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CURATORIAL & RESEARCH RESIDENCY PROGRAM 2024/25: LOU VON DER HEYDE
JULIA STOSCHEK PRESENTS HER MEDIA ART COLLECTION ONLINE
Images
AFTER IMAGES
Left: Lotus L. Kang, In Cascades, 2024, installation, dimensions variable. Right: Trisha Donnelly, Untitled, 2013, sculpture; rose-colored marble, 11.5 × 88,7 × 36.5 cm. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Left: Lotus L. Kang, In Cascades, 2024, installation, dimensions variable. Right: Theresa Baumgartner, Waiting for the Engineer, 2024, light installation, dimensions variable. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Lotus L. Kang, In Cascades, 2024, installation, dimensions variable. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Theresa Baumgartner, Waiting for the Engineer, 2024, light installation, dimensions variable. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Jo Baer, Untitled, 1966-1974, Diptych; oil on canvas, each 152,4 × 109,2 cm. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Giovanna Repetto, Untitled (closed in 2024), 2024, sculpture; mirror, permanent marker, 126.5 x 66.5 cm. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Ghislaine Leung, Monitors, 2022, Score: A baby monitor installed in one room and broadcast to another. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Carsten Nicolai, telefunken anti, 2004, installation; CD-Player, CD, LCD Televisions, two parts. Installation view, AFTER IMAGES, JSF Berlin. Photo: Robert Hamacher.
Theodoulos Polyviou, A Palace in Exile (Part 3 of Transmundane Economies, 2022–ongoing), 2024, video, 16′30″, color, sound. Video still.
Theodoulos Polyviou, A Palace in Exile (Part 3 of Transmundane Economies, 2022–ongoing), 2024, video, 16′30″, color, sound. Video still.
Theodoulos Polyviou, A Palace in Exile (Part 3 of Transmundane Economies, 2022–ongoing), 2024, video, 16′30″, color, sound. Video still.
Theodoulos Polyviou, A Palace in Exile (Part 3 of Transmundane Economies, 2022–ongoing), 2024, video, 16′30″, color, sound. Video still.
Theodoulos Polyviou, A Palace in Exile (Part 3 of Transmundane Economies, 2022–ongoing), 2024, video, 16′30″, color, sound. Video still.
Theodoulos Polyviou, A Palace in Exile (Part 3 of Transmundane Economies, 2022–ongoing), 2024, video, 16′30″, color, sound. Video still.
LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation, 74′, color, sound. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation, 74′, color, sound. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation, 74′, color, sound. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation, 74′, color, sound. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, Are Our Eyes Targets?, 1984, Digital print of a video still from the interactive videodisk installation Deep Contact, 1984–89, 102 x 152 cm. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, Reach, 1986, photograph; gelatin silver print, 80 x 61 cm, part of Phantom Limbs, 1985–90. Installation view, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Photo: Alwin Lay.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation , 74′, color, sound. Video still. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation , 74′, color, sound. Video still. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation , 74′, color, sound. Video still. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation , 74′, color, sound. Video still. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.
Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, six-channel video installation , 74′, color, sound. Video still. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.
Lynn Hershman Leeson, Reach, 1986, photograph; gelatin silver print, 80 x 61 cm, part of Phantom Limbs, 1985–90.
Lynn Hershman Leeson, Camerawoman, 1990, photograph; digital print, 76.2 x 101.6 cm, part of Phantom Limbs, 1985–1990. Courtesy of the artist, Bridget Donahue and Altman Siegel.
Lynn Hershman Leeson, Shadow Stalker, 2018-2021, video, 10′, color, sound. Video still. Courtesy of the artist, Bridget Donahue and Altman Siegel.
Lynn Hershman Leeson, CyberRoberta, 1996, mixed-media installation; custom-made doll, textile, glasses, webcam, surveillance camera, mirror, original programming, and telerobotic head-rotating system, approximately 45 x 45 x 20 cm. Courtesy of Hess Art Collection GmbH, Bolligen, Switzerland.
Lynn Hershman Leeson, Paranoid, 1968-2022, mixed-media sculpture; wax cast of artist, glass eyes, synthetic hair, makeup, sound, acrylic, sound, 25.4 x 42 x 42 cm, part of Breathing Machines, 1965-2022. Courtesy of the artist, Bridget Donahue and Altman Siegel.
DIGITAL DIARIES
Alex Ayed, Untitled (poems), 2023. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Wolfgang Tillmans, LA still life, 2001. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Jota Mombaça, What Has No Space is Everywhere, 2020-21. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Left: Sophie Calle, Double Blind, 1992. Right: Hannah Wilke, Intercourse with …, 1977. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Frances Stark, Nothing is enough, 2012. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Left: Kristin Lucas, Host, 1997. Right: Martine Syms, S(t)even or Act II, 2023. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Left: Martine Syms, S(t)even or Act II, 2023. Right: Frances Stark, Nothing is enough, 2012. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Rindon Johnson, I First you (11/11), 2018. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Tromarama, Deep Pressure, 2023. Installation view, DIGITAL DIARIES, JSF Düsseldorf. Photo: Alwin Lay.
Wolfgang Tillmans, LA still life, 2001, photograph; unframed inkjet print on paper, 138 × 208 cm. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne.
Hannah Perry, What are you thinking about, 2015, HD video, 1′34′′, color, sound, part of Hannah Perry, SPLIT SECOND, 2015. Courtesy of the artist and Daata, London.
Hannah Perry, aahhhhhh, 2015, HD video, 1′18′′, color, sound, part of Hannah Perry, SPLIT SECOND, 2015. Courtesy of the artist and Daata, London.
Jota Mombaça, What Has No Space is Everywhere, 2021, video, 10′19′′, color, sound. Video still. Courtesy of the artist.
Jota Mombaça, What Has No Space is Everywhere, 2021, video, 10′19′′, color, sound. Video still. Courtesy of the artist.
Sophie Calle, Double Blind, 1992, video, 65′58″, color, sound. Video still. Courtesy of the artist and Electronic Arts Intermix, New York.
Sarah Lucas, Selfish In Bed II, 2000, photograph; digital print, 122 × 122 cm. Courtesy of the artist and Sadie Coles HQ, London.
Frances Stark, Nothing is enough, 2012, HD video, 14′, b/w, sound. Installation view, NUMBER SEVEN: ED ATKINS/FRANCES STARK, JSC Düsseldorf. Photo: Simon Vogel, Cologne. Courtesy of the artist and JULIA STOSCHEK FOUNDATION.
Rindon Johnson, I First you (11/11), 2018, HD video, 5′28″, color, sound. Video still. Courtesy of the artist and Electronic Arts Intermix, New York.
Kristin Lucas, Host, 1997, video, 7′36″, color, sound. Video still. Courtesy of the artist and Electronic Arts Intermix, New York.
mandla & Graham Clayton-Chance, as british as a watermelon, 2021, HD video, 28′30′′, color, sound. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
Tarek Lakhrissi, Perfume of Traitors III, 2021–23, Mixed-media installation; eight steel chains, eight steel knives, light-filtering green foil, dimensions variable. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
Senga Nengudi, Masked Taping, 1978–79, photographs; three silver gelatin prints, contact sheet, 104.1 x 253.8 cm. Photos: Adam Avila. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
Panteha Abareshi, Unlearn the Body, 2021, Super 8 color negative film transferred to video, 4′55′′, color, sound. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, two-channel video installation, 9′, color, no sound. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
Left: Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, two-channel video installation, 9′, color, no sound. Right: Mame-Diarra Niang, Qui doit être vu, 2021, photograph; archival pigment print on cotton paper, 100 x 100 cm. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
P. Staff, Pure Means, 2021, Two-channel HD video, 4′37″, color, sound. Installation view, UNBOUND, JSF Berlin. Photo: Alwin Lay.
P. Staff, Pure Means, 2021, Two-channel HD video, 4′37″, color, sound. Video still. Courtesy of the artist and Commonwealth and Council.
Vaginal Davis, The White to be Angry, 1999, digitized video, 19′22″, b/w, sound. Video still. Courtesy the artist and Galerie Isabella Bortolozzi, Berlin.
Howardena Pindell, Free, White and 21, 1980, U-matic video, 12′15″, color, sound. Video still. Courtesy of the artist and Garth Greenan Gallery, New York.
mandla & Graham Clayton-Chance, as british as a watermelon, 2019, HD video, 28′30″, color, sound. Video still. Courtesy of the artists.
Julien Creuzet, Sonjé Yo ? Rappelle-toi d’eux ? En Créole, propose un au-delà aux blessure toujours actuelles de l’histoire coloniale. Non pour les oublier mais pour pallier les manques dont elles sont porteuses, 2023, 4K video animation, 13′30″, color, sound. Video still. Courtesy of the artist and High Art.
Akeem Smith, Social Cohesiveness, 2020, three-channel video installation, 32′53″, color, sound. Score: Ashland Mines. Video still. Courtesy of the artist and Heidi gallery.
Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, two-channel video installation, 9′, color, no sound. Performers: Danny Giles, Joiri Minaya. Video still. Courtesy of the artist and Bridget Donahue.
Peter Campus, Three Transitions, 1973, video, 4′53″, color, sound. Video still. Courtesy of the artist and Cristin Tierney, New York.
Tarek Lakhrissi, Bright Heart, 2023, video, 14′08″, color, sound. Video still. Courtesy of the artist and gallery Allen, Paris
Tarek Lakhrissi, Spiraling, 2021, video, 7′, color, sound. Video still. Courtesy of the artist and gallery Allen, Paris
JSF Research Room
JSC Düsseldorf, Research Center. Photo: Şirin Şimşek.
JSC Düsseldorf, Reference Library of the Research Center. Photo: Şirin Şimşek.
JSC ONLINE: A selection of works viewable online
Media Art Collection of Julia Stoschek online
Peter Fischli & David Weiss, Büsi, 2001, video, 6′30″, color, no sound. Video still. Courtesy of the artists.
Tobias Zielony, Maskirovka, 2017, HD video, stop motion, 8′46″, color, no sound. Video still. Courtesy of the artist and KOW, Berlin/Madrid.
Lutz Mommartz, Soziale Plastik, 1969, 16mm film transferred to video, 11′41″, b/w, no sound. Video still. Courtesy of the artist.
Barbara Hammer, X, 1975, 16mm film transferred to video, 7′04″, color, sound. Video still. Courtesy of the Estate of Barbara Hammer and KOW, Berlin/Madrid.
Jen DeNike, Girls like me, 2006, video, 6′, color, sound. Video still. Courtesy of the artist and Anat Ebgi Gallery, Los Angeles.
Wolfgang Tillmans, Heartbeat/Armpit, 2003, video, 2′27″, color, sound. Video still. Courtesy of the artist.
Nathalie Djurberg & Hans Berg, It’s the Mother, 2008, video, 6′, color, sound. Video still. Courtesy of the artists and Gió Marconi, Milan.
Julia Stoschek
Julia Stoschek, Photo: Gordon Welters.
Julia Stoschek, Photo: Gordon Welters.
Julia Stoschek, Photo: Şirin Şimşek. [CC BY-NC-ND]
Julia Stoschek, Photo: Şirin Şimşek. [CC BY-NC-ND]
Julia Stoschek, Photo: Peter Rigaud. [CC BY-NC-ND]
Architecture JSF Düsseldorf
Julia Stoschek Foundation Düsseldorf, Photo: Ulrich Schwarz.
Installation view, GENERATION LOSS, JSF Düsseldorf, first floor. Photo: Simon Vogel, Cologne.
Julia Stoschek Foundation Düsseldorf. Photo: Ulrich Schwarz
Julia Stoschek Foundation Düsseldorf. Photo: Ulrich Schwarz.
Julia Stoschek Foundation Düsseldorf, Erdgeschoss. Photo: Şirin Şimşek, Cologne.
Julia Stoschek Foundation Düsseldorf, first floor. Photo: Şirin Şimşek, Cologne.
Architecture JSF Berlin
Julia Stoschek Foundation Berlin. Photo: Robert Hamacher.
Julia Stoschek Foundation Berlin. Photo: Robert Hamacher.
JSF Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSF Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSF Berlin, foyer, ground floor. Photo: Robert Hamacher, Berlin.
JSF Berlin, foyer, first floor. Photo: Robert Hamacher, Berlin.
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