Solidarity Screenings – ONLINE in the Verziotheque until June 11

Solidarity Screenings – ONLINE in the Verziotheque until June 11

Moving Image and War in Ukraine

Fundraising for Ukrainian artists

 

The SOLIDARITY SCREENINGS program, presented in the framework of the symposium THE SEASON OF DARKNESS: Being Civil in an Uncivil Society, is available online between May 23 and June 11, 2023 in the Verziótheque, in collaboration between Verzió Film Festival and OFF-Biennale Budapest. The Solidarity Screenings program is a series of fundraising events in the framework of the initiative ESI – Emergency Support Initiative, supporting members of the artistic and cultural community in Ukraine finding themselves in need.

 

The Solidarity Screenings video program is a collection of thought-provoking works exploring the ongoing Russo-Ukrainian war, its effects and its perception. Each video has been created by a visual artist based in Ukraine, and all of the works were made after the start of the full-scale Russian military invasion on February 24, 2022.

 

The project aims to preserve and develop evidence, reflections, and feelings related to the ongoing conflict in Ukraine. Through their artistic reflections, the video creators offer unique insights into the impact of the conflict on the lives of people caught in the middle of a humanitarian crisis, forced migration, occupation, volunteer, and resistance movements.

 

The video program presents an intimate and raw portrayal of the artists’ current practices, featuring personal stories and attitudes. It explores the diverse ways in which the conflict affects the daily lives of individuals, families, and communities across Ukraine. The screenings foster awareness about the situation in the region and provide a platform for Ukrainian artists to share their perspectives and experiences with audiences around the world, offering their own interpretations of the complex political and social issues at the heart of Europe.

 

Solidarity Screenings program features the works of Anna Kryvenko, Alisa Sizykh, Bohdan Bunchak, Daryna Snizhko, Maria Matiashova, Vladyslav Plisetskiy, Yarema Malashchuk and Roman Khimei, Eugene Arlov and Diana Derii, Zoya Laktionova. Curated by Serge Klymko.

 

Rental and more information on this link.

LUMBUNG FILMS — THE BUDAPEST SCREENING. A selection from the lumbung Film collection

LUMBUNG FILMS THE BUDAPEST SCREENING. A selection from the lumbung Film collection

Date: May 24 – June 3, 2023

Wednesday – Saturday,  4:00 pm – 8:30 pm

Venue: Nyolcésfél, Budapest 1084, Német u. 16.; 7 th floor

 

lumbung Film is a common pot of film and video works created by lumbung members and lumbung artists. It functions as an online database accessible for the lumbung community who can curate and present their own film selections in their respective countries. Aiming to pool resources together, lumbung Film is one of the manifestations of the lumbung practice and a way to keep using this “sharing resources, knowledge and working-method”—approach beyond the duration of documenta fifteen. Within the framework of the film programme lumbung Films – The Budapest Screening, the works selected by OFF-Biennale Budapest will be presented in four sections and screened consecutively over 8 days.

 

lumbung Film was developed by lumbung members in the framework of documenta fifteen. The screening programme is part of THE SEASON OF DARKNESS: Being Civil in an Uncivil Society symposium.

 

  1. Modus Operandi: lumbung working methods in practice

The lumbung experience or method—adopted by ruangrupa on the path towards documenta fifteen in 2022 and beyond—is an operative approach based on such values as collectivity, generosity, sustainability, mutual help, trust, solidarity, and interdependence. It tests alternative economic and cooperation models that prioritizes shared resource building and equitable distribution on the local level. It emphasizes the social role of art and promotes a radically different, broader, and more inclusive understanding of art than the practice currently consensual in Western Europe. The works featured in this section give an insight into the specific ecosystems and working methods of a handful lumbung members who were part of the collectively driven journey throughout documenta fifteen. The majority of these lumbung-interlokal participants are spread around the Global South, with their own contextual realities and vulnerabilities requiring different operational routines, often perceived as a survival strategy.

 

The House of Red Monkey & Taring Padi: Art, Activism, Rocknroll, 2002, 26 min

Agus Nur Amal PMTOH: Jatiwangi Art Factory, 2021, 11 min

Sebastián Díaz Morales: Smashing Monuments, 2022, 50 min

Atis Rezistans: The Ghetto Biennale, 2015, 3 min

Atis Rezistans / John Cussans: The Tele Geto Sign Painting Video: 2012, 14 min

Wajukuu Art Project: Wakija kwetu, 2022, 29 min

El Warcha: A Blast from the Past, 2021, 8 min

Project Art Works: Modus Operandi, 2015, 10 min

 

  1. The cycle of women’s rites: films by DAVRA collective

DAVRA is a collective of 19 young artists from Central Asia created by filmmaker Saodat Ismailova, exploring the common cultural heritage of the region. The word “davra” is of Persian origin and it means circle. “A circle can mean a circle of people, a place to gather, or a group of people with whom you gather. In the Central Asian region, the people understood the universe and the world around them as round.” The films in this section by four members of the collective are about female rituals: the cyclicality of the female body which reflects a human presence on earth, where life and death are also in a continuous cycle.

Rituals revolve around the spirits of the chilltan, a sacred and invisible collective of powerful female entities at the centre of animist spirituality in Central Asia. The elements of fairytales and daily living rituals are intertwined in the films as well as the historical past and the ancestral heritage are linked to everyday reality.

The common female experiences create a sense of belongingness that either can be manifested in a physical place, such as a home, a house, or a shelter (that is created by a female protectress to protect women who have been subjected to violence), or it can be imagined in a warm and protective pregnant female body with the reproductive capabilities of nature.

 

Aida Adilbek: Köbelek, 2023, 2.25 min

Saodat Ismailova: Bibi Seshanbe, 2022, 52 min

Nazira Karimi: Maiday Isin Shygaru, 2021, 3.18 min

Nazilya Nagimova: Chulpan – The Mother, 2022, 11 min

 

  1. Songs of displacement and resistance

The power of music as survival strategy in the face of persecution, resistance, displacement, and migration are the common topics shared by all three films represented in this section. The documentary-based films collect the traces and tell the tragic stories of a Yazidi community from the border region between Turkey and Syria, of a former multicultural town Müküs on Turkey’s border with Iran, as well as of a Kurdish-Iranian refugee seeking asylum in Australia. The act of documenting all the suffering, hardship, trauma, love, and sorrow in song texts, singing them out loud accompanied by heavy music is an immensely powerful testimony of the witnesses (be it a single person or a whole community, a religious or cultural minority), who stay forever haunting in these films.

 

Shero Hinde (Komîna Fîlm a Rojava): Love in the Face of Genocide, 2020, 52 min

Pınar Öğrenci: Asit, 2022, 60 min

Safdar Ahmed: Border Farce, 2022, 15.55 min

  1. I wanted the screen to flip: methods of refusal and support by Sada [regroup]

Sada is an art community and self-organised art school active between 2011-15 in Baghdad, initiated by Rijin Sahakian with the aim of providing an artistic platform that in addition to recording shared experiences, witnessing, and resistance offers professional and human support, the saving power of community in the midst of years of war, armed conflicts, US occupation, international sanctions and total political instability. The group disbanded after four years, but several members re-joined to produce new works—compiled as one experimental, interconnected anthology film—for documenta fifteen, providing a unique artistic and political representation of Iraq’s recent history, interspersed with personal narratives.

 

Sajjad Abbas: Water of Life, 2022, 13 min

Ali Eyal: The Blue Ink Pocket, 2022, 11 min

Sarah Munaf: Journey Inside a City, 2022, 10 min

Bassim Al Shaker: Barbershop, 2022, 8 min

Rijin Sahakian: Anthem, 2022, 11 min

 

THE SEASON OF DARKNESS: Being Civil in an Uncivil Society

THE SEASON OF DARKNESS: Being Civil in an Uncivil Society

OFF-Biennale Budapest, Symposium

Date: May 24–26, 2023

Venue: Nyolcésfél, Budapest 1084, Német u. 16.; 7 th floor

The event will be streamed via Facebook

 

When the season of darkness comes, not all hope is lost, nor should it be. It is the darkest times—a time defined by multiple crises—when we (re)discover the importance of solidarity, care, and empathy. It is the war that reminds us of peace; it is the darkest deeds that emphasize human rights; it is the propaganda that makes us strive for clarity; it is the excesses of power that teach us to value democratic procedures; it is the corruption that accentuates the need for social justice; it is the bigotries that make us work for a more tolerant society; and it is authoritarianism that highlights autonomy. In a season of darkness, we formulate our civil responses and responsibilities; we create networks, finding new ways of collaboration. 

 

OFF-Biennale Budapest’s three-days symposium circles around the newly (re-)emerged urgencies in the region broadly understood as “Eastern Europe” that were brought forth by the ongoing full-scale Russian military invasion of Ukraine. The three-day event is organized as a way of preparation, and—based on the “lumbung experience”—it intends to open up the organization and participation process of OFF’s fourth edition in 2024.

 

The symposium’s discussions aim to assess the viability, sustainability, and possibilities of an often forced civilship in the East of Europe: when self-organized civil initiatives take on higher stakes, working under ever worsening (or even threatening) conditions, partly taking over responsibilities of the state, and partly hindered by it to continue their independent operations. If the societies in the Eastern part of Europe have never actually been modern, democratic, and free—in the Western notions of these terms—how are civil initiatives to act with integrity and autonomy, especially in times of war? How can civil initiatives and communities work together in the region, also on an institutional level? With the symposium OFF-Biennale would also like to connect with the methodologies and practices of the lumbung inter-lokal that OFF was a part of at documenta fifteen.

 

The symposium will be held in a hybrid form. 

 

Supported by Goethe-Institut Budapest; European Commission – Creative Europe programme; Foundation for Arts Initiatives

 

PROGRAM

 

May 24, 2023, Wednesday 

 

Lumbung in the Easts of Europe: the East Europe Biennial Alliance and Other Networks

 

Lumbung—a concrete practice adopted by ruangrupa on the path towards documenta fifteen in 2022 and beyond—enables an alternative economy of collectivity, shared resource building, and equitable distribution. Lumbung is anchored in the local and based on values such as humor, generosity, independence, transparency, sufficiency, and regeneration. But how can the lumbung practice be translated/adapted/paralleled to already existing networks in the Easts of Europe, such as the East Europe Biennial Alliance, and used by organizations in the region facing new and old emergencies caused by the ongoing war in Ukraine? And what futures does the lumbung practice offer in the Easts of Europe?

 

4:00 pm

Greetings and introduction by OFF-Biennale Budapest

 

4:15– 5:15 pm
Lumbung: Experiences, Lessons Learned, Visions for the Future

Roundtable discussion with lumbung members 

Participants: farid rakun (ruangrupa, online), Matthias Einhoff (Z/KU – Center for Art and Urbanistics, Berlin, online), members of OFF-Biennale Budapest

Moderated by Luca Petrányi

 

5:15 – 6:15 pm 

How to Lumbung in the Easts of Europe? 

Negotiating the Tensions between the Precariousness of Self-organized Biennales and a Desire for Regenerative Cooperation

Roundtable discussion with members of the East Europe Biennale Alliance

Participants: Tereza Stejskalová (Biennale Matter of Art, Prague); Bartosz Frąckowiak (Biennale Warszawa); Serge Klymko (Kyiv Biennial); Laima Ruduša (Survival Kit Festival, Riga); and Eszter Szakács (OFF-Biennale Budapest)

Moderated by Katalin Erdődi

 

Coffee break

 

Networks of Solidarity – presentations

6:30 – 6:55 pm  Kateryna Aliinyk: What was Planted? What has Sprouted?

6:55 – 7:20 pm Daša Anosova: Artist Collectives and Cultural Networks for the Reconstruction of Ukraine

7:20 – 7:45 pm Matthias Einhoff (Z/KU – Center for Art and Urbanistics, Berlin): Networks of Mutuality—Trust and Resource-sharing in the Berlin Eco-system (online)

7:45 – 8:10 pm  Zsolt Miklósvölgyi: (An-)archiving Easternfuturist Movements (online)

 

Coffee break

 

8:30 – 9:45 pm

Solidarity Screenings: Moving Image and War in Ukraine

Introduction by the Solidarity Screenings’ curator Serge Klymko

The films will be available online between May 23 and June 11, 2023 in the Verziótheque,
the online film library of Verzió Film Festival. The Solidarity Screenings program is a series of
fundraising events in the framework of the initiative ESI – Emergency Support Initiative,
supporting members of the artistic and cultural community in Ukraine finding themselves in
need.

 

 

May 25, 2023, Thursday

 

11:00 am – 1:00 pm

 

On Violence

 

Curatorial Guided Tour with curator Lívia Páldi at Budapest Gallery (Budapest 1036, Lajos u. 158.)

 

The exhibition is dedicated to investigate the arts-based approaches to gender-based violence from the perspective of women and queer people. The Russian invasion and the ongoing war in Ukraine have brought into closer proximity the brutality of war-related sexual crimes, the traumatic and disorienting loss and vulnerability. Given the permanence of a great number of conflict zones and violence experienced by women and children, the discrimination directed towards the LGBTQI+ people, the ongoing struggle for bodily autonomy, equality, and reproductive health and a worldwide increase in domestic violence, the exhibition brings together various positions and explorations into the complex nature and nuanced operation of violence.

 

Kateryna Aliinyk, Artists’ Campaign to Repeal the Eighth Amendment, Rachel Fallon, Olia Federova, Jelena Jureša, Elektra KB, Hristina Ivanoska, Anikó Lóránt (1977–2020), Milica Tomić, Dominika Trapp, Selma Selman, Anna Zvyagintseva

 

4:00 pm

 

Civil Insituting: Roma and Minority Communities’ Instituting Endeavors

 

Roma cultural organizations have evolved and operate in a constant dichotomy of community-based immediacy (given their grassroots character) and a desire of a more formal institutionalization (given their claim for national acceptance and support). At the same time, this dichotomy, as well as the often hostile and exclusionary attitude of the state apparatuses towards them has led these organizations to develop specific operating models (through direct contact with their communities and their interconnectedness) that can serve as an example for majority institutions, as long as they are open to a less exclusionary approach that recognizes and includes other voices. This section investigates how civil organizations relate to institutionalization, and how larger institutions consider the complex tasks related to the representation of and working with different minority communities. In the meantime, it also raises the question of how artists play with institutional exteriority / interiority and how these actions (or the discourse itself) can feed back into the institutional structure.

 

4:00 pm 

Greetings and introduction by OFF-Biennale Budapest

 

4:15 – 5:00 pm
Practices of Change in Communities of Today and Tomorrow: Towards Institutions of the Future

Roundtable discussion

Participants: Arman Heljic (online), Lara Khaldi (de Appel, Amsterdam, online), Payam Sharifi (Slavs and Tatars, online), Natali Tomenko (online)

Moderated by Marina Csikós

 

5:00 – 5:30 pm
Performance: Luna de Rosa: Jaćh opràlë lë làvë miré – (trust me)

 

5:30 – 5:45 pm
Coffee break

 

5:45 – 6:30 pm
Decolonizing Institutions: The Responsibility of Representation

Roundtable discussion

Participants: Angéla Kóczé (CEU, Romani Studies Program), Renan Laru-an (SAVVY Contemporary, Berlin), Dr. Zsolt Sári (ICOM Hungary), Tímea Junghaus (ERIAC, Berlin)

Moderated by Eszter György

 

May 26, 2023, Friday, from 10.30 am

 

The Borough: Civil Networks on a Local Level

 

The borough, the hood—the terms used to describe the immediate neighborhood in a city—are considered in this section as complex webs of urbanistic and interpersonal relations, where the built environment and the communities that live there interact and affect each other. This section presents a series of case studies about smaller-scale (neighborhood-size), community-based urban interventions and collaborations that use a lumbung-like working method on a micro-level, embedded in the different local contexts, which are always exposed to different historical and social storms, and which are nevertheless the primary terrain for everyday solidarity and cooperation.

 

10:30 am
Greetings and introduction by OFF-Biennale Budapest

 

Presentations by 

10:40 – 11:05 am Recetas Urbanas: The Crazy Army Rebellion

11:05 – 11:30 am Katalin Erdődi: Learning from the Rural: Watermelon Republic and News Medley

11:30 – 11:55 am Kata Oltai: The TANGÓ project: Building a good neighborhood

11:55 am – 12:20 pm Artemisszió Foundation: Building an Intercultural Community and Active Civic Participation on the Level of Local Communities

 

12:20 pm – 1:00 pm
The Borough: Culture on the Scale of Site
Closing roundtable discussion with the presenters

Moderated by Krisztián Török

 

Closing remarks

 

RELATED SCREENING PROGRAM

Date: May 24 – June 3, 2023

Wednesday – Saturday,  4:00 pm – 8:30 pm

Venue: Nyolcésfél, Budapest 1084, Német u. 16.

LUMBUNG FILMS – THE BUDAPEST SCREENING

 

Supported by Goethe-Institut Hungary; European Commission – Creative Europe programme; Foundation for Arts Initiatives and Instituto Cervantes de Budapest

Fridericianum

Statement by OFF-Biennale Budapest, a documenta fifteen participant and lumbung member

Budapest, August 15, 2022

 

OFF-Biennale Budapest participates in documenta fifteen in Kassel with two exhibition projects and a publication. One of them, a long-term collaborative project with the European Roma Institute for Arts and Culture (ERIAC), showcases artworks in relation to the idea, question, and (im)possibilities of a “RomaMoMA” (Roma Museum of Contemporary Art). OFF-Biennale’s second contribution plays out in close proximity to the Fulda River as a space that oscillates between the concepts of playground, junkyard, and construction site—places of creativity, transgression, refuse, and regeneration. OFF-Biennale’s projects are accompanied by a publication that examines the many aspects of the notion of “independence” as well as the power of collectivity. It is realized by the editorial platform On the Same Page that was initiated as an experimental publication method under the umbrella of OFF-Biennale Budapest, involving the participants and organizers of its 2021 edition.

 

Documenta fifteen, a large-scale contemporary art event since 1955, takes place in Kassel every five years. Each edition is conceptualized by an invited curator. For doucmenta’s 15th edition the Jakarta-based artist collective ruangrupa was invited to propose the program and the participants. Ruangrupa in documenta fifteen de-centralized organizational and decision-making processes and put in its focus collective practices. 

 

Since January 10, 2022, accusations of anti-Semitism against documenta fifteen were made on the basis of a German blog post: documenta fifteen participants were singled out due to their backgrounds or (alleged) BDS (Boycott, Divestment, Sanctions movement) affiliations. The accusations against anti-Semitism were picked up by the media in Germany, in part without  critically examining the sources, which has escalated into (cultural) political debates and racist attacks against Palestinian, pro-Palestinian, Black and Muslim participants, as well as into transphobic attacks against documenta fifteen participants—these events, however, were hardly (if ever) mentioned by the media. 

The ensuing months resulted in a constant dialogue between documenta gGmbh (the institutional body behind documenta), federal and state-level governmental bodies, external advisors, ruangrupa, the Artistic Team, as well as the lumbung members to find solutions for tackling the situation. However, the planned public debate (the series “We Need to Talk”) had to be cancelled. Furthermore, in May, one of the documenta fifteen venues in Kassel was broken into and defaced with what can only be interpreted as a death threat, spurring more debate in Germany as to where the boundaries between hate speech and artistic freedom of expression are.

The debate around documenta fifteen has shifted into a new gear after the unveiling of the work People’s Justice by Indonesian art group Taring Padi, which commemorates the victims of Indonesia’s long and brutal dictatorship under former General Suharto (1967–1998). The work, which features many exaggerated satirical characters, was made in 2002. One of the caricatures, a member of the Mossad, Israel’s secret service, is depicted as a pig. Another figure with fangs and blood-red eyes appears to be an Orthodox Jewish man wearing a black hat with “SS,” the acronym for the Nazi Schutzstaffel. The discovery of these characters within the work erupted into a massive controversy on June 21, just days after the official opening on June 18. The artwork was covered up first, “[as] a monument of mourning for the impossibility of dialogue at this moment,” Taring Padi said in their apology for the controversy the work has caused, stating “It is not meant to be related in any way to antisemitism,”. They said that they often depict soldiers as animals as a criticism of capitalism and military violence. “We are saddened that details in this banner are understood differently from its original purpose. We apologize for the hurt caused in this context,” they added. This monument, we hope, will be the starting point for a new dialogue.” The apology and covering up did not prove enough, and some in Germany called for the group and organizers to be prosecuted. Taring Padi eventually dismantled People’s Justice from documenta fifteen. 

Since then, the debate has entered the field of federal politics: on July 7, the Bundestag addressed the controversy around documenta and the question of the limits of “artistic freedom,” also in relation to other much-debated cultural events and institutions in Germany (Goethe Institut, Haus der Kulturen der Welt), and connected these to the long-standing debate about the German position towards the state of Israel (more on this debate you can read here). Although the parliamentary discussion did not result in any form of resolution, the restructuring of documenta, and a stronger control over its artistic content was envisioned and agreed upon. On July 16, documenta announced that documenta gGmbH CEO Sabine Schormann resigned.  A new interim director, Alexander Farenholtz has been appointed as the documenta gGmbH CEO. 

Also on July 16, a statement by the supervisory board of documenta und Museum Fridericianum gGmbH made recommendations to the shareholders of documenta to “enter a process of consultation with scholars from the fields of contemporary antisemitism, German and global contexts, postcolonial studies and the arts.” This recommendation was against the opinion of ruangrupa and the artistic team, nor did the supervisory board consult the participating artists. In response, the artists, ruangrupa, and the artistic team of documenta fifteen sent a letter on July 18 to the members of the documenta supervisory board to refuse this recommendation and to take a stand against censorship, detailing also some of the attacks that created a climate of hostility and racism towards the artists. On August 1, in a statement by the shareholders of documenta a scientific advisory panel was introduced: “The scientific analysis of those works of art at documenta fifteen, that have been hinted to use antisemitic imagery or language, is to be carried out while the exhibition is still running.” The shareholders’ statement also referenced an imagery in the project by lumbung artist collective Archives des luttes des femmes en Algérie, which the group defended in their own statement on August 10

(Summary partly based on the summary of artnet).

 

 

OFF-Biennale Budapest, as part of lumbung interlokal and participant of documenta fifteen, stands by the lumbung values, such as inclusivity, collectivity, and knowledge sharing. Following this, we stand with ruangrupa, the Artistic Team, and the entire lumbung community, too, notwithstanding the acknowledgment and regret that Taring Padi’s exhibited banner caused pain—which, we believe, is the result of contextual differences rather than actual antisemitic sentiments. Together with the lumbung community, we believe in the dialogue between different contexts, between different understandings, between different cultures; we condemn antisemitism, all forms of discrimination and hatred, and we also stand for artistic freedom.

 

PRE-OPENING ACTIONS 

 

Letter by runagrupa, May 7

https://www.e-flux.com/notes/467337/diversity-as-a-threat-a-scandal-about-a-rumor

Artists’ Statement in Support of ruangrupa, June 2 https://www.e-flux.com/notes/472663/artists-statement-in-support-of-ruangrupa

 

PETITIONS IN SUPPORT OF RUANGRUPA AND DOCUMENTA FIFTEEN

 

https://www.change.org/p/zur-unterstützung-der-documenta-fifteen-in-support-of-documenta-fifteen

 

https://www.change.org/p/in-support-of-ruangrupa-and-documenta-fifteen

 

REVIEWS AND ANALYSES (SELECTION) 

 

New York Times 

https://www.nytimes.com/2022/06/10/arts/design/documenta-ruangrupa.html

 

https://www.nytimes.com/2022/06/24/arts/design/documenta-review.html

 

Hyperallergic

https://hyperallergic.com/744018/beyond-the-controversies-documenta-is-a-remarkable-gathering-of-voices/

 

Learning and Unlearning with Taring Padi: Reflections on Documenta
http://newfascismsyllabus.com/contributions/learning-and-unlearning-with-taring-padi-reflections-on-documenta/?fs=e&s=cl&fbclid=IwAR260u1OkDaHDX4rh7LoN-QX9raUkQDRKlznAh2yh-s-euYJVU0IjS8HhYw

 

Ocula 

https://ocula.com/magazine/features/documenta-fifteen-is-not-a-single-event/

 

Jakarta Post 

https://www.thejakartapost.com/opinion/2022/07/15/documenta-15-exposed-anti-semitism-or-misjudged-anticommunism-critique.html

 

Memoreview 

​​https://memoreview.net/reviews/documenta-fifteen-by-paris-lettau

 

LATEST EVENTS 

 

Harassment faced by lumbung artist Party Office 

https://hyperallergic.com/746222/queer-arts-space-cancels-documenta-programming-after-harassment-incidents/

 

“Antisemitism in the Arts” discussion

https://www.youtube.com/watch?app=desktop&v=B6plSiv-vTI&ab_channel=documentaundMuseumFridericianumgGmbH

 

Speech by Ade Darmawan from ruangrupa at the Bundestag: https://documenta-fifteen.de/en/news/speech-by-ade-darmawan-ruangrupa-in-the-committee-on-culture-and-media-german-bundestag-july-6-2022/

 

Hito Steyerl withdraws from documenta fifteen 

https://www.zeit.de/kultur/kunst/2022-07/documenta-fifteen-hito-steyerl-rueckzug

 

https://www.theartnewspaper.com/2022/07/08/hito-steyerl-withdraws-documenta-15-antisemitism-scandal

documenta CEO, Sabine Schormann resigns

https://www.artnews.com/art-news/news/documenta-sabine-schormann-departure-antisemitism-controversies-1234634366/

 

Alexander Farenholtz appointed new interim director of documenta gGmbH 

https://artreview.com/embattled-documenta-appoints-interim-director/

documenta fifteen

SITE REPORT FROM KASSEL, FROM THE SITE OF DOCUMENTA FIFTEEN

The work of the Albanian artist Sead KAZANXHIU has been uploaded on the wall Fridericianum in Kassel.

The huge nest installations serve as metaphors for those who have talked about cultures marginalized on the fringes of our society.