Friday, August 28, 2009
hito sevmeyen olsun: hito steyerl at n.b.k.
The presentation in the Neuer Berliner Kunstverein is artist and film-maker Hito Steyerl's first solo show at a German institution. Her work has been featured at big exhibitions such as the 3. berlin biennial for contemporary art (2004), Manifesta 5 (2004), documenta 12 (2007), or the
Her films are a montage of pop and politics, and independent film, interviews and voice-over commentaries, all combined into provocative filmic analyses of the present. In her new film After the Crash (2009), Steyerl tells the story of the current global economic crisis through the example of airplane junkyard in the Californian desert. In the double projection In/Dependence (2008), Steyerl returns to the theme of Japanese bondage, a subgenre of pornography that she already explored in her earlier film Lovely Andrea (2007). In Do you speak Spamsoc (2008), she examines the logic of "Spamsoc" as its own language of translation on the covers of pirated Chinese DVDs. The film November (2004) tells the story of Steyerl's teenage friend Andrea Wolf, who later become a fighter for the PKK, while the animation film Red Alert 2 (2008) follows up on the reception of Red Alert (2007), one of Steyerl's contributions to documenta 12. The n.b.k Videoforum will feature the documentation The Building (2009), an intervention on migration and national socialism that Steyerl made in the framework of the European Cultural Capital Linz 09.
Curated by Marius Babias
Book series "n.b.k exhibitions"
The exhibition will be accompanied by a publication with an introduction by Marius Babias and texts by T.J. Demos and Bert Rebhandl. This 168 page color illustrated German-English volume will appear with the publishing house of Walther König, Cologne. In spring 2010 the book series "n.b.k discourse" will also feature a collection of essays by Hito Steyerl. Biennial (2008). Trained as a filmmaker, she holds a PhD in philosophy and works on the borderline between cinema and visual art, combing elements of experimental film, auteur cinema, documentary, and video art to undertake cutting post-colonial and feminist critiques of representation.