“I am delighted that Ed Atkins will be conceiving this exhibition, which is of special
importance to me. Seen from a historical perspective ten years is a very short period of
time – but looking back it’s clear that the age in which we now live is characterized by a
dynamism that can make your head spin. Ed Atkins focuses on the central question of how
the moving image or our image realities have changed under the influence of everchanging
technologies. His curation is focused on spanning the generations of artist
moving image work in the collection.” Julia Stoschek
As a singularly holistic technology, video has maintained its status as the most popular
medium. In the last decade the distribution of video has become simpler in terms of access,
and more complex as regards the mode of distribution itself. The technological advances
that account for these changes pervade artistic practice particularly, pragmatically as well
as conceptually: Not only new reflexively approached formats abound, but new modes of
behavior, communication and forms of representation, forms that are able to decisively alter
The term “Generation Loss” generally refers to the process of a qualitative loss in
successively copied data. Everything that reduces the representative quality as copies of
data are made, can be regarded as a form of ‘generation loss’. However, this holds true not
just for data formats or material media, but also manifests itself in an ideological sense in
politics, culture, nature, from one generation to the next.
GENERATION LOSS reflects upon an analogy made between data loss and social change.
As an installation, GENERATION LOSS is devised to confront the collection’s historicity
within a context of both stark visibility and collective theatricality. Works are divested of
certain of their unique accoutrements, and shown, instead, uniformly projected on
perspectivally scaled screens, in a series of paired sequences that play simultaneously,
sequestered between acoustic glass walls. GENERATION LOSS is a looping performance
about the tacit interrelationships of the JULIA STOSCHEK COLLECTION, the illusions and
realities of the medium of artists’ moving image, and the ways in which generations – of
artists, technologies, discources – inherit, lose, change or uphold their inhertitance.
Formally, the exhibition will very visibly connect works, in what is a sort of
straightforward, socially demonstrative way: projected works will be screened in
choreographed sequences and in proximity to one another. This will be partially achieved
using acoustic glass to divide the works and effectively block sound leaks, but allows you
to see through to other spaces, works. No work alone, all works in relation.
Across 48 works, GENERATION LOSS showcases the entire spectrum of the works in the
collection. This will provide a unique and unprecedented overview of the structure of the
history and the historicity of the JULIA STOSCHEK COLLECTION.
A catalogue with texts by Ed Atkins, Monika Kerkmann, Julia Stoschek and media
conservator Andreas Weisser was published in June 2017.
The exhibition will feature works by Eleanor Antin, Ed Atkins & Simon Thompson, Charles
Atlas, Lutz Bacher, Klaus vom Bruch, Bernadette Corporation, Lynda Benglis, Johanna
Billing, Dara Birnbaum, Hannah Black, Klaus vom Bruch, Chris Burden, Matt Calderwood,
Patty Chang, Ian Cheng, Jen DeNike, Nathalie Djurberg & Hans Berg, Cheryl Donegan,
Trisha Donnelly, Cao Fei, Peter Fischli & David Weiss, Dara Friedman, Cyprien Gaillard,
Douglas Gordon, Barbara Hammer, Christian Jankowski, Joan Jonas, Imi Knoebel, Mark
Leckey, Klara Lidén, Gordon Matta-Clark, Paul McCarthy, Lutz Mommartz, Bruce Nauman, Jon Rafman, Lucy Raven, Reynold Reynolds & Patrick Jolley, James Richards, Rachel
Rose, Jack Smith, Wolfgang Tillmans, Ulay & Marina Abramović, Steina Vasulka, Hannah
Wilke, Jordan Wolfson, Tobias Zielony.