All Art Constantly Aspires Towards the Condition of Music
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Watch 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 collection itemize offers the opportunity to inquiry and view over 890 works by 300 artists from the JULIA STOSCHEK Collection.
Over the next months, videos and films will be continually uploaded and made accessible online. They are accompanied by explanatory texts near the works. Or yous tin can driblet by our JSC Video Lounge directly.
A list of all attainable works can exist constitute by clicking on „viewable online" „under Tags" and and so selecting „Works".
To date over220film-, video- and sound-based works by62artists from the collection tin can exist viewed in their entirety. Among the works in this first selection are pieces by John Bock, Monica Bonvicini, Klaus vom Bruch, Ian Cheng, Keren Cytter, Jen DeNike, Nathalie Djurberg & Hans Berg, Tracey Emin, Cao Fei, Fischli & Weiss, Dara Friedman, Kate Gilmore, Douglas Gordon, Christian Jankowski, Imi Knoebel, Klara Lidén, Lutz Mommartz, Elizabeth Cost, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.
JSC'due south long-term goal is to make the unabridged collection available online, thus creating a platform for time-based art that supports the accessibility and engagement of fourth dimension-based art.
ABOUT THE COLLECTION
"Many of the works in this collection construct multi-temporal worlds; they harbor not ane flow of events, merely a labyrinth of diverging paths, each with its ain pace and temporality. The drove is thus a complex 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 Collection has grown to be an expansive collection of fourth dimension-based art spanning film, video, sound, functioning, and estimator and software-based works. At present, over 860 artworks past more 282 contemporary artists across genres and generations offer an overview of time-based art from the 1960s to today with a stiff focus on works made later on 2000.
The term time-based art (or time-based media) describes works of art that unfold in time. Fourth dimension-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, sound, operation, computer and software-based artworks such equally virtual and augmented reality, and other forms of engineering-based art. These works are oft allographic, significant they are only visible when installed or projected.
At the JULIA STOSCHEK Drove, early on expanded cinema, video, and performance works by Bruce Nauman, Anthony McCall, Joan Jonas, or Marina Abramović encounter Doug Aitken's video installations, Ian Cheng's live simulations, and Hito Steyerl'due south all-encompassing environments. The drove contains many artworks by pioneering female and feminist artists and experimental filmmakers from the 1960s and '70s, among 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 name a few. The drove strives to build sustainable relationships with artists and galleries, focusing on central works and groups of works made throughout artists' careers, growing with and reflecting their evolving practice.
The collection is characterized past an ever-growing technological convergence and interdisciplinary approach: "The video fine art of today is theater, operation, musical performance, sculpture, projection, moving image, moving bodies, trip the light fantastic, stage, screen, existent space, existent fourth dimension, all in i," writes Peter Weibel in the catalog accompanying the exhibition "High Performance," jointly organized by JULIA STOSCHEK Collection and ZKM | Heart for Art and Media in 2015. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that accost sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the torso and representation; performativity and operation; the gaze; and the human relationship between our built surroundings 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-calibration exhibitions take taken place at the drove'southward exhibitions spaces in Düsseldorf and Berlin since 2007. Amongst 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 start big-scale group exhibition at the collection, Number One: Destroy, She Said (2007–08), was named after a video installation by artist Monica Bonvicini and loosely explored the human relationship between interior and exterior, structure and destruction. Number 2: Fragile (2008–09) focused on the body and corporality, bringing together video, operation, and trunk art. Number Iii: Here and At present (2009–10) was defended solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long. Almost x years later, Number Xiii: Hello Boys (2015–sixteen) revisited performance and feminist video, questioning the representation of female person identity and the functioning certificate. To celebrate its tenth anniversary, the JULIA STOSCHEK Drove 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 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 environs effected by processes of digitalization. Some other 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 irresolute perceptions of reality. Large-scale solo presentations supplement the drove exhibition programme. In 2018, the JULIA STOSCHEK Collection, Berlin, presented a comprehensive exhibition by Arthur Jafa, his start in Germany. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program. 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 e-mail 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 least 6 months before the desired kickoff of the loan menses. The request must incorporate the following information and documents:
Proper noun and address of the institution submitting the loan request; proper noun, part, telephone number, postal address and due east-mail accost of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.
Please note that works that take a reference to Electronic Arts Intermix in the Courtesy line may not be lend through the JULIA STOSCHEK Collection. Delight contact Electronic Arts Intermix, New York straight.
RESTORATION & PRESERVATION
Long-Term Archiving
The conservation requirements for time-based media (TBM) have changed drastically over the final ten years. Initially the medium—specifically videotapes and DVDs—was the principal focus of conservational attention. Just like whatever other materials, media are besides susceptible to aging processes that in the long run tin lead to damage or even the loss of works.
Even so crumbling is but one aspect of the problem. There are also file formats and complex technical installations that are based on calculator technologies or other hardware. All of these components can age: not only the media themselves are affected by the processes of decay, simply even the content tin get unreadable over of the years due to incompatibilities. Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the fabric-related risks, conscientious observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their manner 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 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 drove on a digital level in but a few established and homogeneous target formats. This noticeably reduces the conservation attempt 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 exercise not support a standardized procedure. On a digital level, multiple backups that are independent and redundant requite boosted security, thus ensuring that the collection is preserved.
Media-Fine art Repository
The media art-depository is the eye of the collection. Since fluctuating temperatures and humidity factors cause impairment to videotapes and film, this was i of the most of import factors during the planning. Temperatures of effectually 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 film and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK Collection, has two airlocks: one prevents abrupt changes in climate when people enter, while the second airlock is conceived for tapes and media that are stored in the media depository. They 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 end and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes. In add-on, the shelves are grounded to prevent whatever static electricity.
Since dust and air pollution correspond a serious danger for media artworks, the air is filtered multiple times earlier and after the conditioning procedure. Fume and h2o detectors likewise as an alert system simultaneously offering comprehensive hazard protection.
The elaborate technical amenities in combination with the custom mobile shelving brand the media-art repository unique in Europe.
Andreas Weisser
Time-based media conservator
Katharina Sieverding
24/Iii/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Katharina Sieverding
11/Iii/196/1973/97/A/B (Die Sonne um Mitternacht schauen), 1973
Christoph Schlingensief
eighteen 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 (Film In Progress) and A Burn down In My Abdomen (Excerpt), 1986–1987
Ulay & Marina Abramović
A Operation Anthology. Abramović/Ulay. 14 performances Relation Work (1976–1980), 1976–1980.
Relation in Space, 1976
Talking well-nigh Similarity, 1976
Breathing in, Animate out, 1977
Imponderabilia, 1977
Expansion in Space, 1977
Relation in Move, 1977
Relation in Time, 1977
Calorie-free/Dark, 1977
Balance Proof, 1977
AAA-AAA, 1978
Incision, 1978
Kaiserschnitt, 1978
Charged Space, 1978
Iii, 1978
Ulay & Marina Abramović
A Operation Anthology. Abramović/Ulay. Activeness in 14 predetermined sequences, 1976.
There is a Criminal Impact to Fine art, 1976
Ulay & Marina Abramović
A Performance Anthology. Abramović/Ulay. Four performances by Abramović (1975–1976), 1975–1976.
Art must be beautiful, Artist must be beautiful, 1975
Freeing the Vox, 1976
Freeing the Retention, 1976
Freeing the Body, 1976
Elmgreen & Dragset
Accommodation, 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 state of war, 1990
Francis Alÿs & Rafael Ortega
David Claerbout
American Car, 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 run into you again in 25 years), 2011
Vito Acconci
Applications, 1970
Colin Montgomery
Arlington National Cemetery (JFK funeral model), 2005
Bruce Nauman
Fine art Make-Up, 1967–1968
Art Brand-Upwards, No. 1, White, 1967
Art Brand-Upward, No. 2, Pink, 1967
Art Make-Up, No. 3, Green, 1967–1968
Art Brand-Upwardly, No. 4, Black, 1967–1968
Cyprien Gaillard
Artefacts, 2011
Natascha Sadr Haghighian
Artificial Life, 1995
Barbara Hammer
Audience, 1982
B
Thomas Demand
Badezimmer (Bathroom), 1997
John Baldessari
Baldessari sings LeWitt, 1972
Claus Föttinger
Barbarella, Matmos and Chief of Matmos, 2006
Christoph Westermeier
Barbarian + Classics, 2012
Sigalit Landau
Spinous Hula, 2000
Manfred Pernice
barriere ‚Tiefengarage', 2008
Sophia Al-Maria
Animate being Type Song, 2019
Francis Alÿs
Beggars, 2004
Jeremy Shaw
All-time Minds Part 1, 2007
Clemens von Wedemeyer
Big Business + The Making of Big Business, 2002
Big Business, 2002
The Making of Big Business organisation, 2002
Mary Lucier
Bird's Centre, 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 xx-minute Tape, 1970–71
Whipping the Wall with Pigment, 1975
Up Down Penis Bear witness, 1974
Zippedy Doo Dance, 1974
Icicle Slobber, 1975
Piping Shadow, 1975
Upside Down Spitting – Bat, 1975
Drawing – Semen Drawing, 1975
Spitting on the Camera Lens, 1974
Upside Downwardly Pipe, 1975
Bruce Nauman
Black Balls, 1969
Christoph Westermeier
Blaker, 2011
Doug Aitken
Blow Debris, 2000
Hannah Black
Bodybuilding, 2015
Adam Putnam
Bookshelf, 1997
Nam June Paik
Built-in Over again, 1991
Bruce Nauman
Bouncing Balls, 1969
Bruce Nauman
Billowy in the Corner No. i, 1968
Bruce Nauman
Bouncing in the Corner, No. 2: Upside Down, 1969
Bruce Nauman
Billowy Ii Assurance Betwixt the Floor 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.G. Burns & A.L. Steiner
Joseph Beuys
Buttocklifting (Edition Staeck), 1974
C
Taryn Simon
CALVIN WASHINGTON, C&E Cabin, 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
Example Study House #22. Los Angeles, CA, Pierre Koenig Builder, 1960
Andreas Gursky
Heart Pompidou, 1995
Richard Artschwager
Chair/Chair, 1980
Richard Artschwager
Chair/Chair, 1980
Mika Rottenberg
Chasing Waterfalls. The Rising and Fall of the Astonishing Vii Sutherland Sisters, 2006
Mark Leckey
Cinema-in-the-Round, 2006–2008
Cyprien Gaillard
Cities of Gilt and Mirrors, 2009
Andreas Gursky
Cocoon II, 2008
Catherine Opie
Deputed Portrait: Julia and Jacob, 2019
A.Thou. Burns & A.L. Steiner
Community Action Eye, 2010
Ulay & Marina Abramović
Continental Videoseries. Abramović/Ulay (1983–1986), 1983–1986.
Urban center of Angels, 1983
Terra Degla Dea Madre, 1984
Terminal Garden, 1986
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, every bit Spillers puts information technology, „the convict body becomes the source of an irresistible, subversive sensuality", 2020
Brock Enright
Crystal Chaos Sign (pink), 2007
D
Bruce Nauman
Dance or Exercise on the Perimeter of a Square (Foursquare Dance), 1967–1968
Clemens von Wedemeyer
Das Bildermuseum brennt, 2004/05
Ed Atkins
Death Mask II: The Scent, 2010
Ed Atkins
Decease Mask Three, 2011
Jessica Mein
DeleveleD, 2007
Asier Mendizabal
Delimitar #1, 2009
Asier Mendizabal
Delimitar #2, 2009
Asier Mendizabal
Delimitar #3, 2009
Asier Mendizabal
Delimitar #4, 2009
Asier Mendizabal
Delimitar #5, 2009
Ed Atkins
Delivery to the Following Recipient Failed Permanently, 2011
Jan Paul Evers
Der Abstand zwischen den Gipfeln menschlicher Möglichkeiten, 2011
Anthony Burdin
Desert Mix, „Get See um Black Plumage", 2003
Josh Kline
Designer's Caput 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
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 Cabinet, 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 mural, 2005
Jon Rafman
Dream Journal 2016 – 2019, 2019
Alex Müller
Drei Finger Dick, 2005
East
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 2, 2006
Nam June Paik
EMPIRE State Building, 1995
Encyclopedia Pictura & Björk
Rob Pruitt
Esprit de Corps: Guitar Jam, 2006
Kandis Williams
Eurydice, 2018
Ed Atkins
Even Pricks, 2013
Mathilde Rosier
Every Twenty-four hour period the Same, 2002
Mike Kelley
Extracurricular Activeness Projective Reconstruction #36 (Vice Anglais), 2011
Mike Kelley
Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011
F
VALIE Export
Facing a Family, 1971
Hito Steyerl
Manufactory of the Sunday, 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 (Defined, A. Rodchenko, 1930, Political Football game), 2009
Asier Mendizabal
Figures and Prefigurations (Divers, V. Palladini, 1926), 2009
STURTEVANT
Finite/Infinite, 2010
Mark Leckey
Fiorucci Made Me Hardcore, 1999
Jack Smith
Flaming Creatures, 1962/63
Josh Kline
Forever 27 (Kurt), 2013
Josh Kline
Forever 48 (Whitney), 2013
Paul Pfeiffer
Four Horsemen of the Apocalypse (15), 2004
Paul Pfeiffer
Four Horsemen of the Apocalypse (16), 2004
Claus Föttinger
Fragile-Bar, 2008
Aaron Immature
Freeformdome, 2003
Wolfgang Tillmans
Freischwimmer 21, 2004
Alex McQuilkin
Fucked, 1999
Carolee Schneemann
Fuses, 1964–1967
Yard
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
Marking 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 Drinking glass, 1976
Claus Föttinger
Hanoi/Saigon, 2007
Paul Chan
Happiness (Finally) After 35,000 Years of Culture (after Henry Darger and Charles Fourier), 2000–2003
Asier Mendizabal
Hard Edge four, 2010
Aura Rosenberg
Harmony Korine/Carmen, 1998
Pecker Viola
Hatsu-Yume (First Dream), 1981
Anthony Burdin
He Ain't No Fuckin' Drumma, Summertime P-lot Bout 2003, Oxnard CA (1. Light My Fire, 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 love with a succubus, 2006
Jeremy Shaw
I Tin can Run into 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 Desire To See How Yous See, 2010
Cao Fei
i.Mirror by China Tracy (AKA: Cao Fei), 2007
Aaron Young
I.P.O (25 Offerings), 2006
Philip Topolovac
I've Never Been to Berghain, 2016
Pipilotti Rist
I'k a Victim of This Song, 1995
Pipilotti Rist
I'm not the Daughter who misses much, 1986
Britta Thie
„If something turns into hype that once saved you, information technology feels like you are back on the Titanic once more. Merely Jack Dawson has already left you", 2016
Timur Si-Qin
In Memoriam nine, 2015
Gary Hill
Incidence of Catastrophe, 1987–1988
Alex McQuilkin
Indefinite Line Towards Becoming the Perfect SoHo Girl, 2000
Lawrence Weiner
Inherent in the Rhumb Line, 2005
Hannah Wilke
Intercourse with …, 1978
Britta Thie
„Interfaces get our atmospheric condition", 2016
Doug Aitken
Interiors, 2002
Rosemarie Trockel
Interview, 1994
Nandipha Mntambo
Intsandvokati, 2008
Thiago Rocha Pitta
Inverted zenith, 2005
Britta Thie
„Information technology's all practiced 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
Yard
Yard-HOLE
Thousand-Pigsty for education, 2016
Wolfgang Tillmans
Kate McQueen, 1996
Till Gerhard
Kleiner Hunger, 2006
Cyprien Gaillard
KOE, 2015
VALIE Consign
Körperkonfiguration, 1982
Franz West
Künstlerstuhl K095, 2011
Franz W
Künstlerstuhl K104, 2011
Franz West
Künstlerstuhl K107, 2011
Franz West
Künstlerstuhl K108, 2011
Franz W
Künstlerstuhl K116, 2011
Franz West
Künstlerstuhl K117, 2011
Franz West
Künstlerstuhl K118, 2011
Franz Westward
Künstlerstuhl K121, 2011
Franz West
Künstlerstuhl K122, 2011
Franz Due west
Künstlerstuhl K126, 2011
Franz West
Künstlerstuhl K130, 2011
Franz Westward
Künstlerstuhl K131, 2011
L
Cyprien Gaillard
50'Ange du antechamber (Vierte Fassung), 2019
Wolfgang Tillmans
LA still life, 2001
Mark Manders
Large Figure with Thin Paper, 2010
Taryn Simon
LARRY MAYES Scene of arrest, The Royal Inn, Gary, Indiana. Police found Mayes hiding beneath a mattress in this room. Served 18.v years of an fourscore-year sentence for rape, robbery and unlawful deviate bear, 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 Electrical Eels, 2017
Claus Föttinger
Low-cal Object Kill, 2014
Claus Föttinger
Light Object No. i: Destroy, She Said, 2007
Claus Föttinger
Lite Object No. 10: Trisha Donnelly, 2015
Claus Föttinger
Light Object No. 11: Cyprien Gaillard, 2015
Claus Föttinger
Calorie-free Object No. 12: Hello Boys, 2016
Claus Föttinger
Lite Object No. 13: Hito Steyerl – Missed Connections, 2016
Claus Föttinger
Light Object No. 2: Frail, 2008
Claus Föttinger
Light Object No. 3: Here and At present, 2009
Claus Föttinger
Light Object No. 4: Derek Jarman – Super8, 2010
Claus Föttinger
Low-cal Object No. 6: Flaming Creatures, 2012
Claus Föttinger
Light Object No. 7: Ed Atkins – Frances Stark, 2013
Claus Föttinger
Lite Object No. eight: Sturtevant, 2014
Claus Föttinger
Calorie-free Object Welt am Draht, 2016
Claus Föttinger
Low-cal 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
K
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 Bottle, 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 Torso/Fascist Torso, 1979
That Self, 1980
Anima Mundi, 1983
Positive Nil, 1983
Modus Vivendi, 1985
Dark See 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 Sail progression, 2009
Multimedia Double Sail Toshiba, 2009
Multimedia Double Canvas Thomson, 2009
Multimedia Double Canvas Tevion, 2009
Multimedia Double Canvas Hantarex, 2009
Multimedia Double Canvas Philips, 2009
Multimedia Double Canvas Samsung, 2009
Due north
Asier Mendizabal
Due north,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.Five., 1987
Jack Smith
No President, 1967–1970
Bjørn Melhus
No Sunshine, 1997
Jack Smith
Normal Honey, 1963–1965
Hito Steyerl
Nov, 2004
O
Katharina Sieverding
o.T., 1990
Cyprien Gaillard
Bounding main 2 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
Newspaper Rad
P-Unit of measurement Mixtape, 2005
Seth Price
„Painting" Sites, 2000/01
Rachel Rose
Palisades, 2015
Palisades in Palisades, 2014
Palisades (audio piece), 2015
A Minute Ago, 2014
Ballad Bove
Panegyric (Faddy Photocollage), 2003
Ed Atkins
Paris Light-green, 2009
Meriem Bennani
Political party on the CAPS, 2018
Jamie Crewe
Pastoral Drama, 2018
Oliver Payne & Nick Relph
Dan Graham
Performer/ Audience/ Mirror, 1975
January Paul Evers
Place de Pyramide, 2009
Barbara Hammer
Identify Mattes, 1987
Bruce Nauman
Playing A Notation on the Violin While I Walk Around the Studio, 1967–1968
Julia Scher
Please Feel Costless (The Ecology of Visibility), 2020
Bunny Rogers
Poetry reading in Columbine Library with Joan of Arc / Poetry reading with Gazlene Membrane in Columbine Deli, 2014
Jon Rafman
Poor Magic, 2017
Dara Birnbaum
Pop Pop Video, 1980
Guerrilla Girls
Portfolio Compleat, 1985–2016
Jan Paul Evers
Portrait Julia Stoschek, 2011
Ryan Gander
Portrait Of A Colour Blind Artist Obscured By Flowers, 2016
Clegg & Guttman
Portrait of a Lady, 2018
Thomas Ruff
Porträt 2009 (J. Stoschek), 2009
Elmgreen & Dragset
Powerless Structures, Fig. 101 (Maquette), 2015
Gary Hill
Primarily Speaking, 1981–1983
Gordon Matta-Clark
Program Five, 1972–1976
Automation Firm, 1971
Clockshower, 1973
City Slivers, 1976
Dennis Oppenheim
Program Ane: Aspen Projects, 1970
Fabric Interchange, 1970
Identity Transfer, 1970
Rocked Hand, 1970
Compression – FERN #1, 1970
Pressure Piece #i, 1970
Glassed Hand, 1970
Compression – Poison Oak, 1970
Pinch – FERN #2, 1970
Leafed Hand, 1970
Gordon Matta-Clark
Program I: Chinatown Voyeur, 1971
Gordon Matta-Clark
Program Seven, 1974–2005
Sous-Sols de Paris (Paris Hugger-mugger), 1977–2005
Conical Intersect, 1975
Gordon Matta-Clark
Program Six, 1974–1976
Substrait (Underground Dailies), 1976
Bingo/Ninths, 1974
Splitting, 1974
Dennis Oppenheim
Program Six, 1971/72
Forming Sounds, 1971
2 Stage Transfer Cartoon (Advancing to Future State), 1971
2 Stage Transfer Drawing (Retreating to a Past Land), 1971
A Feedback Situation, 1972
3 Stage Transfer Drawing, 1971
Ii Stage Transfer Drawing (Returning to a Past State), 1971
Objectified Counterforces, 1971
Shadow Project, 1971
Gordon Matta-Clark
Programme Three, 1971–1975
Fire Child, 1971
Fresh Kill, 1972
Day'southward Stop, 1975
Barbara Hammer
Psychosynthesis, 1975
Bruce Nauman
Pulling Oral fissure, 1969
Q
Jeremy Shaw
Quickeners, 2014
R
James Richards
Radio At Night, 2015
Francis Alÿs in collaboration with Rafael Ortega
Rehearsal I (Ensayo I), 1999-2001
Claus Föttinger
Remix Luhmanneck for Cities of Aureate 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 dear alphabetic character, 2005
Pierre Klossowski
Roberte aux barres parallèles, 1984
Dan Graham
Stone my Religion, 1982-84
Taryn Simon
RONALD JONES Scene of arrest, South Side, Chicago, Illinois. Served eight years of a death sentence for Rape and Murder, 2002
Jane Crawford & Robert Fiore
Rundown, 1994
S
Trisha Donnelly
Satin Operator, 2007
Trisha Donnelly
Sconce, 2013
Jack Smith
Scotch Tape, 1959–1962
Matt Calderwood
Screen, 2005
Julia Scher
Security By Julia (Dispenser), 2020
Timur Si-Qin
Selection Brandish: Ancestral Prayer, 2011, 2011
William Wegman
Selections from 1970–78, 1981
Andreas Korte
Self Coded, 2008
Klara Lidén
Self Portrait with the Keys to the 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
Sexual activity with Strangers, 1986
Marker Leckey
Shades of Destructors, 2005
Patty Chang
Shaved (At A Loss), 1998
Peggy Ahwesh
She Boob, 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 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
Hashemite kingdom of jordan Wolfson
Star Field (month 25), 2004
Douglas Gordon
Staying abode (eighteen.14) and going out (21.fourteen), 2005
Douglas Gordon
Staying home (xviii.xvi) and going out (21.16), 2005
Olivia Walsh
(Still) Doubt 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 Affect, 1981
T
Christiane Fochtmann
Talkshow, 2006
Andreas Korte
Tanzfilm, 2011
Matt Calderwood
Tape, 2005
VALIE EXPORT
Tapp- und Tastkino (Bear on Cinema), 1968
Dara Birnbaum
Engineering/Transformation: Wonder Woman, 1978/79
Alex McQuilkin
Teenage Daydream: In Vain, 2002-2003
Alex McQuilkin
Teenage Daydream: It's but Rock & Scroll, 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 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
Ant Farm & 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 Earlier a Libretto Fifty-fifty Exists, 2009
Eleanor Antin
The Rex, 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
Record i: Common Knowledge, 1977
Tape ii: Local Colour, 1977
Tape 3: Time Lag, 1977
Neb Viola
The Reflecting Pool – Collected Work 1977–fourscore, 1977–80
The Reflecting Pool, 1977–79
Moonblood, 1977–79
Silent Life, 1979
Aboriginal of Days, 1979–81
Vegetable Retentiveness, 1978–80
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
3 Transitions, 1973
Sarah Kürten
TOSS ME MY LIGHTER, COULD Y'all Babe?, 2020
Jon Rafman
Transdimensional Serpent, 2016
Manuel Acevedo
Tropisms – WTC (World Trade Eye) Site, 2007
Isaac Julien
True North, 2004
Tony Oursler
Tunic (Vocal for Karen), 1990
Gwenn Thomas
Twilight, 1975
Dan Graham
Two-style Mirror Power, 2006
Manuel Graf
Über die aus der Zukunft fließende Zeit, 2006
U
Marcel Dzama
Untitled, 2008
Kurt Lightner
Untitled, 2004
Nadim Vardag
Untitled, 2011
Trisha Donnelly
Untitled, 2005
Trisha Donnelly
Untitled, 2008
Trisha Donnelly
Untitled, 2010
Trisha Donnelly
Untitled, 2012
Trisha Donnelly
Untitled, 2011
Trisha Donnelly
Untitled, 2013
Marcel Dzama
Untitled, 2008
Marcel Dzama
Untitled, 2008
Marcel Dzama
Untitled, 2008
Isa Genzken
Untitled, 2017
Jo Baer
Untitled, 1966-1974
Ed Atkins
Untitled (1), 2013
Ed Atkins
Untitled (two), 2013
Ed Atkins
Untitled (iii), 2013
Ed Atkins
Untitled (4), 2013
Ed Atkins
Untitled (5), 2013
Ed Atkins
Untitled (7), 2013
Ed Atkins
Untitled (8), 2013
Ed Atkins
Untitled (9), 2013
Adam McEwen
Untitled (A-Line), 2002
Paul Chan
Untitled (Subsequently St. Caravaggio), 2003–2006
Klara Lidén
Untitled (Column Monkey), 2010
Klara Lidén
Untitled (Down), 2011
Patty Chang
Untitled (For Abramović, Dearest Cocteau), 2000
Trisha Donnelly
Untitled (mountain), 2008
Jules de Balincourt
Untitled (Pastoral Scene), 2006
Klara Lidén
Untitled (Nether Mattan), 2006–2010
Anne Imhof
Untitled (Wave), 2021
Jeff Burton
Untitled #151 (Sentry Fence), 2001
Jeff Burton
Untitled #176 (Rods and Clamps), 2003
Jeff Burton
Untitled #182 (Spa Rules), 2003
Trisha Donnelly
Untitled I (Double Alpha), 2007
Andreas Gursky
Untitled XII, No.4, 2000
Carolee Schneemann
Up to and including her Limits, 1976
Ed Atkins
The states Expressionless Talk Love, 2012
Kurt Lightner
Useless Fruit, 2006
V
Bruce & Norman Yonemoto
Vault, 1984
Joan Jonas
Vertical Whorl, 1972
Nam June Paik
Video-Film Concert, 1966-1972/1992
Colin Montgomery
View, 101 Constitution Artery (U.Southward. Capitol), 2006
Bruce Nauman
Violin Film #1 (Playing The Violin As Fast As I Can), 1967–1968
Steina Vasulka
Violin Power, 1970-76
Timur Si-Qin
Visit Mirrorscape 2016: Make it, 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, 11 / 22 / 02, 2002
Anthony Burdin
Voodoo Vocals, Bulldoze Hwy 101 N (1. You lot just live twice, 2. Information technology was a very good yr), 2005
Jan Paul Evers
Vorhang, 2010
W
Bruce Nauman
Walking in an Exaggerated Manner Effectually 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
Weather condition 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 and so terrible nigh craft? / Dice Produkte der menschlichen Hand, 2019
Olafur Eliasson
When Honey is not enough Wall (Fragment), 2007
Amalia Ulman
White Flag Emoji 1, 2015
Amalia Ulman
White Flag Emoji ii, 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 6, 2015
Peter Weibel
Wind & fast forward, Realitätsspaltung, 1990
Maria Anna Dewes
Wolf, 2008
X
Patriot Act, 2004
Heaven's little Helper, 2005
Judgement Day, 2006
Go out Strategy, 2005
Y
Z
Thomas Demand
Zaun (Debate), 2004
Otto Mueller
Zwei Mädchen – Halbakte (Russisches Mädchenpaar), 1920
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Watch more than 220 time-based media artworks by over 60 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 past 300 artists from the JULIA STOSCHEK COLLECTION.
Over the next months, videos and films will be continually uploaded and fabricated attainable online. They are accompanied by explanatory texts virtually the works. Or you can drop by our JSC Video Lounge straight.
A listing of all attainable works tin be found by clicking on „viewable online" „nether Tags" and and then selecting „Works".
To date over220motion-picture show-, video- and sound-based works by62artists from the collection can exist viewed in their entirety. Amid the works in this starting time 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 Toll, Pipilotti Rist, Wolfgang Tillmans, Ryan Trecartin, Andro Wekua, and Tobias Zielony.
JSC'southward long-term goal is to brand the unabridged drove bachelor online, thus creating a platform for fourth dimension-based art that supports the accessibility and appointment of time-based art.
Almost THE Collection
"Many of the works in this drove construct multi-temporal worlds; they harbor not one period of events, merely a labyrinth of diverging paths, each with its own pace and temporality. The collection is thus a complex annal of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an 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 past Julia Stoschek, the JULIA STOSCHEK Collection has grown to be an expansive collection of fourth dimension-based art spanning picture, video, audio, functioning, and computer and software-based works. At present, over 860 artworks by more than than 282 contemporary artists beyond genres and generations offering an overview of time-based fine art from the 1960s to today with a strong focus on works made subsequently 2000.
The term time-based fine art (or time-based media) describes works of art that unfold in time. Fourth dimension-based fine art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, operation, reckoner and software-based artworks such as virtual and augmented reality, and other forms of technology-based art. These works are oftentimes allographic, meaning they are only visible when installed or projected.
At the JULIA STOSCHEK Collection, early expanded cinema, 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 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 primal works and groups of works made throughout artists' careers, growing with and reflecting their evolving exercise.
The collection is characterized by an ever-growing technological convergence and interdisciplinary approach: "The video art of today is theater, performance, musical operation, sculpture, projection, moving image, moving bodies, dance, stage, screen, real space, existent fourth dimension, all in one," writes Peter Weibel in the catalog accompanying the exhibition "High Performance," jointly organized past JULIA STOSCHEK COLLECTION and ZKM | Centre for Fine art and Media in 2015. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes nevertheless 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 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 have taken place at the collection's exhibitions spaces in Düsseldorf and Berlin since 2007. Among these were significant solo exhibitions past 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 drove, Number One: Destroy, She Said (2007–08), was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and outside, structure and destruction. Number Ii: Delicate (2008–09) focused on the torso and corporality, bringing together video, performance, and body art. Number Three: Here and Now (2009–ten) was dedicated solely to performance and the ephemeral, with performances and concerts by some of the about prominent contemporary artists working today scheduled all year long. Almost ten years later, Number Thirteen: Hello Boys (2015–16) 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 group exhibition in Düsseldorf, which he called Generation Loss (2017). The title refers to the procedure of quality deterioration equally information carriers are copied successively and, at the aforementioned 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 environs 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. Large-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 programme. 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 Drove should be sent past electronic mail to Anna-Alexandra Pfau, Head of JSC Düsseldorf & Sammlung, pfau@jsc.fine art
The loan request volition be processed if the following conditions are met:
Loan requests must be made at least 6 months before the desired first of the loan menstruation. The request must comprise the post-obit information and documents:
Name and address of the establishment submitting the loan request; name, part, telephone number, postal address and eastward-mail address of the contact person; exact name of the requested piece of work; catamenia, proper name of the exhibiting establishment and location of the exhibition; detailed exhibition or project clarification in which the work is to be presented; a electric current facility written report of the institution.
Please annotation 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 fourth dimension-based media (TBM) have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the primary focus of conservational attention. Simply like any other materials, media are also susceptible to crumbling processes that in the long run tin pb to damage or even the loss of works.
Yet aging is just one aspect of the trouble. There are as well file formats and circuitous technical installations that are based on computer technologies or other hardware. All of these components can age: non only the media themselves are affected past the processes of decay, but even the content can become unreadable over of the years due to incompatibilities. Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the material-related risks, careful ascertainment is necessary to define which technologies take a promising futurity—and which digital platforms and formats are on their way to becoming obsolete. To this end all new acquisitions must be thoroughly evaluated and documented to decide the verbal blazon 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 COLLECTION, based on the "three-colonnade approach." The goal is to consolidate the heterogenous drove on a digital level in simply a few established and homogeneous target formats. This noticeably reduces the conservation attempt 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 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 fine art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors crusade damage to videotapes and film, this was 1 of the near of import factors during the planning. Temperatures of effectually 15 degrees Celsius (59 degrees Fahrenheit) and 35 pct relative humidity (RF) are considered optimal for storing magnetic tapes and was therefore chosen for the repository. These conditions are also appropriate for film and slides.
The media art depot, designed and individually planned for the JULIA STOSCHEK Collection, has ii airlocks: i prevents precipitous changes in climate when people enter, while the 2nd airlock is conceived for tapes and media that are stored in the media depository. They tin acclimate slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving organization, 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 charge to eliminate all risks for the stored videotapes. In improver, the shelves are grounded to prevent any static electricity.
Since grit and air pollution represent a serious danger for media artworks, the air is filtered multiple times earlier and after the conditioning process. Smoke and water detectors equally well as an alarm system simultaneously offer comprehensive hazard protection.
The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe.
Andreas Weisser
Time-based media conservator
Source: https://www.jsc.art/
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