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.…
Dieter Roelstraete: The story of the Gurlitt Estate has been an ongoing curatorial concern of documenta 14’s. For some time now you have sailed on an independent course of artistic research into the…
Sound is weaponized. During World War II, fighter jets flew low to simulate the dropping of bombs, keeping citizens on edge. In Guantanamo Bay, metal music was blasted at intolerable levels in the belief…
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…
From the fall of Constantinople in 1453 until the revolution that created modern Greece in 1821, the Greek peninsula was under the rule of the Ottoman Empire. Housed in a restored neoclassical villa, the…
The exhibition at the Fridericianum marks the first time the collection of Greece’s National Museum of Contemporary Art (EMST) is presented in Germany, through a double displacement that renders EMST’s…
Ulrike Ottinger’s Chamisso’sShadow —Chapter 1: Alaska and Aleutian Islands takes as its point of departure the accounts of Adelbert von Chamisso. The nineteenth-century botanist and poet was a voyager on the Romanzow research expedition, which aimed to find a passage between the Pacific and Atlantic oceans…
Commentary on Frantz Fanon’s oeuvre tends to consider The Wretched of the Earth, published in 1961, as the work that breaks with the Martinican thinker’s post-slavery analysis…
The Cooperativist Society invites you to its first event. We present the Society’s general approach and position and initiate a new project: the Artists’…
