
Part of:
BRUNE RENAULT, 2010
video, 17’, color, sound
Part of:
SANS TITRE, 2010
video, 14’, color, sound
Part of:
SAYRE AND MARCUS, 2010
video, 30’, color, sound
Part of:
THE ANALYST, THE RESEARCHER, THE SCREENWRITER, THE CGI TECH AND THE LAWYER, 2011
video, 7’44’’, color, sound
Part of:
CATENACCIO SYSTEM, 2011
video, 4’20’’, b/w, sound
Part of:
PEOPLE’S PASSION, LIFESTYLE, BEAUTIFUL WINE, GIGANTIC GLASS TOWERS, ALL SURROUNDED BY WATER, 2011
video, 11’, color, sound
Part of:
PARTY ISLAND, 2012
video, 8’48’’, color, sound
Part of:
REAL ESTATE, 2012
video, 10’45’’, color, sound
Part of:
WORLD DOMINATION, 2012
video, 19’, color, sound
Part of:
TONIGHT AND THE PEOPLE, 2013
video, 81’, color, sound
Part of:
DESIRE FOR DATA, 2014
video, 47’, color, sound
Part of:
HOME IS WHENEVER I’M WITH YOU, 2014
video, 53’56’’, color, sound
Part of:
VENGEANCE, 2014
video, 14’24’’, color, sound
Part of:
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 1, 2015
HD video, 1′21″, color, sound
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 2, 2015
HD video, 1′22″, color, sound
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 3, 2015
HD video, 50″, color, sound
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 5, 2015
HD video, 48″, color, sound
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 6, 2015
HD video, 1′18″, color, sound
A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck 4, 2015
HD video, 1′20″, color, sound
Party on the CAPS, 2018
video, 25′28″, color, sound
MISSION TEENS: French School in Morocco, 2019
HD video, 36′33″, color, sound
Technology/Transformation: Wonder Woman, 1978/79
video, 5′45″, color, sound
Pop Pop Video, 1980
video, 9′, color, sound
Sunset, 2015
HD video, 1′08″, color, sound
Sea, 2015
HD video, 1′36″, color, sound
Ruin, 2015
HD video, 1′31″, color, sound
Mist, 2015
HD video, 1′04″, color, sound
Moon, 2015
HD video, 1′06″, color, sound
Ice, 2015
HD video, 1′10″, color, sound
Unheil, 2018
HD video, 90′57″, color, sound
Zezziminnegesang, 2006
16mm film transferred to video, 27′22″, color, sound
Ein Haufen voller Flacker, 2012
nine-channel mixed-media video installation; wood, stools, color, sound
Consisting of:
, 2009
, 2010
, 2010
, 2010
, 2011
, 2011
, 2011
, 2011
, 2006
Die abgeschmierte Knicklenkung im Gepäck verheddert sich im weißen Hemd, 2009
video, 28’37’’, color, sound
Part of:
Im Schatten der Made, 2010
video, 74’16’’, color, sound
Part of:
Pi-Bean, 2010
video, 31’10’’, color, sound
Part of:
Seewolf, 2010
video, 28’37’’, color, sound
Part of:
Bauchhöhle bauchen, 2011
video, 46’55’’, color, sound
Part of:
Lichterloh Roh, 2011
video, 15’31’’, color, sound
Part of:
Monsieur et Monsieur, 2011
video, 36’49’’, color, sound
Part of:
Nichts unter der Kinnlade, 2011
video, 8’55’’, color, sound
Part of:
Lütte mit Rucola, 2006
HD video, 35’41’’, color, sound
Part of:
Hammering Out (an old argument), 1998–2003
video, 31′55″, color, sound
Wallfuckin’, 1995
single-channel video installation, 60′, color, sound
Destroy She Said, 1998
two-channel video installation, 60′, b/w & color, sound
Panegyric (Vogue Photocollage), 2003
photo collage, 44,4 × 30,4 cm
Das Energi, 2005/06
mixed-media installation; wood and metal shelf, books, pamphlet, bronze object, peacock feather, antiqie mirror, 165,1 × 279,4 × 30,5 cm
Summer Solstice, Düsseldorf, 2031, 2006
site specific installation; bronze rods, wire, expanded metal, 457 × 244 × 244 cm
Mia, 2005
drawing; ink on paper, 53,5 × 40 cm
Xanadu, 2006
four-channel video installation
Consisting of:
, 2004
, 2005
, 2006
, 2005
Patriot Act, 2004
video, 22’
Part of:
Heaven’s little Helper, 2005
video, 22’
Part of:
Judgement Day, 2006
video, 22’
Part of:
Exit Strategy, 2005
video, 5’35’’
Part of:
The T.V. Commercials, 1973-1977
video, 3′46″, color, sound
Documentation of selected works, 1971–1975
Super 8mm film, 16mm film, half-inch film, transferred to video, 34′38″, b/w & color, sound
Consisting of:
, 1972
, 1972
, 1973
, 1973
, 1971
Deadman, 1972
2’35’’, b/w, sound
Part of:
Bed Piece, 1972
2’59’’, b/w, sound
Part of:
Through the Night Softly, 1973
2’22’’, b/w, sound
Part of:
Icarus, 1973
2’24’’, color, sound
Part of:
Shoot, 1971
1’51’’, s/w, sound
Part of:
He Ain’t No Fuckin’ Drumma, Summer P-lot Tour 2003, Oxnard CA (1. Light My Fire, 2. Kashmiur), 2003
video, 16′55″, color, sound
Desert Mix, „Go See um Black Feather“, 2003
video, 16′16″, color, sound
Voodoo Vocals, Drive Hwy 101 N (1. You only live twice, 2. It was a very good year), 2005
video, 7′50″, color, sound
Voodoo Vocals, Agent of Fortune Cassette Tour 1999 – Don’t Fear the Reaper, New York, 11 / 22 / 02, 2002
video, 4′52″, color, sound
Untitled #151 (Picket Fence), 2001
C-print on aluminium, 67,5 × 101,5 cm
Untitled #176 (Rods and Clamps), 2003
C-print on aluminium, 67,5 × 101,5 cm
Untitled #182 (Spa Rules), 2003
C-print on aluminium, 67,5 × 101,5 cm
Gloss, 2004
video, 1′16″, color, sound
Strips (vertical), 2005
video, 2′43″, color, sound
Lightning, 2005
video, 2′35″, color, sound
Screen, 2005
video, 3′08″, color, sound
Tape, 2005
video, 1′32″, color, sound
Light, 2004
video, 47″, color, sound
Untitled (After St. Caravaggio), 2003–2006
single-channel video installation; translucent screen, 2′33″, color, no sound
Happiness (Finally) After 35,000 Years of Civilization (after Henry Darger and Charles Fourier), 2000–2003
single-channel video installation, 17′20″, color, sound
Untitled (For Abramović, Love Cocteau), 2000
video, 4′13″, color, sound
Fan Dance, 2003
video, 28′47″, color, sound
Shaved (At A Loss), 1998
video, 5′19″, color, sound
Emissary Forks At Perfection, 2015
live simulation and story, infinite duration, color, sound
Emissary in the Squat of Gods, 2015
live simulation and story, infinite duration, color, sound
BOB (Bag of Beliefs), 2018–2019
artificial lifeform, infinite duration, color, sound, dimensions variable
Emissary Sunsets The Self, 2017
live simulation and story, infinite duration, color, sound
Letter from War, 2015
sound file, 2′17″
Anarchist, 2015
sound file, 1′56″
Inherited Deficit, 2015
sound file, 1′44″
Oh-reg-ah-no, 2015
sound file, 1′30″
Broadcast, 2015
sound file, 2′57″
Booty Call, 2015
sound file, 2′21″
Apes and Shapes (I’ll see you again in 25 years), 2011
soft cover artist book, 38,1 × 29,8 cm
Adele Röder For DAS INSTITUT Starline, 2010
slide projection, 160 glass-mounted 35mm slides, Dimensions variable
Details (Sportscar), 2005
C-print, diasec, 78 × 78 cm
Zaun (Fence), 2004
C-print, diasec, 180 × 230 cm
Lift, 2004
C-print, diasec, 196 × 150 cm
Badezimmer (Bathroom), 1997
C-print, diasec, 160 × 122 cm
The Deadman’s Float, 2005
video, 1′, color, sound
Fell, 2006
video, 1′20″, color, sound
Dunking, 2003
video, 3′30″, color, sound
The Pimp, 2015
HD video, 5′22″, color, sound
Anat, 2006
C-print, diasec, 127 × 152,4 cm
Girls like me, 2006
video, 6′, color, sound
Shipwreck, 2005
video, 49″, color, sound
Wrestling, 2002
video, 3′10″, color, sound
Sasha, 2003
C-print, diasec, 127 × 152,4 cm
Multimedia Double Canvas progression, 2009
installation
Consisting of:
, 2009
, 2009
, 2009
, 2009
, 2009
, 2009
Multimedia Double Canvas Toshiba, 2009
inkjet print on canvas, metal fittings, pedestal, 76 × 100 × 60 cm
Part of:
Multimedia Double Canvas Thomson, 2009
inkjet print on canvas, metal fittings, pedestal, 87 × 117 × 58 cm
Part of:
Multimedia Double Canvas Tevion, 2009
inkjet print on canvas, metal fittings, pedestal, 60 × 80 × 54 cm
Part of:
Multimedia Double Canvas Hantarex, 2009
inkjet print on canvas, metal fittings, pedestal, 141 × 60 × 43 cm
Part of:
Multimedia Double Canvas Philips, 2009
inkjet print on canvas, metal fittings, pedestal, 51 × 92 × 13 cm
Part of:
Multimedia Double Canvas Samsung, 2009
inkjet print on canvas, metal fittings, pedestal, 80 × 51 × 3 cm
Part of:
We are not two, We are one, 2008
video, 5′33″, color, sound
It’s the Mother, 2008
video, 6′, color, sound
The Experiment, 2009
three-channel video installation
Consisting of:
, , 2009
, , 2009
, , 2009
Cave, 2009
video, 5′35″, color, sound
Part of:
Forest, 2009
video, 7′27″, color, sound
Part of:
Greed, 2009
video, 10′45″, color, sound
Part of:
Untitled, 2013
sculpture; rose-colored marble, 11,5 × 88,7 × 36,5 cm
Untitled, 2005
video, 20″, b/w, no sound
Satin Operator, 2007
13 C-prints, Each 158,8 × 111,8 cm
Untitled, 2012
HD video, 3′59″, color, no sound
Untitled I (Double Alpha), 2007
C-print, 158,8 × 111,8 cm
Untitled, 2008
video, 6′, color, no sound
Untitled, 2011
SD-video, 30″, color, no sound
Sconce, 2013
2 wall objects; plaster, electrical wiring, Each 41,5 × 40,5 × 42 cm
Untitled, 2010
sound installation, 2′15″
Untitled (mountain), 2008
photo print on RC paper, 61 × 50,5 cm
Powerless Structures, Fig. 101 (Maquette), 2015
resin, white super matte lacquer finish, 56,5 × 33 × 16 cm
Adaptation, Fig. 20, 2020
sculpture; stainless steel and plastic base, 267 x 56 x 40 cm
Self-Portrait, No.41, 2016
engraved marble, 50 × 75 cm
Just Let Me Love You, 2016
sound file, 19″
Feel Your Touch, 2016
sound file, 20″
Sometimes the dress is worth more money than the money, 2001
video, 4′, color, sound
You Must Have Hope, 2016
sound file, 20″
She Lay There, 2016
sound file, 37″
I Can’t Love Anymore, 2016
sound file, 35″
I Lay Here, 2016
sound file, 17″
Portrait Julia Stoschek, 2011
silver gelatin print on baryta paper, 98 × 84 cm
Der Abstand zwischen den Gipfeln menschlicher Möglichkeiten, 2011
silver gelatin print on baryta paper, 71 × 65,5 cm
Große rekursive Funktion, 2010
silver gelatin print on baryta paper, 81,5 × 81,5 cm
Place de Pyramide, 2009
silver gelatin print on baryta paper, 55 × 59,5 cm
Vorhang, 2010
silver gelatin print on baryta paper, 105,5 × 134 cm
My Throat, My Air, 2013
HD video, 17′, color, sound (excerpts)
Implosion, 2011
HD video, 30′, color, sound (excerpts)
Whose Utopia, 2006
mixed-media installation
Consisting of:
, 2006
, 2006
My future is not a Dream, 2006
video, 20’, color, sound
Part of:
What are you doing here?, 2006
video, 35’, color, sound
Part of:
Hip Hop Guangzhou, 2003
video, 3′, color, sound
RMB City – A Second Life City Planning by China Tracy, 2007
video, 6′, color, sound
i.Mirror by China Tracy (AKA: Cao Fei), 2007
video, 28′, color, sound
Sitting, 2015
HD video, 3′04″, color, sound
Swimming, 2015
HD video, 3′07″, color, sound
Falling, 2015
HD video, 3′03″, color, sound
Sleeping, 2015
HD video, 3′04″, color, sound
Climbing, 2015
HD video, 3′06″, color, sound
Bathing, 2015
HD video, 3′04″, color, sound
Light Object No. 2: Fragile, 2008
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 20,5, H 40 cm
Light Object No. 1: Destroy, She Said, 2007
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 20 cm, H 40 cm
Light Object No. 11: Cyprien Gaillard, 2015
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, 52,5 × 30,5 × 19,5 cm
Light Object No. 3: Here and Now, 2009
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 25,5, H 49 cm
Light Object: Arthur Jafa – A Series of utterly improbable, extraordinary renditions, 2018
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand
Light Object No. 8: Sturtevant, 2014
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 34 cm, H 40 cm
Light Object No. 10: Trisha Donnelly, 2015
light object; pigmented and laminated inkjet prints, plexiglass, 56 × 24 × 24 cm
Light Object Welt am Draht, 2016
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, 46 × 24 × 24 cm
Remix Luhmanneck for Cities of Gold and Mirrors, 2011
light object bar; mirrors, wood, steel contruction, glass, 120 × 298 × 63 cm
Barbarella, Matmos and Chief of Matmos, 2006
2 light objects; pigmented and laminated inkjet prints sewn on lampshade, lampstand, Ø 33,5 cm, H 69 cm; Ø 34 cm, H 54,5 cm
Light Object No. 12: Hello Boys, 2016
light object; pigmented and laminated inkjet prints, steel contruction, 250 × 21 × 21 cm
Light Object No. 13: Hito Steyerl – Missed Connections, 2016
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 32 cm, H 53 cm
Light Object Kill, 2014
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 46,5 cm, H 55 cm
Hanoi/Saigon, 2007
light object; pigmented and laminated inkjet prints on cotton paper, sewed on copper construction, Ø 100 cm, H 290 cm
Ohne Titel, 2004
2 light objects; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 22,5 cm, H 53,5 cm
Fragile-Bar, 2008
light object bar; pigmented and laminated inkjet prints, sewed on steel construction, glass, 117,5 × 232 × 87 cm
Light Object No. 4: Derek Jarman – Super8, 2010
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 32 cm, H 54,5 cm
Light Object No. 6: Flaming Creatures, 2012
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, 59 × 22,5 × 22,5 cm
Light Object Jaguars and Electric Eels, 2017
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, 55 × 25 × 25 cm
Light Object No. 7: Ed Atkins – Frances Stark, 2013
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 23,5 cm, H 45 cm
I Want To See How You See, 2010
light object; pigmented and laminated inkjet prints sewed on lampshade, lampstand, Ø 21 cm, H 54 cm
Ocean II Ocean, 2019
HD video, 10′56″, color, sound
Artefacts, 2011
HD video transferred to 35mm film, 9′43″, continuous loop, color, sound
Nightlife, 2015
digital 3D motion picture, 14′, color, sound
Cities of Gold and Mirrors, 2009
16mm film, 8′52″, color, sound
Desniansky Raion, 2007
video, 30′, color, sound
The Lake Arches, 2007
video, 1′39″, color, no sound
KOE, 2015
HD video, 4′17″, color, no sound
L’Ange du foyer (Vierte Fassung), 2019
Holographic LED-Display, galvanized steel base, 162 × 75 × 24 cm
Online Polonäse, 2006
painting; oil and screen printing on canvas, 50 × 40 cm
Sondervorstellung, 2006
painting; oil and screen printing on canvas, 100 × 140 cm
Kleiner Hunger, 2006
painting; oil and screen printing on canvas, 50 × 40 cm
Die Ordnung der Dinge, 2004
painting; oil on canvas, 198 × 163 cm
Captain America, 2004
painting; oil on canvas, 40 × 30 cm
Staying home (18.16) and going out (21.16), 2005
2 polaroid color photographs, Total 23 × 37,5 cm (framed), each 10,8 × 8,9 cm
The nature of relationships between few words, 2006
wall installation; vinyl, dimensions variable
New Colour Empire, 2006–2010
single-channel video installation, 108′3″, color, no sound
New Colour Empires, 2006–2010
HD video, 17′45″, color, no sound
Staying home (18.14) and going out (21.14), 2005
2 polaroid color photographs, Total 23 × 37,5 cm (framed), each 10,8 × 8,9 cm
Gründer, 2014
mixed-media video installation; flat screen, chair (Wilhelminian period), HD video, 2′08″, color, no sound
Ping Pong, 2005
mixed-media video installation; sculpture; wire, plaster, papier-maché, video, 7′, color, sound
Shulmantonioni, 2004
mixed-media video installation; stool, 3′, color, sound
Über die aus der Zukunft fließende Zeit, 2006
video, 9′, b/w, sound
1000 Jahre sind ein Tag, 2005
video, 4′, color, sound
Two-way Mirror Power, 2006
pavillion; two-way mirror, stainless steel, 225 × 430 × 430 cm
Rock my Religion, 1982-84
video, 55′27″, color, sound
Performer/ Audience/ Mirror, 1975
video, 22′52″, b/w, sound
No No Nooky T.V., 1987
16mm film transferred to video, 12′, color, sound
Double Strength, 1978
16mm film transferred to video, 14′03″, color, sound
Synch Touch, 1981
16mm film transferred to video, 10′07″, color, sound
Sanctus, 1990
16mm film transferred to video, 18′18″, b/w & color, sound
Psychosynthesis, 1975
16mm film transferred to video, 6′05″, color, sound
Place Mattes, 1987
16mm film transferred to video, 7′36″, color, sound
Audience, 1982
16mm film transferred to video, 32′35″, b/w, sound
X, 1975
16mm film transferred to video, 7′04″, color, sound
I Was/I Am, 1973
16mm film transferred to video, 5′35″, b/w, sound
Primarily Speaking, 1981–1983
video, 19′23″, color, sound
Incidence of Catastrophe, 1987–1988
video, 43′51″, color, sound
Julia Stoschek Collection Düsseldorf VIII, 2008
C-print, 200 × 158,1 cm
Julia Stoschek Collection IV, 2008
C-print, 200 × 147 cm
Mono Lake, 1968-2004
video, 19′54″, color, sound
Sun Tunnels, 1978
16mm film transferred to video, 26′31″, color, sound
Apex, 2013
video, 8′22″, color, sound
Love is the Message, The Message is Death, 2016
mixed-media video installation; video, costum-designed tent, 7′25″, color, sound, 1524 × 762 × 399 cm (tent)
Die Jagd, 1992/1997
video, 1′11″, color, sound
Hollywoodschnee, 2004
16mm film transferred to video, 11′50″, color, sound
16 mm Mystery, 2004
35mm film transferred to video, 5′, color, sound
What Remains, 2004
16mm film transferred to video, 11′33″, color, sound
Two Zone Transfer, 1979
video, 23'52'', color, sound
Mass of Images, 1978
video, 4'15'', color, sound
Dream City, 1983
video, 5'23'', color, sound
May the moon meet us apart, may the sun meet us together, 2021
virtual reality game, infinite duration, color, sound
I First you (11/11), 2018
HD video, 5′28″, color, sound
Disturbances, 1974
video, 11′, b/w, sound
Songdelay, 1973
16mm film transferred to video, 18′35″, b/w, sound
Vertical Roll, 1972
video, 19′38″, b/w, sound
Exitscape 1, 2015
HD video, 3′02″, color, sound
Exitscape 5, 2015
HD video, 3′19″, color, sound
Exitscape 4, 2015
HD video, 3′24″, color, sound
Exitscape 6, 2015
HD video, 2′51″, color, sound
Exitscape 3, 2015
HD video, 3′19″, color, sound
Exitscape 2, 2015
HD video, 3′08″, color, sound
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011
lenticular panel, lightbox, 82,6 × 122,6 × 8,3 cm
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011
video, 25′15″, color, sound
Forever 27 (Kurt), 2013
HD video, 14′39″, color, sound
Designer’s Head in Tim Coppens (Tim), 2013
3D printed sculpture in plaster, inkjet ink, and cyanoacrylate, low-iron Starphire glass, Stella Artois beer, MDF, glue, 102,87 × 35,56 × 35,56 cm
Forever 48 (Whitney), 2013
HD video, 16′06″, color, sound
Snow White, 2008
mixed-media installation; 200 neon lights, porcelain-Chrysanthemums, mirror coffin, sound installation, dimensions variable
Sprungkopf, 2006
video, 1′42″, b/w, sound
The Camel was God, the Camel Was Shot, 2007
sculpture; cast of artist’s body, bronze, white patina
Self Coded, 2008
three-channel HD video installation, 23′16″, color, sound
Tanzfilm, 2011
HD video, 26′42″, color, sound
Hunky Bluff ACT 5, 2015
sound file, 2′41″
Hunky Bluff ACT 3, 2015
sound file, 2′07″
Hunky Bluff ACT 4, 2015
sound file, 3′
Hunky Bluff ACT 6, 2015
sound file, 1′41″
Hunky Bluff ACT 2, 2015
sound file, 2′57″
Hunky Bluff ACT 1, 2015
sound file, 1′25″
Cinema-in-the-Round, 2006–2008
video, 42′21″, color, sound
GreenScreenRefrigerator, 2010
digital video, 17′10″, color, sound
Parade, 2003
video, 7′19″, color, sound
Made in ‘Eaven, 2004
16mm film, transferred to video, 2′, color, no sound
Shades of Destructors, 2005
video, 18′30″, color, sound
Fiorucci Made Me Hardcore, 1999
video, 15′, color, sound
Felix Gets Broadcasted, 2007
digital video, 5′, color, sound
Date Yourself, 2015
HD video, 2′10″, color, sound
Break Up, 2015
sound file, 2′53″
Girlhood, 2015
HD video, 1′58″, color, sound
The Heart Wants, 2015
sound file, 2′55″
Fast Lost by Ho Ho Click, 2015
HD video, 1′, color, sound
Ain’t Gon Do It, 2015
HD video, 24″, color, sound
Aliens, 2015
sound file, 1′55″
Surfer Ho Remix, 2015
sound file, 1′03″
The Concept, 2015
HD video, 1′13″, color, sound
Write your name, 2015
HD video, 1′51″, color, sound
Awesome, 2015
sound file, 50″
Lips, 2015
sound file, 1′15″
Paralyzed, 2003
video, 3′, color, sound
550, 2004
video, 2′56″, color, sound
Small jug lamp, 2019
Plastic canister, lightbulb, spray paint, 20 × 35 × 40 cm
Kasta Macka, 2009
video, 3′45″, color, sound
Untitled (Down), 2011
C-print, 40 × 30 cm
Untitled (Column Monkey), 2010
slide projection
Handicap (Konst Fack), 2007
slide projection
Claim, 2010
slide projection
Seine, 2010
slide projection
Self Portrait with the Keys to the City, 2005
digital print, 60 × 42 cm
Untitled (Under Mattan), 2006–2010
slide projection
Grounding, 2018
HD video, 5′53″, color, sound
Untitled (Trashcan), 2011
video, 2′56″, color, sound
Useless Fruit, 2006
acrylic ink on mylar, collage on paper on wood, 213,4 × 274,4 cm
Untitled, 2004
acrylic ink on mylar, 141,5 × 193 cm
Let It Go – Part 5, 2015
HD video, 3′03″, color, sound
Let It Go – Part 6, 2015
HD video, 3′03″, color, sound
Let It Go – Part 2, 2015
HD video, 3′03″, color, sound
Let It Go – Part 4, 2015
HD video, 3′03″, color, sound
Let It Go – Part 1, 2015
HD video, 3′03″, color, sound
Let It Go – Part 3, 2015
HD video, 3′03″, color, sound
Evian Disease, 2012
HD video, 28′45″, color, sound
Dust and Piranhas, 2011
HD video, 25′25″, color, sound
Program One: Chinatown Voyeur, 1971
video, 60′, b/w, sound
Program Seven, 1974–2005
16mm and Super 8mm film, transferred to video, 44″, b/w & color, sound & no sound
Consisting of:
, 1977–2005
, 1975
Sous-Sols de Paris (Paris Underground), 1977–2005
Super 8mm film transferred to video, 25’20’’, b/w, sound
Part of:
Conical Intersect, 1975
16mm film transferred to video, 18’40’’, color, no sound
Part of:
Program Five, 1972–1976
16mm and Super 8mm film transferred to video, 60′50″, b/w & color, sound
Consisting of:
, 1971
, 1973
, 1976
Automation House, 1971
16mm film transferred to video, 32’, b/w, sound & no sound
Part of:
Clockshower, 1973
16mm film transferred to video, 13’50’’, color, no sound
Part of:
City Slivers, 1976
Super 8mm film transferred to video, 15’, color, no sound
Part of:
Program Three, 1971–1975
16mm and Super 8mm film transferred to video, 45′45″, color, sound & no sound
Consisting of:
, 1971
, 1972
, 1975
Fire Child, 1971
Super 8mm film transferred to video, 9’47’’, color, no sound
Part of:
Fresh Kill, 1972
16mm film transferred to video, 12’56’’, color, sound
Part of:
Day’s End, 1975
Super 8mm film transferred to video, 23’10’’, color, no sound
Part of:
Program Six, 1974–1976
16mm and Super 8mm film transferred to video, 50′30″, b/w & color, sound & no sound
Consisting of:
, 1976
, 1974
, 1974
Substrait (Underground Dailies), 1976
16mm film transferred to video, 30’, b/w & color, sound
Part of:
Bingo/Ninths, 1974
Super 8mm film transferred to video, 9’40’’, color, no sound
Part of:
Splitting, 1974
Super 8mm film transferred to video, 10’50’’, b/w, no sound
Part of:
Black and White Tapes, 1970-1975
video, 32′50′, b/w, sound
Consisting of:
, 1971
, 1972
, 1974
, 1970–71
, 1975
, 1974
, 1974
, 1975
, 1975
, 1975
, 1975
, 1974
, 1975
Ma Bell, 1971
video, b/w, sound
Part of:
Painting Face Down – White Line, 1972
video, b/w, sound
Part of:
Spit – Not Looking at the Camera, 1974
video, b/w, sound
Part of:
Spinning, Short segment of 20-minute Tape, 1970–71
video, b/w, sound
Part of:
Whipping the Wall with Paint, 1975
video, b/w, sound
Part of:
Up Down Penis Show, 1974
video, b/w, sound
Part of:
Zippedy Doo Dance, 1974
video, b/w, sound
Part of:
Icicle Slobber, 1975
video, b/w, sound
Part of:
Pipe Shadow, 1975
video, b/w, sound
Part of:
Upside Down Spitting – Bat, 1975
video, b/w, sound
Part of:
Drawing – Semen Drawing, 1975
video, b/w, sound
Part of:
Spitting on the Camera Lens, 1974
video, b/w, sound
Part of:
Upside Down Pipe, 1975
video, b/w, sound
Part of:
Teenage Daydream: It’s only Rock & Roll, 2002
video, 2′30″, color, sound
Fucked, 1999
video, 3′, color, sound
Get Your Gun Up, 2002
video, 2′30″, color, sound
Teenage Daydream: In Vain, 2002-2003
video, 2′, color, sound
Indefinite Line Towards Becoming the Perfect SoHo Girl, 2000
video, 3′30″, color, sound
the_anciety_of_influence, 2015
HD video, 4′21″, color, sound
somewhere_sideways, 2015
HD video, 2′22″, color, sound
rghwori, 2015
HD video, 2′56″, color, sound
hihihihihihihihihihihih, 2015
HD video, 3′18″, color, sound
the_tacit_one, 2015
HD video, 3′13″, color, sound
towards_a_new_architecture, 2015
HD video, 3′22″, color, sound
Delimitar #2, 2009
engraving on gravoply mounted on birch plywood, 30 × 30 cm
Hard Edge 4, 2010
sculpture; MDF, varnish, 366 × 40 × 40 cm
Figures and Prefigurations (Divers, A. Rodchenko, 1930, Political Football), 2009
unique cut-out from offset print, 96,5 × 72 cm
Delimitar #1, 2009
engraving on gravoply mounted on birch plywood, 30 × 30 cm
The Staff That Matters (SI), 2009
unique cut-out from offset print, 96,5 × 72 cm
Delimitar #4, 2009
engraving on gravoply mounted on birch plywood, 30 × 30 cm
The Staff That Matters (30,000), 2009
cut-out from offset print, 96,5 × 72 cm
Figures and Prefigurations (Divers, V. Palladini, 1926), 2009
unique cut-out from offset print, 96,5 × 72 cm
Delimitar #3, 2009
engraving on gravoply mounted on birch plywood, 30 × 30 cm
N,S,O,T,C, 2008
sculpture; steel, 5 parts, each 180 × 45 × 40 cm
Delimitar #5, 2009
engraving on gravoply mounted on birch plywood, 30 × 30 cm
Überbau (Superstructure), 2005
Mixed-media installation; iron framework, wood panels, offset-printed posters, dimensions variable
Intsandvokati, 2008
sculpture; cowhide, resin, polyester mesh, 140 × 160 × 120 cm
Sondzela, 2008
sculpture; cowhide, resin, polyester mesh, waxed cord, glass beads, 170 × 165 × 100 cm
Selbstschüsse, 1967
16mm film transferred to video, 6′16″, b/w, sound
Weg zum Nachbarn, 1968
16mm film transferred to video, 10′26″, b/w, sound
Soziale Plastik, 1969
16mm film transferred to video, 11′41″, b/w, no sound
Die Treppe, 1967
16mm film transferred to video, 6′38″, b/w, sound
Als wär’s von Beckett, 1975
16mm film transferred to video, 23′, b/w, sound
Emergency Doors (Smithsonian American History Museum), 2006
archival pigment print, 113 × 143,5 cm
View, 101 Constitution Avenue (U.S. Capitol), 2006
archival pigment print, 113 × 126 cm
Arlington National Cemetery (JFK funeral model), 2005
archival pigment print, 72,5 × 89 cm
Lip Sync, 1969
video, 57′, b/w, sound
Bouncing in the Corner, No. 2: Upside Down, 1969
video, 60′, b/w, sound
Bouncing in the Corner No. 1, 1968
video, 60′, b/w, sound
Bouncing Balls, 1969
16mm film transferred to video, 9′, b/w, no sound
Playing A Note on the Violin While I Walk Around the Studio, 1967–1968
16mm film transferred to video, 10′, b/w, sound
Stamping in the Studio, 1968
video, 1′02″, b/w, sound
Dance or Exercise on the Perimeter of a Square (Square Dance), 1967–1968
16mm film transferred to video, 8′24″, b/w, sound
Violin Film #1 (Playing The Violin As Fast As I Can), 1967–1968
16mm film transferred to video, 10′54″, b/w, sound
Pulling Mouth, 1969
16mm film transferred to video, 8′, b/w, no sound
Black Balls, 1969
16mm film transferred to video, 8′, b/w, sound
Gauze, 1969
video, 8′, b/w, sound
Art Make-Up, 1967–1968
16mm film transferred to video, 40′, color, sound
Consisting of:
, 1967
, 1967
, 1967–1968
, 1967–1968
Art Make-Up, No. 1, White, 1967
16mm film transferred to video, 10’, color, sound
Part of:
Art Make-Up, No. 2, Pink, 1967
16mm film transferred to video, 10’, color, sound
Part of:
Art Make-Up, No. 3, Green, 1967–1968
16mm film transferred to video, 10’, color, sound
Part of:
Art Make-Up, No. 4, Black, 1967–1968
16mm film transferred to video, 10’, color, sound
Part of:
Walking in an Exaggerated Manner Around the Perimeter of a Square, 1967–1968
16mm film transferred to video, 10′, b/w, sound
Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967–1968
16mm film transferred to video, 10′, b/w, sound
Program Six, 1971/72
video, 27′18″, b/w & color, no sound
Consisting of:
, 1971
, 1971
, 1971
, 1972
, 1971
, 1971
, 1971
, 1971
Forming Sounds, 1971
video, 7′14″, b/w, no sound
Part of:
2 Stage Transfer Drawing (Advancing to Future State), 1971
video, 2′48″, color, no sound
Part of:
2 Stage Transfer Drawing (Retreating to a Past State), 1971
video, 2′57″, color, no sound
Part of:
A Feedback Situation, 1972
video, 3′02″, color, no sound
Part of:
3 Stage Transfer Drawing, 1971
video, 3′07″, color, no sound
Part of:
Two Stage Transfer Drawing (Returning to a Past State), 1971
video, 3′, color, no sound
Part of:
Objectified Counterforces, 1971
video, 2′06″, color, no sound
Part of:
Shadow Project, 1971
video, 3′04″, color, no sound
Part of:
Program One: Aspen Projects, 1970
16mm film, 8mm film, and video tape transferred to video, 30′, b/w & color, no sound
Consisting of:
, 1970
, 1970
, 1970
, 1970
, 1970
, 1970
, 1970
, 1970
, 1970
Material Interchange, 1970
video, 2′44″, b/w, no sound
Part of:
Identity Transfer, 1970
video, 1′, b/w, no sound
Part of:
Rocked Hand, 1970
8mm film transferred to video, 3′34″, color, no sound
Part of:
COMPRESSION – FERN #1, 1970
16mm film transferred to video, 5′46″, color, no sound
Part of:
Pressure Piece #1, 1970
video, 1′40″, color, no sound
Part of:
Glassed Hand, 1970
video, 2′56″, color, no sound
Part of:
Compression – Poison Oak, 1970
16mm film transferred to video, 2′46″, color, no sound
Part of:
COMPRESSION – FERN #2, 1970
16mm film transferred to video, 5′22″, color, no sound
Part of:
Leafed Hand, 1970
video, 3′44″, color, no sound
Part of:
Station Block (time shift edit), 1994-2007
mixed-media video installation, 21′18″, color, sound
EVOL, 1984
video, 28′58″, color, sound
Sixth (Dusseldorf Variation), 2005-2007
wall video projection, 21′59″, color, no sound
Phone Block (time shift edit), 1994-2007
mixed-media video installation, 20′37″, color, sound
Tunic (Song for Karen), 1990
video, 6′17″, color, sound
The Weak Bullet, 1980
video, 12′41″, color, sound
Movie Block (time shift edit), 1994-2007
mixed-media video installation, 21′24″, color, sound
Son of Oil, 1982
video, 16′08″, color, sound
Global Groove, 1973
video, 34′50″, color, sound
Video-Film Concert, 1966-1972/1992
16mm film transferred to video, 30′, b/w & color, sound
Born Again, 1991
video object; patinated bronze of a “Cuba” TV with 3 small television monitors, antenna, plug, 46 × 58,3 × 13,8 cm
EMPIRE STATE BUILDING, 1995
video sculpture; tube television, laserdisc, laserdisc player, neon tubes, acrylic paint, circuit boards and Empire State Building replica on aluminum square profile and perforated plate, 239 × 74 × 57,5 cm
The worse you feel the better I look, 2015
video, 1′18″, color, sound
smoke, 2015
sound file, 2′38″
sick off smoke, 2015
sound file, 2′35″
What are you thinking about, 2015
video, 1′34″, color, sound
too loud and too wavy, 2015
sound file, 2′41″
To say you feel something, 2015
video, 1′15″, color, sound
Useless, 2015
video, 2′09″, color, sound
Princess & princesses, 2015
sound file, 1′38″
let go beat, 2015
sound file, 2′26″
aahhhhhh, 2015
HD video, 1′18″, color, sound
Waiting here, 2015
video, 3′44″, color, sound
keep the peace, 2015
sound file, 1′21″
Four Horsemen of the Apocalypse (16), 2004
C-print, 142,5 × 173 cm
Four Horsemen of the Apocalypse (15), 2004
C-print, 142,5 × 173 cm
Empire, 2004
single-channel video installation, 2400′, color, no sound
Sunlight, 2013
two-channel video installation, 10′, color, sound
The Woolworths Choir of 1979, 2012
HD video, 18′44″, color, sound
At the House of Mr. X, 2007
HD video, 20′, color, sound
Swallow, 2013
video, 12′06″, color, sound
The Artist, 2010
video, 10′10″, color, sound
They Parlaient Idéale, 2019
HD video, 28′30″, color, sound
Esprit de Corps: Guitar Jam, 2006
sculpture; denim, concrete, 38,1 × 73,7 × 58,4 cm
Roller Rink Coffee Table III (Falken), 2017
Chromed tire, tempered mirror, chromed wood, roller skates, 57 × 67 × 67 cm
Global Warming, 2006
acrylic, oil, glitter on foil panel, 253 × 253 cm
Transdimensional Serpent, 2016
Oculus rift virtual reality installation, bench, 4′38″, color, sound
Poor Magic, 2017
HD video, 8′30″, color, sound
Oh the humanity, 2015
HD video, 3′02″, color, sound
Dream Journal 2016 – 2019, 2019
video, 94′, color, sound
Betamale Trilogy (Glass Cabin), 2015
mixed-media installation; HD video projector, steel panels, tempered glass, 3 HD videos, 20′42″, color, sound
Consisting of:
, 2013
, 2014
, 2015
Still Life (Betamale), 2013
HD video, 4′54″, color, sound
Part of:
Mainsqueeze, 2014
HD video, 7′23″, color, sound
Part of:
Erysichthon, 2015
HD video, 8′03″, color, sound
Part of:
The Drowning Room, 2000
8mm film transferred to HD video, 10′, b/w, sound
Burn, 2002
16mm film transferred to HD video, 10′, color, sound
Extra, 2015
HD video, 3′11″, color, sound
Carramesh, 2015
HD video, 3′08″, color, sound
Friend, 2015
HD video, 3′11″, color, sound
27th March, 2015
HD video, 3′08″, color, sound
Needles, 2015
HD video, 3′08″, color, sound
Vanish, 2015
HD video, 3′08″, color, sound
Pickelporno, 1992
video, 12′02″, color, sound
Als der Bruder meiner Mutter geboren wurde, duftete es nach wilden Birnenblüten vor dem braungebrannten Sims, 1992
video, 3′55″, color, sound
I’m a Victim of This Song, 1995
video, 5′06″, color, sound
(Entlastungen) Pipilottis Fehler, 1988
video, 11′10″, color, sound
Blutclip, 1993
video, 2′40″, color, sound
I’m not the Girl who misses much, 1986
video, 7′46″, color, sound
Sexy Sad I, 1987
video, 4′36″, color, sound
You Called Me Jacky, 1990
video, 4′06″, color, sound
Double fountain or cooked landscape, 2005
video, 14′, color, sound
Sublimation, condensation, zenith and precipitation, 2005
video, 17′, color, sound
Inverted zenith, 2005
video, 11′, color, sound
Homage to JMW Turner, 2002
video, 18′, color, sound
Rio de Janeiro X Sao Paulo, air trip with highway time or addressless love letter, 2005
video, 240′, color, sound
Poetry reading in Columbine Library with Joan of Arc / Poetry reading with Gazlene Membrane in Columbine Cafeteria, 2014
HD video installation, bench, 20′, color, sound
Mandy’s Piano Solo in Columbine Cafeteria, 2016
HD video installation, piano bench, 13′, color, sound
Palisades, 2015
mixed-media video installation; 2 videos, audio work, custom made speakers, carpet
Consisting of:
, 2014
, 2015
, 2014
Palisades in Palisades, 2014
single-channel HD video installation, 9’31’’, color, sound
Part of:
Palisades (audio piece), 2015
audio file, 20’
Part of:
A Minute Ago, 2014
single-channel HD video installation, 8’43’’, color, sound
Part of:
Mike Kelley/Carmen, 1996
archival inkjet print on aluminium, 104,2 × 78,8 cm
Harmony Korine/Carmen, 1998
archival inkjet print on aluminium, 104,2 × 78,8 cm
Cheese, 2008
mixed-media video installation; wooden structure, 6 videos, color, sound, dimensions variable
Consisting of:
, 2008
, 2008
, 2008
, 2008
, 2008
, 2008
House, 2008
video, 7’05’’, color, sound
Part of:
Cheese, 2008
video, 4’28’’, color, sound
Part of:
Hairwash, 2008
video, 1’53’’, color, sound
Part of:
Milk, 2008
video, 2’04’’, color, sound
Part of:
Concert, 2008
video, 2’01’’, color, sound
Part of:
Chicken Soup, 2008
video, 1’07’’, color, sound
Part of:
Dough, 2006
mixed-media video installation; plywood, fan, floor tiles, ceiling panels, video, 7′, color, sound, dimensions variable
e20, 2005
drawing; pencil, and coloured marker on paper, 76,2 × 101,6 cm
Mary’s Cherries, 2004
mixed-media video installation; plywood, carpet, video, 10′, color, sound, dimensions variable
e24, 2005
drawing; pencil, and coloured marker on paper, 76,2 × 101,7 cm
Tropical Breeze, 2004
mixed-media video installation; plywood, cardboard, tissues, video, 10′, color, sound, dimensions variable
Chasing Waterfalls. The Rise and Fall of the Amazing Seven Sutherland Sisters, 2006
video, 9′, color, sound
Artificial Life, 1995
slide projector installation
Empire of the Senseless Part II, 2006
two-channel video installation, 102′10″, color, no sound
12, 2021
UV print on car wrapping foil mounted on fluorescent acrylic glass, displayed on clear acrylic shelf, 80 x 60 cm
9, 2021
UV print on car wrapping foil mounted on fluorescent acrylic glass, displayed on clear acrylic shelf, 80 x 60 cm
car, road, mountain, 2020
installation; video, 12′26″, color, sound, banner, 9 inkjet prints, 60 x 80 cm, 2 inflatable airplane slides
Moments of Silence, 2019
two-channel HD video and 3D animation, 5′23″, color, sound
1–8. En Plein Air Abstraction (full length feature), 2018
HD video, 8′18″, color, sound
Avenue B, 2018–2019
two-channel HD video and 3D animation, 20′38″, color, sound
Birds in Paradise, 2019
two-channel HD video and 3D animation, 17′42″, color, sound
Shrines, 2020
HD video and 3D animation; HD virtual reality , 13′38″; 10′23″, color, sound
Please Feel Free (The Ecology of Visibility), 2020
aluminium sign, four washers and screws, 40 × 60 cm
Security By Julia (Dispenser), 2020
disinfectant dispenser, sign, 29,5 x 16,5 x 10,5 cm
Diana Altar, 2006
mixed-media video installation; portable altar, former component of the performance Diana II – What happened to Allan Kaprow?, London, October 10–12, 2006, wood, xerox copies, 3 monitors, 3 videos (screen 1: 4’16”, colour, sound; screen 2: 2’51”, screen 3: 2’41”), color, sound, 3 mp4 players, car battery, 143 × 250 × 45 cm
Message in a Bottle, 2008
object; wooden frame, Plexiglas, Super 8mm film inverse positive in envelope, addressed, franked and stamped
I want to destroy, 2005
video, 1′39″, color, sound
18 Bilder pro Sekunde (Dokumentation der Ausstellung im Haus der Kunst, München), 2007
12 looped 16mm films, 13 Apostle figures
Affenführer, 2005
video, 3′47″, b/w, sound
Affenbilder, 2005
6 photo prints on canvas, dimensions variable
Up to and including her Limits, 1976
video, 29′, color, sound
Fuses, 1964–1967
16mm film transferred to HD video, 29′37″, color, no sound
Liminals, 2017
16mm film and HD video transferred to video, 31′16″, color, sound
I CAN SEE FOREVER, 2018
two-channel HD video installation; VHS video and HD video transferred to video, 44′05″, color, sound
Quickeners, 2014
16mm film transferred to video, 36′24″, color, sound
Best Minds Part One, 2007
two-channel video installation, 48′31″, color, sound
Visit Mirrorscape 2016: Arrive, 2016
backlit tension fabric display, aluminium frame, LED light system, 110 × 220 × 16 cm
Visit Mirrorscape 2016: Now, 2016
backlit tension fabric display, aluminium frame, LED light system, 110 × 220 × 16 cm
Display (Peace), 2015
UV coating on microperforated mesh, anodized steel tube, plexiglass, LED, 105 × 150 × 10,5 cm
Selection Display: Ancestral Prayer, 2011, 2011
4 display banners, Tibetan prayer flags, each 150 × 50 cm / total 150 × 200 cm
In Memoriam 9, 2015
backlit tension fabric display, aluminium frame, LED light system, 208 × 284,5 × 12 cm
Visit Mirrorscape 2016: Here, 2016
backlit tension fabric display, aluminium frame, LED light system, 110 × 220 × 16 cm
11/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
2 c-prints, acrylic, steel, each 190 × 125 cm
o.T., 1990
C-print, acrylic, steel, 275 × 375 cm
24/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
2 c-prints, acrylic, steel, each 190 × 125 cm
26/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
2 c-prints, acrylic, steel, each 190 × 125 cm
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 capital murder, 2002
C-print on aluminum, 121,9 × 157,5 cm
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-year sentence for rape, robbery and unlawful deviate conduct, 2002
C-print on aluminum, 121,9 × 157,5 cm
RONALD JONES Scene of arrest, South Side, Chicago, Illinois. Served 8 years of a death sentence for Rape and Murder, 2002
C-print on aluminum, 121,9 × 157,5 cm
Song for Rent, 1969
16mm film, 4′, color, sound
Normal Love, 1963–1965
16mm film, 120′, color, sound
Overstimulated, 1959–1963
16mm film, 5′, b/w, no sound
Scotch Tape, 1959–1962
16mm film, 3′, color, sound
Jungle Island, 1967
16mm film, 20′, color, sound
Flaming Creatures, 1962/63
16mm film, 43′, b/w, sound
No President, 1967–1970
16mm film, 45′, b/w, sound
Respectable Creatures, 1950–1966
16mm film, 24′, color, sound
Hot Air Specialists, 1980er-Jahre
16mm film, 7′, color, sound
Weed Killer, 2017
HD video, 16′49″, color, sound
Pure Means, 2021
Two-channel HD video , 4′37″, color, sound
My Best Thing, 2011
video, 99′17″, color, sound
The Inchoate Incarnate: After a Drawing, Toward an Opera, but Before a Libretto Even Exists, 2009
aearable fabric costume, astrachan cloth, 147,3 × 177,8 × 81,3 cm
Osservate, leggete con me, 2012
three-channel video installation, 29′34″, b/w, sound
Untitled, 2012
mixed-media collage, 53 × 67,9 cm
Detumescence and/or its Opposite (from a Torment of Follies), 2012
wall installation; 3 components of vinyl and paint, dimensions variable
Nothing is enough, 2012
HD video, 14′, b/w, sound
Dillinger Running Series, 2000
single-channel video installation on rotating platform, 26′55″, b/w, sound
Elastic Tango, 2010
nine-channel video installation, 9 Monitore, monitor mount in inverted pyramid shape, 12′, color, sound
Finite/Infinite, 2010
four-channel video installation, 9′42″, color, sound, dimensions variable
Pacman, 2012
HD video, 1′15″, color, sound
Of All Seasons, 2023
patinated bronze, rusty metal, oil, 22,5 × 11,5 × 10cm
Wish You a Lovely Sunday, 2021
video, 18′45″, color, sound
„It’s all good in Italics“, 2016
inkjet print on fine polyester mesh, dimensions variable
„Three Infomercials“, 2016
three-channel HD video installation, 1′49″, color, sound
„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
inkjet print on PVC, dimensions variable
„MALL-E“, 2016
HD film, 2′48″, color, sound
„HD“, 2016
inkjet print on fine polyester mesh, dimensions variable
„I googled my mom and was relieved that she is still safe“, 2016
inkjet print on polyester satin, dimensions variable
„Interfaces become our weather“, 2016
inkjet print on PVC, dimensions variable
Kate McQueen, 1996
C-print on paper, 32.2 x 21.5 cm (framed 40.5 x 30.3 cm)
Heartbeat/Armpit, 2003
video, 2′27″, color, no sound
Peas, 2003
video, 2′42″, color, sound
Freischwimmer 21, 2004
C-print on aluminum in artist frame, 250 x 190 x 6 cm
Omen, 1991
C-print on aluminum in artist frame, 66,8 x 83,6 cm (framed 72,2 x 89 x 3,3 cm)
Lutz, Alex, Susanne & Christoph on beach (orange), 1993
C-print, framed, 40,6 x 30,5 cm (framed: 44 x 34 x 2,4 cm)
nackt, 2003
unframed inkjet print, 207 × 138 cm
LA still life, 2001
unframed inkjet print on paper , 138 × 208 cm
Resolute Rave, 2015
C-print on aluminum in artist frame, 90.8 x 72.6 cm (framed 96.2 x 79 x 3.3 cm)
Early Baggage, 2001–2003
Box set with 4 digital color videos (Valentine's Day Girl, Yo! A Romantic Comedy, Waynes World, What's he Love Making Babies For), backpack, various bags., 48′43″
Trill-ogy Comp, 2009
mixed-media HD video installation, 3 videos, color, sound
Consisting of:
, 2009
, 2009
, 2009
P.opular S.ky (section ish), 2009
HD video, picnic tables with integrated benches, 43’51”, color, sound
Part of:
K-CoreaINC.K (section a), 2009
HD video, conference table, office chairs, 33’05”, color, sound
Part of:
Sibling Topics (section a), 2009
HD video, airplane seats, 50’, color, sound
Part of:
Ei-Dorado, 1992/1998
video, 1′57″, b/w & color, sound
Interview, 1994
video, 2′30″, b/w, sound
Egg-trying to get warm (Versuch nach Mach), 1994
video, 4′15″, b/w, sound
A Performance Anthology. Abramović/Ulay. Four performances by Abramović (1975–1976), 1975–1976.
Consisting of:
, 1975
, 1976
, 1976
, 1976
Art must be beautiful, Artist must be beautiful, 1975
video, 14’09’’, b/w, sound
Part of:
Freeing the Voice, 1976
video, 14’, b/w, sound
Part of:
Freeing the Memory, 1976
video, 15’20’’, b/w, sound
Part of:
Freeing the Body, 1976
video, 9’08’’, b/w, sound
Part of:
Modus Vivendi. Abramović/Ulay (1979–1986), 1979–1986.
Consisting of:
, 1979
, 1980
, 1983
, 1983
, 1985
, 1983
, 1984
Communist Body/Fascist Body, 1979
video, 41’45’’, color, sound
Part of:
That Self, 1980
video, 45’59’’, color, sound
Part of:
Anima Mundi, 1983
video, 6’51’’, color, sound
Part of:
Positive Zero, 1983
video, 15’08’’, color, sound
Part of:
Modus Vivendi, 1985
video, 11’26’’, color, sound
Part of:
Night See Crossing Conjunction, 1983
video, 2’08’’, color, sound
Part of:
The Observer with Remy Zaugg, 1984
video, 6’05’’, color, sound
Part of:
A Performance Anthology. Abramović/Ulay. Action in 14 predetermined sequences, 1976.
Consisting of:
, 1976
There is a Criminal Touch to Art, 1976
video, 25’48’’, b/w, sound
Part of:
Continental Videoseries. Abramović/Ulay (1983–1986), 1983–1986.
Consisting of:
, 1983
, 1984
, 1986
, 1988
City of Angels, 1983
video, 20’07’’, color, sound
Part of:
Terra Degla Dea Madre, 1984
video, 15’15’’, color, sound
Part of:
Terminal Garden, 1986
video, 19’18’’, color, sound
Part of:
China Ring, unedited video notebook, 1988
video, 99’06’’, b/w & color, sound
Part of:
A Performance Anthology. Abramović/Ulay. 14 performances Relation Work (1976–1980), 1976–1980.
Consisting of:
, 1976
, 1976
, 1977
, 1977
, 1977
, 1977
, 1977
, 1977
, 1977
, 1978
, 1978
, 1978
, 1978
, 1978
Relation in Space, 1976
video, 14’38’’, b/w, sound
Part of:
Talking about Similarity, 1976
video, 10’09’’, b/w, sound
Part of:
Breathing in, Breathing out, 1977
video, 11’33’’, b/w, sound
Part of:
Imponderabilia, 1977
video, 9’55’’, b/w, sound
Part of:
Expansion in Space, 1977
video, 14’21’’, b/w, sound
Part of:
Relation in Movement, 1977
video, 13’21’’, b/w, sound
Part of:
Relation in Time, 1977
video, 12’, b/w, sound
Part of:
Light/Dark, 1977
video, 6’40’’, b/w, sound
Part of:
Balance Proof, 1977
video, 8’46’’, b/w, sound
Part of:
AAA-AAA, 1978
video, 10′20″, b/w, sound
Part of:
Incision, 1978
video, 10’29’’, b/w, sound
Part of:
Kaiserschnitt, 1978
video, 7’03’’, b/w, sound
Part of:
Charged Space, 1978
video, 8’27’’, b/w, sound
Part of:
Three, 1978
video, 10’10’’, b/w, sound
Part of:
White Flag Emoji 6, 2015
HD video, 07″, color, sound
White Flag Emoji 2, 2015
HD video, 08″, color, sound
White Flag Emoji 1, 2015
HD video, 07″, color, sound
White Flag Emoji 3, 2015
HD video, 07″, color, sound
White Flag Emoji 4, 2015
HD video, 05″, color, sound
White Flag Emoji 5, 2015
HD video, 05″, color, sound
Hatsu-Yume (First Dream), 1981
video, 57′33″, color, sound
The Reflecting Pool – Collected Work 1977–80, 1977–80
video, 62′, color, sound
Consisting of:
, 1977–79
, 1977–79
, 1979
, 1979–81
, 1978–80
The Reflecting Pool, 1977–79
Video, 7’, color, sound
Part of:
Moonblood, 1977–79
video, 12’48’’, color, sound
Part of:
Silent Life, 1979
video, 13’14’’, color, sound
Part of:
Ancient of Days, 1979–81
video, 12’21’’, color, sound
Part of:
Vegetable Memory, 1978–80
video, 15’13’’, color, sound
Part of:
From Its Mouth Came a River of High-End Residential Appliances, 2018
video, 13′, loop, color, surround sound
Weak Pearl, 2019
mixed-media video installation; flexible LED mesh, mica flakes, three-channel video, 5', color, surround sound
Silberhöhe + Die Siedlung, 2003/04
two-channel video installation, 20′, color, sound
Consisting of:
, 2003
, 2004
Silberhöhe, 2003
35mm film transferred to video, 10’, color, sound
Part of:
Die Siedlung, 2004
video, 20’, color, sound
Part of:
Big Business + The Making of Big Business, 2002
two-channel video installation, 27′29″, color, sound
Consisting of:
, 2002
, 2002
Big Business, 2002
video, 25’, color, sound
Part of:
The Making of Big Business, 2002
video, 27’, color, sound
Part of:
Das Bildermuseum brennt, 2004/05
three-channel video installation on 3 screens, 27′, color, sound
Wind & fast forward, Realitätsspaltung, 1990
from the series PANISCHE OBJEKTE (In der Warteschleife), sculpture, various materials
Als Fuji noch ein Berg war, 1990
from the series PANISCHE OBJEKTE (In der Warteschleife), sculpture, various materials
Never Sleep with a Strawberry in Your Mouth, 2010
HD video, 14′, color, sound
Should be titled, 2010/2011
sculpture; wax figure, polyurethane foam, steel, cotton, artificial hair, pigments, paint, cast aluminum, plastic, 65 × 185 × 60 cm
Künstlerstuhl K107, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K108, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K122, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K118, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K117, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K116, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K121, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K131, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K095, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
ohne Titel (L28), 2006
light object; fibreglass, epoxy resin, metal, 299 × 110 × 110 cm
Künstlerstuhl K126, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
ohne Titel (L31), 2006
light object; fibreglass, epoxy resin, metal, 265 × 113 × 113 cm
Künstlerstuhl K130, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Künstlerstuhl K104, 2011
artist chair; nirosta, epoxy raisin, acrylic lacquer, 85 × 45 × 55 cm
Blaker, 2011
installation; C-print, wood, glass, lacquer, 250 × 160 × 10 cm
Barbarian + Classics, 2012
8 b/w photo prints, 2 portrait formats, 6 landscape formats, each 21 × 30 cm / 30 × 21 cm
Lüster, 2011
installation; C-print, wood, glass, lacquer, 250 × 160 × 10 cm
Nancy, Pamela, Thomas, Diana, Unity, Jessica, Deborah, 2011
fine art print, 52 × 39 cm
Hello Boys, 1975
video, 12′, b/w, sound
Gestures, 1974
video, 35′30″, b/w, sound
Hannah Wilke Through the Large Glass, 1976
16mm film transferred to video, 10′, color, no sound
Intercourse with …, 1977
video, 27′, b/w, sound
Philly, 1977
video, 32′, b/w, sound
Eurydice, 2018
two-channel video installation, 20′01″, color, sound
cruz: or, as Spillers puts it, „the captive body becomes the source of an irresistible, destructive sensuality“, 2020
Sculpture; mixed media, 117 x 72 x 18 cm
she’s so talented, 2015
HD video, 1′06″, color, sound
should I add an emoji, 2015
HD video, 1′03″, color, sound
we had a traumatic threeway, 2015
HD video, 1′03″, color, sound
the hotel gave us wine, 2015
HD video, 57″, color, sound
we’ve been drinking since noon, 2015
HD video, 2′09″, color, sound
do you really think he fingered her, 2015
HD video, 1′03″, color, sound
Hausbaumaschine, 2013
mixed-media video installation; 3D print model made of nylon, book Bauordnungslehre (BOL) (Ernst Neufert, ed. by Albert Speer, 1943, first edition), HD video, 7′39″, color, sound, 29,7 × 18,4 × 25,5 cm (model)
The National Park, 2015
HD video, 5′39″, color, sound
Escape From the Shade 5, 2016
sculpture; epoxy resin, stainless steel, light bulbs, digital clock interface, wire, 105 × 62 × 59 cm
The Flavor Genome, 2016
3D video installation, 22′, color, sound
White Cons, 2003
video, 3′, color, sound
I.P.O (25 Offerings), 2006
C-print on aluminium, 152 × 122 cm
Freedom Fries, 2005
video, 4′, color, sound
Tender Buttons with Mirrors, 2004
sculpture; painted steel, aviator sunglasses, 244 × 35,5 × 35,5 cm
High Performance, 2000
video, 3′, color, sound
Freeformdome, 2003
C-print, diasec, 122 × 153 cm
Good Boy, 2001
video, 2′05″, color, sound
Established in 2017, the JULIA STOSCHEK FOUNDATION is a non-profit arts and culture organization dedicated to the public presentation, advancement, conservation, and scholarship of time-based art. Across two publicly accessible exhibition spaces in Berlin and Düsseldorf, the JULIA STOSCHEK FOUNDATION presents pioneering media and performance art in large-scale exhibitions and discursive events. The foundation also manages the JULIA STOSCHEK COLLECTION (est. 2002), one of the world’s most comprehensive private collections of time-based art.
With over 900 artworks by 300 artists from the 1960s to today, the collection spans video, film, single- and multi-channel moving image installation, multimedia environments, performance, sound, and virtual reality. Photography, sculpture, and painting supplement its time-based emphasis.
Accessibility and mediation are central to the Julia Stoschek Foundations mission. Artworks from the collection have been presented in solo and group exhibitions in Düsseldorf, Germany, since 2007. In 2016, a second exhibition space opened in Berlin-Mitte. Both spaces feature a wide-ranging outreach program, including guided tours, performances, screenings, lectures, artists’ talks, and workshops. Since 2019, unrestricted access to 200 works from the collection has been made available online (Video Lounge). In addition, the Research Center located in Düsseldorf offers visitors and scholars the opportunity of viewing the entire collection and researching more than 4,000 publications in a reference library focusing on time-based art.
The JULIA STOSCHEK FOUNDATION welcomes requests to lend artworks and contributes to exhibitions around the world. The foundation also invites artists and curators to develop projects and commissions. External collaborations with institutions in Germany and abroad also play a vital role. Past collaborations include Berliner Festspiele, Berlin; Deichtorhallen, Hamburg; Kunstsammlung NRW, Düsseldorf; Moderna Museet Malmö, Sweden; MoMA PS1, New York; Performa Biennial, New York; Serpentine Galleries, London; Tel Aviv Museum of Art, Israel; and ZKM | Center for Art and Media, Karlsruhe.
The conservation and care of time-based media is central to the foundation. Together with artists and galleries, the in-house conservation department has developed and implemented a state-of-the-art long-term archival strategy. To ensure long-term conservation and to prevent generation loss—the increasing deterioration in quality—the artworks are regularly examined and updated, and if necessary, migrated. This applies to both the data carriers and the data itself, the hardware and software, as well as monitoring data formats for obsolescence.
In 2019, the Curatorial & Research Residency Program (CRRP) was initiated by the Julia Stoschek Foundation. The residency is aimed at students from Curatorial Studies programs around the world and is by invitation only. Past collaborations include the Center for Curatorial Studies (Bard College, New York), and the Curatorial Studies Program at the Goethe University and the Städelschule (Frankfurt/Main).
Since its foundation in 2017, the JULIA STOSCHEK FOUNDATION is devoted to collecting, conserving, presenting, and mediating time-based art. It fosters intellectual independence and strives to reflect and envision the dynamic world we live in.
It is therefore both a privilege and a responsibility to produce exhibitions, public programs, and publications that present a multitude of perspectives and voices, reflecting the diversity and dynamism of the social, cultural, and technological changes of our time. Furthermore, the JULIA STOSCHEK FOUNDATION is committed to sustaining the special character and values of this institution, saving them for future generations.
CHRISSIE ILES (b. 1967 in Beirut, Lebanon) is the Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art in New York. Her curatorial focus is moving-image art from the 1960s to the present, and she oversees the Whitney’s collection of film and video.
ARTHUR JAFA (b. 1960 in Tupelo, Mississippi) is an artist, filmmaker, and cinematographer. In 2019, he received the Golden Lion at the 58th Venice Biennale, May You Live in Interesting Times.
UDO KITTELMANN (b. 1958 in Düsseldorf, Germany) is a curator and museum director based in Berlin. After directorial positions at Kölnischer Kunstverein and MMK Frankfurt, Kittelmann was the director of the Nationalgalerie in Berlin from 2008 to 2020. In 2021 he took on the position of the artistic director of the Museum Frieder Burda in Baden-Baden.
ANDREA LISSONI (b. 1970 in Milan, Italy) has been artistic director of the Haus der Kunst, Munich, since April 2020. Formerly Senior Curator, International Art (Film) at Tate Modern, London, and previously curator at Pirelli HangarBicocca in Milan (2009–13), co-founder of the independent artistic network Xing, and codirector of the international festival Netmage in Bologna.
By creating a platform for the exchange of knowledge and ideas, and by promoting institutional collaboration, the Advisory Board strategically supports the JULIA STOSCHEK FOUNDATION, which is dedicated to the presentation, mediation, conservation, and scholarship of media and performance practices.
Julia Stoschek (b. 1975 in Coburg, Germany), art collector and shareholder of Brose Gruppe, founded her collection of time-based art in 2003 after seeing Douglas Gordon’s video Play Dead: Real Time (2003) at Gagosian Gallery in New York. Inspired by the immediacy of this experience—a large-scale video installation in which an elephant “plays dead,” imitating its own death—Stoschek decided to focus specifically on time-based art and has since assembled one of the most extensive collections of these genres from the 1960s to today. “My approach to collecting,” says Stoschek, “is to create an image of the cultural and social condition of my generation. The moving image reflects the ephemeral, which is a defining feature of our time. This is one of the reasons why the main focus is on time-based art and also on performance as a time-based art.”
For Stoschek, art resonates on a personal level, while simultaneously documenting, commenting on, and reflecting the fast-pasted, entangled world we live in. Accordingly, long-term conservation is of utmost importance to the Julia Stoschek Collection. Believing that the artworks in her collection should also be made accessible to a larger public, in 2007 Stoschek opened the JULIA STOSCHEK COLLECTION in Düsseldorf. In 2016, a second exhibition space opened in Berlin, making it the first collection in Germany to be presented in two locations.
Alongside her own enterprise, Stoschek is deeply involved with other institutions. She is on the Board of Trustees at MOCA, Los Angeles and Vice Chairwoman of KW Institute for Contemporary Art, Berlin. Stoschek is also a member of various committees and councils, including the Performance Committee at the Whitney Museum of American Art, New York; and Kunstsammlung NRW, Düsseldorf. She has funded smaller initiatives and projects, like the Just artist residency program in Düsseldorf (2003–06); the project space Venus & Apoll, Düsseldorf (2012); Acud Macht Neu, Berlin (2016); and the studio residency program LKART in Düsseldorf (2018–19). Stoschek substantially supported various exhibitions in Germany and abroad, including presentations by Katharina Sieverding, Mika Rottenberg and Aaron Young at KW, Berlin, in 2005/2006; Wu Tsang and Ian Cheng at Kunsthalle Düsseldorf in 2015; Anicka Yi at Fridericianum, Kassel and Doug Aitken at MOCA, Los Angeles in 2016; and the commissioning project KW Production Series at KW, Berlin (ongoing). Stoschek has also supported the German Pavilion at the 54th, 56th, and 57th Venice Biennales, featuring Christoph Schlingensief (2011), Hito Steyerl (2015), and Anne Imhof (2017).
Stoschek has also made substantial gifts from the collection: three major works have been donated the Museum of Modern Art, New York. These include Doug Aitken’s three-channel installation Interiors (2002), Janet Cardiff & George Bures-Miller’s mixed-media installation The Killing Machine (2007), and Allora & Calzadilla’s performance Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, No.1 (2008).
Through ongoing communication, studio visits, and personal meetings, Stoschek has established close friendships with artists, many of whom have become mentors along the way. “Artists are the reason I collect art,” says Stoschek. “Collaborating with an artist over a long period of time—that’s what makes collecting interesting. I am always honored when artists invite me into their world.”
Whether through her own collection or by supporting other projects and institutions, Stoschek aspires to continually contribute to the establishment of a diverse cultural field. “I see myself as a philanthropic producer and I do hope to create a long-term cultural value.”
THE BROSE GROUP (EST. 1908) DURING THE NAZI ERA
Max Brose, founder of the Brose company and great-grandfather of Julia Stoschek, joined the Nazi Party and National Socialist Motor Corps (NSKK) in 1933. That same year, he was elected president of the Coburg Chamber of Industry and Commerce (IHK). Like all other Bavarian IHK presidents, he was appointed a Wehrwirtschaftsführer (Leader in the German War Economy) in 1938 by the the Wehrwirtschafts- und Rüstungsamt (War Economy and Armaments Office). From 1939 on, Max Brose & Co. metalworks produced armaments for use in World War II. Between 1939 and 1945, up to 260 forced laborers were sent by the regime to work at the Max Brose & Co. metalworks. During postwar denazification proceedings, the Coburg City District Court revised Max Brose’s status from the category of “Offenders” to that of “Lesser Offenders” on 22 March, 1948. In the final appeal ruling, the Nuremberg Denazification Board subsequently determined he was a “fellow traveler” or Mitläufer and closed the case.
The company commissioned historian Professor Gregor Schöllgen to investigate the history of the family business as well as the political opinions of the company founder Max Brose during the Third Reich, and the results were published in German, English, Spanish, Czech, and Chinese in 2008. In 2000, the company made a substantial financial contribution to the Foundation “Remembrance, Responsibility and Future,” established by the German government that same year to compensate former forced laborers under the Nazis on behalf of German industry and to promote international reconciliation projects.
By the time of Max Brose’s death in 1968, the company had around 1,000 employees and a yearly revenue of DM 35 million. In 2020, the total turnover was 5.1 billion euros. The Brose Group employs approximately 25,000 people at 65 locations in 24 countries. Julia Stoschek has been a shareholder of the Brose Group since 1993.
For further questions considering the history of the company, please contact the company archives.
Grabbeplatz, 40213 Düsseldorf
The Julia Stoschek Foundation is pleased to present the third DOUBLE FEATURE in Düsseldorf and Berlin with works by Cypriot artist Theodoulos Polyviou.
Spanning video, sculpture, archival objects, photography, and prints, the solo presentations introduce the third chapter of Polyviou’s ongoing series Transmundane Economies (2022 – ongoing) to Germany. In this series, the artist deploys digital technologies like virtual reality and CGI filmmaking to study, reconstruct, and fill in historical gaps of Cypriot cultural heritage. His speculative approach circumvents nationalist agendas by offering alternative ways to revisit the historical complexities of the island and its founding as a nation state.
JSF Düsseldorf
Schanzenstrasse 54, 40549 Düsseldorf