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Documenta Breastfeeding: Science and Society Working Group 11-13 May 1994 Documenta 28 Summary Report, pp. 35 Chemical hazards in developing countries Working Group, 21-23 October 1993 Documenta 27 Final Remarks, pp. 44 Man and his environment. Tropical forests and the conservation of species Study Week, 14-18 May 1990 Documenta 26 Conclusions, pp. 43 Science for development in a solidarity framework Study Week, 23-27 October 1989 Documenta 25 Conclusions, pp. 77 Agriculture and the quality of life. New global trends Study Week, 17-24 October 1988 Documenta 24 Conclusions, pp. 33 A modern approach to the protection of the environment Study Week, 2-7 November 1987 Documenta 23 pp. 24 Aspetti artistici della Casina Pio IV sede della Pontificia Accademia delle Scienze 28 Ottobre 1986 Carlo Pietrangeli Documenta 22 pp. 16 Historical aspects of the Pontifical Academy of Sciences 28 October 1986 G.B. Marini-Bettòlo Documenta 21 pp. 16 Allocution de Sa Sainteté Jean Paul II et discours de Carlos Chagas Président de l’Académie Audience Pontificale, 28 Octobre 1986 Documenta 20 (Texte français, anglais, italien), pp. 74 - 1 - Celebration of the fiftieth anniversary of the restoration of the Academy (1936-1986) Inaugural address of President Carlos Chagas, 27 October 1986 Documenta 19 (English, French and Italian text), pp. 49 Molecular mechanisms of carcinogenic and antitumor activity Working group, 21-25 October 1986 Documenta 18 Conclusions, pp. 27 Persistent meteo-oceanographic anomalies and teleconnections Study Week, 23-27 September 1986 Documenta 17 Conclusions, pp. 21 Remote sensing and its impact on developing countries Study Week, 16-21 June 1986 Documenta 16 Conclusions, pp. 22 The interaction of parasitic diseases and nutrition Study Week, 22-26 October 1985 Documenta 15 Conclusions, pp. 14 Biological implications of optimization in radiation procedures Working Group, 2-5 May 1983 Documenta 14 Conclusions (English, Italian and French texts), pp. 32 The impact of space exploration on mankind Study Week, 1-5 October 1984 Documenta 13 Conclusions, pp. 20 Energy for survival and development Study Week, 11-14 June 1984 Documenta 12 Conclusions, pp. 25 Nuclear winter: a warning (PDF) 23-25 January 1984 Documenta 11 (English, French and Italian text), pp. 15 Immunology, epidemiology and social aspects of leprosy Working Group, 28 May - 1 June 1984 Documenta 10 Conclusions, pp. 42 Chemical events in the atmosphere and their impact on the environment Study Week, 7-11 November 1983 Documenta 9 Conclusions, pp. 24 - 2 - Allocution de Sa Sainteté Jean Paul II et discours de Carlos Chagas, Président de l’Académie Audience Pontificale, 12 Novembre 1983 Documenta 8 (Texte français, italien et anglais), pp. 49 Report on the International Conference on nuclear power experience (PDF) L. Leprince-Ringuet Documenta 7 Vienna, 13-17 September 1982, pp. 11 Discourse of His Holiness John Paul II and address of Carlos Chagas, President of the Academy Papal Audience Documenta 6 23 October 1982, pp. 15 Astrophysical cosmology Study Week, 28 September - 2 October 1981 Documenta 5 Conclusions, pp. 25 Declaration on prevention of nuclear war (PDF) 23-24 September 1982 Documenta 4 (Texte anglais, français et italien), pp. 30 Statement of the consequences of the use of nuclear weapons (PDF) 7-8 October 1981 Documenta 3 pp. 14 Allocution de Sa Sainteté Jean Paul II et discours de Carlos Chagas, Président de l’Académie Audience Pontificale, 3 Octobre 1981 Documenta 2 (Texte français et anglais), pp. 29 Perspectives of immunization in parasitic diseases Working Group, 29 September - 2 October 1981 Documenta 1 Conclusions, pp. 16 - 3 -.

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With Jan Hoet
The history of exhibitions: beyond the white cube ideology (second part) Course on Contemporary Art and Culture MACBA, Autumn 2010 “““Chambres“Chambres d’amisd’amis”””” (1986) Jan Hoet November 15 ththth 2010, 19 h MACBA Auditorium “““Chambres“Chambres d’amisd’amis”””” Museum van Hedendaagse Kunst, Ghent, but hosted in 58 pprivaterivate houses in Ghent 21th June ––– 21th September, 1986 Curator: Jan Hoet Artists: Carla Accardi, Christian Boltanski, Raf Buedts, Daniel Buren, Michael Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol Lewitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip Van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio. A few statements on “Chambres d’amis” 1.1.1. “Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior.
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G Er T Ja Nv an R Oo Ij
28.9.2019–5.4.2020 JOHAN TAHON REFUGE / SILENCE Photographie : Gert Jan van Rooij Press Kit 16 September 2019 Johan Tahon REFUGE/SILENCE Musée Ariana, 28 September 2019 – 5 April 2020 Press visits on request only Exhibition preview Friday 27 September 2019 at 6pm Musée Ariana Swiss Museum for Ceramics and Glass 10, avenue de la Paix 1202 Geneva - Switzerland Press kit available at “Presse”: www.ariana-geneve.ch Visuals, photos on request: [email protected] Un musée Ville de Genève www.ariana-geneve.ch Johan Tahon REFUGE/SILENCE Musée Ariana, 28 September 2019 – 5 April 2020 CONTENTS Johan Tahon. REFUGE/SILENCE p. 3 Biography of Johan Tahon p. 4 Events p. 8 Practical information p. 9 2 Johan Tahon REFUGE/SILENCE Musée Ariana, 28 September 2019 – 5 April 2020 J OHAN T AHON. REFUGE/SILENCE The Musée Ariana is proud to present Johan Tahon. REFUGE/SILENCE, in partnership with the Kunstforum gallery in Solothurn, from 28 September 2019 to 5 April 2020 in the space dedicated to contemporary creation. Johan Tahon, internationally renowned Belgian artist, is exhibiting a strong and committed body of work that reveals his deep connection with the ceramic medium. In the space devoted to contemporary creation, visitors enter a mystical world inhabited by hieratic monks, leading them into a second gallery where, in addition to the figures, pharmacy jars or albarelli are displayed. A direct reference to the history of faience, the ointments, powders and medicines contained in such vessels were intended to heal both body and soul. A sensitive oeuvre reflecting the human condition Johan Tahon’s oeuvre evolves in an original and individual way.
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2019 ANNUAL REPORT 62Nd YEAR of ACTIVITY
PKB PRIVATBANK SA 2019 ANNUAL REPORT 62nd YEAR OF ACTIVITY CONTENTS Governing bodies of PKB SA 4 Board of Directors’ Report 8 Highlights 9 Consolidated Financial Statements Comments on the consolidated balance sheet 12 Comments on the consolidated income statement 13 Consolidated balance sheet 14 Consolidated income statement 16 Consolidated cash flow statement 17 Statement of changes to shareholders' equity 18 Notes to the consolidated annual financial statements 19 Auditors' report 38 Parent Company Financial Statements Comments on the balance sheet 43 Comments on the income statement 45 Balance sheet 46 Income Statement 48 Appropriation of profits 49 Statement of changes to shareholders' equity 49 Notes to the annual financial statements 50 Auditors' report 61 GOVERNING BODIES OF PKB SA Board of Directors Edio Delcò 1) 3) 5) Taverne - Torricella (TI) Chairman Massimo Trabaldo Togna 1) 3) Milano (I) Vice-Chairman Umberto Trabaldo Togna 6) 7) Zug (ZG) Francesco Bellini Cavalletti 1) 4) Milano (I) Jean-Blaise Conne 2) 4) Lutry (VD) Giovanni Leonardi 2) 4) Bodio (TI) Pierre Poncet 3) 4) Vésenaz (GE) Giovanni Vergani 2) 4) Ruvigliana (TI) Secretary Federico Trabaldo Togna Conches (GE) Internal Audit Mirko Angelini Lead Auditor Diego Pecorone Internal Auditor Farah Vanoni Internal Auditor External Auditor Deloitte SA Executive Board Umberto Trabaldo Togna 8) Chief Executive Officer Luca Venturini 9) 10) Managing Director Ettore Bonsignore 11) Executive Vice President Michele Balice Executive Vice President Fabrizio Cerutti Executive Vice
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Tony Oursler CV
Tony Oursler Lives and works in New York, NY, USA 1979 BFA, California Institute for the Arts, Valencia, CA, USA 1957 Born in New York, NY, USA Selected Solo Exhibitions 2021 ‘Tony Oursler: Black Box’, Kaohsiung Museum of Fine Arts, Kaohsiung City, Taiwan 2020 ‘Hypnose’, Musée d’arts de Nantes, Nantes, France Lisson Gallery, East Hampton, NY, USA 2019 ‘电流 (Current)’, Nanjing Eye Pedestrian Bridge, Nanjing, China ‘Tony Oursler: Water Memory’, Guild Hall, East Hampton, NY, USA ‘The Volcano & Poetics Tattoo’, Dep Art Gallery, Milan, Italy 2018 ‘predictive empath’, Baldwin Gallery, Aspen, CO, USA ‘Tear of the Cloud’, Public Art Fund, Riverside Park South, New York, NY, USA ‘TC: the most interesting man alive’, Lisson Gallery, New York, NY, USA 2017 ‘Paranormal: Tony Oursler vs. Gustavo Rol’, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy ‘Sound Digressions: Spectrum’, Galerie Mitterand, Paris, France ‘Tony Oursler: b0t / flOw - ch@rt’, Galerie Forsblom, Stockholm, Sweden ‘Tony Oursler: L7-L5 / Imponderable’, CaixaForum, Barcelona, Spain ‘Unidentified’, Redling Fine Art, Los Angeles, CA, USA 2016 ‘Tony Oursler: The Influence Machine’, University of Edinburgh, Edinburgh, United Kingdom ‘A*gR_3’, Galería Moisés Pérez De Albéniz, Madrid ‘M*r>0r’, Magasin III Museum & Foundation for Contemporary Art, Stockholm, Sweden ‘Tony Oursler: The Imponderable Archive’ Hessel Museum of Art, Bard College, Annandale-On-Hudson, NY, USA ‘Imponderable’, Museum of Modern Art, New York, NY, USA ‘TC: The Most Interesting Man Alive’ Chrysler Museum, Norfolk,
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The Next Documenta Shouldn't Be in Kassel
I. Some Reflections on the Last Documenta If all goes well, the thirteenth edition of documenta will take place from June 9, 2012, to September 16, 2012.1 Carolyn Christov- Bakargiev, the newly appointed artistic director of documenta 13, might consider reading Oliver Marchart’s latest book, which deals extensively 01/07 with the last three editions of documenta: Hegemonie im Kunstfeld. Die documenta- Ausstellungen dX, D11, d12 und die Politik der Biennalisierung.2 Marchart’s book can be read as a largely convincing critique of documenta 12 (2007), which was directed by the German art critic Roger M. Buergel and co-curated by his wife, the German art historian Ruth Noack. Dieter Lesage ÊÊÊÊÊÊÊÊÊÊIn his book Marchart describes museums, biennials, and other large-scale art exhibitions such as the documenta as hegemony machines, The Next functioning not unlike the World’s Fairs that have contributed significantly to the project of nation- Documenta building since the mid-nineteenth century. Following the reflections of Antonio Gramsci in Shouldn’t Be in Quaderni del carcere, Marchart defines hegemony as a precarious balance between dominant and subaltern forces that, through the Kassel networks of society’s institutions (museums, biennials, and large-scale exhibitions), establishes a momentary primacy of certain forces. These forces can always be overturned, depending on shifts in an ongoing “war of position.” The concept of hegemony can be explained as the way in which consensus is produced as a primordial means of securing the dominance of certain forces. Every institution, which may at some moment seem to consolidate dominant bourgeois culture, may at another e g point be useful for a counter-hegemonic project a s e – one that could eventually establish another L l r e hegemony.
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Patrick Painter, Inc
PATRICK PAINTER, INC A. R. PENCK Born October 05, 1939 Currently lives and works in Ireland and Germany BIOGRAPHY 2004 Patrick Painter Inc., Santa Monica, Ca. 1999/2000 Exhibition of bronze sculptures in Heilbronn, Bremen, Recklinghausen, Luxembourg, Berlin and Bad Homburg. 1998 Extensive travelling exhibition throughout Japan. 1992 Takes part in documenta 9 in Kassel. 1989 Becomes Professor of Art at the Kunstakademie in Düsseldorf. 1987 Receives the Nord/LB Prize for art. 1986 First Carrara marble sculptures appear. 1985 Awarded the artist’s prize by the city of Aachen. 1984/85 Various miniature sculptures in bronze. 1984 Participation in the 41st art festival in Venice together with Lothar Baumgarten. Increased interest in music. Joins work on the production of numerous Free Jazz Recordings. 1983 Extended visit to Israel. Settles in London and later in Ireland. 1982 Participation in documenta 7 in Kassel. Starts working with iron and bronze. First publication of the newspaper >Krater und Wolke< which is edited by A.R. Penck. 1980 On 3rd August travels to Lörsfeld/Kerpen (near Cologne) in the German Federal Republic. Awarded the Rembrandt Prize by the Goethe Foundation in Basel. Friendship with Markus Lüpertz and Per Kirkeby. Visits Joseph Beuys. 1979 Releases the first recording of >Gostritzer 92<. 1977 First wooden sculpture. Participation in documenta 6 in Kassel. First meeting with Jörg Immendorff in East Berlin. 1975 First major retrospective work at the Bern Kunsthalle. Awarded the Will Grohmann Prize by the Akademie der Künste in West Berlin. 1973/74 Spends six months working as a reserve for the People’s Army in the (former) German Democratic Republic.
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Greening Documenta?
Wednesday, October 24, 2012 greening documenta? Kristina Buch, The Lover, 2012 Radical Camouflage at Documenta 13 by Julian Stallabrass Documenta, held every five years in the central German city of Kassel, is the art world’s equivalent of the Olympics. While its scale may be rivalled by Venice, its five-yearly timetable and large budget allow curators time to develop an elaborate vision, and it has often been used to test the temperature of contemporary art production. Some previous editions have been very influential in changing the direction of the art world—for instance, Catherine David’s Documenta X and Okwui Owenzor’s Documenta XII did much to push it towards documentary and a greater engagement with politics. The unusual situation and history of Documenta has haunted many of its editions, including the one currently on show. Kassel is a smallish industrial city set in hilly and forested countryside. In the Second World War, it produced planes and tanks, and it is still a production centre for Germany’s main battle tank, a fact that has not escaped Kassel’s Occupy protestors. The city was repeatedly bombed by the RAF, and extensively destroyed, with thousands killed and many more made homeless. As with so many German cities, its modern centre is the product of that destruction, and its few older buildings were those considered worth restoring from ruin. Documenta, founded in 1955, was from the beginning seen as a restoration of Nazi cultural wrecking, and its first edition showed works of classical modernism which had, of course, been condemned by the Nazis as ‘degenerate’.
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Télécharger La Biographie
Galerie Lelong & Co. Paris – New York A.R. Penck Expositions Exposition personnelle 2017 A. R. Penck - Strich = Welt, Kunsthalle Jesuitenkirche, Aschaffenbourg, Allemagne 2014 A.R. Penck - Expedition to the Holy Land - Portfolio mit 15 Graphiken und weitere Arbeiten auf Papier, KUNSTKABINETT, Ratisbonne , Allemagne 2013 A. R. Penck, Before the West: Select Works from the 1970s, Koenig & Clinton, New York, États-Unis 2012 Bilderwahl! - Encording Reality, Kunsthaus, Zurich, Suisse A. R. Penck, Hall Art Foundation, Reading, Royaume-Uni 2011 A. R. Penck: Vergangenheit-Gegenwart-Zukunft, Museum Ludwig, Cologne, Allemagne A.R. Penck - Arbeiten auf Papier, Kunstverein Ulm, Ulm, Allemagne 2010 A.R. Penck: Grafik 1979-1998, Versicherungskammer Kulturstiftung - Kunstfoyer, Munich, Allemagne A. R. Penck, Kunsthalle Rostock, Rostock, Allemagne 2009 A. R. Penck - Druckgraphik, Lehr - Auktionshaus und Galerie, Berlin, Allemagne 2008 A.R. Penck - Retrospektive, Kunsthalle, Kiel, Allemagne A. R. Penck, Leeahn Gallery, Daegu, République de Corée A.R. Penck, de l'Est à l'Ouest, Musée d'Art Moderne de la Ville de Paris, Paris, France 2007 A.R. Penck - Arbeiten auf Papier, KUNSTKABINETT, Ratisbonne, Allemagne 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 1 Galerie Lelong & Co. Paris – New York 2006 A.R. Penck, Koenig & Clinton, New York, États-Unis 2001 A. R. Penck - Frühe Bilder, Kunstsammlungen, Chemnitz, Allemagne 1999 A.R. Penk 1975 - 1998, Museum Villa Haiss, Zell am Harmersbach, Allemagne 1997 German Darkness and Contemporary Symbol, Hiroshima City Museum of Contemporary Art, Hiroshima, Japon 1996 A.R. Penck, Museo Tamayo, Mexico, Mexique 1995 A. R.
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Collapse and Recovery
Collapse and Recovery: Failure as Curatorial Strategy in dOCUMENTA (13) Kevin Buist Master Thesis Submitted in partial fulfillment of the requirements for the Masters in Visual Critical Studies Kendall College of Art and Design, Ferris State University May 2018 Abstract This thesis considers three failed artworks at dOCUMENTA (13) and the various attempts at recovery and recuperation made by Artistic Director Carolyn Christov-Bakargiev. dOCUMENTA (13) was the 2012 iteration of Documenta, a major contemporary art survey exhibition that takes place every five years in Kassel, Germany. The narrative and theoretical underpinnings of three failed elements of dOCUMENTA (13) provide ways of considering the nature and limits of the power wielded by this kind of art institution. Artist Kai Althoff’s letter of withdrawal from the exhibition, displayed in lieu of his artwork, demonstrates the conflicting interplay between artistic autonomy and curatorial intent, pushing institutional critique into new, ethically questionable territory. The loan of El Chaco, a meteorite that was to be transported from Argentina to Kassel by artists Guillermo Faivovich and Nicolas Goldberg, was canceled amid accusations of colonialism. The failed loan demonstrates incommensurability between Object-Oriented Ontology and anti-colonial praxis. Finally, the attempt by Christov-Bakargiev to censor Stephan Balkenhol’s Man in the Tower, a public sculpture that was not part of dOCUMENTA (13), illustrates the limits of the curator as meta-artist, and the exhibition as Gesamtkunstwerk. This analysis problematizes the way the curator has assumed an auteur position within major survey exhibitions, whereby they wield enough power to not only recover from organizational failures, but to re-contextualize and integrate failures into a broader curatorial strategy.
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Is Documenta a Decolonising Force?
Journal of Historical Archaeology & Anthropological Sciences Review Article Open Access Is documenta a decolonising force? Abstract Volume 3 Issue 3 - 2018 As one of the most important contemporary art mega-projects in the world, the Erzsébet Tatai Documenta of Kassel is particularly suitable for examining the changes that have Art historian, Senior Research Fellow, Hungarian Academy of taken place in art and in the way it is presented in the artistic field. Back in 1955, Sciences, Hungary political motivations played a part in the Documenta’s founding, but it was only in 1992, during its ninth edition edition, that Jan Hoet first criticised the hegemony of Correspondence: Erzsébet Tatai, Art historian, Senior European and North American art (at the time, only 7% of the featured artists were Research Fellow, Hungarian Academy of Sciences, Hungary, from Africa, Asia and Oceania). And it was not until 1997 that, under the artistic Email [email protected] directorship of Catherine David, this criticism were treated theoretically in the form of lectures. The first Documenta that can be regarded as postcolonial was held in 2002, Received: February 26, 2018 | Published: May 16, 2018 with Enwezor taking charge as artistic director. In my paper, I will examine the shifts that have occurred in the way global art is represented in Kassel from Documenta 11, when the postcolonial discourse finally came to the fore, until the present day (Documenta 14). The questions I touch upon are whether there has been a strengthening of postcolonial representation; whether there is evidence of cultural decolonisation as cultural colonisation is dismantled that is, as postcolonial theories are put into practice; whether or not a decolonisation of art has taken place during the Documenta exhibitions; and whether there has been a change in the postcolonialist content of art.
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Kerry James Marshall Born 1955 in Birmingham, Alabama
This document was updated November 27, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Kerry James Marshall Born 1955 in Birmingham, Alabama. Lives and works in Chicago. EDUCATION 1999 Honorary Doctorate, Otis Art Institute, Los Angeles 1978 B.F.A., Otis Art Institute, Los Angeles SOLO EXHIBITIONS 2018 Kerry James Marshall: Collected Works, Rennie Museum, Vancouver Kerry James Marshall: History of Painting, David Zwirner, London [catalogue] Kerry James Marshall: Works on Paper, The Cleveland Museum of Art, Ohio 2016 Kerry James Marshall: Mastry, Museum of Contemporary Art Chicago [itinerary: The Met Breuer, New York; The Museum of Contemporary Art, Los Angeles] [catalogue] 2014 Kerry James Marshall: Look See, David Zwirner, London [catalogue published in 2015] 2013 Kerry James Marshall: DOLLAR FOR DOLLAR, Jack Shainman Gallery, New York Kerry James Marshall: Garden of Delights, Contemporary Art Museum, St. Louis, Missouri [part of Front Room series] Kerry James Marshall: In the Tower, National Gallery of Art, Washington, DC [exhibition brochure] Kerry James Marshall: Painting and Other Stuff, Museum van Hedendaagse Kunst Antwerpen, Antwerp [itinerary: Kunsthal Charlottenborg, Copenhagen; Fundació Antoni Tàpies, Barcelona and Museo Nacional Centro de Arte Reina Sofía, Madrid] [catalogue] 2012 Kerry James Marshall. Black Night Falling: Black holes and constellations, moniquemeloche, Chicago Recent Acquisitions, Part III: Kerry James Marshall, Arthur M. Sackler Museum, Harvard
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Επιστολή Από Τους Συμμετέχοντες Καλλιτέχνες: Υπερασπίζοντας Το Ριζοσπαστικό Όραμα Της Documenta 14
1 Δεκεμβρίου 2017 Επιστολή από τους συμμετέχοντες καλλιτέχνες: υπερασπίζοντας το ριζοσπαστικό όραμα της documenta 14 1 Δεκεμβρίου 2017 Οι κάτωθι υπογράφοντες και υπογράφουσες καλλιτέχνες, συγγραφείς, μουσικοί και ερευνητές που συμμετείχαμε στα διαφορετικά κεφάλαια της documenta 14—την Δημόσια Έκθεση σε δυο πόλεις με τίτλο (εργασίας) Μαθαίνοντας από την Αθήνα, την «Βουλή των Σωμάτων», τις εκδόσεις South as a State of Mind, Daybook και Reader, τα πρόγραμματα «μια εκπαίδευση», «Listening Space» (Χώρος ακρόασης), «Κείμενα», «Studio 14», και Every Time A Ear di Soun—επιθυμούμε να υπερασπιστούμε την καλλιτεχνική αυτονομία της documenta 14 απέναντι στην επικρατούσα στα πρόσφατα δημοσιεύματα των ΜΜΕ αντίληψη περί οικονομικού οφέλους και πολιτικού κέρδους. Το πρόσφατο «σκάνδαλο» για το έλλειμμα της documenta 14, η έλλειψη διαφάνειας στη διαδικασία ελέγχου της PricewaterhouseCoopers, οι μονομερείς αποφάσεις που έλαβε το Συμβούλιο της documenta gGmbH και η ενδεχόμενη επίδρασή τους στην ακεραιότητα ολόκληρου του πρότζεκτ της documenta, δημιουργούν, σε εμάς που συμμετείχαμε στην documenta 14, την ανάγκη να μιλήσουμε, σε συνέχεια της προηγούμενης ανοιχτής μας επιστολής, η οποία συντάχτηκε τον Σεπτέμβριο του 2017.1 Αν και απορρίπτουμε την προσήλωση στο κέρδος ως το μόνο απτό αποτέλεσμα των εκθέσεων τέχνης, θεωρούμε πως θα ήταν επίσης χρήσιμο να εξετάσουμε εκείνα τα δεδομένα που δεν βλέπουν το φως της δημοσιότητας, συμπεριλαμβανομένου του οφέλους που αυτή η documenta έχει φέρει στις ζωές των ανθρώπων και στις δύο χώρες, στη Γερμανία και στην Ελλάδα. Την ώρα που τα ΜΜΕ έχουν προδικάσει την «χρεωκοπία» της documenta 14, μια ανεξάρτητη έκθεση από το Πανεπιστήμιο του Κάσελ2 τον Νοέμβριο του 2017 καταλήγει στο συμπέρασμα ότι οι επισκέπτες της documenta ξόδεψαν περίπου 130 εκατομμύρια ευρώ στην πόλη του Κάσελ στις 100 ημέρες της έκθεσης, ενώ ο τουρισμός αυξήθηκε κατά οκτώ τοις εκατό3 σε σύγκριση με την documenta 13.
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