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Taloi Havini: Reclaiming Space and History Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

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Sydney Biennale Connects Here with Everywhere Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

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Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 Ocula Insight Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 By Stephanie Bailey, London

In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .

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HomePage Artists

b. 1966, Germany

Hito Steyerl Biography

Hito Steyerl's work as a filmmaker, visual artist, writer, and innovative documentary essayist amounts to a mode that ArtReview described as 'gadfly, striking smartly from the periphery.' She was number one on their Power 100 list in 2017. Born in 1966 in Munich, this polymath first studied filmmaking at the Academy of Visual Arts in Tokyo (1987–1990) before attending the University of Television and Film in Munich (1992–1998) and writing her doctoral thesis at the Academy of Fine Arts in Vienna (2001–2003).

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Steyerl currently teaches experimental film and video at the Berlin University of the Arts, where with Vera Tollmann and Boaz Levin she co-founded the Research Center for Proxy Politics. Her theoretical concerns include digital technology, its proliferation of images, and the implications of these images on society, opening up topics such as control, surveillance and militarisation, migration, cultural globalisation, feminism, and the mutability of meaning and political imagery. She combines images sourced from television, film, and the internet, to create dream-like sequences that shift between fact and fiction, with metaphors and satirical humour further mingling with reality.

November (2004) is a self-reflexive video that used the artist's first movie—a 'feminist Kung Fu film' shot in the 1980s—as its departure. The film featured the artist and her then-best friend, Andrea Wolf, who was later shot and killed in Kurdistan in 1998 as a PKK militant. The video 'examines the role of images in the post-revolutionary moment,' using the figure of Wolf to explore 'what is nowadays called terrorism and used to be called internationalism'. 'November is the time after October, a time when revolution seems to be over, and peripheral struggles have become particular, localist and almost impossible to communicate', narrates the artist. The post-revolution image is residual, continuing to circulate while political memory itself morphs and changes.

Another early work that encapsulates many of Steyerl's key concerns is Red Alert (2007), an installation of three vertical monitors that emit an identical red hue. The work references Homeland Security's terror alert system, put in place post-9/11. In an interview in ArtSlant, the artist explains that the piece was a reaction to the virtually illegible images on television capturing the American invasion of Iraq. Steyerl explains that, in response, Red Alert 'signals the end of video as a medium for representing something real; it had reached its boundaries. What we see is not an image but the medium itself. The medium is an information filter and it influences our perception.'

In Steyerl's art projects, the moving images and texts shift between fact and fiction—a notion that is furthered through her use of new technologies, such as artificial intelligence. As part of her London solo exhibition Power Plants at Serpentine Sackler Gallery in 2019, for instance, visitors were prompted to download her augmented reality app in order to visualise data related to social inequality. When directed at the gallery's signage, the app also removed the word 'Sackler' to signal the artist's opposition to the gallery's funding from the family whose firm has contributed to the United States' opioid crisis. In an Ocula Conversation, the artist states that 'even venerable public institutions like the Louvre are vulnerable, because of the growing . . . dependency of art institutions on private funding.'

Steyerl has participated in a number of group exhibitions, including Manifesta 5, Donostia-San Sebastian (2004); documenta 12, Kassel (2007); the 1st Taipei Biennial (2010); the German Pavilion of the 56th Venice Biennale (2015); Skulptur Projekte Münster (2017); and May You Live In Interesting Times at the 58th Venice Biennale (2019). Major solo exhibitions include Focus: Hito Steyerl, Art Institute of Chicago (2012); Duty-Free Art, Museo Nacional Centro de Arte Reina Sofía, Madrid (2015); Number Thirteen: Factory of the Sun, Julia Stoschek Collection, Düsseldorf (2016); The City of Broken Windows, Castello di Rivoli Museum of Contemporary Art, Turin (2018); and This is the future, Art Gallery of Ontario (2019). In 2016 the artist was awarded an honorary doctorate by the Royal College of Art in London, and in 2019 she was awarded the Käthe Kollwitz Prize.

Steyerl lives and works in Berlin.

Tessa Moldan | Ocula | 2019

Hito Steyerl Featured Artworks

Gosprom, 2015 (For Parkett 97) by Hito Steyerl contemporary artwork
Hito SteyerlGosprom, 2015 (For Parkett 97), 2015Silkscreen in 7 colours on Invercote G 380gm
27.5 x 27.5 inches
Parkett Enquire about this work
Deresolution Tools by Hito Steyerl contemporary artwork
Hito SteyerlDeresolution Tools, 2014Digital c-prints mounted on Dibond, 5 Avenger stands
Andrew Kreps Gallery Enquire about this work
Sandbags/Texture, Kharkiv by Hito Steyerl contemporary artwork
Hito SteyerlSandbags/Texture, Kharkiv, 2015UV pigment print on dibond
100 x 100 cm
Andrew Kreps Gallery Enquire about this work
Tent/Texture, Kharkiv by Hito Steyerl contemporary artwork
Hito SteyerlTent/Texture, Kharkiv, 2015UV pigment print on dibond
100 x 100 cm
Andrew Kreps Gallery Enquire about this work
Hell Yeah We Fuck Die by Hito Steyerl contemporary artwork
Hito SteyerlHell Yeah We Fuck Die, 2017Skulptur Projekte Munster, Germany
Andrew Kreps Gallery Enquire about this work

Hito Steyerl Recent Exhibitions

Contemporary art exhibition, Koo Jeong A, Francis Alÿs, Kader Attia, Lee Bul, Martha Rosler, Hito Steyerl, Eternal Now at PKM Gallery, Seoul
Closed
21 November 2019–5 January 2020 Koo Jeong A, Francis Alÿs, Kader Attia, Lee Bul, Martha Rosler, Hito Steyerl Eternal Now PKM Gallery, Seoul
Contemporary art exhibition, Group Exhibition, Christoph Keller | Hito Steyerl | Tao Hui at Esther Schipper, Berlin
Closed
27 June–17 August 2019 Group Exhibition Christoph Keller | Hito Steyerl | Tao Hui Esther Schipper, Berlin

Hito Steyerl Represented By

Hito Steyerl In Ocula Magazine

Hito Steyerl and Nan Goldin Join Art Professionals Supporting Bernie Sanders Ocula News Hito Steyerl and Nan Goldin Join Art Professionals Supporting Bernie Sanders Tokyo, 25 February 2020

With Trump threatening to defund the arts, Sanders promises 'I will be an arts president.'

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MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern By Mohammad Salemy, New York

In the early decades of its existence, New York 's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...

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Hito Steyerl: How To Build a Sustainable Art World Ocula Conversation Hito Steyerl: How To Build a Sustainable Art World By Despina Zefkili, London

'A Picture of War is Not War', we read in Hito Steyerl 's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing...

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Aileen Burns and Johan Lundh Ocula Conversation Aileen Burns and Johan Lundh By Rachael Vance, Brisbane

Having held the dual role of co-directors of Brisbane’s Institute of Modern Art (IMA) for almost two years, Aileen Burns and Johan Lundh have shaken up the city’s contemporary art landscape. The unprecedented formulation of a joint vocation of director and curator shared between two people saw two outsiders hailing from Canada and...

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Hito Steyerl In Related Press

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Artist Hito Steyerl Rebukes German Institutions, Acting in Solidarity With Kurdish People Related Press Artist Hito Steyerl Rebukes German Institutions, Acting in Solidarity With Kurdish People 30 October 2019, Hyperallergic

Artist Hito Steyerl demands that state-run German art institutions stop showing her work as part of the country's "external cultural diplomacy" until the country changes its policy toward the Turkish invasion of Kurdish areas in northeast Syria. Steyerl made her demand in a performance piece on Saturday, October 26, at the Maxim-Gorki...

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Up in Arms: Hito Steyerl at the Park Avenue Armory Related Press Up in Arms: Hito Steyerl at the Park Avenue Armory 3 July 2019, Art in America

When you hear a reference to "the Armory" or "the Arsenale," are you more likely to think of an exhibition space, an art fair, a biennale—or a militarized building constructed to house a stockpile of weapons? In her exhibition Drill , on view through July 21 at the Park Avenue Armory in New York, Hito Steyerl reminds us...

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Hito Steyerl’s Indictment of the Park Avenue Armory’s Ties to Gun Violence Misses Its Mark Related Press Hito Steyerl’s Indictment of the Park Avenue Armory’s Ties to Gun Violence Misses Its Mark 1 July 2019, Hyperallergic

If somebody were to write a new Book of Revelation for the 21st century, it would read a lot like the multimedia miseries of Hito Steyerl. The 53-year-old German artist is foremost a researcher interested in the effects of globalization, the onslaught of technology, the future of labor, and our susceptibility to abuses under this new...

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HITO STEYERL with Osman Can Yerebakan Related Press HITO STEYERL with Osman Can Yerebakan 1 July 2019, Osman Can Yerebakan

Presenting a commissioned video installation and existing work by multimedia artist Hito Steyerl, Drill at the Park Avenue Armory is the Berlin-based artist's most expansive presentation in the United States to date. Installed inside the historic Gothic Revival style building's various rooms and sprawling Wade Thompson Drill Hall, the exhibition...

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