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.…
Something is rotten in the state of the media. Rotten to the point that today a man accused of war crimes can summon mainstream media to announce that reality has debunked their narrative, delighting in…
Rosalind Nashashibi’s films are shot at eye level. The gaze is never above, never below. Each shot is an eyelid that opens and closes. What is filmed becomes a face. Living matter, active surfaces: Nashashibi’s…
It’s been nearly three years since we first embarked on the journey toward South as a State of Mind, the magazine of documenta 14, edited and produced in and out of Athens. The issue you hold, our…
with Sarah Gensburger, Isabelle Backouche, and Eric Le Bourhis
Auschwitz, Drancy camp near Paris, the Warsaw Ghetto: the history of Jewish persecution during the Second World War is inscribed in acknowledged locations including ghettos and extermination or transit…
The Benaki Museum was founded in 1930 by the collector Antonis Benakis. Born into an important family of the Greek diaspora, Benakis’s father, Emmanouil Benakis, was a Greek merchant and politician who…
It is obvious I have to solve this problem. From 1954 until 1958, so for four years, I listened halfheartedly to people who insisted that there is music present in my paintings. Since nobody could actually…
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…
Art is “not a hobby—it’s why we wake up every morning,” as artist Naeem Mohaiemen recently put it to his graduate advisers, explaining the year he took off from writing his PhD dissertation…
“Time is money (bastard)” sang the Swans in 1986. The same refrain—deprived of its punk rage—drives the subjects of Wang Bing’s Bitter Money. The film follows country people moving to the city to be employed as textile workers on daily or seasonal contracts…
This three-day seminar reexamines the fundamental relationships that wars and civil wars (among classes, races, sexes) have entertained with capital (and especially financial capital) throughout the history…
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…
