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. 

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.

Akeem Smith, Social Cohesiveness, 2020, Drei-Kanal-Videoinstallation, 32′53″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Akeem Smith, Social Cohesiveness, 2020, Drei-Kanal-Videoinstallation, 32′53″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Julien Creuzet, Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Pipilotti Rist, (Entlastungen) Pipilottis Fehler, 1988, Video, 11′10″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, Zweikanal-Videoinstallation, 9′, Farbe, kein Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Links: Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, Zweikanal-Videoinstallation, 9′, Farbe, kein Ton. Rechts: Mame-Diarra Niang, Qui doit être vu, 2021, Fotografie; Archivpigmentdruck auf Baumwollpapier, 100 x 100 cm. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

P. Staff, Pure Means, 2021, Zweikanal-HD-Video, 4′37″, Farbe, Ton. Installationsansicht, UNBOUND, JSF Berlin. Foto: Alwin Lay.

Pipilotti Rist, (Entlastungen) Pipilottis Fehler, 1988, Video, 11′10″, Farbe, Ton. Videostill. Courtesy of the artist and Electronic Arts Intermix, New York. 

P. Staff, Pure Means, 2021, Zweikanal-HD-Video, 4′37″, Farbe, Ton. Videostill. Courtesy of the artist and Commonwealth and Council.

Vaginal Davis, The White to be Angry, 1999, Video, 19′22″, S/W, Ton. Videostill. Courtesy the artist and Galerie Isabella Bortolozzi, Berlin.

Howardena Pindell, Free, White and 21, 1980, U-matic Video, 12′15″, Farbe, Ton. Videostill. Courtesy of the artist and Garth Greenan Gallery, New York.

mandla & Graham Clayton-Chance, as british as a watermelon, 2019, HD Video, 28′30″, Farbe, Ton. Videostill. 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-Videoanimation,13′30″, Farbe, Ton. Videostill. Courtesy of the artist and High Art. 

Akeem Smith, Social Cohesiveness, 2020, Drei-Kanal-Videoinstallation, 32′53″, Farbe, Ton. Soundtrack: Ashland Mines. Videostill. Courtesy of the artist and Heidi gallery. 

Sondra Perry, Double Quadruple Etcetera Etcetera I & II, 2013, Zwei-Kanal-Videoinstallation, 9′, Farbe, kein Ton. Performer*innen:  Danny Giles und Joiri Minaya. Videostill. Courtesy of the artist and Bridget Donahue.

Peter Campus, Three Transitions, 1973, Video, 4′53″, Farbe, Ton. Videostill. Courtesy of the artist and Cristin Tierney, New York.

VALIE EXPORT, Körperkonfiguration, 1982, Fotografie; Silbergelatineprint, 119,5 × 180 cm. © VG Bild-Kunst, Bonn 2023. Courtesy of the artist and Charim Galerie, Wien. 

Patty Chang, Shaved (At A Loss), 1998, Video, 5′19″, Farbe, Ton. Videostill. Courtesy of the artist.

Pope.L, A.T.M. Piece, 1997, Video, 1′52″, Farbe, Ton. Videostill. Courtesy of the artist and Mitchell Innes & Nash, New York. 

Tarek Lakhrissi, Hard to Love, 2017, Video, 4′57″, S/W, Ton. Installationsansicht, DOUBLE FEATURE: TAREK LAKHRISSI, JSF Berlin. Foto: Robert Hamacher.

Tarek Lakhrissi, Spiraling, 2021, Video, 7′00″, Farbe, Ton. Installationsansicht, DOUBLE FEATURE: TAREK LAKHRISSI, JSF Berlin. Foto: Robert Hamacher.

Tarek Lakhrissi, Bright Heart, 2023, Video, 14′08″, Farbe, Ton. Installationsansicht, DOUBLE FEATURE: TAREK LAKHRISSI, JSF Berlin. Foto: Robert Hamacher.

Tarek Lakhrissi, Bright Heart, 2023, Video, 14′08″, Farbe, Ton. Videostill. Courtesy of the artist and gallery Allen, Paris

Tarek Lakhrissi, Spiraling, 2021, Video, 7′, Farbe, Ton. Videostill. Courtesy of the artist and gallery Allen, Paris

JSC Düsseldorf, Forschungszentrum. Foto: Şirin Şimşek.

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

Medienkunstsammlung von Julia Stoschek online

Peter Fischli & David Weiss, Büsi, 2001, Video, 6′30″, Farbe, kein Ton. Videostill. Courtesy of the artists.

Tobias Zielony, Maskirovka, 2017, HD-Video, Stop-Motion, 8′46″, Farbe, kein Ton. Videostill. Courtesy of the artist and KOW, Berlin/Madrid.

Lutz Mommartz, Soziale Plastik, 1969, 16-mm-Film, transferiert auf Video, 11′41″, S/W, kein Ton. Videostill. Courtesy of the artist.

Barbara Hammer, X, 1975, 16-mm-Film, transferiert auf Video, 7′04″, Farbe, Ton. Videostill. Courtesy of the Estate of Barbara Hammer and KOW, Berlin/Madrid.

Jen DeNike, Girls like me, 2006, Video, 6′, Farbe, Ton. Videostill. Courtesy of the artist and Anat Ebgi Gallery, Los Angeles.

Wolfgang Tillmans, Heartbeat/Armpit, 2003, Video, 2′27″, Farbe, Ton. Videostill. Courtesy of the artist.

Nathalie Djurberg & Hans Berg, It’s the Mother, 2008, Video, 6′, Farbe, Ton. Videostill. Courtesy of the artists and Gió Marconi, Milan.

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, Foto: Peter Rigaud. [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.