documenta 14 is not owned by anyone in particular. It is shared among its visitors and artists, readers and writers, as well as all those whose work made it happen.…
As the days pass by And you gain in years The past does not keep you captive. —K. G. Subramanyan, from “A Near Vision” (Poems: Rhymes of Recall, Seagull Books, 2014)
Rosalind Nashashibi’s films are shot at eye level. The gaze is never above, never below. Each shot is an eyelid that opens and closes. What is filmed becomes a face. Living matter, active surfaces: Nashashibi’s…
Pedro Matta is a survivor who gives guided visits to people who want to know about what happened in Villa Grimaldi, Santiago de Chile. Given my work on…
Halberstam’s recent research has focused on the exponential increase in the last decade of public discussion in the US and Europe around transgenderism. In his upcoming book Trans*. A Quick and Quirky…
Above the entrance of the Athens School of Fine Arts on Pireos Street we find the popular Greek slogan Ένας στο Χώμα χιλιάδες στον Αγώνα (One in the soil, thousands on the battlefield)…
Housing the Museumlandschaft Hessen-Kassel’s collection of nineteenth, twentieth, and twenty-first century art, the Neue Galerie has been an important venue in a number of previous editions of documenta…
I am trying to think “language or hunger,” but I inevitably supplant hunger with eating, not eating, and shitting, all of which differ from hunger. Hunger is abstract, and…
Is it possible to transform the role of a museum and provide it with an educational remit distinct from that of the university? Can we change the consumerist imperative of the museum and re-implement its…
with Karen Finley, Adonis Volanakis, Chrysanne Stathacos, and Sozita Goudouna
“Oracle drawings” is a project initiated and curated by Sozita Goudouna and Paul B. Preciado. It consists of a collaborative staging of a public participatory installation by Karen Finley and Adonis…
