Hito Steyerl

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Born September 17, 1966(1966-09-17)
Munich, West Germany (today Germany)
Based in Berlin, Germany
Website Mastodon
Web UbuWeb, Aaaaarg, Wikipedia, IMDB
Collections Van Abbe, MoMA, Reina Sofia, Artic, Tate

Hito Steyerl (1966, Munich) works as a filmmaker, philosopher, and cultural critic. She roots her investigative practice in the proliferation of digital images and the large-scale implications of such circumstances. Steyerl’s work takes the form of essays, lectures, installations, video, and photography.

Considering such topics as the ways in which money enters and influences the art world, post-structural philosophy, free ports, and military propaganda, Steyerl’s practice is both acutely political and timely. In addition to teaching, she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin. Operating from 2014 through 2017, the organisation hosted lectures and discussions on various topics, including the potential for resistance within a networked society and the role of art in emergency situations.

Steyerl's works were shown at the 3rd Berlin Biennale (2004), Manifesta 5 (2004), documenta 12 (2007), the Shanghai Biennale (2008) and in the German Pavilion at the Venice Biennale 2015.

She studied in Tokyo, Munich, and Vienna before moving to Berlin, where she lives and works today.

Films, installations[edit]

  • Deutschland und das Ich, 1994, 42 min.
  • Land des Lächelns / Land of Smiles, 1996, 2 min.
  • Babenhausen, 1997, 4 min.
  • Die leere Mitte / The Empty Center, 1998, 62 min.
  • Normalität 1-10 / Normality 1–10, 1999, 32 min.
  • Europas Traum / Europe’s Dream, 2001, 80 min.
  • Euroscapes, 2003. Shown at 3rd Berlin Biennale, 2004.
  • November, 2004, 25 min. [1]. Shown at Manifesta 5 in San Sebastian.
  • Journal #1—An Artist's Impression, 2007, 21 min.
  • Red Alert, 2007. Shown at documenta 12.
  • Lovely Andrea, 2007, 30 min. Shown at documenta 12.
  • Do you speak Spamsoc, 2008.
  • Red Alert 2, 2008.
  • In/Dependence, 2008, 6 min.
  • After the Crash, 2009, 7 min.
  • The Building, 2009.
  • In Free Fall, 2010, 32 min.
  • Strike, 2010, 1 min.
  • Abstract, 2012, 5 min.
  • Adorno's Grey, 2012, 14 min.
  • Guards, 2012, 20 min.
  • How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013, 16 min.
  • Is the Museum a Battlefield?, 2013, 36 min.
  • Liquidity Inc., 2014, 30 min.
  • Factory of the Sun, 2015, 23 min. Presented in the German pavilion at the Venice Biennale in 2015.
  • The Tower, 2015, 8 min. 3-channel video installation, environment, HD video, color, sound. Shown at 9. Berlin Biennale 2016.
  • ExtraSpaceCraft, 2016, 12'30". 3-channel video installation, environment, HD video, color, sound. Shown at 9. Berlin Biennale 2016.
  • Hell Yeah We Fuck Die, 2016. Shown at the Sao Paolo Biennale, 2016.
  • City of Broken Windows, 2018.
  • with Giorgi Gago Gagoshidze, Miloš Trakilović Mission Accomplished: BELANCIEGE, 2019.
  • This Is the Future, 2019.
  • SocialSim, 2020.
  • Animal Spirits, 2022. Commissioned for Steyerl's solo exhibition at MMCA Seoul.

Lectures (video)[edit]

  • How Not to Be Seen, The Photographic Universe II, Parsons the New School for Design, New York, Apr 2013. [2]

Monographs, catalogues[edit]

The Wretched of the Screen, 2012, Log.
Duty Free Art: Art in the Age of Planetary Civil War, 2017, Log, HTML.
  • editor, with Encarnación Gutiérrez Rodríguez, Spricht die Subalterne deutsch? Postkoloniale Kritik und Migration, Münster: Unrast, 2003, 296 pp; repr., 2012. TOC. [4] (German)
  • editor, with Maria Lind, The Green Room: Reconsidering the Documentary and Contemporary Art #1, Berlin: Sternberg, and Annandale-on-Hudson, NY: Center for Curatorial Studies and Hessel Museum of Art/Bard College, 2008, 231 pp. Introduction. [7] Exh. catalogue. (English)
  • Hito Steyerl, ed. & intro. Marius Babias, Cologne: Walther König, 2010, 196 pp. Texts by T.J. Demos and Bert Rebhandl. Exh. held at n.b.k. Berlin, 29 Aug-18 Oct 2009. [8] (German)/(English)
  • Hito Steyerl: Seven Seconds from the Exhibition, intro. Tone Hansen, Høvikodden: Henie Onstad Art Centre, 2010, 93 pp. Essays by Pablo Lafuente, Hito Steyerl, and Maria Muhle. Exh. held 20 May-15 Aug 2010. [9] (English)
  • Ricochet #3. Hito Steyerl, ed. Michael Buhrs, Munich: Museum Villa Stuck, 2010, 48 pp. Text by Michael Buhrs, interview with Steyerl. Exh. held 22 Jul-26 Sep 2010. [10] (German)/(English)
  • The Wretched of the Screen, intro. Franco "Bifo" Berardi, Berlin: Sternberg (e-flux journal), 2012, 198 pp. (English)
    • Los condenados de la pantalla, trans. Marcelo Expósito, Buenos Aires: Caja Negra, 2014, 204 pp. (Spanish)
    • 히토 슈타이얼, 〈스크린의 추방자들〉, Seoul: Workroom, 2016, 296 pp; rev.ed., 2018, 328 pp. [11] [12] (Korean)
    • Χίτο Στέγιερλ, Της οθόνης οι κολασμένες, trans. Κριστιάνα Κυρίτση and Στέφανος Ρέγκας, Athens: Topovoros, 2018, 128 pp. Publisher. (Greek)
  • Hito Steyerl, Chicago: Art Institute Chicago, 2013, [10] pp. Exh. brochure; exh. held 1 Nov 2012-27 Jan 2013. (English)
  • Hito Steyerl, New York: Artists Space, 2015. Online anthology of 15 essays published in transversal and e-flux. Exh. held 8 Mar-24 May 2015. (English)
  • Left To Our Own Devices, Berlin: KOW, 2015, 14 pp. Exh. booklet. Text by Alexander Koch. Exh. held at KOW, 17 Sep-5 Dec 2015. (English)/(German)
  • Duty-Free Art, Madrid: Museo Nacional Centro de Arte Reina Sofía, 2015, 173 pp. Exh. held 11 Nov 2015-21 Mar 2016. (Spanish)/(English)
  • Jenseits der Repräsentation / Beyond Representation. Essays 1999-2009, ed. Marius Babias, Cologne: Walther König (n.b.k. Diskurs 4), 2016, 272 pp. Contributions by Thomas Elsässer, Simon Sheik. TOC. [13] (English)/(German)
    • Dincolo de reprezentare, trans. Andrei Anastasescu, Cluj: IDEA Design & Print, 2017, 168 pp. [14] (Romanian)
  • with Clemens Apprich, Wendy Hui Kyong Chun, and Florian Cramer, Pattern Discrimination, Lüneburg: meson press & University of Minnesota Press, 2018, xii+123 pp. (English)
  • Hito Steyerl: This Is the Future, ed. Adelina Vlas, Toronto: Art Gallery of Ontario, and Munich: Delmonico Books/Prestel, 2019, 196 pp. Essays by Wendy Hui Kyong Chun, Brian Droitcour, Adelina Vlas. Exh. held 24 Oct 2019-23 Feb 2020. (English)
  • Hito Steyerl: I Will Survive, eds. Florian Ebner, Susanne Gaensheimer, Doris Krystof, and Marcella Lista, Düsseldorf: Kunstsammlung Nordrhein-Westfalen, Paris: Centre Pompidou, and Leipzig: Spector Books, 2020, 448 pp. Exh. held at Kunstsammlung NRW, 26 Sep 2020-10 Jan 2021, and Centre Pompidou, Paris, 3 Feb-7 Jun 2021. [15] [16] (German)/(English)

Book chapters, articles[edit]

  • "Kultur und Verbrechen", transversal, Vienna: eipcp, Oct 2000; repr. in Steyerl, Beyond Representation, 2016, pp 84-88. (German)
    • "Culture and Crime", transversal, Vienna: eipcp, Oct 2000; repr. in Steyerl, Beyond Representation, 2016, pp 208-211. (English)
  • "Expo 2000: A Bourgeois Utopia", in Gallery (Dante) Marino Cettina: Future Perspectives, eds. Marina Grzinic, et al., Umag, 2001; repr. in Steyerl, Beyond Representation, 2016, pp 212-221. (English)
    • "Expo 2000: eine bürgerliche Utopie", in Steyerl, Beyond Representation, 2016, pp 89-99. (German)
  • "Haunting Humanism", in Wie wird man fremd?, ed. Jour fixe initiative Berlin, Freiburg: Unrast, 2001, pp 153-171.
  • "Ones and Zeros", in First Story: Women Building New Narratives for the Twenty-First Century, vol. 2, ed. Ute Meta Bauer, Cologne: Walther König, 2002. (English)
  • "Reise und Rasse", in Im Handgepäck Rassismus: Beiträge zu Tourismus und Kultur, eds. Martina Backes, Tina Goethe, Stephan Günther, and Rosaly Magg, Freiburg: Informationszentrum Dritte Welt, 2002, pp 19-42. (German)
  • "Die Artikulation des Protestes", transversal, Vienna: eipcp, Sep 2002; repr. in Transversal. Kunst und Globalisierungskritik, ed. Gerald Raunig, Vienna: Turia+Kant (republicart), 2003, pp 19-28; repr. in Steyerl, Beyond Representation, 2016, pp 25-31. [20] (German)
  • "Postkolonialismus und Biopolitik", in Spricht die Subalterne deutsch? Postkoloniale Kritik und Migration, eds. Hito Steyerl and Encarnación Gutiérrez Rodríguez, Münster: Unrast, 2003, pp 38-55. (German)
  • "Framing Globalities", in Gouvernementalität, eds. Encarnacion Gutierrez-Rodriguez and Marianne Pieper, Frankfurt am Main: Campus, 2003, pp 32-37.
  • "The Empty Center", in In Stuff It: The Video Essay in the Digital Age, ed. Ursula Biemann, Zurich: Voldemeer, and Vienna: Springer, 2003, pp 46-54. (English)
  • "Gaps and Potentials: The Exhibition "Heimat Kunst": Migrant Culture as an Allegory of the Global Market", New German Critique 92: "Multicultural Germany: Art, Performance and Media", Spring-Summer 2004, pp 159-168. [23] (English)
  • "Dokumentarismus und Dokumentalität", in Die Visualität der Theorie vs. Die Theorie der Visualität, eds. Nina Möntmann and Dorothee Richter, Frankfurt am Main: Revolver, 2004, pp 141-160. (German)
    • "The Violence of Images: Documentarism and Documentality", in Concerning War: A Critical Reader, eds. Maria Hlavajova and Jill Winder, Utrecht: BAK, and Frankfurt am Main: Revolver, 2006; 2nd ed. as Concerning War: A Critical Reader in Contemporary Art, 2010. [24] [25] [26] (English)
    • "Dokumentation och dokumentalitet", trans. Daniel Holdenmark and Michael Ranta, in Konst, makt och politik, ed. Simon Sheikh, Stockholm: Raster, 2007, pp 214-237. (Swedish)
  • "Euroscapes", in 3 Berlin Biennale für zeitgenössische Kunst, ed. Ute Meta Bauer, Cologne: Walter König, 2004, pp 22-27.
  • "Fiktion Europa", in Das Neue Europa, eds. Marius Babias and Dan Perjovshi, Vienna: Generali Foundation, 2005, pp 65-73. (German)
  • "Mimesis und Anpassung", in Filmriss, ed. Willi Bischof. Münster: Unrast, 2005, pp 29-38. (German)
  • "White Cube and Black Box", in Mythen, Masken und Subjekte. Kritische Weißseinsforschung in Deutschland, eds. Susan Arndt, Maureen Maisha Eggers, Grada Kilomba, and Peggy Piesche, Münster: Unrast, 2005, pp 135-144. (German)
  • "The Institution of Critique", transversal, Vienna: eipcp, Jan 2006; repr. in Art and Contemporary Critical Practice: Reinventing Institutional Critique, eds. Gerald Raunig and Gene Ray, London: MayFly Books, 2009, pp 13-19; repr. in Steyerl, Beyond Representation, 2016, pp 223-227. (English)
  • "Die Gegenwart der Subalternen", intro. in Gayatri Spivak, Can the Subaltern speak? Postkolonialität und subalterne Artikulation, Vienna: Turia + Kant, 2007, pp 5-15; repr., Translate, Vienna: eipcp, 9 Dec 2007. Excerpt. [27]
  • "Notes about Spamsoc", Pages 7, Mar 2009, pp 59-67; repr. in Steyerl, Beyond Representation, 2016, pp 167-172. [28] (English)
    • "Bemerkungen über Spamsoc", in Steyerl, Beyond Representation, 2016, pp 40-46. (German)
  • "Is a Museum a Factory?", e-flux 7, New York: e-flux, Jun 2009; repr. in Steyerl, The Wretched of the Screen, 2012; repr. in Steyerl, Beyond Representation, 2016, pp 228-237. (English)
    • "¿Es el museo una fábrica?", trans. Marcelo Expósito, in Steyerl, Los condenados de la pantalla, 2014. (Spanish)
    • "Ist das Museum eine Fabrik", in Steyerl, Beyond Representation, 2016, pp 107-115. (German)
  • "In Defense of the Poor Image", e-flux 10, New York: e-flux, Nov 2009; repr. in Steyerl, The Wretched of the Screen, 2012, pp 31-45; repr. in Steyerl, Beyond Representation, 2016, pp 147-153. An earlier version was improvised in a response given at the conference Essayfilm: Ästhetik und Aktualität in Lüneburg organised by Thomas Tode and Sven Kramer in 2007. (English)
    • Chinese trans., [2011]. (Chinese)
    • "En defensa de la imagen pobre", trans. Marcelo Expósito, in Steyerl, Los condenados de la pantalla, 2014. (Spanish)
    • "V bran revne podobe", trans. Miha Šuštar, ŠUM 3, Ljubljana: Društvo Galerija Boks, Oct 2014, pp 251-261, HTML. (Slovenian)
    • "In Verteidigung des armen Bildes", in Steyerl, Beyond Representation, 2016, pp 17-24. (German)
  • "A Thing Like You and Me", in Hito Steyerl: Seven Seconds from the Exhibition, 2010; repr. in e-flux 15, New York: e-flux, Apr 2010; repr. in Steyerl, The Wretched of the Screen, 2012. (English)
  • "Kobanê Is Not Falling", e-flux, 10 Oct 2014; repr. in New World Academy Reader, 5: Stateless Democracy, eds. Renée In der Maur and Jonas Staal, et al., Utrecht: BAK, 2015, pp 223-227. (English)
  • "Beginnings", e-flux 59, New York: e-flux, Nov 2014. (English)

Conversations, interviews[edit]

  • "Hito Steyerl. „Die Realität hat sich erweitert, und ich folge ihr“. Ein Gespräch von Katja Kwastek", Kunstforum 242: "Postdigital", 2016, pp 122-131. Excerpt. (German)

On Hito Steyerl[edit]