Why Did the Prado Only Include Art From the 12 to 19th Century
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Sentry more than 220 fourth dimension-based media artworks by over lx artists from the JULIA STOSCHEK Collection online at JSC Collection Catalogue
ONLINE Collection Catalog
The online collection catalog offers the opportunity to research and view over 890 works by 300 artists from the JULIA STOSCHEK COLLECTION.
Over the next months, videos and films will be continually uploaded and made attainable online. They are accompanied by explanatory texts about the works. Or y'all can drib by our JSC Video Lounge directly.
A listing of all accessible works can be found by clicking on „viewable online" „under Tags" and so selecting „Works".
To date over220film-, video- and sound-based works past62artists from the collection tin can be viewed in their entirety. Amid the works in this starting time option 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'south long-term goal is to make the entire collection bachelor online, thus creating a platform for time-based art that supports the accessibility and engagement of fourth dimension-based art.
ABOUT THE COLLECTION
"Many of the works in this collection construct multi-temporal worlds; they harbor non 1 flow of events, but a labyrinth of diverging paths, each with its ain step and temporality. The collection is thus a complex annal of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an space number of times."
Daniel Birnbaum
from: Daniel Birnbaum, Repetitions, in Number Ane: Destroy, She Said (Ostfildern: Hatje Cantz Verlag, 2007), 12.
Established in 2002 by Julia Stoschek, the JULIA STOSCHEK COLLECTION has grown to exist an expansive collection of time-based fine art spanning film, video, sound, performance, and computer and software-based works. At present, over 860 artworks by more than than 282 contemporary artists across genres and generations offer an overview of time-based fine art from the 1960s to today with a potent focus on works made later 2000.
The term fourth dimension-based fine art (or time-based media) describes works of art that unfold in fourth dimension. Time-based fine art therefore encompasses all artworks in which elapsing is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, operation, figurer 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 movie theater, video, and operation works past Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović come across Doug Aitken'south video installations, Ian Cheng'southward live simulations, and Hito Steyerl'south 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 fundamental works and groups of works made throughout artists' careers, growing with and reflecting their evolving practice.
The drove is characterized by an ever-growing technological convergence and interdisciplinary arroyo: "The video art of today is theater, performance, musical performance, sculpture, projection, moving paradigm, moving bodies, trip the light fantastic toe, stage, screen, existent infinite, existent 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 Fine art and Media in 2015. Bringing these fields together, the drove is unique in its heterogeneity, but certain themes even so manifest beyond the collection, in works that accost sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and functioning; the gaze; and the human relationship betwixt our built surroundings and the natural world.
Some of these themes take been explored in exhibitions and programs at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, as well as at several international institutions. 27 large-calibration 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 grouping exhibition at the drove, Number I: Destroy, She Said (2007–08), was named subsequently a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number 2: Fragile (2008–09) focused on the body and corporality, bringing together video, performance, and body fine art. Number Three: Here and Now (2009–10) was dedicated solely to performance and the ephemeral, with performances and concerts past some of the about prominent contemporary artists working today scheduled all yr long. Almost ten years later, Number 13: Hello Boys (2015–16) revisited performance and feminist video, questioning the representation of female identity and the functioning document. To celebrate its tenth anniversary, the JULIA STOSCHEK COLLECTION invited artist Ed Atkins to curate a grouping exhibition in Düsseldorf, which he called Generation Loss (2017). The championship refers to the process of quality deterioration as data carriers are copied successively and, at the aforementioned fourth dimension, 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 past processes of digitalization. Another group show, Jaguars and Electrical 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-calibration solo presentations supplement the drove exhibition program. In 2018, the JULIA STOSCHEK Collection, Berlin, presented a comprehensive exhibition by Arthur Jafa, his outset in Federal republic of germany. In improver to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. There are 2 cinemas in Düsseldorf equipped to screen 16mm and 35mm films in their original format.
LOAN REQUESTS
Loan requests for works of the JULIA STOSCHEK Drove should be sent by e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.art
The loan asking will be candy if the following conditions are met:
Loan requests must be made at least half dozen months before the desired commencement of the loan period. The asking must comprise the post-obit information and documents:
Proper name and accost of the institution submitting the loan request; proper name, office, phone number, postal accost and e-mail accost of the contact person; exact proper name of the requested piece of work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the piece of work is to be presented; a current facility study of the institution.
Please annotation that works that have a reference to Electronic Arts Intermix in the Courtesy line may not exist lend through the JULIA STOSCHEK Drove. Delight contact Electronic Arts Intermix, New York directly.
RESTORATION & PRESERVATION
Long-Term Archiving
The conservation requirements for time-based media (TBM) have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works.
Yet crumbling is but i aspect of the problem. At that place are also file formats and circuitous technical installations that are based on reckoner technologies or other hardware. All of these components can age: not just the media themselves are affected by the processes of decay, but fifty-fifty 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 procedure of video artists. This is why in addition to the fabric-related risks, conscientious observation is necessary to ascertain which technologies have a promising futurity—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 verbal type of digital format. The files are and so transferred to a digital repository.
To meet all of the dissimilar requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK COLLECTION, based on the "iii-colonnade approach." The goal is to consolidate the heterogenous drove on a digital level in just a few established and homogeneous target formats. This noticeably reduces the conservation attempt 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 practise non back up a standardized procedure. On a digital level, multiple backups that are independent and redundant requite additional security, thus ensuring that the collection is preserved.
Media-Fine art Repository
The media art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors crusade damage to videotapes and film, this was one of the most of import factors during the planning. Temperatures of around xv 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 motion-picture show and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK COLLECTION, has 2 airlocks: i prevents abrupt changes in climate when people enter, while the 2d airlock is conceived for tapes and media that are stored in the media depository. They can acclimate 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 flooring has a stove-enamel cease 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 stand for a serious danger for media artworks, the air is filtered multiple times before and later on the workout process. Smoke and water detectors equally well as an alarm system simultaneously offer comprehensive hazard protection.
The elaborate technical civilities in combination with the custom mobile shelving make the media-fine art repository unique in Europe.
Andreas Weisser
Time-based media conservator
Katharina Sieverding
24/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Katharina Sieverding
11/III/196/1973/97/A/B (Dice Sonne um Mitternacht schauen), 1973
Christoph Schlingensief
18 Bilder pro Sekunde (Dokumentation der Ausstellung im Haus der Kunst, München), 2007
Roxy Paine
182212102002B, 2002
Jeppe Hein
two-Dimensional Mirror Labyrinth, 2006
Katharina Sieverding
26/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
A
Wu Tsang
A 24-hour interval in the life of elation, 2014
David Wojnarowicz
A Burn In My Belly (Film In Progress) and A Fire In My Belly (Excerpt), 1986–1987
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. 14 performances Relation Work (1976–1980), 1976–1980.
Relation in Space, 1976
Talking about Similarity, 1976
Breathing in, Breathing out, 1977
Imponderabilia, 1977
Expansion in Infinite, 1977
Relation in Movement, 1977
Relation in Time, 1977
Light/Dark, 1977
Balance Proof, 1977
AAA-AAA, 1978
Incision, 1978
Kaiserschnitt, 1978
Charged Space, 1978
3, 1978
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. Action in 14 predetermined sequences, 1976.
There is a Criminal Touch to Art, 1976
Ulay & Marina Abramović
A Operation Album. Abramović/Ulay. Iv performances by Abramović (1975–1976), 1975–1976.
Fine art must exist beautiful, Artist must be cute, 1975
Freeing the Vocalism, 1976
Freeing the Memory, 1976
Freeing the Body, 1976
Elmgreen & Dragset
Adaptation, Fig. twenty
DAS INSTITUT
Adele Röder For DAS INSTITUT Starline, 2010
Christoph Schlingensief
Affenbilder, 2005
Christoph Schlingensief
Affenführer, 2005
Peter Weibel
Als Fuji noch ein Berg war, 1990
Francis Alÿs & Rafael Ortega
David Claerbout
American Automobile, 2004
Matthew Buckingham
Amos Fortune Road, 1996
Ana Mendieta
Anima, Silueta de Cohetes (Firework Slice), 1976
Kerstin Brätsch, Adele Röder
Declaration Poster 1 and 2, 2011
DAS INSTITUT
Apes and Shapes (I'll see you once again in 25 years), 2011
Vito Acconci
Applications, 1970
Colin Montgomery
Arlington National Cemetery (JFK funeral model), 2005
Bruce Nauman
Art Brand-Up, 1967–1968
Art Make-Up, No. 1, White, 1967
Art Make-Up, No. 2, Pink, 1967
Art Make-Upwardly, No. 3, Green, 1967–1968
Fine art Make-Up, No. 4, Black, 1967–1968
Cyprien Gaillard
Artefacts, 2011
Natascha Sadr Haghighian
Artificial Life, 1995
Barbara Hammer
Audience, 1982
B
Thomas Demand
Badezimmer (Bathroom), 1997
John Baldessari
Baldessari sings LeWitt, 1972
Claus Föttinger
Barbarella, Matmos and Chief of Matmos, 2006
Christoph Westermeier
Barbarian + Classics, 2012
Sigalit Landau
Barbed Hula, 2000
Manfred Pernice
barriere ‚Tiefengarage', 2008
Sophia Al-Maria
Animate being Type Song, 2019
Francis Alÿs
Beggars, 2004
Jeremy Shaw
All-time Minds Function Ane, 2007
Clemens von Wedemeyer
Big Business + The Making of Big Business organization, 2002
Big Business organisation, 2002
The Making of Big Business, 2002
Mary Lucier
Bird's Heart, 1978
Paul McCarthy
Black and White Tapes, 1970-1975
Ma Bell, 1971
Painting Face Down – White Line, 1972
Spit – Not Looking at the Camera, 1974
Spinning, Short segment of xx-infinitesimal Tape, 1970–71
Whipping the Wall with Paint, 1975
Upwardly Downwards Penis Prove, 1974
Zippedy Doo Dance, 1974
Icicle Slobber, 1975
Piping Shadow, 1975
Upside Down Spitting – Bat, 1975
Cartoon – Semen Drawing, 1975
Spitting on the Camera Lens, 1974
Upside Down Pipe, 1975
Bruce Nauman
Black Balls, 1969
Christoph Westermeier
Blaker, 2011
Doug Aitken
Blow Debris, 2000
Hannah Blackness
Bodybuilding, 2015
Adam Putnam
Bookshelf, 1997
Nam June Paik
Built-in Once more, 1991
Bruce Nauman
Bouncing Assurance, 1969
Bruce Nauman
Bouncing in the Corner No. 1, 1968
Bruce Nauman
Bouncing in the Corner, No. 2: Upside Down, 1969
Bruce Nauman
Bouncing 2 Balls Between the Floor and Ceiling with Changing Rhythms, 1967–1968
Doug Aitken
Broken Glass in the Slipstream, 2003
Lonnie van Brummelen & Siebren de Haan
Reynold Reynolds & Patrick Jolley
Fire, 2002
A.K. Burns & A.Fifty. Steiner
Joseph Beuys
Buttocklifting (Edition Staeck), 1974
C
Taryn Simon
CALVIN WASHINGTON, C&E Motel, Room No. 24, Waco, Texas. Where an informant claimed to have heard Washington confess. Served thirteen years of a life sentence for majuscule murder, 2002
Karl Wilhelm Diefenbach
Capri, 1911
Till Gerhard
Helm America, 2004
Cemile Sahin
car, road, mountain, 2020
Julius Shulman
Instance Study House #22. Los Angeles, CA, Pierre Koenig Architect, 1960
Andreas Gursky
Middle Pompidou, 1995
Richard Artschwager
Chair/Chair, 1980
Richard Artschwager
Chair/Chair, 1980
Mika Rottenberg
Chasing Waterfalls. The Rise and Fall of the Amazing Seven Sutherland Sisters, 2006
Mark Leckey
Movie theater-in-the-Round, 2006–2008
Cyprien Gaillard
Cities of Gold and Mirrors, 2009
Andreas Gursky
Cocoon II, 2008
Catherine Opie
Commissioned Portrait: Julia and Jacob, 2019
A.K. Burns & A.L. Steiner
Community Action Center, 2010
Ulay & Marina Abramović
Continental Videoseries. Abramović/Ulay (1983–1986), 1983–1986.
City of Angels, 1983
Terra Degla Dea Madre, 1984
Terminal Garden, 1986
Communist china Ring, unedited video notebook, 1988
Michael Snow
*Corpus Callosum, 2002
Vito Acconci
Corrections, 1970
Jane Crawford & Robert Fiore
James Richards & Leslie Thornton
Crossing, 2016
Kandis Williams
cruz: or, equally Spillers puts it, „the captive body becomes the source of an irresistible, destructive sensuality", 2020
Brock Enright
Crystal Anarchy Sign (pink), 2007
D
Bruce Nauman
Dance or Exercise on the Perimeter of a Square (Square Dance), 1967–1968
Clemens von Wedemeyer
Das Bildermuseum brennt, 2004/05
Ed Atkins
Expiry Mask II: The Scent, 2010
Ed Atkins
Decease Mask 3, 2011
Jessica Mein
DeleveleD, 2007
Asier Mendizabal
Delimitar #1, 2009
Asier Mendizabal
Delimitar #2, 2009
Asier Mendizabal
Delimitar #3, 2009
Asier Mendizabal
Delimitar #4, 2009
Asier Mendizabal
Delimitar #five, 2009
Ed Atkins
Delivery to the Following Recipient Failed Permanently, 2011
Jan Paul Evers
Der Abstand zwischen den Gipfeln menschlicher Möglichkeiten, 2011
Anthony Burdin
Desert Mix, „Get See um Blackness Feather", 2003
Josh Kline
Designer's Head in Tim Coppens (Tim), 2013
Cyprien Gaillard
Desniansky Raion, 2007
Monica Bonvicini
Destroy She Said, 1998
Thomas Demand
Details (Sportscar), 2005
Frances Stark
Detumescence and/or its Opposite (from a Torment of Follies), 2012
Jana Euler
Dice Höhle aus Löwen, 2013
Till Gerhard
Dice Ordnung der Dinge, 2004
STURTEVANT
Dillinger Running Serial, 2000
Christoph Steinmeyer
Disco Inferno Edition, 2008
Adam Putnam
Dish Cabinet, 1997
Timur Si-Qin
Brandish (Peace), 2015
Joan Jonas
Disturbances, 1974
Chris Brunt
Documentation of selected works, 1971–1975
Deadman, 1972
Bed Piece, 1972
Through the Dark Softly, 1973
Icarus, 1973
Shoot, 1971
Thorben Eggers
Doppelseite, 2015
Sophie Calle
Double Blind, 1992
Thiago Rocha Pitta
Double fountain or cooked landscape, 2005
Jon Rafman
Dream Journal 2016 – 2019, 2019
Alex Müller
Drei Finger Dick, 2005
E
Rosemarie Trockel
Egg-trying to become warm (Versuch nach Mach), 1994
Rosemarie Trockel
Ei-Dorado, 1992/1998
Martin Honert
Eisbär, 1995/2001
STURTEVANT
Elastic Tango, 2010
Colin Montgomery
Emergency Doors (Smithsonian American History Museum), 2006
Paul Pfeiffer
Empire, 2004
Natascha Sadr Haghighian
Empire of the Senseless Function II, 2006
Nam June Paik
EMPIRE Country BUILDING, 1995
Encyclopedia Pictura & Björk
Rob Pruitt
Esprit de Corps: Guitar Jam, 2006
Kandis Williams
Eurydice, 2018
Ed Atkins
Even Pricks, 2013
Mathilde Rosier
Every 24-hour interval the Aforementioned, 2002
Mike Kelley
Extracurricular Activeness Projective Reconstruction #36 (Vice Anglais), 2011
Mike Kelley
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011
F
VALIE EXPORT
Facing a Family, 1971
Hito Steyerl
Mill of the Sun, 2015
Patty Chang
Fan Dance, 2003
Mark Leckey
Felix Gets Broadcasted, 2007
Lynda Benglis
Female Sensibility, 1973
Moritz Wegwerth
Fenster, 2013
Laurel Nakadate
Fever Dream with Rabbit, 2009
GCC
Figure A: Amalgamated City, 2013
Asier Mendizabal
Figures and Prefigurations (Divers, A. Rodchenko, 1930, Political Football), 2009
Asier Mendizabal
Figures and Prefigurations (Defined, V. Palladini, 1926), 2009
STURTEVANT
Finite/Infinite, 2010
Mark Leckey
Fiorucci Made Me Hardcore, 1999
Jack Smith
Flaming Creatures, 1962/63
Josh Kline
Forever 27 (Kurt), 2013
Josh Kline
Forever 48 (Whitney), 2013
Paul Pfeiffer
4 Horsemen of the Apocalypse (15), 2004
Paul Pfeiffer
Iv Horsemen of the Apocalypse (sixteen), 2004
Claus Föttinger
Fragile-Bar, 2008
Aaron Young
Freeformdome, 2003
Wolfgang Tillmans
Freischwimmer 21, 2004
Alex McQuilkin
Fucked, 1999
Carolee Schneemann
Fuses, 1964–1967
G
Andreas Gursky
Gasherd, 1980
Oliver Payne & Nick Relph
Gentlemen, 2003
Hannah Wilke
Gestures, 1974
Bernadette Corporation
Get rid of yourself, 2003
Alex McQuilkin
Go Your Gun Up, 2002
Nam June Paik
Global Groove, 1973
Rob Pruitt
Global Warming, 2006
Matt Calderwood
Gloss, 2004
Torbjørn Rødland
Goldene Tränen, 2002
Mark Leckey
GreenScreenRefrigerator, 2010
Jan Paul Evers
Große rekursive Funktion, 2010
Lonnie van Brummelen & Siebren de Haan
Grossraum (Borders of Europe), 2004/05
H
Charles Atlas
Hail the New Puritan, 1985/86
Klara Lidén
Handicap (Konst Fack), 2007
Hannah Wilke
Hannah Wilke Through the Large Glass, 1976
Claus Föttinger
Hanoi/Saigon, 2007
Paul Chan
Happiness (Finally) Afterward 35,000 Years of Civilization (after Henry Darger and Charles Fourier), 2000–2003
Asier Mendizabal
Hard Edge 4, 2010
Aureola Rosenberg
Harmony Korine/Carmen, 1998
Bill Viola
Hatsu-Yume (Outset Dream), 1981
Anthony Burdin
He Ain't No Fuckin' Drumma, Summer P-lot Tour 2003, Oxnard CA (1. Light My Fire, 2. Kashmiur), 2003
Paul McCarthy & Mike Kelley
Heidi, 1992
Hannah Wilke
Howdy Boys, 1975
Trisha Baga
Hercules, 2012
Cao Fei
Hip Hop Guangzhou, 2003
Nancy Holt & Robert Smithson
Thiago Rocha Pitta
Homage to JMW Turner, 2002
Jack Smith
Hot Air Specialists, 1980s
I
Sean Bluechel
I am in love with a succubus, 2006
Jeremy Shaw
I Can SEE FOREVER, 2018
Britta Thie
„I googled my mom and was relieved that she is yet condom", 2016
Beatrice Gibson
I Promise I'M LOUD WHEN I'M Expressionless, 2018
Christoph Schlingensief
I want to destroy, 2005
Claus Föttinger
I Desire To See How You See, 2010
Cao Fei
i.Mirror by Cathay Tracy (AKA: Cao Fei), 2007
Aaron Young
I.P.O (25 Offerings), 2006
Philip Topolovac
I've Never Been to Berghain, 2016
Pipilotti Rist
I'k a Victim of This Song, 1995
Pipilotti Rist
I'm not the Daughter who misses much, 1986
Britta Thie
„If something turns into hype that one time saved y'all, it feels similar you are dorsum on the Titanic again. But Jack Dawson has already left you", 2016
Timur Si-Qin
In Memoriam 9, 2015
Gary Loma
Incidence of Catastrophe, 1987–1988
Alex McQuilkin
Indefinite Line Towards Becoming the Perfect SoHo Girl, 2000
Lawrence Weiner
Inherent in the Rhumb Line, 2005
Hannah Wilke
Intercourse with …, 1978
Britta Thie
„Interfaces become our weather", 2016
Doug Aitken
Interiors, 2002
Rosemarie Trockel
Interview, 1994
Nandipha Mntambo
Intsandvokati, 2008
Thiago Rocha Pitta
Inverted zenith, 2005
Britta Thie
„It'due south all good in Italics", 2016
J
Lutz Bacher
James Dean, 1986/2014
Hernan Bas
Jetsam from the wreck of the One-half Moon, 2016
Richard Phillips
Julia, 2014
Candida Höfer
Julia Stoschek Drove Düsseldorf Viii, 2008
Candida Höfer
Julia Stoschek Collection IV, 2008
Jack Smith
Jungle Isle, 1967
K
M-Pigsty
Grand-Hole for education, 2016
Wolfgang Tillmans
Kate McQueen, 1996
Till Gerhard
Kleiner Hunger, 2006
Cyprien Gaillard
KOE, 2015
VALIE EXPORT
Körperkonfiguration, 1982
Franz Westward
Künstlerstuhl K095, 2011
Franz West
Künstlerstuhl K104, 2011
Franz W
Künstlerstuhl K107, 2011
Franz West
Künstlerstuhl K108, 2011
Franz West
Künstlerstuhl K116, 2011
Franz West
Künstlerstuhl K117, 2011
Franz West
Künstlerstuhl K118, 2011
Franz W
Künstlerstuhl K121, 2011
Franz Due west
Künstlerstuhl K122, 2011
Franz Due west
Künstlerstuhl K126, 2011
Franz West
Künstlerstuhl K130, 2011
Franz West
Künstlerstuhl K131, 2011
50
Cyprien Gaillard
L'Ange du antechamber (Vierte Fassung), 2019
Wolfgang Tillmans
LA still life, 2001
Marking Manders
Large Effigy with Sparse Newspaper, 2010
Taryn Simon
LARRY MAYES Scene of arrest, The Royal Inn, Gary, Indiana. Police found Mayes hiding beneath a mattress in this room. Served 18.v years of an fourscore-twelvemonth sentence for rape, robbery and unlawful deviate bear, 2002
Marcel Dzama
Leila Khaled does non need me, 2008
Marie-Jo Lafontaine
Les Larmes d'Acier, 1988
Matt Calderwood
Calorie-free, 2004
Claus Föttinger
Light Object Jaguars and Electric Eels, 2017
Claus Föttinger
Light Object Impale, 2014
Claus Föttinger
Lite Object No. one: Destroy, She Said, 2007
Claus Föttinger
Low-cal Object No. x: Trisha Donnelly, 2015
Claus Föttinger
Light Object No. 11: Cyprien Gaillard, 2015
Claus Föttinger
Lite Object No. 12: How-do-you-do Boys, 2016
Claus Föttinger
Lite Object No. 13: Hito Steyerl – Missed Connections, 2016
Claus Föttinger
Light Object No. 2: Fragile, 2008
Claus Föttinger
Light Object No. 3: Hither and Now, 2009
Claus Föttinger
Calorie-free Object No. iv: Derek Jarman – Super8, 2010
Claus Föttinger
Light Object No. half dozen: Flaming Creatures, 2012
Claus Föttinger
Light Object No. 7: Ed Atkins – Frances Stark, 2013
Claus Föttinger
Light Object No. eight: Sturtevant, 2014
Claus Föttinger
Light Object Welt am Draht, 2016
Claus Föttinger
Light Object: Arthur Jafa – A Series of utterly improbable, extraordinary renditions, 2018
Matt Calderwood
Lightning, 2005
Jeremy Shaw
Liminals, 2017
Anthony McCall
Line Describing a Cone, 1973
Bruce Nauman
Lip Sync, 1969
Hito Steyerl
Lovely Andrea, 2007
Christoph Westermeier
Lüster, 2011
1000
Marker Leckey
Made in 'Eaven, 2004
Bunny Rogers
Mandy's Piano Solo in Columbine Cafeteria, 2016
Mathilde ter Heijne
Mathilde, Mathilde, 2000
Paul McCarthy & Mike Kelley
Christoph Schlingensief
Message in a Bottle, 2008
Aureola Rosenberg
Mike Kelley/Carmen, 1996
Kader Attia
Mimesis as Resistance, 2013
Meriem Bennani
MISSION TEENS: French School in Morocco, 2019
Ulay & Marina Abramović
Modus Vivendi. Abramović/Ulay (1979–1986), 1979–1986.
Communist Torso/Fascist Body, 1979
That Self, 1980
Anima Mundi, 1983
Positive Zero, 1983
Modus Vivendi, 1985
Night See Crossing Conjunction, 1983
The Observer with Remy Zaugg, 1984
Pep Agut
Mon ombre est un mur, 1996
Nancy Holt
Mono Lake, 1968-2004
Simon Denny
Multimedia Double Sheet progression, 2009
Multimedia Double Canvas Toshiba, 2009
Multimedia Double Canvas Thomson, 2009
Multimedia Double Canvas Tevion, 2009
Multimedia Double Canvas Hantarex, 2009
Multimedia Double Canvas Philips, 2009
Multimedia Double Canvas Samsung, 2009
Northward
Asier Mendizabal
N,Due south,O,T,C, 2008
Wolfgang Tillmans
nackt, 2003
Christoph Westermeier
Nancy, Pamela, Thomas, Diana, Unity, Jessica, Deborah, 2011
Cyprien Gaillard
Nightlife, 2015
Barbara Hammer
No No Nooky T.V., 1987
Jack Smith
No President, 1967–1970
Bjørn Melhus
No Sunshine, 1997
Jack Smith
Normal Love, 1963–1965
Hito Steyerl
November, 2004
O
Katharina Sieverding
o.T., 1990
Cyprien Gaillard
Ocean II Bounding main, 2019
Alexander Bornschein
Ohne Titel, 2011
Claus Föttinger
Ohne Titel, 2004
Franz W
ohne Titel (L28), 2006
Franz West
ohne Titel (L31), 2006
Wolfgang Tillmans
Omen, 1991
Till Gerhard
Online Polonäse, 2006
Vito Acconci
Openings, 1970
Frances Stark
Osservate, leggete con me, 2012
Jack Smith
Overstimulated, 1959–1963
P
Paper Rad
P-Unit Mixtape, 2005
Seth Cost
„Painting" Sites, 2000/01
Rachel Rose
Palisades, 2015
Palisades in Palisades, 2014
Palisades (audio piece), 2015
A Minute Ago, 2014
Carol Bove
Panegyric (Vogue Photocollage), 2003
Ed Atkins
Paris Green, 2009
Meriem Bennani
Party on the CAPS, 2018
Jamie Crewe
Pastoral Drama, 2018
Oliver Payne & Nick Relph
Dan Graham
Performer/ Audience/ Mirror, 1975
Jan Paul Evers
Place de Pyramide, 2009
Barbara Hammer
Place Mattes, 1987
Bruce Nauman
Playing A Note on the Violin While I Walk Around the Studio, 1967–1968
Julia Scher
Please Feel Costless (The Environmental of Visibility), 2020
Bunny Rogers
Poetry reading in Columbine Library with Joan of Arc / Poetry reading with Gazlene Membrane in Columbine Cafeteria, 2014
Jon Rafman
Poor Magic, 2017
Dara Birnbaum
Popular Pop Video, 1980
Guerrilla Girls
Portfolio Compleat, 1985–2016
Jan Paul Evers
Portrait Julia Stoschek, 2011
Ryan Gander
Portrait Of A Colour Blind Artist Obscured By Flowers, 2016
Clegg & Guttman
Portrait of a Lady, 2018
Thomas Ruff
Porträt 2009 (J. Stoschek), 2009
Elmgreen & Dragset
Powerless Structures, Fig. 101 (Maquette), 2015
Gary Hill
Primarily Speaking, 1981–1983
Gordon Matta-Clark
Program Five, 1972–1976
Automation Business firm, 1971
Clockshower, 1973
City Slivers, 1976
Dennis Oppenheim
Program One: Aspen Projects, 1970
Fabric Interchange, 1970
Identity Transfer, 1970
Rocked Manus, 1970
COMPRESSION – FERN #1, 1970
Pressure Piece #one, 1970
Glassed Hand, 1970
Compression – Poison Oak, 1970
COMPRESSION – FERN #2, 1970
Leafed Hand, 1970
Gordon Matta-Clark
Programme One: Chinatown Voyeur, 1971
Gordon Matta-Clark
Program 7, 1974–2005
Sous-Sols de Paris (Paris Undercover), 1977–2005
Conical Intersect, 1975
Gordon Matta-Clark
Programme Six, 1974–1976
Substrait (Underground Dailies), 1976
Bingo/Ninths, 1974
Splitting, 1974
Dennis Oppenheim
Program Six, 1971/72
Forming Sounds, 1971
2 Stage Transfer Drawing (Advancing to Future State), 1971
2 Stage Transfer Drawing (Retreating to a By State), 1971
A Feedback State of affairs, 1972
iii Stage Transfer Drawing, 1971
Ii Stage Transfer Drawing (Returning to a Past Country), 1971
Objectified Counterforces, 1971
Shadow Project, 1971
Gordon Matta-Clark
Programme Three, 1971–1975
Fire Child, 1971
Fresh Kill, 1972
Day's End, 1975
Barbara Hammer
Psychosynthesis, 1975
Bruce Nauman
Pulling Oral fissure, 1969
Q
Jeremy Shaw
Quickeners, 2014
R
James Richards
Radio At Night, 2015
Francis Alÿs in collaboration with Rafael Ortega
Rehearsal I (Ensayo I), 1999-2001
Claus Föttinger
Remix Luhmanneck for Cities of Gilt and Mirrors, 2011
Kon Trubkovich
Repeat Offenders, 2006
Wolfgang Tillmans
Resolute Rave, 2015
Jack Smith
Respectable Creatures, 1950–1966
Reynold Reynolds & Patrick Jolley
Andreas Gursky
Rhein II, 1999
James Richards & Leslie Thornton
Clemens von Wedemeyer & Maya Schweizer
Rien du tout, 2006
Thiago Rocha Pitta
Rio de Janeiro X Sao Paulo, air trip with highway time or addressless honey alphabetic character, 2005
Pierre Klossowski
Roberte aux barres parallèles, 1984
Dan Graham
Rock my Organized religion, 1982-84
Taryn Simon
RONALD JONES Scene of arrest, South Side, Chicago, Illinois. Served 8 years of a death sentence for Rape and Murder, 2002
Jane Crawford & Robert Fiore
Rundown, 1994
S
Trisha Donnelly
Satin Operator, 2007
Trisha Donnelly
Sconce, 2013
Jack Smith
Scotch Tape, 1959–1962
Matt Calderwood
Screen, 2005
Julia Scher
Security By Julia (Dispenser), 2020
Timur Si-Qin
Option Display: Ancestral Prayer, 2011, 2011
William Wegman
Selections from 1970–78, 1981
Andreas Korte
Self Coded, 2008
Klara Lidén
Self Portrait with the Keys to the City, 2005
Elmgreen & Dragset
Cocky-Portrait, No.41, 2016
Sarah Lucas
Selfish In Bed Ii, 2000
Martha Rosler
Semiotics of the kitchen, 1975
Lutz Bacher
Sex with Strangers, 1986
Mark Leckey
Shades of Destructors, 2005
Patty Chang
Shaved (At A Loss), 1998
Peggy Ahwesh
She Puppet, 2001
Andro Wekua
Should be titled, 2010/2011
Clemens von Wedemeyer
Silberhöhe + Die Siedlung, 2003/04
Silberhöhe, 2003
Die Siedlung, 2004
Ed Ruscha
Sin-Without, 2002
Tony Oursler
Sixth (Dusseldorf Variation), 2005-2007
Tony Oursler
Son of Oil, 1982
Till Gerhard
Sondervorstellung, 2006
Nandipha Mntambo
Sondzela, 2008
Jack Smith
Vocal for Rent, 1969
Joan Jonas
Songdelay, 1973
Robert Smithson
Screw Jetty, 1970
Carsten Nicolai
Spray, 2004
Terence Koh
Sprungkopf, 2006
Bruce Nauman
Stamping in the Studio, 1968
Jordan Wolfson
Star Field (month 25), 2004
Douglas Gordon
Staying home (18.fourteen) and going out (21.14), 2005
Douglas Gordon
Staying home (18.16) and going out (21.16), 2005
Olivia Walsh
(Still) Incertitude Two, 2016
Matt Calderwood
Strips (vertical), 2005
Thiago Rocha Pitta
Sublimation, condensation, zenith and precipitation, 2005
Mathilde ter Heijne
Suicide Bomb, 2000
Ballad Bove
Summertime Solstice, Düsseldorf, 2031, 2006
Nancy Holt
Sun Tunnels, 1978
Andreas Gursky
Supernova, 1999
Laure Prouvost
Swallow, 2013
Nancy Holt & Robert Smithson
Swamp, 1971
Barbara Hammer
Synch Bear on, 1981
T
Christiane Fochtmann
Talkshow, 2006
Andreas Korte
Tanzfilm, 2011
Matt Calderwood
Record, 2005
VALIE Consign
Tapp- und Tastkino (Touch Movie house), 1968
Dara Birnbaum
Technology/Transformation: Wonder Woman, 1978/79
Alex McQuilkin
Teenage Daydream: In Vain, 2002-2003
Alex McQuilkin
Teenage Daydream: Information technology's only Rock & Scroll, 2002
Christian Marclay
Telephones, 1995
Ed Atkins
The Anthrophagus!, 2010
Laure Prouvost
The Artist, 2010
Terence Koh
The Camel was God, the Camel Was Shot, 2007
Melanie Gilligan
The Common Sense, 2014/15
Reynold Reynolds & Patrick Jolley
The Drowning Room, 2000
Lynn Hershman Leeson
THE ELECTRONIC DIARIES OF LYNN HERSHMAN LEESON 1984–2019, 1984–2019
Ant Subcontract & T.R. Uthco
The Eternal Frame, 1975
Anicka Yi
The Flavor Genome, 2016
Marina Abramović
The Hero, 2000
Marina Abramović
The Hero, 2001
Frances Stark
The Inchoate Incarnate: After a Drawing, Toward an Opera, but Before a Libretto Even Exists, 2009
Eleanor Antin
The King, 1972
Cyprien Gaillard
The Lake Arches, 2007
Juan Downey
The Laughing Alligator, 1979
Cory Arcangel
The Making of Super Mario Clouds, 2004
Douglas Gordon
The nature of relationships between few words, 2006
Marina Abramović
The Onion, 1996
Vito Acconci
The Cherry-red Tapes, 1977
Tape i: Common Knowledge, 1977
Tape ii: Local Colour, 1977
Tape 3: Fourth dimension Lag, 1977
Bill Viola
The Reflecting Puddle – Collected Piece of work 1977–80, 1977–fourscore
The Reflecting Pool, 1977–79
Moonblood, 1977–79
Silent Life, 1979
Ancient of Days, 1979–81
Vegetable Retentivity, 1978–fourscore
Asier Mendizabal
The Staff That Matters (30,000), 2009
Asier Mendizabal
The Staff That Matters (SI), 2009
Chris Burden
The T.V. Commercials, 1973-1977
Tony Oursler
The Weak Bullet, 1980
Vito Acconci
Theme Song, 1973
Laure Prouvost
They Parlaient Idéale, 2019
Vito Acconci
Three Human relationship Studies, 1970
Shadow-Play, 1970
Imitations, 1970
Manipulations, 1970
Peter Campus
Three Transitions, 1973
Sarah Kürten
TOSS ME MY LIGHTER, COULD Yous Infant?, 2020
Jon Rafman
Transdimensional Serpent, 2016
Manuel Acevedo
Tropisms – WTC (World Merchandise Eye) Site, 2007
Isaac Julien
True North, 2004
Tony Oursler
Tunic (Song for Karen), 1990
Gwenn Thomas
Twilight, 1975
Dan Graham
Two-way Mirror Power, 2006
Manuel Graf
Über die aus der Zukunft fließende Zeit, 2006
U
Marcel Dzama
Untitled, 2008
Kurt Lightner
Untitled, 2004
Nadim Vardag
Untitled, 2011
Trisha Donnelly
Untitled, 2005
Trisha Donnelly
Untitled, 2008
Trisha Donnelly
Untitled, 2010
Trisha Donnelly
Untitled, 2012
Trisha Donnelly
Untitled, 2011
Trisha Donnelly
Untitled, 2013
Marcel Dzama
Untitled, 2008
Marcel Dzama
Untitled, 2008
Marcel Dzama
Untitled, 2008
Isa Genzken
Untitled, 2017
Jo Baer
Untitled, 1966-1974
Ed Atkins
Untitled (ane), 2013
Ed Atkins
Untitled (2), 2013
Ed Atkins
Untitled (iii), 2013
Ed Atkins
Untitled (4), 2013
Ed Atkins
Untitled (5), 2013
Ed Atkins
Untitled (7), 2013
Ed Atkins
Untitled (8), 2013
Ed Atkins
Untitled (9), 2013
Adam McEwen
Untitled (A-Line), 2002
Paul Chan
Untitled (Afterward St. Caravaggio), 2003–2006
Klara Lidén
Untitled (Column Monkey), 2010
Klara Lidén
Untitled (Down), 2011
Patty Chang
Untitled (For Abramović, Love Cocteau), 2000
Trisha Donnelly
Untitled (mountain), 2008
Jules de Balincourt
Untitled (Pastoral Scene), 2006
Klara Lidén
Untitled (Under Mattan), 2006–2010
Anne Imhof
Untitled (Wave), 2021
Jeff Burton
Untitled #151 (Picket Contend), 2001
Jeff Burton
Untitled #176 (Rods and Clamps), 2003
Jeff Burton
Untitled #182 (Spa Rules), 2003
Trisha Donnelly
Untitled I (Double Alpha), 2007
Andreas Gursky
Untitled XII, No.4, 2000
Carolee Schneemann
Up to and including her Limits, 1976
Ed Atkins
Us Dead Talk Love, 2012
Kurt Lightner
Useless Fruit, 2006
5
Bruce & Norman Yonemoto
Vault, 1984
Joan Jonas
Vertical Roll, 1972
Nam June Paik
Video-Picture show Concert, 1966-1972/1992
Colin Montgomery
View, 101 Constitution Avenue (U.Southward. Capitol), 2006
Bruce Nauman
Violin Motion picture #ane (Playing The Violin As Fast As I Can), 1967–1968
Steina Vasulka
Violin Power, 1970-76
Timur Si-Qin
Visit Mirrorscape 2016: Arrive, 2016
Timur Si-Qin
Visit Mirrorscape 2016: Hither, 2016
Timur Si-Qin
Visit Mirrorscape 2016: Now, 2016
Anthony Burdin
Voodoo Vocals, Amanuensis of Fortune Cassette Bout 1999 – Don't Fear the Reaper, New York, eleven / 22 / 02, 2002
Anthony Burdin
Voodoo Vocals, Drive Hwy 101 N (i. Yous only live twice, two. It was a very skillful year), 2005
Jan Paul Evers
Vorhang, 2010
W
Bruce Nauman
Walking in an Exaggerated Manner Effectually the Perimeter of a Foursquare, 1967–1968
Monica Bonvicini
Wallfuckin', 1995
Encyclopedia Pictura & Björk
Wanderlust, 2008
Thomas Bernstein
Wandler, 2007
Adam Putnam
Wardrobe, 1997
Ed Atkins
Warm, Warm, Warm Spring Mouths, 2013
Guan Xiao
Atmospheric condition Forecast, 2016
Clemens von Wedemeyer & Maya Schweizer
P. Staff
Weed Killer, 2017
Alex Morrison
What Does it Mean to Inhabit a Ruin?, 2013
Andrea Büttner
What is so terrible about craft? / Die Produkte der menschlichen Hand, 2019
Olafur Eliasson
When Love is not plenty Wall (Fragment), 2007
Amalia Ulman
White Flag Emoji 1, 2015
Amalia Ulman
White Flag Emoji two, 2015
Amalia Ulman
White Flag Emoji iii, 2015
Amalia Ulman
White Flag Emoji 4, 2015
Amalia Ulman
White Flag Emoji 5, 2015
Amalia Ulman
White Flag Emoji 6, 2015
Peter Weibel
Wind & fast frontward, Realitätsspaltung, 1990
Maria Anna Dewes
Wolf, 2008
10
Patriot Human action, 2004
Heaven's lilliputian Helper, 2005
Judgement Day, 2006
Exit Strategy, 2005
Y
Z
Thomas Demand
Zaun (Fence), 2004
Otto Mueller
Zwei Mädchen – Halbakte (Russisches Mädchenpaar), 1920
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Watch more than than 220 fourth dimension-based media artworks by over threescore artists from the JULIA STOSCHEK COLLECTION online at JSC Collection Catalogue
ONLINE COLLECTION CATALOG
The online collection itemize offers the opportunity to research and view over 890 works by 300 artists from the JULIA STOSCHEK COLLECTION.
Over the side by side months, videos and films will be continually uploaded and made accessible online. They are accompanied by explanatory texts about the works. Or you tin can drop by our JSC Video Lounge direct.
A list of all accessible works can be found by clicking on „viewable online" „under Tags" and then selecting „Works".
To engagement over220picture-, video- and sound-based works by62artists from the collection tin 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 unabridged collection bachelor online, thus creating a platform for fourth dimension-based art that supports the accessibility and engagement of time-based art.
ABOUT THE COLLECTION
"Many of the works in this drove construct multi-temporal worlds; they harbor not one menses 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 fourth dimension that can be technically repeated, in principle an space number of times."
Daniel Birnbaum
from: Daniel Birnbaum, Repetitions, in Number One: Destroy, She Said (Ostfildern: Hatje Cantz Verlag, 2007), 12.
Established in 2002 by Julia Stoschek, the JULIA STOSCHEK COLLECTION has grown to be an expansive collection of time-based art spanning moving picture, video, sound, performance, and computer and software-based works. At present, over 860 artworks by more 282 contemporary artists beyond genres and generations offering an overview of time-based art from the 1960s to today with a stiff 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 flick, video, unmarried- and multi-channel video installation, slide installations, multimedia environments, audio, operation, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art. These works are often allographic, significant they are simply visible when installed or projected.
At the JULIA STOSCHEK Drove, early expanded movie house, video, and performance works by Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović meet Doug Aitken's video installations, Ian Cheng's live simulations, and Hito Steyerl'due south all-encompassing environments. The collection contains many artworks past 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 drove strives to build sustainable relationships with artists and galleries, focusing on fundamental works and groups of works made throughout artists' careers, growing with and reflecting their evolving do.
The collection is characterized past an ever-growing technological convergence and interdisciplinary approach: "The video art of today is theater, functioning, musical operation, sculpture, projection, moving image, moving bodies, dance, stage, screen, real space, existent time, all in one," writes Peter Weibel in the catalog accompanying the exhibition "High Functioning," 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, merely 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 human 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, every bit well equally 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 afterwards a video installation past artist Monica Bonvicini and loosely explored the relationship betwixt interior and outside, construction and destruction. Number Two: Delicate (2008–09) focused on the body and corporality, bringing together video, performance, and torso art. Number Three: Hither and Now (2009–10) was dedicated solely to performance and the ephemeral, with performances and concerts past some of the about prominent gimmicky artists working today scheduled all yr long. Almost 10 years later, Number Xiii: Hullo 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 Drove invited artist Ed Atkins to curate a grouping exhibition in Düsseldorf, which he called Generation Loss (2017). The title refers to the process of quality deterioration as information carriers are copied successively and, at the aforementioned fourth dimension, to the social upheavals from ane generation to the side by side.
The inaugural exhibition in Berlin, Welt am Draht (2016), addressed the influences and shifts in our social reality, identities, and environs effected past processes of digitalization. Some other group evidence, Jaguars and Electrical 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 add-on to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the plan. In that location are two cinemas in Düsseldorf equipped to screen 16mm and 35mm films in their original format.
LOAN REQUESTS
Loan requests for works of the JULIA STOSCHEK COLLECTION should be sent by east-post to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.art
The loan asking will exist processed if the following conditions are met:
Loan requests must exist made at least 6 months before the desired start of the loan flow. The asking must comprise the following information and documents:
Name and address of the establishment submitting the loan request; name, function, telephone number, postal address and e-mail accost of the contact person; verbal name of the requested piece of 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 establishment.
Please note that works that accept a reference to Electronic Arts Intermix in the Courtesy line may not be lend through the JULIA STOSCHEK COLLECTION. Please contact Electronic Arts Intermix, New York directly.
RESTORATION & PRESERVATION
Long-Term Archiving
The conservation requirements for time-based media (TBM) have changed drastically over the last x years. Initially the medium—specifically videotapes and DVDs—was the master focus of conservational attending. Just like any other materials, media are also susceptible to crumbling processes that in the long run tin can lead to damage or fifty-fifty the loss of works.
All the same aging is only 1 aspect of the trouble. There are as well file formats and complex technical installations that are based on computer technologies or other hardware. All of these components tin can historic period: 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 adjusted in the production procedure of video artists. This is why in add-on to the fabric-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 stop all new acquisitions must be thoroughly evaluated and documented to determine the verbal type of digital format. The files are then transferred to a digital repository.
To come across all of the different requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK COLLECTION, based on the "three-pillar arroyo." The goal is to consolidate the heterogenous collection on a digital level in only a few established and homogeneous target formats. This noticeably reduces the conservation effort since simply a manageable number of formats demand to exist regularly checked and monitored to safeguard against formats that are becoming obsolete. This is flanked past individual solutions for artworks that practise not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give boosted security, thus ensuring that the collection is preserved.
Media-Fine 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 virtually of import 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 called for the repository. These conditions are also advisable for film and slides.
The media fine 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 tin acclimatize slowly in the airlock earlier they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-begetting mountings, ensures that the space is used optimally. The floor has a stove-enamel finish and was checked for leftover magnetic accuse to eliminate all risks for the stored videotapes. In addition, the shelves are grounded to prevent whatsoever static electricity.
Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times earlier and after the workout procedure. Smoke and water detectors likewise as an alert system simultaneously offer comprehensive hazard protection.
The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe.
Andreas Weisser
Time-based media conservator
burgesstragstenk1950.blogspot.com
Source: https://www.jsc.art/