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Watch more than 220 fourth dimension-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 adjacent months, videos and films will exist continually uploaded and made accessible online. They are accompanied by explanatory texts about the works. Or yous tin drop by our JSC Video Lounge direct.
A list of all attainable works tin can be constitute past clicking on „viewable online" „nether Tags" then selecting „Works".
To date over220film-, video- and sound-based works past62artists from the collection can be viewed in their entirety. Among the works in this first 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 Cost, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.
JSC's long-term goal is to brand the entire drove bachelor online, thus creating a platform for time-based fine art that supports the accessibility and engagement of fourth dimension-based art.
Nearly THE COLLECTION
"Many of the works in this collection construct multi-temporal worlds; they harbor non i flow of events, merely a labyrinth of diverging paths, each with its own footstep and temporality. The drove is thus a circuitous archive of temporalities, storing passed moments and layers of fourth dimension 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 COLLECTION has grown to be an expansive collection of fourth dimension-based art spanning film, video, sound, performance, and computer and software-based works. At nowadays, over 860 artworks by more than 282 contemporary artists across genres and generations offering an overview of time-based art from the 1960s to today with a stiff focus on works fabricated afterward 2000.
The term time-based fine art (or time-based media) describes works of art that unfold in time. Time-based fine 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, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based fine art. These works are often allographic, meaning they are simply visible when installed or projected.
At the JULIA STOSCHEK COLLECTION, early expanded cinema, video, and performance works past Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović come across Doug Aitken'south video installations, Ian Cheng'due south alive simulations, and Hito Steyerl's extensive environments. The collection contains many artworks by pioneering female and feminist artists and experimental filmmakers from the 1960s and '70s, amongst them Dara Birnbaum, VALIE Consign, 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 proper noun a few. The drove strives to build sustainable relationships with artists and galleries, focusing on cardinal works and groups of works fabricated 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, dance, phase, screen, real space, existent time, 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 drove is unique in its heterogeneity, just certain themes nevertheless manifest beyond the collection, 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 congenital surround and the natural earth.
Some of these themes have been explored in exhibitions and programs at the JULIA STOSCHEK Drove in Düsseldorf and Berlin, as well as at several international institutions. 27 large-calibration exhibitions have taken place at the collection'southward exhibitions spaces in Düsseldorf and Berlin since 2007. Amidst these were pregnant 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 I: Destroy, She Said (2007–08), was named later on a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and devastation. Number 2: Frail (2008–09) focused on the trunk and corporality, bringing together video, performance, and trunk art. Number Iii: Hither and Now (2009–ten) was dedicated solely to performance and the ephemeral, with performances and concerts by some of the near prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Howdy Boys (2015–xvi) revisited functioning and feminist video, questioning the representation of female identity and the performance 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 title refers to the process of quality deterioration equally information carriers are copied successively and, at the same fourth dimension, to the social upheavals from ane 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 by processes of digitalization. Another group prove, 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. Big-scale solo presentations supplement the collection exhibition program. In 2018, the JULIA STOSCHEK Drove, Berlin, presented a comprehensive exhibition by Arthur Jafa, his first in Germany. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. At that place 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 be sent by e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.fine art
The loan request will be processed if the following atmospheric condition are met:
Loan requests must be made at least half dozen months before the desired first of the loan menstruum. The request must contain the following data and documents:
Name and address of the institution submitting the loan request; name, part, telephone number, postal address and e-postal service address of the contact person; verbal proper noun of the requested work; menstruum, name of the exhibiting institution and location of the exhibition; detailed exhibition or projection description in which the piece of work is to exist presented; a electric current facility written report of the institution.
Please note that works that have 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 ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just similar any other materials, media are besides susceptible to aging processes that in the long run can lead to damage or fifty-fifty the loss of works.
Yet aging is only one aspect of the trouble. There are also file formats and circuitous technical installations that are based on computer technologies or other hardware. All of these components tin can age: not only the media themselves are afflicted by the processes of decay, simply 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 product process of video artists. This is why in addition to the material-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 end all new acquisitions must exist thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository.
To encounter all of the different requirements, a multistage strategy for long-term archiving was developed for the JULIA STOSCHEK COLLECTION, based on the "3-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 simply a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are condign obsolete. This is flanked past individual solutions for artworks that do not support a standardized procedure. 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 collection. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the nigh important 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 chosen for the repository. These conditions are also appropriate for movie and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK Drove, 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 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-bearing 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 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 h2o detectors too every bit an warning system simultaneously offering comprehensive hazard protection.
The elaborate technical amenities in combination with the custom mobile shelving brand the media-fine art repository unique in Europe.
Andreas Weisser
Fourth dimension-based media conservator
Katharina Sieverding
24/Iii/196/1973/97/A/B (Dice Sonne um Mitternacht schauen), 1973
Katharina Sieverding
xi/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
2-Dimensional Mirror Labyrinth, 2006
Katharina Sieverding
26/Three/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
A
Wu Tsang
A day in the life of bliss, 2014
David Wojnarowicz
A Fire In My Belly (Moving-picture show In Progress) and A Burn In My Belly (Excerpt), 1986–1987
Ulay & Marina Abramović
A Functioning Anthology. Abramović/Ulay. 14 performances Relation Work (1976–1980), 1976–1980.
Relation in Space, 1976
Talking nearly Similarity, 1976
Animate in, Breathing out, 1977
Imponderabilia, 1977
Expansion in Infinite, 1977
Relation in Movement, 1977
Relation in Time, 1977
Lite/Dark, 1977
Balance Proof, 1977
AAA-AAA, 1978
Incision, 1978
Kaiserschnitt, 1978
Charged Infinite, 1978
Three, 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 Performance Anthology. Abramović/Ulay. Four performances by Abramović (1975–1976), 1975–1976.
Fine art must be beautiful, Artist must be beautiful, 1975
Freeing the Voice, 1976
Freeing the Retentivity, 1976
Freeing the Body, 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 Auto, 2004
Matthew Buckingham
Amos Fortune Road, 1996
Ana Mendieta
Anima, Silueta de Cohetes (Firework Slice), 1976
Kerstin Brätsch, Adele Röder
Announcement Poster 1 and 2, 2011
DAS INSTITUT
Apes and Shapes (I'll see you 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. 1, White, 1967
Art Brand-Upwardly, No. 2, Pink, 1967
Art Make-Up, No. 3, Dark-green, 1967–1968
Art Make-Up, No. iv, Black, 1967–1968
Cyprien Gaillard
Artefacts, 2011
Natascha Sadr Haghighian
Bogus 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
Beast Type Vocal, 2019
Francis Alÿs
Beggars, 2004
Jeremy Shaw
Best Minds Office I, 2007
Clemens von Wedemeyer
Big Business + The Making of Big Business organisation, 2002
Big Business, 2002
The Making of Big Concern, 2002
Mary Lucier
Bird'due south Eye, 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, Brusque segment of twenty-minute Tape, 1970–71
Whipping the Wall with Paint, 1975
Upward Down Penis Show, 1974
Zippedy Doo Dance, 1974
Icicle Slobber, 1975
Pipe Shadow, 1975
Upside Downwardly Spitting – Bat, 1975
Drawing – Semen Drawing, 1975
Spitting on the Camera Lens, 1974
Upside Downwardly Piping, 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 again, 1991
Bruce Nauman
Bouncing Assurance, 1969
Bruce Nauman
Bouncing in the Corner No. ane, 1968
Bruce Nauman
Bouncing in the Corner, No. 2: Upside Down, 1969
Bruce Nauman
Bouncing Two Balls Between the Flooring and Ceiling with Changing Rhythms, 1967–1968
Doug Aitken
Broken Drinking 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&East Motel, Room No. 24, Waco, Texas. Where an informant claimed to accept 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 Ascension and Fall of the Astonishing 7 Sutherland Sisters, 2006
Mark Leckey
Cinema-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.Yard. Burns & A.50. 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
Final Garden, 1986
People's republic of china Band, 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, as Spillers puts information technology, „the captive torso becomes the source of an irresistible, destructive sensuality", 2020
Brock Enright
Crystal Anarchy Sign (pink), 2007
D
Bruce Nauman
Trip the light fantastic or Practice on the Perimeter of a Square (Foursquare Dance), 1967–1968
Clemens von Wedemeyer
Das Bildermuseum brennt, 2004/05
Ed Atkins
Death Mask II: The Aroma, 2010
Ed Atkins
Death Mask III, 2011
Jessica Mein
DeleveleD, 2007
Asier Mendizabal
Delimitar #1, 2009
Asier Mendizabal
Delimitar #2, 2009
Asier Mendizabal
Delimitar #iii, 2009
Asier Mendizabal
Delimitar #iv, 2009
Asier Mendizabal
Delimitar #v, 2009
Ed Atkins
Delivery 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'due south 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
Die Ordnung der Dinge, 2004
STURTEVANT
Dillinger Running Series, 2000
Christoph Steinmeyer
Disco Inferno Edition, 2008
Adam Putnam
Dish Cabinet, 1997
Timur Si-Qin
Display (Peace), 2015
Joan Jonas
Disturbances, 1974
Chris Burden
Documentation of selected works, 1971–1975
Deadman, 1972
Bed Slice, 1972
Through the Night Softly, 1973
Icarus, 1973
Shoot, 1971
Thorben Eggers
Doppelseite, 2015
Sophie Calle
Double Bullheaded, 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 Function II, 2006
Nam June Paik
EMPIRE STATE Building, 1995
Encyclopedia Pictura & Björk
Rob Pruitt
Camaraderie de Corps: Guitar Jam, 2006
Kandis Williams
Eurydice, 2018
Ed Atkins
Even Pricks, 2013
Mathilde Rosier
Every Day the Same, 2002
Mike Kelley
Extracurricular Activity 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 person Sensibility, 1973
Moritz Wegwerth
Fenster, 2013
Laurel Nakadate
Fever Dream with Rabbit, 2009
GCC
Figure A: Amalgamated Metropolis, 2013
Asier Mendizabal
Figures and Prefigurations (Divers, A. Rodchenko, 1930, Political Football), 2009
Asier Mendizabal
Figures and Prefigurations (Divers, V. Palladini, 1926), 2009
STURTEVANT
Finite/Space, 2010
Mark Leckey
Fiorucci Fabricated 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
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
Get 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
January 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 Border 4, 2010
Aura Rosenberg
Harmony Korine/Carmen, 1998
Neb Viola
Hatsu-Yume (Beginning Dream), 1981
Anthony Burdin
He Ain't No Fuckin' Drumma, Summer P-lot Tour 2003, Oxnard CA (i. Lite My Fire, 2. 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 love with a succubus, 2006
Jeremy Shaw
I Tin can Encounter FOREVER, 2018
Britta Thie
„I googled my mom and was relieved that she is still safe", 2016
Beatrice Gibson
I HOPE I'M LOUD WHEN I'M Dead, 2018
Christoph Schlingensief
I want to destroy, 2005
Claus Föttinger
I Want To See How Y'all See, 2010
Cao Fei
i.Mirror by Communist china 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'chiliad not the Girl who misses much, 1986
Britta Thie
„If something turns into hype that once saved you lot, it feels similar you are back on the Titanic again. Just Jack Dawson has already left you", 2016
Timur Si-Qin
In Memoriam 9, 2015
Gary Hill
Incidence of Catastrophe, 1987–1988
Alex McQuilkin
Indefinite Line Towards Condign the Perfect SoHo Girl, 2000
Lawrence Weiner
Inherent in the Rhumb Line, 2005
Hannah Wilke
Intercourse with …, 1978
Britta Thie
„Interfaces go our atmospheric condition", 2016
Doug Aitken
Interiors, 2002
Rosemarie Trockel
Interview, 1994
Nandipha Mntambo
Intsandvokati, 2008
Thiago Rocha Pitta
Inverted zenith, 2005
Britta Thie
„It's all good 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 Drove IV, 2008
Jack Smith
Jungle Isle, 1967
Thou
K-Hole
Grand-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 West
Künstlerstuhl K104, 2011
Franz West
Künstlerstuhl K107, 2011
Franz Due west
Künstlerstuhl K108, 2011
Franz West
Künstlerstuhl K116, 2011
Franz Due west
Künstlerstuhl K117, 2011
Franz Due west
Künstlerstuhl K118, 2011
Franz West
Künstlerstuhl K121, 2011
Franz W
Künstlerstuhl K122, 2011
Franz West
Künstlerstuhl K126, 2011
Franz West
Künstlerstuhl K130, 2011
Franz West
Künstlerstuhl K131, 2011
L
Cyprien Gaillard
L'Ange du foyer (Vierte Fassung), 2019
Wolfgang Tillmans
LA yet life, 2001
Mark Manders
Big Figure with Thin Paper, 2010
Taryn Simon
LARRY MAYES Scene of arrest, The Royal Inn, Gary, Indiana. Police establish Mayes hiding beneath a mattress in this room. Served 18.five years of an lxxx-year judgement for rape, robbery and unlawful deviate comport, 2002
Marcel Dzama
Leila Khaled does not need me, 2008
Marie-Jo Lafontaine
Les Larmes d'Acier, 1988
Matt Calderwood
Light, 2004
Claus Föttinger
Low-cal Object Jaguars and Electric Eels, 2017
Claus Föttinger
Light Object Kill, 2014
Claus Föttinger
Light Object No. 1: Destroy, She Said, 2007
Claus Föttinger
Light Object No. 10: Trisha Donnelly, 2015
Claus Föttinger
Light Object No. 11: Cyprien Gaillard, 2015
Claus Föttinger
Low-cal Object No. 12: Howdy Boys, 2016
Claus Föttinger
Light Object No. 13: Hito Steyerl – Missed Connections, 2016
Claus Föttinger
Light Object No. 2: Delicate, 2008
Claus Föttinger
Lite Object No. iii: Here and Now, 2009
Claus Föttinger
Lite Object No. 4: Derek Jarman – Super8, 2010
Claus Föttinger
Light Object No. six: 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
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
M
Mark Leckey
Made in 'Eaven, 2004
Bunny Rogers
Mandy'south Piano Solo in Columbine Cafeteria, 2016
Mathilde ter Heijne
Mathilde, Mathilde, 2000
Paul McCarthy & Mike Kelley
Christoph Schlingensief
Bulletin in a Canteen, 2008
Aura 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 Trunk/Fascist Trunk, 1979
That Self, 1980
Anima Mundi, 1983
Positive Cipher, 1983
Modus Vivendi, 1985
Nighttime Run into Crossing Conjunction, 1983
The Observer with Remy Zaugg, 1984
Pep Agut
Monday ombre est un mur, 1996
Nancy Holt
Mono Lake, 1968-2004
Simon Denny
Multimedia Double Canvass progression, 2009
Multimedia Double Canvas Toshiba, 2009
Multimedia Double Canvas Thomson, 2009
Multimedia Double Canvas Tevion, 2009
Multimedia Double Sail Hantarex, 2009
Multimedia Double Canvas Philips, 2009
Multimedia Double Canvas Samsung, 2009
Due north
Asier Mendizabal
Due north,Southward,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 Two Ocean, 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 (audio piece), 2015
A Minute Ago, 2014
Carol Bove
Panegyric (Faddy 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 Free (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
Pop Pop Video, 1980
Guerrilla Girls
Portfolio Compleat, 1985–2016
January 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 Loma
Primarily Speaking, 1981–1983
Gordon Matta-Clark
Program 5, 1972–1976
Automation House, 1971
Clockshower, 1973
Urban center Slivers, 1976
Dennis Oppenheim
Program One: Aspen Projects, 1970
Textile Interchange, 1970
Identity Transfer, 1970
Rocked Paw, 1970
Compression – FERN #1, 1970
Pressure Piece #1, 1970
Glassed Hand, 1970
Compression – Poison Oak, 1970
COMPRESSION – FERN #two, 1970
Leafed Hand, 1970
Gordon Matta-Clark
Program One: Chinatown Voyeur, 1971
Gordon Matta-Clark
Programme Seven, 1974–2005
Sous-Sols de Paris (Paris Undercover), 1977–2005
Conical Intersect, 1975
Gordon Matta-Clark
Plan Vi, 1974–1976
Substrait (Underground Dailies), 1976
Bingo/Ninths, 1974
Splitting, 1974
Dennis Oppenheim
Programme Six, 1971/72
Forming Sounds, 1971
two Phase Transfer Drawing (Advancing to Time to come Country), 1971
2 Phase Transfer Drawing (Retreating to a Past Land), 1971
A Feedback Situation, 1972
3 Phase Transfer Drawing, 1971
Two Stage Transfer Drawing (Returning to a Past Country), 1971
Objectified Counterforces, 1971
Shadow Project, 1971
Gordon Matta-Clark
Program 3, 1971–1975
Burn Child, 1971
Fresh Kill, 1972
Mean solar day'south 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 Gold 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 fourth dimension or addressless beloved letter, 2005
Pierre Klossowski
Roberte aux barres parallèles, 1984
Dan Graham
Rock my Religion, 1982-84
Taryn Simon
RONALD JONES Scene of arrest, Due south Side, Chicago, Illinois. Served 8 years of a capital punishment for Rape and Murder, 2002
Jane Crawford & Robert Fiore
Rundown, 1994
Due south
Trisha Donnelly
Satin Operator, 2007
Trisha Donnelly
Sconce, 2013
Jack Smith
Scotch Tape, 1959–1962
Matt Calderwood
Screen, 2005
Julia Scher
Security Past Julia (Dispenser), 2020
Timur Si-Qin
Selection Brandish: Bequeathed Prayer, 2011, 2011
William Wegman
Selections from 1970–78, 1981
Andreas Korte
Self Coded, 2008
Klara Lidén
Cocky Portrait with the Keys to the Urban center, 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
Mark Leckey
Shades of Destructors, 2005
Patty Chang
Shaved (At A Loss), 1998
Peggy Ahwesh
She Puppet, 2001
Andro Wekua
Should exist 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 Hire, 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 (18.14) and going out (21.xiv), 2005
Douglas Gordon
Staying abode (18.16) and going out (21.sixteen), 2005
Olivia Walsh
(Nonetheless) Dubiousness Ii, 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
Lord's day 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 Movie theater), 1968
Dara Birnbaum
Technology/Transformation: Wonder Woman, 1978/79
Alex McQuilkin
Teenage Fantasize: In Vain, 2002-2003
Alex McQuilkin
Teenage Daydream: It'south just Rock & Whorl, 2002
Christian Marclay
Telephones, 1995
Ed Atkins
The Anthrophagus!, 2010
Laure Prouvost
The Creative person, 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
Pismire 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 Fifty-fifty 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 betwixt few words, 2006
Marina Abramović
The Onion, 1996
Vito Acconci
The Red Tapes, 1977
Tape 1: Common Knowledge, 1977
Tape 2: Local Color, 1977
Tape iii: Time Lag, 1977
Nib Viola
The Reflecting Pool – Collected Work 1977–80, 1977–80
The Reflecting Puddle, 1977–79
Moonblood, 1977–79
Silent Life, 1979
Aboriginal of Days, 1979–81
Vegetable Retentivity, 1978–lxxx
Asier Mendizabal
The Staff That Matters (30,000), 2009
Asier Mendizabal
The Staff That Matters (SI), 2009
Chris Burden
The T.Five. Commercials, 1973-1977
Tony Oursler
The Weak Bullet, 1980
Vito Acconci
Theme Song, 1973
Laure Prouvost
They Parlaient Idéale, 2019
Vito Acconci
Three Relationship Studies, 1970
Shadow-Play, 1970
Imitations, 1970
Manipulations, 1970
Peter Campus
Three Transitions, 1973
Sarah Kürten
TOSS ME MY LIGHTER, COULD You lot BABE?, 2020
Jon Rafman
Transdimensional Ophidian, 2016
Manuel Acevedo
Tropisms – WTC (World Trade Center) Site, 2007
Isaac Julien
Truthful North, 2004
Tony Oursler
Tunic (Song for Karen), 1990
Gwenn Thomas
Twilight, 1975
Dan Graham
Two-way Mirror Ability, 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 (1), 2013
Ed Atkins
Untitled (ii), 2013
Ed Atkins
Untitled (three), 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 (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 (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 (Watch Fence), 2001
Jeff Burton
Untitled #176 (Rods and Clamps), 2003
Jeff Burton
Untitled #182 (Spa Rules), 2003
Trisha Donnelly
Untitled I (Double Blastoff), 2007
Andreas Gursky
Untitled XII, No.four, 2000
Carolee Schneemann
Upwards to and including her Limits, 1976
Ed Atkins
Usa Dead Talk Love, 2012
Kurt Lightner
Useless Fruit, 2006
Five
Bruce & Norman Yonemoto
Vault, 1984
Joan Jonas
Vertical Roll, 1972
Nam June Paik
Video-Film Concert, 1966-1972/1992
Colin Montgomery
View, 101 Constitution Avenue (U.S. Capitol), 2006
Bruce Nauman
Violin Picture #1 (Playing The Violin Equally Fast As I Can), 1967–1968
Steina Vasulka
Violin Ability, 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, Agent of Fortune Cassette Tour 1999 – Don't Fear the Reaper, New York, 11 / 22 / 02, 2002
Anthony Burdin
Voodoo Vocals, Drive Hwy 101 N (1. You only live twice, 2. It was a very skillful twelvemonth), 2005
Jan Paul Evers
Vorhang, 2010
Due west
Bruce Nauman
Walking in an Exaggerated Manner Around the Perimeter of a Square, 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
Conditions Forecast, 2016
Clemens von Wedemeyer & Maya Schweizer
P. Staff
Weed Killer, 2017
Alex Morrison
What Does information technology Mean to Inhabit a Ruin?, 2013
Andrea Büttner
What is so terrible about craft? / Die Produkte der menschlichen Manus, 2019
Olafur Eliasson
When Love is not enough Wall (Fragment), 2007
Amalia Ulman
White Flag Emoji 1, 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 five, 2015
Amalia Ulman
White Flag Emoji vi, 2015
Peter Weibel
Wind & fast forward, Realitätsspaltung, 1990
Maria Anna Dewes
Wolf, 2008
10
Patriot Human activity, 2004
Heaven's fiddling Helper, 2005
Judgement Twenty-four hour period, 2006
Exit Strategy, 2005
Y
Z
Thomas Demand
Zaun (Fence), 2004
Otto Mueller
Zwei Mädchen – Halbakte (Russisches Mädchenpaar), 1920
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Lookout man more than than 220 time-based media artworks by over 60 artists from the JULIA STOSCHEK COLLECTION online at JSC Collection Catalogue
ONLINE COLLECTION Itemize
The online collection catalog offers the opportunity to research and view over 890 works past 300 artists from the JULIA STOSCHEK Drove.
Over the next months, videos and films will exist continually uploaded and made accessible online. They are accompanied by explanatory texts about the works. Or yous can drop by our JSC Video Lounge directly.
A list of all accessible works can be institute by clicking on „viewable online" „nether Tags" so selecting „Works".
To date over220picture-, video- and sound-based works by62artists from the collection can be viewed in their entirety. Among the works in this offset 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 Toll, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.
JSC's long-term goal is to brand the unabridged collection bachelor online, thus creating a platform for fourth dimension-based art that supports the accessibility and appointment of fourth dimension-based fine art.
ABOUT THE COLLECTION
"Many of the works in this collection construct multi-temporal worlds; they harbor not one flow of events, simply a labyrinth of diverging paths, each with its own pace and temporality. The collection is thus a circuitous annal of temporalities, storing passed moments and layers of fourth dimension that can be technically repeated, in principle an infinite number of times."
Daniel Birnbaum
from: Daniel Birnbaum, Repetitions, in Number 1: 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 collection of fourth dimension-based fine art spanning film, video, audio, operation, and computer and software-based works. At present, over 860 artworks by more than than 282 contemporary artists beyond genres and generations offer an overview of fourth dimension-based art from the 1960s to today with a strong focus on works made subsequently 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 elapsing is a dimension and comprises moving picture, video, single- and multi-channel video installation, slide installations, multimedia environments, audio, operation, calculator and software-based artworks such as virtual and augmented reality, and other forms of applied science-based art. These works are often allographic, meaning they are only visible when installed or projected.
At the JULIA STOSCHEK COLLECTION, early on 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 extensive environments. The collection contains many artworks by pioneering female 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 key works and groups of works fabricated throughout artists' careers, growing with and reflecting their evolving do.
The collection is characterized by an e'er-growing technological convergence and interdisciplinary approach: "The video art of today is theater, performance, musical performance, sculpture, projection, moving image, moving bodies, dance, stage, screen, real infinite, real time, all in one," writes Peter Weibel in the catalog accompanying the exhibition "High Performance," jointly organized by JULIA STOSCHEK Drove and ZKM | Center for Art and Media in 2015. Bringing these fields together, the drove is unique in its heterogeneity, but 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 congenital surround and the natural world.
Some of these themes accept 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 have taken place at the drove's exhibitions spaces in Düsseldorf and Berlin since 2007. Among these were significant solo exhibitions by Derek Jarman, Sturtevant, Elizabeth Cost, Ed Atkins, Frances Stark, Trisha Donnelly, Cyprien Gaillard, Arthur Jafa, and Ian Cheng.
The outset large-scale grouping exhibition at the collection, Number One: Destroy, She Said (2007–08), was named afterwards 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 art. Number Three: Here and At present (2009–10) was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent gimmicky artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys (2015–16) 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 information carriers are copied successively and, at the aforementioned time, 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 surround effected by processes of digitalization. Another group bear witness, 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-scale solo presentations supplement the collection exhibition plan. In 2018, the JULIA STOSCHEK Collection, Berlin, presented a comprehensive exhibition past Arthur Jafa, his first in Germany. In add-on to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the plan. 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 Drove should be sent past e-mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.art
The loan request volition exist processed if the post-obit weather condition are met:
Loan requests must exist made at least six months before the desired first of the loan menses. The asking must contain the following information and documents:
Name and address of the institution submitting the loan asking; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; menstruation, name of the exhibiting establishment and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility written report of the institution.
Please note that works that have 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 principal focus of conservational attending. Just similar any other materials, media are also susceptible to crumbling processes that in the long run tin can lead to harm or even the loss of works.
Nevertheless aging is just one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware. All of these components tin can historic period: not but the media themselves are affected by the processes of decay, only even the content can get 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 process of video artists. This is why in addition to the material-related risks, careful ascertainment 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 end all new acquisitions must be thoroughly evaluated and documented to decide the exact type of digital format. The files are and 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 "three-pillar arroyo." 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 endeavor since only 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 give additional security, thus ensuring that the collection is preserved.
Media-Fine art Repository
The media art-depository is the heart of the drove. Since fluctuating temperatures and humidity factors crusade impairment to videotapes and film, this was one of the most of import factors during the planning. Temperatures of around 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 weather are besides 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 can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with brawl-bearing 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 later on the workout process. Fume and water detectors every bit well equally an alarm system simultaneously offer comprehensive risk protection.
The elaborate technical amenities in combination with the custom mobile shelving brand the media-fine art repository unique in Europe.
Andreas Weisser
Time-based media conservator
Source: https://www.jsc.art/
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