{"id":296,"date":"2016-04-19T14:27:23","date_gmt":"2016-04-19T14:27:23","guid":{"rendered":"http:\/\/goodspace.villa-merkel.de\/?p=296"},"modified":"2019-05-10T14:25:16","modified_gmt":"2019-05-10T14:25:16","slug":"hito-steyerl","status":"publish","type":"post","link":"https:\/\/goodspace.villa-merkel.de\/?p=296","title":{"rendered":"HITO STEYERL"},"content":{"rendered":"

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\"\"<\/strong>HOW NOT TO BE SEEN: A Fucking Didactic Educational .Mov File<\/em>, 2013, Still, Edition: 5\/10 + 2 ap, 14 min. , Gr\u00f6sse variabel, Sammlung Migros Museum f\u00fcr Gegenwartskunst, \u00a9 the artist<\/h6>\n

Please scroll down for english version!<\/strong><\/p>\n

Wenn die Band The Three Degrees<\/em> \u201eWhen will I see you again?\u201c anstimmt, die U.S. Armee dazu Glitter aus einem Tarnkappenhelikopter abwirft und das Publikum aufgefordert wird, mit einer Drohne davonzufliegen, ist der H\u00f6hepunkt des Fucking Didactic Educational .MOV File<\/em> erreicht. In ihrer im Stil eines Lehrvideos gehaltenen Arbeit bietet Hito Steyerl augenzwinkernd Strategien an, HOW NOT TO BE SEEN,<\/em> wie man es schafft, nicht gesehen zu werden. Mittels Green-Screen-Effekt selbst zur Bildfl\u00e4che werden, in ein milit\u00e4risches Sperrgebiet ziehen oder sich auf die Gr\u00f6\u00dfe kleiner als die eines Pixels zu schrumpfen, dies sind einige der von einer automatisierten Stimme in mehreren Kapiteln vorgetragenen Anweisungen, welche die K\u00fcnstlerin und ihre anonymen Assistierenden f\u00fcr uns ausf\u00fchren. Setting ist hier auch immer wieder ein sogenanntes Fotokalibrierungsfeld in der kalifornischen
\nW\u00fcste, das als Testmuster zur Einstellung von Satelliten genutzt wurde und dessen visuelle Elemente, neben denen anderer Bildvermessungstechnologien, in der das Video erg\u00e4nzenden Rauminstallation auftauchen.<\/p>\n

In HOW NOT TO BE SEEN: A Fucking Didactic Educational .MOV File<\/em> stellt Hito Steyerl im spielerischen Umgang mit neuen Bildtechnologien \u00dcberlegungen an zum Umgang des Individuums mit den \u00dcberwachungsarchitekturen des globalen digitalen Raums und den dort wirkenden Kontrollmechanismen und Machtstrukturen.<\/p>\n

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When the band The Three Degrees<\/em> plays \u201cWhen will I see you again?\u201d while the U.S. Army tosses glitter from a stealth helicopter and the audience is called upon to fly away with a drone, then the climax of Fucking Didactic Educational .MOV File<\/em> has been reached. In her work done in the style of an instructional video, Hito Steyerl offers wry strategies concerning HOW NOT TO BE SEEN.<\/em> Use a green-screen effect to become a pictorial surface yourself; move into a military restricted area; shrink to a size smaller than a single pixel \u2013 these are some of the instructions pronounced by an automated voice in several chapters and demonstrated by the artist together with her anonymous assistants. The setting is repeatedly a so-called photo-calibration field in the Californian desert which was used as a test pattern for adjusting satellites and whose visual elements, in addition to other technologies for pictorial verification, appear in the spatial installation accompanying the video.<\/p>\n

In HOW NOT TO BE SEEN: A Fucking Didactic Educational .MOV<\/em> File,<\/em> Hito Steyerl handles new visual technologies in a playful manner and examines the response of the individual to the surveillance architectures of the global digital space as well as the control mechanisms and power structures that have an impact there.<\/p>\n

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HITO STEYERL (DE)<\/strong><\/p>\n

* 1966 in M\u00fcnchen
\nLives | lebt in Berlin<\/p>\n

Selected solo exhibitions\u00a0 | Einzelausstellungen (Auswahl)<\/strong>
\n2016<\/strong> Hito Steyerl: Factory of the Sun,<\/em> HMKV, Dortmund; Hito Steyerl: Factory of the Sun,<\/em> Museum of Contemporary Art, Los Angeles 2015<\/strong> Duty-Free Art,<\/em> Museo Nacional Centro de Arte Reina Sofia, Madrid; Liquidity, Inc.,<\/em> Tensta Konsthall, Sp\u00e5nga; Too Much World,<\/em> Institute of Modern Art, Brisbane; Concentrations 59: Mirror Stage \u2013 Visualizing the Self After the Internet,<\/em> Dallas Museum of Art 2014<\/strong> Hito Steyerl,<\/em> Van Abbemuseum, Eindhoven; Hito Steyerl,<\/em> Institute of Contemporary Arts, London; 35 ways to break through a wall,<\/em> K\u00fcnstlerhaus Stuttgart; Circulacionismo,<\/em> Museo Universitario de Arte Contemporaneo, Mexico City 2013<\/strong> Hito Steyerl,<\/em> Museum of Contemporary Art San Diego; Adorno\u2019s Grey,<\/em> Audain Gallery 0 Goldcorp Centre for the Arts, Vancouver; Guards, Svilova, Gothenburg<\/p>\n

Selected group shows | Gruppenausstellungen (Auswahl)<\/strong>
\n2015<\/strong> Political Populism,<\/em> Kunsthalle Wien; 4th Dojima River Biennale,<\/em> Osaka; 56th Venice Biennial,<\/em> Venice; Collection on display: Experimental arrangements,<\/em> Migros Museum fu\u0308r Gegenwartskunst, Z\u00fcrich; Global Control and Censorship,<\/em> Zentrum f\u00fcr Kunst and Medientechnologie Karlsruhe 2014<\/strong> Cut to Swipe,<\/em> Museum of Modern Art, New York; Smart New World,<\/em> Kunsthalle D\u00fcsseldorf; HNTBS by Hito Steyerl, <\/em>K\u00fcnstlerhaus Stuttgart 2013<\/strong> Il Palazzo Enciclopedico,<\/em> Venice Biennial, Venice; FORMER WEST: Documents, Constellations, Prospects,<\/em> Haus der Kulturen der Welt, Berlin; Schichtwechsel,<\/em> Nordstern Videokunstzentrum, Gelsenkirchen<\/p>\n

Bibliography | Publikationen<\/strong>
\n2015<\/strong> Hito Steyerl: Duty-Free Art,<\/em> Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid<\/p>\n

www.andrewkreps.com<\/a>
\nwww.kow-berlin.info<\/a><\/p>\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

  HOW NOT TO BE SEEN: A Fucking Didactic Educational .Mov File, 2013, Still, Edition: 5\/10 + 2 ap, 14 min. , Gr\u00f6sse variabel, Sammlung Migros Museum f\u00fcr Gegenwartskunst, \u00a9 the artist Please scroll down for english version! Wenn die Band The Three Degrees \u201eWhen will I see you again?\u201c anstimmt, die U.S. Armee dazu […]<\/p>\n","protected":false},"author":1,"featured_media":297,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/posts\/296"}],"collection":[{"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=296"}],"version-history":[{"count":9,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/posts\/296\/revisions"}],"predecessor-version":[{"id":854,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/posts\/296\/revisions\/854"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=\/wp\/v2\/media\/297"}],"wp:attachment":[{"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=296"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=296"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/goodspace.villa-merkel.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=296"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}