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.…
When Iver Jåks first saw the light of day on a mountain near the village of Karasjok in Northern Norway in 1932, the Sámi did not have a word for “art.” Life, art, and craft were the same; the word…
The politics of spaces are determined by their forms—their architecture and infrastructures, or lack thereof—as well as by the ideas, purposes, and intentions that these forms serve. Museums, government…
The choice of the title, Matter Form Facture, signals my continued engagement with a materialist aesthetic that counterbalances the disdain with which conceptual, mediatic, and textual forms of contemporaneity…
Central to Athenian democracy and justice was the Agora, a place of assembly for its citizens. At the center of the Ancient Agora of Athens was the Odeion of Agrippa, an auditorium with the capacity to…
Accessed from a different entrance as the Press and Information Center in the same building, the third floor of Leder Meid, in the former apartment of the factory owners, presents a number of paintings…
Albert Serra’s The Death of Louis XIV is an exquisite meditation on death, dignity and voyeurism that unfurls like a baroque tapestry. Visionary Catalan filmmaker and artist Albert Serra is contemporary cinema’s master historicist…
John Hejduk spent his life developing a set of characters. The stories they inhabited are the elaborate architectural drawings he called Masques, after the sixteenth-century European tradition of masked…
Democracy has become a matter of aesthetics. The stage of the public has become a kind of orchestrated video game or operetta with a few recited parts; this operetta is performed daily for a people overwhelmed…
The first issue of South as a State of Mind in its new, temporary role as the magazine of documenta 14 arrives more than a year and a half before the exhibition is scheduled to open, in Athens in April…
