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.…
During a recent Eurogroup meeting, some European finance ministers allegedly told Euclid Tsakalotos that, while he may be right in protesting against the terms imposed by the IMF, he will ultimately have…
“But you know Terre, you have a problem with everything.” This comment came during the rather awkwardly titled “Charming for the Revolution: A Congress for Gender Talents and Wildness,” at Tate…
What follows is [an excerpt of] a narrative poem comprised solely and entirely of the titles, catalog entries, or exhibit descriptions of Western art objects in which a black female figure…
documenta 14 opened in Athens on April 6. That was also the day of remembrance for Halit Yozgat, who was killed at his family’s Internet café on Holländische Straße in the Nordstadt district of Kassel…
The Athens Municipality Arts Center at Parko Eleftherias (Freedom Park) and the Museum of Anti-dictatorial and Democratic Resistance belong to a nineteenth-century complex of military quarters. Indeed…
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…
After its partial destruction during World War II, the Ottoneum performed a remarkable shift: from a theater—arguably the first theater building in Germany, constructed in the early seventeenth century—to…
by Nabil Ahmed, with images by Gauri Gill and Rajesh Chaitya Vangad
Peter Sloterdijk famously wrote that modernity began on the northern fronts of World War I, when imperial Germany first deployed poisonous chemicals, which they dug into their trenches, against French…
UHF42 is an episodic tele-drama co-produced by artist Mike Crane and Wattan TV, the West Bank’s longest running 24-hour news station. Each of the six episodes depicts one day in a working week…
Reflecting on the process of becoming a dancing body and on the paradoxes of inventing an autonomous gestural language, Alexandra Bachzetsis performs her first piece Perfect, conceived fifteen years ago…
It has been suggested that we live in “momentous times”1—times, that is, of profound significance for the living history of humanity. I borrow this definition from a homonymous curatorial project…
