HITO STEYERL

HITO STEYERL (German, born 1966) is clearly implicated, that of the world. Her among the keenest observers of our thor­ doctoral work in philosophy at the Academy oughly globalized, digitized condition. Her of Fine , Vienna resulted in an essay col­ practice describes with uncommon precision lection, The Color of Truth: Documentarism the fluidity and mutability of images—how in the Artistic Field (2008), which addresses they are produced, interpreted, translated, documentary strategies in contemporary art. packaged, transported, and consumed by a She studied cinematography in Tokyo at the multitude of users. Most often, Steyerl's art Academy of Visual Arts and attended the takes the form of video essays that comprise University of Television and in , exhaustive research, montage, composite im­ , where she was taught by film agery, first-person voiceovers, and interviews. historian Helmut Fârber, whom she counts Like its literary counterpart, the video essay among her greatest influences. Steyerl main­ is a more-or-less nonfiction, analytical and tains distinct boundaries between her written interpretive account from a personal point of and visual work—she has, for example, never view, and it is no wonder that Steyerl works written about her own —but these most comfortably here. While her subjects undertakings deeply inform each other. vary widely, her work is consistently based on the premise that we are always implicated, This focus exhibition features six works. consciously and unconsciously, in the stories Together they provide a solid basis for under­ that we tell. Steyerl's videos aren't strictly standing Steyerl's ranging practice, which is autobiographical, but the artist is notably defined by a succession of narrative investiga­ present in them. Hers is a documentary tions that stand alone, but often coalesce into form that is emphatically transparent about series of chapters unfolding across several its subjectivity and, more importantly, its works and over time. The presentation begins in gallery 182 with Adornos Grey (2012), a uncertainty.1 If there has historically been an uneasy relationship between critical theory black-and-white high-definition video shot and film, reconciled primarily through mon­ in one location, the lecture hall (Horsaal 6) tage—which creates meaning in the interval where the philosopher Theodor W. Adorno (1903-1969) between juxtaposed images, rendering them taught his courses at the Insti­ as a kind of writing—Steyerl's particular tute of Social Research at the University of brand of documentarism, one that simultane­ Frankfurt. Installed in a large, gray, box-like ously presents and questions facts, makes us construction inserted within the white cube forget it.' of the gallery, the single-channel video is projected onto a sculptural configuration of A riot grrrl who uses critical theory as her four leaning, overlapping screens, painted in weapon and global economic and political shades of white to gray. Outside the screen­

structures as her target, Steyerl has pub­ ing space, a graphic timeline spanning from lished essays in which she makes a case for 1900 to 1970 serves to introduce the videos degraded digital images, sings the praises of four main themes: significant moments in the spam, and takes political artists to task for life of Adorno, who serves here as a symbol avoiding the politics in which they are most of the complex relationship between theory Still from November, 2004. The Art Institute of Chicago, Wilson L. Mead Fund. & Hito Steyerl.

and practice; artists' historical relationships anonymous protester who carried a protective to monochrome abstraction; political protests shield painted to resemble Adornos Negative involving nudity; and student protests, which Dialectics (1966) during the "Book Bloc" in were at their height during the particular mo­ the 2010 student protests in . Here, ment in the late 1960s that the video addresses. Steyerl's aesthetic choice of the off-camera in­

terview both evokes the viewer's presence and

The video begins with a shot of the lecture foregrounds the lecture hall as the main char­ hall—which is thought to have been painted acter. With the "breast attack," it would seem a particular shade of gray at the philosopher's that Adornos students used his theories against insistence—and an off-camera exchange, him. In an interview published in Der Spiegel in German with English subtitles, between following the incident. Adorno stated, "Even

Steyerl and one of Adornos former students though 1 had established a theoretical model, about his recollections of the room's color. I could not have foreseen that people would

The following scene shows a conservator, try to implement it with Molotov cocktails."• hired by the artist, trying to excavate the al­ The segment with Power begins to unravel the leged gray paint under many layers of white. false dichotomy between the stern, prudish

As the conservator digs deeper into the wall, male theorist and free-spirited, sexualized a second storyline appears in the intertitle: women activists. As she points out, it is not as

"On April 22, 1969, three female students though Adorno lacked experience with breasts walk up to T.W. Adorno. They bare their and feared them; rather, these "belligerent" or breasts and start dancing around him." What "militant" breasts didn't "fit into the categories follows is a sequence of off-camera inter­ of what we think breasts are normally for."4 views with four speakers: the former student,

Gerd Roscher, who, as a student, witnessed From Steyerl's attempts to understand the the incident known as the "Busenattentat" reasoning behind the gray room—and to

("breast attack"); philosopher Nina Power, locate the actual paint—arises the complex who unpacks some fallacies in the myths intersection of theory and practice. Osborne surrounding the event; philosopher Peter surmises that Adornos choice of gray paint

Osborne, who discusses the theoretical bases may have been inspired by G. W. F. Hegel's for Adornos choice of the color gray; and an statement, "When philosophy paints its grey in grey, then has a shape of life grown old." ence to the 1917 Bolshevik Revolution, which

Steyerl is also interested here in the ways in for insurgents everywhere represents a time which modern artists have explored abstrac­ when collective agitation was widely believed tion through the monochrome, as evidenced to have brought about progressive political in the introductory timeline—which chron­ change. Thus, for Steyerl, "November" signi­ icles artists from Kazimir Malevich to Sean fies now—the present as aftermath, a time

Scully and theit statements on color. In his marked by a lack of clearly defined heroes or essay on the use of gray in the work ot Jasper enemies, by ambiguous goals, and by mere

Johns, James Rondeau wrote, "Gray exists in images of liberation that are themselves de­

Johns's work not just as color, but also as an stabilized through frenetic circulation across idea, condition, and material—a thing in and various contexts. It is not Wolf as person of itself. And so, too, it is here: a condition, (i.e., the friend, the actress, the woman, the a material—when Steyerl's hired conservators fighter), but rather as image, that is at the are unable to find any physical evidence of heart ot November. Adornos gray, she responds, "In this case, let's try plan B. If we cannot find any grey, you'll Footage from the campy, feminist martial-arts have to make it." The conservators' metal film that Steyerl and Wolf made as teenagers tools scraping against the white paint surface finds the voung women playfully mimick­ eventually yields a kind of grisaille, though ing emancipatory postures. Juxtaposed with one created expressly for the purpose of being Wolf's later involvement fighting on behalf filmed and photographed. Adornos Grey, like of the Kurdistan Workers' Party (PKK), these much ot Steyerl's work, draws attention to youthful activities appear prescient. But the the conditions of its own making: revealing arc the film follows is anything but heroic. camera and lighting equipment in shots, in­ November tracks Wolf over time, across bor­ cluding sound tests, retakes, and even conver­ ders, and through diverse media. As Steyerl's sation between the artist and those onscreen voiceover says, "Andrea became herself a to whom she gives explicit direction. In the traveling image, wandering over the globe, an same way that no attempt is made to resolve image passed on from hand to hand, copied either the motivation behind, or the true and reproduced by printing presses, video effect on Adorno, of the "breast attack," the recorders, and the Internet." In addition to existence of Adornos gray remains suspended Steyerl's twenty-year-old film footage, shot in uncertainty. on scavenged reels, there is an interview with Wolf/Ronahi recorded in a camp on the

A loosely connected trilogy beginning with Kurdish border. Previously broadcast over satellite television and recorded to VHS, November (2004), followed by Lovely Andrea the interview is played back on a televi­ (2007) and Abstract (2012), is installed in chronological sequence on separate screens sion monitor, only to be recorded again for in gallery 184. The works are unified by theit inclusion here. Finally, cheaply made postets reference to the figure of Andrea Wolf— commemorating Ronahî as a martyr appear

Steyerl's girlhood friend and the stat of her not only at political protests, but also in an first film. Wolf later became an activist for art-house movie theater hanging next to

Kurdish independence, working under the skin-Hick pinups. These used, abused, and adopted name Sehit Ronahi. Branded a ter­ degraded images, which move and prolifer­ rorist by the German government, she was ate quickly, are shown to be more than faint ultimately killed by Turkish forces in 1998. copies of a once-vivid original. Indeed, they

The title November refers to the period after circulate tar and wide in a way their subject

"October," which is both the month that could not; and through them we see her say

Wolf was captured and killed, and a refer­ and do things that she never intended. Still from Lovely Andrea. 200"?. The Art Institute or Chicago, Contemporary Art Discretionary Fund and Wilson L. Mead Fund. © Hito Steyerl.

Despite its title, Lovely Andrea is the film least the year of its birth; others connote the connected to Wolf. Instead it centers on Stey­ Internet that gives safe harbor to the erl's own narrative, in which she returns to photographer who took Steyerl's photo and

Tokyo, where, as a film student in 1987, she allows him to disseminate thousands oflike posed for a bondage photograph under the images around the globe instantly. pseudonym Andrea. The film follows Steyerl's rather comical quest, twenty years after the Some seven years after the making of No­ fact, to locate the image amidst thousands of vember, when news began to emerge about such images produced in Japanese publica­ mass graves discovered in Kurdistan, Steyerl tions. The artist montages behind-the-scenes traveled there in search of information about footage of Tokyo's S&M scene with clips Wolf's murder. Abstract involves a second- from the cartoon and cinematic versions person account of a Kurdish militant fighter of Spider-Man, and a soundtrack featur­ who escaped when Turkish forces killed 39 ing Donna Summer's "She Works Hard for people, including Wolf. The two-channel the Money" and "Oh Bondage, Up Yours!'' projection begins with the intertitles "shot" by the punk band X-Ray Spex. As in all of and "countershot"—terms that describe a

Steyerl's work, her own story is just one of a film technique in which one character is number of narrative threads, and the video shown looking at another character off­ raises larger questions about the circulation of screen, and then the second character is images, networked systems of sexuality and shown looking back. It continues, "The violence, fact and fiction, and freedom and grammar of cinema follows the grammar domination. Again, the photographic image of battle." The piece unfolds with a shot/ is a central character around which all the hu­ countershot conversation between the two man activity—that of the artist, her translator screens, and Abstract extends this alternation

(herself a bondage performer), the camera by shuttling the viewer between images of the crew, and a cohort of male photographers— site in Kurdistan where the battle occurred revolves. The video also tracks geopolitical and views of the artist in , seen against changes occurring over the lifetime of the the nondescript headquarters of the company image: a 1987 clip of Ronald Reagan intoning that produced the missiles deployed in the "Mr. Gorbachev, tear down this wall!" signals attack. On the mini-cinema screen of her ceil phone, which Steyerl holds in front ot her The final and most recent work in the exhibi­ eyes, images of the gravesite contents appear. tion, Guards (2012), pointedly addresses the While the subtitled interview describes the very institution in which the work is being particular abuses visited upon Wolf's corpse presented. Shot on location at the Art Insti­ by Turkish soldiers, what tells the story are the tute, it was inspired by comments made by scarred and damaged objects in the gravesite— Professor Lawrence Rothfield, faculty director shell casings, water jugs, coats, pants, piles of of the Cultural Policy Center at the Univer­ beltscarves, and a salient bone fragment. sity of Chicago. Rothfield told the Guard­

ian that cultural institutions, "should not

Presented separately in gallery 186, In Free assume that the brutal policing job required

Fall (2010) is aiso a tripartite series of chap­ to prevent looters and professional art thieves ters, but in one continuous, single-channel from carrying away items is just one for the cycle. The central character here is a Boe­ national police or for other forces not under ing 707. The many lives of this aircraft and their direct control." He added, "Even in the others like it reveal a complex system of US and other very stable countries, disasters social relations encompassed by processes can occur that open the door to looting. "" of production, consumption, destruction, and reuse. The opening sequence, "After the Guards presupposes that this controversial call Crash," finds the plane in a wreckage yard to arms overlooks the tact that many security in the Mojave Desert overseen by retired guards already come from active military or pilot Mike Potter, who makes his living bv law enforcement backgrounds and are pre­ storing, recvcling, and demolishing obsolete pared with special operations training. While aircraft. In "Before the Crash," the intertitle certainly the stakes are high when dealing references Russian materialist writer Sergei with cultural heritage, here in the United

Tret'iakov (1892—1937) whose Biography of the States the risks appear relatively low at the

Object called for a shift from literary conven­ ptesent time. A more pressing concern mav tions privileging the singular heroic human be that the economic politics of the art world, subject in favor of a narrative approach based about which Steyerl writes trenchantly, allow on the object as it moves through a collective its multibillion dollar economic market to system of people. Actor Imri Kahn portrays be held aloft by a labor force ot free interns, an airplane historian who expounds on the overworked freelancers, and low-paid security

guards. This uneven economy dovetails with storied past of this particular Boeing, model 4X-JYI, which began in 1956 as part of a the reality that there are many who enter into commercial fleet owned by TWA and served military service in dire need of the financial as an Israeli military plane in the 1970s before supports it offers, and that those charged making its way to Potter's junkyard, where it with protecting artifacts ot cultural heritage art may, in their new capacity, be entering an was blown up in the 1994 action film Speed, art museum for the first time. then scrapped for sale to China—where the recycled aluminum probably was used in the production ot bootleg DVDs. Made in the Shot entirely in the Art Institutes contem­ aftermath of the worldwide economic crisis porary collection galleries, Guards features that began in 2008, In Free Fall relates the interviews with security officers employed global to the extremely local—in the final at several different institutions. Gliding chapter, "Crash," Steyerl's cameraman, Kevan dolly shots follow the officers as they "make

Jenson, tells how the economic downturn, as the rounds" through the galleries describ­ well as increasing digitization, nearly devas­ ing harrowing encounters in active duty tated his business and forced him to sell his and protection strategies for the artworks aluminum dream home. they pass along the way. The high-definition Still from In Free Fall zoio. © Hilo Steverl. courtesy Wilfried Lenrz Rotterdam.

single-channel video is displayed vertically at about our economic resources, about objects approximately the same height as a stationed made by people, and about people that make officer. It is located in gallery 295, where, at objects. Our politics grow out of economics, the time of shooting, Bruce Nauman's video and there is not a single second in a person's

Art Make-Up (1967-68) was on view—the day uninvolved in economics or politics."8 darkened space inspiring officer Ron Hicks Eighty-three years later, Steyerl's art most to reenact a stakeout. As the video unfolds, astutely answers that call. the works of art on the walls are increasingly replaced by composite screens showing news LISA DORIN footage of violent incidents in which some ASSOCIATE CURATOR of the officers had been involved—the "real" DEPARTMENT OF CONTEMPORARY ART world breaks into the museum. 1. Hito Steyerl, "Documentary Uncertainty," A Prions (2007), pp. 2-3. 2. Gertrud Koch, "Mimesis and Bilderverbot," Screen 34, no. 3 (Autumn 1993). pp. 211-22. Steyerl uses the aesthetic and theoretical Î. Theodor Adorno interviewed in Der Spiegel May s", 1969. 23:9, pp. 204-209. reprinted in Gerhard Richter and Theodor tools of the documentary form to propose W. Adorno, "Who's Afraid of the Ivory Tower? A Conversation real alternatives to the challenges posed by with 1 heodor W. Adorno." in "Rereading Adorno." special issue. Monatshefte 94, no. 1 (Spring 2002), pp. 10—23. our contemporary condition. If we expect to 4. For more on the "breast attack," see Lisa Yun Lee, "The Bared-Breasts Incident" in Feminist Interpretations of Theodor contend with the speed, intensity, and vast- Adorno, ed. Renée Herberle (Pennsylvania State University Press, 2006). ness of the image economy that surrounds us, s. James Rondeau,"Jasper Johns: Gray," in James Rondeau and we will likely need to relinquish the hierar­ Douglas Druick, Jasper Johns: Gray (Art Institute ot Chicago/ Yale University Press, 2007), p. 28. chical bias that compels us to seek control 6. Lawrence Rothrield. quoted in John Hooper, "Arm Museum Guards to Prevent Looting Says Professor," guardian.co.uk over the boundless. If we can't beat it, her © Guardian News and Media Limited 2011. work suggests, let's simply join the morass of 7. See Hito Steyerl, "Politics of Art: Contemporary Art and the Transition to Post-Democracy" in The Wretched of The Screen images as one of them. In Steyerl's view there (e-flux. Inc./Sternberg Press, 2012), pp. 92-101. 8. Sergei Tret'iakov, "The Biography of the Object'' in Literatura is already achievement in simply opening up fakta, ed. Nikolai Chuzhak (Federatsiia, 1929), pp. 66-70. to limitless possibilities. Rather than trying to

"make sense" of it all, we can transcend the demand for resolution altogether and do the

best we can with the degraded image. In 1929

Tret'iakov wrote, "We urgently need books HITO STEYERL SELECTED GROUP International Film Festival EXHIBITIONS, FILM Rotterdam, the Netherlands Born Munich, Germany. 1966 FESTIVALS, AND SCREENINGS Schone Aussichten; Wiedererdjf- Studied at the Academy of Visual 1 2. o 2 nung der Neuen Galerie, Neue Arts, Tokvo, 1990; studied at the Outside Effect, 1ST Tbilisi Galerie, , Germany University ot Television and Film Triennial (Center of Contem­ 2010 Munich (HFF), 2003; Ph.D., porary Art Tbilisi), Georgia Academy or Fine Arts, Vienna, 2003 CPH.DOX, Copenhagen Prompts and Triggers, Surplus International Documentary Lives and works in Berlin Authors, Witte de With, Film Festival, Denmark Rotterdam, the Netherlands SOLO EXHIBITIONS AND Un lugar fiera de la historia. SCREENINGS A Peculiar Form of Fiction, Museo Tamavo de Arte Con­ 2012 Site Gallery, Sheffield, England temporáneo, Mexico City Hito Steyerl, Adorno's Grey, Alternativa 2012, Materiality, Vectors of the Possible, BAK, Wilfried Lentz Rotterdam, Wyspa Institute of Art, Utrecht, the Netherlands the Netherlands Gdansk, Poland Shockworkers of the Mobile Hito Steyerl: The Kiss, MACBA, Screen Festival Image, First Ural Industrial Overgaden, Copenhagen Art Barcelona Biennial ot Contemporary Festival, Denmark Remote Control, ICA, London Art, NCCA, Ekaterinburg, Hito Steyerl, e-flux. New York Russia (cat.) Mengeles Skull: The Advent of 2011 a Forensic Aesthetics, Portikus, Taipei Biennial 2010, Taiwan Hito Steyerl: Journal No. 1— Frankfurt am Main, Germany Maninbo (10000 Lives), 8th An Artists Impression, (cat.) Gwangju Biennale, South Studiengalerie 1.357, Goethe Korea (cat.) Universitát Frankfurt am Episode I: A Film Is a State­ Arikai2, Center for Main, Germany ment, Alies anders?/Everything differ­ Contemporary Arts, Glasgow, ent?, Kunsthalle Wien Project Hito Steyerl: Journal No. 1— Scotland Space, Vienna An Artists Impression and In Free Fall, Wilfried Lentz Antiphotojournalism, La Big Picture II (Zeitzonen), Rotterdam, the Netherlands Virreina Centre de Ilmatge, Kunstsammlung im Stànde- 2010 Barcelona; Foam Photogra- haus, Dusseldorf, Germany In Free Fall, Collective, Edin­ phv Museum, Amsterdam, burgh; Picture This, Bristol; One World Berlin Filmfesti- the Netherlands and , val fur Menschenrechte und Auto-Kino!, Temporare London Medien, Arsenal Institut Kir Kunsthalle Berlin Film und Videokunst, Berlin Ricochet #3, Museum Villa Everyday Ideologies, Kunstmu- Stuck, Munich (cat.) Les marques aveugles. Centre seum Madgeburg, Germany d'Art Contemporain Genève, Henie Onstad Art Center, 2009 Switzerland Oslo, Norway (cat.) O muro de Berlim—Espelho 2009 The Global Contemporary: da historia da Alemanha, ZKM, Hito SteyerL Neuer Berliner Kunstwelten nach IO8Q, Museu Nacional de Arte Kunstverein (NBK), Berlin Museum fur Neue Kunst, Contemporánea—Museu do (cat.) Karlsruhe, Germany Chiado, Lisbon, Portugal KW Der Bau, Linz Kulturhaupt- Seeing Is Believing, Fallmauerfall 6i-8ç-oo, stadt, Austria Institute for Contemporary Ephraim-Palais Stadtmu- Art, Berlin seum, Berlin P74 Gallery, Ljubljana, Slovenia Espressofilm: Kurzfilm einen The Red House, Center tor 2008 Sommer Ling, Vienna Culture and Debate, Sofia,

Red Alert, Kunsthalle All That Fits: The Aesthetics Bulgaria Winterthur, Switzerland Quad Gallery, of Journalism, Under Control Krannert Art Derby, England (cat.) Hito SteyerL Moderna Museum, University ot Illinois Museet, Stockholm, Sweden Serious Games: Krieg— at Urbana-Champaign (cat.) 2007 Institut Medien—Kunst, The Storyteller, Salina Art T Art In Dependence, 300M Mathildenhohe, Darmstadt, Center, Salina, Kansas, Space, Goteborg, Sweden Germany Independent Curators Inter­ national; Sheila C. Johnson Design Center at Parsons The New School tor Design, New York; Art Gallery of Ontario, Edition II: Feminist Legacies 2004 ; Museo Nacional and Potentials in Contempo­ Ethnic Marketing: Art, Global­ Centro de Arte Reina Sofia, rary Art Practice, If I Can't ization, and Intercultural Sup­ (film-only version) Dance, I Don't Want to Be ply and Demand Centre dart Part ot Your Revolution, contemporain de Genève, The View from Elsewhere, MUHKA. Antwerp Switzerland Sherman Contemporarv Art Foundation, Sydney; Gallery 12, Kassel, Flanders International Film of Modern Art (GOMA),' Germany Festival-Ghent, SMAK,

Queensland, Australia 2006 Ghent, Belgium VideoZoneInternational Les Visages de l'industrie, Eter­ Manifesta 5, Donostia-San Video Art Biennial, the nal Tour Festival, Musée des Sebastián, Spain Center for Contemporary beaux-arts du Lóele, Le Lóele, Art, Tel Aviv (cat.) Es ist schwer das Reale zu Switzerland beriihren, Kunstverein Bienal Internacional de Arte Highlights from Cologne Kun- Miinchen, Germany KW Institute Contemporáneo de Sevilla, stFilmBiennale, Germany Fundación BIACS, Seville, 3rd Berlin Biennale, for Contemporary Art. Berlin Spain Museo del Arte Contemporá­ 2008 neo de la Reina Sofia, Madrid Dispersion, ICA, London Whitechapel Art Gallery, London 2003 VideoZone4, International ABCity, Trato House of Video Art Biennial, the We All Laughed at Christopher Contemporary Art, Budapest, Center tor Contemporarv Art, Sredelijk Museum, Columbus, Hungary Tel Aviv Amsterdam Show Your Wound Goethe Pratt Man­ Zones of Conflict, Ethnic Marketing: Tracing Institute, Tel Aviv hattan Gallery. New York the Limits of Art World Inter­ Contemporary Film and Video, nationalism, Artspace Vanak The Greenroom: Reconsider­ Moderna Museet, Stockholm, Street 13 and Azad Gallery, ing the Documentary and Sweden Tehran, Iran (cat.) Contemporary Art, CCS Bard Bildmuseet, Umeá, Sweden Hessel Museum. Annandale- 40 Jahre Videokunst: Digital on-Hudson, New York (cat.) Heritage, Zentrum fur Kunst Dokumentarisrnen: Filme und und Medientechnologie Videos, Museum Moderner Pure Expression, Pancevo (ZKM). Karlsruhe, Germany Kunst Stiftung Ludwig Biennale ot Art, Gallery of (cat.) (MUMOK), Vienna Contemporary Art, Kulturni 2002 Centar Pancevo. Serbia A Picture of War Is Not War, Salzburger Kun­ Wilkinson Gallery, London Geschichten, Neue Ge- Der Blinde Fleck, stverein, Salzburg, Austria sellschaft fiir Bildende Kunst 2005 e.V (NGBK), Berlin Modell: Verpafste Gelegen- Transversal: Cultural Work heit—Symptôme der Uberfor- and Critique of Globalisation, 7th Shanghai Biennale derung, Brandenburgischer Kunsthalle Exnergasse/WUK, U-Turn Quadrennial for Con­ Kunstverein Potsdam e.V, Vienna temporary Art, Copenhagen, Germany Current Media Art from Denmark Contour 2005: 2nd Biennial for Germany, Toronto Images Tiefenrausch; Kunst und Video Art, Contour Mechelen Festival, Canada Führungen in den Linzer Un- vzw, Mechelen, Belgium 2001 terwelten, Offenes Kulturhaus Dokumentarfllmfestivals, Urban Realities: Focus on (OK), Linz, Austria (cat.) Munich Istanbul, Berliner Festspiele, Vertrautes Terrain, Zentrum Martin-Gropius-Bau, Germany Du bist die Welt, Wiener tur Kunst und Medientech- Festwochen, Vienna Berlin aben by, Kunsthal- nologie (ZKM), Karlsruhe, len Nikolaj, Copenhagen, 2000 Germany Haus der Denmark Heimat Kunst, 2007 Kulturen der Welt, Berlin KunstFilmBiennale. Cologne Das Neue Europa: Kultur Continental Shifts, Ludwig des Vermischens und Polttik The Long Distance Runner— Forum fur Internationale der Reprasentation, Generali The Production Unit Archive, Foundation, Vienna Kunst, Aachen, Germanv Den Frie Centre of Contem­ 1999 porary Art, Copenhagen, Translocation, Vienna Denmark 1998 In terna tio nal Ku rzfilm tage Oberhausen, Germanv SELECTED BIBLIOGRAPHY brianholmes.wordpress.com. 2008. http://www.guardian. Altman, Anna. "Hito Steyerl Fox, Dan. "Manifesta 5 European co.uk. at Neuer Berliner Kunstv- Biennial ot Contemporary Latuente, Pablo. "For a Populist erein, Germany." Frieze 127 Art." 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"In der Schwebe: Bricker, Celyn. Line Magazine becauselondon.com. Zu Bildern in Hito Steyerl's (Summer 2010). http:// "Hito Steyerl, In Free Fall" New Lovely Andrea und den linemagazine.tumblr.com. Art London (Nov. 23, 2010). Vernaltnissen, in denen sie Contag, Lisa."Wahrscheinlichk http://newartlondon.blogspot. stehen." Kolik Film 9 (Mar. eitswahnsinn: Hito Steyerl com. 2008), pp. 85-89. und Rabih Mroué im Berliner Honigman, Ana Finel. "Hito Morland, Gerd Elise. Haus der Kulturen der Welt." Steyerl." Artforum Critic's "Dokumentarfilmen som Artinfo Deutschland (May 8, Picks (Sept. 21, 2009). kritisk object." Kunstkritikk 2012). http://de.artintb.com. http://artforum.com. (May 26, 2010). http://www. Crone, Bridget. "Matter Loves, Janku, Laura Richard. "Viewpoint." kunstkritikk.no. Matter Lives, Matter Loves— Artweek }$, 7 (Sept. 2007), Petrovic-Steger, Maja. "Tracing The Affective Labour of the pp. 4, 23. the Dead." Overgaden Image in Hito Steyerl's In Iversen, Trude Schjelderup. Exhibition Folder Hito SteyerL Free Fall." APEngine (Oct. 8, "Ti sporsmal: Hito Steyerl." The Kiss, Aug. 24-Oct. 21, 2012. 2010) . http://www.apengine.org. Kunstkritikk (May 20, 2010). Reichert, Kolja. "Das Tosen der Darwent. Charles. "Dispersion, http://www.kunstkritikk.no. Turbinen; Krisenmetaphern: ICA, London." Independent, Kaizen, William. "The Greenroom." Die Filmkünstlerin Hito Dec. 7, 2008, pp. 62-63. Artforum 47. 7 (Mar. 2009), Steyerl stellt im Neuen

Davies, Lillian. "A Picture of War is p. 239. Berliner Kunstverein aus." Der Not War." Artforum Critics' Kemp-Welch, Klara. "Hito Steyerl: Tagesspiegel (Oct. 5, 2009), p. Picks (Jan. 20, 2006). http:// In Free Fall Chisenhale Gallery, 24. http://www.tagesspiegel.de. arttorum.com. London," Art Monthly 342 (Dec. Rosenmeyer, Aoife. "Aoife de Blaaij, Remco. "Hito Steyerl: 2010/Jan. 2011), pp. 23-24. Rosenmeyer on Hito Steyerl Journal No. 1 & In Free Fall." Kim vail, Jacob. "Den l:a pâ at the Kunsthalle Winterthur." Metropolis M 2 (Apr./May Moderna-Hito Steyerl (1/1- Saatchi Online Magazine (July 2011) , p. 97. 2/3)." Konsten (Jan. 15, 2008). 3, 2008). http://magazine. Demos, T. J. "Traveling Images: http://konsten.net. saatchioniine.com. The Art of Hito Steyerl." Lack, Jessica. "Exhibitions: Rossaak, Eivind. "Filmen og det Artforum 46, 10 (Summer Dispersion: London." Guardian nakne liv." Kunstkritikk 2008), pp. 408-13. (London), Dec. 6, 2008, p. 39. (July i, 2007). http://www. Evren, Süreyyya, and Brian Holmes. . "Artist of the Week 22: kunstkritikk.no. "Documetaphors." Continental Hito Steyerl." Guardian Schmirz, Jenny Gil. "Todas la películas Drift (June 30, 2007). http:// Unlimited (London), Dec. 31, de Hiro Steyerl: La obra de la ensayista audiovisual puede Ulekleiv, Line. "Rodt for terror: OPENING

verse en Loop 2010." Cahiers Tyske Hito Steyerl viser THURSDAY, NOVEMBER 1 du Cinéma España 36 (Jul./ sammenhenger mellom 6:00 p.m. Aug. 2010), p. 50. japansk bondage, Spider-Man Conversation with the artist Seddon, Max. "Hito Steyerl." og amcrikansk terrorfrykt." Price Auditorium Artforum (Dec. I, 2010). Morgenbhxdet, June 11, 2010.

http://artforum.com. http://morgenbladet.no. 7:00 p.m.

Seel. Martin. "Uber die Prásentation Velasco, David. "The Greenroom: Reception

von Kunsrwerken und Reconsidering the Documentary Ryan Education Center. Studio A

den Opportunisms der and Contemporary Art (Part

Kritik." Presentation text 1)." Artforum (Jan. 9, 2008). 5:00—8:00 p.m.

from Symposium, "Durch http://artforum.com. Exhibition viewing

die Formate: Wie die Westcott, James. "Dispersion." Galleries 182-84. '86, and 29s

Gegenwartskunst in den Art Review (Dec. 5, 2008). GALLERY TALKS Medien erscheint" held at http://www.artreview.com.

MUMOK, Vienna (Nov. 23, TUESDAY, NOVEMBER 6

2007) . www.mumok.at. 12:00 p.m.

Sherwin, Skye. "Hito Steyerl, Associate curator Lisa Dorin

London." Guardian, Nov. 6, Griffin Court

2010, p. 40.

Stakemeier, Kerstin. "Minor Findings FRIDAY, JANUARY II

and Major Tendencies." 12:00 p.m.

Afierall 19 (Autumn/Winter Curatorial assistant Tracv Parker

2008) , pp. 54-63. Griffin Court WORKS IN THE EXHIBITION Steward, Sue. "More Sex, Truths Unless otherwise noted, all works and Video Tape in Dispersion." ACKNOWLEDGMENTS courtesy of the artist and Wilfried Evening Standard, Dec. 3, 2008, Spatial design by Studio Miessen Lentz Rotterdam. p. 46. Assistant to Hito Stcverl: Alwin

Steyerl, Hito. "Digital Debris: Franke November, 2004 Spam and Scam." October 138 Color video, sound (projection); (Fall 2011), p. 71. THANKS 25 min. loop. The Art Institute . "Gaps and Potentials: Laura Barlow. Tom Barnes, Nick of Chicago, Contemporary Art The Exhibition 'Heimat Barron, Amy Bcste, Ben Thorp Discretionary Fund and Wilson L. Kunst': Migrant Culture as Brown. Boris Budcn, Corcv Buragc. Mead Fund, 2012.123 an Allegory of the Global Jordan Campagna. Zoe Carlson, l.rii

Market." In "Multicultural Lovely Andrea, 2007 Connal, Modesto Correa. Douglas

Germany: Art, Performance Color video, sound (projection); Druick, Darbv English. Darrell Ev­

and Media," special issue, 30 min. loop. The Art Institute of ans, Alwin Franke, Sarah Guernsey.

New German Critique, no. 92 Chicago, Wilson L. Mead Fund, Laura Hamann. Ronald Hicks. Erin

(Spring-Summer, 2002), pp. 2012.124 Hogan, Yau-Mu Huang. Michelle

159-68. Lehrman Jenness, Kevan Jenson, In Free Fall 2010 . The Wretched of the Screen. Brice Kanzer, Diana Keaton. Parsv High-definition color video, sound e-flux. Inc. and Sternberg Kennedy, Trov Klvber. Chai Lee, (projection); 32 min. loop Press, 2012. Lisa Win Lee. Wilfried Lentz. Lauren Abstract, 2012 . "Right in Our Face." Makholm. Alfred L. McDougal and Two-channel high-definition color e-flux Journal 21 (Jan. 2011). Nancy Lauter McDougal, Markus video, sound (projection); 7 min. http://www.e-flux.com. Miessen, Tracy Parker. Diogo Pas- loop Stocks, Laura. "Hito Steyerl: In sarinho, Thérèse Peskowits. James

Free Fall-German Filmmaker's Adornos Grey, 2012 Rondeau, Dorothy Schroedcr. Roben

New Short Is a Challenging High-definition black-and-white Sharp, l^arrv SmalKvood, Jennifer

Pleasure." Journal Sept. 29, video, sound (projection); 14:20 Sostaric, Yuba Startsev, Jason Stec,

2010. http://www. journal- min. loop Joan Sullivan. Rory Sykes, Monique

online. co.uk. Tarleton, David Thurm, Joseph Guards, 2012 Szczesniak, Paulina. "Hito Steyerl." Vatinno, Anton Yidoklc, Martin High-definition color video, sound Tages Anzeiger, June 20, 2008, Whitfield, and Jeff Wonderland (projection); 20 min. loop p. 50. Special thanks to the artist, LD

Trilling, Daniel. "Out of the Ether:

Hito Steyerl's In Free Fall"

British Film Institute (BFI). FRONT AND BACK COVER: Adornos Grey, http://old.bfl.org.uk. 2012. © Hito Steyerl, courtesy Wilfried Lentz Rotterdam. Photos by Leon Kahane. PRINTED ON FS< -CERTIFIED RECYCLED PAPER