Fervono
i lavori per la prossima Documenta, che è curata da Adam Szymczyk,
che punterà anche uno sgurado sulla Grecia con una sezione dislocata
ad Atene.
Press
release
On
October 6, 2014, a symposium titled “documenta 14, Kassel: Learning
from Athens” was held at Kunsthochschule (Academy of Fine Arts) in
Kassel, Germany, at the invitation of the academy. Organized by the
team of documenta 14, and led by Artistic Director Adam Szymczyk, the
symposium presented key members of the next documenta organization,
as well as discussed essential ideas and thematic concerns of the
exhibition project as a whole, scheduled to take place in 2017.
The
city of Kassel has been the host of documenta since its inception in
1955. Likewise, over the past thirteen editions, documenta has served
as host to many artists and cultural practitioners from around the
globe. But, ultimately, this position of host—with all the
privileges involved—appears to be no longer tenable and begs to be
questioned, if only temporarily. To this end, Szymczyk introduced
documenta 14’s planned twofold structure: In 2017, documenta 14
will establish a second site—Athens—bringing Kassel and the Greek
capital onto equal footing as the two locations of the exhibition.
Thus documenta’s undisputed position as host will be abandoned for
another role, that of guest, in Athens.
Szymczyk
noted that the main lines of thinking behind this move are manifold.
They have to do with the current social and political situation both
in Europe and globally, which motivates artistic action. Further,
they indicate the need to embody in documenta 14 the palpable tension
between the North and the South as it is reflected, articulated, and
interpreted in contemporary cultural production. The challenge
involves avoiding the traps of binary logic, while resonating with
changing realities. To that end, instead of the singular spectacle,
with its clearly designated location and temporal order, typical for
great international exhibitions, documenta 14 will comprise two
iterations set in dynamic balance in space and time.
The
distance between Kassel and Athens will fundamentally alter the
visitors’ experience of documenta 14. A feeling of loss and longing
brought about by geographic and mental displacement created by two
distant iterations of the exhibition might change the visitors’
perception of the show, working against the idea of rootedness and
countering the widespread, normative assumption that such an
exhibition must sustain the unity of action, place, and time.
Challenging this state of things, documenta 14 will attempt to
encompass a multitude of voices in, between, and beyond the two
cities where it is situated, reaching beyond the European context
from the vantage point of the Mediterranean metropolis, where Europe,
Africa, the Middle East, and Asia face each other. The diverse and
diverging locations and socioeconomic circumstances of Kassel and
Athens will come to bear on the very process of creation of the
exhibitions, while inspiring and determining its individual works of
art. For documenta 14, the participating artists will be invited to
think and produce within the dynamic between these two cities.
The
working schedule envisages documenta 14 to open in Athens in April
2017; it will then be inaugurated two months later in Kassel, on June
10. This will ensure that there will be a month of overlap, with two
parts of the exhibition running in parallel. Moreover, though each
iteration of the exhibition will be developed as an autonomous
project, they will inform each other’s content while not repeating
the form, with several distinctive venues in Athens, as in Kassel.
Documenta 14 intends to learn from the city of Athens and its
citizens, instead of parachuting a prepackaged event from Kassel into
one or several picturesque venues. Rather than being merely a sum of
two destinations, documenta 14 will unfold in a three-year-long
process of learning and producing knowledge, while also engaging in
the process of instituting spaces for public life in both locations.
In this process, both cities’ communities will become involved,
contributing to the project. Already, over the course of 2013 and
2014, several instructive meetings have taken place in Athens with a
number of the city’s cultural producers who represented the
diversity and contradictions of the Greek context today, beginning an
ongoing discussion of collaboration with certain institutions there.
In parallel, similar discussions have been led in Kassel.
Greece
in 2014 is not an isolated case; it is emblematic of the
fast-changing global situation, and it embodies the economic,
political, social, and cultural dilemmas that Europe must face
today—much as Kassel in 1955 embodied the need to deal with the
trauma of destruction brought about by the Nazi regime and
simultaneously served as a strategic location at the onset of the
Cold War. If Athens exemplifies the current issues that extend beyond
the proverbial notion of the “Greek Crisis,” these problems—which
are as much European and global as they are Greek—remain
unresolved. Yet they present us with an opportunity to open up a
space of imagination, thinking, and action, instead of following the
disempowering neoliberal setup that offers itself as (non)action
implied in the (non)choice of austerity. While the specific timing
and choice of locale of Kassel in 1955 were precisely the factors
that allowed documenta to develop into a now half-century-old
venture, those sociopolitical parameters that made documenta urgent
are no longer in play. This sense of urgency, then, must be found
elsewhere.
Szymczyk
and his team concluded by noting that documenta 14—in its temporary
displacement and doubling of perspectives—would enable those
artistic strategies that reach toward the reality of a contemporary
world, one understood as a place for a multitude made up of
individuals, and not as a territory defined by hegemonic
relationships that make it a place of suffering and misery for many.
It is this world that will be addressed in the exhibition, the world
larger than Germany or Greece.
documenta
14 is organized by Artistic Director Adam Szymczyk together with a
team whose first members have now been announced:
Pierre
Bal-Blanc, Curator; Marina Fokidis, Head of Artistic Office Athens;
Hendrik Folkerts, Curator; Henriette Gallus, Head of Communications;
Annie-Claire Geisinger, Coordinator Communications Office Athens;
Quinn Latimer, Editor of Publications; Andrea Linnenkohl, Assistant
to the Artistic Director; Hila Peleg, Curator; Christoph Platz, Head
of Exhibition Department; Dieter Roelstraete, Curator; Fivos Sakalis,
Press Officer/Greek Media; Katrin Sauerländer, Head of Publications;
Monika Szewczyk, Curator; Katerina Tselou, Assistant to the Artistic
Director.
The
visual identity of documenta 14 will be changing over time and in
response to the development of the project, in the process involving
the design offices of Julia Born & Laurenz Brunner, Berlin; Mevis
& Van Deursen, Amsterdam; Vier5, Paris & Kassel; and Ludovic
Balland Typography Cabinet, Basel.
Pierre
Bal-Blanc is an independent curator, director of Contemporary Art
Center (CAC) Brétigny, and organizer of the “Phalanstère Project”
(since 2003), a series of site-specific proposals that aim at a
critical rethinking of the logic behind accumulation of art works.
His exhibition sequences La Monnaie Vivante/Living Currency (CAC
Brétigny/Micadanses, 2005–06; STUK, 2007; Tate Modern, 2008;
Museum of Modern Art in Warsaw, Berlin Biennale, 2010), and Draft
Score for an Exhibition (Le Plateau, Artissima, Secession, 2011;
Index, 2012) negotiate current and historical analysis of the body
and performance strategies in the visual arts. The three chapters of
Reversibility (Frieze, 2008; CAC Brétigny, 2010; Peep-Hole, Milan,
2012) reflect on the consequences of the art object’s materiality
and the role and shape of the cultural institution today. The Death
of the Audience (Secession, 2009) reveals processes of emancipation
and alienation occurring between the figures of the artist and the
spectator. He is currently preparing Soleil politique, an exhibition
for Museion in Bolzano, Italy.
Marina
Fokidis is a curator and writer based in Athens. She is the founding
and artistic director of Kunsthalle Athena, and founding and
editorial director of the biannual arts and culture publication,
South as a State of Mind. A curator of the 3rd Thessaloniki Biennale
for Contemporary Art (2011), she was the commissioner and curator of
the Greek Pavilion at the 51st Venice Biennale (2003), and a
cocurator of the 1st Tirana Biennial (2001). Since 2013, she has been
a curator for exhibitions at Art Space Pythagorion, Schwarz
Foundation. Her essay writing has appeared in various edited
collections, in artist and exhibition catalogs, and in such
international art magazines and publications as frieze, art-agenda,
Artinfo, Flash Art, Art and Australia, and Manifesta Journal. She has
contributed to the books The State and the Arts: Articulating Power
and Subversion (2008), Empires, Ruins + Networks: The Transcultural
Agenda in Art (2005), and Urban Ecology: Detroit and Beyond (2005),
among others.
Hendrik
Folkerts has been Curator of Performance, Film, and Discursive
Programs at the Stedelijk Museum in Amsterdam since 2010. He studied
art history at the University of Amsterdam, specializing in
contemporary art and theory, feminist practices, and performance.
From 2009 to 2011, Folkerts was coordinator of the Curatorial
Programme at de Appel arts centre in Amsterdam. His texts have been
frequently published in journals and on platforms such as The
Exhibitionist, Metropolis M, Art & the Public Sphere, Afterall
Online, and Tubelight, and in publications of the Stedelijk Museum
Bureau Amsterdam. Folkerts is guest editor of The Shadowfiles #3: On
Curatorial Education (Amsterdam: de Appel arts centre, 2013) and
coeditor of Facing Forward: Art & Theory from a Future
Perspective (Amsterdam: AUP, forthcoming 2014).
Henriette
Gallus studied literature and philosophy in Berlin. She worked as a
literary agent at the Simon Literary Agency from 2004 to 2009,
specializing in fiction. From 2009 to 2011, she was Head of Public
Relations at the independent publishing house Blumenbar, where she
was also involved in the work of the editorial office. She managed PR
and worked as scout for new books for the publishing house Rogner &
Bernhard until her appointment as Press Officer of dOCUMENTA (13) in
2011. She was Head of Communications and International Relations for
Monday Begins on Saturday, the first edition of the Bergen Assembly
in Norway in 2013. She was responsible for the international media
for the 3rd edition of Berlin Documentary Forum held at Haus der
Kulturen der Welt, Berlin in 2014, where she also managed the
editorial releases and magazine publication for the project. She is a
founding member and Communications Director of the international
digital publishing endeavor Fiktion.
Annie-Claire
Geisinger studied political science and culture management at
Sciences Po, Paris. From 2008 to 2010, she worked at the Bureau des
Arts Plastiques of the French Embassy in Berlin, where she organized
the first two editions of the gallery exchange Berlin-Paris.
Following this engagement, she worked on the communications for the
opening of the newly created sister institution of the Centre
Pompidou in Metz, France. Since relocating to Athens she has worked
on various projects, and among other activities is responsible for
communications at the Economou Collection.
Quinn
Latimer is a poet, critic, and editor based in Basel. She is the
author of Rumored Animals (2012); Sarah Lucas: Describe This Distance
(2013); and Film as a Form of Writing: Quinn Latimer Talks to Akram
Zaatari (2014). A regular contributor to Artforum and a contributing
editor to frieze, her essays and poems appear in many artist
monographs and critical anthologies. Her lectures and readings have
also been held widely, including at Chisenhale Gallery, London;
Whitechapel Gallery, London; Kunsthalle Zurich; and Astrup Fearnley
Museet, Oslo; and her work has been featured at the Serpentine
Gallery, London; CRAC Alsace, France; the German Pavilion, Venice
Architecture Biennale, Italy; and Qalandia International,
Ramallah/Jerusalem. She is coeditor, with Adam Szymczyk, of Stories,
Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and
Produced by M. Auder (2014); Paul Sietsema: Interviews on Films and
Works (2012); and Olinka, or Where Movement Is Created (2013); and
coeditor of No Core: Pamela Rosenkranz (2012). In 2012, she was a
Pushcart Prize finalist and an Arts Writers Grant recipient through
the Creative Capital | Warhol Foundation program. Latimer studied at
Sarah Lawrence College and Columbia University in New York, and
teaches at Haute école d’art et de design (HEAD), Geneva.
Andrea
Linnenkohl from 2008 to 2011 worked as curatorial assistant and
curator at Kunsthalle Fridericianum under Director Rein Wolfs,
proceeding a term in the team of René Block at the same museum in
2006. Her current employment with documenta 14 follows two prior
engagements with the event: in 2007 she was assistant to the
Technical Director for documenta 12, directed by Roger M. Buergel; in
2012, for the thirteenth edition directed by Carolyn
Christov-Bakargiev, she was a project planner in the installation
office. In 2013, she worked on the anniversary edition of the Kassel
Documentary Film and Video Festival. Following exhibitions at
Kunsthalle Fridericianum, she has realized her own curatorial
projects such as the group exhibition this is not the end
(2012/2013).
Hila
Peleg is the founder and artistic director of the Berlin Documentary
Forum, a biennial event initiated at the Haus der Kulturen der Welt
in 2010 devoted to the production and presentation of contemporary
and historical documentary practices in an interdisciplinary context.
Peleg has curated solo shows, large-scale group exhibitions, and
interdisciplinary cultural events in public institutions across
Europe, including KW Institute for Contemporary Art, Berlin; Extra
City Kunsthal, Antwerp; Iniva, London; and Haus der Kulturen der
Welt, Berlin. Peleg was cocurator of Manifesta 7 (Trentino-Alto
Adige/Südtirol, 2008), and is currently curator of the film program
at the 10th Shanghai Biennale (2014). Her debut feature film A Crime
Against Art (2007) was screened in many festivals worldwide,
including Berlinale, Hot Docs, and CPH:DOX, and presented at
institutions such as Centre Pompidou, New Museum, and ZKM. Her new
film, Sign Space, will be released in 2015. Peleg studied photography
and video at the University of Westminster, London, and art history
at Goldsmiths College, London.
Christoph
Platz is an art historian, project manager, and producer. He worked
for Kunsthalle Münster, Westfälischer Kunstverein, and Sculpture
Projects Muenster 07. In 2009 he received the Schloss Ringenberg
curatorial grant and realized projects in Germany and the
Netherlands. He has published the book Kunstverein im Umbruch (2011)
on the post-war development of the Kunstverein in Germany, and has
written on artists such as Franz Erhard Walther, Jeremy Deller, Prinz
Gholam, Nedko Solakov, Sofia Hultén, and Wade Guyton. From 2010 to
2012 he worked in the Project Management department of dOCUMENTA
(13), and as head of the Department from June 2012. He was Head of
the Exhibition Department for the first edition of Bergen Assembly in
Norway in 2013, and served as independent Strategic Advisor for
projects such as the public art project Stadtkuratorin Hamburg or the
Academy of the Arts of the World in Cologne.
Dieter
Roelstraete is the Manilow Senior Curator at the Museum of
Contemporary Art Chicago, where he recently organized The Way of the
Shovel: Art as Archaeology (2013) and Simon Starling: Metamorphology
(2014). From 2003 to 2011 he was a curator at the Museum of
Contemporary Art Antwerp (MuHKA), where he organized large-scale
group exhibitions as well as monographic shows, such as: Emotion
Pictures (2005); Intertidal, a survey of contemporary art from
Vancouver (2005); The Order of Things (2008); Liam Gillick and
Lawrence Weiner: A Syntax of Dependency (2011); A Rua (The Street)
(2011); Chantal Akerman: Too Far, Too Close (2012); and the
collaborative projects Academy. Learning from Art (2006) and Kerry
James Marshall: Paintings and Other Stuff (2013). From 2007 to 2011
he taught in de Appel’s curatorial training program in Amsterdam
and at the Piet Zwart Institute in Rotterdam. Former editor of
Afterall and cofounder of the journal F.R. DAVID, Roelstraete has
published extensively on contemporary art and related philosophical
issues in numerous catalogs and journals, including Artforum, e-flux
journal, frieze, Mousse Magazine, and Texte zur Kunst.
Fivos
Sakalis is a journalist and communication consultant who worked for
several years in the area of consumer marketing before making a shift
to work with art. He joined the DESTE Foundation for Contemporary
Art, Athens as Press & PR Officer in 1998, where he remained
until 2002. Since then, he has worked as a communication consultant
at major Greek art institutions such as the National Museum of
Contemporary Art and the Gagosian Gallery, both in Athens. From 2009
to 2011 he served as the Communication Director of Art-Athina, the
International Contemporary Art Fair of Athens. Alongside these
appointments, he also works as an independent art editor and has
collaborated with many Greek and international publications. He is a
member of AICA Hellas.
Katrin
Sauerländer is an art historian and works as an editor and
copyeditor for contemporary art publications. After completing her
studies in Cologne, she worked in 1999 as a research assistant for
the Art Worlds in Dialogue exhibition at Museum Ludwig, Cologne. From
2001 to 2003 she was responsible for press and publications at the
Kunstverein in Hamburg, and from 2003 to 2006 she worked for the
publishing house Revolver – Archiv für aktuelle Kunst in
Frankfurt/Main. She has worked on numerous publications with various
art institutions, artists, and publishers since 2007, and was
Managing Editor for the 5th and 6th editions of the Berlin Biennale,
in 2008 and 2010 respectively. From 2010 to 2012 she was Managing
Editor for dOCUMENTA (13).
Monika
Szewczyk is currently the Visual Arts Program Curator at the Reva and
David Logan Center for the Arts, University of Chicago, where she
also lectures in the departments of Visual Arts and Art History. Her
most recent exhibition at the Logan Center, Szalon, foregrounds art
practices rooted in oral traditions and borderline aesthetic
experiences. Previously she was Head of Publications at the Witte de
With Center for Contemporary Art in Rotterdam (2008–11), Assistant
Curator at the Vancouver Art Gallery (2004–07), and Exhibitions
Coordinator at the University of British Columbia’s Morris and
Helen Belkin Art Gallery Satellite Gallery in downtown Vancouver. She
has taught at the Emily Carr University of Art + Design (Vancouver),
the Piet Zwart Institute (Rotterdam), and the Bergen Art Academy. Her
writings have appeared in numerous catalogs as well as journals such
as Afterall, Artforum, The Exhibitionist, and e-flux journal online.
Katerina
Tselou studied literature and art history in Athens and continued her
postgraduate studies in the theory of art at EHESS (École des hautes
études en sciences sociales) in Paris. From 2007 to 2008 she worked
as exhibition coordinator and international relations and film
distribution manager at Argos, Centre for Art and Media in Brussels.
From 2009 to 2013 she was curator of visual arts at the National
Theatre of Greece, her work focusing on exploring the area between
theater and the visual arts in the realm of interdisciplinary
practices. She was cocurator and coordinator of the curatorial team
for the 4th Athens Biennale in 2013. She has also organized projects
as an independent curator in Greece, collaborating with such
institutions as the European Film Festival, the School of
Architecture of the University of Thessaly, and the Theatre of the
South.