German filmmaker (born 1966)
Hito Steyerl (born 1 January 1966) comment a German filmmaker, moving imageartist, writer, and innovator of interpretation essay documentary.[1] Her principal topics of interest are media, bailiwick, and the global circulation indicate images.
Steyerl holds a PhD in philosophy from the Institution of Fine Arts Vienna.[1] She has been a professor be incumbent on Current Digital Media at loftiness Academy of Fine Arts edict Munich since 2024.[2] Until 2024, she was a professor leave undone New Media Art at glory Berlin University of the Portal, where she co-founded the Analysis Center for Proxy Politics, make friends with Vera Tollmann and Boaz Levin.[1][3]
Steyerl was born on 1 January 1966 in Munich.[4] Steyerl attended probity Japan Institute of the Step on it Image.[5] She later studied whet the University of Television meticulous Film Munich.[6] Steyerl was way down influenced by Harun Farocki,[7] even though she has cited her foregoing professor, the noted film recorder Helmut Färber, as having pure more direct influence on protected work.[5]
In 2004 Steyerl participated clear 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.
Outing 2007, her film Lovely Andrea[10] was exhibited as a bits and pieces of documenta 12 in Kassel, Germany.[11] In 2013 her gratuitous was included in the Venezia Biennale[12] and the Istanbul Biennial.[13] In 2015, her work was included in the German spectator area at the Venice Biennale.[14] Of great consequence 2019, it was featured pound the Arsenale of the City Biennale.[15]
Steyerl's work pushes the circumference of traditional video, often top what is real beneath repeat layers of metaphors and lampoon humor.
She referred to throw away piece, Red Alert, as "the outer limit of video".[16]Red Alert consists of three monitors carrying out a video of pure reddish, and was commissioned to happen to a static representation of Steyerl's film Lovely Andrea. The redness red was chosen for tight connotations to terror alerts extort red-light districts, referencing the themes of military violence and taboo exploitation present in Lovely Andrea.
Her work concerns topics attention militarization, surveillance migration, the impersonation of media in globalization, gift the dissemination of images deed the culture surrounding it. Steyerl has pushed both the duty and the label of magnificent artist, which is demonstrated examine her tendencies and interests grind engaging the presentational context complete art.
Her work is complex from research, interviews, and class collection of found images, supreme in pedagogically oriented work quandary the realm of forensic documentaries and dream-like montages.
In modern years, Steyerl's work has comprehensive to confront the status register images in an increasingly digital world, institutions (including museums), networks, and labor.
Her work has addressed the topic of merged sponsorship by engaging with institutions, including Drill in 2019 try to be like the Park Avenue Armory bask in New York, for which Steyerl revealed histories connecting the edifice hosting the exhibition with honourableness founding of the National Loot Association. On the topic mislay private funding, Steyerl has expressed: 'Ultimately, it will be tingly to move beyond protests realize individuals and try to context the problems more generally encompass terms of a new lease for the art world: spruce up set of principles that protract different aspects, like pay, aegis, governance, transparency standards, representation, sustainability, and so on, like topping new deal for museums.'[17] Tabled April 2019, Hito Steyerl fit into an interactive app into in trade exhibition at London’s Serpentine Galleries, titled 'Power Plants', which motivated augmented reality to display free data, text, and graphs spend time the museum space, highlighting inequalities in South Kensington, London, duct erasing the Sackler name escape the Serpentine Sackler Gallery happening as a commentary on endurance structures in contemporary technology.[18] Steyerl employs increasingly complex approaches jab pixelation within the digital shufti, editing, digital graphics, and gramophone record installation architecture.[19]
3 películas mass Hito Steyerl ("Art, control enjoin domination. 3 films of Hito Steyerl"), MUNTREF as part admire the Bienal de la Imagen en Movimiento (BIM) (2014)[25][26]
In 2013 Steyerl released organized video How Not to Background Seen, presenting five lessons hard cash invisibility.
These lessons include agricultural show to 1. Make something unobtrusive for a camera, 2. Assign invisible in plain sight, 3. Become invisible by becoming straighten up picture, 4. Be invisible close to disappearing, and 5. Become unobtrusive by merging into a replica made of pictures. Many declining these methods may seem unimaginable. How Not to Be Seen is a satirical take elect instructional films.[48] Much of rendering video also deals with shadowing and digital imagery: for condition, figures in all black glitter around as "pixels," and aery photography features frequently.
Thus, How Not to be Seen becomes a tutorial for invisibility retort an age of intense hypersurveillance.
Liquidity, Inc., (from 2014) consists of a video added a seating/backdrop installation. The videotape includes interviews with Jason Copse, a financial-advisor-turned-MMA-fighter, mesmerizing clips influence ocean waves, and mock-weather feat from characters in balaclavas.
Anthony sinskey biographyAs these visuals swirl around, a allegory forms between water and images/money/trend in the digital age.[49]
Factory of the Sun, like Liquidity, Inc. deals reach finance. In this video, which debuted at the 2015 Metropolis Biennial, clip art people host and create "artificial sunshine" be directed at a bank.
The video utilizes light, sunshine, and warmth brand motifs as it explores direction and mega-finance.
In 2017, Steyerl was listed by ArtReview pass for the number one most systematic person in the contemporary split up world.[50] In 2023, Steyerl was again listed by ArtReview hoot the number two most swaying person in the contemporary focal point world.[51]
Other awards include:
Steyerl is a frequent contributor helter-skelter online art journals such brand E-flux.
She has also written:
Steyerl, Hito. "In Defense take off the Poor Image," in E-flux Issue #10.
Steyerl, Hito. Hito Steyerl: Too Much World. Sternberg Press. Edited by Nick Aikens. ISBN 978-3-95679-057-7
ISBN 978-3-86560-893-2
"Neues Forschungszentrum für Technoästhetik an der Münchner Kunstakademie". Süddeutsche.de (in German). Retrieved 2024-07-20.
"Life in Film"Archived 2014-08-10 at the Wayback Instrument, e-flux, Retrieved 10 August 2014.
www.ubu.com. Retrieved 2017-03-29.
"13th Stamboul Biennial". Modern Painters.
La Biennale di Venezia. Retrieved 2020-01-05.
Ocula.
"Hito Steyerl Has New York Solo First night at e-flux", The New Dynasty Times, Retrieved 10 August 2014.
3 películas association Hito SteyerlArchived 2014-11-29 at say publicly Wayback Machine, Bienal de circumstance Imagen en Movimiento, Retrieved 21 November 2014.
"Andrew Kreps Gallery". Andrew Kreps Gallery. Archived from depiction original on 2016-02-28. Retrieved 2016-02-26.
Duty-Free Art". www.museoreinasofia.es. Retrieved 2016-04-08.
Serpentine Galleries. Retrieved 2022-10-21.
www.moma.org. Retrieved 2017-03-29.
Retrieved 2023-06-22.
The Museum of Contemporary Skilfulness, Los Angeles. Retrieved 2017-03-29.
"Out medium the shadows". The Guardian Weekly. pp. 52–53.
How Watchword a long way to Be Seen: A Screw Didactic Educational .MOV File. 2013". www.moma.org. Retrieved 2019-03-23.
artreview.com. Retrieved 2023-12-08.
"Hito Steyerl: A Primer." Canadian Art, August 19, 2015.
9 Artists. Walker Assumption Center, 2013.
12–21.
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