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.…
Every time I visit Geta Brătescu’s studio, I make the same journey. I board the train in Ploiești, the city where she was born in 1926, and alight in Bucharest, the city where she now lives and where…
The Goran people of Kosovo live in Lubinje, a remote village at the foot of the Sharr Mountains. They have a tradition of dressing and making up the bride on her wedding day, covering the whole body in…
In response to the violence and volume of complaints and disparaging remarks received during the last week, we have decided to cancel Franco “Bifo” Berardi’s performance. We respect those who might…
Cecilia Vicuña completes the Athenian chapter of her documenta 14 project by way of a ritual offering to the sea gods of ancient Hellenic lore. The sacrifice in question consists of Vicuña presenting…
In a life cut short before the age of 30, Andrzej Wróblewski (1927–57) produced an impressive body of work consisting of paintings, drawings, and prints, and spanning both abstraction and figuration…
Housing the Museumlandschaft Hessen-Kassel’s collection of nineteenth, twentieth, and twenty-first century art, the Neue Galerie has been an important venue in a number of previous editions of documenta…
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…
“Time is money (bastard)” sang the Swans in 1986. The same refrain—deprived of its punk rage—drives the subjects of Wang Bing’s Bitter Money. The film follows country people moving to the city to be employed as textile workers on daily or seasonal contracts…
Is it possible to transform the role of a museum and provide it with an educational remit distinct from that of the university? Can we change the consumerist imperative of the museum and re-implement its…
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.
Within the complex allegorical structure of Gustave Courbet’s L’Atelier du peintre (Painter’s Studio, 1854–55), the Irish beggar woman constitutes not merely a dark note of negativity calling into…
