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.…
In the spring of 2011, Syrians rose up against a dictatorship inherited from another era. Schoolchildren wrote “The emperor wears no clothes!” on the walls. Young people streamed into the streets and…
Things tend to get personal, at times: I owe my acquaintance with Ross Birrell to Gustav Metzger, whose exhibition In Memoriam, dedicated to Walter Benjamin, I organized at Kunsthalle Basel in 2006. As…
To introduce Korean women’s poetry in the space of five minutes would be as difficult as shrinking five thousand years into five minutes. The Korean male literary establishment differentiates and categorizes…
by Panos Charalambous with Vassilis Charalambidis, Angelos Krallis, Panayotis Panopoulos
VOICE–O–GRAPH is a vinyl work of discovery, preservation, reuse and manipulation. A happening that manifests itself with objects of immediate urgency. Coming from either forgotten, censored, or disintegrated…
The central square at the port of Piraeus takes its name from one of the most famous leaders in the Greek War of Independence, General Georgios Karaiskakis. The square became well-known in 1922 when many…
Beyond its obvious postmodern invocations, documenta Halle seems like a body reclining on the slope that brings visitors from Friedrichsplatz to the Orangerie and Karlsaue park—an organism of steel and…
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…
The Garden ofStones, by Parviz Kimiavi, won the Silver Bear at the Berlin Film Festival in 1976. Born in Tehran in 1939 and now living in Paris, Kimiavi is a cult figure in the Iranian New Wave. He studied film and photography at l'École Louis Lumière in Paris and worked in French television before returning to Iran in 1969, where he became a pioneering figure in Iran’s alternative cinema scene…
Taci, anzi parla: “Shut up. Or rather, speak,” as Italian art critic turned activist Carla Lonzi called her “Diary of a Feminist” in 1978.2 Her title indicated an imperative mood full of doubts…
This performative gathering establishes no hierarchies between radically different knowledge, languages, and practices, between activism and performance, between theory and poetry, between art and politics: collectively, we experiment with the construction of a public space of visibility and enunciation…
To reiterate the facts about the now well known but as yet unseen Gurlitt estate: it consists of artworks and art objects amassed by the German art historian and dealer Hildebrand Gurlitt (1895–1956)…
