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.…
When Iver Jåks first saw the light of day on a mountain near the village of Karasjok in Northern Norway in 1932, the Sámi did not have a word for “art.” Life, art, and craft were the same; the word…
Like a writer who places epigraphs at the beginning of his text—other voices—to give rise to an idea of the work as a whole, please find enclosed some elements and conditions for the work in production…
There aren’t enough magazines, or if you will, all existing magazines are useless. We are appearing because we believe we are responding to something. We are real. This excuses us from being necessary…
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)…
At documenta 14 in Athens, Douglas Gordon chose the open-air movie theater Stella for the presentation of I had nowhere to go (2016), his cinematic portrait of the avant-garde filmer Jonas Mekas, thus…
In December 2011, ten German intellectuals met in Berlin to discuss the current political crisis: how democracy had been undermined, weakened, hollowed out, and perverted by the so-called free market and its functions…
Commentary on Frantz Fanon’s oeuvre tends to consider The Wretched of the Earth, published in 1961, as the work that breaks with the Martinican thinker’s post-slavery analysis…
documenta 14 curator Candice Hopkins in conversation with artist Máret Ánne Sara about her artistic work Pile o´ Sápmi, the installation of 400 reindeer skulls exhibited at Neue Neue Galerie (Neue…
Within the complex allegorical structure of Gustave Courbet’s L’Atelier du peintre (Painter’s Studio, 1854–55), the Irish beggar woman constitutes not merely a dark note of negativity calling into…
