GENERATION LOSS - 10 YEARS JULIA STOSCHEK COLLECTION

ed. JULIA STOSCHEK FOUNDATION e.V.
Texts by Ed Atkins, Julia Stoschek, Andreas Weisser
Languages: German, English
June 2017. 468 pages
Size: 21,50 x 27,50 cm
hard cover, bound

ISBN:978-3-7356-0384-5
Museum edition: € 60
Bookshop edition: € 68

On the occasion of the ten-year anniversary of the JULIA STOSCHEK COLLECTION, the British artist Ed Atkins has conceived the exhibition GENERATION LOSS. The term means first and foremost the process of data quality deterioration that results from changing technologies. This loss of quality, at the same time, also materializes in an ideological sense in the social change from one generation to the next. The catalogue takes up this question and addresses how the reception of the moving image has changed from the nineteen-seventies until today. In addition to video and film stills, the catalogue also includes historical material about the works presented as well as installation views of the exhibition.
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TURN ON. TIME-BASED ART FROM THE JULIA STOSCHEK COLLECTION

ed. Tel Aviv Museum of Art / Julia Stoschek Foundation e.V.
Language: Hebrew/English
2015. 142 pages, 103 reproductions (85 in color)
Size: 20.5 x 27.5 cm, soft cover

ISBN: 978-965-539-116-9
Museum edition: € 19.80

With essays by Ruth Direktor and Elisa Schaar as well as a foreword by Suzanne Landau and an introduction by Julia Stoschek. With works by: Marina Abramović, Ed Atkins, Johanna Billing, Monica Bonvicini, Paul Chan, Keren Cytter, Nathalie Djurberg & Hans Berg, Jesper Just, Klara Lidén, Helen Marten, Adrian Paci, Seth Price, Christoph Schlingensief, Sturtevant, Mathilde ter Heijne, and Andro Wekua.
The TURN ON. TIME-BASED ART FROM THE JULIA STOSCHEK COLLECTION catalog documents the exhibition of the same name which ran from March 31 through August 29, 2015 in the framework of the anniversary of 50 years of diplomatic relations between Germany and Israel, presenting main pieces from the JULIA STOSCHEK COLLECTION at the Tel Aviv Museum of Art. It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in 2004, and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on.
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HIGH PERFORMANCE. Time-based Media Art Since 1996

Edited by Julia Stoschek Foundation e.V.
Languages: German/English. 2014.
160 pages,  33 shortened pages/approx. 300 color and b/w images.
Size: 20,5 x 28,5 cm. Softcover with flaps.
Will be published by Distanz Verlag, Berlin
Release: June 2014
ISBN 978-3-95476-075-6
Museum edition: 29,80€

As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. With more than fifty key works of video art from the fields of “Body and Sould,” “Public Space,” “Environment,” and “Virtual Reality” from the JULIA STOSCHEK COLLECTION, the book offers profound insight into the more recent evolution of media art. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies. The conceptual structure of the exhibition concentrates on media art from the beginning of the 1960s to the present.
With essays by Bernhard Serexhe, Susanne Pfeffer, and Peter Weibel as well as a preface by Julia Stoschek.
With works by: Doug Aitken, Allora & Calzadilla, Francis Alÿs, Ed Atkins, Trisha Baga, John Bock, Monica Bonvicini, Robert Boyd, Matthew Buckingham, Paul Chan, Keren Cytter, Simon Denny, Cyprien Gaillard, Christian Jankowski, Jesper Just, Mike Kelley, Klara Lidén, Helen Marten, Tony Oursler, Mika Rottenberg, Mathilde ter Heijne, Ryan Trecartin, Clemens von Wedemeyer, Andro Wekua, Aaron Young, and Tobias Zielony.
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ED ATKINS

Edited by Julia Stoschek, Beatrix Ruf and Thomas D. Trummer. Texts by  Ed Atkins, Joe Luna, Beatrix Ruf.
Languages: German/English. 2014.
160 pages. 68 colour pictures/2 black and white pictures.
Size: 205 x 257 mm. Hardcover.
Will be published by JRP Ringer Verlag, Zurich
ISBN 978-3-03764-359-4
Museum edition: €25

First monograph

In his work, which includes videos, video installations, texts, and drawings, British artist Ed Atkins (born in 1982, lives and works in London) explores the material quality of our contemporary visual world and its existential resonance. He records his videos in high-definition with powerful surround sound; these new options for technical creation and presentation have the paradoxical capacity of reproducing life-like materiality and bodies using immaterial means. This paradox is also a theme in Atkins’ work, which revolves around the cadaver, disease, and death, motifs that raise awareness of the viewers’ own corporeality. Atkins’ digital compositions use saturated colors and precise editing rhythms, and show archive material of forests, beaches, fruit, and clips from zombie films, as well as computer-generated animations. They are accompanied by sound, which ranges from guitar crescendos, horror film melodies, and dialogue, to the murmurs of the artist himself behind the camera.

This is the first major publication on Ed Atkins’ work and it provides a comprehensive overview of his artistic production through a detailed selection of his video works, numerous installation views, a newly commissioned text by Joe Luna, an essay by Ed Atkins, and a conversation between the the artist and Beatrix Ruf.

The book is published in the Kunsthalle Zürich series in collaboration with the JULIA STOSCHEK COLLECTION, Düsseldorf, and the Kunsthalle Mainz.
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JULIA STOSCHEK COLLECTION NUMBER SIX: FLAMING CREATURES

Edited by JULIA STOSCHEK FOUNDATION e.V., foreword by Julia Stoschek. Essay by Susan Sontag "Notes on Camp" (1963). Texts by Philipp Fürnkäs, Benny Höhne, Monika Lahrkamp, Marlen Lienkamp, Anna-Alexandra Nadig, Anke Volkmer.

Languages: German/English. 2012. 324 pages. 258 colour pictures. 
Size: 21 x 27 cm. hardcover. 
Will be published by Hatje Cantz Verlag, Ostfildern, in November 2012.
ISBN 978-3-7757-3524-7
Museum edition: €35
Bookshop edition: €39,80 


In seeking out Modernism, artists and intellectuals around the turn of the century developed new styles and forms that broke with tradition and were said to have left behind a conservative Europe and its historically oriented art. The concept of “camp” sums up a particularly exciting, yet little-noticed characteristic of Modernism, defined by Susan Sontag as a “love of the unnatural: of artifice and exaggeration.” During the 1950s and ‘60s it was developed to a culmination by artists who were interested in everyday culture, kitsch, and retro design, as well as by those involved in punk culture and Pop Art. Jack Smith’s film Flaming Creatures (1963) set the standard for an entire generation of artists centered on Andy Warhol, Cindy Sherman, and Mike Kelley. This publication presents camp’s aesthetics, its desire for the fictional and play with masks, its clown-like exaggeration, and its exceedingly fine perception.
Artists featured: John Bock, Lizzie Fitch, Birgit Hein, Mike Kelley, Paul McCarthy, Bruce Nauman, Tony Oursler, Paper Rad, Aura Rosenberg, Ed Ruscha, Jack Smith, Gwenn Thomas, Ryan Trecartin.
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JULIA STOSCHEK COLLECTION NUMBER FIVE: CITIES OF GOLD AND MIRRORS

Edited by JULIA STOSCHEK FOUNDATION e.V., foreword by Julia Stoschek. Essay by Mark von Schlegell. Texts by Renate Buschmann, Philipp Fürnkäs, Kathrin Jentjens, Monika Lahrkamp, Marlen Lienkamp, Anna-Alexandra Nadig, Anke Volkmer, Julia Wirxel.

Languages: German/English. 2012. c. 224 pages. c. 74 colour pictures. 
Size: 21 x 27 cm. hardcover. 
Will be published by Hatje Cantz Verlag, Ostfildern, on 16 May 2012.
ISBN 978-3-7757-3308-3
Museum edition: €35
Bookshop edition: €39,80 

This extensive publication documents new works acquired for the JULIA STOSCHEK COLLECTION in recent years as well as site-specific interventions in its exhibition space. Rather than a thematic concept, the forty-four works by thirty-five artists follow various content-related threads that reflect topical themes of contemporary art. The title, CITIES OF GOLD AND MIRRORS, not only refers to the film by Cyprien Gaillard, but is also a metaphor for a confrontation with sociopolitical questions concerning urban development and urbanism, along with the relationship between human beings and architecture as well as their personal desires and vanities. Featuring works by Francis Alÿs, Olafur Eliasson, Cyprien Gaillard, Andreas Gursky, Nancy Holt, Mark Manders, Gordon Matta-Clark, Robin Rhode, Christoph Schlingensief, Wolfgang Tillmans, Andro Wekua, Christoph Westermeier, Tobias Zielony, and many others.
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JULIA STOSCHEK FOUNDATION e.V. NUMBER FOUR: DEREK JARMAN – SUPER8

Edited by JULIA STOSCHEK FOUNDATION e.V., foreword by Julia Stoschek and Philipp Fürnkäs. Text by Jon Savage. Interview with Derek Jarman by Simon Field/Michael O’Pray. 

Languages: German/English. 2010. 124 pages. 74 colour pictures. Size: 16,4 x 21 cm. Hardback. Published by Verlag der Buchhandlung Walther König, Cologne
ISBN 978-3-86560-875-8

Museum edition: €24,80
Bookshop edition: €29,80 

British painter, filmmaker and author Derek Jarman (1942-1994) is widely known for his groundbreaking and hugely influential feature films and music videos. However, the Super8 films he made in the 1970s and 80s, although less well known, occupy an equally significant place in his oeuvre. Filmed from the subjective perspective of his hand-held camera, the scenic arrangements convey Jarman’s artistic attitude, in which life and art are merged as if it were a matter of course. Jarman himself described these heavily autobiographical film documents, which are characterised by spontaneity and ease on the one hand and symbolism and mythology on the other, as a “cinema of small gestures.” Stills from Derek Jarman’s Super8 films will be published for the first time in this catalogue.
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JULIA STOSCHEK COLLECTION I WANT TO SEE HOW YOU SEE

Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. Texts by Jenny Dirksen, Philipp Fürnkäs, Elke Kania, Monika Lahrkamp, Marlen Lienkamp, Bettina Malcomess, Emmanuel Mir, Rodrigo Moura, Anna-Alexandra Nadig, Cay Sophie Rabinowitz, Angela Rosenberg, Andreas Schlaegel, Valeska Schneider, Beate Söntgen, Anke Volkmer, Dörte Zbikowski.

Language: German. 2010. 148 pages. 127 colour pictures. Size: 24.5 x 17.5 cm. Hardback with colour plastic dust jacket. Published by Snoeck Verlag, Cologne
ISBN 978-3-940953-51-3
Museum and bookshop edition: €24,80

For the first time world-wide, the JULIA STOSCHEK COLLECTION will go on show in a museum context and outside the private home of the collector in Duesseldorf. From 16 April 2010 till 25 July 2010, works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2,000 sq. m.. 

The exhibition title of I WANT TO SEE HOW YOU SEE is taken from the work of the same name by Pipilotti Rist (2003). The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein). 
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JULIA STOSCHEK COLLECTION NUMBER TWO: FRAGILE

Edited by JULIA STOSCHEK FOUNDATION e.V.. Texts by Elisabeth Bronfen, Jenny Dirksen, Philipp Fürnkäs, Elke Kania, Monika Lahrkamp, Bettina Malcomess, Emmanuel Mir, Rodrigo Moura, Anna-Alexandra Nadig, Angela Rosenberg, Andreas Schlaegel, Beate Söntgen, Anke Volkmer.

Languages: German/English. 2009. 432 pages. 333 colour pictures. Size: 21,70 x 27,70 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern
German edition: ISBN 978-3-7757-2380-0
English edition: ISBN 978-3-7757-2379-4
Museum edition: €49,80
Bookshop edition: €68 

This volume NUMBER TWO: FRAGILE documents the second exhibition of the Julia Stoschek Collection (11 October 2008 – 1 August 2009). It focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the 1960s and 1970s, in particular within the genres of Body Art and Performance. The book and the exhibition shed light on the themes of self-dramatisation, pain, transformation and physicality in the sense of a plasticity that can be experienced as a real, external phenomenon.

The book features over 50 selected artworks from Julia Stoschek’s private collection by 30 internationally renowned artists including Marina Abramović, Vito Acconci, Chris Burden, Janet Cardiff and Georges Bures Miller, Terence Koh, Bruce Nauman, Pipilotti Rist, Katharina Sieverding and Rosemarie Trockel. It also features an article contributed by respected art scholar Elisabeth Bronfen. The volume thus constitutes an informative work on a theme central to the art of the past 50 years.
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JULIA STOSCHEK COLLECTION NUMBER ONE: DESTROY, SHE SAID

Edited by JULIA STOSCHEK FOUNDATION e.V.. Foreword by Julia Stoschek. Texts by Klaus Biesenbach, Daniel Birnbaum, Jenny Dirksen, Philipp Fürnkäs, Kaye Geipel, Ulrike Groos, Syelle Haase, Elke Kania, Monika Lahrkamp, Emmanuel Mir, Susanne Pfeffer, Cay Sophie Rabinowitz, Angela Rosenberg, Eva Scharrer, Andreas Schlaegel, Valeska Schneider, Anke Volkmer.

Languages: German/English. 2008. 316 pages. 318 colour pictures. Size: 21,80 x 27,50 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern

German edition: ISBN 978-3-7757-2230-8
English edition: ISBN 978-3-7757-2231-5
Museum edition: €35. Bookshop edition: €49,80 

The JULIA STOSCHEK COLLECTION’s first exhibition NUMBER ONE: DESTROY, SHE SAID, opened on 18 June, 2007 in Duesseldorf, attracted great attention in the media. One of the event’s highlights was the space itself, which was crafted by Berlin architects Kuehn Malvezzi to individually spotlight the works of the 40 exhibiting artists. The spatial design is a testament to how an exhibition’s setting can greatly enhance the way contemporary, multimedia art is shown. The volume documents the exhibition and its extraordinary backdrop. It turns to images and text to present the works of artists such as Doug Aitken, Paul Chan, Robert Smithson, Monica Bonvicini, Natasha Sadr Hagidhian, Dara Birnbaum, Klara Liden and Olafur Eliasson and places them within the greater context of Stoschek’s exquisite, private art collection.

Daniel Birnbaum’s essay on contemporary, time-based art and prominent aspects of selected works from the JULIA STOSCHEK COLLECTION and Kaye Geipel’s article on the history and architecture of the century-old industrial site of the exhibition bring the book full circle.
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© Julia Stoschek Foundation e.V. 2010 | Schanzenstrasse 54 | D 40549 Düsseldorf | Tel. +49.211.585.884.0 | Fax +49.211.585.884.19 | info@julia-stoschek-collection.net