Artistic Director: Adam Szymczyk
Athens Conservatoire (Odeion); Athens School of Fine Arts (ASFA); National Museum of Contemporary Art (EMST); Benaki Museum: Pireos Street Annexe, Museum of Islamic Art and Nikos Hadjikyriakos-Ghika Gallery; Megaron – The Athens Concert Hall; Parko Eleftherias, Athens Municipality Art Center and Museum of Anti-dictatorial and Democratic Resistance; National Archaeological Museum; Epigraphic Museum and 36 other locations and public spaces in Athens and Piraeus.
Former underground train station (Kulturbahnhof); Neue Neue Galerie (Neue Hauptpost); Fridericianum; documenta Halle; Neue Galerie; Palais Bellevue; Orangerie; Museum of Natural History in the Ottoneum; Grimmwelt; Museum of Sepulchral Culture; Hessisches Landesmuseum; Stadtmuseum Kassel; Gießhaus; Gottschalk Halle; Kulturforum Schlachthof; Nordstadt-Park; Henschel Hallen and 18 other locations and public spaces in Kassel.
Dates: 8 April to 17 September 2017
8 April to 16 July in Athens / 10 June to 17 September in Kassel
Learning from Athens
One of the core interests of documenta 14, which took place in 2017, was the cause of decentralising and decolonising the northwestern canon. The concept was announced by Artistic Director Adam Szymczyk in 2012. One of the most surprising and controversial aspects, perhaps, of Szymczyk’s announcement, was that documenta 14 would take place in equal parts ac ross the cities of Kassel and Athens under the slogan “Learning from Athens”. The exhibition in Athens would open two months prior to Kassel and each would run for 100 days. Participating artists all where to exhibit at both locations, in some cases with different works. There was concern and outcry about this decision from art circles in Germany, some in Greece (which was crippled by a terrible recession and refugee crisis) and other parts of the globe. But for Szymczyk and his international curatorial team (comprised of Pierre Bal-Blanc, Hendrik Folkerts, Candice Hopkins, Hila Peleg, Dieter Roelstraete and Monika Szewczyk) Athens “represented the financially disadvantaged global south vis-à-vis the European north”, explains the Documenta retrospective website. “The victim of a ‘neocolonial and neoliberal attitude’ scarred by a ‘humiliating crisis stigma’ (Szymczyk in his contribution to the d14 Reader) became emblematic of today’s global crises and humanitarian catastrophes, which during the preparation of documenta 14 escalated dramatically with the war in Syria.” This was viewed an interesting elaboration on previous editions in which the Eurocentric perspective of the large exhibition had previously been addressed, including Catherine David’s “100 Days / 100 Guests” for documenta 10; Okwui Enwezor’s global platforms for documenta 11; and documenta 13 under Carolyn Christov-Bakargiev in Kabul and Bamiyan, Afghanistan (alongside events in Cairo, Alexandria and Banff).
Andújar, Daniel García
Balducci, Marie Cool Fabio
Brătescu, Geta (1926-2018)
Campos-Pons, María Magdalena und Leonhard, Neil
Dick, Beau (1955–2017)
Galindo, Regina José
Galván, Israel, Niño de Elche und Romero, Pedro G.
Gianikian, Yervant und Ricci Lucchi, Angela
Hiller, Susan (1940-2019)
Kassapis, Andreas Ragnar
Mata Aho Collective
Mekas, Jonas (1922-2019)
Nashashibi, Rosalind und Nashashibi/Skaer
Negros Tou Moria
Oliveros, Pauline (1932–2016)
Orellana Mejía, Joaquín
Paravel, Véréna und Castaing-Taylor, Lucien
Patterson, Benjamin (1934–2016)
Quaytman, R. H.
Rukh, Lala (1948–2017)
Sara, Máret Ánne
Scheirl, Ashley Hans
Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen)
Solh, Mounira Al
Sprinkle, Annie und Stephens, Beth
Subramanyan K. G. (1924–2016)
Sy, El Hadji
Vega Macotela, Antonio
Vigier, Annie & Apertet, Franck (les gens d’Uterpan)