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Shaping the Future of Time-Based Art

Julia Stoschek Foundation on jsfoundation.art

The Julia Stoschek Foundation has established itself as a leading non-profit arts and culture organisation dedicated to the collection, conservation, presentation, and research of time-based art. Since its formal inception in 2017, the foundation has operated from two dynamic spaces in Berlin and Düsseldorf, where it showcases pioneering media and performance art through large-scale exhibitions and parallel events. At the heart of its activities lies the Julia Stoschek Collection, founded in 2002, now recognized as one of the world’s most comprehensive private collections of time-based art, encompassing over 875 works by internationally acclaimed artists.

Paul Chan, Too Phantasia 4, 2024, sculpture; fans, synthetic and natural fabrics, metal, cords, shoes, concrete, 203.2 x 304.8 x 213.4 cm. Installation view, AFTER IMAGES, JSF Berlin. Photo: Alwin Lay.

Driven by Julia Stoschek’s visionary leadership, the foundation’s mission goes beyond traditional art institutions. It fosters intellectual independence and aims to reflect the rapidly evolving cultural and technological realities of our time. Julia Stoschek began assembling her collection with a clear goal: to create an unparalleled repository of video and time-based art. Over the past 15 years, this mission has not only materialised but also expanded, with the foundation continuously innovating in how it engages with audiences.

Both the Berlin and Düsseldorf spaces are designed to immerse visitors in the ever-expanding possibilities of time-based art. Since 2007, solo and group exhibitions have been held in Düsseldorf, while a second exhibition venue in Berlin-Mitte was inaugurated in 2016. Both locations feature robust outreach programs, including guided tours, screenings, lectures, artist talks, and workshops. These programs enrich public understanding of time-based art and allow diverse audiences to engage with it from multiple perspectives.

Lotus L. Kang, In Cascades, 2024, installation, dimensions variable. Installation view, AFTER IMAGES, JSF Berlin. Photo: Alwin Lay.

Reflecting on the foundation’s journey, Julia Stoschek notes, “Artists first, trust your team, be open to what you don’t know, and plan for everything to be different than expected.” These guiding principles have shaped the foundation’s manifesto, driving its commitment to artistic and curatorial explorations.

Currently, the foundation presents two exhibitions that exemplify its forward-thinking approach. In Berlin, After Images challenges conventional notions of perception and image-making. Curated by Lisa Long, Artistic Director, with the support of Line Ajan and Josefin Granetoft, the exhibition features over 25 works, including six new commissions. Departing from the foundation’s traditional focus on video and film, After Images redefines time-based art by incorporating materiality, texture, movement, and immersive sensory experiences. Works by artists such as Theresa Baumgartner, Laurel Halo, LABOUR (Farahnaz Hatam & Colin Hacklander), and Jesse Stecklow push the boundaries of the visual realm, engaging sound, light, smell, and touch. By questioning the hierarchy of sight over other senses, the exhibition proposes a more embodied, multisensory approach to contemporary image culture.

Norbert Pape & Simon Speiser, Touching Clouds, 2023, XR-installation; VR Headsets, custom-made XR application. Installation view, AFTER IMAGES, JSF Berlin. Photo: Alwin Lay.

Meanwhile, in both Düsseldorf and Berlin, Double Feature: Theodoulos Polyviou introduces the third chapter of Polyviou’s ongoing series, Transmundane Economies (2022–ongoing). This body of work employs digital technologies, including virtual reality and CGI filmmaking, to reconstruct and reinterpret Cypriot cultural heritage. At its core is A Palace in Exile (2024), a site-responsive video installation produced in collaboration with architectural designer Loukis Menelaou. The work juxtaposes the Julia Stoschek Foundation’s architectural spaces with scenes from 1950s Cyprus, a period marked by nationalist and colonial tensions. Through speculative narratives, Polyviou circumvents nationalist agendas and invites viewers to consider the intersections of history, identity, and belonging. Sculptures, archival objects, photography, and prints, showcased within the exhibition environments, create distinct yet interconnected experiences in each location, exploring how technology and architecture can evoke ritual and sacred practices.

The website of Julia Stoschek Foundation can be reached via jsfoundation.art

 

Daria Kravchuk

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