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.…
„Als Ludwig I. von Bayern in seiner philhellenischen Begeisterung seinen Sohn Otto samt der bayrischen Bürokratie auf den Thron des neuen, befreiten Griechenland setzte, schiffte sich sein Minister Rudhard, ein Sohn Passaus, von seiner Heimatstadt aus direkt nach Athen ein; er trank während der Reise aus einem eigens mitgeführten Bierfaß und sang dabei bajuwarische Lieder, in denen ein Hans Jörgl hinter seiner Liesl herläuft. Die in Griechenland eingesetzte Bavarokratie sorgte in Athen sogleich für die Eröffnung einer großen Brauerei sowie von Lokalen, die — wie von Wastlhuber, der geheime Ministerial-Kanzlei-Konzipist, sagte — ,Athen in eine Vorstadt Münchens’ verwandelten.“
—Claudio Magris
In a particular Māori tradition, objects and bodies would be prepared to travel through a folding of space and time. Rather than considering movement as a passage from a point of departure to a point…
Lorenza Böttner (1959–1994) was an artist who held an acute, embodied relationship with transformation. She transformed a painting practice into a performance art that took to the streets and made public…
The hunt and greed for resources has shaped economic and societal models over the ages. A growing world population is affecting the way resources are being depleted, causing major societal disruption on…
From the fall of Constantinople in 1453 until the revolution that created modern Greece in 1821, the Greek peninsula was under the rule of the Ottoman Empire. Housed in a restored neoclassical villa, the…
Many threads of Kassel’s history are woven together in this abandoned warehouse. Built in the 1950s on a location belonging to two of the city’s most prominent industrial dynasties, Henschel company…
It’s easily the oldest house I’ve ever lived in—known in Kassel, until I moved into it in August 2015, as the Brothers Grimm Museum. The address is Schöne Aussicht 2, hence the building’s “official”…
Ben Russell—the director of Trypps #7(Badlands), Atlantis, and He Who Eats Children—is an itinerant filmmaker. From Vanuatu to Rhode Island, he reaffirms and interrogates the affinities between cinema and travel that have existed since the medium’s earliest years. No matter where he shoots, at stake is a reckoning with otherness—with other psychic states, other ways of living, other cultures—and with the cinema itself…
It has been suggested that we live in “momentous times”1—times, that is, of profound significance for the living history of humanity. I borrow this definition from a homonymous curatorial project…
