Hito Steyerl: I Will Survive
Hito Steyerl: I Will Survive
Edited with text by Florian Ebner, Doris Krystof, Marcella Lista. Text by Nora M. Alter, Karen Archey, Teresa Castro, Alexandra Delage, Thomas Elsaesser, Ayham Ghraowi, Tom Holert, Florentine Muhry, Vanessa Joan Müller, Mark Terkessidis, Brian Kuan Wood.
A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Art and 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.
Praise:
New York Times, Jason Farago
“Steyerl has always brought a profound ambivalence to bear on new technologies. Her skepticism looks more valid than ever [in this book] after the many months we’ve spent in front of our screens.”
Hito Steyerl: I Will Survive
Edited with text by Florian Ebner, Doris Krystof, Marcella Lista. Text by Nora M. Alter, Karen Archey, Teresa Castro, Alexandra Delage, Thomas Elsaesser, Ayham Ghraowi, Tom Holert, Florentine Muhry, Vanessa Joan Müller, Mark Terkessidis, Brian Kuan Wood.
A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Art and 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.
Praise:
New York Times, Jason Farago
“Steyerl has always brought a profound ambivalence to bear on new technologies. Her skepticism looks more valid than ever [in this book] after the many months we’ve spent in front of our screens.”
Hito Steyerl: I Will Survive
Edited with text by Florian Ebner, Doris Krystof, Marcella Lista. Text by Nora M. Alter, Karen Archey, Teresa Castro, Alexandra Delage, Thomas Elsaesser, Ayham Ghraowi, Tom Holert, Florentine Muhry, Vanessa Joan Müller, Mark Terkessidis, Brian Kuan Wood.
A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Art and 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.
Praise:
New York Times, Jason Farago
“Steyerl has always brought a profound ambivalence to bear on new technologies. Her skepticism looks more valid than ever [in this book] after the many months we’ve spent in front of our screens.”
