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against individuals and try to frame the problems more generally in terms of a new charter for the art world: a set of principles that include different aspects, like pay, sponsorship, governance, transparency standards, representation, sustainability, and so on, like a new deal for museums.' In April 2019, Hito
Steyerl incorporated an interactive app into her exhibition at London’s Serpentine Galleries, titled 'Power Plants', which used augmented reality to display floating data, text, and graphs around the museum space, highlighting inequalities in South Kensington, London, and erasing the Sackler name from the Serpentine Sackler Gallery entrance as a commentary on power structures in contemporary technology. Steyerl employs increasingly complex approaches to pixelation within the digital sphere, editing, digital graphics, and video installation architecture.
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630:(from 2014) consists of a video and a seating/backdrop installation. The video includes interviews with Jason Wood, a financial-advisor-turned-MMA-fighter, mesmerizing clips of ocean waves, and mock-weather reports from characters in balaclavas. As these visuals swirl around, a metaphor forms between water and images/money/trend in the digital age.
608:, presenting five lessons in invisibility. These lessons include how to 1. Make something invisible for a camera, 2. Be invisible in plain sight, 3. Become invisible by becoming a picture, 4. Be invisible by disappearing, and 5. Become invisible by merging into a world made of pictures. Many of these methods may seem impossible.
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in 2019 at the Park Avenue Armory in New York, for which
Steyerl revealed histories connecting the building hosting the exhibition with the founding of the National Rifle Association. On the topic of private funding, Steyerl has expressed: 'Ultimately, it will be important to move beyond protests
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In recent years, Steyerl's work has expanded to confront the status of images in an increasingly digital world, institutions (including museums), networks, and labor. Her work has addressed the topic of corporate sponsorship by engaging with institutions, including
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deals with finance. In this video, which debuted at the 2015 Venice
Biennial, clip art people swarm and create "artificial sunshine" for a bank. The video utilizes light, sunshine, and warmth as motifs as it explores surveillance and mega-finance.
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is a satirical take on instructional films. Much of the video also deals with surveillance and digital imagery: for example, figures in all black dance around as "pixels," and aerial photography features frequently. Thus,
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293:. Her work is developed from research, interviews, and the collection of found images, culminating in pedagogically oriented work in the realm of forensic documentaries and dream-like montages.
159:, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in philosophy from the
258:. The color red was chosen for its connotations to terror alerts and red-light districts, referencing the themes of military violence and pornographic exploitation present in
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Steyerl's work pushes the boundary of traditional video, often obscuring what is real beneath many layers of metaphors and satirical humor. She referred to her piece,
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2065:'Why Games? Can an Art Professional Think?'. Video of the complete conference of Hito Steyerl at FundaciĂł Antoni TĂ pies museum, Barcelona.
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consists of three monitors playing a video of pure red, and was commissioned to be a static representation of
Steyerl's film
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2021 - Frank-Walter
Steinmeier, the German president, offered Steyerl the Federal Cross of Merit which Steyerl turned down
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239:. In 2015, her work was included in the German pavilion at the Venice Biennale. In 2019, it was featured in the
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as the number one most influential person in the contemporary art world. In 2023, Steyerl was again listed by
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289:, which is demonstrated through her tendencies and interests in engaging the presentational context of
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1865:"Post-internet artist Hito Steyerl on refusing honours, buying her work back – and fighting big tech"
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Walther König. Edited by Marius Babias, contributions by Thomas Elsässer and Simon Sheik.
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1897:"MoMA | Hito Steyerl. How Not to Be Seen: A Fucking Didactic Educational .MOV File. 2013"
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Liquidity
Incorporated: Economics Tides and Fluid Data in Hito Steyerl's Liquidity, Inc
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1647:"MoMA | Hito Steyerl's HOW NOT TO BE SEEN: A F**king Didactic Educational .MOV File"
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5, The
European Biennial of Contemporary Art. She has also participated in the 2008
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Hito
Steyerl | Politics of Post-Representation, In conversation with Marvin Jordan
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becomes a tutorial for invisibility in an age of intense hypersurveillance.
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1623:"Exhibition Hito Steyerl: I will survive at the Stedelijk Museum Amsterdam"
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If You Don’t Have Bread, Eat Art!: Contemporary Art and
Derivative Fascisms
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950:"Neues Forschungszentrum für Technoästhetik an der Münchner Kunstakademie"
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Art and
Contemporary Critical Practice: Reinventing Institutional Critique
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as the number two most influential person in the contemporary art world.
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Jenseits der Repräsentation / Beyond Representation: Essays 1999–2009.
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Proyecciones: Arte, control y dominaciĂłn. 3 pelĂculas de Hito Steyerl
1120:"U B U W E B – Film & Video: Hito Steyerl – Lovely Andrea (2007)"
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1812:"In 'Drill,' Hito Steyerl Adds Polish to Images of a World Gone Mad"
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since 2024. Until 2024, she was a professor of New Media Art at the
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How Not To Be Seen. A Fucking Didactic Educational.MOV File (2013)
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surrounding it. Steyerl has pushed both the role and the label of
1191:"In-yer-face art: the best of Venice Biennale 2015 – in pictures"
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Steyerl is a frequent contributor to online art journals such as
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400:
How Not To Be Seen: A Fucking Didactic Educational Installation,
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1453:, Bienal de la Imagen en Movimiento, Retrieved 21 November 2014.
1434:, Bienal de la Imagen en Movimiento, Retrieved 21 November 2014.
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Milliard, Coline (December 1, 2013). "13th Istanbul Biennial".
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and the 2010 Gwangju and Taipei biennials. In 2007, her film
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722:. Mayflybooks/Ephemera. Edited by Gerald Raunig and Gene Ray
476:, Museo d'Arte Contemporanea Castello di Rivoli, Turin (2018)
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as part of the Bienal de la Imagen en Movimiento (BIM) (2014)
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Ed. Paula A. Farca. University of Nevada Press, 2019. 12–21.
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How Not To Be Seen: A Fucking Didactic Educational .MOV File
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How to Not Be Seen: A Fucking Didactic Educational .MOV File
163:. She has been a professor of Current Digital Media at the
390:("Art, control and domination. 3 films of Hito Steyerl"),
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Oltermann, Philip (23 June 2023). "Out of the shadows".
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Make Waves: Water in Contemporary Literature and Film.
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2009. Steyerl, Hito. "The Institution of Critique," in
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Arte, control y dominaciĂłn. 3 pelĂculas de Hito Steyerl
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Steyerl has had numerous solo exhibitions, including:
1377:, Art Institute of Chicago, Retrieved 10 August 2014.
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Duty Free Art: Art in the Age of Planetary Civil War.
1274:"Hito Steyerl: How To Build a Sustainable Art World"
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Academic staff of the Berlin University of the Arts
1495:, Artists Space Exhibitions, Retrieved 31 May 2015.
1104:"Hito Steyerl DeriVeD (2008) 7th Shanghai Biennial"
711:2007. Steyerl, Hito. "Documentary Uncertainty," in
1863:Oltermann, Philip; @philipoltermann (2023-06-13).
465:, Hartware MedienKunstVerein in the Dortmunder U,
1164:, Andrew Kreps Gallery, Retrieved 10 August 2014.
1062:"Beginnings – Journal #59 November 2014 – e-flux"
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1359:"Hito Steyerl Has New York Solo Debut at e-flux"
889:Gerhardt, Christina and Jaimey Hamilton Faris. "
314:Installation view of Hell Yeah We Fuck Die, 2016
231:, Germany. In 2013 her work was included in the
1763:"Selected Works – Hito Steyerl – Artists – KOW"
1695:"Selected Works – Hito Steyerl – Artists – KOW"
685:and the Paddy & Joan Leigh Fermor Arts Fund
1719:"Hito Steyerl at the Art Institute of Chicago"
1348:, Chisehale Gallery, Retrieved 10 August 2014.
844:Demos, TJ. "Traveling Images: Hito Steyerl."
673:Copenhagen International Documentary Festival
152:(born 1 January 1966) is a German filmmaker,
2006:"Hito Steyerl wins the inaugural EYE Prize"
1791:The Museum of Contemporary Art, Los Angeles
1558:The Museum of Contemporary Art, Los Angeles
1396:, Van Abbemuseum, Retrieved 10 August 2014.
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1222:Arsenale, Central Pavilion / (2019-05-15).
671:2010 – NEW:VISION Award, presented by the
281:, and the dissemination of images and the
29:
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1425:ExposiciĂłn: En defensa de la imagen pobre
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1152:, documents 12, Retrieved 10 August 2014.
1007:, documenta 12, Retrieved 10 August 2014.
435:Museo Nacional Centro de Arte Reina SofĂa
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777:Sternberg Press. Edited by Nick Aikens.
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197:University of Television and Film Munich
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1415:, ICA London, Retrieved 10 August 2014.
1339:"Archive Past Exhibitions Hito Steyerl"
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1253:Hito Steyerl, interview at Documenta 12
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453:Museum of Contemporary Art, Los Angeles
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1995:, Indiewire, Retrieved 10 August 2014.
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1292:"App art — a playground for new ideas"
1094:, Manifesta, Retrieved 10 August 2014.
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867:Transnational Germany: Hito Steyerl's
187:Steyerl was born on 1 January 1966 in
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386:("In defense of the poor image") and
1272:Zefkili, Despina (18 October 2019).
975:"Research Center for Proxy Politics"
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1830:"Drill : Program & Events"
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1224:"Biennale Arte 2019 | Hito Steyerl"
1189:Sinibaldi, Christian (2015-05-07).
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681:2015 – EYE Prize, presented by the
604:In 2013 Steyerl released her video
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199:. Steyerl was deeply influenced by
193:Japan Institute of the Moving Image
13:
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1787:"Hito Steyerl: Factory of the Sun"
1602:"Hito Steyerl: This is the Future"
1554:"Hito Steyerl: Factory of the Sun"
1506:"Hito Steyerl – Exhibitions – KOW"
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1106:, vimeo, Retrieved 10 August 2014.
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2120:German philosophers of technology
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871:and 200 Years of Border Crossings
250:, as "the outer limit of video".
1921:"Liquidity Inc. | icaboston.org"
1739:"Liquidity Inc. | icaboston.org"
1316:"Liquidity Inc. | icaboston.org"
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420:, Left To Our Own Devices, KOW,
211:In 2004 Steyerl participated in
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656:In 2017, Steyerl was listed by
1993:"Thinking Outside the Doc Box"
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1045:"Artist profile: Hito Steyerl"
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683:EYE Film Institute Netherlands
378:Institute of Contemporary Arts
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2085:German documentary filmmakers
1810:Farago, Jason (5 July 2019).
1671:"Is the Museum a Battlefield"
1530:"Hito Steyerl. Duty-Free Art"
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775:Hito Steyerl: Too Much World.
384:En defensa de la imagen pobre
173:Berlin University of the Arts
2115:Women documentary filmmakers
1578:"Hito Steyerl: Power Plants"
948:Vogel, Evelyn (2024-07-04).
734:In Defense of the Poor Image
556:Is the Museum a Battlefield?
265:Her work concerns topics of
16:German filmmaker (born 1966)
7:
2110:German contemporary artists
2035:Hito Stereyl, MoMA Learning
1365:, Retrieved 10 August 2014.
1051:, Retrieved 10 August 2014.
938:, Retrieved 10 August 2014.
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223:was exhibited as a part of
195:. She later studied at the
161:Academy of Fine Arts Vienna
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1250:dmovies.net (2013-06-12),
760:The Wretched of the Screen
474:The City of Broken Windows
1406:"What's On: Hito Steyerl"
1162:"Hito Steyerl: Biography"
1143:"documents 12: overviewd"
1034:Retrieved 10 August 2014.
754:2012. Steyerl, Hito, and
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112:Factory of the Sun (2015)
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1387:"Van Abbemuseum: Detail"
886:Walker Art Center, 2013.
875:Women in German Yearbook
707:. She has also written:
355:Art Institute of Chicago
243:of the Venice Biennale.
1945:"power 100 / ArtReview"
1463:Gallery, Andrew Kreps.
848:(Summer 2008): 408–413.
745:A Thing Like You and Me
206:
191:. Steyerl attended the
1534:www.museoreinasofia.es
1465:"Andrew Kreps Gallery"
1228:La Biennale di Venezia
835:Hito Steyerl: A Primer
801:2016. Steyerl, Hito. "
743:2010. Steyerl, Hito. "
732:2009. Steyerl, Hito. "
667:Other awards include:
525:Amsterdam, Netherlands
506:Art Gallery of Ontario
368:Eindhoven, Netherlands
315:
1375:"focus: Hito Steyerl"
1085:"Manifesta 5 artists"
812:2017. Steyerl, Hito.
787:2016. Steyerl, Hito.
773:2014. Steyerl, Hito.
313:
237:the Istanbul Biennial
183:Early life and career
2105:German women artists
2049:Andrew Kreps Gallery
1582:Serpentine Galleries
1469:Andrew Kreps Gallery
690:Käthe Kollwitz Prize
488:Serpentine Galleries
402:Andrew Kreps Gallery
165:Academy of Fine Arts
139:Käthe Kollwitz Prize
1849:The Guardian Weekly
1767:www.kow-berlin.info
1699:www.kow-berlin.info
1510:www.kow-berlin.info
880:Ryan, Bartholomew.
877:22 (2007): 205–223.
852:Gerhardt, Christina
762:. Sternberg Press.
641:Factory of the Sun,
1816:The New York Times
1449:2014-11-29 at the
1430:2014-11-29 at the
1411:2014-11-13 at the
1392:2014-11-13 at the
1363:The New York Times
1344:2014-11-13 at the
1148:2014-11-13 at the
1090:2014-08-12 at the
1026:2014-08-10 at the
1003:2014-11-13 at the
979:rcpp.lensbased.net
863:Christina Gerhardt
857:2022-04-17 at the
841:, August 19, 2015.
635:Factory of the Sun
615:How Not to be Seen
610:How Not to Be Seen
606:How Not to Be Seen
574:Factory of the Sun
502:This is the Future
463:Factory of the Sun
449:Factory of the Sun
327:Chisenhale Gallery
316:
1925:www.icaboston.org
1852:. pp. 52–53.
1743:www.icaboston.org
1357:Cotter, Holland.
1320:www.icaboston.org
908:Post-Internet art
822:978-1-78663-243-2
797:978-3-86560-893-2
783:978-3-95679-057-7
768:978-1-934105-82-5
728:978-1-906948-02-3
467:Dortmund, Germany
414:, New York (2015)
404:, New York (2014)
217:Shanghai Biennale
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699:Select writings
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645:Liquidity, Inc.
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622:Liquidity, Inc.
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510:Toronto, Canada
380:, London (2014)
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269:, surveillance
233:Venice Biennale
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2100:1966 births
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1969:"Power 100"
1124:www.ubu.com
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287:fine artist
75:Nationality
2074:Categories
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