Giovanna Repetto, Untitled (closed in 2024), 2024,
Skulptur; Griffspiegel, Permanent Marker, 24,5 x 9,5 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Links: Jesse Stecklow, From Ear to Ear, 2024, Installation; versteinerte Innenohrknochen eines Wals, Headset mit Knochenleitung, Papier, MDF, Ton, 33 x 45,7 x 8,3 cm. Rechts: Jesse Stecklow, Untitled (Air Sampler), 2022, Installation; pulverbeschichtetes Aluminium, Stahl, Klavierscharniere, Magnete, Beschläge, Carbograph 5 Luftreiniger, 76,2 x 45,7 x 5,1 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Jo Baer, Untitled, 1966-1974. Diptychon; Öl auf Leinwand, Je 152,4 × 109,2 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Carsten Nicolai, telefunken anti, 2004, Installation; CD-Player, CD, LCD-Fernseher, zweiteilig. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Chaveli Sifre, Adonia, 2024, Installation; Glas, text, Licht, Kampfer, vierteilig, Dimensionen variabel. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Links: Ghislaine Leung, Monitors, 2022, Anweisung: Ein Babyphone, das in einem Raum installiert ist und in einen anderen Raum überträgt. Rechts: Ghislaine Leung, Fountains, 2022, Anweisung: Ein Babyphone, das in einem Raum installiert ist und in einen anderen Raum überträgt. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Giovanna Repetto, Untitled (closed in 2024), 2024, Skulptur; Spiegel, Permanentmarker, 126,5 x 66,5 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Lotus L. Kang, In Cascades, 2024, Installation, Dimensionen variabel. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Paul Chan, Too Phantasia 4, 2024, Skulptur; Ventilatoren, synthetische und natürliche Stoffe, Metall, Schnüre, Schuhe, Beton, 203,2 x 304,8 x 213,4 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Rosa Barba, One Way Out, 2009, Installation; 16-mm-Film, Lichtton, Projektor, Ventilator, Schlauch. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

LABOUR, Tower of Silence, 2024, Mixed-Media-Installation; Skulptur, Ton, Sitzgelegenheiten, 333,42 x 120,73 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

LABOUR, Tower of Silence, 2024, Mixed-Media-Installation; Skulptur, Ton, Sitzgelegenheiten, 333,42 x 120,73 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

David Medalla, Cloud Canyons, 1963/2018. Skulptur; Metall, Acrylglas, Kompressoren, Zeitschaltuhren, Wasser, Seife, 200 x 42 cm (Sockel), 200 x 42 cm (Acrylglasröhren). Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Alwin Lay.

Links: Lotus L. Kang, In Cascades, 2024, Installation, Dimensionen variabel. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Links: Lotus L. Kang, In Cascades, 2024, Installation, Dimensionen variabel. Rechts: Theresa Baumgartner, Waiting for the Engineer, 2024, Lichtinstallation, Dimensionen variabel. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Lotus L. Kang, In Cascades, 2024, Installation, Dimensionen variabel. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Theresa Baumgartner, Waiting for the Engineer, 2024, Lichtinstallation, Dimensionen variabel. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Jo Baer, Untitled, 1966-1974. Diptychon; Öl auf Leinwand, Je 152,4 × 109,2 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Giovanna Repetto, Untitled (closed in 2024), 2024, Skulptur; Spiegel, Permanentmarker, 126,5 x 66,5 cm. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Ghislaine Leung, Monitors, 2022, Anweisung: Ein Babyphone, das in einem Raum installiert ist und in einen anderen Raum überträgt. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Carsten Nicolai, telefunken anti, 2004, Installation; CD-Player, CD, LCD-Fernseher, zweiteilig. Installationsansicht, AFTER IMAGES, JSF Berlin. Foto: Robert Hamacher.

Key Visual After Images

Key Visual After Images

Key Visual After Images

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, Are Our Eyes Targets?, 1984, Digitaldruck von Videostill der interaktiven VideoDisc-Installation Deep Contact, 1984–89, 102 x 152 cm. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, Shadow Stalker, 2018–21, Video, 10′, Farbe, Ton. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, Seduction of a Cyborg, 1994, Video, 7′, Farbe, Ton. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, Paranoid, 1968–2022, Mixed-Media-Skulptur; Wachsabguss der Künstlerin, Glasaugen, Kunsthaar, Make-up, Acryl, Ton, 25,4 x 42 x 42 cm, Teil der Serie Breathing Machines, 1965–2022. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, CybeRoberta, 1996, Mixed-Media-Installation; maßgefertigte Puppe, Textilien, Brille, Webcam,
Überwachungskamera, Spiegel, individuelle Programmierung
und ferngesteuertes System zum Drehen des Kopfes, ca. 45 x 45 x 20 cm. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, CybeRoberta, 1996. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, Reach, 1986, Fotografie; Silbergelatinedruck, 80 x 61 cm, Teil der Serie Phantom Limbs, 1985–90. Installationsansicht, LYNN HERSHMAN LEESON: ARE OUR EYES TARGETS?, JSF Düsseldorf. Foto: Alwin Lay.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, The Electronic Diaries of Lynn Hershman Leeson 1984–2019, 1984–2019, Sechskanal-Videoinstallation, 74′, Farbe, Ton. Videostill. Courtesy of the artist and Anglim Gilbert Gallery, San Francisco.

Lynn Hershman Leeson, Reach, 1986, Fotografie; Silbergelatinedruck, 80 x 61 cm, Teil der Serie Phantom Limbs, 1985–90.

Lynn Hershman Leeson, Camerawoman, 1990, Fotografie; Digitaldruck, 76,2 x 101,6 cm, Teil der Serie Phantom Limbs, 1985–1990. Courtesy of the artist, Bridget Donahue and Altman Siegel.

Lynn Hershman Leeson, Shadow Stalker, 2018–2021, Video, 10′, Farbe, Ton. Videostill. Courtesy of the artist, Bridget Donahue and Altman Siegel.

Lynn Hershman Leeson, CyberRoberta, 1996, Mixed-Media-Installation; maßgefertigte Puppe, Textilien, Brille, Webcam, Überwachungskamera, Spiegel, eigene Programmierung und ferngesteuertes System zum Drehen des Kopfes, ca. 45 x 45 x 20 cm. Courtesy of Hess Art Collection GmbH, Bolligen, Switzerland.

Lynn Hershman Leeson, Paranoid, 1968-2022, Mixed-Media-Skulptur; Wachsabguss der Künstlerin, Glasaugen, Kunsthaar, Make-up, Acryl, Ton, 25,4 x 42 x 42 cm,  Teil der Serie Breathing Machines, 1965–2022. Courtesy of the artist, Bridget Donahue and Altman Siegel. 

Alex Ayed, Untitled (poems), 2023. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Wolfgang Tillmans, LA still life, 2001. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Hannah Perry, SPLIT SECOND, 2015. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Jota Mombaça, What Has No Space is Everywhere, 2020-21. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Links: Sophie Calle, Double Blind, 1992. Rechts: Hannah Wilke, Intercourse with …, 1977. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Frances Stark, Nothing is enough, 2012. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Links: Kristin Lucas, Host, 1997. Rechts: Martine Syms, S(t)even or Act II, 2023. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Links: Martine Syms, S(t)even or Act II, 2023. Rechts: Frances Stark, Nothing is enough, 2012. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Rindon Johnson, I First you (11/11), 2018. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Tromarama, Deep Pressure, 2023. Installationsansicht, DIGITAL DIARIES, JSF Düsseldorf. Foto: Alwin Lay.

Wolfgang Tillmans, LA still life, 2001, Fotografie; ungerahmter Inkjetprint auf Papier, 138 × 208 cm. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne.

Hannah Perry, What are you thinking about, 2015, HD-Video, 1′34′′, Farbe, Ton, Teil von Hannah Perry, SPLIT SECOND, 2015. Courtesy of the artist and Daata, London.

Hannah Perry, aahhhhhh, 2015, HD-Video, 1′18′′, Farbe, Ton, Teil von Hannah Perry, SPLIT SECOND, 2015. Courtesy of the artist and Daata, London.

Jota Mombaça, What Has No Space is Everywhere, 2021, Video, 10′19′′, Farbe, Ton. Videostill. Courtesy of the artist.

Jota Mombaça, What Has No Space is Everywhere, 2021, Video, 10′19′′, Farbe, Ton. Videostill. Courtesy of the artist.

Sophie Calle, Double Blind, 1992, Video, 65′58″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York.

Sarah Lucas, Selfish In Bed II, 2000, Fotografie; Digitalprint, 122 × 122 cm. Courtesy of the artist and Sadie Coles HQ, London.

Frances Stark, Nothing is enough, 2012, HD-Video, 14′, S/W, Ton. Installationsansicht, NUMBER SEVEN: ED ATKINS/FRANCES STARK, JSC Düsseldorf. Foto: Simon Vogel, Köln. Courtesy of the artist and JULIA STOSCHEK FOUNDATION.

Rindon Johnson, I First you (11/11), 2018, HD-Video, 5′28″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York.

Kristin Lucas, Host, 1997, Video, 7′36″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York.

Martine Syms, Ate or Act III, 2023, Skulptur; Spezialrahmen, 101 x 101 x 30 cm, Video, 4′52′′, Farbe, Ton. Installationsansicht „Martine Syms – Present Goo“, Sadie Coles HQ, London. Foto: Katie Morrison, © Martine Syms, 2023. Courtesy of the artist and Sadie Coles HQ, London.

Martine Syms, S(t)even or Act II, 2023, Skulptur; Spezialrahmen, 131 x 131 x 31 cm, Video, 2′52′′, Farbe, Ton, . Installationsansicht „Martine Syms – Present Goo“, Sadie Coles HQ, London. Foto: Katie Morrison, © Martine Syms, 2023. Courtesy of the artist and Sadie Coles HQ, London.

Tromarama, Deep Pressure, 2023, Skulptur; Thera Cane, Monitore, Dimensionen variabel. Courtesy of the artists and DOCUMENT, Chicago.

Links: Theodoulos Polyviou, Open Broadsheet, 2024. Rechts: Theodoulos Polyviou, Temporary paschal stand, 2024. Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Düsseldorf. Foto: Alwin Lay.

Theodoulos Polyviou, A Palace in Exile, 2024. Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Düsseldorf. Foto: Alwin Lay.

Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Berlin. Foto: Alwin Lay.

Theodoulos Polyviou, A Palace in Exile, 2024. Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Berlin. Foto: Alwin Lay.

Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Berlin. Foto: Alwin Lay.

Installationsansicht, DOUBLE FEATURE: THEODOULOS POLYVIOU, JSF Berlin. Foto: Robert Hamacher.

Theodoulos Polyviou, A Palace in Exile(Transmundane Economies, 2022–fortlaufend), 2024, Video, 16′30″, Farbe, Ton. Videostill.

Theodoulos Polyviou, A Palace in Exile (Transmundane Economies, 2022–fortlaufend), 2024, Video, 16′30″, Farbe, Ton. Videostill.

Theodoulos Polyviou, A Palace in Exile (Transmundane Economies, 2022–fortlaufend), 2024, Video, 16′30″, Farbe, Ton. Videostill.

Theodoulos Polyviou, A Palace in Exile (Transmundane Economies, 2022–fortlaufend), 2024, Video, 16′30″, Farbe, Ton. Videostill.

Theodoulos Polyviou, A Palace in Exile (Transmundane Economies, 2022–fortlaufend), 2024, Video, 16′30″, Farbe, Ton. Videostill.

Theodoulos Polyviou, A Palace in Exile (Transmundane Economies, 2022–fortlaufend), 2024, Video, 16′30″, Farbe, Ton. Videostill.

JSC Düsseldorf, Forschungszentrum. Foto: Şirin Şimşek.

JSC Düsseldorf, Präsenzbibliothek des Forschungszentrums. Foto: Şirin Şimşek.

Julia Stoschek, Foto: Gordon Welters.

Julia Stoschek, Foto: Gordon Welters.

Julia Stoschek, Foto: Şirin Şimşek. [CC BY-NC-ND]

Julia Stoschek, Foto: Şirin Şimşek. [CC BY-NC-ND]

Julia Stoschek, Foto: Peter Rigaud. [CC BY-NC-ND]

Julia Stoschek Foundation Düsseldorf, Foto: Ulrich Schwarz.

Installationsansicht, GENERATION LOSS, JSF Düsseldorf, erste Etage. Foto: Simon Vogel, Köln.

Julia Stoschek Foundation Düsseldorf. Foto: Ulrich Schwarz.

Julia Stoschek Foundation Düsseldorf. Foto: Ulrich Schwarz.

Julia Stoschek Foundation Düsseldorf, first floor. Foto: Şirin Şimşek, Köln.

Julia Stoschek Foundation Düsseldorf, Erdgeschoss. Foto: Şirin Şimşek, Köln.

Julia Stoschek Foundation Berlin. Foto: Robert Hamacher.

Julia Stoschek Foundation Berlin. Foto: Robert Hamacher.

JSF Berlin, Foyer, Erdgeschoss. Foto: Robert Hamacher, Berlin.

JSF Berlin, Foyer, Erdgeschoss. Foto: Robert Haumacher, Berlin.

JSF Berlin, Foyer, Erdgeschoss. Foto: Robert Hamacher, Berlin.

JSF Berlin, Foyer, erste Etage. Foto: Robert Hamacher, Berlin.