The exhibition begins with early works that exemplify the “documentary turn”, a different conception of the documentary, the conceptual change of which Steyerl was instrumental in conceiving, formulating, and practicing. With her works of the last thirty years, Steyerl has followed the mutations of camera images, from the analog image and its manifold montages to the divided digital image that becomes fluid. At the center of the exhibition “I Will Survive” is also the new multimedia installation “SocialSim”, with which Steyerl critically explores the potential of digitality, simulation, and artificial intelligence with regard to artistic creativity, museum presentation methods, social upheavals, and pandemic conditions.

A cooperation organized by Kunstsammlung Nordrhein-Westfalen, Düsseldorf and Centre Pompidou, Musée National d’Art Moderne, Paris.
The exhibition in Düsseldorf and Paris (February 3 – June 7, 2021) is substantially funded by the German Federal Cultural Foundation.

The supporting program for the exhibition is dependant on the current circumstances concerning corona and therefore will probably be constantly changed and updated.

PowerPflanzenOS is an augmented reality app and complements Hito Steyerl's work "Power Plants" (2019), which can be seen in the exhibition. You can download the app free of charge to your own device (iPhone from iOS 11.0, Android from 7.0) via the App Store or Google Play. To get started, point the camera of your smartphone at the seals set up in the installation within the exhibition.

Biography Hito Steyerl
Hito Steyerl was born in Munich in 1966. She studied Documentary Film Directing at the Japan Institute of the Moving Image (formerly Yokohama Broadcasting Technological School, founded by Sohei Imamura in 1975) and later at the HFF – University of Television and Film in Munich. She subsequently studied Philosophy at the Academy of the Arts in Vienna, where she received her doctorate. She is Professor for Experimental Film and Video at the UdK – University of the Arts, Berlin, where she founded the Research Center for Proxy Politics together with Vera Tollmann and Boaz Levin. Steyerl’s works have been exhibited in the context of the visual arts for twenty years and have been well received internationally. In 2004, November was shown at Manifesta 5 in San Sebastian. With Lovely Andrea and Red Alert, she became known among a wider audience at Documenta 12 (2007) in Kassel. With Factory of the Sun, she was represented in the German pavilion at the Venice Biennale in 2015. She participated in the 2016 Bienal de São Paulo with HellYeahWeFuckDie. The most recent of her numerous solo exhibitions in museums and art institutions worldwide include presentations at the Museo Nacional Centro de Arte Reina Sofia, Madrid (Duty-Free Art, 2016), the Museum für Gegenwartskunst, Basel (War Games, 2018; together with Martha Rosler), the Castello di Rivoli, Turin (The City of Broken Windows, 2018), the Serpentine Gallery, London (Power Plants, 2019), the Park Avenue Armory, New York City (Drill, 2019), and the Art Gallery of Ontario, Toronto (This is the Future, 2019). At the 2019 Venice Biennale, she was represented in the main exhibition May You Life in Interesting Times in the Arsenale and the Giardini with several works, including This is the Future / Power Plants. In addition to her filmic artistic work, Steyerl is also active as an author, conducts interviews, and gives lectures. A selection of her essays, published in various places, are summarized in four books: Die Farbe der Wahrheit (The Color of Truth; Vienna: Turia Kant, 2008), The Wretched of the Screen (Berlin: Sternberg Press, 2012), Beyond Representation (Berlin 2016), and Duty Free Art – Art in the Age of Planetary Civil Wars (London: Verso, 2017 / Zurich: Diaphanes, 2018). Steyerl lives and works in Berlin.

• Funded by the German Federal Cultural Foundation

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• The Kunstsammlung Nordrhein-Westfalen is supported by

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