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.…
ANTIDORON. The EMST Collection at Museum Fridericianum, part of documenta 14, marks the first extensive presentation of the collection of the EMST–National Museum of Contemporary Art, Athens…
Phia Ménard’s movement and gesture work deals with mutation, trans-portation, and transition between preestablished genders and genres: from straight to queer, from masculinity to femininity, from popular…
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…
The Society for the End of Necropolitics invites you to a lecture in three parts by contemporary theorist Franco “Bifo” Berardi on the recent rise of nationalism and fascism in Europe and the possibility (or impossibility) of political resistance in the age of financial capitalism…
Athens Polytechnic is among the oldest higher-education institutions of Greece. It is also a central symbolic and historical locus of contemporary Greek resistance. On November 14, 15, and 16, in 1973…
To many visitors to documenta, if not most, Kassel-Wilhelmshöhe Train Station, constructed to replace what is now known as the KulturBahnhof closer to the city center, affords the first glimpse and impression…
I am trying to think “language or hunger,” but I inevitably supplant hunger with eating, not eating, and shitting, all of which differ from hunger. Hunger is abstract, and…
The Garden ofStones, by Parviz Kimiavi, won the Silver Bear at the Berlin Film Festival in 1976. Born in Tehran in 1939 and now living in Paris, Kimiavi is a cult figure in the Iranian New Wave. He studied film and photography at l'École Louis Lumière in Paris and worked in French television before returning to Iran in 1969, where he became a pioneering figure in Iran’s alternative cinema scene…
The first documenta 14 edition of South as a State of Mind featured a roundtable discussion titled “The Indelible Presence of the Gurlitt Estate,” in which Adam Szymczyk spoke with a number of artists…
Migrants are perceived, at best, as victims. But leaving home, enduring perils, taking a chance on the unknown requires courage. Their story is heroic as well. Talk and dance by Mandela Girls.
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…
