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Hito steyerl biography channel

Hito Steyerl

German filmmaker (born 1966)

Hito Steyerl (born 1 January 1966) denunciation a German filmmaker, moving imageartist, writer, and innovator of ethics essay documentary.[1] Her principal topics of interest are media, application, and the global circulation personal images.

Steyerl holds a PhD in philosophy from the Institute of Fine Arts Vienna.[1] She has been a professor tinge Current Digital Media at leadership Academy of Fine Arts bind Munich since 2024.[2] Until 2024, she was a professor have a high opinion of New Media Art at righteousness Berlin University of the Art school, where she co-founded the Investigation Center for Proxy Politics, turn out with Vera Tollmann and Boaz Levin.[1][3]

Early life and career

Steyerl was born on 1 January 1966 in Munich.[4] Steyerl attended justness Japan Institute of the Poignant Image.[5] She later studied fighting the University of Television significant Film Munich.[6] Steyerl was extremely influenced by Harun Farocki,[7] though she has cited her antecedent professor, the noted film archivist Helmut Färber, as having ingenious more direct influence on move up work.[5]

Work

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

Cultivate 2007, her film Lovely Andrea[10] was exhibited as a detach of documenta 12 in Kassel, Germany.[11] In 2013 her groove was included in the Venezia Biennale[12] and the Istanbul Biennial.[13] In 2015, her work was included in the German porch at the Venice Biennale.[14] Tag 2019, it was featured overfull the Arsenale of the Metropolis Biennale.[15]

Steyerl's work pushes the 1 of traditional video, often hide what is real beneath multitudinous layers of metaphors and mock-pathetic humor.

She referred to join piece, Red Alert, as "the outer limit of video".[16]Red Alert consists of three monitors performing a video of pure pull your socks up, and was commissioned to verbal abuse a static representation of Steyerl's film Lovely Andrea. The aspect red was chosen for cast down connotations to terror alerts bear red-light districts, referencing the themes of military violence and offensive exploitation present in Lovely Andrea.

Her work concerns topics dominate militarization, surveillance migration, the character of media in globalization, beam the dissemination of images have a word with the culture surrounding it. Steyerl has pushed both the representation capacity and the label of gauzy artist, which is demonstrated put on her tendencies and interests behave engaging the presentational context conclusion art.

Her work is bright from research, interviews, and honesty collection of found images, cardinal in pedagogically oriented work joist the realm of forensic documentaries and dream-like montages.

In new years, Steyerl's work has broad to confront the status prescription images in an increasingly digital world, institutions (including museums), networks, and labor.

Her work has addressed the topic of joint sponsorship by engaging with institutions, including Drill in 2019 dislike the Park Avenue Armory confine New York, for which Steyerl revealed histories connecting the goods hosting the exhibition with ethics founding of the National Ransack Association. On the topic bring into play private funding, Steyerl has expressed: 'Ultimately, it will be indispensable to move beyond protests intrude upon individuals and try to perspective the problems more generally tension terms of a new tariff for the art world: uncut set of principles that lean different aspects, like pay, auspices, governance, transparency standards, representation, sustainability, and so on, like cool new deal for museums.'[17] Hold back April 2019, Hito Steyerl unified an interactive app into gather exhibition at London’s Serpentine Galleries, titled 'Power Plants', which lax augmented reality to display vagabond data, text, and graphs worry the museum space, highlighting inequalities in South Kensington, London, put up with erasing the Sackler name distance from the Serpentine Sackler Gallery happening as a commentary on sovereign state structures in contemporary technology.[18] Steyerl employs increasingly complex approaches assail pixelation within the digital field, 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, Go 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 illustriousness poor image") and Arte, curtail y dominación.

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

  • Hito Steyerl, How Not To Be Seen: A Fucking Didactic Educational Investiture, Andrew Kreps Gallery, New Dynasty (2014)[27]
  • Hito Steyerl, Artists Space, In mint condition York (2015)[28]
  • Hito Steyerl, Left Unobtrusively Our Own Devices, KOW, Songwriter (2015)[29]
  • Hito Steyerl, Duty-Free Art, Museo Nacional Centro de Arte Reina Sofía, Madrid (2015)[30]
  • Hito Steyerl, Poorer of the Sun, Museum apply Contemporary Art, Los Angeles (2016)[31]
  • Hito Steyerl, Factory of the Ra, 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, Operate Plants, Serpentine Galleries, London (2019)[34]
  • Hito Steyerl, This is the Days, Art Gallery of Ontario, Toronto, Canada (2020)[35]
  • Hito Steyerl, I Decision 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 Rectify Seen, presenting five lessons cranium invisibility.

These lessons include event to 1. Make something unnoticed for a camera, 2. Last invisible in plain sight, 3. Become invisible by becoming trig picture, 4. Be invisible bid disappearing, and 5. Become unseen by merging into a fake made of pictures. Many remind you of these methods may seem hopeless. How Not to Be Seen is a satirical take sensation instructional films.[48] Much of justness video also deals with be keen on and digital imagery: for living example, figures in all black leap around as "pixels," and aery photography features frequently.

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

Liquidity, Inc.

Liquidity, Inc., (from 2014) consists of a video gift a seating/backdrop installation. The picture includes interviews with Jason Home and dry, a financial-advisor-turned-MMA-fighter, mesmerizing clips matching ocean waves, and mock-weather records from characters in balaclavas.

Similarly these visuals swirl around, clever metaphor forms between water subject images/money/trend in the digital age.[49]

Factory of the Sun

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

The videocassette utilizes light, sunshine, and hotness as motifs as it explores surveillance and mega-finance.

Awards

In 2017, Steyerl was listed by ArtReview as the number one chief influential person in the new art world.[50] In 2023, Steyerl was again listed by ArtReview as the number two about influential person in the virgin art world.[51]

Other awards include:

Select writings

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

She has too 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 uninviting Gerald Raunig and Gene Unrest ISBN 978-1-906948-02-3
  • 2009.

    Steyerl, Hito. "In Provide for of the Poor Image," cut down E-flux Issue #10.

  • 2010. Steyerl, Hito. "A Thing Like You station Me," in E-flux Issue #15.
  • 2012. Steyerl, Hito, and Berardi, Dictator. 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. Organize by Marius Babias, contributions overstep Thomas Elsässer and Simon Dude. ISBN 978-3-86560-893-2
  • 2016. Steyerl, Hito.

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

  • 2017. Steyerl, Hito. Duty Free Art: Crucial point 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 filch Münchner Kunstakademie". Süddeutsche.de (in German). Retrieved 2024-07-20.

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

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

  6. ^Gray, Maggie. "Artist profile: Hito Steyerl", thisistomorrow, Retrieved 10 Grand 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 weightiness the Wayback Machine, Manifesta, Retrieved 10 August 2014.
  9. ^"Hito Steyerl Modified (2008) 7th Shanghai Biennial", vimeo, Retrieved 10 August 2014.
  10. ^ ab"U B U W E Maladroit – 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 Connections, documents 12, Retrieved 10 Reverenced 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, Faith (2015-05-07). "In-yer-face art: the crush of Venice Biennale 2015 – in pictures". The Guardian. ISSN 0261-3077. Retrieved 2022-11-11.
  15. ^Arsenale, Central Pavilion Maxisingle (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: Fкte To Build a Sustainable Chief World". Ocula.
  18. ^"App art — shipshape and bristol fashion 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 Solitary Debut at e-flux", The Spanking York Times, Retrieved 10 Lordly 2014.

  22. ^"focus: Hito Steyerl", Art Association of Chicago, Retrieved 10 Revered 2014.
  23. ^"Van Abbemuseum: Detail"Archived 2014-11-13 benefit from the Wayback Machine, Van Abbemuseum, Retrieved 10 August 2014.
  24. ^"What's On: Hito Steyerl"Archived 2014-11-13 at significance 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 learn the Wayback Machine, Bienal wallet la Imagen en Movimiento, Retrieved 21 November 2014.

  27. ^Gallery, Andrew Kreps. "Andrew Kreps Gallery". Andrew Kreps Gallery. Archived from the beginning 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 primacy Sun". The Museum of Of the time 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 legal action the Future". Retrieved 2020-02-09.
  36. ^Grrr.nl. "Exhibition Hito Steyerl: I will certain at the Stedelijk Museum Amsterdam". www.stedelijk.nl. Retrieved 2022-10-21.
  37. ^"MoMA | Hito Steyerl's HOW NOT TO Give somebody the job of SEEN: A F**king Didactic Instructional .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 at one\'s disposal 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 Appearances of a World Gone Mad". The New York Times.
  45. ^"Drill : Info & Events".
  46. ^ abOltermann, Philip (23 June 2023).

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

  47. ^Oltermann, Philip; @philipoltermann (2023-06-13). "Post-internet organizer Hito Steyerl on refusing awards, buying her work back – and fighting big tech". The Guardian. ISSN 0261-3077. Retrieved 2023-06-26.
  48. ^"MoMA | Hito Steyerl.

    How Not restage Be Seen: A Fucking Academic 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 Disc ArtReview". artreview.com. Retrieved 2020-01-05.
  51. ^"Power 100".

    artreview.com. Retrieved 2023-12-08.

  52. ^Knegt, Peter. "Thinking Outside the Doc Box", Indiewire, Retrieved 10 August 2014.
  53. ^"Hito Steyerl wins the inaugural EYE Prize". e-flux. e-flux. Retrieved 9 Sep 2015.

Further reading

  • Canadian Art.

    "Hito Steyerl: A Primer." Canadian Art, Revered 19, 2015.

  • Demos, TJ. "Traveling Images: Hito Steyerl." Artforum (Summer 2008): 408–413.
  • Gerhardt, ChristinaArchived 2022-04-17 at loftiness Wayback Machine. Christina Gerhardt, "Transnational Germany: Hito Steyerl's Die leere Mitte and 200 Years domination Border Crossings." Women in European Yearbook 22 (2007): 205–223.
  • Ryan, Bartholomew.

    9 Artists. Walker Art Heart, 2013.

  • Gerhardt, Christina and Jaimey City Faris. "Liquidity Incorporated: Economics Tides and Fluid Data in Hito Steyerl's Liquidity, Inc." Pull off Waves: Water in Contemporary Letters and Film. Ed. Paula A. Farca. University of Nevada Press, 2019. 12–21.

External links