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.…
Listening Space is a program of events that attempts to explore and understand sound outside established hierarchies of music production and performance. In the project’s diverse concerts, lectures…
According to what Ahlam Shibli told me, the two photographic “reportages”—I use the term here for want of space to debate it—that will be presented at documenta 14 have precedents in her work…
I visited photographer John Miller’s studio in 2015, on the recommendation of friends and colleagues who reside in New Zealand. I had just met with art writer Jon Bywater in Auckland, who confirmed the…
After Argentina’s economic collapse in 2001, a discourse around body politics became strongly engaged in not only tackling but also actively working through the country’s painful dictatorial past…
The Municipal Theater of Piraeus is an exemplar of nineteenth-century Greek public architecture. Built from plans by Ioannis Lazarimos, the neoclassical building has been a meeting point for the city’s…
Very little is known about Alexander Kalderach, who was born in Hamburg in 1880 and died in Bern in 1965. The acme of his painting career was in the 1940s, when his work was included in the Grosse Deutsche…
One of the few historical structures in the center of Kassel to have survived the devastation of World War II relatively unscathed, the Palais Bellevue was built in the early years of the eighteenth century…
Hunger, Thomas Malthus and Adam Smith tell us, independently from each other and with completely different concerns, is a man-made condition, the result of the ecosystems of societies—society drives…
Carmelo Bene’s 1971 film Don Giovanni is not an adaptation of a famous Don Juan story. Instead, the film critically investigates the multifaceted legend of the wealthy male sinner who seduces one woman after another. This is a film about Don Juanism…
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…
Reflecting on some of the inventive and resourceful methods developed by Ulises Carrión in later life, Magalí Arriola’s presentation will revisit his practice in order to analyze the reception of his work within the burgeoning Mexican art scene of the late 1990s…
