Video of the Art Exhibitthe Stuff of Dreams From the French Collection
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Watch more than 220 fourth dimension-based media artworks by over sixty artists from the JULIA STOSCHEK Drove 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 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 can driblet past our JSC Video Lounge directly.
A listing of all accessible works can be constitute past clicking on „viewable online" „under Tags" and then selecting „Works".
To engagement over220flick-, video- and sound-based works by62artists from the collection can be viewed in their entirety. Among the works in this first selection are pieces past 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'due south long-term goal is to make the entire drove available online, thus creating a platform for time-based art that supports the accessibility and engagement of time-based fine art.
Virtually THE Drove
"Many of the works in this collection construct multi-temporal worlds; they harbor not one flow of events, but a labyrinth of diverging paths, each with its own pace and temporality. The collection is thus a circuitous archive of temporalities, storing passed moments and layers of time that can exist technically repeated, in principle an infinite number of times."
Daniel Birnbaum
from: Daniel Birnbaum, Repetitions, in Number I: Destroy, She Said (Ostfildern: Hatje Cantz Verlag, 2007), 12.
Established in 2002 past Julia Stoschek, the JULIA STOSCHEK Drove has grown to be an expansive drove of time-based art spanning flick, video, sound, performance, and computer and software-based works. At present, over 860 artworks past more than 282 contemporary artists across genres and generations offer an overview of fourth dimension-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 pic, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, calculator and software-based artworks such equally virtual and augmented reality, and other forms of technology-based art. These works are frequently allographic, significant they are only visible when installed or projected.
At the JULIA STOSCHEK COLLECTION, early expanded picture palace, 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's all-encompassing environments. The collection contains many artworks by pioneering female and feminist artists and experimental filmmakers from the 1960s and '70s, among them Dara Birnbaum, VALIE Export, Barbara Hammer, and Hannah Wilke. A younger generation of artists includes Ed Atkins, Loretta Fahrenholz, Cyprien Gaillard, Josh Kline, Jon Rafman, Rachel Rose, Mika Rottenberg, Anicka Yi, and Tobias Zielony, to name a few. The collection strives to build sustainable relationships with artists and galleries, focusing on key works and groups of works made throughout artists' careers, growing with and reflecting their evolving practice.
The collection is characterized by an ever-growing technological convergence and interdisciplinary approach: "The video art of today is theater, performance, musical performance, sculpture, projection, moving prototype, moving bodies, dance, stage, screen, existent space, real fourth dimension, all in i," writes Peter Weibel in the itemize accompanying the exhibition "Loftier Performance," jointly organized by JULIA STOSCHEK COLLECTION and ZKM | Center for Art and Media in 2015. Bringing these fields together, the collection is unique in its heterogeneity, merely sure themes however manifest across the drove, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the torso and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural globe.
Some of these themes have been explored in exhibitions and programs at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, too as at several international institutions. 27 large-scale exhibitions have taken place at the drove'southward 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-calibration group exhibition at the collection, Number One: Destroy, She Said (2007–08), was named afterward a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and outside, structure and destruction. Number Two: Fragile (2008–09) focused on the torso and corporality, bringing together video, performance, and torso fine art. Number Three: Here and Now (2009–x) was defended solely to functioning and the ephemeral, with performances and concerts by some of the well-nigh prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys (2015–sixteen) revisited performance and feminist video, questioning the representation of female identity and the performance certificate. To celebrate its tenth anniversary, the JULIA STOSCHEK COLLECTION invited artist Ed Atkins to curate a group exhibition in Düsseldorf, which he called Generation Loss (2017). The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the adjacent.
The inaugural exhibition in Berlin, Welt am Draht (2016), addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization. Another group prove, Jaguars and Electric Eels (2017), explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality. Large-calibration solo presentations supplement the collection exhibition program. In 2018, the JULIA STOSCHEK COLLECTION, Berlin, presented a comprehensive exhibition by Arthur Jafa, his commencement in Germany. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. There are ii 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 exist sent by e-mail service to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.fine art
The loan request will be processed if the following conditions are met:
Loan requests must be made at to the lowest degree 6 months before the desired start of the loan period. The request must incorporate the following data and documents:
Name and address of the institution submitting the loan request; name, role, telephone number, postal address and due east-post address of the contact person; exact proper noun of the requested work; menstruation, name of the exhibiting institution and location of the exhibition; detailed exhibition or project clarification in which the work is to be presented; a current facility study of the institution.
Delight note that works that have a reference to Electronic Arts Intermix in the Courtesy line may not exist 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) accept changed drastically over the last 10 years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Only like whatever other materials, media are also susceptible to aging processes that in the long run tin can atomic number 82 to damage or even the loss of works.
Yet aging is only one attribute of the trouble. At that place are too file formats and complex technical installations that are based on computer technologies or other hardware. All of these components can historic period: not merely the media themselves are affected by the processes of disuse, but fifty-fifty the content tin can get unreadable over of the years due to incompatibilities. Technological development constantly results in new file formats and software codecs that are adjusted in the production procedure of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies accept a promising time to come—and which digital platforms and formats are on their manner to becoming obsolete. To this terminate all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository.
To meet all of the different requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK Drove, based on the "iii-colonnade approach." The goal is to consolidate the heterogenous collection on a digital level in just a few established and homogeneous target formats. This noticeably reduces the conservation endeavour since just a manageable number of formats demand to be regularly checked and monitored to safeguard confronting formats that are condign obsolete. This is flanked by private solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant requite boosted security, thus ensuring that the drove is preserved.
Media-Art Repository
The media art-depository is the heart of the drove. Since fluctuating temperatures and humidity factors cause damage to videotapes and motion-picture show, this was one of the about important factors during the planning. Temperatures of effectually fifteen 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 atmospheric condition are as well appropriate for film and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK COLLECTION, has two airlocks: one prevents precipitous 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 can acclimate slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving organization, 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 charge to eliminate all risks for the stored videotapes. In addition, the shelves are grounded to prevent any static electricity.
Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and subsequently the conditioning process. Smoke and water detectors also as an alert system simultaneously offering comprehensive hazard protection.
The elaborate technical civilities in combination with the custom mobile shelving make the media-art repository unique in Europe.
Andreas Weisser
Fourth dimension-based media conservator
Katharina Sieverding
24/III/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Katharina Sieverding
eleven/III/196/1973/97/A/B (Die 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
ii-Dimensional Mirror Labyrinth, 2006
Katharina Sieverding
26/3/196/1973/97/A/B (Dice Sonne um Mitternacht schauen), 1973
A
Wu Tsang
A solar day in the life of bliss, 2014
David Wojnarowicz
A Fire In My Belly (Film In Progress) and A Burn In My Belly (Excerpt), 1986–1987
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. 14 performances Relation Piece of work (1976–1980), 1976–1980.
Relation in Space, 1976
Talking about Similarity, 1976
Breathing in, Breathing out, 1977
Imponderabilia, 1977
Expansion in Space, 1977
Relation in Movement, 1977
Relation in Time, 1977
Calorie-free/Dark, 1977
Residual Proof, 1977
AAA-AAA, 1978
Incision, 1978
Kaiserschnitt, 1978
Charged Space, 1978
Three, 1978
Ulay & Marina Abramović
A Performance Album. Abramović/Ulay. Action in 14 predetermined sequences, 1976.
There is a Criminal Impact to Art, 1976
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. Four performances by Abramović (1975–1976), 1975–1976.
Fine art must be beautiful, Artist must exist cute, 1975
Freeing the Voice, 1976
Freeing the Retentiveness, 1976
Freeing the Trunk, 1976
Elmgreen & Dragset
Adaptation, Fig. 20
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 Machine, 2004
Matthew Buckingham
Amos Fortune Road, 1996
Ana Mendieta
Anima, Silueta de Cohetes (Firework Piece), 1976
Kerstin Brätsch, Adele Röder
Announcement Affiche i and 2, 2011
DAS INSTITUT
Apes and Shapes (I'll see you over again in 25 years), 2011
Vito Acconci
Applications, 1970
Colin Montgomery
Arlington National Cemetery (JFK funeral model), 2005
Bruce Nauman
Art Make-Up, 1967–1968
Art Brand-Up, No. i, White, 1967
Art Make-Up, No. 2, Pink, 1967
Art Make-Upwardly, No. iii, Light-green, 1967–1968
Fine art Make-Upwardly, No. four, Black, 1967–1968
Cyprien Gaillard
Artefacts, 2011
Natascha Sadr Haghighian
Artificial Life, 1995
Barbara Hammer
Audience, 1982
B
Thomas Need
Badezimmer (Bath), 1997
John Baldessari
Baldessari sings LeWitt, 1972
Claus Föttinger
Barbarella, Matmos and Chief of Matmos, 2006
Christoph Westermeier
Barbaric + Classics, 2012
Sigalit Landau
Spinous Hula, 2000
Manfred Pernice
barriere ‚Tiefengarage', 2008
Sophia Al-Maria
Beast Type Vocal, 2019
Francis Alÿs
Beggars, 2004
Jeremy Shaw
Best Minds Part One, 2007
Clemens von Wedemeyer
Big Business concern + The Making of Big Business, 2002
Big Concern, 2002
The Making of Big Business organization, 2002
Mary Lucier
Bird's Heart, 1978
Paul McCarthy
Black and White Tapes, 1970-1975
Ma Bell, 1971
Painting Face Downwards – White Line, 1972
Spit – Not Looking at the Camera, 1974
Spinning, Short segment of 20-minute Tape, 1970–71
Whipping the Wall with Pigment, 1975
Upwards Down Penis Show, 1974
Zippedy Doo Dance, 1974
Icicle Slobber, 1975
Pipe Shadow, 1975
Upside Down Spitting – Bat, 1975
Drawing – Semen Cartoon, 1975
Spitting on the Camera Lens, 1974
Upside Down Pipe, 1975
Bruce Nauman
Blackness Balls, 1969
Christoph Westermeier
Blaker, 2011
Doug Aitken
Blow Debris, 2000
Hannah Blackness
Bodybuilding, 2015
Adam Putnam
Bookshelf, 1997
Nam June Paik
Born Over again, 1991
Bruce Nauman
Bouncing Balls, 1969
Bruce Nauman
Billowy in the Corner No. one, 1968
Bruce Nauman
Bouncing in the Corner, No. two: Upside Downwards, 1969
Bruce Nauman
Billowy Two Balls Betwixt 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
Burn, 2002
A.K. Burns & A.L. 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 13 years of a life sentence for capital murder, 2002
Karl Wilhelm Diefenbach
Capri, 1911
Till Gerhard
Captain America, 2004
Cemile Sahin
car, road, mountain, 2020
Julius Shulman
Case Study House #22. Los Angeles, CA, Pierre Koenig Architect, 1960
Andreas Gursky
Centre Pompidou, 1995
Richard Artschwager
Chair/Chair, 1980
Richard Artschwager
Chair/Chair, 1980
Mika Rottenberg
Chasing Waterfalls. The Rise and Autumn of the Amazing Vii 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
Deputed Portrait: Julia and Jacob, 2019
A.K. Burns & A.Fifty. Steiner
Customs Activity Middle, 2010
Ulay & Marina Abramović
Continental Videoseries. Abramović/Ulay (1983–1986), 1983–1986.
City of Angels, 1983
Terra Degla Dea Madre, 1984
Terminal Garden, 1986
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 information technology, „the captive body becomes the source of an irresistible, destructive sensuality", 2020
Brock Enright
Crystal Anarchy Sign (pink), 2007
D
Bruce Nauman
Trip the light fantastic or Exercise on the Perimeter of a Square (Square Dance), 1967–1968
Clemens von Wedemeyer
Das Bildermuseum brennt, 2004/05
Ed Atkins
Death Mask II: The Scent, 2010
Ed Atkins
Death Mask III, 2011
Jessica Mein
DeleveleD, 2007
Asier Mendizabal
Delimitar #1, 2009
Asier Mendizabal
Delimitar #ii, 2009
Asier Mendizabal
Delimitar #3, 2009
Asier Mendizabal
Delimitar #4, 2009
Asier Mendizabal
Delimitar #5, 2009
Ed Atkins
Commitment to the Post-obit Recipient Failed Permanently, 2011
Jan Paul Evers
Der Abstand zwischen den Gipfeln menschlicher Möglichkeiten, 2011
Anthony Burdin
Desert Mix, „Go Come across um Black 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 Reverse (from a Torment of Follies), 2012
Jana Euler
Die Höhle aus Löwen, 2013
Till Gerhard
Die Ordnung der Dinge, 2004
STURTEVANT
Dillinger Running Series, 2000
Christoph Steinmeyer
Disco Inferno Edition, 2008
Adam Putnam
Dish Chiffonier, 1997
Timur Si-Qin
Display (Peace), 2015
Joan Jonas
Disturbances, 1974
Chris Brunt
Documentation of selected works, 1971–1975
Deadman, 1972
Bed Piece, 1972
Through the Night 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 get 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 Part II, 2006
Nam June Paik
EMPIRE STATE Edifice, 1995
Encyclopedia Pictura & Björk
Rob Pruitt
Esprit de Corps: Guitar Jam, 2006
Kandis Williams
Eurydice, 2018
Ed Atkins
Even Pricks, 2013
Mathilde Rosier
Every Twenty-four hour period the Same, 2002
Mike Kelley
Extracurricular Action 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
Factory 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/Space, 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
Four Horsemen of the Apocalypse (15), 2004
Paul Pfeiffer
Four Horsemen of the Apocalypse (16), 2004
Claus Föttinger
Frail-Bar, 2008
Aaron Young
Freeformdome, 2003
Wolfgang Tillmans
Freischwimmer 21, 2004
Alex McQuilkin
Fucked, 1999
Carolee Schneemann
Fuses, 1964–1967
One thousand
Andreas Gursky
Gasherd, 1980
Oliver Payne & Nick Relph
Gentlemen, 2003
Hannah Wilke
Gestures, 1974
Bernadette Corporation
Get rid of yourself, 2003
Alex McQuilkin
Get Your Gun Upwardly, 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) After 35,000 Years of Civilization (after Henry Darger and Charles Fourier), 2000–2003
Asier Mendizabal
Hard Edge 4, 2010
Aura Rosenberg
Harmony Korine/Carmen, 1998
Bill Viola
Hatsu-Yume (First Dream), 1981
Anthony Burdin
He Ain't No Fuckin' Drumma, Summertime P-lot Tour 2003, Oxnard CA (i. Lite My Burn down, ii. Kashmiur), 2003
Paul McCarthy & Mike Kelley
Heidi, 1992
Hannah Wilke
Hello 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 dearest with a succubus, 2006
Jeremy Shaw
I Tin can SEE FOREVER, 2018
Britta Thie
„I googled my mom and was relieved that she is nevertheless safe", 2016
Beatrice Gibson
I Promise I'M LOUD WHEN I'M Dead, 2018
Christoph Schlingensief
I desire to destroy, 2005
Claus Föttinger
I Desire To Come across How Yous Encounter, 2010
Cao Fei
i.Mirror past Prc Tracy (AKA: Cao Fei), 2007
Aaron Immature
I.P.O (25 Offerings), 2006
Philip Topolovac
I've Never Been to Berghain, 2016
Pipilotti Rist
I'm a Victim of This Song, 1995
Pipilotti Rist
I'm non the Girl who misses much, 1986
Britta Thie
„If something turns into hype that once saved yous, information technology feels like you are back on the Titanic again. Simply Jack Dawson has already left you", 2016
Timur Si-Qin
In Memoriam ix, 2015
Gary Colina
Incidence of Ending, 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's all skilful in Italics", 2016
J
Lutz Bacher
James Dean, 1986/2014
Hernan Bas
Jetsam from the wreck of the Half Moon, 2016
Richard Phillips
Julia, 2014
Candida Höfer
Julia Stoschek Collection Düsseldorf VIII, 2008
Candida Höfer
Julia Stoschek Collection IV, 2008
Jack Smith
Jungle Island, 1967
1000
K-Hole
Yard-Hole for education, 2016
Wolfgang Tillmans
Kate McQueen, 1996
Till Gerhard
Kleiner Hunger, 2006
Cyprien Gaillard
KOE, 2015
VALIE Export
Körperkonfiguration, 1982
Franz West
Künstlerstuhl K095, 2011
Franz Due west
Künstlerstuhl K104, 2011
Franz Westward
Künstlerstuhl K107, 2011
Franz W
Künstlerstuhl K108, 2011
Franz West
Künstlerstuhl K116, 2011
Franz W
Künstlerstuhl K117, 2011
Franz West
Künstlerstuhl K118, 2011
Franz W
Künstlerstuhl K121, 2011
Franz W
Künstlerstuhl K122, 2011
Franz West
Künstlerstuhl K126, 2011
Franz Due west
Künstlerstuhl K130, 2011
Franz W
Künstlerstuhl K131, 2011
Fifty
Cyprien Gaillard
L'Ange du foyer (Vierte Fassung), 2019
Wolfgang Tillmans
LA still life, 2001
Marker Manders
Large Figure with Thin Newspaper, 2010
Taryn Simon
LARRY MAYES Scene of abort, The Royal Inn, Gary, Indiana. Police found Mayes hiding beneath a mattress in this room. Served eighteen.v years of an fourscore-year sentence for rape, robbery and unlawful deviate conduct, 2002
Marcel Dzama
Leila Khaled does not need me, 2008
Marie-Jo Lafontaine
Les Larmes d'Acier, 1988
Matt Calderwood
Low-cal, 2004
Claus Föttinger
Light Object Jaguars and Electric Eels, 2017
Claus Föttinger
Light Object Kill, 2014
Claus Föttinger
Light Object No. one: Destroy, She Said, 2007
Claus Föttinger
Light Object No. ten: Trisha Donnelly, 2015
Claus Föttinger
Light Object No. eleven: Cyprien Gaillard, 2015
Claus Föttinger
Low-cal Object No. 12: Hello Boys, 2016
Claus Föttinger
Light Object No. thirteen: Hito Steyerl – Missed Connections, 2016
Claus Föttinger
Light Object No. 2: Frail, 2008
Claus Föttinger
Light Object No. 3: Here and Now, 2009
Claus Föttinger
Low-cal Object No. iv: Derek Jarman – Super8, 2010
Claus Föttinger
Light Object No. 6: Flaming Creatures, 2012
Claus Föttinger
Light Object No. 7: Ed Atkins – Frances Stark, 2013
Claus Föttinger
Light Object No. 8: Sturtevant, 2014
Claus Föttinger
Light Object Welt am Draht, 2016
Claus Föttinger
Low-cal Object: Arthur Jafa – A Serial 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
One thousand
Marking 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
Bulletin in a Bottle, 2008
Aura Rosenberg
Mike Kelley/Carmen, 1996
Kader Attia
Mimesis every bit Resistance, 2013
Meriem Bennani
MISSION TEENS: French School in Kingdom of morocco, 2019
Ulay & Marina Abramović
Modus Vivendi. Abramović/Ulay (1979–1986), 1979–1986.
Communist Trunk/Fascist Torso, 1979
That Cocky, 1980
Anima Mundi, 1983
Positive Zero, 1983
Modus Vivendi, 1985
Dark Meet 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 Canvas progression, 2009
Multimedia Double Canvas Toshiba, 2009
Multimedia Double Canvas Thomson, 2009
Multimedia Double Sheet Tevion, 2009
Multimedia Double Canvass Hantarex, 2009
Multimedia Double Canvas Philips, 2009
Multimedia Double Canvas Samsung, 2009
N
Asier Mendizabal
N,S,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 West
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 Price
„Painting" Sites, 2000/01
Rachel Rose
Palisades, 2015
Palisades in Palisades, 2014
Palisades (sound slice), 2015
A Infinitesimal Ago, 2014
Carol Bove
Panegyric (Vogue Photocollage), 2003
Ed Atkins
Paris Dark-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 Effectually the Studio, 1967–1968
Julia Scher
Please Feel Free (The Ecology of Visibility), 2020
Bunny Rogers
Verse 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 Color 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
Programme Five, 1972–1976
Automation Firm, 1971
Clockshower, 1973
City Slivers, 1976
Dennis Oppenheim
Plan 1: Aspen Projects, 1970
Material Interchange, 1970
Identity Transfer, 1970
Rocked Hand, 1970
COMPRESSION – FERN #1, 1970
Pressure Piece #1, 1970
Glassed Paw, 1970
Compression – Poison Oak, 1970
COMPRESSION – FERN #2, 1970
Leafed Hand, 1970
Gordon Matta-Clark
Program 1: Chinatown Voyeur, 1971
Gordon Matta-Clark
Program Seven, 1974–2005
Sous-Sols de Paris (Paris Underground), 1977–2005
Conical Intersect, 1975
Gordon Matta-Clark
Programme Vi, 1974–1976
Substrait (Clandestine Dailies), 1976
Bingo/Ninths, 1974
Splitting, 1974
Dennis Oppenheim
Plan Half dozen, 1971/72
Forming Sounds, 1971
ii Stage Transfer Drawing (Advancing to Future Country), 1971
two Stage Transfer Drawing (Retreating to a Past State), 1971
A Feedback State of affairs, 1972
3 Stage Transfer Cartoon, 1971
Two Stage Transfer Drawing (Returning to a By State), 1971
Objectified Counterforces, 1971
Shadow Project, 1971
Gordon Matta-Clark
Program Three, 1971–1975
Fire Child, 1971
Fresh Impale, 1972
Day's End, 1975
Barbara Hammer
Psychosynthesis, 1975
Bruce Nauman
Pulling Mouth, 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 love 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, Southward Side, Chicago, Illinois. Served 8 years of a death judgement 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
Pick Brandish: Ancestral Prayer, 2011, 2011
William Wegman
Selections from 1970–78, 1981
Andreas Korte
Cocky Coded, 2008
Klara Lidén
Self Portrait with the Keys to the Metropolis, 2005
Elmgreen & Dragset
Self-Portrait, No.41, 2016
Sarah Lucas
Selfish In Bed II, 2000
Martha Rosler
Semiotics of the kitchen, 1975
Lutz Bacher
Sex with Strangers, 1986
Marker 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
Song for Rent, 1969
Joan Jonas
Songdelay, 1973
Robert Smithson
Spiral 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 (xviii.xiv) and going out (21.xiv), 2005
Douglas Gordon
Staying home (eighteen.16) and going out (21.16), 2005
Olivia Walsh
(Still) Dubiousness Ii, 2016
Matt Calderwood
Strips (vertical), 2005
Thiago Rocha Pitta
Sublimation, condensation, zenith and precipitation, 2005
Mathilde ter Heijne
Suicide Bomb, 2000
Carol Bove
Summer 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 Touch, 1981
T
Christiane Fochtmann
Talkshow, 2006
Andreas Korte
Tanzfilm, 2011
Matt Calderwood
Record, 2005
VALIE EXPORT
Tapp- und Tastkino (Touch Cinema), 1968
Dara Birnbaum
Applied science/Transformation: Wonder Woman, 1978/79
Alex McQuilkin
Teenage Daydream: In Vain, 2002-2003
Alex McQuilkin
Teenage Daydream: It's only Rock & Roll, 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 Mutual Sense, 2014/xv
Reynold Reynolds & Patrick Jolley
The Drowning Room, 2000
Lynn Hershman Leeson
THE ELECTRONIC DIARIES OF LYNN HERSHMAN LEESON 1984–2019, 1984–2019
Pismire Farm & T.R. Uthco
The Eternal Frame, 1975
Anicka Yi
The Season 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 Male monarch, 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 Red Tapes, 1977
Tape one: Common Knowledge, 1977
Tape ii: Local Colour, 1977
Tape 3: Fourth dimension Lag, 1977
Beak Viola
The Reflecting Pool – Collected Work 1977–80, 1977–lxxx
The Reflecting Pool, 1977–79
Moonblood, 1977–79
Silent Life, 1979
Ancient of Days, 1979–81
Vegetable Memory, 1978–lxxx
Asier Mendizabal
The Staff That Matters (30,000), 2009
Asier Mendizabal
The Staff That Matters (SI), 2009
Chris Brunt
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
Iii 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 Ophidian, 2016
Manuel Acevedo
Tropisms – WTC (World Trade Center) Site, 2007
Isaac Julien
True North, 2004
Tony Oursler
Tunic (Song for Karen), 1990
Gwenn Thomas
Twilight, 1975
Dan Graham
Ii-way Mirror Power, 2006
Manuel Graf
Über dice 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 (one), 2013
Ed Atkins
Untitled (2), 2013
Ed Atkins
Untitled (three), 2013
Ed Atkins
Untitled (iv), 2013
Ed Atkins
Untitled (v), 2013
Ed Atkins
Untitled (7), 2013
Ed Atkins
Untitled (eight), 2013
Ed Atkins
Untitled (nine), 2013
Adam McEwen
Untitled (A-Line), 2002
Paul Chan
Untitled (After St. Caravaggio), 2003–2006
Klara Lidén
Untitled (Column Monkey), 2010
Klara Lidén
Untitled (Downward), 2011
Patty Chang
Untitled (For Abramović, Love Cocteau), 2000
Trisha Donnelly
Untitled (mount), 2008
Jules de Balincourt
Untitled (Pastoral Scene), 2006
Klara Lidén
Untitled (Under Mattan), 2006–2010
Anne Imhof
Untitled (Wave), 2021
Jeff Burton
Untitled #151 (Spotter Debate), 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.iv, 2000
Carolee Schneemann
Up to and including her Limits, 1976
Ed Atkins
The states Dead Talk Love, 2012
Kurt Lightner
Useless Fruit, 2006
V
Bruce & Norman Yonemoto
Vault, 1984
Joan Jonas
Vertical Roll, 1972
Nam June Paik
Video-Moving picture Concert, 1966-1972/1992
Colin Montgomery
View, 101 Constitution Avenue (U.S. Capitol), 2006
Bruce Nauman
Violin Film #1 (Playing The Violin Every bit Fast As I Can), 1967–1968
Steina Vasulka
Violin Power, 1970-76
Timur Si-Qin
Visit Mirrorscape 2016: Get in, 2016
Timur Si-Qin
Visit Mirrorscape 2016: Here, 2016
Timur Si-Qin
Visit Mirrorscape 2016: Now, 2016
Anthony Burdin
Voodoo Vocals, Agent of Fortune Cassette Tour 1999 – Don't Fear the Reaper, New York, eleven / 22 / 02, 2002
Anthony Burdin
Voodoo Vocals, Bulldoze Hwy 101 North (1. You simply live twice, two. It was a very good year), 2005
Jan Paul Evers
Vorhang, 2010
W
Bruce Nauman
Walking in an Exaggerated Style 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
Weather 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 almost craft? / Die Produkte der menschlichen Hand, 2019
Olafur Eliasson
When Love is not enough Wall (Fragment), 2007
Amalia Ulman
White Flag Emoji ane, 2015
Amalia Ulman
White Flag Emoji 2, 2015
Amalia Ulman
White Flag Emoji 3, 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 forward, Realitätsspaltung, 1990
Maria Anna Dewes
Wolf, 2008
X
Patriot Human activity, 2004
Sky's little Helper, 2005
Judgement Twenty-four hours, 2006
Exit Strategy, 2005
Y
Z
Thomas Demand
Zaun (Contend), 2004
Otto Mueller
Zwei Mädchen – Halbakte (Russisches Mädchenpaar), 1920
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Picket more than 220 time-based media artworks by over 60 artists from the JULIA STOSCHEK COLLECTION online at JSC Collection Catalogue
ONLINE COLLECTION Catalog
The online drove itemize offers the opportunity to inquiry 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 fabricated accessible online. They are accompanied by explanatory texts near the works. Or you can drop by our JSC Video Lounge directly.
A list of all attainable works tin be found by clicking on „viewable online" „under Tags" and then selecting „Works".
To appointment over220film-, video- and audio-based works by62artists from the collection tin can be viewed in their entirety. Amidst the works in this offset 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'south long-term goal is to make the entire collection bachelor online, thus creating a platform for fourth dimension-based art that supports the accessibility and engagement of time-based art.
ABOUT THE Drove
"Many of the works in this collection construct multi-temporal worlds; they harbor not one flow of events, but a labyrinth of diverging paths, each with its own pace and temporality. The drove is thus a complex annal of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times."
Daniel Birnbaum
from: Daniel Birnbaum, Repetitions, in Number One: Destroy, She Said (Ostfildern: Hatje Cantz Verlag, 2007), 12.
Established in 2002 by Julia Stoschek, the JULIA STOSCHEK Drove has grown to exist an expansive collection of time-based art spanning film, video, sound, performance, and computer and software-based works. At present, over 860 artworks by more than 282 gimmicky artists across genres and generations offering an overview of fourth dimension-based art from the 1960s to today with a stiff focus on works made afterward 2000.
The term fourth dimension-based art (or time-based media) describes works of art that unfold in time. Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-aqueduct video installation, slide installations, multimedia environments, audio, performance, figurer and software-based artworks such as virtual and augmented reality, and other forms of applied science-based fine art. These works are frequently allographic, meaning they are only visible when installed or projected.
At the JULIA STOSCHEK Drove, early expanded cinema, video, and performance works by Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović run across Doug Aitken's video installations, Ian Cheng'southward alive simulations, and Hito Steyerl's all-encompassing environments. The collection contains many artworks by pioneering female person and feminist artists and experimental filmmakers from the 1960s and '70s, amongst 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 primal works and groups of works made throughout artists' careers, growing with and reflecting their evolving practice.
The collection is characterized by an ever-growing technological convergence and interdisciplinary approach: "The video art of today is theater, performance, musical performance, sculpture, projection, moving image, moving bodies, trip the light fantastic, stage, screen, real space, real time, all in one," writes Peter Weibel in the catalog accompanying the exhibition "High Performance," jointly organized past JULIA STOSCHEK Drove and ZKM | Eye for Art and Media in 2015. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes nonetheless manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built surround and the natural world.
Some of these themes have been explored in exhibitions and programs at the JULIA STOSCHEK COLLECTION in Düsseldorf and Berlin, as well as at several international institutions. 27 large-scale exhibitions take taken place at the collection's exhibitions spaces in Düsseldorf and Berlin since 2007. Among these were pregnant solo exhibitions past Derek Jarman, Sturtevant, Elizabeth Price, Ed Atkins, Frances Stark, Trisha Donnelly, Cyprien Gaillard, Arthur Jafa, and Ian Cheng.
The get-go large-scale group exhibition at the collection, Number One: Destroy, She Said (2007–08), was named after a video installation by creative person Monica Bonvicini and loosely explored the relationship between interior and outside, construction and destruction. Number Two: Fragile (2008–09) focused on the body and corporality, bringing together video, performance, and trunk art. Number 3: Here and At present (2009–10) was dedicated solely to operation and the ephemeral, with performances and concerts by some of the nearly prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Xiii: How-do-you-do Boys (2015–16) revisited performance and feminist video, questioning the representation of female person identity and the performance document. To celebrate its tenth ceremony, the JULIA STOSCHEK Collection invited artist Ed Atkins to curate a group exhibition in Düsseldorf, which he chosen Generation Loss (2017). The title refers to the procedure of quality deterioration equally data carriers are copied successively and, at the same 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. Some other group prove, Jaguars and Electric Eels (2017), explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality. Big-calibration solo presentations supplement the drove exhibition plan. In 2018, the JULIA STOSCHEK Drove, Berlin, presented a comprehensive exhibition by Arthur Jafa, his first in Deutschland. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly back-trail the programme. There 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 exist sent past electronic mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.art
The loan request volition exist processed if the following conditions are met:
Loan requests must be made at to the lowest degree vi months before the desired start of the loan menstruation. The request must contain the post-obit data and documents:
Name and address of the institution submitting the loan asking; name, function, phone number, postal address and e-mail address of the contact person; exact name of the requested work; menses, proper name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to exist presented; a electric current facility written report of the institution.
Please notation that works that accept a reference to Electronic Arts Intermix in the Courtesy line may non 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 inverse drastically over the concluding ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attending. Only similar whatsoever other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works.
Yet aging is only one aspect of the problem. At that place are also file formats and circuitous technical installations that are based on reckoner technologies or other hardware. All of these components tin historic period: non only the media themselves are affected by the processes of decay, but even the content tin become unreadable over of the years due to incompatibilities. Technological development constantly results in new file formats and software codecs that are adapted in the product process of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies take a promising future—and which digital platforms and formats are on their mode to becoming obsolete. To this end all new acquisitions must be thoroughly evaluated and documented to decide the exact type of digital format. The files are and so transferred to a digital repository.
To run into all of the different requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK COLLECTION, based on the "three-pillar approach." The goal is to consolidate the heterogenous collection on a digital level in just a few established and homogeneous target formats. This noticeably reduces the conservation effort since only a manageable number of formats need to exist regularly checked and monitored to safeguard against formats that are becoming obsolete. This is flanked by individual solutions for artworks that do not support a standardized process. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved.
Media-Art Repository
The media art-depository is the heart of the drove. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the near 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 atmospheric condition are also appropriate for film and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK COLLECTION, has two airlocks: one prevents sharp changes in climate when people enter, while the second airlock is conceived for tapes and media that are stored in the media depository. They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-begetting mountings, ensures that the infinite 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 improver, the shelves are grounded to prevent any static electricity.
Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the workout process. Smoke and water detectors as well equally an alarm system simultaneously offer comprehensive chance protection.
The elaborate technical amenities in combination with the custom mobile shelving make the media-fine art repository unique in Europe.
Andreas Weisser
Time-based media conservator
davenportwhictime.blogspot.com
Source: https://www.jsc.art/
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