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Hito Steyerl
Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion. 0Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, this book gathers a series of essays and close readings of Steyerl's films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.
Hito Steyerl: I Will Survive
A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Artand The Wretched of the Screen Over the past 30 years, through video and installation, the immensely influential German artist and writer Hito Steyerl (born 1966) has been tracking the ways that images have mutated--from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image--and the implications these mutations have had for the representation of wars, genocides and the flow of capital. "We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand," writes Brian Kuan Wood of the digital visual worlds that the artist presents. At nearly 500 pages, this book--the first substantial overview on Steyerl--looks at multimedia installations and film projects of the past ten years, as well as earlier works, all of which are united by the artist's unflagging interrogation of the politics of the image.
Duty Free Art
In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the work itself? Can we distinguish between creativity and the digital white noise that bombards our everyday lives? Exploring artefacts as diverse as video games, Wikileaks files, the proliferation of spam, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.
The Wretched of the Screen
In Hito Steyerl's writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl's landmark essays from recent years in which she has steadily developed her very own politics of the image. Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings. e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
Medium Hot
The highly acclaimed video artist and author of Duty Free Art asks: What is the future of the image in the age of climate change and artificial technology? Hito Steyerl was named #2 most influential person in the art world in Artforum. Her work has consistently challenged the relationship between art and technology in an age of climate change. In this new collection of ground breaking essays, she explores how ChatGPT, the use of Large Language Models and the algorithmic creation of imagery impacts on our understanding of the world. Steyerl argues that such practises can not be divorced from the economic and political conditions of the times: every image is a degraded version, the product of layers of exploitation, depleting ever more limited resources of energy. How should we look at such images and what would an image of liberation actually look like?
Supercommunity
Leading artists, theorists, and writers exhume the dystopian and utopian futures contained within the present “I am the supercommunity, and you are only starting to recognize me. I grew out of something that used to be humanity. Some have compared me to angry crowds in public squares; others compare me to wind and atmosphere, or to software.” Invited to exhibit at the 56th Venice Biennale, e-flux journal produced a single issue over a four-month span, publishing an article a day both online and on site from Venice. In essays, poems, short stories, and plays, artists and theorists trace the negative collective that is the subject of contemporary life, in which art, the internet, and globalization have shed their utopian guises but persist as naked power, in the face of apocalyptic ecological disaster and against the claims of the social commons. “I convert care to cruelty, and cruelty back to care. I convert political desires to economic flows and data, and then I convert them back again. I convert revolutions to revelations. I don’t want security, I want to leave, and then disperse myself everywhere and all the time.”
Hito Steyerl
Highlighting Hito Steyerl's large-scale and iconic multi-media works from the past 15 years, this book delves into the artist's investigations of how the internet and new technologies impact our lives. Artist, filmmaker, and writer Hito Steyerl is an acute observer and interpreter of globalized and digital cultures. This book examines three of Steyerl's large-scale works--Hell Yeah We Fuck Die (2016), ExtraSpaceCraft (2016), and Liquidity Inc. (2014)--as well as other iconic works from the last 15 years. These essayistic documentary films blend personal with political and satire with seriousness. Her artworks and writings are inspired by her investigations of the impact of the internet and new technologies on our lives and are critical of the various forms of control and surveillance, as well as militarization and cultural globalization. Published with the Art Gallery of Ontario
Hito Steyerl
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