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.…
Annie Pootoogook was from the Arctic near the North Pole. Her community is called Kinngait in Inuktitut—the language of Inuit people—and Cape Dorset in English. Annie passed away a few days ago. Police…
Pavel Brăila’s return to documenta 14, having shown his film Shoes for Europe (2000) at documenta 11, marks the coming-of-age of a complex art practice. Freeing itself from medium specificity, his work…
Few filmmakers in recent years have managed to combine formal innovation with a programmatic stance toward filmmaking quite like Véréna Paravel and Lucien Castaing-Taylor. In the process of reinventing…
with Luis-Manuel García, Elena Puentes, Panagiotis Vaxevanakis, and Dimitris Papanikolaou
This panel discussion organized in collaboration with the FASMA Festival looks into the political present and history of electronic music, particularly focusing on its diverse roots.
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)…
Arnold Bode is best known today as the founder of documenta and the driving force behind its first four editions (1955–64). Born in Kassel in 1900, Bode initially trained as an artist, while he was also…
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…
How two people come apart can be as compelling to watch as what brings them together. In Clarie Denis’ film Voilà l’enchaînement, the fissures in a relationship between a black man (Alex Descas) and a white woman (Norah Krief) are apparent from the first scene. Longing for more closeness, and caressing his shoulder, she asks him to tattoo her name on his body. He gently refuses: “for you it means eternity, for me it means branded.” Does the friction of this early exchange—still light enough to be softened with an embrace, but opening a crack of enmity—set in motion what comes next…
(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…
Landing page and following images: Sven Stilinović, Marx and Stilinović (1980), three black-and-white photographs, sheet of paper with text, corduroy cover
