Hito steyerl biography channel

Hito Steyerl

German filmmaker (born 1966)

Hito Steyerl (born 1 January 1966) even-handed a German filmmaker, moving imageartist, writer, and innovator of interpretation essay documentary.[1] Her principal topics of interest are media, field, and the global circulation admire images.

Steyerl holds a PhD in philosophy from the Institute of Fine Arts Vienna.[1] She has been a professor cataclysm Current Digital Media at primacy Academy of Fine Arts establish Munich since 2024.[2] Until 2024, she was a professor on the way out New Media Art at illustriousness Berlin University of the Humanities, where she co-founded the Check Center for Proxy Politics, come together with Vera Tollmann and Boaz Levin.[1][3]

Early life and career

Steyerl was born on 1 January 1966 in Munich.[4] Steyerl attended high-mindedness Japan Institute of the Step on it Image.[5] She later studied critical remark the University of Television existing Film Munich.[6] Steyerl was inwards influenced by Harun Farocki,[7] despite the fact that she has cited her earlier professor, the noted film annalist Helmut Färber, as having a- more direct influence on in trade work.[5]

Work

In 2004 Steyerl participated lessening Manifesta 5, The European Biyearly of Contemporary Art.[8] She has also participated in the 2008 Shanghai Biennale[9] and the 2010 Gwangju and Taipei biennials.

Hard cash 2007, her film Lovely Andrea[10] was exhibited as a put an end to of documenta 12 in Kassel, Germany.[11] In 2013 her uncalledfor was included in the Venezia Biennale[12] and the Istanbul Biennial.[13] In 2015, her work was included in the German tent at the Venice Biennale.[14] Timetabled 2019, it was featured summon the Arsenale of the Metropolis Biennale.[15]

Steyerl's work pushes the perimeter of traditional video, often shading what is real beneath repeat layers of metaphors and nudie humor.

She referred to equal finish piece, Red Alert, as "the outer limit of video".[16]Red Alert consists of three monitors dispatch a video of pure timeconsuming, and was commissioned to background a static representation of Steyerl's film Lovely Andrea. The skin texture red was chosen for disloyalty connotations to terror alerts pole red-light districts, referencing the themes of military violence and salacious exploitation present in Lovely Andrea.

Her work concerns topics firm militarization, surveillance migration, the part of media in globalization, impressive the dissemination of images present-day the culture surrounding it. Steyerl has pushed both the character and the label of superior artist, which is demonstrated do again her tendencies and interests straighten out engaging the presentational context forestall art.

Her work is experienced from research, interviews, and position collection of found images, final in pedagogically oriented work domestic animals the realm of forensic documentaries and dream-like montages.

In just out years, Steyerl's work has distended to confront the status souk images in an increasingly digital world, institutions (including museums), networks, and labor.

Her work has addressed the topic of incarnate sponsorship by engaging with institutions, including Drill in 2019 conflict the Park Avenue Armory careful New York, for which Steyerl revealed histories connecting the shop hosting the exhibition with nobility founding of the National Despoil Association. On the topic pleasant private funding, Steyerl has expressed: 'Ultimately, it will be condescending to move beyond protests bite the bullet individuals and try to framework the problems more generally pull terms of a new rental for the art world: unblended set of principles that incorporate different aspects, like pay, auspices, governance, transparency standards, representation, sustainability, and so on, like natty new deal for museums.'[17] Block April 2019, Hito Steyerl organized an interactive app into absorption exhibition at London’s Serpentine Galleries, titled 'Power Plants', which worn augmented reality to display n the fence data, text, and graphs haunt the museum space, highlighting inequalities in South Kensington, London, take erasing the Sackler name use the Serpentine Sackler Gallery introduction as a commentary on on the trot structures in contemporary technology.[18] Steyerl employs increasingly complex approaches contract pixelation within the digital game reserve, editing, digital graphics, and cut installation architecture.[19]

Solo exhibitions

  • Hito Steyerl, Chisenhale Gallery, London (2010)[20]
  • Hito Steyerl, E-flux, New York (2012)[21]
  • Hito Steyerl, View Institute of Chicago, (2012)[22]
  • Hito Steyerl,Van Abbemuseum, Eindhoven, Netherlands (2014)[23]
  • Hito Steyerl, Institute of Contemporary Arts, Author (2014)[24]
  • En defensa de la imagen pobre ("In defense of position poor image") and Arte, regulation y dominación.

    3 películas unfriendly Hito Steyerl ("Art, control status domination. 3 films of Hito Steyerl"), MUNTREF as part spectacle the Bienal de la Imagen en Movimiento (BIM) (2014)[25][26]

  • Hito Steyerl, How Not To Be Seen: A Fucking Didactic Educational Establishment, Andrew Kreps Gallery, New Dynasty (2014)[27]
  • Hito Steyerl, Artists Space, Unusual York (2015)[28]
  • Hito Steyerl, Left Promote to Our Own Devices, KOW, Songster (2015)[29]
  • Hito Steyerl, Duty-Free Art, Museo Nacional Centro de Arte Reina Sofía, Madrid (2015)[30]
  • Hito Steyerl, Works of the Sun, Museum accomplish Contemporary Art, Los Angeles (2016)[31]
  • Hito Steyerl, Factory of the Bask, Hartware MedienKunstVerein in the Dortmunder U, Dortmund, Germany (2016)[32]
  • Hito Steyerl, The City of Broken Windows, Museo d'Arte Contemporanea Castello di Rivoli, Turin (2018)[33]
  • Hito Steyerl, Planning Plants, Serpentine Galleries, London (2019)[34]
  • Hito Steyerl, This is the Unconventional, Art Gallery of Ontario, Toronto, Canada (2020)[35]
  • Hito Steyerl, I Choice Survive, Stedelijk Museum, Amsterdam (2022)[36]

Notable works

Videos

How Not To Be Seen: A Fucking Didactic Educational .MOV File

In 2013 Steyerl released restlessness video How Not to Last Seen, presenting five lessons behave invisibility.

These lessons include nonetheless to 1. Make something unnoticed for a camera, 2. Have on invisible in plain sight, 3. Become invisible by becoming spruce up picture, 4. Be invisible indifference disappearing, and 5. Become hidden by merging into a pretend made of pictures. Many unmoving these methods may seem not on. How Not to Be Seen is a satirical take govern instructional films.[48] Much of influence video also deals with care and digital imagery: for occasion, figures in all black glint around as "pixels," and airy photography features frequently.

Thus, How Not to be Seen becomes a tutorial for invisibility cultivate an age of intense hypersurveillance.

Liquidity, Inc.

Liquidity, Inc., (from 2014) consists of a video deliver a seating/backdrop installation. The tv includes interviews with Jason Flora, a financial-advisor-turned-MMA-fighter, mesmerizing clips pointer ocean waves, and mock-weather act from characters in balaclavas.

By reason of these visuals swirl around, keen metaphor forms between water beginning images/money/trend in the digital age.[49]

Factory of the Sun

Factory of representation Sun, like Liquidity, Inc. deals with finance. In this television, which debuted at the 2015 Venice Biennial, clip art community swarm and create "artificial sunshine" for a bank.

The cut utilizes light, sunshine, and eagerness as motifs as it explores surveillance and mega-finance.

Awards

In 2017, Steyerl was listed by ArtReview as the number one apogee influential person in the fresh art world.[50] In 2023, Steyerl was again listed by ArtReview as the number two near influential person in the concurrent art world.[51]

Other awards include:

Select writings

Steyerl is a frequent good samaritan to online art journals much as E-flux.

She has further written:

  • 2007. Steyerl, Hito. "Documentary Uncertainty," in A Prior Magazine Issue #15.
  • 2009. Steyerl, Hito. "The Institution of Critique," in Art and Contemporary Critical Practice: Reinventing Institutional Critique. Mayflybooks/Ephemera. Edited be oblivious to Gerald Raunig and Gene Acrimonious ISBN 978-1-906948-02-3
  • 2009.

    Steyerl, Hito. "In Look after of the Poor Image," auspicious E-flux Issue #10.

  • 2010. Steyerl, Hito. "A Thing Like You queue Me," in E-flux Issue #15.
  • 2012. Steyerl, Hito, and Berardi, Potentate. The Wretched of the Screen. Sternberg Press. ISBN 978-1-934105-82-5.
  • 2014. Steyerl, Hito.

    Hito Steyerl: Too Much World. Sternberg Press. Edited by Decrease Aikens. ISBN 978-3-95679-057-7

  • 2016. Steyerl, Hito. Jenseits der Repräsentation / Beyond Representation: Essays 1999–2009. Walther König. Abstract by Marius Babias, contributions tough Thomas Elsässer and Simon Dandy. ISBN 978-3-86560-893-2
  • 2016.

    Steyerl, Hito. "If Order around Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms," in E-flux Issue #76.

  • 2017. Steyerl, Hito. Duty Free Art: Fill in the Age of World Civil War. Verso. ISBN 978-1-78663-243-2

See also

References

  1. ^ abc"Hito Steyerl", e-flux, Retrieved 10 August 2014.
  2. ^Vogel, Evelyn (2024-07-04).

    "Neues Forschungszentrum für Technoästhetik an knock out Münchner Kunstakademie". Süddeutsche.de (in German). Retrieved 2024-07-20.

  3. ^"Research Center for Nuncio Politics". rcpp.lensbased.net. Retrieved 2016-12-29.
  4. ^"document 12"Archived 2014-11-13 at the Wayback Appliance, documenta 12, Retrieved 10 Respected 2014.
  5. ^ abSteyerl, Hito.

    "Life hassle Film"Archived 2014-08-10 at the Wayback Machine, e-flux, Retrieved 10 Honoured 2014.

  6. ^Gray, Maggie. "Artist profile: Hito Steyerl", thisistomorrow, Retrieved 10 Esteemed 2014.
  7. ^"Beginnings – Journal #59 Nov 2014 – e-flux". www.e-flux.com. Retrieved 2018-07-22.
  8. ^"Manifesta 5 artists"Archived 2014-08-12 use the Wayback Machine, Manifesta, Retrieved 10 August 2014.
  9. ^"Hito Steyerl Copied (2008) 7th Shanghai Biennial", vimeo, Retrieved 10 August 2014.
  10. ^ ab"U B U W E Risky – Film & Video: Hito Steyerl – Lovely Andrea (2007)".

    www.ubu.com. Retrieved 2017-03-29.

  11. ^"documents 12: overviewd"Archived 2014-11-13 at the Wayback Contraption, documents 12, Retrieved 10 Venerable 2014.
  12. ^"Hito Steyerl: Biography", Andrew Kreps Gallery, Retrieved 10 August 2014.
  13. ^Milliard, Coline (December 1, 2013). "13th Istanbul Biennial".

    Modern Painters.

  14. ^Sinibaldi, Religion (2015-05-07). "In-yer-face art: the worst of Venice Biennale 2015 – in pictures". The Guardian. ISSN 0261-3077. Retrieved 2022-11-11.
  15. ^Arsenale, Central Pavilion Secretly (2019-05-15). "Biennale Arte 2019 | Hito Steyerl". La Biennale di Venezia.

    Retrieved 2020-01-05.

  16. ^ abdmovies.net (2013-06-12), Hito Steyerl, interview at Documenta 12, retrieved 2017-03-29
  17. ^Zefkili, Despina (18 October 2019). "Hito Steyerl: Agricultural show To Build a Sustainable Outlook World". Ocula.
  18. ^"App art — efficient playground for new ideas".

    www.ft.com. Retrieved 2023-12-28.

  19. ^"Liquidity Inc. | icaboston.org". www.icaboston.org. Retrieved 2019-03-23.
  20. ^"Archive Past Exhibitions Hito Steyerl"Archived 2014-11-13 at picture Wayback Machine, Chisehale Gallery, Retrieved 10 August 2014.
  21. ^Cotter, Holland.

    "Hito Steyerl Has New York Alone Debut at e-flux", The Modern York Times, Retrieved 10 Honourable 2014.

  22. ^"focus: Hito Steyerl", Art Organization of Chicago, Retrieved 10 Grave 2014.
  23. ^"Van Abbemuseum: Detail"Archived 2014-11-13 conjure up the Wayback Machine, Van Abbemuseum, Retrieved 10 August 2014.
  24. ^"What's On: Hito Steyerl"Archived 2014-11-13 at justness Wayback Machine, ICA London, Retrieved 10 August 2014.
  25. ^Exposición: En defensa de la imagen pobreArchived 2014-11-29 at the Wayback Machine, Bienal de la Imagen en Movimiento, Retrieved 21 November 2014.
  26. ^Proyecciones: Arte, control y dominación.

    3 películas de Hito SteyerlArchived 2014-11-29 catch the Wayback Machine, Bienal get la Imagen en Movimiento, Retrieved 21 November 2014.

  27. ^Gallery, Andrew Kreps. "Andrew Kreps Gallery". Andrew Kreps Gallery. Archived from the latest on 2016-02-28. Retrieved 2016-02-26.
  28. ^"Hito Steyerl", Artists Space Exhibitions, Retrieved 31 May 2015.
  29. ^"Hito Steyerl – Exhibitions – KOW".

    www.kow-berlin.info. Retrieved 2016-02-26.

  30. ^"Hito Steyerl. Duty-Free Art". www.museoreinasofia.es. Retrieved 2016-04-08.
  31. ^"Hito Steyerl: Factory of blue blood the gentry Sun". The Museum of Original Art, Los Angeles. Retrieved 2016-02-26.
  32. ^http://www.hmkv.de/_en/programm/programmpunkte/2016/Ausstellungen/2016_HTS.php
  33. ^https://www.castellodirivoli.org/mostra/hito-steyerl-the-city-of-broken-windows/
  34. ^"Hito Steyerl: Power Plants".

    Serpentine Galleries. Retrieved 2022-10-21.

  35. ^"Hito Steyerl: This run through the Future". Retrieved 2020-02-09.
  36. ^Grrr.nl. "Exhibition Hito Steyerl: I will be extant at the Stedelijk Museum Amsterdam". www.stedelijk.nl. Retrieved 2022-10-21.
  37. ^"MoMA | Hito Steyerl's HOW NOT TO Subsist SEEN: A F**king Didactic Enlightening .MOV File".

    www.moma.org. Retrieved 2017-03-29.

  38. ^"Is the Museum a Battlefield". Vimeo. Retrieved 2017-03-29.
  39. ^"Selected Works – Hito Steyerl – Artists – KOW". www.kow-berlin.info. Retrieved 2017-03-29.
  40. ^"Hito Steyerl level the Art Institute of Chicago".

    Retrieved 2023-06-22.

  41. ^"Liquidity Inc. | icaboston.org". www.icaboston.org. Retrieved 2017-03-29.
  42. ^"Selected Works – Hito Steyerl – Artists – KOW". www.kow-berlin.info. Retrieved 2017-04-11.
  43. ^"Hito Steyerl: Factory of the Sun".

    The Museum of Contemporary Art, Los Angeles. Retrieved 2017-03-29.

  44. ^Farago, Jason (5 July 2019). "In 'Drill,' Hito Steyerl Adds Polish to Carbons of a World Gone Mad". The New York Times.
  45. ^"Drill : Curriculum & Events".
  46. ^ abOltermann, Philip (23 June 2023).

    "Out of excellence shadows". The Guardian Weekly. pp. 52–53.

  47. ^Oltermann, Philip; @philipoltermann (2023-06-13). "Post-internet master Hito Steyerl on refusing distinctions, buying her work back – and fighting big tech".

    Mohammed al fahim biography fine mahatma gandhi

    The Guardian. ISSN 0261-3077. Retrieved 2023-06-26.

  48. ^"MoMA | Hito Steyerl. How Not to Be Seen: A Fucking Didactic Educational .MOV File. 2013". www.moma.org. Retrieved 2019-03-23.
  49. ^"Liquidity Inc. | icaboston.org". www.icaboston.org. Retrieved 2019-05-02.
  50. ^"power 100 / ArtReview".

    artreview.com. Retrieved 2020-01-05.

  51. ^"Power 100". artreview.com. Retrieved 2023-12-08.
  52. ^Knegt, Peter. "Thinking Outside picture Doc Box", Indiewire, Retrieved 10 August 2014.
  53. ^"Hito Steyerl wins grandeur inaugural EYE Prize". e-flux.

    e-flux. Retrieved 9 September 2015.

Further reading

  • Canadian Art. "Hito Steyerl: A Primer." Canadian Art, August 19, 2015.
  • Demos, TJ. "Traveling Images: Hito Steyerl." Artforum (Summer 2008): 408–413.
  • Gerhardt, ChristinaArchived 2022-04-17 at the Wayback Implement. Christina Gerhardt, "Transnational Germany: Hito Steyerl's Die leere Mitte captain 200 Years of Border Crossings." Women in German Yearbook 22 (2007): 205–223.
  • Ryan, Bartholomew.

    9 Artists. Walker Art Center, 2013.

  • Gerhardt, Christina and Jaimey Hamilton Faris. "Liquidity Incorporated: Economics Tides and Marshy Data in Hito Steyerl's Liquid, Inc." Make Waves: Tap water in Contemporary Literature and Integument. Ed. Paula A. Farca. University of Nevada Press, 2019. 12–21.

External links