{"id":3680,"date":"2017-08-22T11:34:57","date_gmt":"2017-08-22T10:34:57","guid":{"rendered":"http:\/\/lantb.net\/figure\/?p=3680"},"modified":"2017-10-15T22:37:41","modified_gmt":"2017-10-15T21:37:41","slug":"documenta-14-the-parliament-of-bodies","status":"publish","type":"post","link":"http:\/\/lantb.net\/figure\/?p=3680","title":{"rendered":"Documenta 14. The parliament of bodies"},"content":{"rendered":"<p><a href=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-3687\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654.jpg\" alt=\"\" width=\"498\" height=\"498\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654.jpg 866w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654-150x150.jpg 150w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654-300x300.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654-768x768.jpg 768w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/07\/IMG_0654-640x640.jpg 640w\" sizes=\"auto, (max-width: 498px) 100vw, 498px\" \/><\/a><br \/>\nPhoto Caroline Bernard. The Parliament of Bodies en mode repos \u00e0 Kassel, dans le hall semi-circulaire \u00e0 l&rsquo;entr\u00e9e du Fredericianum.<\/p>\n<p><iframe loading=\"lazy\" title=\"No Comment - documenta 14 - The Parliament Of Bodies\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/NUIybEfpR70?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>En mode actif<\/p>\n<p><span style=\"color: #ff00ff;\">The Parliament of Bodies<\/span>, the Public Programs of documenta 14, emerged from the experience of the so-called long summer of migration in Europe, which revealed the simultaneous failure not only of modern representative democratic institutions but also of ethical practices of hospitality. The Parliament was in ruins. The real Parliament was on the streets, constituted by unrepresented and undocumented bodies resisting austerity measures and xenophobic policies.\u00a0<span style=\"color: #ff00ff;\">The Parliament of Bodies<\/span> acts against the individualization of bodies but also against the transformation of bodies into a mass, against the transformation of the public into a marketing target. Against essential origins, reified borders, and identity politics, the Parliament of Bodies proposes to act as a space for cultural activism, inventing new affects and creating synthetic alliances between different world struggles for sovereignty, recognition, and survival. Inspired by micropolitical self-organization, collaborative practices, radical pedagogy, and artistic experiments, the Parliament of Bodies is a critical device to queer both the ruins of democratic intuitions as well as the traditional formats of the exhibition and public programs. It brings together artists, activists, theorists, performers, workers, migrants, et cetera to experiment collectively on a radical transformation of the public sphere and the proliferation of new forms of subjectivity. The Parliament of Bodies is neither a bank nor a collection of data, neither \u201cfolk\u201d nor a corporation.\u00a0<span style=\"color: #ff00ff;\">The Parliament of Bodies<\/span> began construction in Athens seven months before the opening of the documenta 14 exhibition, launching in September 2016 with 34 Exercises of Freedom at the Municipality Arts Center at Parko Eleftherias. Since then, it has been assembled through six Open Form Societies: the Noospheric Society, dedicated to alternative technologies of consciousness (coordinated with Angelo Plessas); the Apatride Society for the Political Others (coordinated with Nelli Kambouri, Margarita Tsomou, and Max Jorge Hinderer Cruz), exploring anticolonial discourses and practices, global migration, and the current transformation of the nation-state; the Society of Friends of Sotiria Bellou (developed with AMOQA, Athens Museum of Queer Arts), dedicated to the proliferation of queer and transfeminist politics; the Society for the End of Necropolitics (coordinated with Georgia Sagri), which looks for ways to counter the technologies of death of capitalist colonial history; the Society of Friends of Ulises Carri\u00f3n (coordinated with Arnisa Zeqo), which takes the tactics of the eponymous Mexican artist as a starting point to examine cultural strategies and practices of noninstitutionalized art; and the Cooperativist Society (coordinated with Emanuele Braga and Enric Duran), working on circular economy and \u201ccommuning.\u201d\u00a0<span style=\"color: #ff00ff;\">The Open Form Societies<\/span> have been modeled on La Soci\u00e9t\u00e9 des amis des noirs, created in France in 1788 to abolish the slave trade, promoting the creation of social and friendly bonds between those who were considered citizens and those who were considered legally and politically unequal. They pursued these aims vigorously by writing and publishing antislavery books, prints, posters, and pamphlets and by organizing public lecture tours and theatrical displays in the towns and cities of Europe. At the heart of colonial empires, antislavery societies functioned as a countercultural public program to develop epistemological, discursive, political, and poetic-imagination alternatives to the colonial regime. Likewise, the Open Form Societies of the Parliament of Bodies aim to act at the heart of the exhibition device, within the complexity of a global neoliberal economy, in a context of growing neocolonial and neofascist discourses. The treatment imposed on Greece since the beginning of the new century has announced the current transformation of global Western politics.\u00a0<span style=\"color: #ff00ff;\">Beginning in January 2017<\/span>, the singular societies began to cross-pollinate, creating friction and bringing different languages and practices into dialogue. Three weeks after the April opening of the exhibition in Athens, the Parliament of Bodies gathered for the first time in Kassel, calling for an antifascist, transfeminist, and antiracist coalition. The Parliament of Bodies took W. E. B. Du Bois\u2019s question \u201cHow does it feel to be a problem?\u201d as a possible interpellation directed today at the \u201c99 percent\u201d of the planet, taking into consideration the process that African philosopher Achille Mbembe has called \u201cbecoming black of the world.\u201d That event gathered all the Athenian societies of the Parliament together with the Society of Friends of Halit, the first society of the Parliament in Kassel, dedicated to fight institutionalized forms of racism and named to honor the memory of Halit Yozgat, murdered in Kassel by neo-Nazis in 2006. June 2017 sees the inception of other new societies, such as the Society of Friends of Lorenza B\u00f6ttner, named after the mouth and foot painter and performer Lorenza and dedicated to physical and neurological diversity and ghting disability oppression.\u00a0<span style=\"color: #ff00ff;\">As an institution-in-becoming<\/span> and without constitution, the Parliament of Bodies inhabits sites of contested histories whose memories force us to question hegemonic and romanticized narratives of democratic Europe. In Athens, it is located in Parko Eleftherias at the Municipality Arts Center, a building that was the headquarters of military police during the years of dictatorship in Greece, between 1967 and 1974. In Kassel, the Parliament of Bodies is hosted in the rotunda of the Fridericianum. Constructed under Friedrich II, the building opened in 1779 as a library and one of the first public museums in Europe. In 1810, J\u00e9r\u00f4me Bonaparte, King of Westphalia and Napoleon\u2019s youngest brother, for a short period transformed the rotunda of the Fridericianum into the first parliamentary building in Germany. In the 1930s, the building also served as a gathering place for the Nazi Party, before being burnt to ruins during bombing raids on Kassel in 1941 and 1943. From 1955, it has been the most emblematic site of the documenta exhibition.\u00a0<span style=\"color: #ff00ff;\">Throughout the run of documenta 14<\/span>, the Parliament of Bodies with its societies will be active both in Athens and Kassel,\u00a0like a dissonant and yet synchronic practice of heteroglossia and heterogeneity. Nomadic and performative, working as a stateless heterotopia by means of multiplication and displacement, the Parliament of Bodies acts within the spaces of the exhibition as well as within spaces of both cities (theaters, associations, studios, squares \u2026 ) that are experimenting with new forms of sovereignty beyond the norm.<\/p>\n<p><a href=\"https:\/\/goo.gl\/images\/X2kJiV\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-4162\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/negri-preciado.jpg\" alt=\"\" width=\"498\" height=\"327\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/negri-preciado.jpg 1200w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/negri-preciado-300x197.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/negri-preciado-768x504.jpg 768w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/negri-preciado-640x420.jpg 640w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/negri-preciado-150x98.jpg 150w\" sizes=\"auto, (max-width: 498px) 100vw, 498px\" \/><\/a><br \/>\nLe Parlement des corps est ouvert \u00e0 Ath\u00e8nes. Ici, Toni Negri et Paul B. Preciado, lors d&rsquo;une s\u00e9ance. Les blocs de coussins sont recouverts d&rsquo;un imprim\u00e9 b\u00e9ton.<\/p>\n<p><a href=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-4346\" src=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716.jpg\" alt=\"\" width=\"498\" height=\"374\" srcset=\"http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716.jpg 2000w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716-300x225.jpg 300w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716-768x576.jpg 768w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716-640x480.jpg 640w, http:\/\/lantb.net\/figure\/wp-content\/uploads\/2017\/08\/IMG_0716-150x113.jpg 150w\" sizes=\"auto, (max-width: 498px) 100vw, 498px\" \/><\/a><br \/>\nLe Centre d\u2019arts municipal, b\u00e2timent am\u00e9nag\u00e9 par l\u2019architecte Andreas Angelidakis avec Demos, un mobilier de \u00ab ruines \u00bb, des blocs de mousse habill\u00e9s de vinyle imprim\u00e9 fa\u00e7on b\u00e9ton, pour le Parlement des corps &gt;\u00a0<a href=\"http:\/\/jlggb.net\/blog5\/?p=1935\">http:\/\/jlggb.net\/blog5\/?p=1935<\/a><\/p>\n<p>Dans l&rsquo;entretien livr\u00e9 par la revue <a href=\"http:\/\/www.lesinrocks.com\/2017\/04\/04\/arts\/paul-b-preciado-il-faut-penser-des-processus-critiques-qui-rassemblent-les-corps-sans-distinction-de-nationalite-de-genre-ou-de-domaine-dactivite-11929527\/\">les Inrockuptibles du 04\/04\/2017<\/a>, Paul explique les circonstances de son engagement aupr\u00e8s d&rsquo;Adam Szymczyk et ce dont il est en charge en tant que curateur associ\u00e9&nbsp;: les programmes publics de la Documenta, intitul\u00e9s Parlement des corps install\u00e9 dans \u00able Parko Eleftherias, \u00ab\u00a0parc de la Libert\u00e9\u00a0\u00bb, propos\u00e9 par la Mairie d&rsquo;Ath\u00e8nes. Or [dit Paul] \u00aben arrivant, nous avons r\u00e9alis\u00e9 qu&rsquo;il s&rsquo;agissait en r\u00e9alit\u00e9 de la base de la police militaire durant la dictature. N\u00e9anmoins, nous avons d\u00e9cid\u00e9 de nous y installer quand m\u00eame. Pour moi, qui suis d&rsquo;origine espagnole, \u00e7a avait d&rsquo;autant plus de sens que l&rsquo;on ne parle pas non plus en Espagne de la m\u00e9moire de la dictature.\u00bb [&#8230;]<br \/>\n\u00abNous avons tout de suite pens\u00e9 que nous ne voulions pas d&rsquo;un programme public qui serait comme une note de bas de page venant compl\u00e9ter l&rsquo;exposition principale. Une simple s\u00e9rie de conf\u00e9rences o\u00f9 des th\u00e9oriciens viennent interpr\u00e9ter les \u0153uvres des artistes n&rsquo;aurait pas eu de sens \u00e0 Ath\u00e8nes. Ce qui en revanche en avait, c&rsquo;\u00e9tait d&rsquo;ouvrir un espace de d\u00e9bat et de critique o\u00f9 pourraient se rencontrer les artistes, les universitaires, les activistes, les r\u00e9fugi\u00e9s, les personnes travaillant avec eux et le public, pour se poser collectivement la question moyens de pallier l&rsquo;effondrement d\u00e9mocratique. [&#8230;]<br \/>\n\u00abJ&rsquo;ai ouvert le programme public avec une hypoth\u00e8se. En 2007, lorsqu&rsquo;a commenc\u00e9 l&rsquo;exclusion et la diabolisation des pays du Sud de l&rsquo;Europe, j&rsquo;ai eu l&rsquo;impression que ces pays n&rsquo;\u00e9taient pas uniquement les mauvais \u00e9l\u00e8ves de l&rsquo;Union Europ\u00e9enne en termes \u00e9conomiques, mais qu&rsquo;il fallait \u00e9galement y lire une vraie question politique, quasiment jamais formul\u00e9e explicitement. A savoir qu&rsquo;une grande partie de ces pays sont pass\u00e9s sans transition de la dictature au n\u00e9olib\u00e9ralisme dans les ann\u00e9es 1960-70, sans que ne se pose vraiment la question d&rsquo;une vraie libert\u00e9 d\u00e9mocratique. J&rsquo;ai ouvert les programmes publics en soulevant ce point&nbsp;: comment exercer la libert\u00e9 dans la condition contemporaine du n\u00e9olib\u00e9ralisme global&nbsp;? Je ne voulais pas enti\u00e8rement renoncer \u00e0 la question de la libert\u00e9, mais plut\u00f4t la reposer avec Foucault, c&rsquo;est-\u00e0-dire non pas comme un droit que chacun poss\u00e8derait de mani\u00e8re individuelle, mais comme une pratique qui se con\u00e7oit en exercice et dans le temps.\u00bb [&#8230;]<br \/>\n\u00abSuite au r\u00e9f\u00e9rendum grec du 5 juillet 2015 qui s&rsquo;est sold\u00e9 par un \u00ab\u00a0non\u00a0\u00bb aux mesures d&rsquo;aust\u00e9rit\u00e9, et dont le gouvernement n&rsquo;a pas pu tenir compte, il y a eu d&rsquo;\u00e9normes manifestations en face du parlement. Les rues \u00e9taient remplies de<span style=\"color: #339966;\"> grecs<\/span> qui sortaient dans la rue pour protester contre le gouvernement, en m\u00eame temps que des centaines de milliers de <span style=\"color: #339966;\">r\u00e9fugi\u00e9s<\/span> arrivaient \u00e0 Ath\u00e8nes, attendaient et dormaient partout o\u00f9 ils le pouvaient. Les rues \u00e9taient prises d&rsquo;assaut par <span style=\"color: #339966;\">un millier de corps<\/span> qui n&rsquo;avaient plus aucune repr\u00e9sentation, ni politique, ni artistique. C&rsquo;est \u00e0 ce moment que nous avons d\u00e9cid\u00e9 d&rsquo;intituler le programme <strong><span style=\"color: #339966;\">\u00ab\u00a0Le Parlement des Corps\u00a0\u00bb<\/span><\/strong>.\u00bb [&#8230;] \u00abLa Documenta a souvent contribu\u00e9 \u00e0 red\u00e9finir les formats de l&rsquo;exposition. A pr\u00e9sent, il faut commencer \u00e0 penser des processus critiques qui rassemblent sur le m\u00eame plan les corps, sans distinction de nationalit\u00e9, de genre ou de domaine d&rsquo;activit\u00e9.\u00bb<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Photo Caroline Bernard. The Parliament of Bodies en mode repos \u00e0 Kassel, dans le hall semi-circulaire \u00e0 l&rsquo;entr\u00e9e du Fredericianum. En mode actif The Parliament of Bodies, the Public Programs of documenta 14, emerged from the experience of the so-called long summer of migration in Europe, which revealed the simultaneous failure not only of modern &hellip; <a href=\"http:\/\/lantb.net\/figure\/?p=3680\" class=\"more-link\">Continuer la lecture de <span class=\"screen-reader-text\">Documenta 14. The parliament of bodies<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19,59,5],"tags":[],"class_list":["post-3680","post","type-post","status-publish","format-standard","hentry","category-art-contemporain","category-documenta","category-reader"],"_links":{"self":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/3680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3680"}],"version-history":[{"count":36,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/3680\/revisions"}],"predecessor-version":[{"id":4374,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/3680\/revisions\/4374"}],"wp:attachment":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3680"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3680"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}