Jonas Höschl

Concept by Jonas Höschl

Music written and produced by Florida Juicy

Edited by Ruth Glas

Lyrics from the Song „Point Of No Return“ by Gene McDaniels (Scorpio Rising, 1963)

80 Portraits: 73 Männer, 7 Frauen (Verlag für moderne Kunst, 2025)

80 Portraits: 73 Männer, 7 Frauen, is a consists of a carousel slide projector, a device which recalls quaint nostalgic activities such as looking at vacation snaps. This one, however, runs through black-and-white photos, all depicting people in the same portrait format. Some of the poses are menacing, while the faces have been blurred out. The signifiers that these figures wear on their body—tattoos, shirts, logos, but also suits and folkloristic German apparel—betray their allegiance to far right groups. Höschl has sourced the images online, from anti-fascist networks where they have a clear purpose: mapping the Neonazi scene, documenting its protagonists, and potentially warning people who might fall victim to violent attacks. In the current setup, the pictures are lifted not only from their context, but also deprived of their function. They call to attention the mediated nature of photography: usually, photographer and subject are at considerable distance from each other, and only in rare cases the look is reciprocated, when the antifascists themselves are being photographed. – Philipp Hindahl

"Through which framing do we perceive images? How comprehensively is our perception of global events influenced by their media processing? Which contextualization comes closest to the actual events? Can there be reporting that objectively reflects this?"

Raising questions like these - posed by art historian and photography theorist Mira Anneli Naß - rather than presenting answers, is at the core of Jonas Höschl's artistic practice. Based on his media-reflexive work, the artist gathers in Politics of Media Images numerous theorists, artists and authors who deal with media-theoretical questions in our increasingly fragile present time. The contributions make our social inflammations and injuries painfully tangible under a burning glass.

This object frame with the screen print on glass contains an LP: Desire by Bob Dylan. Gudrun Ensslin—probably—listened to this record as she committed suiced in her cell in Stuttgart Stammheim. The red silkscreen printed top right shows a portrait photo of Bob Dylan, while the boxer Rubin Carter, known as Hurricane, who was wrongly arrested for murder, can be seen at the bottom left. Inside is the page of a prison newspaper, written by inmates who came out in solidarity with the hunger strike of the RAF terrorists, folded into a paper airplane.

Jonas Höschl

18. Oktober 1977 (2025)

Record, Paper aeroplane from Prisoner newspaper,

silkscreen on glass

50 x 50 cm

"This criticism of journalistic reporting is repeated in his most recent work, And let my cry (2022): it is the transcript of an (internal) recording the Bavarian Broadcasting Company made during the setup and rehearsal for the memorial service for the victims of the racist attack in Munich’s Olympia shopping center in 2016. (...) False reports led to panic in the city, and despite the perpetrator’s unambiguous statements in chat forums, authorities long pointed to his psychiatric treatment as a motive for a supposed killing spree.", Mira Anneli Naß

On the 7th of November 1962, the then Governing Mayor Willy Brandt ceremoniously laid the foundation stone for the first construction phase of the large housing estate „Berlin-Gropiusstadt“ in the presence of Walter Gropius. Almost 30 years later, the documentary „Gropiusstadt - Ist alles Kacke hier! (1990) by Eberhard Weißbart appeared, which deals with gang wars in the satellite town. At a similar time interval, the artist Jonas Höschl is now reacting to the documentary, using the Film as the basis for his work. In collaboration with the audio film author Petra Schielke and the narrator Christian Bergmann, he created a sound piece with the use of audio description. A sound framework freed from narration, consisting of descriptions of the protagonists and locations of the short film, which interrogates the visual material itself. The producer Philipp Dittmar (Red On) reacts to this with sound documents of the 1960s from Neukölln`s museum archive, which accompanied the building process and the inauguration of Gropiusstadt. The result is a melodious radio play between German officialese, the subcultural sounds of Berlin at the time of reunification and contemporary, experimental electronics.

https://www.hoelzldaniel.com/aushang

"It confronts the history and contemporary implications of Neukölln's Gropiusstadt, one of West Berlin's major urban development projects from the cold war era. Höschl's contribution is a counter-narratological soundstream consisting of two elements: audio descriptions created to represent the protagonists and locations of the documentary "Gropiusstadt - Ist alles Kacke hier!" (1990) by Eberhard Weißbarth, as well as materials retrieved from audio archives dating to the 1960s documenting the building process and the inauguration of Gropiusstadt.", Mohammad Salemy

"Time disappears and leaves behind memories - of people, moments, melodies. "Fade Away Medley" is what Jonas Höschl calls his work, which revels in the thoughts and feelings of a generation. Carried by the soundtrack of his youth, Jonas Höschl tells in the photo book of scenes of debauchery and rebellion, but also of pausing and looking up. The hedonistic urge for extravagance and exaggeration is palpable in the full-page photographs, which are juxtaposed and enter into dialogues of content and form in direct succession. The transfiguring view of days gone by is broken up by sobering images of conservative lifestyles and world views. The oppressive conformity goes hand in hand with the longing for dissolution of boundaries, which Jonas Höschl also embodies himself in his photographs. He confronts the dialectic of his pictorial milieus in order to overcome them.", Carina Essl (LEONARDO – Zentrum für Kreativität und Innovation)

A: Fade Away Medley 1 (11:09 min)
B: Fade Away Medley 2 (16:47 min)

LP Fade Away Medley
Artist: Jonas Höschl, Photography: Jonas Höschl,
Composer: Tydings McClary, Mastering: Emanuel Geller,
Presswerk: MATTER OF FACT,
Design: Michael Seibert (unfun)

The photo book Fade Away Medley can be ordered here.

"He brings his own powerlessness into focus, addressing the journalistic routinization of news agencies and editorial offices in our digitalized world. The work was supported by the Alexander Tutsek Foundation and the Cultural Office of the City of Munich.", Kunstverein Baden (OE)

STELLA X The one and only Issue
Concept: Simona Andrioletti
Photography: Jonas Höschl
Design: Felix Neumann
Photo-Poster: Riccardo Rudi

The newspaper is the result of several workshops on the question "What do you do with your anger?", which took place within the framework of BLAST / ArtVerona. The portraits of the young people were made in the neighborhood of their daily communities.

"Jonas Höschl nimmt auf die Olympiade 1972 Bezug. Der (...) Künstler (...) setzt sich in verschiedenen Medien mit den als "heiter" intendierten Spielen auseinander, die mit der Geiselnahme der israelischen Sportler und einem Blutbad mit elf ermordeten Geiseln, einem toten Polizisten und fünf toten Entführern endete.", aus dem Artikel "Bayerische Kunstförderpreise 2021" von Roberta De Righi in der Abendzeitung München vom 04. Februar 2022

"Eating sushi in a fancy restaurant
Top floor and a rooftop bar
Black suit and my haircut's fresh
The waiter's jealous of my moustache",
aus Tokyo Drift von Mavi Phoenix

The German edition of BIG PONDER was edited by Jenny Marrenbach. The authors of the plays are Sylvia Cunningham, Dina Elsayed, Florenz Gilly, Leon Ginzel, Jakob Lewis, Monika Müller-Kroll, Bilal Qureshi and Jocelyn Robinson. The German voices of BIG PONDER are Peggy Bachmann, Nina Ernst, Thomas Fränzel, Isabelle Redfern, Volker Wackermann and Timo Weisschnur. The broadcast package was composed and produced by Dirk Schwibbert. The photographs were taken at the Wild West adventure park Pullman City near Passau and at the Rose Barracks in Vilseck near Nuremberg, among other places. Sascha Ehlert coordinated the photo project, Jonas Höschl took the photos.

Thanks to: @marius_hilarious (Assistant & Model), @_melissi (Illustrator), @thankswillem (Model), @tannhauserkreis (Prop), @goethe_dc @ead.weard @dirtycartoons (Coordination) @rbbkultur @bertelsmannfoundation @riaskommission @springbreakspring @wunderbartogether

Die internationale Gruppenausstellung ‹in situ› zeigt zeitgenössische Kunst, die sich mit den Verbrechen der NS-Diktatur auseinandersetzt. Die teilnehmenden Künstler*innen untersuchen, wie Erinnerungsarbeit heute geleistet werden kann. Sie bedienen sich dazu verschiedener Medien, die vielfältige Bezüge zwischen Vergangenheit und Jetztzeit herzustellen vermögen. Wie wichtig die Erinnerung an die Gleichschaltung, die Bücherverbrennung und die Shoa ist und bleibt, zeigte sich in jüngerer Zeit an dem Antisemitismus-Skandal um die Documenta (2022), sowie den Anschlägen in Halle (2019) und in Hanau (2020). ‹in situ› vertraut auf die Kraft der Kunst, Geschichte zu aktualisieren und damit nachwachsenden Generationen zugänglich zu machen.

Künstler*innen:

Soso Dumbadze
Talya Feldman
Abie Franklin
Bastian Gehbauer
Jonas Höschl
Kollektiv Schandwache
Leon Kahane
Maria Margolina
Kai Altheim

‹in situ› wird von Miriam Schmidt, Kai Altheim und Jonas Höschl kuratiert.

The table with sacrificial candles, like the kind found in churches, invites visitors to light a candle themselves. At the center of this exhibition, it brings to mind the mystification of RAF terrorism and questions whether the artistic reading of terror allows for a critical approach.

Jonas Höschl
Den Toten - Hommage an Hans-Peter Feldmann (2025)
Sacrificial light table
100 x 80 x 35 cm

Das Wetter X Adidas Originals Spezial; H&M: Parnia Sarraf

"Europe is lost (...) leaves an oppressive feeling. One photo shows a man whose face is completely masked, another wears dark sunglasses and smokes.", from the article "Nie wieder!" by Amelie Völker in the Süddeutsche Zeitung, July 05, 2020

"Nebenan nimmt Jonas Höschl auf die Olympiade 1972 Bezug. Der (...) Künstler (...) setzt sich in verschiedenen Medien mit den als "heiter" intendierten Spielen auseinander, die mit der Geiselnahme der israelischen Sportler und einem Blutbad mit elf ermordeten Geiseln, einem toten Polizisten und fünf toten Entführern endete.

Der Künstler verweist (...) auf Leni Riefenstahl, die das "Fest der Völker" 1936 unterm Hakenkreuz in Berlin filmisch heroisierte. Höschl macht aus Versatzstücken Anti-Propaganda.", aus dem Artikel "Bayerische Kunstförderpreise 2021" von Roberta De Righi in der Abendzeitung München vom 04. Februar 2022

"Manfred Weber (2019) consists of various samples from the commercials of 41 parties that contested the European elections in Germany in May 2019. The resulting mosaic of political diversity is dramatized musically; Falco's song "Europa" can be heard and the setting is based on Bavarian brass band music. Höschl examines the suggestive imagery of advertising agencies and makes clear how uniform the parties' self-representations are. The artist deconstructs the representations by breaking through the promising narratives with recordings of resistance and police violence.", HALLE FÜR KUNST Steiermark

Video-Production: Max Grünauer
Brass Music & Vocals: Philipp Lohmeier, Max Blechschmidt, Simon Kränkl
Lyrics: Falco, Thomas Rabitsch, Thomas Lang
Photography: Pilar Schacher

"Das Leben dreht sich nicht um dich, / auch nicht um mich, nur sich im Kreis / Also tanz' ich aus der Reihe, / tanze Salsa ganz allein" aus Salsa von Wa22ermann

TW: Europe is a dirty doormat, initially presented in a show with the same name at EIGEN + ART Lab. TW is short for trigger warning, and visitors of that show had to step over that doormat emblazoned with the trigger warning pictogram one might see on Instagram, when explicit content is blurred out. Cross the threshold at your own peril. – Philipp Hindahl

"The six young gentlemen of Erotik Toy Records have themselves photographed as if they came from another time. That of the Agfa pocket camera, approximately.", caption from the article "WM-Songs für die Krampfadern-Crowd" by Daniel Gerhardt in the Zeit of October 22, 2020

Buy Weather #21 as a PDF here. With covers by: Wolfgang Tillmans, Brown Shootta (Martin Tamba), Nina Francesca Nagele und Jonas Höschl

For this textile piece, Jonas Höschl adapts the opening
and closing panels of Alexander Kluge’s episodic film Deutschland im Herbst. Kluge’s 1978 film speaks about the cultural climate in the years of RAF terrorism; the quote that precedes the film, however, actually dates from the final weeks of the Second World War and builds a historical arc from National Socialism to the German Autumn 1977. By reproducing the panels in an almost cinematic format, Höschl removes them from their context—suddenly the question of guilt comes into
focus, and the question whether political violence can be viewed in isolation as a purely moral problem.

Jonas Höschl
Das Verschwinden der Hauswartsfrau des Vaters von
Alexander Kluge (2025)
Acrylic + fabric
115 x 140 cm

Das Wetter Nr. 032, November 2023; H&M: Parnia Sarraf, Jana Kalgejeva; Text: Max Gruber

"The word “crisis” is made up of two characters in Chinese" (This video is the B-side of Jonas Höschl's exhibition which can be seen on @ck_offspace's Instagram page).

The state feels like an expanding vacuum, like a journey from Earth to the planet Trillaphon. There are no points of connection to this space, which seems more airless, nutrient-poor, unsubstantial, crowded. There are planets on which nights feel like merging black holes, while one senses the collision of exoplanets 10000 light years away.

Text by Hannah Gebauer
Artwork by Jonas Höschl
Curated by Christian Kölbl
Animation Design by Felix Neumann
Sound Production by Kalas Liebfried

"Alles kommt mir vor wie auf Repeat
Die Platte hängt, wieder nur das eine Lied
Alles kommt mir vor wie auf Repeat
Was passiert, wenn man immer nur das Gleiche sieht?",
Asphalt by Verifiziert

"Danke Mami
Für die Grübchen, meine Locken und den Body
Dank dir bin ich kein Dummy
Falt' die Szene hier, als wär's ein Origami", 
Danke Mami by Eli Preiss

10 × b/w photographs, edition 2/5, 50 × 35 cm
4 × 4-color silkscreen prints, edition 2/5, 50 × 35 cm
1 × 4-color silkscreen print, unique (5 similar), 100 × 70 cm

"The photograph still promises to be a reflection of reality. But what does that mean? Color printing, on the other hand, with its overlays and clearly visible changes, is an artistic promise of distance from the real. But it is precisely in this combination of print and print, the two different media, that a reflection finally emerges on the subjective, individual attitude that determines the interpersonal as much as the relationship to an object.", Jochen Meister

"That's what my students think of youth",
Juergen Teller

Contribution on the pages 581, 593, 600 & 601

"Wolken sind tief gelegt
Ich will dich wiedersehen
Mich tröstet der Nieselregen
Was für ein mieses Leben",
Wolken by Haiyti

"Ein Lied für Deutschland - das ist der Titel einer Ausstellung im Kunstmuseum Heidenheim. Der Klangteppich dazu, teils mit Rhythmen rechtsgerichteter Demonstrationen, klingt bedrohlich. Der erste Impuls ist, sich umdrehen und weggehen. Trotzdem ist es sinnvoll, dazubleiben, eine gute halbe Stunde Zeit mitzubringen und einzutauchen in die Welt derjenigen, die nicht an die mögliche Gefahr durch Corona glauben, aber an die Schädlichkeit von Atemschutz-Masken  und an einen weltweiten Plan der Politiker, die Wirtschaft zu zerstören.", aus dem Artikel "Wie Corona-Verschwörungsmythen entstehen" von Martin Miecznik in SWR Aktuell vom 25. März 2022

Audio production and arrangement by Kalas Liebfried, video by David Spatz & Lara Fritz

Das Wetter X Adidas Originals Spezial

"Brauch Codeine bevor ich schlafen geh, ich trink so wie Kakao
Ich kann dich nicht mehr verstehen ja weil mein Kush is viel zu laut",
Fledermaus by Gola Gianni

Hair & Make-Up by Parnia Sarraf
Thanks to Nick Romeo Reimann and the Volkstheater

MucBook, Printausgabe Dezember 2023

Thanks to Sabrina Zeltner, Johannes Nussbaum, Nick Romeo Reimann, Willelm De Haan, Sabrina Reuschl, Linda Sakallah, Tannhäuser Kreis, Spring Break Art Residency and AVISO Magazine.

"FM4 calls the Hyperpop-Newcomer Anthea the “new Grimes”. That's quite an announcement. An accurate one, we think, because Anthea's explosive synthesizer epics do indeed show traces of the virtuoso Claire Boucher aka Grimes", THE POSTIE.

Fashion Pieces by Jennifer Milleder
Hair & Make-Up by Corazonnie

"In every landscape, a bell forms around us, protecting us from what keeps us up at night.", Anna Hofmann

Das Wetter #23 can be purchased directly from the Public Possession Shop here.

"Sie sagen Sätze ohne Einhalt
Und Theorien ohne Sinn
In ihren Körpern wohnt der Teufel
Der sie in die Hölle bringt",
Wir sind das Volk by Kaltenkirchen

"Sie findet Wein mucho gusto
Doch er muss süß sein, also hol' ich ihr Lambrusco",
aus Mucho Gusto von Viko63 & Penglord