Hito Steyerl

Hito Steyerl (born 1 January 1966) is a German filmmaker, moving image artist, writer, and innovator of the essay documentary.

Her principal topics of interest are media, technology, and the global circulation of images.

Steyerl holds a PhD in philosophy from the Academy of Fine Arts Vienna.

She is currently a professor of New Media Art at the Berlin University of the Arts, where she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin.

Steyerl was born on 1 January 1966 in Munich.

Steyerl attended the Japan Institute of the Moving Image.

She later studied at the University of Television and Film Munich.

Steyerl was deeply influenced by Harun Farocki, although she has cited her former professor, the noted film historian Helmut Färber, as having a more direct influence on her work.

In 2004 Steyerl participated in Manifesta 5, The European Biennial of Contemporary Art.

In 2007, her film Lovely Andrea was exhibited as a part of documenta 12 in Kassel, Germany.

She has also participated in the 2008 Shanghai Biennale and the 2010 Gwangju and Taipei biennials.

In 2013 her work was included in the Venice Biennale and the Istanbul Biennial.

In 2013 Steyerl released her video How Not to Be Seen, presenting five lessons in invisibility.

These lessons include how to 1.

Make something invisible for a camera, 2.

Be invisible in plain sight, 3.

Become invisible by becoming a picture, 4.

Be invisible by disappearing, and 5.

Become invisible by merging into a world made of pictures.

Many of these methods may seem impossible.

How Not to Be Seen is a satirical take on instructional films.

Much of the video also deals with surveillance and digital imagery: for example, figures in all black dance around as "pixels," and aerial photography features frequently.

Thus, How Not to be Seen becomes a tutorial for invisibility in an age of intense hypersurveillance.

Liquidity, Inc., (from 2014) consists of a video and a seating/backdrop installation.

The video includes interviews with Jason Wood, a financial-advisor-turned-MMA-fighter, mesmerizing clips of ocean waves, and mock-weather reports from characters in balaclavas.

As these visuals swirl around, a metaphor forms between water and images/money/trend in the digital age.

In 2015, her work was included in the German pavilion at the Venice Biennale.

In 2019, it was featured in the Arsenale of the Venice Biennale.

Steyerl's work pushes the boundary of traditional video, often obscuring what is real beneath many layers of metaphors and satirical humor.

She referred to her piece, Red Alert, as "the outer limit of video".

Red Alert consists of three monitors playing a video of pure red, and was commissioned to be a static representation of Steyerl's film Lovely Andrea.

The color red was chosen for its connotations to terror alerts and red-light districts, referencing the themes of military violence and pornographic exploitation present in Lovely Andrea.

Her work concerns topics of militarization, surveillance migration, the role of media in globalization, and the dissemination of images and the culture surrounding it.

Steyerl has pushed both the role and the label of fine artist, which is demonstrated through her tendencies and interests in engaging the presentational context of art.

Her work is developed from research, interviews, and the collection of found images, culminating in pedagogically oriented work in the realm of forensic documentaries and dream-like montages.

In recent years, Steyerl's work has expanded to confront the status of images in an increasingly digital world, institutions (including museums), networks, and labor.

Her work has addressed the topic of corporate sponsorship by engaging with institutions, including Drill in 2019 at the Park Avenue Armory in New York, for which Steyerl revealed histories connecting the building hosting the exhibition with the founding of the National Rifle Association.

On the topic of private funding, Steyerl has expressed: 'Ultimately, it will be important to move beyond protests against individuals and try to frame the problems more generally in terms of a new charter for the art world: a set of principles that include different aspects, like pay, sponsorship, governance, transparency standards, representation, sustainability, and so on, like a new deal for museums.' In April 2019, Hito Steyerl incorporated an interactive app into her exhibition at London’s Serpentine Galleries, titled 'Power Plants', which used augmented reality to display floating data, text, and graphs around the museum space, highlighting inequalities in South Kensington, London, and erasing the Sackler name from the Serpentine Sackler Gallery entrance as a commentary on power structures in contemporary technology.

Steyerl employs increasingly complex approaches to pixelation within the digital sphere, editing, digital graphics, and video installation architecture.

Steyerl has had numerous solo exhibitions, including: