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Hito Steyerl I Will Survive 26. 9. 2020— 10 Raumplan Floor Plan Hito Steyerl I Will Survive 26. 9. 2020— 10. 1. 2021 Begleitheft zur Ausstellung Cover: Hito Steyerl, This is the Future, 2019, videoinstallation (single channel HD video, color, sound), environment, 16 minutes sound), environment, color, 2019, videoinstallation (single channel HD video, This is the Future, Steyerl, Hito Cover: Exhibition Guide Courtesy the artist, Andrew Kreps Gallery, New York und Esther Schipper, Berlin © VG Bild-Kunst, Bonn Steyerl 2020. Film still © Hito Berlin © VG und Esther Schipper, York Courtesy New the artist, Gallery, Kreps Andrew Die Ausstellung wird gefördert durch Funded by the German Federal Cultural Foundation Medienpartner Media partner Ständehausstraße 1 Gefördert durch Supported by 40217 Düsseldorf kunstsammlung.de Einführung Introduction 2 01 Strike 6 02 Deutschland und das Ich 7 03 Babenhausen 8 04 Normalität 1 – X 9 05 Die leere Mitte 12 06 November 12 13 13 07 Lovely Andrea 13 08 11 12 08 Guards 15 14 02 05 09 15 03 06 10 09 This is the Future / Power Plants 16 04 07 10 Mission Accomplished: Belanciege 18 01 09 11 Is the Museum a Battlefield? 19 16 17 12 Duty-Free Art 21 16 13 SocialSim 22 14 Hell Yeah We Fuck Die 23 15 The City of Broken Windows 25 16 How Not to Be Seen: A Fucking 27 Didactic Educational .MOVfile 17 In Free Fall 28 Biografie Biography 30 Hito Steyerl I Will Survive 26. 9. 2020— 10. 1. 2021 Begleitheft zur Ausstellung Exhibition Guide Hito Steyerl. I Will Survive Hito Steyerl. I Will Survive Die Künstlerin, Filmemacherin und Autorin Hito Steyerl (*1966) gehört aktuell zu The artist, filmmaker, and author Hito Steyerl (born 1966) is currently one of den zentralen Positionen, wenn es um die Reflexion der gesellschaftlichen Rollen the most important representatives of the reflection on the roles of art and the von Kunst und Museum geht, um das Experimentieren mit medialen Präsentations- museum in society, the experimentation with forms of media presentation, and formen und die kritische Auseinandersetzung mit dem Einsatz von künstlicher the critical exploration of the application of artificial intelligence. The exhibition Intelligenz. Die Ausstellung setzt mit frühen Arbeiten ein, die exemplarisch für begins with earlier works that exemplify Steyerl’s significant role in the concep- den „documentary turn“ stehen, eine andere Auffassung des Dokumentarischen, tion, formulation, and practice of a new understanding of documentary films dessen Begriffswandel Steyerl maßgeblich mitgedacht, formuliert und praktiziert called the “documentary turn.” In her works spanning the last thirty years, she hat. Steyerl hat in ihren Arbeiten der letzten dreißig Jahre die Mutationen der has followed the mutations of camera images from analogue pictures and their Kamerabilder verfolgt, vom analogen Bild und seinen vielfältigen Montagen hin many types of montage to the split, fluid digital image. zum geteilten, flüssig werdenden digitalen Bild. The exhibition “I Will Survive” is a collaboration between the Kunstsammlung and Die Kunstsammlung gibt mit der großen, gemeinsam mit dem Centre Pompidou, the Centre Pompidou in Paris and provides an overview of Steyerl’s work. The title Paris, entwickelten Ausstellung „I Will Survive“ einen Überblick über Steyerls refers to a multimedia installation designed especially for the exhibition in which Werk. Der Titel bezieht sich auf die neue, für die Ausstellung entwickelte multi- Steyerl takes a satirical and critical look at the potential that the digital world holds mediale Installation, mit der Steyerl die Potentiale des Digitalen im Hinblick auf for artistic creativity, forms of museum presentation, social fault lines, and the künstlerische Kreativität, museale Präsentationsweisen, soziale Verwerfungen conditions of the pandemic. und pandemische Bedingungen satirisch-kritisch auslotet. 3 5 01 Strike gleichförmige und vorprogrammierte perceived. Through the monitor’s Weise mediale Bilder erzeugt und “destruction,” the device loses its 2010 wahrgenommen werden. Durch die function; it is the victim of a strike. This „Zerstörung“ des Monitors wird das highlights its nature as a technological 00:28 Min. 00:28 minutes Gerät seiner Funktion beraubt, es wird object that has developed into the Ein-Kanal-HD-Digitalvideo, Flachbildschirm montiert auf Single channel HD digital video, flat screen monitor bestreikt. Stattdessen rückt der Gegen- leading medium for the production and zwei freistehenden Ständern, Farbe, Ton mounted on two freestanding poles, color, sound stand Fernseher selbst in den Vorder- dissemination of media images since grund – ein technologisches Objekt, the 1950s. In ihrem Text „Der Terror des totalen In her essay “The Terror of Total das sich seit den 1950er Jahren zum Daseins“ erinnert Hito Steyerl an den Dasein,” Hito Steyerl looks back on the Leitmedium für die Produktion und Ver- 1979 ausgerufenen internationalen International Artists’ Strike in 1979 as a breitung medialer Bilder entwickelte. Künstlerstreik als „Protest gegen die “protest against the ongoing repression anhaltende Unterdrückung des Kunst- of the art system and the alienation of systems und die Entfremdung der artists from the results of their work.” Künstler von den Ergebnissen ihrer Steyerl’s short video “Strike” seems to Arbeit“. Das kurze Video „Strike“ lend filmic expression to her complex scheint ihren komplexen Gedanken zu ideas about this subject. diesem Thema eine filmische Form zu 02 Deutschland und das Ich geben. The word “STRIKE” appears in large white letters that fill the entire black 1994 Übergroße weiße Lettern füllen den screen. “Strike” can have two different schwarzen Bildschirm: STRIKE. Der meanings: to hit something with 42:00 Min. 42:00 minutes englische Begriff fordert zu Handlung force, or to refuse to work in order to 16 mm, übertragen auf DVD, Farbe, Ton 16 mm, converted to DVD, color, sound (to strike: etwas gewaltsam treffen) get an employer to comply with one’s oder auch zur Handlungsverweigerung demands. With hammer and chisel in Bezeichnet als „Heimatfilm“ ent- In an ironic reference, Hito Steyerl calls (strike: Streik) auf. Mit Hammer und hand, Steyerl approaches a turned-off stand „Deutschland und das Ich“ “Deutschland und das Ich” (Germany Meißel nähert sich Steyerl einem aus- television and strikes it. Does this mean während Hito Steyerls Studium an der and Identity) a “heimatfilm” (a genre of geschalteten Fernseher und schlägt she is going on strike by destroying Hochschule für Fernsehen und Film sentimental movies set in an idealized zu. Tritt Steyerl selbst in Streik, indem the television, a medium she relies on in München. Zu Beginn des Films regional setting). Filmed while Steyerl sie ihr Medium als Filmemacherin as a filmmaker? Or is her striking the diskutiert der Historiker Arnulf Baring was studying at the University of Tele- (den Monitor) zerstört? Oder ist der television monitor part of her artistic kontrovers über den Begriff des Natio- vision and Film in Munich, it begins with Streik selbst Teil der künstlerischen production? nalismus. Es folgen Filmaufnahmen aus the historian Arnulf Baring defending a Produktion? der Nacht vom 3. Oktober 1990, dem controversial point of view in a discus- The flat screen monitor is not really Tag der deutschen Wiedervereinigung. sion about nationalism. This is followed Der Flachbildschirm wird nur schein- destroyed, however. Instead, an Dort demonstriert eine Gruppe Männer by footage of the evening of October bar zerstört. Stattdessen wird ein abstract image suddenly appears, auf dem Münchner Oktoberfest 3, 1990, the day of when Germany was abstraktes Bild sichtbar. Es legt die revealing the matrix of pixels with ihre Identitätszugehörigkeit durch reunified. We see a group of men at the Matrix der Pixel offen, mit deren Hilfe which all images are generated on a rassistische Sprüche und das Grölen Octoberfest in Munich celebrating their ein Monitor seine Bilder erzeugt. Egal, monitor. Regardless of the content, der deutschen Nationalhymne. identity by yelling racist slogans and welche Inhalte auf einem Bildschirm the basic structure remains the same singing the German national anthem at gezeigt werden, die Grundstruktur for all images. “Strike” could therefore Die Suche „nach dem wahren Selbst“ the top of their lungs. ihrer Erzeugung bleibt stets die gleiche. also be understood as a reference (so eine Einblendung) führt Steyerl So kann „Strike“ auch als Verweis to the uniform, predetermined way über Zitate von Friedrich Nietzsche The “search for one’s true self,” as darauf verstanden werden, auf welch that media images are produced and und Robert Musils Roman „Mann one caption says, takes Steyerl back 7 ohne Eigenschaften“ in die koloniale to Germany’s colonial and racist past, und einem Mordanschlag ausgesetzt against, threatened by right-wing und rassistische Vergangenheit accompanied by quotes from Friedrich wurde. Der Sprecher hebt unter ande- radicals, and were victims of attempted Deutschlands. Aufnahmen eines Nietzsche and Robert Musil’s novel rem hervor, dass die Merins als einzige murder. The person speaking mentions, „Kuriositätenkabinetts“ mit Toten- “The Man Without Qualities.” We see a noch im Ort lebende jüdische Familie among other things, that the Merins masken, anatomischen Modellen und kind of cabinet of curiosities with death nicht zur medienwirksamen Enthüllung were not even invited to the much publi- Wachsbüsten verschiedener Ethnien masks, anatomical models, and wax des Babenhausener Holocaust-Mahn- cized inauguration of the Babenhausen kombiniert
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