Documenta14 Reflecting on the past Documentas

Documenta is one of the more important and critically esteemed art exhibitions. The founder of Documenta was Arnold Bode, a curator, painter and academic professor. The first Documenta took place in Kassel in 1955, as a matter of cultural urgency in post-war Germany, aiming to bring Germany back into dialogue with the rest of the world and to connect with the international world of the twentieth-century art. Ian Wallace argued ‘Documenta was part of the recognition of national rootedness and the role of history and tradition in this process; this was its specific ideological role and the status of abstract art was at the center of it’ (Wallace, 1987). It started as part of the Horticultural show of that time and later because of its success became autonomous perpetuating the exhibition of this ‘museum of 100 days’ (Wallace, 1987) every five years. The quinquennial interval of the event was established after the second Documenta, which took place four years later in 1959 after Documenta 1 in 1955. This change was due to in-house problems of Documenta Institution (Documenta, 1959). Since 1959 the exhibition has been organized by a limited liability company Documenta gGmbH[1], which is a non-profit organization, supported and funded by the city of Kassel, the State of Hesse and by the German Cultural Foundation. On behalf of the board of the company, an international jury is assembled to appoint the artistic director for each exhibition.

Arnold Bode led the Documenta until 1968 with the help of Werner Haftmann and other curators/artist historians. Documenta acted as both a survey and a forum for contemporary art. During that time artists and curators started a movement to mobilize more physical interactivity for the viewer, inspiring spectators to move from passive recipients or art objects to more active participants engaging directly with art (Wallace, 1987).

In 1972 Documenta5 was led by a single artistic director with the assigned title Secretary-General. Harald Szeemann introduced the themed exhibition, and instead of making an exhibition with the most important artists from the point of art history knowledge, rather he put forward his perspective of the time. This model became a signature of Documenta (Hantelmann von, 2014). Also, he replaced the concept Museum of the 100 Days with Hundred-Day Event (Documenta, 1972). Since his appointment as a solely responsible artistic-director, a new era started for the curator’s status, which was perceived to be a powerful figure as the single author of an exhibition (O’Neill, 2012).

The following Documentas, of the 1970s, 1980s up until the Documenta10 moved away from the social and political realities and followed a more pluralistic way of exhibitions following the global art market.

In 1997 Documenta10 was led by Catherine David, the first woman in Documenta’s history who challenged the past concept of Documenta by introducing politics and poetics. David’s concept was to have access to the state of the world beyond the society of the spectacle. In addition to the various publications, she introduced ‘100 days -100 Guests’ (Documenta, 1997) to which David invited guests from all regions of the world to talk about various matters. Her intellectual approach to the exhibition examined the political, social, economic and cultural issues of the contemporary globalized world. The Documenta10 concept was based on a critical confrontation with the present and claimed an ethical and political approach. Since David’s time the art exhibitions started to increase the presence of text in art either with various publications or the text was itself an art, which was called ‘textuality’ (Meecham and Sheldon, 2005), an aspect that arguably shows how far contemporary art is linguistically oriented (Meecham and Sheldon, 2005).

In 2002 Documenta11 was led by Okwui Enwezor, the first non-European art director, who addressed at the African continent which helped to give a global perspective on Documenta’s theme. It was the first truly global, postcolonial Documenta exhibition. Documenta11 took place in five places (Lagos, Vienna, Berlin, New Delhi and Kassel) with five different themes. The framework of these various themes was Art is the production of Knowledge. Many of the projects were documentary in nature, which aimed to ‘describe the present location of culture and its interfaces with another complex, global knowledge systems’ (Documenta, 2002). The most noteworthy achievement of Documenta11 was to expose the ‘unspoken hierarchies of attention in the Western exhibition scene’ (Documenta, 2002); foreigners were not any more objects of fascination and exoticism, but they looked by themselves back to the West.

In 2007 Documenta12 was led by a couple, namely Roger Buergel as art director and Ruth Noack as curator. They developed their concept in the framework The Migration of Forms (Documenta, 2007) where they illuminated the limited primary forms of the visual culture that used in different context and different conceptual focuses during the human history. Under three subtitles of their concept including Is Modernity our Antiquity? , they pointed out that ‘contemporary does not mean that the works originated yesterday’ (Documenta, 2007).

In 2012 Documenta13 led Carolyn Christov Bakargiev, the second woman in its history, who took the concept from Documenta11 a step further by having concurrent events outside the city of Kassel such as Kabul, Alexandria/Cairo, and Banff where the exhibitions were different to this in Kassel. Bakargiev did not choose any particular concept as a theme, and despite some critique about the absence of a subject (Basualdo, 2011) it was a blockbuster exhibition with 900.000 visitors mainly in Kassel. This unprecedented visibility of a show with the vast amount of varied artworks was interpreted as its ‘logic is nothing more than that of capitalism in its late-stage’ (Munde, 2015).

Documenta has already become the strongest and the most famous institution of the contemporary art in the world. The reason for its success according to Bernd Leifeld, CEO of Documenta organization, lies in the fact that it reinvents itself every time, along with the person who leads it (Reyman, 2014). Documenta and all the large exhibitions such as biennales make central the issue of interpretation by one individual, star curator since without the element of interpretation and individuality the show lose their ability to communicate and have an impact on a marketing level in the Western capitalist world (Basualdo, 2011).

The Documenta14 concept according to its artistic director (Szymczyk, 2015a) not only referred to the first edition of Documenta but also drew reference and inspiration from Documenta10, an avowedly political event, and Documenta11, which highlighted postcolonial issues. Also, Documenta14 tried to reflect on Documenta12’s concept Is modernity our antiquity?, which interrogated how cultures and societies have modernized and how their modernizing seem to be as different as the rates of transformation, the economic ideas and the social actors that are driving this process of change (Schollhammer, 2007).

[1] In German tax law is a limited liability company, whose earnings for charitable use only (Wikipedia)

 

Extract from  “Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition” by Dia Mexi MA Dissertation Jan’ 2018

 

Reference list

Basualdo, C. (2011)‘The unstable institution’. In: O’Neill, P. ed. Curating Subjects.  London: Open editions: 39-52.

Meecham, P. and Sheldon, J. (2005) Modern art: a critical introduction. 2nd Ed. London: Routledge.

Schöllhammer, G., Buergel, R.M. and Noack, R. (2007) Documenta magazine no.1-3, 2007 reader. Köln: Taschen.

Szymczyk, A. (2015a) 1955-20155 A Documenta Century [Online video] Available from : https://www.youtube.com/watch?v=yfoCwv916wY&t=30s [Accessed 10 November 2017].

Wallace, I. (1987) The first documenta 1955: The Triumph of Pessimism. University of British Columbia Department of Fine Arts, 26 September 1987. [Online] Available from: http://d13.documenta.de/research/assets/Uploads/Wallace-The-First-Documenta-1955.BF.clean.doc [Accessed 10 October 2017].

 

Advertisements

Quipu Womb

The most impressive artwork in EMST venue of Documenta14 in Athens within the category of spectacles was the artwork of the Chilean Cecilia Vicuna (b. 1948), Quipu Womb (the story of the Red Thread) (2017), Dyed Wool (fig. 18). It took almost two floors of the building, and it was visually impressive. Cecilia Vicuna presented a soft sculpture, quipped, (an ancient pre-Columbian art of the quipu) a form of writing involving intricated knotting patterns. Vicuna referred to these particular works as quipoems- a contraction of poem and quipu (Documenta14, 2017g). This particular quipu consisted of giant strands of untreated wool, sourced from a local Greek provider and dyed a bright red of honour of a synthetic religious tradition that via the umbilical cord of menstrual symbolism-connects an Andean mother goddess with the maritime mythologies of ancient Greece (Documenta14, 2017g).

Vicuna’s artwork entailed all the concepts that run in this exhibition including, language, rhythm, Greek history and global traditions. Additionally, it gave the extra value of this most spectacular piece of artwork that has been made by a woman dealing with woman’s body function. The most hidden and taboo function, the woman’s period, which in many societies is perceived as dirt, becomes in Vicuna’s hand a poem, a celebration.

IMG_5161Fig. 18: Photo: Dia Mexi, 2017

 

Extract from Dia Mexi’s MA Thesis “Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition”

Documenta14 & the Concept of Textuality

Language and semiotics or more precisely Documenta10’s concept of textuality was Szymczyk’s main tool of developing Documenta14’s  project. Textuality according to poststructuralism means that the source of a text is another text, a subtext which indicates something totally different from what usually is and it works against and undermines a text’s potential meaning; it questions the power and ideologies and problematizes what we know and how we know (Tansell, 1993). Szymczyk chose the concept of textuality which assumes the impossibility of thought without language (Tansell, 1993).

Szymczyk argued that the assigned reference of the main title  Learning from Athens as working title (which remained as working title until the end of the project) denoted the process of the experience that all the participants of this project were going to acquire (Szymczyk, 2015a). The title also had multiple layers of understanding it, such as its inspiration came from the title of the book Learning from Las Vegas, which its main theme was how the modern movement in architecture used decoration in order to convey meaning. In the case of Athens, its antiquity was used to establish the credentials of Western civilization (Szymczyk, 2015a). Another layer was that by choosing the word learning he wanted to emphasize the concept of hospitality without preconditions that can open up conversations that it is nonhierarchical (Koskina and Szymczyk, 2017). -“Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition” MA Thesis by A.Mexi, January, 2018

IMG_5185

References

Tanselle, T. (1993) A Rationale of Textual Criticism New Princeton Encyclopedia of Poetry & Poetics [ebook] . [Accessed 14 November 2017].

Szymczyk, A. (2015a) 1955-20155 A Documenta Century [Online video] Available from : https://www.youtube.com/watch?v=yfoCwv916wY&t=30s [Accessed 10 November 2017].

Koskina, K. and Szymczyk, A. (2017) Double Gambit : Katerina Koskina and Adam Szymczyck in conversation with Domenick Ammirati [Online] Available from: http://www.documenta14.de/en/south/25220_double_gambit_katerina_koskina_and_adam_szymczyk_in_conversation_with_domenick_ammirati [Accessed 12 October 2017].

Documenta14 & Victoria Square Project in Athens

Documenta14 is already in the past but as Adam Szymczyk argued its social awareness concept – language & otherness – will be around for some time to engage people with social and political issues. Proof is one of its project, the Victoria Square in Athens, which started under the umbrella of Documenta14 and is carrying on its activities until now. The project was created by the artist Rick Lowe and its main concept is to create an infrastructure which will operate across of fields of culture, art and business as well as support of networks of  refugees and immigrants.

IMG_9803

Pic. 1 : Photo: D. M-J, 2017

Victoria square (pic.1) was a neighborhood of middle class Athenians until around 1970s. Thereafter, the well off Athenians moved out and the area has slowly transformed to a cross road of immigrants and refugees. In 2015 it made a news overwhelmed by refugees and their traffickers and  tents all over the area of the square for the purpose of accommodating all those people. At the moment, all those tents have been removed and the square has been transformed into a United Nations kind of place. If someone passes by the square can hear all sorts  of languages (Arabic, Albanian, French, Greek, Polish, Swahili…) by people who try to communicate with each other with the ultimate purpose to find a way for better life.

IMG_9805

Pic.2: Photo:  D M-J, 2017

Victoria Square Project has its base very close to the Square at 13 Elpidos str. (pic. 2) and it has a lot of participants that they help to understand better the cultural, historical and political dynamics of this area.

When I visited the area and the premise one month ago,  I saw quite few people including children around other than Greeks and it seemed to me  that they felt  at easy in this place. I suppose, as all the foreigners in a new land, they found  a place that they can pop in and  be welcomed. Also, I noticed that  some activities were taking place such as knitting, reading… which can occupy people’s mind pleasantly and give a short term purpose.

One of the participants of the VS project is Barbara Mulas, creator and co-curator of Nest Conversations: an occasional and nomadic series of free social events that challenges through the language/conversations and art projects the meaning of the term NEST : comfort vs. uncomfort in people’s life.  Through her experience of leaving and working in the Victoria Square Project created the Unest art project which was hosted in a small apartment in Athens. The main concept was to illuminate the individual comfort/discomfort in a such an intense environment as the Victoria Square area.

Pic.3 : 1,2,3*  photo:  D. M-J, 2017

The conversations started in the Kitchen (pic.2)  by writing on the Kitchen wall questions posed by the audience. In one of the corners of the living room there was a board game – Backgammon or Tavli for the Greeks – a board game as a point of comfort for the immigrants and a point of connecting people of different origins (Backgammon has its origin in Persia). On one of  the walls of the living room there were photos of foreigners in Athens from refugees, immigrants to well off  tourists (comfort v.s comfort). The event attracted 70 people from the area of Athens, a good number to start a conversation and stimulate minds around the issues of the individual’s comfort vs. discomfort on a given social setting.

This small interlude was an example of how the Victoria Square Project brings different people together and enhances communication. The power of language and communication by extension is a pivotal remedy for a society’s  malfunctions.

 

p.s.1.: The Nest Conversations project is co-curated by Barbara Mulas and Christina Aquirre and its online nest is at : http://nest-conversations.tumblr.com/

p.s.3* : Pic 1: Nest conversations unnest#1- questioning room, concept by Mulas and Aquirre, executing by Aquirre ; Pic. 2  : ELA this place is important to me by Anne Marie Slater; Pic. 2 : Untitled by Frankie Mills.

 

Documenta14 : Small is beautiful

My last visit  in one of the small venue of Documenta14 in Kassel was a big surprise and I think one of the best. The top apartment of a building  right in the center of  Friedrichsplatz has been transformed as a venue for the single exhibition of a Greek artist Apostolos Georgiou (1952, Thessaloniki, Greece).  His artwork is very human centric and all of his paintings are untitled. He leaves the viewers to make their interpretations as it should be.IMG_8312

 

IMG_8330

IMG_8321IMG_8320IMG_8334

IMG_8351

*Apostolos Georgiou studied Architecture at Hoschshule fur Angewandte Kunst, Vienna and Art at the Accademia di Belle Arti, Florence.

 

 

3 Artworks in 3 Venues, Athens #Documenta 14

IMG_5186

National Museum of Contemporary Art, Syngrou Avenue,  Athens

IMG_5169

Cecilia Vicuna, Quipu Womb (The story of the Red Thread, Athens) (2017) Dyed Wool

This monumental, immersive poem in space exemplified the merging of Cecilia Vicuna’s material instincts as a visual artist with the visceral lyricism of her writing.

She presents a “quipped”, paying homage to the ancient, pre-Columbian art of the quipu – a form of writing involving intricate knotting patterns. This particular quipu consists of giant strands of untreated wool, which have been sources from a local Greek provider and dyed a startling crimson red of honour of a syncretic religious tradition that-via the umbilical cord of menstrual symbolism-connects an Andean mother goddesses with the maritime mythologies of ancient Greece

IMG_5250

Benaki Museum, Pireos street, Athens

IMG_5304

IMG_5302

Sergio Zevallos :A war Machine. First Part: Fluid  Mechanics (2017).

Polystyrene sheets intervened with pigment graphite and shellac, polystyrene, acrylic, glass, plastic, metal, pigment, graphite, shellac, prints and organic materials and wooden frame

IMG_5319

Athens Conservatoire, Rigillis Street, Athens

IMG_5362

Pelagie Gbaguidi : The Missing Link, Dicolonisation Education by Mrs Smiling Stones (2017)

Schools desks, photographs, glassine paper sheets, drawings with colored pencil, microphone stand, earth and lipstick on paper, digital video.

Photographs by Dr. Peter Magubane

How might education contribute to purge from consciousness that the rest no under-bid but that the birth of a life is a value in itself. That every human has a right to a cradle.

Documenta 14: Εναρκτήριο Πρόγραμμα

    slide11     Εναρκτήριο πρόγραμμα της documenta 14

 

Η έκθεση της documenta 14 εγκαινιάζεται στην Αθήνα στις 8 Απριλίου. Σε ολόκληρη την πόλη, σε περισσότερα από 40 διαφορετικά δημόσια ιδρύματα, σε πλατείες, κινηματογράφους, πανεπιστημιακούς χώρους και βιβλιοθήκες, περισσότεροι από 160 καλλιτέχνες απ’ όλο τον κόσμο παρουσιάζουν τα νέα έργα τους για την documenta 14.

Οι κυριότεροι εκθεσιακοί χώροι θα είναι ανοιχτοί από Τρίτη έως Κυριακή, 11 π.μ.-9 μ.μ., και την Πέμπτη 11 π.μ.-11 μ.μ. Παρακαλούμε συμβουλευτείτε τον ιστότοπο της documenta 14 σχετικά με τις ώρες και μέρες λειτουργίας κατά τη διάρκεια του Πάσχα, καθώς και για πληροφορίες για τα εισιτήρια.

Έχουμε τη χαρά να σας γνωστοποιήσουμε το πρόγραμμα της εναρκτήριας εβδομάδας και σας προσκαλούμε θερμά να παραστείτε στις εκδηλώσεις. Παρακαλούμε τα ΜΜΕ να τις δημοσιοποιήσουν έγκαιρα ώστε να πληροφορήσουν το κοινό. Παρακαλούμε σημειώστε επίσης ότι σε κάποιες εκδηλώσεις η χωρητικότητα είναι περιορισμένη.

Πληροφοριακό υλικό σχετικά με την documenta 14 καθώς επίσης το καθημερινό πρόγραμμα εκδηλώσεων διατίθενται στο Κέντρο Τύπου και Πληροφοριών στην οδό Μουρούζη 16, 10674 Αθήνα, και μέσω της εφημερίδας της documenta 14, με τίτλο Public Paper, που θα διατίθεται δωρεάν σε όλους τους εκθεσιακούς χώρους.
8 Απριλίου 2017
Επίσημα εγκαίνια της documenta 14

Nikhil Chopra
Drawing a Line through Landscape, περφόρμανς, Αρχιμήδους 15 (Μοσχάτο), σε εξέλιξη

Γιάννης Χρήστου
Epicycle, 1968-2017, προσαρμογή για πραγματοποίηση από τον Rupert Huber, Ωδείο Αθηνών (ΩA.2) και όλοι οι υπόλοιποι χώροι, 11 π.μ.-9 μ.μ.

Nevin Aladağ
Music Room (Athens), περφόρμανς, Ωδείο Αθηνών (ΩA.4), 11 π.μ. και 5 μ.μ.

Sanja Iveković
Monument to Revolution, συλλογικό προφορικό κείμενο, Πλατεία Αυδή, 11 π.μ.-9 μ.μ.

Marie Cool Fabio Balducci
Μόνιμη εγκατάσταση κατά τη διάρκεια της ημέρας με καθημερινές δράσεις όταν ο ήλιος εισέρχεται στον εκθεσιακό χώρο, ενεργοποίηση: Florent Frizet, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 11 π.μ.-1 μ.μ.

Prinz Gholam
My Sweet Country, περφόρμανς, Ναός Ολυμπίου Διός, 11 π.μ.-1 μ.μ., 6 €, μειωμένο 3 €

Guillermo Galindo
Original Composition from the Series Exit/έξοδος, Μουσική περφόρμανς, Ωδείο Αθηνών (ΩA.4), 12 μ.μ.

Collective Exhibition for a Single Body
Περφόρμανς χορού, Αρχαιολογικό Μουσείο Πειραιά, 12-2:30 μ.μ., μειωμένο 2 €

Φοιτητές Ανώτατης Σχολής Καλών Τεχνών
Ανοιχτά στούντιο, Ανωτάτη Σχολή Καλών Τεχνών (ΑΣΚΤ)—Οδός Πειραιώς, 12-8 μ.μ.

Rasheed Araeen
Shamiyaana–Food for Thought: Thought for Change, μαγείρεμα και γεύμα, Πλατεία Κοτζιά, 1-2:30 και 3-4:30 μ.μ.

Gilles Aubry & Robert Millis, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
The Gramophone Effect, Cannibal Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 1 μ.μ.

Annie Vigier & Franck Apertet (les gens d’Uterpan)
Géographie-Athènes (Geography-Athens), περφόρμανς, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 2 μ.μ.-9 μ.μ.

Joar Nango
European Everything, περφόρμανς, Ωδείο Αθηνών (κήπος), 2 μ.μ., 4 μ.μ. και 7 μ.μ.

Pope.L
Whispering Campaign (2016-17), περφόρμανς, πέντε έως έξι δημόσιοι χώροι, 2-7 μ.μ.

Narimane Mari
Le Fort des Fous, προεπισκόπηση, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (αμφιθέατρο), 3 μ.μ.

Marta Minujín
Payment of Greek Debt to Germany with Olives and Art, περφόρμανς, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (είσοδος), 4 μ.μ.

Γεωργία Σαγρή
Dynamis (Askese–on Empathy), εργαστήριο, Πάρκο Ελευθερίας, Κέντρο Τεχνών Δήμου Αθηναίων, 5-10 μ.μ.

Alvin Lucier
I Am Sitting in a Room, μουσική περφόρμανς, Ωδείο Αθηνών (ΩA.4), 6 μ.μ.

Beth Stephens & Annie Sprinkle
Cuddling Athens, περφόρμανς, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης, 6 μ.μ.

Aki Onda, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
Nam June’s Spirit Was Talking To Me, Paranoise Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 6 μ.μ.

Anton Kats
Giant Steps, περφόρμανς, περίπτερο στου Ψυρρή, 6:30 μ.μ.

Manthia Diawara
An Opera of the World, προεπισκόπηση, αμφιθέατρο ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης, 7 μ.μ.

Mattin μαζί με τους Δάφνη Κραζούδη, Δανάη Λιοδάκη, Ιωάννη Σαρρή και Ελένη Ζερβού
Social Dissonance, περφόρμανς, Ωδείο Αθηνών (ΩA.3), 7 μ.μ.

Kettly Noël
Zombification, περφόρμανς και σκηνογραφική εγκατάσταση, Ωδείο Αθηνών (ΩA.1), 8 μ.μ.

Αλεξάνδρα Μπαχτσετζή
Private Song, περφόρμανς, Δημοτικό Θέατρο Πειραιά, 8:30 μ.μ., 10 €, εισιτήρια

Ross Birrell και David Harding, The Athens State Orchestra, Syrian Expat Philharmonic Orchestra (SEPO)
Henryk Górecki, Symphony No. 3, Op. 36, Symphony of Sorrowful Song, μουσική περφόρμανς, Μέγαρο Μουσικής Αθηνών, 8:30 μ.μ., εισιτήρια
H μουσική εκδήλωση είναι συμπαραγωγή της documenta 14, της Κρατικής Ορχήστρας Αθηνών και του Μεγάρου Μουσικής Αθηνών. Μέρος των εσόδων θα διατεθεί στην πρωτοβουλία «Ροζ Κουτί» της Κρατικής Ορχήστρας Αθηνών για παιδιά προσφύγων καθώς και στα προγράμματα των Γιατρών Χωρίς Σύνορα για πρόσφυγες εντός και εκτός Ελλάδας.
9 Απριλίου 2017

Nikhil Chopra
Drawing a Line through Landscape, περφόρμανς, Αρχιμήδους 15 (Μοσχάτο), σε εξέλιξη μέχρι τις 8 μ.μ.

Annie Vigier & Franck Apertet (les gens d’Uterpan)
Géographie-Athènes (Geography-Athens), περφόρμανς, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 11 π.μ.-9 μ.μ.

Γιάννης Χρήστου
Epicycle, 1968-2017, προσαρμογή για πραγματοποίηση από τον Rupert Huber, Ωδείο Αθηνών (ΩA.2) και όλοι οι υπόλοιποι χώροι, 11 π.μ.-9 μ.μ.

Marie Cool Fabio Balducci
Μόνιμη εγκατάσταση κατά τη διάρκεια της ημέρας με καθημερινές δράσεις όταν ο ήλιος εισέρχεται στον εκθεσιακό χώρο, ενεργοποίηση: Florent Frizet, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 11 π.μ.-1 μ.μ.

Prinz Gholam
My Sweet Country, περφόρμανς, Αρχαία Αγορά, Ωδείο του Αγρίππα, 11 π.μ.-1 μ.μ., 8 €, μειωμένο 4 €

Narimane Mari
Le Fort des Fous, προεπισκόπηση, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (αμφιθέατρο), 12 μ.μ.

Ross Birrell
The Athens–Kassel Ride: The Transit of Hermes, εναρκτήρια εκδήλωση, ναός Αγίας Σοφίας Ακροπόλεως στην οδό Διονυσίου Αρεοπαγίτου, 12 μ.μ.

Collective Exhibition for a Single Body
Περφόρμανς χορού, Αρχαιολογικό Μουσείο Πειραιά, 12-2:30 μ.μ., 4 €, μειωμένο 2 €

Φοιτητές Ανώτατης Σχολής Καλών Τεχνών
Ανοιχτά στούντιο, Ανωτάτη Σχολή Καλών Τεχνών (ΑΣΚΤ)—Οδός Πειραιώς, 12-8 μ.μ.

Servanne Jollivet, Άννα Παπαέτη, Παύλος Χατζόπουλος, Νέλλη Καμπούρη, Γιώργος Μανιάτης
Boats of History, θαλάσσιο ταξίδι, Λιμάνι Πειραιά – Πύλη E2, 1 μ.μ.

Rasheed Araeen
Shamiyaana–Food for Thought: Thought for Change, μαγείρεμα και γεύμα, Πλατεία Κοτζιά, 1-2:30 και 3-4:30 μ.μ.

drog_A_tek, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
Signal Echo: the documenta Files, Cannibal Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 1 μ.μ.

Joar Nango
European Everything, περφόρμανς, Ωδείο Αθηνών (κήπος), 2 μ.μ., 4 μ.μ. και 7 μ.μ.

Nevin Aladağ
Music Room (Athens), περφόρμανς, Ωδείο Αθηνών (ΩA.4), 5 μ.μ.

Μαίρη Ζυγούρη
The Round-up Project: Kokkinia 1979–Kokkinia 2017 \ M. Z. \ M. K., περφόρμανς, Μνημείο «Μάντρα Μπλόκου Κοκκινιάς» (Νίκαια), 5 μ.μ.

Manthia Diawara
An Opera of the World, προεπισκόπηση, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (αμφιθέατρο), 5 μ.μ.

Samnang Khvay, Rady Nget, Erin Gleeson, Hendrik Folkerts
The Way of the Spirit, ομιλία, Ανωτάτη Σχολή Καλών Τεχνών (ΑΣΚΤ)—Οδός Πειραιώς (παλιά βιβλιοθήκη), 5 μ.μ.

Γεωργία Σαγρή
Dynamis (Askese–on Empathy), εργαστήριο, Πάρκο Ελευθερίας, Κέντρο Τεχνών Δήμου Αθηναίων, 5-10 μ.μ.

Beth Stephens & Annie Sprinkle
Cuddling Athens, περφόρμανς, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης, 6 μ.μ

Marco Montiel-Soto, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
The Origin of Everything: Vom tropischen Tieflande zum ewigen Schnee, Paranoise Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 6 μ.μ.

Μαρίνα Γιώτη
The Invisible Hands, προεπισκόπηση, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (αμφιθέατρο), 7 μ.μ.

Mattin μαζί με τους Δάφνη Κραζούδη, Δανάη Λιοδάκη, Ιωάννη Σαρρή και Ελένη Ζερβού
Social Dissonance, περφόρμανς, Ωδείο Αθηνών (ΩA.3), 7 μ.μ.

iQhiya
The Portrait, περφόρμανς, Ανωτάτη Σχολή Καλών Τεχνών (ΑΣΚΤ)–Οδός Πειραιώς (κήπος), 7-10 μ.μ.

Kettly Noël
Zombification, περφόρμανς και σκηνογραφική εγκατάσταση, Ωδείο Αθηνών (ΩA.1), 8 μ.μ.
10 Απριλίου 2017

Marie Cool Fabio Balducci
Μόνιμη εγκατάσταση κατά τη διάρκεια της ημέρας με καθημερινές δράσεις όταν ο ήλιος εισέρχεται στον εκθεσιακό χώρο, ενεργοποίηση: Florent Frizet, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 11 π.μ.-1 μ.μ.

Prinz Gholam
My Sweet Country, περφόρμανς, Ναός Ολυμπίου Διός, 11 π.μ.-1 μ.μ., 6 €, μειωμένο 3 €

Γιάννης Χρήστου
Epicycle, 1968-2017, προσαρμογή για πραγματοποίηση από τον Rupert Huber, Ωδείο Αθηνών (ΩA.2) και όλοι οι υπόλοιποι χώροι, 11 π.μ.-9 μ.μ.

Rasheed Araeen
Shamiyaana–Food for Thought: Thought for Change, Μαγείρεμα και γεύμα, Πλατεία Κοτζιά, 1-2:30 και 3-4:30 μ.μ.

Rashad Becker, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
Based on a True Story, Chapter IX, Cannibal Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 1 μ.μ.

Nevin Aladağ
Music Room (Athens), περφόρμανς, Ωδείο Αθηνών (ΩA.4), 5 μ.μ.

Beth Stephens & Annie Sprinkle
Cuddling Athens, περφόρμανς, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης, 6 μ.μ.

Jan-Peter E.R. Sonntag, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
Rundfunk Aeterna, Paranoise Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 6 μ.μ.

Guillermo Galindo, Δημήτρης Δεσύλλας, Χριστίνα Παντελίδου
Original composition from the series Exit/έξοδος, μουσική περφόρμανς, Ωδείο Αθηνών (ΩA.4), 7 μ.μ.

Sanja Iveković
Lady R, περφόρμανς, Πλατεία Αυδή, 7 και 9:30 μ.μ.

Ulrike Ottinger, Κείμενα – Πρόγραμμα ταινιών της documenta 14
Chamissos Schatten, Kapitel 1: Alaska und die aleutischen Inseln (Η σκιά του Σαμίσο, Κεφάλαιο 1: Αλάσκα και οι Αλεούτιες Νήσοι), ταινία, EΡT2, μεσάνυχτα
11 Απριλίου 2017

Marie Cool Fabio Balducci
Μόνιμη εγκατάσταση κατά τη διάρκεια της ημέρας με καθημερινές δράσεις όταν ο ήλιος εισέρχεται στον εκθεσιακό χώρο, ενεργοποίηση: Florent Frizet, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 11 π.μ.-1 μ.μ.

Γιάννης Χρήστου
Epicycle, 1968-2017, προσαρμογή για πραγματοποίηση από τον Rupert Huber, Ωδείο Αθηνών (ΩA.2) και όλοι οι υπόλοιποι χώροι, 11 π.μ.-9 μ.μ.

Pope.L
Whispering Campaign (2016-17), περφόρμανς, πέντε έως έξι δημόσιοι χώροι, 11 π.μ.-10 μ.μ.

Rasheed Araeen
Shamiyaana–Food for Thought: Thought for Change, μαγείρεμα και γεύμα, Πλατεία Κοτζιά, 1-2:30 και 3-4:30 μ.μ.

Regina José Galindo
Presencia (Presence), Karen Lissette Fuentes, περφόρμανς, οδός Ελπίδος, 2 μ.μ.

Caroline Bergvall, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
OH MY OH MY (Pinktrombone, 21 January 2017), Cannibal Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 1 μ.μ.

Nevin Aladağ
Music Room (Athens), περφόρμανς, Ωδείο Αθηνών (ΩA.4), 5 μ.μ.

Γεωργία Σαγρή
Εργαστήριο, Πάρκο Ελευθερίας, Κέντρο Τεχνών Δήμου Αθηναίων, 5-10 μ.μ.

Soundwalk Collective, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
Transmissions, Paranoise Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 6 μ.μ.

Mattin μαζί με τους Δάφνη Κραζούδη, Δανάη Λιοδάκη, Ιωάννη Σαρρή και Ελένη Ζερβού
Social Dissonance, περφόρμανς, Ωδείο Αθηνών (ΩA.3), 7 μ.μ.

Beth Stephens & Annie Sprinkle
Συλλογική δράση, λεωφόρος Συγγρού, 12-2 μ.μ., οδός Ιάσονος (Μεταξουργείο), 7-9 μ.μ.

Anton Kats
A-Lethia, εγκατάσταση και προβολή, περίπτερο στην Κυψέλη, 7:30-9 μ.μ.

Kettly Noël
Zombification, περφόρμανς και σκηνογραφική εγκατάσταση, Ωδείο Αθηνών (ΩA.1), 8 μ.μ.

Manthia Diawara
An Opera of the World, παγκόσμια πρεμιέρα, Ταινιοθήκη, 8 μ.μ.
12 Απριλίου 2017

Marie Cool Fabio Balducci
Μόνιμη εγκατάσταση κατά τη διάρκεια της ημέρας με καθημερινές δράσεις όταν ο ήλιος εισέρχεται στον εκθεσιακό χώρο, ενεργοποίηση: Florent Frizet, ΕΜΣΤ–Εθνικό Μουσείο Σύγχρονης Τέχνης (4ος όροφος), 11 π.μ.-1 μ.μ.

Γιάννης Χρήστου
Epicycle, 1968-2017, προσαρμογή για πραγματοποίηση από τον Rupert Huber, Ωδείο Αθηνών (ΩA.2) και όλοι οι υπόλοιποι χώροι, 11 π.μ.-9 μ.μ.

Rasheed Araeen
Shamiyaana–Food for Thought: Thought for Change, μαγείρεμα και γεύμα, Πλατεία Κοτζιά, 1-2:30 και 3-4:30 μ.μ.

Ylva Bentancor, Every Time A Ear di Soun, Ραδιοφωνικό Πρόγραμμα της documenta 14
World Disorder, Cannibal Radio, SW 15560 kHz σε όλο τον κόσμο ή στο www.documenta14.de, 1 μ.μ.

Nevin Aladağ
Music Room (Athens), περφόρμανς, Ωδείο Αθηνών (ΩA.4), 5 μ.μ.