short vita

Hito Steyerl is professor for experimental film and video and the co-founder of the Research Center for Proxy Politics at the Berlin University of the Arts. She studied cinematography and documentary film in Tokyo and Munich and wrote her doctoral thesis at the Academy of Fine Arts in Vienna. Her research focuses on media, technology and the distribution of images. In her texts, performances and essayist documentary films Hito Steyerl deals with postcolonial criticism and feminist criticism of representational logic. She works at the intersections of visual art and film as well as theory and practice. Her numerous works have been exhibited at the most prominent global art institutions, such as the Venice Biennale, the Museum of Contemporary Art, Los Angeles and the Museum of Modern Art, New York. In addition to her work as an artist she was a lecturer at the Center for Cultural Studies at the Goldsmith College in London and a guest professor at the Royal Academy of Copenhagen and the Academy of Fine Arts, Helsinki. The Royal College of Art, London, honored her in 2016 with an "Honorary Doctorate".

Hito Steyerl on Artificial Stupidity

Events

Courses by Prof. Steyerl

Links

http://www.lensbased.net

Studentische*r Beschäftigte*r der Fachklasse Steyerl: Lena Kocutar

Vertreten durch Mykola Ridnyi

Selected Publications

Steyerl, H. The Wretched of the Screen. Berlin: Sternberg Press, 2012. Steyerl, H. Die Farbe der Wahrheit. Dokumentarismen im Kunstfeld. Wien: Turia + Kant, 2008. Steyerl, H.; Grzinic, M.; Mariategui, Mariategui, J.; Ressler, O. & Fondacion Rodriguez (Eds.). Tester. San Sebastian: Arteleku, 2004. Steyerl, H; Gutiérrez Rodríguez E. (Eds.). Spricht die Subalterne deutsch? Postkoloniale Kritik und Migration. Münster: Unrast Verlag, 2003. Steyerl, H. “In Defense of the Poor Image“. In: e-flux journal #10 (2009). Steyerl, H. “Die Gegenwart der Subalternen.“ In: Spivak (Ed.). Can the Subaltern speak? Postkolonialität und subalterne Artikulation. Wien: Turia + Kant, 2007. Steyerl, H. “Mimesis und Anpassung“. In: Bischof (Ed.) Filmri:ss. Münster: Unrast Verlag, 2005. Steyerl, H. “Dokumentarismus als Politik der Wahrheit.“ In: Raunig (Ed.). Differences and Representations. Wien: Turia + Kant, 2004. Steyerl, H. “Die leere Mitte.“ In: Biemann (Ed.). Stuff it: The Video Essay in the Digital Age. Zürich, Wien, New York: Edition Voldemeer / Springer, 2003. Steyerl, H. “Die Artikulation des Protests“. In: Raunig (Ed.).Transversal. Wien: Turia + Kant, 2003. Steyerl, H. “Framing Globalities“. In: Rodriguez & Pieper (Eds.). Gouvernementalität. Frankfurt: Campus, 2003.

Selected Solo-Exhibitions

2016 Hito Steyerl: Factory of the Sun, HMKV, Dortmund, Germany and Museum of Contemporary Art, Los Angeles, CA 2015 Duty-Free Art, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Too Much World, Institute of Modern Art, Brisbane, Australia Concentrations 59: Mirror Stage—Visualizing the Self After the Internet, Dallas Museum of Art, Dallas, TX 2014 How Not to Be Seen: A Fucking Didactic Educational Installation, Andrew Kreps Gallery, New York, NY 35 ways to break through a wall, Künstlerhaus Stuttgart, Germany Circulacionismo, Museo Universitario de Arte Contemporaneo, Mexico City, Mexico Junktime, Home Workspace Program, Ashkal Alwan, Beirut 2013 In Free Fall, Andrew Kreps Gallery, New York, NY Il Palazzo Enciclopedico, Venice Biennial, Venice, Italy Museum of Contemporary Art San Diego, San Diego, CA Adorno’s Grey, Audain Gallery 0 Goldcorp Centre for the Arts, Vancouver, Canada

Selected Group-Exhibitions

2017 ARS17, Kiasma– The Museum of Contemporary Art Helsinki, Finland 32nd Bienal de São Paulo; traveling to Fundação de Serralves, Porto, Portugal, 2017 2016 High Anxiety: New Acquisitions, Rubell Family Collection, Miami Gwangju Biennial, Gwangju, South Korea Dreamlands: Immersive Cinema and Art, 1905-2016, curated by Chrissie Iles, Whitney Museum of American Art, New York, NY São Paulo Biennial, São Paulo, Brasil Invisible Adversaries: Marieluise Hessel Collection, Hessel Museum of Art, Bard College, Berlin Biennale, Berlin, Germany 2015 4th Dojima River Biennale, Osaka, Japan 56th Venice Biennale, German Pavilion, Venice, Italy Necessary Force: Art in a Police State, Art Museum of the University of New Mexico, Albuquerque, New Mexico Global Control and Censorship, Zentrum für Kunst and Medientechnologie Karlsruhe, Karlsruhe, Germany 2014 Cut to Swipe, Museum of Modern Art, New York, NY Adorno's Grey, 52nd New York Film Festival, New York, NY International Film Festival, Rotterdam, The Netherlands Smart New World, Kunsthalle Düsseldorf, Germany Insert 2014, New Delhi, India 2013 The Way of the Shovel: Art as Archeology, MCA Chicago, Chicago, IL Image Employment, MoMA PS1, Long Island City, NY The ICP Triennial, New York, NY Stedelijk Museum Amsterdam, Amsterdam, The Netherlands Bergen Triennial, Bergen, Norway