Hito Steyerl’s films and essays take the digital image as a point of departure for entering a world in which a politics of dazzle manifests as collective desire. This is to say that when war, genocide, capital flows, digital detritus, and class warfare always take place partially within images, we are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand. Today the image world, Steyerl reminds us, is far from flat. And paradoxically it may be in its most trashy and hollowed out spots that we can locate its ethics. Because this is where forms run free and the altogether unseen and unrecognized toy with political projects at the speed of light. It is where spectacle and poverty merge, then split, then dance. -bkw
Born in München, Hito Steyerl attended the Japan Institute of the Moving Image. Later she moved back to her hometown to attend the University of Television and Film. At the Academy of Fine Art Vienna she obtained a PhD and currently she is working as a professor of Media Art at the Berlin University of the Arts. After having worked as a camerawoman for a while, Steyerl started making her own films. Besides this she is a regular contributor to online art journals such as E-flux. Steyerl has had solo exhibitions in numerous international museums such as Art Institute of Chicago, Van Abbemuseum, Reina Sofia, Institute of Contemporary Art and Moderna Museet Stockholm. She has participated in Manifesta 5, plus the biennials of Shanghai (2008), Gwanju (2010), Taipei (2010) and Venice (2013) Her film Lovely Andrea was included in Documenta 12. In 2010 Steyerl received the New: Visions Award at the Copenhagen International Documentary Festival. In 2015 she was the recipient of the EYE Prize. Her work is part of many museum and private collections.