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.…
A documenta 14 film program with Alberto Grifi, Isuma Productions, Sarah Maldoror, Alanis Obomsawin, Nagisa Oshima, Mohamed Soueid June 22–September 15, Grosses BALi 8:30 pm, unless noted otherwise…
Located in what is now Central Queensland, Australia, Carnarvon Gorge is one of the country’s most important historical and natural landmarks. For many centuries, the gorge has been a canvas on which…
Pedro Matta is a survivor who gives guided visits to people who want to know about what happened in Villa Grimaldi, Santiago de Chile. Given my work on…
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…
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…
Louis Kolitz was a German genre painter active from the 1860s until his death shortly before the outbreak of the First World War; from 1879 until 1911 he was the director of the art academy, today’s…
The exhibition at the Fridericianum marks the first time the collection of Greece’s National Museum of Contemporary Art (EMST) is presented in Germany, through a double displacement that renders EMST’s…
by Elizabeth Allen-Cannon, Vidura Jang Bahadur, Andrew Bearnot, Jan Brugger, Evan Carter, Kyle Hossli, Ben Nicholson, Shanna Zentner
Scene 1: Prologue
The stage is dark. Lighting is eerie and is slowly introduced as performers enter the stage. A slowed down version of the opening drum riff to Natti Vogel’s “Cannibal” plays. The…
Depicted in Richard Brouillette’s Oncle Bernard – A Counter-Lesson in Economics, Bernard Maris, who wrote under the pseudonym of Uncle Bernard in his “Charlie Hebdo” column, had the mission of unmasking the professional fabricators of the economy—those who, every day, wherever we are, fill us with the same rubbish, draped in a phony pseudo-science whose goal is to disguise the mechanisms of that power which enslaves us…
Early in the winter of 2015, the Archaeological Museum at the American University of Beirut quietly reopened its permanent display of Islamic art and architecture. Less a wing than a modest corner of a…
