Generation Loss: 10 years of the Julia Stoschek Collection
After more than 15 exhibitions and eight international collaborative projects attracting over 100,000 visitors, Julia Stoschek Collection is now celebrating its 10th anniversary in June this year. The anniversary exhibition titled 鈥淕eneration Loss鈥� is being conceived in collaboration with British artist Ed Atkins.
As a singularly holistic technology, video has maintained its status as the most popular medium. In the last decade the distribution of video has become simpler in terms of access, and more complex as regards the mode of distribution itself.The technological advances that account for these changes pervade artistic practice particularly, pragmatically as well as conceptually: Not only new reflexively approached formats abound, but new modes of behavior, communication and forms of representation, forms that are able to decisively alter our perception. Unique among art forms, artist moving image has always been singularly driven by the medium, as it moves within the mainstream 鈥� cleaving, albeit critically, to the technologies鈥� processes of fidelity and capitalistic progress.
The term 鈥淕eneration Loss鈥� generally refers to the process of a qualitative loss in successively copied data. Everything that reduces the representative quality as copies of data are made, can be regarded as a form of 鈥榞eneration loss鈥�. However, this holds true not just for data formats or material media, but also manifests itself in an ideological sense in politics, culture, nature, from one generation to the next.
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After more than 15 exhibitions and eight international collaborative projects attracting over 100,000 visitors, Julia Stoschek Collection is now celebrating its 10th anniversary in June this year. The anniversary exhibition titled 鈥淕eneration Loss鈥� is being conceived in collaboration with British artist Ed Atkins.
As a singularly holistic technology, video has maintained its status as the most popular medium. In the last decade the distribution of video has become simpler in terms of access, and more complex as regards the mode of distribution itself.The technological advances that account for these changes pervade artistic practice particularly, pragmatically as well as conceptually: Not only new reflexively approached formats abound, but new modes of behavior, communication and forms of representation, forms that are able to decisively alter our perception. Unique among art forms, artist moving image has always been singularly driven by the medium, as it moves within the mainstream 鈥� cleaving, albeit critically, to the technologies鈥� processes of fidelity and capitalistic progress.
The term 鈥淕eneration Loss鈥� generally refers to the process of a qualitative loss in successively copied data. Everything that reduces the representative quality as copies of data are made, can be regarded as a form of 鈥榞eneration loss鈥�. However, this holds true not just for data formats or material media, but also manifests itself in an ideological sense in politics, culture, nature, from one generation to the next.
Artists on show
- Barbara Hammer
- Bernadette Corporation
- Bruce Nauman
- Cao Fei
- Charles Atlas
- Cheryl Donegan
- Chris Burden
- Christian Jankowski
- Cyprien Gaillard
- Dara Birnbaum
- Dara Friedman
- David Weiss
- Douglas Gordon
- Ed Atkins
- Eleanor Antin
- Gordon Matta-Clark
- Hannah Black
- Hannah Wilke
- Hans Berg
- Ian Cheng
- Imi Knoebel
- James Richards
- Jen DeNike
- Jesper Just
- Joan Jonas
- Johanna Billing
- Jon Rafman
- Klaus vom Bruch
- Lucy Raven
- Lutz Bacher
- Lutz Mommartz
- Lynda Benglis
- Marina Abramovi膰 & Ulay
- Mark Leckey
- Matt Calderwood
- Nathalie Djurberg
- Patty Chang
- Peter Fischli
- Rachel Rose
- Reynold Reynolds & Patrick Jolley
- Simon Thompson
- Steina Vasulka
- Tobias Zielony
- Trisha Donnelly
- Wolfgang Tillmans
