documenta14's  Instagram Profile

documenta 14

@documenta14

Add to circle
  • Small
  • Medium
  • Large
- ANTIDORON The EMST Collection presents a selection of the EMST’s permanent collection in the Fridericianum, the birthplace of documenta and the first public museum in Europe. It negotiates concepts such as sharing, offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or nancial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each others’ stances. Mona Hatoum: Fix It (2004) Factory fixtures and furnishings, light bulbs, lighting equipment, electric cable, and sound Dimensions variable Loan from Hellenic Culture Organization S.A. to National Museum of Contemporary Art, Athens (EMST), within the framework of the Cultural Olympiad 2014 Photos: Nils Klinger
- ANTIDORON The EMST Collection presents a selection of the EMST’s permanent collection in the Fridericianum, the birthplace of documenta and the first public museum in Europe. It negotiates concepts such as sharing, offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or nancial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each others’ stances. Mona Hatoum: Fix It (2004) Factory fixtures and furnishings, light bulbs, lighting equipment, electric cable, and sound Dimensions variable Loan from Hellenic Culture Organization S.A. to National Museum of Contemporary Art, Athens (EMST), within the framework of the Cultural Olympiad 2014 Photos: Nils Klinger
- ANTIDORON The EMST Collection presents a selection of the EMST’s permanent collection in the Fridericianum, the birthplace of documenta and the first public museum in Europe. It negotiates concepts such as sharing, offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or nancial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each others’ stances. Mona Hatoum: Fix It (2004) Factory fixtures and furnishings, light bulbs, lighting equipment, electric cable, and sound Dimensions variable Loan from Hellenic Culture Organization S.A. to National Museum of Contemporary Art, Athens (EMST), within the framework of the Cultural Olympiad 2014 Photos: Nils Klinger
- Don't miss the grand finale of documenta 14's weekly club: #14 To The Floor #14 To The Floor #14 To The Floor #14 Tonight: 10pm at @tofufabrik (Wolfhager Straße 39a, Kassel), Entrance fee: €6 — early arrival is highly recommended! // Mattin Tatsuya Takahashi (live) Royal Jelly Benefits Izabel b2b Jules b2b Jondo // 14 To The Floor’s fourteenth installment, auspiciously timed to occur on September 14: ready your discerning ears and dancing feet for one final blowout of musical impressions as documenta 14’s weekly club night readies itself for a big-boned, grand finale in fine thunderstruck style. Fittingly, for a project initiated by the people for the people, documenta 14 artists and team members take center stage in the persons of Mattin, Royal Jelly Benefits, Tatsuya Takahashi, and Jules and Jondo, back to back—a final, lasting reminder of the centrality of the sound of music to documenta 14 as a whole: learning from the night… -> More infos: https://goo.gl/nzGn5Y See you on the dancefloor! #documenta14 #14tothefloor #nightshift #learningfromthenight
- Don& #39;t miss the grand finale of documenta 14& #39;s weekly club: #14 To The Floor #14 To The Floor #14 To The Floor #14 Tonight: 10pm at @tofufabrik (Wolfhager Straße 39a, Kassel), Entrance fee: €6 — early arrival is highly recommended! // Mattin Tatsuya Takahashi (live) Royal Jelly Benefits Izabel b2b Jules b2b Jondo // 14 To The Floor’s fourteenth installment, auspiciously timed to occur on September 14: ready your discerning ears and dancing feet for one final blowout of musical impressions as documenta 14’s weekly club night readies itself for a big-boned, grand finale in fine thunderstruck style. Fittingly, for a project initiated by the people for the people, documenta 14 artists and team members take center stage in the persons of Mattin, Royal Jelly Benefits, Tatsuya Takahashi, and Jules and Jondo, back to back—a final, lasting reminder of the centrality of the sound of music to documenta 14 as a whole: learning from the night… -> More infos: https://goo.gl/nzGn5Y See you on the dancefloor! #documenta14 #14tothefloor #nightshift #learningfromthenight
- Don't miss the grand finale of documenta 14's weekly club: #14 To The Floor #14 To The Floor #14 To The Floor #14 Tonight: 10pm at @tofufabrik (Wolfhager Straße 39a, Kassel), Entrance fee: €6 — early arrival is highly recommended! // Mattin Tatsuya Takahashi (live) Royal Jelly Benefits Izabel b2b Jules b2b Jondo // 14 To The Floor’s fourteenth installment, auspiciously timed to occur on September 14: ready your discerning ears and dancing feet for one final blowout of musical impressions as documenta 14’s weekly club night readies itself for a big-boned, grand finale in fine thunderstruck style. Fittingly, for a project initiated by the people for the people, documenta 14 artists and team members take center stage in the persons of Mattin, Royal Jelly Benefits, Tatsuya Takahashi, and Jules and Jondo, back to back—a final, lasting reminder of the centrality of the sound of music to documenta 14 as a whole: learning from the night… -> More infos: https://goo.gl/nzGn5Y See you on the dancefloor! #documenta14 #14tothefloor #nightshift #learningfromthenight
- Some impressions from our piano #concert from last Friday: Cornelius Cardew, *Thälmann Variations* and *We Sing For The Future!* and Frederic Rzewski, *Songs of Insurrection* In the late 1960s, American composer and pianist Frederic Rzewski befriended experimental composer Cornelius Cardew, one of the founders of the renowned experimental music ensemble Scratch Orchestra. By the early 1970s, Cardew had become a Communist who applied his political views to his compositions. Remarking on the profound influence of Cardew on his work, in a 1997 interview with The New York Times, Rzewski commented, “Cardew wrote pieces that were convincing demonstrations of what could be done by using a tonal language with which large numbers of people were familiar to communicate advanced political ideas.” This influence, combined with Rzewski’s experiences as a member of Musica Elettronica Viva (MEV) starting in 1966 in Rome, led to Rzewski writing compositions that increasingly reflected his political concerns. More info: http://www.documenta14.de/en/calendar/24908/frederic-rzewski September 8, 2017 Photos: Mathias Völzke #documenta14 #piano #pianoconcert
- Some impressions from our piano #concert from last Friday: Cornelius Cardew, *Thälmann Variations* and *We Sing For The Future!* and Frederic Rzewski, *Songs of Insurrection* In the late 1960s, American composer and pianist Frederic Rzewski befriended experimental composer Cornelius Cardew, one of the founders of the renowned experimental music ensemble Scratch Orchestra. By the early 1970s, Cardew had become a Communist who applied his political views to his compositions. Remarking on the profound influence of Cardew on his work, in a 1997 interview with The New York Times, Rzewski commented, “Cardew wrote pieces that were convincing demonstrations of what could be done by using a tonal language with which large numbers of people were familiar to communicate advanced political ideas.” This influence, combined with Rzewski’s experiences as a member of Musica Elettronica Viva (MEV) starting in 1966 in Rome, led to Rzewski writing compositions that increasingly reflected his political concerns. More info: http://www.documenta14.de/en/calendar/24908/frederic-rzewski September 8, 2017 Photos: Mathias Völzke #documenta14 #piano #pianoconcert
- Some impressions from our piano #concert from last Friday: Cornelius Cardew, *Thälmann Variations* and *We Sing For The Future!* and Frederic Rzewski, *Songs of Insurrection* In the late 1960s, American composer and pianist Frederic Rzewski befriended experimental composer Cornelius Cardew, one of the founders of the renowned experimental music ensemble Scratch Orchestra. By the early 1970s, Cardew had become a Communist who applied his political views to his compositions. Remarking on the profound influence of Cardew on his work, in a 1997 interview with The New York Times, Rzewski commented, “Cardew wrote pieces that were convincing demonstrations of what could be done by using a tonal language with which large numbers of people were familiar to communicate advanced political ideas.” This influence, combined with Rzewski’s experiences as a member of Musica Elettronica Viva (MEV) starting in 1966 in Rome, led to Rzewski writing compositions that increasingly reflected his political concerns. More info: http://www.documenta14.de/en/calendar/24908/frederic-rzewski September 8, 2017 Photos: Mathias Völzke #documenta14 #piano #pianoconcert
- ANTIDORON The EMST Collection presents a selection of the EMST National Museum of Contemporary Art, Athens’ permanent collection in the Fridericianum, the birthplace of documenta and the first public museum in Europe. It negotiates concepts such as sharing, offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or nancial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each others’ stances. Stephen Antonakos: *Remembrance* (1987–89) Work includes: Untitled (For My Brother Peter) (1987) Neon and gold foil on wood 91.6 × 91.6 × 8 cm Photos: Nils Klinger
- ANTIDORON The EMST Collection presents a selection of the EMST National Museum of Contemporary Art, Athens’ permanent collection in the Fridericianum, the birthplace of documenta and the first public museum in Europe. It negotiates concepts such as sharing, offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or nancial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each others’ stances. Stephen Antonakos: *Remembrance* (1987–89) Work includes: Untitled (For My Brother Peter) (1987) Neon and gold foil on wood 91.6 × 91.6 × 8 cm Photos: Nils Klinger
- ANTIDORON The EMST Collection presents a selection of the EMST National Museum of Contemporary Art, Athens’ permanent collection in the Fridericianum, the birthplace of documenta and the first public museum in Europe. It negotiates concepts such as sharing, offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or nancial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each others’ stances. Stephen Antonakos: *Remembrance* (1987–89) Work includes: Untitled (For My Brother Peter) (1987) Neon and gold foil on wood 91.6 × 91.6 × 8 cm Photos: Nils Klinger
- #Repost @ludovic_balland (@get_repost) ・・・ #documenta14 #Publicpaper the last #Issue #N°12 is out now. It was a #great #collaboration and #unique #research on #Newspaper #Design & #editorial #invention !—Last chance to visit @documenta14 in Kassel. Open until September 17.—My #editorial & #visual #contribution to #documenta14 is now over; #time to #work on #new #projects ! Was great to be part of this amazing experience. #documenta14 the best #documenta ! #AdamSzymczyk for ever ! @henriette_galllus
- #Repost @ludovic_balland @get_repost ) ・・・ #documenta14 #Publicpaper the last #Issue #N °12 is out now. It was a #great #collaboration and #unique #research on #Newspaper #Design & #editorial #invention !—Last chance to visit @documenta14 in Kassel. Open until September 17.—My #editorial & #visual #contribution to #documenta14 is now over; #time to #work on #new #projects ! Was great to be part of this amazing experience. #documenta14 the best #documenta ! #AdamSzymczyk for ever ! @henriette_galllus
- #Repost @ludovic_balland (@get_repost) ・・・ #documenta14 #Publicpaper the last #Issue #N°12 is out now. It was a #great #collaboration and #unique #research on #Newspaper #Design & #editorial #invention !—Last chance to visit @documenta14 in Kassel. Open until September 17.—My #editorial & #visual #contribution to #documenta14 is now over; #time to #work on #new #projects ! Was great to be part of this amazing experience. #documenta14 the best #documenta ! #AdamSzymczyk for ever ! @henriette_galllus
- THE PARTHENON OF BOOKS - get your own book On Saturday, September 9, Artist @martaminujin completed the *Parthenon of Books* by adding the last title to the construction. Today, Sunday, September 10, at 10 am, Minujín started redistributing the books to the public. The Parthenon will be dismantled bit by bit until the end of the exhibition. Visitors were invited today to collect their own book directly from the Parthenon. Minujín gave a short speech at 12pm, noon. Photo: Mathias Voelzke
- THE PARTHENON OF BOOKS - get your own book On Saturday, September 9, Artist @martaminujin completed the *Parthenon of Books* by adding the last title to the construction. Today, Sunday, September 10, at 10 am, Minujín started redistributing the books to the public. The Parthenon will be dismantled bit by bit until the end of the exhibition. Visitors were invited today to collect their own book directly from the Parthenon. Minujín gave a short speech at 12pm, noon. Photo: Mathias Voelzke
- THE PARTHENON OF BOOKS - get your own book On Saturday, September 9, Artist @martaminujin completed the *Parthenon of Books* by adding the last title to the construction. Today, Sunday, September 10, at 10 am, Minujín started redistributing the books to the public. The Parthenon will be dismantled bit by bit until the end of the exhibition. Visitors were invited today to collect their own book directly from the Parthenon. Minujín gave a short speech at 12pm, noon. Photo: Mathias Voelzke
- Rasheed, born in Karachi in 1935, was much appreciated as founding editor and moving spirit of Third Text, that feisty journal of critical writing and decolonizing culture. To find, support, and spur on emerging voices was simply one of the things he routinely did; as obvious and endearing as cooking a meal for a stranger. http://www.documenta14.de/en/artists/13577/rasheed-araeen Rasheed Araeen *The Reading Room* (2016/2017) Steel and glass tables, wooden stools, and copies of *Third Text* journal Photo: Milan Soremski
- Rasheed, born in Karachi in 1935, was much appreciated as founding editor and moving spirit of Third Text, that feisty journal of critical writing and decolonizing culture. To find, support, and spur on emerging voices was simply one of the things he routinely did; as obvious and endearing as cooking a meal for a stranger. http://www.documenta14.de/en/artists/13577/rasheed-araeen Rasheed Araeen *The Reading Room* (2016/2017) Steel and glass tables, wooden stools, and copies of *Third Text* journal Photo: Milan Soremski
- Rasheed, born in Karachi in 1935, was much appreciated as founding editor and moving spirit of Third Text, that feisty journal of critical writing and decolonizing culture. To find, support, and spur on emerging voices was simply one of the things he routinely did; as obvious and endearing as cooking a meal for a stranger. http://www.documenta14.de/en/artists/13577/rasheed-araeen Rasheed Araeen *The Reading Room* (2016/2017) Steel and glass tables, wooden stools, and copies of *Third Text* journal Photo: Milan Soremski
- The creation history of what is referred to today as Queensland is at the core of the project presented at documenta 14 that spans a series of monumental paintings in Kassel and a public mural in Athens. Hookey juxtaposes the oral traditions transferred across generations of Aboriginal communities with the colonial genesis of Australia. http://www.documenta14.de/en/artists/13553/gordon-hookey Gordon Hookey *MURRILAND!* (2017) Oil on linen and mural 2 × 10 m, mural dimensions variable Coproduced by the Australia Council for the Arts and Queensland Arts Showcase Program Photo: Michael Nast
- The creation history of what is referred to today as Queensland is at the core of the project presented at documenta 14 that spans a series of monumental paintings in Kassel and a public mural in Athens. Hookey juxtaposes the oral traditions transferred across generations of Aboriginal communities with the colonial genesis of Australia. http://www.documenta14.de/en/artists/13553/gordon-hookey Gordon Hookey *MURRILAND!* (2017) Oil on linen and mural 2 × 10 m, mural dimensions variable Coproduced by the Australia Council for the Arts and Queensland Arts Showcase Program Photo: Michael Nast
- The creation history of what is referred to today as Queensland is at the core of the project presented at documenta 14 that spans a series of monumental paintings in Kassel and a public mural in Athens. Hookey juxtaposes the oral traditions transferred across generations of Aboriginal communities with the colonial genesis of Australia. http://www.documenta14.de/en/artists/13553/gordon-hookey Gordon Hookey *MURRILAND!* (2017) Oil on linen and mural 2 × 10 m, mural dimensions variable Coproduced by the Australia Council for the Arts and Queensland Arts Showcase Program Photo: Michael Nast
- Pleiades Female Vocal Group featured in The Way Earthly Things Are Going by Emeka Ogboh Emeka Ogboh’s enchanting sound installation *The Way Earthly Things Are Going* (2017) deliberates on the multiple effects and manifestations of states of crisis. It tells of wanderlust and yearning, of pain and a survival urge, and it features comments and impressions of an economic crisis that has plagued and is still ravaging. On the last day of documenta 14 in Athens, Aliki Atsalaki, Vassula Delli, Georgia Tenta, and Roula Tsernou, members of the Pleiades Female Vocal Group, appeared at the Athens Conservatoire for six short live performances of the traditional polyphonic song “Αλησμονώ και χαίρομαι” (When I forget, I’m glad). A recording of the Pleiades’ interpretation of the song serves as the basis of Ogboh’s installation. July 16, 2017 Photo: Stathis Mamalakis
- Pleiades Female Vocal Group featured in The Way Earthly Things Are Going by Emeka Ogboh Emeka Ogboh’s enchanting sound installation *The Way Earthly Things Are Going* (2017) deliberates on the multiple effects and manifestations of states of crisis. It tells of wanderlust and yearning, of pain and a survival urge, and it features comments and impressions of an economic crisis that has plagued and is still ravaging. On the last day of documenta 14 in Athens, Aliki Atsalaki, Vassula Delli, Georgia Tenta, and Roula Tsernou, members of the Pleiades Female Vocal Group, appeared at the Athens Conservatoire for six short live performances of the traditional polyphonic song “Αλησμονώ και χαίρομαι” (When I forget, I’m glad). A recording of the Pleiades’ interpretation of the song serves as the basis of Ogboh’s installation. July 16, 2017 Photo: Stathis Mamalakis
- Pleiades Female Vocal Group featured in The Way Earthly Things Are Going by Emeka Ogboh Emeka Ogboh’s enchanting sound installation *The Way Earthly Things Are Going* (2017) deliberates on the multiple effects and manifestations of states of crisis. It tells of wanderlust and yearning, of pain and a survival urge, and it features comments and impressions of an economic crisis that has plagued and is still ravaging. On the last day of documenta 14 in Athens, Aliki Atsalaki, Vassula Delli, Georgia Tenta, and Roula Tsernou, members of the Pleiades Female Vocal Group, appeared at the Athens Conservatoire for six short live performances of the traditional polyphonic song “Αλησμονώ και χαίρομαι” (When I forget, I’m glad). A recording of the Pleiades’ interpretation of the song serves as the basis of Ogboh’s installation. July 16, 2017 Photo: Stathis Mamalakis
- *Unpacking Burckhardt* continued with a performative night stroll entitled *Zwischenlandschaften* by artists and performers Inge Nabuurs and Erwin van Doorn. Having intervened during documenta 12 by renaming the streets between Fridericianum and Wilhelmshöhe to “Die Burckhardtstrasse,” Nabuurs and van Doorn illuminate real and fictional traces of what could have been in multiple formats and at various sites. During the stroll, roles shifted and the unseen became visible as the artists entered into dialogue with cultural heritage in transition including archival research, minimal interventions, and documentary art. An additional guest, Alicja Melzacka, discussed themes around the questions, “How does documentation trespass into the realm of art?” and “Is working in public space as urgent as working in the white cube?” before the walk ended at Kulturbahnhof. August 16, 2017 Peppermint, Untere Karlsstraße 8, Kassel Photo: Milan Soremski
- *Unpacking Burckhardt* continued with a performative night stroll entitled *Zwischenlandschaften* by artists and performers Inge Nabuurs and Erwin van Doorn. Having intervened during documenta 12 by renaming the streets between Fridericianum and Wilhelmshöhe to “Die Burckhardtstrasse,” Nabuurs and van Doorn illuminate real and fictional traces of what could have been in multiple formats and at various sites. During the stroll, roles shifted and the unseen became visible as the artists entered into dialogue with cultural heritage in transition including archival research, minimal interventions, and documentary art. An additional guest, Alicja Melzacka, discussed themes around the questions, “How does documentation trespass into the realm of art?” and “Is working in public space as urgent as working in the white cube?” before the walk ended at Kulturbahnhof. August 16, 2017 Peppermint, Untere Karlsstraße 8, Kassel Photo: Milan Soremski
- *Unpacking Burckhardt* continued with a performative night stroll entitled *Zwischenlandschaften* by artists and performers Inge Nabuurs and Erwin van Doorn. Having intervened during documenta 12 by renaming the streets between Fridericianum and Wilhelmshöhe to “Die Burckhardtstrasse,” Nabuurs and van Doorn illuminate real and fictional traces of what could have been in multiple formats and at various sites. During the stroll, roles shifted and the unseen became visible as the artists entered into dialogue with cultural heritage in transition including archival research, minimal interventions, and documentary art. An additional guest, Alicja Melzacka, discussed themes around the questions, “How does documentation trespass into the realm of art?” and “Is working in public space as urgent as working in the white cube?” before the walk ended at Kulturbahnhof. August 16, 2017 Peppermint, Untere Karlsstraße 8, Kassel Photo: Milan Soremski
- What does Miriam Cahn look at, and what does she see? What kind of representation does her reporting of contemporary tragedies and conflicts provide? Is this oscillation—borderline realistic and abstract—not the only way to render catastrophe, to penetrate fear, to accompany those in pain? Is it not precisely this oscillation that is crucial to understand and to rise to the challenge of the conflicts around us? How does Miriam Cahn complicate, stretch, and set in motion the definition and functions of realism (in art)? —Marta Dziewańska Miriam Cahn: *KOENNTEICHSEIN*, details from installation of various works Photos: Roman Maerz #art #documenta14
- What does Miriam Cahn look at, and what does she see? What kind of representation does her reporting of contemporary tragedies and conflicts provide? Is this oscillation—borderline realistic and abstract—not the only way to render catastrophe, to penetrate fear, to accompany those in pain? Is it not precisely this oscillation that is crucial to understand and to rise to the challenge of the conflicts around us? How does Miriam Cahn complicate, stretch, and set in motion the definition and functions of realism (in art)? —Marta Dziewańska Miriam Cahn: *KOENNTEICHSEIN*, details from installation of various works Photos: Roman Maerz #art #documenta14
- What does Miriam Cahn look at, and what does she see? What kind of representation does her reporting of contemporary tragedies and conflicts provide? Is this oscillation—borderline realistic and abstract—not the only way to render catastrophe, to penetrate fear, to accompany those in pain? Is it not precisely this oscillation that is crucial to understand and to rise to the challenge of the conflicts around us? How does Miriam Cahn complicate, stretch, and set in motion the definition and functions of realism (in art)? —Marta Dziewańska Miriam Cahn: *KOENNTEICHSEIN*, details from installation of various works Photos: Roman Maerz #art #documenta14

This product uses the Instagram API but is not endorsed or certified by Instagram. All Instagram™ logos and trademarks displayed on this application are property of Instagram.