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.…
This script is not a eulogy. Actually you can't write a eulogy about someone you loved dearly, but didn't really know. This script is for, on, of, about, and with Ben Patterson and the vacuum he leaves…
Roee Rosen—painter, novelist, and filmmaker—is an astute critical voice in Israel. While his work deals primarily with the representation of desire and structural violence, Rosen, born in 1963, has…
Angela Y. Davis, the African-American activist, feminist, academic, and writer, was born in 1944 in the southern city of Birmingham, Alabama. A student of Herbert Marcuse at Brandeis University, she also…
We are not risking the production of an artwork; we are risking the production of expectation. Five theses about what we're experiencing at the moment, five theses about what to do, and three propagandist…
On August 17, 1944, Nazi troops executed seventy-five members of the Greek Resistance at the old factory of the British Oriental Carpet company in the neighborhood of Kokkinia (known also as Nikaia). Hundreds…
Many threads of Kassel’s history are woven together in this abandoned warehouse. Built in the 1950s on a location belonging to two of the city’s most prominent industrial dynasties, Henschel company…
by Sotirios Bahtsetzis, with images by Christos Karakepelis
What is the future of the human, and what is the role that art has to play in determining this future? After philosophical thinking has determined the “end of man,” or as Jacques Derrida aptly put…
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…
I Owe You Everything is a project that chooses and follows a series of contemporary thinkers, poets, and activists who are invited to construct a public “act of giving,” a critical and poetic ritual…
To reiterate the facts about the now well known but as yet unseen Gurlitt estate: it consists of artworks and art objects amassed by the German art historian and dealer Hildebrand Gurlitt (1895–1956)…
