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.…
Dieter Roelstraete: The story of the Gurlitt Estate has been an ongoing curatorial concern of documenta 14’s. For some time now you have sailed on an independent course of artistic research into the…
Is Miriam Cahn, born in Basel in 1949, a realist artist? What can be seen in her drawings, performances, films, and paintings—and what cannot? Where does the difference lie between…
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…
with Sandro Mezzadra, Brett Neilson, and Pavlos Hatzopoulos
The Apatride Society of the Political Others invites you to an evening of talks and discussions with Sandro Mezzadra, Brett Neilson and Pavlos Hatzopoulos about the impact of financial capitalism and logistics within the movement of goods and human bodies in the Mediterranean…
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…
Narrowcast House is an open radio studio and listening space initiated by artist Anton Kats for documenta 14’s aneducation. Located in a disused storefront in Kassel’s Nordstadt, Narrowcast House is…
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…
(A text which reflects on those who are absent and on biographies, narrates Durito’s first encounter with the Cat-Dog, and talks about other things that may or may not be relevant, as the impertinent…
In this talk, Gómez-Barris asks how we might decolonize memory to activate different potential alternative and anti-capitalist futures. Specifically, the talk addresses how the evacuation of colonial…
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…
