Diferencia entre revisiones de «Hito Steyerl»
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{{ArtistaSimple | |||
| nombre = Hito Steyerl | |||
| imagen = Hito_Steyerl.jpg | |||
| pie_de_foto = Hito Steyerl en 2019 | |||
| fecha_de_nacimiento = 1 de enero de 1966 | |||
| lugar_de_nacimiento = Múnich, Alemania | |||
| nacionalidad = Alemana | |||
| formacion = Cine, Filosofía | |||
| instituciones = Universidad de las Artes de Berlín | |||
| ocupacion = Artista, escritora, teórica | |||
| años_activo = 1990 - presente | |||
| empleador = Universität der Künste Berlin | |||
| obras_destacadas = ''How Not to Be Seen'', ''Factory of the Sun'' | |||
| estilo = Videoarte, ensayo visual | |||
| movimiento = Post-internet, crítica institucional | |||
| sitio_web = https://www.steyerl.net | |||
}} | |||
'''Hito Steyerl''' (born 1 January 1966) is a German filmmaker, [[visual artist]], writer, and innovator of the essay documentary.<ref name="eflux">[http://www.e-flux.com/program/hito-steyerl-4/ "Hito Steyerl"], ''e-flux'', Retrieved 10 August 2014.</ref> Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in Philosophy from the [[Academy of Fine Arts Vienna]].<ref name=eflux/> She is currently a professor of New Media Art at the [[Berlin University of the Arts]], where she co-founded the [[Research Center for Proxy Politics]], together with Vera Tollmann and [[Boaz Levin]] .<ref name=eflux/><ref>{{Cite web|url=http://rcpp.lensbased.net/meta/|title=Research Center for Proxy Politics|website=rcpp.lensbased.net|access-date=2016-12-29}}</ref> | '''Hito Steyerl''' (born 1 January 1966) is a German filmmaker, [[visual artist]], writer, and innovator of the essay documentary.<ref name="eflux">[http://www.e-flux.com/program/hito-steyerl-4/ "Hito Steyerl"], ''e-flux'', Retrieved 10 August 2014.</ref> Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in Philosophy from the [[Academy of Fine Arts Vienna]].<ref name=eflux/> She is currently a professor of New Media Art at the [[Berlin University of the Arts]], where she co-founded the [[Research Center for Proxy Politics]], together with Vera Tollmann and [[Boaz Levin]] .<ref name=eflux/><ref>{{Cite web|url=http://rcpp.lensbased.net/meta/|title=Research Center for Proxy Politics|website=rcpp.lensbased.net|access-date=2016-12-29}}</ref> | ||
Revisión del 03:35 1 may 2025
| Hito Steyerl | |
|---|---|
| Archivo:Hito Steyerl.jpg | |
| Hito Steyerl en 2019 | |
| Fecha de nacimiento | Error: fecha y hora no válidas. |
| Edad | Error en la expresión: operador < no esperado. años |
| Edad al fallecer | - |
| Lugar de nacimiento | Múnich, Alemania |
| Fecha de muerte | |
| Lugar de muerte | |
| Nacionalidad | Alemana |
| Formación | Cine, Filosofía |
| Instituciones | Universidad de las Artes de Berlín |
| Ocupación | Artista, escritora, teórica |
| Años activo | 1990 - presente |
| Empleador | Universität der Künste Berlin |
| Obras destacadas | How Not to Be Seen, Factory of the Sun |
| Estilo | Videoarte, ensayo visual |
| Movimiento | Post-internet, crítica institucional |
| Sitio web | https://www.steyerl.net |
Hito Steyerl (born 1 January 1966) is a German filmmaker, visual artist, writer, and innovator of the essay documentary.[1] Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in Philosophy from the Academy of Fine Arts Vienna.[1] She is currently a professor of New Media Art at the Berlin University of the Arts, where she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin .[1][2]
Life and career
Steyerl was born on 1 January 1966 in Munich.[3] Steyerl attended the Japan Institute of the Moving Image.[4] She later studied at the University of Television and Film Munich.[5] Steyerl was deeply influenced by Harun Farocki,[6] though she has cited her former professor, the noted film historian Helmut Färber, as having a more direct influence on her work.[4]
In 2004 she participated in Manifesta 5, The European Biennial of Contemporary Art.[7] She has also participated in the 2008 Shanghai Biennale[8] and the 2010 Gwangju and Taipei biennials. In 2007, her film Lovely Andrea[9] was exhibited as a part of documenta 12 in Kassel, Germany.[10] In 2013 her work was included in the Venice Biennale[11] and the Istanbul Biennial.[12] In 2015, her work was included in the German pavilion at the Venice Biennale.[13]
Hito Steyerl’s work pushes the boundary of traditional video, often obscuring what is real beneath many layers of metaphors and satirical humor. Steyerl even went so far as to refer to her piece, Red Alert, as "the outer limit of video"[14] which consisted of three monitors playing a video of pure red, representing Lovely Andrea, as well as symbolizing the extreme danger and lust that had become a normality.
Her work concerns topics of militarization, surveillance migration, the role of media in globalization, and the dissemination of images and the culture surrounding. Steyerl has pushed both the role and the label of fine artist, demonstrated through her tendencies and interests in engaging the presentational context of art. Her work is developed from research, interviews, and the collection of found images, culminating in pedagogically oriented work in the realm of forensic documentaries and dream-like montages.
In recent years, Steyerl's work has expanded to confront the status of images in an increasingly digital world, institutions (including museums), networks, and labor. Steyerl employs increasingly sophisticated approaches to editing, digital graphics, and video installation architecture.[15]
Solo exhibitions
Steyerl has had numerous solo exhibitions, including:
- Hito Steyerl, Chisenhale Gallery, London (2010)[16]
- Hito Steyerl, E-flux, New York (2012)[17]
- Hito Steyerl, Art Institute of Chicago, (2012)[18]
- Hito Steyerl, Van Abbemuseum, Eindhoven, Netherlands (2014)[19]
- Hito Steyerl, Institute of Contemporary Arts, London (2014)[20]
- En defensa de la imagen pobre ("In defense of the poor image") and Arte, control y dominación. 3 películas de Hito Steyerl ("Art, control and domination. 3 films of Hito Steyerl"), MUNTREF as part of the Bienal de la Imagen en Movimiento (BIM) (2014)[21][22]
- Hito Steyerl, How Not To Be Seen: A Fucking Didactic Educational Installation, Andrew Kreps Gallery, New York (2014)[23]
- Hito Steyerl, Artists Space, New York (2015)[24]
- Hito Steyerl, Left To Our Own Devices, KOW, Berlin (2015)[25]
- Hito Steyerl, Duty-Free Art [1], Museo Nacional Centro de Arte Reina Sofía, Madrid (2015)[26]
- Hito Steyerl, Factory of the Sun, Museum of Contemporary Art, Los Angeles (2016)[27]
- Hito Steyerl, Factory of the Sun, Hartware MedienKunstVerein in the Dortmunder U, Dortmund, Germany (2016)
Group exhibitions
Steyerl has participated in numerous group exhibitions, including:
- Dispersion, Institute of Contemporary Arts (2008)[11]
- International Film Festival Rotterdam (2010)[11]
- The Global Contemporary: Art Worlds After 1989, Center for Art and Media Karlsruhe, Karlsruhe, Germany (2011)[11]
- No one lives here, Royal College of Art (2013)[11]
- Bad Thoughts, Stedelijk Museum, Amsterdam (2014)[11]
- Cut To Swipe, Museum of Modern Art, New York (2014)[28]
- A screaming comes across the sky, LABoral, Gijón, Spain (2015)[11]
- MashUp: the Birth of Modern Culture, Vancouver Art Gallery, Vancouver (2015)[29]
- Dreamlands: Immersive Cinema and Art, 1905-2016, Whitney Museum of American Art, New York (2016)[30]
- Hito Steyerl, Ben Rivers, Wang Bing. Eye Art & Film Prize, EYE Film Institute Netherlands, Amsterdam (2018)[31]
Notable works
- Lovely Andrea (2007)[9]
- Red Alert (2007)[14]
- How to Not Be Seen: A Fucking Didactic Educational .MOV File (2013)[32]
- Is the Museum a Battlefield? (2013)[33][34]
- Liquidity Inc. (2014)[35][36]
- Factory of the Sun (2015)[37]
Videos
How Not To Be Seen: A Fucking Didactic Educational .MOV File
15:52 minutes
In 2013 Steyerl released her video How Not to Be Seen, presenting five lessons in invisibility. These lessons include how to 1. Make something invisible for a camera, 2. Be invisible in plain sight, 3. Become invisible by becoming a picture, 4. Be invisible by disappearing, and 5. Become invisible by merging into a world made of pictures. Many of these methods may seem impossible. How Not to Be Seen is a satirical take on instructional films.[38] Much of the video also deals with surveillance and digital imagery: for example, figures in all black dance around as "pixels," and aerial photography features frequently. Thus, How Not to be Seen becomes a tutorial for invisibility in an age of intense hypersurveillance.
Liquidity, Inc.
30:00 minutes
Liquidity, Inc., (from 2014) consists of a video and a seating/backdrop installation. The video includes interviews with Jason Wood, a financial-advisor-turned-MMA-fighter, mesmerizing clips of ocean waves, and mock-weather reports from characters in balaclavas. As these visuals swirl around, a metaphor forms between water and images/money/trend in the digital age.[39]
Factory of the Sun
Factory of the Sun, like Liquidity, Inc. deals with finance. In this video, which debuted at the 2015 Venice Biennial, clip art people swarm and create "artificial sunshine" for a bank. The video utilizes light, sunshine, and warmth as motifs as it explores surveillance and mega-finance.
Awards
In 2010 Steyerl was awarded with the NEW:VISION Award at the Copenhagen International Documentary Festival for her film In Free Fall.[40] In 2015 Steyerl won the inaugural EYE Prize, a collaboration between EYE Film Institute Netherlands and the Paddy & Joan Leigh Fermor Arts Fund. The aim of the award is to support and promote an artist or filmmaker who have made outstanding contributions to their field.[41]
Select writings
Steyerl is a frequent contributor to online art journals such as E-flux. She has also written:
- 2007. Steyerl, Hito. "Documentary Uncertainty," in A Prior Magazine Issue #15.
- 2009. Steyerl, Hito. Art and Contemporary Critical Practice: Reinventing Institutional Critique. Mayflybooks/Ephemera. Plantilla:ISBN
- 2009. Steyerl, Hito. "In Defense of the Poor Image," in E-flux Issue #10.
- 2010. Steyerl, Hito. "A Think Like You and Me," in E-flux Issue #15.
- 2012. Steyerl, Hito, and Berardi, Franco. The Wretched of the Screen. Sternberg Press. Plantilla:ISBN.
- 2014. Steyerl, Hito. Hito Steyerl: Too Much World. Sternberg Press. Edited by Nick Aikens. Plantilla:ISBN
- 2016. Steyerl, Hito. Beyond Representation. Walther König. Edited by Marius Babias, contributions by Thomas Elsässer and Simon Sheik. Plantilla:ISBN
- 2016. Steyerl, Hito. "If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms," in E-flux Issue #76.
- 2017. Steyerl, Hito. Duty Free Art: Art in the Age of Planetary Civil War. Verso. Plantilla:ISBN
References
Bibliography
- Canadian Art. "Hito Steyerl: A Primer." Canadian Art, August 19, 2015.
- Demos, TJ. "Traveling Images: Hito Steyerl." Artforum (Summer 2008): 408-413.
- Gerhardt, Christina. Christina Gerhardt, "Transnational Germany: Hito Steyerl's Die leere Mitte and 200 Years of Border Crossings." Women in German Yearbook 22 (2007): 205-223.
- Ryan, Bartholomew. 9 Artists. Walker Art Center, 2013.
External links
- MoMA Learning
- Artists Space
- 'Why Games? Can an Art Professional Think?'. Video of the complete conference of Hito Steyerl at Fundació Antoni Tàpies museum, Barcelona.
External links
- [Hito Stereyl, MoMA Learning https://www.moma.org/learn/moma_learning/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013]
- Hito Steyerl | Politics of Post-Representation, In conversation with Marvin Jordan, DIS Magazine
- ↑ 1,0 1,1 1,2 "Hito Steyerl", e-flux, Retrieved 10 August 2014.
- ↑ Plantilla:Cite web
- ↑ "document 12", documenta 12, Retrieved 10 August 2014.
- ↑ 4,0 4,1 Steyerl, Hito. "Life in Film" Plantilla:Webarchive, e-flux, Retrieved 10 August 2014.
- ↑ Gray, Maggie. "Artist profile: Hito Steyerl", thisistomorrow, Retrieved 10 August 2014.
- ↑ Plantilla:Cite web
- ↑ "Manifesta 5 artists" Plantilla:Webarchive, Manifesta, Retrieved 10 August 2014.
- ↑ "Hito Steyerl DeriVeD (2008) 7th Shanghai Biennial", vimeo, Retrieved 10 August 2014.
- ↑ 9,0 9,1 Plantilla:Cite web
- ↑ "documents 12: overviewd", documents 12, Retrieved 10 August 2014.
- ↑ 11,0 11,1 11,2 11,3 11,4 11,5 11,6 "Hito Steyerl: Biography", Andrew Kreps Gallery, Retrieved 10 August 2014.
- ↑ Plantilla:Cite journal
- ↑ Christian Sinibaldi, "In-yer-face art: the best of Venice Biennale 2015 – in pictures," The Guardian, May 7, 2015, https://www.theguardian.com/artanddesign/gallery/2015/may/07/best-of-venice-biennale-2015-jeremy-deller-amazon-exorcist-in-pictures
- ↑ 14,0 14,1 Plantilla:Citation
- ↑ Plantilla:Cite web
- ↑ "Archive Past Exhibitions Hito Steyerl", Chisehale Gallery, Retrieved 10 August 2014.
- ↑ Cotter, Holland. "Hito Steyerl Has New York Solo Debut at e-flux", The New York Times, Retrieved 10 August 2014.
- ↑ "focus: Hito Steyerl", Art Institute of Chicago, Retrieved 10 August 2014.
- ↑ "Van Abbemuseum: Detail", Van Abbemuseum, Retrieved 10 August 2014.
- ↑ "What's On: Hito Steyerl", ICA London, Retrieved 10 August 2014.
- ↑ Exposición: En defensa de la imagen pobre Plantilla:Webarchive, Bienal de la Imagen en Movimiento, Retrieved 21 November 2014.
- ↑ Proyecciones: Arte, control y dominación. 3 películas de Hito Steyerl Plantilla:Webarchive, Bienal de la Imagen en Movimiento, Retrieved 21 November 2014.
- ↑ Plantilla:Cite web
- ↑ "Hito Steyerl", Artists Space Exhibitions, Retrieved 31 May 2015.
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Plantilla:Cite web
- ↑ Knegt, Peter. "Thinking Outside the Doc Box", Indiewire, Retrieved 10 August 2014.
- ↑ Plantilla:Cite web
