documenta 14 Laufmappe

Introduction

documenta 14 / aneducation

Rebecca Belmore Biinjiya’iing Onji, 2017

Andrea Bowers No Olvidado (Not Forgotten), Nos. 4-9, 2010

Annemarie and Lucius Burckhardt

Der Falsche documenta Katalog (The False documenta Catalog), 1992

Vlassis Caniaris Hopscotch, 1974

Bia Davou Sails, 1981-82

Agnes Denes The Living Pyramid, 2015/2017

Beau Dick Atlakim, 1990–2012

Aboubakar Fofana Fundi (Uprising), 2017

Guillermo Galindo Fluchtzieleuropahavarieschallkörper, 2017

Regina José Galindo La Sombra (The Shadow), 2017

Gauri Gill and Rajesh Chaitya Vangad

The Drought, The Flood, 2016From the “Fields of Sight” series, 2013-

Hiwa K When We Were Exhaling Images, 2017

Olaf Holzapfel Trassen (in Der Kasseler Karlsaue) [Lines (in the Karlsaue in Kas-sel)], 2017

Gordon Hookey Solidarity, 2017

Emily Jacir Memorial to 418 Palestinian Villages that were Destroyed, Depopulated and Occupied by Israel in 1948, 2001

Kimsooja Bottari, 2005

Britta Marakatt-Labba Historja, 2003–07

Joar Nango European Everything, 2017

Angelo Plessas Experimental Education Protocol, Delphi, 2017

Nathan Pohio Raise the anchor, unfurl the sails, set course to the centre of an ever setting sun!, 2015

Abel Rodríguez Ciclo anual en las altas terrazas de la selva tropical (Annual cycle in the high terraces of the rainforest) 2007

Khvay Samnang Preah Kunlong (The way of the spirit), 2017

Ahlam Shibli Heimat, Nordhessen, Germany 2016-17

Mounira Al Solh I Strongly Believe in Our Right to Be Frivolous, 2012-2017

Cecilia Vicuña Quipu Womb (The Story of the Red Thread, Athens), 2017

Lois Weinberger Ruderal Society: Excavating a Garden, 2017

Mary Zygouri The Round-up Project: Kokkinia 1979-Kokkinia 2017 \ M.Z. \ M.K., 2016-2017

We

are

lear

ning

mac

hine

s. W

e ar

e le

arni

ng fr

om

ever

ythi

ng. E

ach

time

you

look

at m

e yo

u ar

e te

achi

ng

me

how

to lo

ok...

for m

e it

is a

con

tinuu

m.

– C

ecili

a V

icuñ

a

This is the documenta 14 Laufmappe. The Laufmappe has been written by the aneducation team of documenta 14 to support pre- and post-visits to the exhibition Learning from Athens (April 8–September 17, 2017). The Laufmappe contains a circulation of ideas, continued threads as well as concepts, which you can expand upon in your own curriculum as well as share with other colleagues.

In the following pages, images and texts about the artists are provided along with a number of questions, activities, and discussion points that help contextualize the many different contemporary practices encountered during your visit to documenta 14. The Laufmappe is organized alphabetically by the artists’ last names. Each artist page includes an image of a work presented in documenta 14 as well as further information about this work organized in four sections.

ARTWORKARTIST

Caption

About the Artwork

Provides a visual description and ideas expressed within the artwork.

Abo

ut th

e A

rtis

t

Show

s th

e w

ider

con

cern

s an

d in

tere

sts

of th

e ar

tist

and

othe

r wor

ks.

Reading and References

Towards the end of the Laufmappe, you will find a selection of links offering additional information on the web relating to the artists, such as interviews and texts.

We invite you to walk along with us using this aneducation resource with your students.

Scalean

educ

atio

nary

Defi

nes

key

wor

ds a

nd p

hras

es p

ertin

ent t

o th

e w

ork

of th

e ar

tist.

#Score

Provides points of departure to open up the dialogue around artistic practices through questions, activities, or discussion points for you to interpret, improvise upon, and add to.

documenta 14 In 1955, ten years after the end of the Second World War, the first documenta was organized in Kassel—an exhibition of Western European modern art initiated by a group of art enthusiasts led by artist, art professor, and curator Arnold Bode (1900-77). Over the course of the following thirteen iterations of documenta, the exhibition has become a place for debates on contemporary culture and current sociopolitical contexts. Each documenta is a unique endeavor, unfolding on the basis of the concept proposed by each Artistic Director. documenta 14´s Artistic Director Adam Szymczyk proposes a twofold structure, reflected in the working title Learning from Athens, as the guiding principle of documenta 14. In 2017, Kassel and Athens host the exhibition: Kassel has relinquished its undisputed position as the central exhibition venue in favor of another role, namely that of a guest in Athens. As well as coming to bear on the actual process of creating an exhibition in two parts, the different locations and divergent historical, socioeconomic, and cultural backgrounds of Kassel and Athens inspire and influence the individual works of art. documenta 14 seeks to encompass a multitude of voices in and between the two cities in which it is situated. The physical and metaphorical distance between Kassel and Athens alters the way visitors experience documenta 14—redefining understandings of what such an exhibition can be. documenta 14 exhibition takes place from April 8–September 17, 2017, in Athens and Kassel, under the working title Learning from Athens.

aned

ucat

ion

aned

ucat

ion

is th

e na

me

of th

e ed

ucat

ion

depa

rtm

ent o

f doc

umen

ta 1

4. T

hrou

gh a

rang

e of

pro

gram

s an

educ

atio

n pr

opos

es m

any

pote

ntia

l env

ironm

ents

of c

olle

ctiv

e sh

arin

g an

d le

arni

ng. Q

uest

ioni

ng h

ow w

e re

ceiv

e kn

owle

dge;

wha

t for

ms

know

ledg

e ta

kes;

and

es

tabl

ishe

d m

odes

and

site

s of

lear

ning

; ane

duca

tion

expe

rimen

ts w

ith d

iffer

ent m

etho

dolo

gies

and

mod

els

to fi

nd o

ut: W

hat s

hift

s?

Wha

t drif

ts?

And

wha

t rem

ains

?

Thro

ugho

ut th

e de

velo

pmen

t and

dur

atio

n of

doc

umen

ta 1

4, a

nedu

catio

n ha

s gr

own

rela

tions

hips

with

sch

ools

, uni

vers

ities

, art

ist-

run

spac

es, a

nd n

eigh

borh

oods

to in

vest

igat

e th

e co

rrel

atio

n be

twee

n ar

t, ed

ucat

ion,

and

the

aest

hetic

s of

hum

an to

geth

erne

ss. T

hink

ing

with

art

ope

ns u

p po

ssib

ilitie

s fo

r exp

lorin

g w

hat i

t mea

ns to

bel

ong

to a

com

mun

ity, t

o oc

cupy

a b

ody,

to s

peak

a la

ngua

ge, a

nd to

car

e,

to re

sist

, to

pers

ist.

Gui

ded

by th

e un

ders

tand

ing

of a

rtis

ts, a

rchi

tect

ural

pra

ctiti

oner

s, th

inke

rs, a

nd e

duca

tors

, ane

duca

tion

is a

n on

goin

g pr

oces

s en

gagi

ng n

ot ju

st th

e ey

es b

ut th

e w

hole

bod

y. T

hrou

gh w

alki

ng, l

iste

ning

, rea

ding

, and

coo

king

, we

invi

te y

ou to

act

ivel

y co

nsid

er th

e co

llabo

rativ

e, p

ublic

, and

pol

itica

l asp

ects

of l

earn

ing

in th

e br

oade

r con

text

of d

ocum

enta

.

BIINJIYA’IING ONJI (FROM INSIDE) 2017REBECCA BELMORE

Marble (fabricated by the studio of Vangelis Ilias)140 x 200 x 200 cm, Location: Filopappou Hill, Pikionis Paths and Pavilion, AthensPhoto: Michael Thouber

Rebecca Belmore’s contribution to documenta 14 is a handcrafted marble sculpture in the shape of a dome tent. Tent-like structures are usually made from fabric or materials that are light, mobile, and can create a transitory home. With the choice of marble as her medium, the artist calls attention to the traditional use of marble for sculptural monuments in cities like Athens, such as the Acropolis. In creating this material contrast, Rebecca responds to the mass migration of people who have been forced to flee their homelands in Afghanistan, Syria, North Africa, and other regions due to violence, war, and terror. Importantly, the artist invites you to not only experience the work from a distance, but to enter the tent, sit down, listen, and shift perspectives on the world around you.

Rebe

cca

Belm

ore

(b.1

960,

Up

sala

, C

anad

a) i

s an

Ani

shin

aab

e-kw

e ar

tist

and

act

ivis

t w

ho a

cts

and

rea

cts

wit

hin

the

cont

ext

of

dis

pla

cem

ent,

lo

ss,

rest

ora

tio

n o

f ho

mel

and

, as

wel

l as

id

enti

ty.

Res

po

ndin

g t

o t

he l

egac

y o

f co

loni

alis

m i

n C

anad

a,

she

pro

test

ed t

he e

xpro

pria

tion

of

land

occ

upie

d b

y th

e K

anie

n’ke

há:k

a (M

oha

wk)

in

the

Kah

naw

ake

Res

erve

dur

ing

the

Oka

Cri

sis.

Her

199

1 p

roje

ct

Ayu

m-e

e-aa

wac

h O

om

ama-

mo

wan

: Sp

eaki

ng t

o T

heir

Mo

ther

co

mp

rise

d a

per

form

ance

and

lar

ge-

scal

e m

egap

hone

wit

h fi

nely

inl

aid

wo

od

ven

eers

, m

oo

se h

ide,

and

dec

ora

tive

mo

tifs

. T

he a

rtw

ork

tr

avel

ed t

o v

ario

us F

irst

Nat

ions

co

mm

unit

ies

in a

n ef

fort

to

giv

e vo

ice

to t

he c

onc

erns

of

dis

enfr

anch

ised

Ind

igen

ous

peo

ple

s.

# Rebecca’s work stands as a modest monument, resonating with the migration crisis. If you were to make an artwork for a public space related to the migration of people, what would you propose?

# Think of a place or a time when you felt safe. What made you feel safe?

# What materials would you use to build a temporary home? Draw a sketch of your idea.

Expr

opri

atio

n: th

e ta

king

of

pro

per

ty f

rom

its

ow

ner

for

go

vern

men

tal

or

pub

lic b

enef

it.

Oka

Cri

sis:

the

firs

t w

idel

y p

ublic

ized

co

nflic

t b

etw

een

an I

ndig

eno

us c

om

mun

ity

in C

anad

a an

d t

he f

eder

al

go

vern

men

t. T

he K

anie

n’ke

há:k

a (M

oha

wk)

peo

ple

pro

test

ed

the

exte

nsio

n o

f a

go

lf c

our

se t

hat

wo

uld

res

ult

in t

he

des

truc

tio

n o

f “t

he P

ines

,” l

and

whe

re m

any

Mo

haw

k an

cest

ors

had

bee

n b

urie

d.

#migration #safety #home

documenta14 / rebeccabelmore / canadianart

NO OLVIDADO (NOT FORGOTTEN), NOS. 4-9, 2010ANDREA BOWERS

Graphite on paper, 6 panels; 304.8 x 128.3 cm eachCollection of EMST-National Museum of Contemporary Art, AthensLocation: FridericianumPhoto: Mathias Völzke

Names of people who lost their lives trying to cross the US-Mexico border are gathered in this drawing. These names are marked behind barbed wire, referring to the thousands of kilometers of fence defining the border. In contrast to statistics provided by news reports, the recognition of individual names gives the impression of a monument in honor of those who lost their lives in search of a better one. In other public monuments, names listed are usually complete and final, while in Andrea’s work this account will always remain incomplete as each year more and more lives are lost on this journey. Andrea used graphite and paper to create the work—fragile, light, and ephemeral—instead of marble or other durable materials that usually constitute public monuments.

And

rea

Bow

ers

(b.

1965

, W

ilmin

gto

n, U

SA)

add

ress

es

cont

emp

ora

ry p

olit

ical

iss

ues,

Am

eric

an h

isto

ry,

and

pro

test

, o

ften

thr

oug

h a

fem

inis

t-ac

tivi

st l

ens.

She

wo

rks

in a

var

iety

of

med

ia,

incl

udin

g v

ideo

, d

raw

ing

, an

d in

stal

lati

on.

In

a w

ork

ent

itle

d,

Lett

ers

to a

n A

rmy

of

3,

And

rea

crea

ted

a n

umb

er o

f w

ork

s in

spir

ed b

y le

tter

s fr

om

wo

men

see

king

ab

ort

ions

to

the

Arm

y o

f 3—

a g

roup

of

Cal

ifo

rnia

n ac

tivi

sts

who

ris

ked

im

pri

sonm

ent

in o

rder

to

ed

ucat

e an

d p

rovi

de

info

rmat

ion

to w

om

en

abo

ut t

heir

rep

rod

ucti

ve o

pti

ons

. T

he l

ette

rs s

erve

as

im

po

rtan

t hi

sto

rica

l m

ater

ials

do

cum

enti

ng t

he

exp

erie

nces

of

wo

men

and

the

ong

oin

g s

trug

gle

fo

r eq

ualit

y an

d a

uto

nom

y.

# What is a border? Consider the purposes of borders in the city, between countries, and other spatial environments: how are they built, what is their impact on the environment, on the aesthetics of the landscape, on people and on human rights?

# Why, in your opinion, did the artist choose to create an installation of this size to present the specific subject?

# What similarities and differences do you see between the work of Andrea and other public monuments?

US–

Mex

ico

Bord

er: t

he m

ost

fre

que

ntly

cro

ssed

b

ord

er i

n th

e w

orl

d.

The

ter

rain

dif

fers

bet

wee

n ci

ties

an

d u

ninh

abit

able

des

erts

, an

d m

any

Mex

ican

s ho

pin

g to

cro

ss t

he b

ord

er i

lleg

ally

ris

k th

eir

lives

and

are

o

ften

on

the

rece

ivin

g e

nd o

f ex

cess

ive

use

of

forc

e an

d h

uman

rig

hts

vio

lati

ons

.

#borders #scale #materials

documenta14 / artpractical / vimeo / artpulsemagazine

DER FALSCHE DOCUMENTA KATALOG (THE FALSE DOCUMENTA CATALOG), 1992ANNEMARIE AND LUCIUS BURCKHARDT

Fabric, 31 x 23 x 5.5 cmLocation: Peppermint, KasselPhoto: Natalia Escudero

Annemarie and Lucius Burckhardt were an unconventional pair of thinkers who, together with their students, worked on a science of walking or Spaziergangswissenschaft (strollology) in which the city became their classroom. Coined by Lucius, strollology was a subject that could be studied at the University and provided an approach to learning about the everyday environment which involved strolling streets and parks; listening to residents; playing with urban convention; and looking for the invisible within the visible. The Burkhardts’ office library, gathered while they taught at the Kasseler Hochschule, contains many tools for thinking through their special methodologies. Amongst the books on the shelves is Der Falsche documenta Katalog (The False documenta Catalog): a cushion made by Annemarie that masquerades as the DOCUMENTA IX catalog of 1992. In response to a legal order from documenta lawyers, she then deconstructed it into a do-it-yourself kit. B

oth

Ann

emar

ie (

b.

1930

, B

asel

, Sw

itze

rlan

d;

d.

2012

) an

d L

uciu

s Bu

rckh

ardt

(b

.192

5, D

avo

s, S

wit

zerl

and

; d

. 20

03)

wo

rked

in

the

Dep

artm

ent

of

Arc

hite

ctur

e,

Cit

y P

lann

ing

, an

d L

and

scap

e P

lann

ing

at

the

Kas

sele

r H

och

schu

le.

The

ir a

lter

nati

ve t

each

ing

met

hod

olo

gie

s ca

n b

e o

bse

rved

thr

oug

h th

eir

mo

st i

mp

ress

ive

wal

k w

hich

to

ok

pla

ce i

n th

e ea

rly

1990

s as

par

t o

f th

e “P

erce

pti

on

& T

raff

ic”

clas

s le

d b

y th

e B

urck

hard

t’s a

nd

Hel

mut

Ho

lzap

fel.

Stu

den

ts w

alke

d d

ow

n th

e st

reet

ho

ldin

g w

ind

shie

lds

as a

mea

ns o

f th

inki

ng a

bo

ut

the

per

spec

tive

of

cars

. T

his

acti

on

form

ed p

art

of

the

Mo

tori

sts’

Wal

k w

here

stu

den

ts o

ccup

ied

par

king

sp

aces

tha

t ar

e no

rmal

ly r

eser

ved

fo

r ca

rs.

The

wal

ks i

n d

ocu

men

ta 1

4 ar

e in

spir

ed b

y th

is m

etho

do

log

y.

# What is the difference between walking and strolling?

# Take a pencil for a stroll—walk and take note of different things that you cannot see on a conventional map such as noises, smells, playgrounds, places to cross the road, flowers, etc. Compare your alternative map with a partner and consider any similarities and differences.

# What is the function of a book-shaped cushion? Perhaps it is something to sit on while reading another book. What makes a catalog false?

Spaz

ierg

angs

wis

sens

chaf

t (s

trol

lolo

gy):

the

scie

nce

of

wal

king

dev

elo

ped

by

Ann

emar

ie

and

Luc

ius

Bur

ckha

rdt

whi

ch c

halle

nges

a s

tric

t d

efin

itio

n o

f w

hat

can

qua

lify

as a

“sc

ienc

e” a

nd

how

wal

king

can

be

a w

ay o

f le

arni

ng.

documenta14 / uni-kassel

#walking #UrbanPlanning #function

HOPSCOTCH, 1974VLASSIS CANIARIS

Six human figures (chicken wire, wood frame, paper and plastic fill, used clothes); nine suitcases; metal bird cage; chalk on tarpaper, 155 x 440 x 600 cm Collection of EMST-National Museum of Contemporary Art, Athens. Location: FridericianumPhoto: Mathias Völzke

Hopscotch is part of Vlassis’ Immigrants series, created between 1971 and 1976 during his stay in France and Germany. The series was presented in an exhibition entitled Gastarbeiter-Fremdarbeiter (Guest Workers-Foreign Workers), which traveled to several institutions in Germany in 1975. Hopscotch is an environment featuring six headless male dummies standing around a hopscotch pattern on the ground. Instead of numbers inside the chalked boxes, words are inscribed alluding to mechanisms of immigration policy. The words themselves (“work commission,” “consulate,” “disorientation”) as well as the carefully-placed objects around them relate to the working and living conditions of Gastarbeiter (guest workers)—the migrant workers who travelled to Western Europe following transnational recruitment agreements in the 1950s and 1960s—and bring attention towards questions of displacement, social exclusion, and precarious labor. The somewhat playful undertones of this work seem to propose a certain resilience. V

lass

is C

ania

ris

(b.

1928

, A

then

s, G

reec

e; d

. 20

11)

bro

ught

per

sona

l st

ori

es,

voic

es,

and

ord

inar

y o

bje

cts

into

gal

lery

and

mus

eum

set

ting

s to

ref

er t

o s

oci

op

olit

ical

iss

ues

of

mig

rati

on,

m

ob

ility

, an

d l

abo

r co

ndit

ions

tha

t re

mai

n p

erti

nent

to

day

. V

lass

is l

eft

Gre

ece

in 1

956

and

sett

led

in

Ro

me,

the

n in

Par

is.

He

retu

rned

to

Gre

ece

in 1

967

and

was

fo

rced

to

lea

ve d

urin

g th

e m

ilita

ry ju

nta

due

to

his

wo

rks’

cri

tiq

ue o

f th

e au

tho

riti

es.

He

lived

in

Ber

lin u

ntil

he r

etur

ned

to

Ath

ens

in 1

976

and

sta

yed

the

re u

ntil

his

dea

th.

# People have always migrated from one place to another for various reasons. In the case of Vlassis his work reflects upon guest workers and the bureaucracy of immigration. Why do you think there was a system of guest workers after the war in Germany?

# If you had to adapt one of your favorite childhood playground games to reflect upon the issue of migration, how would you do it? Create a sketch of this game including instructions for how to play it.

# If you had to tell a story through three objects what objects would you choose? What story do they tell?

Envi

ronm

ent:

the

wo

rd t

hat

is m

ost

oft

en u

sed

to

des

crib

e w

ork

s su

ch a

s H

op

sco

tch.

“T

he w

ork

s sh

oul

d b

e w

hat

they

are

, no

t a

rep

rese

ntat

ion

but

a r

eal

ob

ject

w

ithi

n th

e sp

ace,

” V

lass

is p

rocl

aim

ed.

The

vie

wer

b

eco

mes

par

t o

f th

e en

viro

nmen

t an

d a

t th

e sa

me

tim

e a

wit

ness

to

its

sti

llnes

s, a

nony

mit

y, a

nd s

eclu

sio

n.M

igra

nt w

orke

rs: a

per

son

who

mo

ves

eith

er w

ithi

n th

eir

hom

e co

untr

y o

r to

ano

ther

co

untr

y fo

r w

ork

, us

ually

sea

sona

l o

r te

mp

ora

ry.

Mig

rant

wo

rker

s o

ften

la

ck c

erta

in l

egal

pro

tect

ions

in

thei

r co

untr

y o

f em

plo

ymen

t an

d a

re f

req

uent

ly s

epar

ated

fro

m t

heir

ho

mes

and

fam

ilies

fo

r m

any

mo

nths

at

a ti

me.

Mili

tary

junt

a: a

mili

tary

gro

up t

hat

rule

s a

nati

on

afte

r ta

king

the

co

untr

y b

y fo

rce.

documenta14 / dp.iset / artinamericamagazine

#migration #games #storytelling

SAILS, 1981-82BIA DAVOU

Fabric, dimensions variableCollection of EMST-National Museum of Contemporary Art, AthensLocation: FridericianumPhoto: Nils Klinger

Starting in the 1960s, Bia Davou developed a unique visual language, appropriating symbols and serials from mathematics and computer programming which became the organizing principle of her practice. She was as much influenced by technology and science as myth and poetry. In her work Sails, the artist combined her interest in the Fibonacci sequence with the Homeric myth of Ulysses’ travels and Penelope weaving her veil. Bia produced an environment of triangular sail-like textiles, in and around which the viewer can move freely. On the surface of the sails, the artist interweaves serial structures that use letters from the Odyssey re-organized in numerical order according to the Fibonacci sequence. In this way, poetry breaks from the confines of text into textile, lines, seams, sails, and travel.

Bia

Dav

ou (

b.

1932

, A

then

s, G

reec

e; d

. 19

96)

star

ted

her

arti

stic

pra

ctic

e in

the

196

0s b

y ex

per

imen

ting

wit

h th

e lim

its

of

rep

rese

ntat

ion

thro

ugh

abst

ract

pai

ntin

gs.

B

y th

e 19

70s,

she

ab

and

one

d t

he c

anva

s fo

r th

ree-

dim

ensi

ona

l co

nstr

ucti

ons

and

env

iro

nmen

ts.

Inte

rest

ed

in t

he i

ssue

of

com

mun

icat

ion

in a

bro

ad s

ense

, B

ia

bec

ame

insp

ired

by

the

lang

uag

e o

f co

mp

uter

sci

ence

an

d m

athe

mat

ics.

She

sta

rted

cre

atin

g a

ser

ies

of

wo

rks,

en

titl

ed S

eria

l St

ruct

ures

(19

78-1

981)

, b

ased

on

the

Fib

ona

cci

seq

uenc

e an

d t

he b

inar

y sy

stem

. R

efer

ence

s to

the

Od

ysse

y an

d G

reek

myt

holo

gy

are

par

ticu

larl

y im

po

rtan

t in

her

wo

rk,

add

ing

a l

yric

al s

ensi

bili

ty a

nd

po

etic

fre

edo

m t

o h

er c

om

po

siti

ons

tha

t d

isru

pt

the

cold

ra

tio

nalit

y o

f m

athe

mat

ical

ord

er.

# Create a secret code using letters and drawings along with a key to decode it. Write a short poem about space travel in your secret code. Now ask a friend to decode it using the key.

# Make paper boats using only one sheet of paper. Have a competition to see which boat floats longest.

# Create a number sequence using a rule like the Fibonacci sequence. Ask a friend to figure out the rule you used in your list.

Envi

ronm

ent:

The

vie

wer

bec

om

es p

art

of

the

envi

ronm

ent

and

at

the

sam

e ti

me

a w

itne

ss t

o i

ts

still

ness

, an

ony

mit

y, a

nd s

eclu

sio

n.Fi

bona

cci s

eque

nce:

the

Fib

ona

cci

seq

uenc

e is

th

e se

ries

of

num

ber

s 0,

1,

1, 2

, 3,

5,

8, 1

3, 2

1, 3

4,

...

The

nex

t nu

mb

er i

s fo

und

by

add

ing

up

the

tw

o nu

mb

ers

bef

ore

it.

The

Fib

ona

cci

seq

uenc

e is

nam

ed

afte

r It

alia

n m

athe

mat

icia

n Le

ona

rdo

of

Pis

a, w

ho

des

crib

ed i

t in

his

120

2 b

oo

k Li

ber

Ab

aci.

documenta14 / dp.iset / muhka

#language #journeys #code

THE LIVING PYRAMID, 2015/2017AGNES DENES

Flowers, grasses, soil, wood, and paint9 x 9 x 9 mLocation: NordstadtparkPhoto: Mathias Völzke

The monumental geometric form of The Living Pyramid softens and becomes imperfect over time as hundreds of flowering plants and grasses take over. Cycles of renewal manifest during the exhibition as flowers bloom and fade, while seeds germinate and grow. Chosen to suit the local environment, the plants in Living Pyramid create a unique organic ecosystem with a diversity of colors and textures. Wild seeds and insects also use the pyramid as a home. The ecology created by the work extends beyond the sculpture itself to include the networks of people involved in its construction and care, demonstrating how the natural and the social are inextricably intertwined. The sculpture is accompanied by a questionnaire on the topic of climate change, the answers to which will be digitized and sealed inside a time capsule to be opened in the year 3017.

Agn

es D

enes

(b

.193

1, B

udap

est,

Hun

gar

y) w

as

rais

ed i

n Sw

eden

and

ed

ucat

ed i

n th

e U

nite

d St

ates

. Fo

r A

gne

s, i

nvis

ible

pro

cess

es o

f th

oug

ht

and

cha

nge

are

exp

ress

ed i

n m

ater

ial

form

s th

at

tran

scen

d l

ing

uist

ic r

epre

sent

atio

n. S

he h

as c

reat

ed

larg

e-sc

ale

eco

log

ical

int

erve

ntio

ns f

or

man

y ye

ars

incl

udin

g W

heat

Fie

ld,

A C

onf

ront

atio

n (1

982)

in

whi

ch t

he a

rtis

t p

lant

ed a

nd h

arve

sted

tw

o a

cres

o

f w

heat

on

the

Bat

tery

Par

k la

ndfi

ll, M

anha

ttan

, N

ew Y

ork

. P

yram

ids

oft

en f

eatu

re i

n he

r w

ork

as

a c

onf

lati

on

of

idea

s ab

out

sp

ace,

tim

e, a

nd

civi

lizat

ion.

By

com

bin

ing

the

pyr

amid

wit

h th

e b

eaut

y an

d p

ow

er o

f na

tura

l p

roce

sses

, A

gne

s o

ffer

s a

per

spec

tive

on

the

futu

re i

n th

e fa

ce o

f cl

imat

e ch

ang

e an

d e

nvir

onm

enta

l is

sues

.

# What do you think about your school’s outdoor environment? Are there many plants? If you could redesign it, how would you change it? What kinds of plants would you include? Would there be birds and animals? Make a drawing of your plan.

# What do you know about climate change? What are some of the changes that are happening around the world? Who or what is affected by these changes? Do they affect you too?

# If you made a time capsule to be opened 1000 years from now, what would you put in it? What would you want future generations to know or remember about the twenty-first century? What would the time capsule look like?

Clim

ate

chan

ge: a

cha

nge

in g

lob

al o

r re

gio

nal

clim

ate

pat

tern

s, i

n p

arti

cula

r, a

cha

nge

app

aren

t fr

om

the

m

id-

to l

ate

twen

tiet

h ce

ntur

y o

nwar

ds

and

att

rib

uted

la

rgel

y to

the

inc

reas

ed l

evel

s o

f at

mo

sphe

ric

carb

on

dio

xid

e p

rod

uced

by

the

use

of

foss

il fu

els.

Ecol

ogy:

the

rela

tio

nshi

p b

etw

een

an o

rgan

ism

and

its

su

rro

und

ing

s.

documenta14 / vimeo / agnesdenesstudio / artspace

#environment #change #time

ATLAKIM, 1990-2012BEAU DICK

Installation view of masks from the “Atlakim” series, 1990-2012; Tsonoqua Mask, 2016; Raven Masks, ca. 2000Mixed media. Dimensions variableLocation: EMST-National Museum of Contemporary Art, AthensPhoto: Mathias Völzke

Beau Dick created masks that have spiritual significance for the Kwakwaka’wakw people and are used for traditional gift-giving ceremonies called potlatches. Beau’s masks from the series Atlakim (Dance of the Forest Spirit) depict and narrate the Kwakwaka’wakw story of a boy who escapes to the forest after being rejected by his family. While he is in the forest, he is under the protection of a grouse and other spirits who teach him their songs and dances. Atlakim masks have a specific life cycle—they are used for four dances in a potlatch ceremony and at the end they are burned. This ceremonial burning creates the need to make new masks, allowing stories to be retold and preserving oral histories as well as traditional songs and dances. In Canada, between 1855 and 1951, colonial authorities banned activities connected to the potlatch. Beau´s work plays an important role for the continuation of these ceremonies in the present. Be

au D

ick

(b.

1955

, A

lert

Bay

, C

anad

a; d

. 20

17)

was

an

Ind

igen

ous

art

ist,

act

ivis

t, m

aste

r ca

rver

, an

d H

ered

itar

y C

hief

fro

m t

he K

wak

wak

a’w

akw

co

mm

unit

y. T

hro

ugho

ut h

is c

aree

r B

eau

was

a

men

tor

and

tea

cher

fo

r yo

ung

er g

ener

atio

ns.

In F

ebru

ary

2013

he

wal

ked

so

uth

fro

m Q

uats

ino

to V

icto

ria,

Bri

tish

Co

lum

bia

, w

here

he

bro

ke

a co

pper

on

the

step

s o

f th

e B

C L

egis

lati

ve

Ass

emb

ly.

In 2

014,

he

bro

ke a

co

pp

er o

n th

e st

eps

of

Par

liam

ent

Hill

in

Ott

awa.

The

se s

ymb

olic

act

s o

f b

reak

ing

co

pp

ers

sho

w a

lac

k o

f fa

ith

in t

he

curr

ent

syst

ems

of

cap

ital

ism

and

co

loni

alis

m i

n C

anad

a an

d a

re a

cal

l fo

r ch

ang

e. # Within the Kwakwaka’wakw people, the Atlakim

story is passed on through the act of making masks, performing, and then burning them so that the stories can be passed on. Can you think of activities or festivals in which stories are retold within your own culture? How are these narratives shared?

# Remember a story that you know or make up a new story. Find or make an object to help you tell this story. What qualities does the object have? Does it behave differently when it becomes part of the performance? What happens to it afterward?

# Listen to the story of Atlakim and retell the story to someone else in your own way.

Cop

per:

a b

eate

n sh

eet

of

cop

per

in

the

shap

e o

f a

shie

ld.

For

the

Kw

akw

aka’

wak

w,

cop

per

s ar

e a

sym

bo

l o

f w

ealt

h an

d p

ow

er.

The

y ar

e d

isp

laye

d a

t si

gni

fica

nt

life

even

ts a

nd a

ccum

ulat

e va

lue

ove

r ti

me.

Po

tlat

ch: a

tra

dit

iona

l g

ift-

giv

ing

fea

st p

ract

iced

by

Ind

igen

ous

peo

ple

s o

f th

e N

ort

hwes

t C

oas

t. T

here

ar

e m

any

form

s o

f p

otl

atch

es t

hat

vary

acc

ord

ing

to e

ach

Ind

igen

ous

co

mm

unit

y. T

hese

cer

emo

nies

in

volv

e fe

asts

, sp

eech

es,

song

s, a

nd d

ance

s an

d a

re

held

eit

her

on

occ

asio

ns o

f si

gni

fica

nt e

vent

s, s

uch

as

wed

din

gs,

bir

ths,

and

dea

ths.

#storytelling #performativity #colonialism

documenta14 / douglasreynoldsgallery / canadianart

FUNDI (UPRISING), 2017ABOUBAKAR FOFANA

Natural fibre-based texiles handsewn and dyed in organic indigo in Bamaka and Athens; Indigoferra arrecta, Polygonum tinctorium, and Isatis tinctoria grown in collaboration with Kasseler Werkstatt (Gartenbau); Stadt Kassel, Umwelt- und Gartenamt; Universität Kassel, Gewächshaus für tropische Nutzpflanzen, Witzenhausen Dimensions variable. Location: documenta HallePhoto: Roman März

In Fundi (Uprising), finely nuanced blue fabrics are suspended from the ceiling in documenta Halle, alongside three kinds of indigo plants, which were grown in greenhouses in and around Kassel. Indigofera arrecta is cultivated in Mali, Polygonum tinctorium in India and Japan, and Isatis tinctoria in Europe. Aboubakar’s indigo fermentation vats contain no chemical additives; the dye is produced solely from crushed, dried indigo leaves. The processes Aboubakar employs in his art reflect a profound respect for nature and spirituality. In cooperation with village groups of men and women who still practice traditional handcrafting skills, he produces hand-spun and woven fabrics, which are then dyed in a series of patiently performed procedures. The title of this work refers to both the upward growth of the plants as they strive towards the light, but also to the Indigo Rebellion of 1859 as well as the regeneration and affirmation of traditional ways of life after colonialism. A

boub

akar

Fof

ana

(b.

1967

, B

amak

o,

Mal

i) is

an

art

ist

calli

gra

phe

r an

d I

ndig

o M

aste

r w

hose

ex

plo

rati

on

of

arti

stic

leg

acie

s le

d h

im t

o l

earn

m

ore

ab

out

the

tra

dit

iona

l p

roce

ss o

f d

yein

g w

ith

the

ind

igo

pla

nt.

He

foun

d t

hat

onl

y a

few

sp

ecia

lists

sti

ll p

ract

ice

the

pro

duc

tio

n o

f in

dig

o f

erm

enta

tio

n, s

o h

e su

pp

lem

ente

d t

he

frag

men

tary

kno

wle

dg

e fr

om

his

tra

vels

wit

h re

sear

ch b

efo

re p

utti

ng t

he p

roce

ss i

nto

pra

ctic

e.

Ab

oub

akar

has

sin

ce s

pen

t d

ecad

es c

ulti

vati

ng

and

exp

erim

enti

ng w

ith

dif

fere

nt i

ndig

o p

lant

s an

d d

yein

g t

echn

ique

s in

ord

er t

o d

evel

op

the

m

ost

del

icat

e sh

ades

of

blu

e.

# The color blue has many social and cultural associations. For example, there are songs relating blue to sadness. Describe each of the blues you see here. What other associations do you have with this color?

# Look at the label of your clothes to see where they were made. Can you tell if your clothes are made with a synthetic or a natural dye?

# Other plants can be used make colored dyes too: onion skins, acorns, spinach, and flower pollen, for example, can also be used to make dyes. Experiment with living plants to see what colors you can make.

Fund

i: a

wo

rd f

rom

the

Ban

tu f

amily

of

Afr

ican

la

ngua

ges

tha

t tr

ansl

ates

to

wis

e-o

ne,

teac

her,

skill

ed a

rtis

an,

or

a p

erso

n w

ith

spec

ial

kno

wle

dg

e.In

digo

: co

mes

fro

m t

he G

reek

ter

m i

ndik

on,

w

hich

mea

ns “

blu

e d

ye f

rom

Ind

ia.”

The

“In

dig

o R

ebel

lion”

of

1859

in

Ben

gal

was

th

e fi

rst

succ

essf

ul r

evo

lt b

y na

tive

far

mer

s in

o

pp

osi

tio

n to

exp

loit

atio

n b

y w

ealt

hy E

uro

pea

n la

ndo

wne

rs.

#IndigoBlue #textile #LivingPlants

documenta14 / static1.squarespace / youtube

FLUCHTZIELEUROPAHAVARIESCHALLKÖRPER, 2017GUILLERMO GALINDO

Mixed media2 works, 2.5 x 5.4 x 1 m and 3.1 x 2.9 x 1.9 mLocation: documenta HallePhoto: Mathias Völzke

A large shipwreck hung from a ceiling with the hull split in two separating the bow and the stern form the basis of Fluchtzieleuropahavarieschallkörper (2017). The work includes a composition of found objects left behind by migrants in Kassel and Athens in reception centers and other temporary, abandoned refugee accommodations. Gradually adjusted over time, the objects become instruments to be played together with local musicians who worked on multiple scores with Guillermo. He is not concerned with achieving perfect sound in these compositions, but rather with a different form of storytelling, giving the materials a voice of their own. Everything has sound according to Guillermo, who combines such objects as hair clips, children’s shoes, bicycle spokes, parts of dolls, articles of clothing, and hygiene products to form sound installations that produce eerie sound collages. G

uille

rmo

Gal

indo

(b.1

960,

Mex

ico

Cit

y,

Mex

ico

) ha

s b

een

rep

eate

dly

dra

wn

to t

he

US-

Mex

ico

bord

er b

y va

rio

us p

roje

cts.

He

has

colle

cted

ob

ject

s th

row

n aw

ay b

y p

eop

le

cro

ssin

g t

he b

ord

er,

whi

le a

lso

ob

serv

ing

the

“bo

rder

line

situ

atio

n” a

nd d

ocu

men

ting

nu

mer

ous

inh

uman

act

s, s

uch

as t

he

des

truc

tio

n o

f th

e w

ater

bar

rels

nec

essa

ry f

or

bo

rder

-cro

ssin

g s

urvi

val.

As

a m

usic

ian

and

com

po

ser,

his

exp

erie

nces

are

inc

orp

ora

ted

into

the

pro

duc

tio

n o

f so

und

bo

die

s m

ade

fro

m s

uch

foun

d m

ater

ials

. # Many objects are left behind in border zones. What

objects in your home are important to you? What would you take along if you had to leave your home?

# Guillermo’s practice is based upon the understanding that every object has its own unique vibration. Gather together different objects and find a suitable object to hit them with (a pencil will do). When you strike different objects, what are the sounds you hear?

# Guillermo uses images in his practice to make a score. A score can tell you when you should play an instrument, gives an instruction for a movement, or can provide a direction to be followed. Scores offer lots of different information. Can you create a score for the composition you have made with your collected objects? Give your score to someone else and see if they can read it.

US–

Mex

ico

Bord

er: T

he U

S–M

exic

o b

ord

er i

s th

e m

ost

fr

eque

ntly

cro

ssed

bo

rder

in

the

wo

rld

. T

he t

erra

in d

iffe

rs

bet

wee

n ci

ties

and

uni

nhab

itab

le d

eser

ts,

and

man

y M

exic

ans

cro

ssin

g t

he b

ord

er i

lleg

ally

are

ris

king

the

ir l

ives

an

d a

re o

ften

on

the

rece

ivin

g e

nd o

f ex

cess

ive

use

of

forc

e an

d h

uman

rig

hts

vio

lati

ons

.

#migration #FoundObjects #composition

documenta14 / galindog / youtube

LA SOMBRA (THE SHADOW), 2017REGINA JOSE GALINDO

Video documentation following a performance with Leopard tank, 11 minutesLocation: Palais BellevueVideo still

The video documentation of the performance La Sombra (The Shadow) features Regina running as a Leopard Tank follows her. Regina risks her personal safety by running ahead of a tank that could crush her instantly if she were to slow her pace. The physical struggle is visible in her facial expression and the video loops seamlessly to further emphasize the endurance required for the performance. The work is a site-specific critique of the international scope of the German arms market and its effects on the Americas. In Regina’s practice, she often tests the limits of her body through risk-taking performances that function as both visual and somatic metaphors for political and social issues.

Regi

na J

osé

Gal

indo

(b

.197

4, G

uate

mal

a C

ity,

G

uate

mal

a) w

as b

orn

and

rai

sed

dur

ing

the

G

uate

mal

an C

ivil

War

(19

60–1

996)

. H

er w

ork

s ex

amin

e p

olit

ical

vio

lenc

e an

d s

oci

al i

ssue

s,

spec

ific

ally

vio

lenc

e to

war

ds

wo

men

. A

n ex

amp

le i

s he

r se

min

al w

ork

Per

ra (

2005

), w

here

she

car

ved

the

w

ord

per

ra (

bit

ch)

into

her

leg

, b

ring

ing

att

enti

on

to

wo

men

who

wer

e m

urd

ered

and

fo

und

wit

h “m

uert

e a

tod

as l

as p

erra

s” (

dea

th t

o a

ll th

e b

itch

es)

cut

into

the

ir f

lesh

. T

hro

ugh

her

pro

voca

tive

pra

ctic

e,

Reg

ina

conf

ront

s co

nser

vati

ve v

iew

s to

war

ds

wo

men

w

ithi

n G

uate

mal

an s

oci

ety,

whi

ch a

lso

has

a w

ider

re

sona

nce

wit

h fe

min

ist

stru

gg

le a

roun

d t

he w

orl

d.

# Do you think the artist feels fearful? Why or why not? Does it matter?

# Regina is interested in the production of arms in Kassel and decided specifically to use a tank. Do you think the work would have the same impact if another vehicle were driving behind her? What does the tank symbolize in this video?

# This image is a still from her work. Do you think the artwork is the performance or the video of her performance?

Arm

s m

arke

t: t

he s

ale

and

bus

ines

s o

f am

mun

itio

n,

cont

rab

and

, an

d w

eap

ons

.So

mat

ic: o

f o

r re

lati

ng t

o t

he b

od

y, d

eriv

ed f

rom

the

G

reek

wo

rd s

ōm

a (b

od

y).

documenta14 / youtube / reginajosegalindo / documenta14-south

#fear #power #documentation

THE DROUGHT, THE FLOOD, 2016FROM THE “FIELDS OF SIGHT” SERIES, 2013–GAURI GILL AND RAJESH CHAITYA VANGAD

Ink on archival pigment print, 106.7 x 157.5 cmLocation: Hessisches LandesmuseumPhoto courtesy of Gauri Gill & Rajesh Chaitya Vangad

Fields of Sight is a collaborative project between photographer Gauri Gill and Warli artist Rajesh Chaitya Vangad. Gauri’s photographs of landscapes, villages, and community sites are layered with Rajesh’s ink drawings, which use Warli iconography that often refers to the connections between humanity, society, and nature. The project began in 2013, when Gauri was invited to Dahanu—an Adivasi district in the state of Maharashtra—to create works for a primary school located near Rajesh’s home. Rajesh served as Gauri’s guide, and together they traveled to various locations of personal, political, and ecological significance. The photographs document their journeys to important sites, with Rajesh serving as the protagonist and subject. Together, the drawings and photographs generate a hybrid visual rhythm that re-inscribes the relationship between land and Indigenous cultural practices.

Gau

ri G

ill (

b.

1970

, C

hand

igar

h, I

ndia

) m

aint

ains

a

pho

tog

rap

hy-b

ased

pra

ctic

e th

at a

dd

ress

es p

erso

nal

and

po

litic

al h

isto

ries

, to

uchi

ng o

n to

pic

s in

clud

ing

lan

d,

dis

pla

cem

ent,

cla

ss s

truc

ture

s, a

nd m

ob

ility

. G

auri

vie

ws

pho

tog

rap

hy a

s a

form

of

mem

ory

and

a m

eans

of

liste

ning

. Sh

e o

ften

wo

rks

wit

h m

arg

inal

ized

co

mm

unit

ies

to c

aptu

re

thei

r ex

per

ienc

es a

nd s

hare

the

ir s

tori

es w

ith

oth

ers.

Raje

sh C

hait

ya V

anga

d (b

. 19

75,

Gan

jad

, In

dia

) is

an

Ad

ivas

i ar

tist

who

pra

ctic

es t

rad

itio

nal

War

li pa

inti

ng

tech

niq

ues.

Cur

rent

ly b

ased

in

Dah

anu,

Raj

esh’

s p

aint

ing

s ta

ke o

n co

mp

lex

narr

ativ

e st

ruct

ures

tha

t re

fer

to t

he l

ives

an

d s

tori

es t

hat

have

bee

n d

isp

lace

d t

hro

ugh

colo

nial

ism

, an

d t

he r

elat

ions

hip

bet

wee

n su

ch n

arra

tive

s an

d t

he l

and

that

the

Ad

ivas

i in

hab

it.

# Where did the ingredients of your last meal come from? Can you trace their origins? Make a map of where the foods came from to get to your plate. Think about making a recipe that consists of foods that only come from within a 100-mile radius of your home.

# Go for a walk on the school grounds and take a series of pictures and make a note where you have been. Share your images and notes and see if a friend can follow them.

# These works combine two very different types of visual representation. What are the similarities and differences between them? Would you consider one of the representations to be more real than the other? Why or why not?

Adi

vasi

: a t

erm

enc

om

pas

sing

Ind

igen

ous

gro

ups

in

Ind

ia.

War

li pa

inti

ng: a

sty

le o

f p

aint

ing

tha

t o

rig

inat

ed i

n M

ahar

asht

ra a

nd i

s p

ract

iced

by

Ad

ivas

i co

mm

unit

ies.

W

arli

pai

ntin

g u

ses

a se

t o

f b

asic

geo

met

ric

shap

es

that

sym

bo

lize

dif

fere

nt e

lem

ents

of

natu

re,

enco

mp

assi

ng a

nim

als,

peo

ple

, an

d p

lant

s, t

ypic

ally

re

nder

ed o

n a

flat

pla

ne.

documenta14 / quod.lib.umich.edu / opendemocracy

#food #landscape #MixedMedia

WHEN WE WERE EXHALING IMAGES, 2017HIWA K

Vitrified clay pipes, laminated beams, furniture, and various objects. Dimensions variableLocation: FriedrichsplatzPhoto: Mathias Völzke

The result of a collaborative project with the Diplom Degree Programme in Product Design (Prof. Jakob Gebert, Thumas Buda, Arne Dohrmann, Olga Turiel Dorofeeva, Ferdinand Fach, Theresa Herrmann, Verena Hutter, Hedda Korthals, Jasper Ohainski, Carlos Platz, José Manuel Schloss, Mona Schmidt, Philipp Thomas, and Jennifer Witulla), When We Were Exhaling Images is an installation and site for participatory action that creates miniaturized domestic spaces in repurposed clay sewer pipes. The work plays with different senses of scale by contrasting the monumentality of public sculpture with the exceptionally small living spaces recreated in the pipes. The artist also questions the distinction between public/private by bringing domestic spaces into the public sphere. The pipes refer to the experiences of refugees in Patras, Greece, where similar pipes are used as improvised accommodation. The participation of the visitors to the exhibition activates the sculpture, compelling them to consider the conditions of those who live in such spaces, together with the sense of displacement and loss that accompanies the disruption of everyday life.

Hiw

a K

(b

. 19

75,

Kur

dis

tan,

Ira

q)

is a

sel

f-ta

ught

art

ist

who

se e

arly

res

earc

h in

tere

sts

wer

e in

form

ed b

y E

uro

pea

n lit

erat

ure

and

phi

loso

phy

. H

e m

ove

d t

o G

erm

any

in

2002

, w

here

he

stud

ied

mus

ic w

ith

Flam

enco

mas

ter

Pac

o P

eña.

The

se d

ual

inte

rest

s ha

ve s

hap

ed h

is a

rtis

tic

pra

ctic

e, w

hich

oft

en u

ses

vern

acul

ar f

orm

s to

ad

dre

ss

ora

l hi

sto

ries

, p

olit

ical

co

ncer

ns,

and

co

llect

ive

or

soci

al r

elat

ions

. H

iwa

is a

lso

a t

each

er w

ith

an a

ctiv

e in

tere

st i

n re

thin

king

art

ed

ucat

ion

and

que

stio

ning

the

p

rofe

ssio

naliz

atio

n o

f ar

tist

ic p

ract

ice.

# You could look at Hiwa’s work in public space as a provocation to think about the living conditions of those people who are forced to migrate under difficult circumstances. If you were to make an artwork for a public space related to the migration of people, what kind of proposal would you make?

# Can you build a shelter with only a few materials? How would you join them together? What would you need to keep warm and dry? Try to build a shelter that is strong with only sticks and ropes.

# The title of the work is enigmatic. What associations does the title bring to mind and how does it change your relationship to the work?

Flam

enco

: a t

ype

of

dan

ce b

ased

on

the

folk

lori

c tr

adit

ions

fro

m S

out

hern

Sp

ain.

Mon

umen

talit

y: m

assi

ve a

nd i

mp

osi

ng i

n si

ze.

documenta14 / hiwak / ruyafoundation

#migration #home #design

TRASSEN (IN DER KASSELER KARLSAUE)[LINES (IN THE KARLSAUE IN KASSEL)], 2017OLAF HOLZAPFEL

Painted ash wood, 550 x 400 x 850 cmLocation: Karlsaue ParkPhoto: Mathias Völzke

Trassen, a sculpture in the Karlsaue Park in Kassel, shows the structural elements of a historical German Fachwerkhaus (half-timbered building). Additional models of these buildings, along with video works by the artist, complement his outdoor sculpture and provide a historical context. The exposed structure of the sculpture manifests as an ever-present question: What use do people make of the material world around them? The form of trees differs from region to region therefore determining the scale and design of half-timbered buildings. This work refers to Germany’s colonial history and the migration of technology and architectural traditions. In the 1930s, German immigrants built sawmills in Chile that produced lumber for the construction of solid half-timbered houses. The mechanized processing of wood had immense environmental and social consequences: deforestation, the disappearance of Indigenous manual crafts and traditions, thus resulting in a total transformation of nature and nomadic lifestyles. O

laf

Hol

zapf

el (

b.1

969,

Dre

sden

, G

erm

any)

wo

rks

in

a va

riet

y o

f fo

rms

incl

udin

g p

aint

ing

, p

hoto

gra

phy

, an

d s

culp

ture

, w

ith

a fo

cus

on

natu

ral

mat

eria

ls t

hat

carr

y a

trad

itio

nal

sym

bo

lic m

eani

ng f

or

the

peo

ple

w

ho a

re s

urro

und

ed b

y th

em i

n th

eir

dai

ly l

ives

. H

is

wo

rks

reve

al c

ons

truc

tio

n p

roce

sses

and

sho

w h

ow

m

ater

ials

and

tec

hniq

ues

circ

ulat

e in

glo

bal

eco

nom

ic

netw

ork

s b

ut a

re t

hen

mo

dif

ied

to

fit

the

lo

cal

cont

ext

in w

hich

the

y ar

e p

ract

iced

. O

laf

has

wo

rked

o

n p

roje

cts

in m

any

par

ts o

f th

e w

orl

d i

nclu

din

g So

uth

Am

eric

a, J

apan

, an

d I

ndia

.

# What materials is your house made of and where do you think these materials come from? Make a list and see if you can research their origins.

# A Fachwerkhaus is constructed of a very old and complex system of mixing timber frames and brickwork to build houses. You can see many of these houses in Germany today. How do you think Olaf’s work was constructed?

# Research the materials you would use to make an energy-efficient house for the future. Make your design and consider whether you will use natural or manmade materials.

Fach

wer

khau

s: a

co

mm

on

typ

e o

f ha

lf-t

imb

ered

b

uild

ing

see

n p

red

om

inan

tly

in G

erm

any.

documenta14 / olafholzapfel / galerie-gebr-lehmann / youtube

#architecture #technology #ecology

SOLIDARITY, 2017GORDON HOOKEY

Acrylic paint on concrete, 8.2 x 7 mLocation: outside Athens School of Fine Arts (ASFA)—Pireos Street (“Nikos Kessanlis” Exhibition Halls)Photo: Stathis Mamalakis

Solidarity is a mural painted by Gordon Hookey on an external main wall at the Athens School of Fine Arts. Figuring prominently at the bottom of the wall in red capital letters, “solidarity” is also symbolized by a large clenched fist that covers most of the work. The artist works with symbols that are immediately recognizable and carry strong political connotations—the clenched fist has been historically present within workers and feminist struggles and the rainbow in peace and LGBTQIA+ social movements. The rainbow next to the fist references abundance and prosperity—associated with the story of a pot of gold found at the end of the rainbow—but also rebirth and renewal. In Aboriginal mythology, the Rainbow Serpent is an ancestral spirit said to have created the land, rivers, and people.

Gor

don

Hoo

key

(b.

1961

, C

lonc

urry

, A

ustr

alia

) b

elo

ngs

to t

he I

ndig

eno

us W

aany

i peo

ple

. H

is

wo

rks,

mo

st o

f w

hich

are

mur

als,

are

iro

nic

and

oft

en b

itte

rly

sati

rica

l co

mm

enta

ries

on

the

cult

ure

and

his

tory

of

his

hom

elan

d.

In c

om

ic o

r g

raff

iti

styl

e he

est

ablis

hes

links

bet

wee

n cu

rren

t en

viro

nmen

tal,

eco

nom

ic,

and

so

cial

phe

nom

ena

and

glo

bal

iss

ues,

the

reb

y q

uest

ioni

ng

sup

po

sed

ly u

nive

rsal

ach

ieve

men

ts.

He

pai

nts

wo

rds

and

im

ages

, co

mb

inin

g i

cons

, fi

gur

ativ

e el

emen

ts,

sig

ns,

and

sym

bo

ls i

nto

sto

ries

tha

t m

ay r

emai

n p

uzzl

ing

to

vie

wer

s un

fam

iliar

wit

h th

e hi

sto

ry o

f hi

s p

eop

le.

# Gordon includes a famous quote by the revolutionary Che Guevara: “Let me say at the risk of seeming ridiculous, that the true revolutionary is guided by great feelings of love.” What is the relationship between the title, Solidarity, and love? What does solidarity mean to you? How can solidarity be enacted? If you were going to create a mural in your school that represents solidarity, what symbols would you include?

# Research social movements that have used this gesture to represent their struggle. What does the gesture of the clenched fist mean to you?

# Gordon uses mural painting as a medium to convey a message of hope and political action. What are the similarities and differences between Gordon’s murals and canvas painting and street art?

Fem

inis

t st

rugg

le: e

nco

mp

asse

s a

rang

e o

f so

cial

mo

vem

ents

tha

t ai

m t

o p

rom

ote

eq

ualit

y an

d j

usti

ce a

gai

nst

gen

der

op

pre

ssio

n an

d ex

clus

ion.

LGBT

QIA

+: s

tand

s fo

r le

sbia

n, g

ay,

bis

exua

l, t

rans

, q

ueer

, in

ters

ex,

asex

ual,

and

oth

er.

The

LG

BT

QIA

+ s

oci

al m

ove

men

t fi

ght

s ag

ains

t al

l fo

rms

of

ineq

ualit

y re

late

d t

o g

end

er a

nd s

exua

lity.

Waa

nyi:

an I

ndig

eno

us A

ustr

alia

n p

eop

le i

n N

ort

hern

Que

ensl

and

liv

ing

in t

he v

icin

ity

of

the

upp

er N

icho

lso

n R

iver

. T

he W

aany

i la

ngua

ge

is n

o lo

nger

sp

oke

n b

y it

s p

eop

le a

nd i

s cu

rren

tly

clas

sifi

ed a

s ex

tinc

t.W

orke

rs’ s

trug

gle:

rel

ates

to

the

lab

or

mo

vem

ent

that

dev

elo

ped

as

a re

spo

nse

to t

he h

ard

ship

s o

f in

dus

tria

l ca

pit

alis

m.

It a

dvo

cate

s fo

r w

ork

ers’

rig

hts

and

dem

and

s b

ette

r w

ork

ing

co

ndit

ions

.

documenta14 / documenta14-south / vimeo

#love #gesture #PoliticalStruggle

MEMORIAL TO 418 PALESTINIAN VILLAGES THAT WERE DESTROYED, DEPOPULATED AND OCCUPIED BY ISRAEL IN 1948, 2001 - EMILY JACIR

Refugee tent, embroidery thread, record book. Dimensions variableCollection of EMST-National Museum of Contemporary Art, AthensLocation: FridericianumPhoto: Mathias Völzke

The rough canvas fabric of the refugee tent is hand embroidered with the names of Palestinian villages that were destroyed in 1948 by the Israeli occupation. While the work is a gallery-based installation, the title suggests the work also serves as a public memorial or a way of remembering those villages, which were destroyed, depopulated, or occupied. Made while Emily was an artist-in-residence at MOMA PS1 in New York City, the process involved the collaboration of over 140 volunteers from many countries, including Palestinians and Israelis, and diverse professional backgrounds. The practice of sewing together led collaborators to share their experiences of war, grief, and lost loved ones. These narratives are inextricable from the process of making the work, and in this manner the installation retains a collective quality.

Emily

Jac

ir (

b.

1972

, B

ethl

ehem

, W

est

Ban

k) i

nves

tig

ates

p

erso

nal

lives

, na

rrat

ives

, an

d m

igra

tio

ns t

hro

ugh

a re

sear

ch-b

ased

pra

ctic

e, u

sing

arc

hiva

l m

ater

ials

as

the

bas

is f

or

film

s, i

nsta

llati

ons

, p

erfo

rman

ces,

and

p

hoto

gra

phs

. B

orn

and

rai

sed

in

the

Mid

dle

Eas

t an

d ha

ving

liv

ed i

n R

om

e, I

taly

, an

d N

ew Y

ork

Cit

y, U

SA f

or

man

y ye

ars,

que

stio

ns o

f lo

ss,

exile

, an

d d

isp

lace

men

t o

ften

ari

se i

n he

r w

ork

. H

er w

ork

has

bee

n d

escr

ibed

as

bo

th p

olit

ical

and

lyr

ical

. In

200

7, s

he w

on

the

Go

lden

Lio

n at

the

Ven

ice

Bie

nnal

e fo

r he

r w

ork

Mat

eria

l fo

r a

Film

, a

larg

e-sc

ale

inst

alla

tio

n b

ased

on

the

life

of

Pal

esti

nian

w

rite

r W

ael

Zuai

ter,

who

was

ass

assi

nate

d n

ear

his

hom

e in

R

om

e b

y Is

rael

i M

oss

ad a

gen

ts i

n 19

72.

# Compare the work of Emily Jacir and Rebecca Belmore. What similarities and differences do you notice between the works?

# War is often caused due to land disputes and people are frequently displaced from their homes, and it is difficult to reach solutions that allow people of diverse backgrounds to live peacefully. A sense of loss of belonging to a place or coming from a specific geography is invoked here in Emily’s work. Which city, town, or village would you call home?

# What is your opinion about the collective character of this specific artwork? Is it possible to remember something collectively? Recount your visit to documenta with your class. What do you remember from your experience?

Isra

eli O

ccup

atio

n: In

196

7 Is

rael

fo

rcib

ly c

aptu

red

Pal

esti

nian

ter

rito

ries

of

the

Wes

t B

ank,

Eas

t Je

rusa

lem

, G

aza

Stri

p,

Syri

an G

ola

n H

eig

hts,

and

th

e E

gyp

tian

Sin

ai P

enin

sula

. D

ue t

o t

he d

estr

ucti

on

of

thei

r ho

mes

and

vill

ages

, 75

0 00

0 p

eop

le w

ere

exp

elle

d a

nd d

isp

lace

d f

rom

the

ir h

om

elan

d. #loss #home #CollectiveMemory

documenta14 / electronicintifada / palestine-studies

BOTTARI, 2005KIMSOOJA

Traditional Korean bed cover and used clothesDimensions variableCollection of EMST-National Museum of Contemporary Art, AthensLocation: FridericianumPhoto: Jasper Kettner

In Korea, bottari (bundle) is an everyday practical solution for wrapping and transferring things that are not fragile, such as clothes and absolute necessities. In this version Kimsooja adjusted her existing bottari made of traditional Korean bed covers, to include used clothing from Athens and Kassel. These textiles feature bright colors and are embroidered with decorative motifs inspired the animal and plant kingdom including symbols of longevity, love, happiness, and fertility for young couples. The bottari are carefully placed within the exhibition where, for Kimsooja, they become, “a self-contained world—but one which can hold everything like a vessel, materially and conceptually, since one can tie up a bundle without revealing the contents.” The capacity of the bottari to contain, to wrap, to hold, to hide, could be seen as a reference to the relationship between the body and clothing throughout the journey of life. K

imso

oja

(b.

1957

, H

ang

ul,

Sout

h K

ore

a) i

s a

Sout

h K

ore

an a

rtis

t cu

rren

tly

bas

ed i

n N

ew Y

ork

, P

aris

, an

d S

eoul

. T

he j

oin

ing

of

her

form

erly

fi

rst

and

las

t na

me

com

es f

rom

a w

ork

tit

led

A O

ne-W

ord

Nam

e Is

An

Ana

rchi

st’s

Nam

e (2

003)

. K

imso

oja

dec

ided

to

co

mb

ine

her

nam

e to

cre

ate

a na

me

that

did

no

t ex

hib

it g

end

er

iden

tity

, m

arit

al s

tatu

s, s

oci

o-p

olit

ical

, o

r cu

ltur

al

and

geo

gra

phi

cal

iden

tity

. Fo

rmal

ly t

rain

ed i

n p

aint

ing

, K

imso

oja

lat

er b

egan

wo

rkin

g w

ith

fab

ric,

sew

ing

, vi

deo

, an

d p

erfo

rman

ce.

# What would you bring on a trip if you could only carry it in a scarf?

# Clothing is sometimes kept within the family, passed down to other generations. Sometimes people keep clothing from special occasions that have only been worn once, like a special ceremony. Do you have a piece of clothing that you have had for a long time but no longer wear?

# Do you think that there are certain clothes that can only be worn by men or women?

#mobility #symbolism #gender

documenta14 / kimsooja/ kimsooja-texts / kimsooja-worksBott

ari:

the

Ko

rean

wo

rd f

or

‘bun

dle

,’ b

ott

ari

are

mad

e fr

om

lar

ge

clo

ths

that

are

use

d t

o c

arry

o

r st

ore

no

n-b

reak

able

ob

ject

s. I

n K

ore

a, t

he

exp

ress

ion

“mak

ing

a b

und

le”

is a

eup

hem

ism

th

at c

onn

ote

s w

hen

a w

om

an l

eave

s he

r fa

mily

to

pur

sue

her

ow

n lif

e.

HISTORJA, 2003–07BRITTA MARAKATT-LABBA

Embroidery, print, appliqué, and wool on linen39 cm x 23.5 mSupported by IASPIS, Stockholm and KORO/Public Art Norway, Oslo. Location: documenta HallePhoto by KORO

Britta Marakatt-Labba describes her work as “narrative embroidery,” an aesthetic based on slowness and a journey through time and space. Her work reflects the cosmology of her Sami heritage. The everyday life of her family is defined by hunting and fishing, breeding and caring for reindeer, the changing seasons, and traditional family rituals which include storytelling after long work days. Historja—which took more than four years to complete—documents the present and the past of the Sami people, as well as the social, political, and environmental changes that have taken place over centuries. The piece depicts the battle of resistance waged by the Sami against colonial government: a fire in a church, a hunger strike by a group of Sami activists, and the founding of the Sami Parliament. The artist also includes elements from mythology, showing how the spiritual and the worldly exist side by side.

Art

ist

and

act

ivis

t Br

itta

Mar

akat

t-La

bba

(b.

1951

, Id

ivuo

ma,

Sw

eden

) w

as r

aise

d i

n a

fam

ily

of

rein

dee

r fa

rmer

s an

d n

ow

liv

es i

n Ö

vre

Sop

per

o,

Swed

en.

She

is a

mem

ber

of

the

Sam

i A

rtis

t G

roup

, a

colle

ctiv

e w

ho h

ave

cam

pai

gne

d fo

r th

e re

cog

niti

on

of

Ind

igen

ous

rig

hts.

Bri

tta

exp

erim

ente

d w

ith

a ra

nge

of

med

ia b

efo

re

dis

cove

ring

tha

t em

bro

ider

y w

as t

he i

dea

l m

ediu

m t

o g

ive

exp

ress

ion

to h

er i

dea

s an

d co

nnec

t to

her

Sam

i he

rita

ge

at t

he s

ame

tim

e.

Em

bro

ider

y’s

po

rtab

ility

allo

ws

the

arti

st t

o w

ork

w

here

ver

she

go

es,

refl

ecti

ng t

he s

emi-

nom

adic

lif

esty

le o

f tr

adit

iona

l re

ind

eer

herd

ers.

# The work demonstrates the close pastoral relationship between the Sami, nature, and the land. What is your relationship to the place where you live? How would you describe it to someone else?

# Britta’s work can also be sung like a score and tells the story of the Sami people. The episodic nature of the piece allows you to follow the narrative almost like a film. Make a film-like narrative that tells the story of your family over three generations on a continuous strip of paper.

# Take a look at the video of Britta’s work. What are the elements in this work that you would consider to be mythology? How has the artist chosen to depict something mythological compared with something that documents the events of that took place?

Cos

mol

ogy:

the

par

ticu

lar

wo

rld

view

of

a cu

ltur

e,

bas

ed o

n m

yths

, st

ori

es,

and

cul

tura

l va

lues

. Sa

mi:

an I

ndig

eno

us p

eop

le i

nhab

itin

g t

he A

rcti

c ar

ea o

f Sá

pm

i, w

hich

to

day

enc

om

pas

ses

par

ts o

f fa

r no

rthe

rn N

orw

ay,

Swed

en,

Finl

and

, an

d R

ussi

a.

documenta14 / caughtbyumea / youtube

#narrative #score #IndigenousKnowledge

EUROPEAN EVERYTHING, 2017JOAR NANGO

Installation and Performance. Collaborators include Sigbjørn Skåden, Anders Rimpi, Håvard Arnhoff/FFB, Martijn Int’tVeld, Tanya Busse, Adrian Gaspar, and various European craftsmen and –women. Dimensions variable. Location: Athens Conservatoire (Odeion)Photo: María Muñoz for Chrom-art magazine, April 2017

In this multimedia installation, Joar uses various materials that can be found in Sami constructions to create a rich sensory environment. Ropes, wood, reindeer skins, and seal furs are combined with materials from the local area, including things we might consider to be garbage. A text work presented on a screen describes the life of a refrigerator from the perspective of the machine itself. The narrative suggests that objects have a life beyond human use, pointing to the ways materials circulate and change. The installation combines architecture, design, and visual arts to focus on the improvised way in which Sami people construct their living environments. In collaboration with other craftsmen and artists, Joar constructs an open space of tents and shelters where the audience is invited to interact with the setting. Performances, screenings, and discussions take place in this “environment” and merge Sami traditions with contemporary art practice.

Joar

Nan

go (

b.

1979

, A

lta,

No

rway

) is

one

of

onl

y a

few

pra

ctic

ing

Sam

i ar

chit

ects

. H

e cu

rren

tly

lives

and

wo

rks

in T

rom

sø.

His

pra

ctic

e d

eals

w

ith

asp

ects

of

his

Ind

igen

ous

id

enti

ty,

thro

ugh

the

com

bin

ed u

se o

f ar

chit

ectu

re,

visu

al a

rts,

an

d d

esig

n. O

f p

arti

cula

r in

tere

st i

s w

hat

he

des

crib

es a

s th

e co

mp

eten

ce o

f im

pro

visa

tio

n,

a ch

arac

teri

stic

of

nom

adic

peo

ple

s w

ho m

ust

cons

tant

ly m

ove

and

ad

apt

to n

ew s

etti

ngs.

The

co

nstr

ucti

on

of

hous

es,

bac

kyar

ds,

cam

ps,

and

cl

oth

ing

, al

ong

wit

h th

e m

usic

of

the

Sam

i, h

as

bee

n an

ext

end

ed r

esea

rch

area

of

the

arti

st.

# Can you build a shelter with only a few materials? How would you join them together? What would you need to keep warm and dry? Try to build a durable shelter with only sticks and ropes.

# Choose an object from your environment. What material(s) is it made from? Where did the material(s) come from? Is it natural or man-made? Are they biodegradable? Why do you think these materials were chosen to make this object?

# Imagine you are an object from your home or classroom. What is your life like? Where did you go before you arrived here, and what do you think will happen to you after people don’t find you useful anymore? Ask each other questions about what it is like to be this object.

Sam

i: th

e se

mi-

nom

adic

Ind

igen

ous

peo

ple

s th

at l

ive

in n

ort

hern

No

rway

, in

par

ts o

f Sw

eden

, Fi

nlan

d,

and

nort

hwes

tern

Rus

sia.

Fo

r ce

ntur

ies

they

hav

e b

een

vict

ims

of

abus

e an

d d

iscr

imin

atio

n fr

om

the

do

min

ant

go

vern

men

tal

po

wer

s w

ho s

till

clai

m t

o p

oss

ess

thei

r la

nd.

Art

ists

, su

ch a

s Jo

ar N

ang

o,

aim

to

pre

serv

e th

e hi

sto

ry o

f th

e Sa

mi

and

int

rod

uce

thei

r ri

ch c

ultu

re t

o th

e re

st o

f th

e w

orl

d.

documenta14 / worksthatwork / oca

#IndigenousKnowledge #EverydayNaturalMaterials #constructions

EXPERIMENTAL EDUCATION PROTOCOL, DELPHI 2017 - ANGELO PLESSAS

Multimedia installation. Dimensions variableWith the support of Alexandros Vertis, Sophia Kalopisi-Vertis, and Dimitris Gilbert KoutsoubelisLocation: Athens School of Fine Arts (ASFA)—Pireos Street (“Nikos Kessanlis” Exhibition Hall), AthensPhoto: Freddie Faulkenberry

This process-based artwork developed through a series of yearly gatherings in different locations, where selected participants were asked to propose educational forms that revolved around a specific case study. For the second edition of the project in 2017, ten invited participants spent a week in Delphi, drawing inspiration from the life and practice of Maria Zamanou-Mickelson, an alleged spy for the Greek and Allied forces during World War II. Her task was to “read” the movements of German aircrafts in the sky and make predictions, almost in the same manner as the Pythia of Delphi “read” the movements of birds. During their stay in Delphi, the artists lived together and created contributions related to the local context that were included in the final work. This includes a publication, a video of the workshop proceedings, a short film showing Zamanou-Mickelson herself at home, and other related memorabilia. A

ngel

o Pl

essa

s (b

. 19

74,

Ath

ens,

Gre

ece)

mak

es

wo

rk i

n a

bro

ad v

arie

ty o

f m

ediu

ms:

per

form

ance

, ar

tist

ret

reat

s, i

nsta

llati

ons

, p

ublic

atio

ns,

and

inte

ract

ive

web

site

s. I

n hi

s p

ract

ice,

oft

en

refe

renc

ing

so

cial

exp

erim

ents

fro

m t

he e

arlie

st

day

s o

f te

chno

log

y, A

ngel

o a

pp

rop

riat

es t

he

inte

rnet

no

t as

a t

oo

l “b

ut m

ore

as

a st

ruct

ure

agai

nst

hier

arch

ies

and

so

cial

co

nven

tio

ns”.

Sin

ce

2012

, A

ngel

o h

as b

een

org

anis

ing

a s

erie

s o

f g

athe

ring

s ar

oun

d t

he g

lob

e, s

uch

as T

he E

tern

al

Inte

rnet

Bro

ther

/Sis

terh

oo

d o

r T

he E

xper

imen

tal

Ed

ucat

iona

l P

roto

col,

whe

re t

he a

rtis

t an

d h

is

invi

ted

co

llab

ora

tors

int

erac

t in

so

cial

and

em

oti

ona

l si

tuat

ions

and

att

emp

t to

exp

erim

ent

on

(onl

ine

and

off

line)

alt

erna

tive

fut

urit

ies.

# Track the movements of birds in the sky outside your classroom and outside your home. Compare the two drawings. Do you see any similarities or patterns? How are their movements shaped by the environment and weather?

# Experiential learning refers to learning through experiences rather than learning from a textbook. What forms of knowledge and what kinds of skillsets have you developed outside of the classroom? How did you obtain these skills? How might these skills be applied within the classroom?

# Create a lesson plan detailing how to make a paper airplane. Think about how you want to plan this lesson, and how you will instruct your peers through this process. What form of communication is best suited for this task? Will you include visual, oral, or written instructions?

Del

phi:

Del

phi

is

an a

ncie

nt s

ite

on

Mt

Par

nass

us i

n P

hoci

s, G

reec

e, t

hat

host

ed t

he T

emp

le o

f A

po

llo a

nd

the

seat

of

Pyt

hia,

the

ora

cle

cons

ulte

d a

bo

ut i

mp

ort

ant

dec

isio

ns t

hro

ugho

ut t

he a

ncie

nt c

lass

ical

wo

rld

. T

he

Gre

eks

cons

ider

ed D

elp

hi a

s th

e ce

ntre

(th

e na

vel)

of

the

wo

rld

.A

llied

for

ces:

The

Alli

es w

ere

the

nati

ons

tha

t to

get

her

op

po

sed

the

Axi

s p

ow

ers

(i.e.

Ita

ly,

Ger

man

y, a

nd

Jap

an)

dur

ing

the

Sec

ond

Wo

rld

War

(19

39-1

945)

.

documenta14 / experimentaleducationprotocol / angeloplessas

#ecology #education #communication

RAISE THE ANCHOR, UNFURL THE SAILS, SET COURSE TO THE CENTRE OF AN EVER SETTING SUN!, 2015 - NATHAN POHIO

Ceramic ink on PVC, steel, LED, concrete. Image courtesy of Bishop Collection, Canterbury Museum, New ZealandApprox. 5 x 8 m. Location: Weinberg-TerrassenPhoto: Liz Eve

This outdoor installation features a photograph from 1905 when the British Empire and the Ngāi Tahu people were in a debate over land ownership. In the image we see the visiting Lord and Lady Plunket, the British Governor General and his wife, who sit in their motorcar ahead of the Ngāi Tahu leaders who stand behind the visitors on horseback in full ceremonial dress. Closely cropped, the composition shows the group in a line-up, referencing the traditional Ngāi Tūāhuriri Pōwhiri, a welcome ceremony. In the installation this archival fragment is enlarged in scale, raised upon beams, and illuminated at night. These formal aspects of the installation refer to Pohio’s use of a cinematic language to comment on the colonial history of New Zealand and the reclamation of Māori land.

Nat

han

Pohi

o (b

. 19

70,

Bur

wo

od

, A

ote

aro

a/N

ew Z

eala

nd)

was

bo

rn i

nto

the

Wai

taha

, K

āti

Mam

oe,

and

Ng

āi T

ahu

trib

es o

f th

e So

uth

Isla

nd o

f A

ote

aro

a. N

atha

n is

an

arti

st a

nd

cura

tor

who

se w

ork

exp

lore

s la

nd a

s a

site

of

cont

esta

tio

n b

etw

een

colo

nial

and

pri

vati

zed

inte

rest

s in

ten

sio

n w

ith

Ind

igen

ous

id

enti

ty

and

his

tory

. H

is a

rtw

ork

s d

raw

on

trad

itio

nal

and

co

ntem

po

rary

Mao

ri e

xper

ienc

e, w

hich

he

exp

lore

s th

roug

h a

revi

sio

nist

his

tory

o

f ci

nem

a. N

atha

n’s

wo

rk t

akes

the

fo

rm

of

pho

tog

rap

hy a

nd m

inim

al c

inem

atic

in

stal

lati

ons

suc

h as

lig

ht b

oxe

s. # Ask each member of the class to bring a photograph

of their family from before they were born. Create a presentation to describe this image and the story behind it to the class.

# Take a photograph of a person, setting, or thing that relates to the older photograph you selected. Develop a narrative that connects these two images. How does the new photograph impact the way you see the older photograph, and how does the older photograph shape the way you see the new one?

# The Māori Pōwhiri ceremony welcomes visitors using speeches, song, and dance. If you were a guest in a new country, how would you like to be welcomed? How would you host someone in your country?

Māo

ri: t

he I

ndig

eno

us p

eop

le o

f A

ote

aro

a N

ew

Zeal

and

Ng

āi T

ahu:

The

do

min

ant

Māo

ri i

wi

(tri

be)

of

the

sout

hern

reg

ion

of

New

Zea

land

. Pō

whi

ri: a

wel

com

ing

cer

emo

ny o

f th

e M

āori

in

volv

ing

sp

eech

es,

dan

cing

, si

ngin

g,

and

the

ho

ngi,

a tr

adit

iona

l M

āori

gre

etin

g i

n w

hich

peo

ple

pre

ss

thei

r no

ses

wit

h o

ne a

noth

er.

documenta14 / scapepublicart / nathanpohio

#ancestry #narrative #host

CICLO ANUAL EN LAS ALTAS TERRAZAS DE LA SELVA TROPICAL (ANNUAL CYCLE IN THE HIGH TERRACES OF THE RAINFOREST), 2007 - ABEL RODRÍGUEZ

Ink, graphite, and watercolor on paper. Dimensions variableLocation: Naturkundemuseum im OttoneumPhoto: courtesy of Abel Rodriguez and Tropenbos International Colombia

These precise botanical illustrations were hand-drawn from memory, using watercolors and ink to depict scenes from the Amazonian rainforest. They contain not only detailed depictions of flora and fauna but also information about traditional uses of plants as food as well as building and clothing materials. Small, handwritten texts also describe the colors and flavors of bark as well as blooming periods, growing areas and seasons. Abel executed numerous extensive series of illustrations devoted to such themes as the changing seasons, sacred nature rituals and the creation of the jungle as the origin of the world. He does not refer to himself as an artist as he was never formally trained. His drawings serve more as maps rather than artworks.

Abe

l Rod

rígu

ez n

ée M

ogaj

e G

uihu

(b

. 19

44,

Cah

uina

ri r

egio

n, C

olu

mb

ia)

is I

ndig

eno

us N

onu

ya.

He

lear

ned

ab

out

the

flo

ra a

nd f

auna

of

the

Am

azo

nian

rai

nfo

rest

fro

m h

is U

ncle

who

is

a sa

bad

or

(man

of

kno

wle

dg

e) a

nd f

rom

gro

win

g u

p i

n th

at

envi

ronm

ent

amo

ng t

he M

uina

ne p

eop

le.

Ab

el d

oes

no

t co

nsid

er h

imse

lf t

o b

e an

art

ist,

his

ro

le w

ithi

n th

e co

mm

unit

y is

as

an e

duc

ato

r o

f th

e p

lant

s, t

o b

e ab

le t

o i

den

tify

the

m,

to i

nfo

rm o

ther

s o

f m

edic

inal

an

d w

heth

er c

erta

in p

lant

s w

ere

edib

le.

He

is a

sel

f-ed

ucat

ed p

aint

er a

nd h

is d

eep

und

erst

and

ing

of

the

rain

fore

st a

ids

his

dra

win

g.

Flee

ing

the

rai

nfo

rest

in

the

199

0s d

ue t

o a

rmed

co

nflic

ts,

Ab

el l

ives

in

Bo

go

ta w

here

he

cont

inue

s to

dra

w f

rom

mem

ory

. # Plants surround us in our daily lives but how much do

we really know about them? Plants have many different uses: some plants are medicinal, some poisonous, others edible, but how do we know what we know about plants? How are plants recorded? And how are they named?

# Make a plant compendium, comprised of drawings of plants that you find in your school, home, or playground. See if you can find people in your school and family that can tell you about them. If not, how would you obtain knowledge about these plants?

# We often commit what we see to memory, but how much do we really retain? Look at a plant for five minutes without looking away. Try and draw the plant from memory. Compare your drawing to the plant. What did you forget and what did you remember?

Bota

ny: t

he s

cien

tifi

c st

udy

of

pla

nts,

inc

lud

ing

but

no

t lim

ited

to

, th

eir

phy

sica

l fu

ncti

on,

str

uctu

re,

gen

etic

s,

and

eco

nom

ics.

Mui

nane

: “w

ord

of

po

wer

”—al

l p

aths

lea

d t

o t

he s

ame

kno

wle

dg

e, w

hich

is

the

beg

inni

ng o

f al

l p

aths

.

documenta14 / santafenewmexican / tropenbos / vimeo

#ecology #IndigenousKnowledge #nomenclature

PREAH KUNLONG (THE WAY OF THE SPIRIT), 2017KHVAY SAMNANG

11 masks made from woven wines; Coproduced with SA SA BASSAC, Phnom Penh. Dimensions variableCollection of EMST-National Museum of Contemporary Art, AthensLocation: EMST-National Museum of Contemporary Art, AthensPhoto: Yiannis Hadjiaslanis

Samnang spent a year in the Areng Valley in the southwestern province of Koh Kong, Cambodia, living with the Indigenous Chong people and learning about their culture and practices. His research focuses on the exploitation of land, the destruction of the ecological landscape, and the threat of losing Indigenous traditions. Working with the Chong people, Samnang made a series of masks from tree vines that depict animals native to the region. According to traditional Chong beliefs, the masks embody the spirits of the forest. Samnang then collaborated with dancer and choreographer Nget Rady, who wore the masks while performing the different animals in the jungle and responding to the spirits. Preah Kunlong is a form of resistance against the forces that threaten to alter and destroy both ecology and Indigenous traditions that are inextricably linked to the land.

Khv

ay S

amna

ng (

b.

1982

, Sv

ay R

ieng

, C

amb

od

ia)

exp

lore

s as

pec

ts o

f co

loni

alis

m,

Ind

igen

eity

, an

d g

lob

aliz

atio

n, w

ork

ing

pri

mar

ily

wit

h p

hoto

gra

phy

, p

erfo

rman

ce,

and

film

. In

hi

s p

ract

ice,

he

focu

ses

on

issu

es o

f so

cial

, cu

ltur

al,

po

litic

al,

and

eco

log

ical

cha

nge

as t

hey

are

shap

ed b

y ca

pit

alis

t d

rive

s fo

r co

ntin

uous

d

evel

op

men

t an

d g

row

th.

Sam

nang

ad

voca

tes

for

kno

wle

dg

e co

nvey

ed t

hro

ugh

spee

ch a

nd

the

bo

dy,

lin

king

it

wit

h sp

irit

ual

pra

ctic

es,

colle

ctiv

ity,

and

tra

dit

ion.

# If you could choose three animals that represent you, which ones would you choose? What kinds of movements and gestures do these animals make? Can you move as they would? Are there rituals of singing, dancing, or movement in your culture? Choreograph a dance that combines the gestures of these animals.

# Draw the place you call home and label all of the places you regularly visit. Compare and contrast your map with a partner. What information was similar? What were the significant differences? Did anything surprise you?

# The masks in Samnang’s work are made from plants and vegetation found in the natural environment of the Areng Valley. Why do you think the artist chose to use these materials to make the masks?

Are

ng V

alle

y: A

reng

is

par

t o

f th

e la

st g

reat

fo

rest

in

Cam

bo

dia

an

d t

he l

arg

est

rem

aini

ng e

xpan

se o

f ra

info

rest

in

Sout

heas

t A

sia.

The

val

ley

itse

lf i

s m

arke

d b

y th

e th

reat

of

envi

ronm

enta

l d

evas

tati

on

due

to

the

dev

elo

pm

ent

of

a la

rge

hyd

roel

ectr

ic

dam

(C

heay

Are

ng D

am),

and

the

res

ulti

ng t

rans

form

atio

n—if

no

t er

asur

e—o

f In

dig

eno

us w

ays

of

life.

Cho

ng: t

he I

ndig

eno

us C

hong

peo

ple

liv

e in

the

Are

ng V

alle

y in

so

uthw

est

Cam

bo

dia

. T

hey

bel

ong

to

the

lar

ger

Ind

igen

ous

g

roup

of

the

Pea

ric

peo

ple

s, a

lso

inc

lud

ing

the

Pea

r, S

amre

, So

mra

y, a

nd S

a’o

ch.

The

Pea

ric

peo

ple

s sp

eak

clo

sely

rel

ated

la

ngua

ges

and

sha

re c

ultu

ral

trai

ts.

documenta14 / ocula / youtube / vimeo

#ecology #IndigenousKnowledge #nomenclature

Do

cum

ents

rel

atin

g t

o O

tto

Ren

ner’s

pas

t in

the

Su

det

enla

nd.

The

Ahn

enp

ass

(anc

esto

r p

assp

ort

) w

as i

ssue

d b

y th

e N

azi

auth

ori

ties

aft

er t

he

inco

rpo

rati

on

of

the

Sud

eten

land

int

o t

he G

erm

an

Rei

ch i

n 19

38.

It s

erve

d t

o p

rove

Ary

an a

nces

try.

T

he d

ocu

men

t in

Cze

ch s

erve

d a

s an

id

enti

ty

do

cum

ent

afte

r th

e Su

det

en—

Ger

man

s lo

st t

heir

G

erm

an c

itiz

ensh

ip i

n 19

45.

The

han

dw

ritt

en t

ext

is

Mr.

Ren

ner’s

co

py

of

an a

nno

unce

men

t b

y So

běs

lav

I, D

uke

of

Bo

hem

ia (

ca.

1075

–114

0),

gra

ntin

g G

erm

ans

sett

ling

in

Bo

hem

ia p

rote

ctio

n an

d t

he

rig

ht t

o m

aint

ain

thei

r o

wn

nati

ona

l id

enti

ty.

Exp

elle

es f

rom

the

Sud

eten

land

and

wes

tern

P

russ

ia,

par

tici

pat

ing

wit

h lo

cals

in

the

ded

icat

ion

of

a b

ronz

e p

late

to

the

mem

ory

of

Ger

man

civ

ilian

vi

ctim

s o

f th

e Se

cond

Wo

rld

War

, at

the

Kre

uz d

es

Ost

ens

(Cro

ss o

f th

e E

ast)

at

Trey

sa c

emet

ery

in

Schw

alm

stad

t.

HEIMAT, NORDHESSEN, GERMANY 2016–17AHLAM SHIBLI

Untitled (Heimat no. 17 & 8)Chromogenic prints53 photographs; dimensions variableLocation: Neue Neue GaleriePhoto courtesy of Ahlam Shibli

For her project, Ahlam focused on two social groups that made their home in Germany (and Kassel) following the Second World War, as expellees and refugees from the former Eastern Territories and guest workers from Southern Europe and North Africa.

Ahlam’s view of the social conditions around these groups is at once critical, distanced, understanding, and empathetic. Understanding and learning by seeing and listening, then informing and mediating—Ahlam approaches situations emotionally and with investigative curiosity. By asking questions and listening to explanations, she then processes experiences into images that encompass aspects of before, after, and in the moment of each family’s process. Ahlam selects the photographs from a stock of many more images she, mixing images of different sizes and captioning each individual photograph.

Ahl

am S

hibl

i (b

. 19

70,

Pal

esti

ne)

inve

stig

ates

the

glo

bal

p

heno

men

on

of

hom

eles

snes

s an

d t

he l

oss

of

hom

elan

d as

wel

l as

co

ncep

ts o

f ho

mel

and

wit

h th

e re

sour

ces

of

pho

tog

rap

hy.

Her

ow

n b

iog

rap

hy,

the

cond

itio

n o

f th

e ci

ty o

f R

amal

lah,

the

dec

ades

-old

po

litic

al a

nd s

oci

al

stru

ctur

es o

f p

ow

er a

nd p

ow

erle

ssne

ss,

trau

mat

izin

g cr

acks

in

the

po

pul

atio

n, a

nd a

pra

ctic

al a

pp

roac

h to

wha

t is

act

ually

im

po

ssib

le s

erve

as

insp

irat

ion

for

Ahl

am’s

m

etic

ulo

usly

det

aile

d v

isua

l es

says

. Li

ke h

isto

ry p

aint

ing

s,

her

pho

tog

rap

hs n

ot

onl

y ca

ptu

re m

om

ents

in

tim

e, b

ut a

lso

spea

k su

btl

y an

d p

rofo

und

ly o

f b

oun

dar

ies,

lo

ss,

and

pai

n.

# Migration for work is still one of the largest factors for movement between countries. Why do you think there was a system of guest workers after the war in Germany?

# In Ahlam’s photographic installations, you enter into the personal lives of others. Ask a friend if you can look at the photographs they have taken on their phone.

# The caption plays an important role in Ahlam’s work. Choose one image from your friend’s phone and write a caption for it. How does this change the relationship to what you see?

Form

er E

aste

rn T

erri

tori

es:

this

inc

lud

es

the

pro

vinc

es t

hat

are

east

of

the

Od

er–

Nei

sse

line

(the

Eas

tern

bo

rder

of

Ger

man

y).

Som

e w

ere

lost

by

Ger

man

y af

ter

Wo

rld

War

I

and

the

n m

ore

aft

er W

orl

d W

ar I

I.

documenta14 / ahlamshibli / lemagazine.jeudepaume

#migration #photography #caption

I STRONGLY BELIEVE IN OUR RIGHT TO BE FRIVOLOUS, 2012–17MOUNIRA AL SOLH

Graphite on paper; co-produced by the Mondriaan FondsApprox. 140 sheets, 42 x 29.7 cmPhoto courtesy of Mournira Al Solh and Sfeir-Semler Gallery

Mounira made portraits of many people with a recent migration and refugee background living in Kassel, Germany. The resulting series captures the precarious in-between status of refugees hoping to become recognized citizens and documents the individual migration stories recollected from lengthy personal conversations. Mounira often uses lined yellow paper reminiscent of the kind legal paper used by government authorities as a drawing substrate. Her transcribed oral narratives of displacement, flight, and arrival are supplemented by texts in Arabic, which then flow into a collage. The drawings shift current perspectives away from the impersonal media representations of refugees and the refugee crisis towards individualized narratives.

Mou

nira

Al S

olh

(b.

1978

, B

eiru

t, L

eban

on)

an

d h

er f

amily

fle

d f

rom

her

bir

thp

lace

to

the

hom

e o

f he

r g

rand

mo

ther

in

Dam

ascu

s,

Syri

a d

urin

g t

he L

eban

ese

Civ

il W

ar (

1975

–19

90).

She

ret

urne

d t

o B

eiru

t to

stu

dy

pai

ntin

g a

nd l

ater

mo

ved

to

Am

ster

dam

; sh

e no

w l

ives

and

wo

rks

in B

eiru

t an

d t

he

Net

herl

and

s. M

oun

ira

wo

rks

mo

stly

wit

h vi

deo

and

so

und

ins

talla

tio

ns,

pai

ntin

g,

and

dra

win

g.

Her

rep

erto

ire

of

exp

ress

ive

arti

stic

fo

rms

also

inc

lud

es p

erfo

rman

ces,

tex

tile

co

llag

es,

and

em

bro

ider

y. # Look at a world map and see how far people

would have needed to travel to get from Damascus to Athens to Kassel. What are the various methods of transportation you might use to make this journey? What obstacles might you face with each one?

# The way we share stories with family and friends creates a personal relationship between the people speaking and listening. Ask a family member or friend to tell you a story about a long journey they have taken. What did they remember most? How did they describe this journey?

# Make a drawing of the person who told you their story. Add words and images to the drawing that relate to the story.

Ora

l nar

rati

ve:

may

tak

e o

n d

iffe

rent

fo

rms,

but

gen

eral

ly

refe

rs t

o t

he s

po

ken

sto

ries

to

ld b

y p

eop

le.

Tran

scri

be:

an a

ct t

hat

put

s sp

oke

n w

ord

s, f

rom

int

ervi

ews

to s

tori

es t

o m

yths

and

so

on,

int

o w

ritt

en f

orm

.

documenta14 / mouniraalsolh / kamellazaarfoundation

#migration #narrative #PortraitureCollage

QUIPU WOMB (THE STORY OF THE RED THREAD, ATHENS), 2017CECILIA VICUÑA

Dyed wool, Approx. 600 x 800 cmCollection of EMST-National Museum of Contemporary Art, AthensLocation: EMST-National Museum of Contemporary Art, Athens Photo: Mathias Völzke

This quipoem, a contraction of the word quipu and poem, conflates the pre-Columbian mode of writing and record-keeping that emerged in Andean communities known as quipu with the artist’s own literary background. Like writing, quipu were used to record information and commemorate historical events. They were important devices for communication that relied on the Ceque system, which organized knowledge through spatial relations. After the Spanish Conquest, quipu were burnt and the Ceque system was banished. Cecilia’s installation enlarges the quipu form to monumental proportions, emphasizing the cultural importance of these forms of knowledge and the resilience of Indigenous communities. The bright red color and the title of the work reference the maternal body as a site of history and embodied knowledge, and suggests a connection between Andean maternal deities and Ancient Greek maritime mythologies.

Cec

ilia

Vic

uña

(b.

1948

, Sa

ntia

go

de

Chi

le)

is a

p

rolif

ic p

oet

, fi

lmm

aker

, an

d a

ctiv

ist.

In

the

wak

e o

f a

mili

tary

co

up i

n th

e ea

rly

1970

s, C

ecili

a m

ove

d to

New

Yo

rk C

ity

whe

re s

he h

as s

ince

liv

ed i

n ex

ile.

Cec

ilia

has

pub

lishe

d t

wen

ty-t

wo

bo

oks

as

wel

l as

ed

ited

sev

eral

vo

lum

es o

f p

oet

ry.

Her

po

etry

and

ar

tist

ic p

ract

ice

freq

uent

ly i

nter

sect

and

ove

rlap

, w

ith

man

y o

f he

r w

ork

s b

egin

ning

as

a p

oem

bef

ore

un

fold

ing

acr

oss

dis

tinc

t m

ediu

ms

and

gen

res

by

refe

renc

ing

the

rhy

thm

s an

d p

acin

g o

f w

riti

ng.

# The quipu knot is a way of keeping record of numerical information. Try to make these knots. See if you can devise a numerical system from one to ten using only knots.

# Colors carry symbolic meaning. What is your immediate association with these colors? Red, Green, Yellow, White, Black

# The Incan people have used the quipu system since AD 770. When the Spanish arrived in the Americas in the sixteenth century, they destroyed thousands of the quipu, eradicating thousands of years of economic scores. Why do you think Cecilia uses this ancient methodology in her work?

Qui

pu: “

kno

t” i

n th

e Q

uech

ua l

ang

uag

e. Q

uip

u w

ere

dev

ices

mad

e o

f co

lore

d a

nd s

pun

co

rds

used

b

y a

num

ber

of

And

ean

com

mun

itie

s b

efo

re t

he

Span

ish

conq

uest

. Q

uip

us v

arie

d g

reat

ly i

n si

ze a

nd

com

ple

xity

, w

ith

som

e co

ntai

ning

onl

y a

few

co

rds

whi

le o

ther

s ha

d u

p t

o 2

000.

Ceq

ue s

yste

m: w

as a

mea

ns o

f sp

atia

lizin

g kn

ow

led

ge,

der

ived

fro

m t

he p

hysi

cal

land

scap

e o

f th

e In

can

Em

pir

e.

documenta14 / ceciliavicuna / coleccioncisneros

#IndigenousKnowledge #textile #colonialism

RUDERAL SOCIETY: EXCAVATING A GARDEN, 2017LOIS WEINBERGER

Installation100 x 1.3 x 0.22 mLocation: Karlsaue ParkPhoto: Mathias Völzke

Lois created an outdoor work in the Karlsaue Park, a baroque landscape in Kassel redesigned as an English-style garden in the 19th century. He excavated a strip of land measuring approximately 1.5 x 15 metres traversing the length of the park, bisecting the normally well-maintained grounds; at one end of the strip, Lois created a mound comprised of the earth excavated from the strip. This artificial gap in the controlled ecosystem of the park will gradually be filled with spontaneous vegetation regrowth, aided by wind, birds, and insects that leave behind various kinds of seeds and plant matter. Lois’ work comments on the relationship between human and nature through the usage of plants. The ruderal plants that grow as part of the installation critique society’s organized and controlled conventions of nature.

Lois

Wei

nber

ger

(b.

1947

, St

ams,

Aus

tria

) le

ft h

is

mar

k at

do

cum

enta

X i

n 19

97 w

ith

his

“rud

eral

in

terv

enti

ons

” at

the

Kul

turb

ahnh

of.

Sp

ont

aneo

us

veg

etat

ion

has

thri

ved

alo

ng t

he d

isus

ed t

rack

b

ehin

d t

he s

out

h w

ing

of

the

form

er m

ain

railw

ay

stat

ion

in K

asse

l si

nce

his

inte

rven

tio

n. T

hese

ru

der

al p

lant

s ar

e g

ener

ally

kno

wn

as “

wee

ds,

” an

d a

re c

ons

ider

ed i

nfer

ior.

In

his

div

erse

in

terv

enti

on

in n

atur

e—as

tam

ed a

nd a

rran

ged

b

y hu

man

han

ds—

Lois

allo

ws

wild

gro

wth

to

gai

n th

e up

per

han

d.

As

bui

ldin

gs

crum

ble

in

ind

ustr

ial

was

tela

nds,

the

se r

uder

als

gra

dua

lly r

e-co

nque

r su

pp

ose

dly

cul

tiva

ted

and

civ

ilize

d t

erra

in.

# Lois is interested in the ruderal nature of plants. Wild plants can grow amongst rubble, waste, or rubbish. What could be considered to be an intentional garden or an unintentional one?

# Lois excavates, uncovers, and unearths what is hidden underneath to create the conditions of what is to come. What are some public areas that you think are overlooked or poorly maintained within the city you live in? How might you change the perception of something unimportant into something valuable?

# Take a selection of seeds and plant them in an area that you think is considered to be overlooked or uncared for. How would this change your relationship to the place?

Exca

vate

: mak

e a

hole

or

chan

nel

by

dig

gin

g i

nto

the

gro

und

.Ru

dera

l: p

lant

s g

row

ing

am

ong

st o

r o

n w

aste

land

or

rub

bis

h.

documenta14 / loisweinberger

#gardens #UrbanEnvironment #ecology

THE ROUND-UP PROJECT: KOKKINIA 1979–KOKKINIA 2017 \ M. Z. \ M. K., 2017MARY ZYGOURI

Installation and performanceDimensions variableLocation: Monument Madra Blokou Kokkinias, AthensPhoto: Angelos Giotopoulos

During the Greek Resistance in World War II, kombologi were used by members of the Communist party in specific rhythms as a secret code. Many of these party members were executed by the German army in 1944 during a brutal round-up, which affected the surrounding neighborhood of Kokkinia significantly. Greek performance artist Maria Karavela revisited this event twenty years later, inviting residents of Kokkinia to a public mourning of the fallen. These historical moments became crucial elements of Mary Zygouri’s participatory, three-month-long project, which reflected on the kombologi and with that, the circle, as ciphers of collective resistance and collective mourning. In the resulting action, student performers worked with audience-participants to create group choreographies—alluding to past and present forms of togetherness.

Mar

y Zy

gour

i’s (

b.

1976

, A

then

s, G

reec

e) w

ork

ad

dre

sses

iss

ues

rela

ted

to

id

enti

ty a

nd c

risi

s in

co

ntem

po

rary

cul

ture

. H

er p

ublic

act

ions

and

st

aged

per

form

ance

s re

flec

t o

n sy

stem

s o

f p

ow

er,

surv

eilla

nce,

cen

sors

hip

, hu

man

rig

hts,

and

re

lati

ons

hip

s b

etw

een

hum

ans

and

ani

mal

s. T

he

colle

ctiv

e b

od

y fo

rmed

by

the

arti

st t

og

ethe

r w

ith

view

ers/

par

tici

pan

ts b

eco

me

the

mai

n ac

tors

in

a so

cial

rit

ual

situ

ated

bet

wee

n a

dem

ons

trat

ion,

a

pro

cess

ion,

and

a c

olle

ctiv

e g

ame.

Her

vid

eos

serv

e as

po

etic

acc

oun

ts o

f he

r p

erfo

rman

ces.

# If you could not use words to transmit a secret

message how would you communicate? Using this method, share a secret message with a friend.

# Forming a circle is often a way to show togetherness. Are circles also a means of excluding others? What events or ceremonies do you know that use the circle as a form?

# In Greece you often see people making a circular hand gestures as they flip the kombologi. What hand gestures do you make? Make a hand gesture that you would make while holding a device and see if others can guess what you are doing?

Kom

bolo

gi: a

cir

cle

of

bea

ds

that

bec

ame

po

pul

ar

aro

und

Gre

ece

in t

he e

arly

tw

enti

eth

cent

ury

as

a no

n-re

ligio

us d

evic

e fo

r p

assi

ng t

he t

ime.

Use

d m

ost

ly b

y m

en,

the

bea

ds

are

alw

ays

od

d i

n nu

mb

er

and

can

be

mad

e o

f am

ber

, re

sin,

or

cora

l. T

he

wo

rds

kom

bo

+ l

og

i co

uld

be

bro

ken

do

wn

to m

ean

“so

und

” +

“w

ord

” o

r “s

pee

ch.”

#code #community #gesture

documenta14 / maryzygouri.blogpost / vimeo

Colophon

Concept Sepake Angiama

Editors Sepake Angiama

Clare Butcher

Associate Editors Simranpreet Anand

Weiyi Chang

Proofreaders Alicia Reuter

Burkhard Miltenberger

Lenia Mazaraki

Translators Volker Ellerbeck

Nerina Kioseoglou

Texts Simranpreet Anand

Sepake Angiama

Clare Butcher

Weiyi Chang

Alkisti Efthymiou

Juliane Gallo

Astrid Lüth

Elli Paxinou

Laurie White

Design Carmen José

Photos All photos credited in captions

Unless otherwise indicated, all texts and images © the individual authors and their copyright holders. © 2017 documenta and Museum Fridercianum gGmbH, Kassel.

documenta and Museum Fridercianum gGmbHFriedrichplatz 1834117 Kassel GermanyTel. + 49 561 707270Fax + 49 561 707239

Chief Executive Officer: Annette Kulenkampff

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