OFFSCREEN Paris 2023


Portraits, since 2000

Faces as masks as grids – Katja Stuke’s series Supernatural Katja Stuke’s photographic faces of high-performance female athletes from the series Supernatural take their starting point in the early 2000s. Photographed from television screens during the competition broadcasts of the Olympic Games in Sydney (2000), Athens (2004), Beijing (2008), London (2012), Rio (2016), Pyeongchang (2018), they bear the technical signature of an era before our age of super high-definition. Reframed to the vertical format and rasterized through the surface of the screen, they acquire a peculiarly hybrid status between portrait and cinematographic close-up, and in their uncanny stillness pose the question of the human remnant of the image-formed face. Immersed in total concentration, clearly aware of the decisive moment of their sportswomen’s lives, these faces unfold the peculiar aura of our medial age: they are close to us and yet so far away, they are pure medial surface, grid-pattern, and as individuals behind it as hidden as behind the mesh of the fencer’s mask. In contrast to the cinema screen, the close-up is frozen here, the expressive and emotional potential of the face set to zero, in perfect mastery they have become more like machines than human – supernatural”. Florian Ebner

The portraits of artistic athletes and high divers were taken during the Olympic Games in Sydney (2000), Athens (2004), Beijing (2008) and London (2012) photographed from a television screen. The singular Olympic Games idea, the particular competition situation directly before the decisive sporting performance, the moment of concetration and the question of the identity and development of girls and women plays a key role in this photographic work.

exhibited at:
2023 »Schwarzes Licht« Donggang International Photography Festival, South Korea
2021 »Paris Photo Days« [G] Fiminco Foundation Paris
2018 »Questioning Photography Now« GCA Chongqing
2018 »The Family of no Man« Cosmos, Rencontres d’Arles
2016 »ConteS/Xting Sport« nGbK Berlin
2015 »Katja Stuke und Flora Hitzing« Städtische Galerie Büttgen
2014 »DIE GROSSE« [G] Museum Kunstpalast Düsseldorf
2014 »sprachen—sprachenbild« [G] Künstlervereinigung Linz
2013 »Spectator Sports« [G] Museum of Contemporary Photography, Chicago
2012 »Zeitgespenster« [G] Museum Morsbroich Leverkusen
»Der Mensch und seine Objekte« [G] Folkwang Museum, Essen
2010 »Supernatural« Loris Berlin
2010 »Supernatural« Raum Fünf, Düsseldorf
2007 FAIR: Die photographische Sammlung @ Art Cologne [G]
2003 Aenne Biermann Preis [G] Museum für Angewandte Kunst Gera


2016 nGbK Berlin

2013 Museum of Contemporary Photography, Chicago

2018 GCA Chongqing

2018 Cosmos, Rencontres d’Arles

»The Crown Letter Project« [G] Fondation Fiminco, Paris

Kunsthalle Giessen, Katja Stuke + Oliver Sieber, Sequence as a Dialogue (Foto: Rolf K. Wegst)

Katja Stuke, Supernatural
artist book, 2010

28 pages, 28 x 35 cm
Ed. #150 numbered and signed

Katja Stuke, Supernatural 2021
artist book, 2021
digital offset-print

36 pages, with 20 colour plates
32 x 45,5 cm, digital print
#150 copies, published by Böhm Kobayashi
EUR 18,– plus shipping
order here»»



Her practice begins with surveillance. The process, two-fold: her tourist-like filming of people in heavily watched and monitored public spaces and her use of the raw footage in a secondary process, where photographs are taken from the screen. The editing is where the work takes shape and sequence. The aesthetic is one of paused video stills – cathode ray tube portraits.

exhibited at:
2021 »Instagood« [G] Düsseldorf
2016 Fotofestival Guernsey
2015 Temple Paris
2015 »Nationalfeiertag« RAUM SECHS, Düsseldorf
2015 »Under Surveillance« [G] Galerie für Fotografie, Hannover
2016 »Die Grosse« Museum Kunstpalast Düsseldorf


Katja Stuke, Nationalfeiertag
Artist’s Book, 2015
280 pages, 17 x 24 cm
offset-print, Japanese binding, silkscreen on linnen softcover
design by Hans Gremmen
A BöhmKobayashi / Fw:Books Cooperation

Moon over Konohana

exhibited at:
2020 »Moon over Konohana« with Henguchi, Japanisches Kulturinsitut, Japan Foundation Cologne

Moon over Konohana
Katja Stuke & Henguchi

32 pages, 170 mm x 235 mm, stapled
photography and poetry (Japanese/English)
Ed. of 150 copies, EUR 12,–
published by Böhm Kobayashi and The Japanese Culture Institut Cologne (The Japan Foundation)

»The Crown Letter Project« [G] Fondation Fiminco, Paris

Trees in Ukraine

Billboards in Accra

Billboards in Accra
8 inkjet prints, framed, black/white

exhibited at:
2021 Photoszene Festival, Strzelecki Books

Stefanie Pluta & Katja Stuke
Meet me in Quarantine

92 Seiten, 101 Fotografien (farbig, schwarz/weiss)
28 x 22 cm, Softcover, Schweizer Broschur, Offene Fadenbindung
mit einem Text von Emmanuel Mir 
Strzelecki Books

Cities change the Songs of Birds

Katja Stuke
»Cities change the Songs of Birds«

Special Edition
zine 16 pages, black & white Xerox print,
120gr natural paper, Din A4
one folded pigment print on newsprint paper, 76 gr
size: 83,7 x 59,2 cm
published by Böhm Kobayashi, 2020
Edition 15 + 2 AP
buy here»»


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Es geht zum einen um die unterschiedlichen Aspekte von „Arbeitsstätten“, wie z.B. die veränderten Arbeitsstätten seit der Industrialisierung und durch die Digitalisierung, um reale und virtuelle Büros und Konferenzräume, um Geld und Roboter, Raster und Fassaden. Zum Anderen geht es aber auch um konkrete Arbeit und Arbeitsbedingungen als Fotokünstlerin, und um das Verständnis von Fotografie und Archiven, um den Umgang mit eigenen Foto-Archiven und den Umgang mit gefundenem Material zur Recherche aber auch als künstlerisches Material.

exhibited at:
2016 »Vom Wert der Kunst als Wert der Arbeit« [G] curated by Sabine Maria Schmidt, HPZ-Stiftung Düsseldorf

Sky Electric

3 + 12 pigment prints, 41 x 51 cm, framed

»If, as Gottfried Jäger says, there are two great photographic cultures, the imitative, mimetic, which ‚takes‘ the images, and the imagecreating, poetic, which ‚gives‘ them, „Equivalents“ are images with a positive trade balance: They take and give alike; Descriptive and connotative, they are not only obligated to record a reality of any kind, but also record the photographer’s attention: his mental as well as physical choices of design, where Friedrich Schleiermacher is speaking , the infinite is looked at in the finite.« (Anja Schürmann, Equivalents 2017)

exhibited at:
2017 »Equivalents« Kunstraum Düsseldorf, curated by Anja Schürmann

Katja Stuke, Sky Electric
32 pages, back and white digital offset, no binding
210 x 297 cm, Ed of 100 copies
EUR 20,– plus shipping


Mechanical Brides / Cry Minami

since 2010
The title of series ‹Mechanical Brides› refers to an early book by Marshall McLuhan with the same title. It deals with questions about newspapers, comics, and advertisements and also reflects the role of women in popular culture. With the camera I was taking lots of photos from billboards showing portraits of women in Japan, America and Europe. These image are interesting as these models become role models for a lot of women. I worked on some of these images and produced stickers which I put back into the streets—to react on advertising companies putting into the streets and public spaces to claim back these spaces. project-website»»

exhibited at:
2019 »Sequence as a Dialogue« Kunsthalle Gießen
2018 »Cry Minami« UNSEEN Amsterdam
2018 »Cry Minami« Talk- and Printshow, in)(between gallery Paris
2017 »Werbung« Stadtmuseum Düsseldorf


Katja Stuke, Cry Minami
3 Photo-Zines, 2016/2018
29,7 × 21 cm



Katja Stuke’s work is based on video footage she created herself that features people in brief, isolated moments and anonymous situations.

exhibited at:
2019 »Sequence as a Dialogue« Kunsthalle Gießen
2016 »Im Angesicht« Kunstmusem Bonn
2010 »(Out of) Control« [G] Les Brasseurs Art Contemporain, BIP Liège
2008 »Beautiful World« Städt. Galerie im Haus der Kultur, Waldkraiburg
2007 »Mistigris – Contemporary German Photography« [G] Gallery at UTA University of Texas
2005 »Das soll Kunst sein« [G] Kunstverein Freiburg
2004 Oliver Sieber und Katja Stuke, Galerie Gaby Kraushaar
2004 Pingyao International Photo Festival China
2003 »Dokumentation« [G] Fotogalerie Wien
2003 »Wonderlands, Perspektiven aktueller Photographie« [G] Museum Küppersmühle Duisburg



Osaka Private, Osaka Public

Das sich in der Photographischen Sammlung befindliche, 12-teiligen Tableau Osaka Public / Osaka Private, 2006, geht auf von Katja Stuke in den Straßen von Osaka gedrehte Videos zurück. Zu sehen sind zumeist Passanten, die sich der medialen Beobachtung nicht bewusst sind. Den Bildern haftet eine gewisse Flüchtigkeit an, die Menschen befinden sich in Bewegung, einige sind nur als Rückenfiguren zu sehen. Stuke spielt mit ihrer Arbeit auch auf das Moment der Überwachungskameras an und erinnert daran, dass wir möglicherweise ungefragt und ungewollt einer medialen Kontrolle ausgeliefert sind.

exhibited at:
2006 »Das Böhm Projekt« SK-Stiftung, photographische Sammlung, Köln
2006 »Back from Japan«, Atelier am Eck,  Düsseldorf
2005 »The Böhm Project« CASO Contemporary Art Space Osaka



Könnte Sein

Hierfür kombiniert Stuke ihr eigenes Film-Foto-Material mit Szenen aus Filmen und Computerspielen. Schneller als man ahnt, verschwimmt die Grenze zwischen Realität und Fiktion. Die Bilder sind Fragmente aus Szenen, aus bewegten Momenten isoliert. Es spielt keine Rolle mehr, wer wen spielt, was tatsächlich passiert, was inszeniert und was komplett virtuell entstanden ist.

exhibited at:
2010 »(Out of) Control« [G] Les Brasseurs Art Contemporain, BIP Liège
2008 Bespoke Gallery, New York
2007 »Jeunesse Dorée« [G] Düsseldorf


Katja Stuke, Könnte Sein
29 × 22 cm, 96 pages, 76 color plates, clothbound hardcover

with a text by Christoph Hochhäusler, English/German,
Kodoji Press 2008
ISBN 978–3–03747–007–7



Katja Stuke’s hybrid mixtures of video and photography also explore specific types and characters, but they represent the continuation of a different kind of tradition – that of the anonymous street portrait. For her series Suits she films passers-by in London, Tokyo, Osaka and New York, as they scurry here and there. She further edits the material in front of her computer screen, capturing the exact moment on the monitor when an individual emerges from the masses.

exhibited at:
2016 »Mit anderen Augen« [G] Kunstmuseum Bonn
2011 »Our House« Museum für Photographie, Braunschweig
2010 »(Out of) Control« [G] Les Brasseurs Art Contemporain, BIP Festival Liège
2008 Bespoke Gallery, New York

Katja Stuke, Suits vs. Facts & Fiction

artist book, 2008
offset- & inkjet-print
106 pages, 19 x 28 cm
Ed. #150 numbered and signed

Eleven to Liverpool Street

Pedestrians and bankers – from an surveillance point of view and portraits of (masked) protesters – from a face-to-face perspective –  who stopped the traffic in the City of London with their Anti-G20-summit-demonstrations.

exhibited at:
2016 »Mit anderen Augen« [G] Kunstmuseum Bonn
2011 »Flashmob«[G] Kunsthaus Essen
2010 »(Out of) Control« [G] Les Brasseurs Art Contemporain, BIP Festival Liège


Katja Stuke, 11 to Liverpool Street
artist book, 2011
48 pages, 30 x 45 cm
Ed. #150 numbered and signed

Katja Stuke & Oliver Sieber

project website»»

exhibited at:
2015 »O.i.F. / Movie Locations« Aperture-Foundation/Paris Photo Night at Silencio Paris
2015 »O.i.F. / Movie Locations« Künstlerverein Malkasten
2014 »Die Grosse« [G] Museum Kunstpalast Düsseldorf
2011 »Our House« Museum für Photographie, Braunschweig
2010 »O.i.F./Movie Lovcations« Florence Loewy, Paris
2010 »O.i.F./Movie Lovcations« Hypermarkt, Arles
2009 »Hidden Places« Galerie Kaune,Sudendorf Köln

heaven has a corridor

The Photobattle between Katja Stuke & Yoshinori Henguchi.

performance and exhibition at:
2011 Baikado gallery, Osaka
2011 Bloom gallery, Osaka
2011 U-Bahn subwaystation Düsseldorf
2011 Create Party, studio Düsseldorf


Katja Stuke & Yoshinori Henguchi
Anyone’s Discomfort is Discomfort for me.
20 pages, 21 x 29,7 cm

Lonely Planet, a guidebook to the internet

Photographs taken in Silicon Valley in 2009, at Google, facebook, Apple, Youtube, EA games and many more companies, juxtapose to found images from Second Live, Google Earth, several archives.

Katja Stuke, Lonely Planet

A Guidebook to the Internet
artist book, 2011, b/w digital-print
120 pages 12,7 x 20,4 cm
Ed. #150

Katja Stuke & Oliver Sieber
Japanese Lesson

since 2006
project website»»

exhibited at:
2018 Museum für Kunst und Gewerbe Hamburg
2018 UNSEEN Coop, fair Amsterdam
2015 Filmwerkstatt Düsseldorf
2012 Open Sourve Festival
2012 Kunstverein Leverkusen
2011 »Our House« Museum für Photographie, Braunschweig
2010 WG/3Zi/Kü/Bar Malkasten Künstlerverein Düsseldorf
2010 nüans at New Talents, Köln

MANIFESTOKatja Stuke & Oliver Sieber
The ANT!FOTO Manifesto

since 2013
ANT!FOTO website»»
ANT!FOTO was a series of exhibitions and magazines curated by Katja Stuke and Oliver Sieber.
The Manifesto ifesf was exhibited at:
»(Mis)understanding Photography and Manifestos« [G] Folkwang Museum Essen
» Manifeste! Eine andere Geschichte der Fotografie« [G] Fotomuseum Winterthur


Katja Stuke & Oliver Sieber
Fax from the Library

since 2013
project website»»

exhibited at:
2015 »Fax from the Library« Temple Paris
2015 »Fax from the Library« Projektraum Fotografie Dortmund
2013 »Fax from the Library« Kunsthalle Bremen
2013 »Fax from the Library« Tina Miyake Düsseldorf
2013 »Fax from the Library« Enocojima Art Center Osaka

Katja Stuke & Oliver Sieber:
You and Me

since 2014
project website»»

exhibited at:
2016 »Scope« Hannover
2016 »You and Me« Kunst aus NRW, Kornelimünster Aachen
2016 »Fotografia Europea« [G] Palazzo da Mosto, Reggio Emilia
2015 »Past is Now« Fotodoks [G] Stadtmuseum München
2015 »You and Me« Museum for Contemporary Photography Chicago