{"id":4081,"date":"2017-08-22T10:00:41","date_gmt":"2017-08-22T09:00:41","guid":{"rendered":"http:\/\/lantb.net\/figure\/?p=4081"},"modified":"2017-10-15T22:32:16","modified_gmt":"2017-10-15T21:32:16","slug":"documenta-14-skulptur-projekte-munster-corpus-selectif","status":"publish","type":"post","link":"http:\/\/lantb.net\/figure\/?p=4081","title":{"rendered":"Documenta 14 Kassel & Skulptur Projekte M\u00fcnster, notre corpus s\u00e9lectif"},"content":{"rendered":"

Documenta 14<\/strong><\/a>, Kassel, mardi 22 ao\u00fbt et mercredi 23 ao\u00fbt<\/span><\/strong><\/h3>\n

Fridericianum 15<\/a><\/strong>
\nArtistes\u00a0:
\nTakis, Gong<\/em><\/a> (1978), Metal and electromagnet, 450 \u00d7 150 cm, Macedonian Museum of Contemporary Art, Thessaloniki<\/p>\n

Chryssa<\/a>, Cycladic Books<\/em> (1957), Plaster, Twenty works Dimensions ranging from 25.5 \u00d7 50.5 \u00d7 3 cm to 68.7 \u00d7 48 \u00d7 6 cm National Museum of Contemporary Art, Athens (EMST), donated by the artist in 2002; Newspaper Book<\/em> (ca. 1962), Metal structure with five double-sided paintings, 107.5 \u00d7 85.7 \u00d7 22.2 cm overall, National Museum of Contemporary Art, Athens (EMST), donated by the artist in 2002; Chicago Chinatown<\/em> (1990), Metal and neon, 130 \u00d7 130 \u00d7 90 cm, National Museum of Contemporary Art, Athens (EMST), Chryssa\u2019s Inheritance<\/p>\n

documenta Halle 19<\/a><\/strong>
\nNotre choix d’artistes :
\nMiriam Cahn<\/a>,\u00a0KOENNTEICHSEIN, <\/em>Installation includes: hauen <\/em>(February 10 and 13, 2015), Oil on wood, 22.5 \u00d7 40 cm; vater kind kind <\/em>(November 17, 2008, and August 7, 2016), Oil on canvas, 190 \u00d7 150 cm; so f\u00fchle ich mich <\/em>(August 24, 2015), Oil on canvas, 200 \u00d7 145 cm; o. t. <\/em>(November 27, 2016), Crayon on scan, four sheets, Overall: 29 \u00d7 105 cm; waffenlandschaft <\/em>(October 16, 2016) ,Watercolor on paper, 63 \u00d7 94 cm; rufen <\/em>(December 24 and 29, 2016), Oil on wood, 80 \u00d7 50 cm; herumliegen\/fremdk\u00f6rper <\/em>(May 12 and June 13\u201316, 2016), Oil on canvas, 200 \u00d7 320 cm; o. t. <\/em>(October 15, 22, and 30 and November 25, 2016), Oil on canvas, 190 \u00d7 110 cm, o. t. <\/em>(June 30 and August 6, 2016), Oil on canvas, 175 \u00d7 130 cm; tulpe <\/em>(May 10, 2016), Watercolor on paper, 89 \u00d7 62 cm; mamapapalieben <\/em>(June 5, 2016), Oil on wood, 20 \u00d7 40 cm; no updates <\/em>(August 10, 2016), Two scans, 20 \u00d7 50 cm; rennen m\u00fcssen <\/em>(March 21, 2009 and September 17, 2016), Oil on canvas, 280 \u00d7 200 cm; o. t. <\/em>(June 10, 2016), Mixed media on paper, 72 \u00d7 82 cm; was mich anschaut, <\/em>(June 17, 2016), Crayon on scan, 20.5 \u00d7 29 cm; gezeichnet <\/em>(September 6, 9, and 20, 2016), Oil on canvas, 130 \u00d7 58 cm; kriegerin <\/em>(August 22, 2016), Crayon on scan, 28.5 \u00d7 16 cm; o. t. <\/em>(June 23, 2016), Watercolor on paper, 62 \u00d7 78 cm; nachttier <\/em>(May 28 and October 10, 2016), Oil on wood, 33 \u00d7 33 cm; o. t. <\/em>(July 8, 2016), Oil on canvas, 250 \u00d7 364 cm; im TV gesehen <\/em>(fassbender in \u201cshame\u201d) (February 16, 2016), Oil on wood, 30.5 \u00d7 25 cm; o. t. <\/em>(May 25, 2016), Graphite and pencil on paper, 75 \u00d7 100 cm; unklar <\/em>(January 11\u201312, 2017), Oil on wood\u2028, 100 \u00d7 170 cm<\/p>\n

Aboubakar Fofana<\/a>, Fundi <\/em>(Uprising, 2017), Natural fiber-based textiles, handsewn and dyed in organic indigo in Bamako and Athens: Indigoferra arrecta, Polygonum tinctorium, and Isatis tinctoria grown in collaboration with Kasseler Werkstatt (Gartenbau); Stadt Kassel, Umwelt- und Gartenamt; Universit\u00e4t Kassel, Gew\u00e4chshaus f\u00fcr tropische Nutzpflanzen, Witzenhausen<\/p>\n

Mattin<\/a>, with Dania Burger, Dafni Krazoudi, Danai Liodaki, Smaragda Nitsopoulou, Ioannis Sarris, and Eleni Zervou; Social Dissonance<\/em> (2017) Durational concert, 163 days; Live stream: Kassel: www.periscope.tv\/socialdissonan1<\/a>; Documentation: www.youtube.com\/channel\/UCZN3mZD45YnZjD27prGoMjw<\/a><\/p>\n

Neue Galerie 24<\/a><\/strong> Sch\u00f6ne Aussicht 1
\nArtistes :\u00a0 (liste globale) Zainul Abedin<\/a>, Danai Anesiadou<\/a>,\u00a0Sammy Baloji<\/a>, Ernst Barlach<\/a>,\u00a0Samuel Beckett<\/a>,\u00a0Benin bronzes<\/a>,\u00a0Sokol Beqiri<\/a>,\u00a0Chittaprosad<\/a>,\u00a0Arnold Bode<\/a>,\u00a0Lorenza B\u00f6ttner<\/a>,\u00a0Geta Br\u0103tescu<\/a>,\u00a0Marcel Broodthaers<\/a>,\u00a0Lucius Burckhardt<\/a>,\u00a0Cornelius Cardew<\/a>,\u00a0Agim \u00c7avdarbasha<\/a>,\u00a0Vija Celmins<\/a>,\u00a0Le code noir<\/a>,\u00a0Gustave Courbet<\/a>,\u00a0Yael Davids<\/a>, Maya Deren<\/a>,\u00a0Maria Eichhorn<\/a>,\u00a0Hans Eijkelboom<\/a>, Conrad Felixm\u00fcller<\/a>,\u00a0Pavel Filonov<\/a>,\u00a0Gandhara Sculptures<\/a>,\u00a0P\u00e9lagie Gbaguidi<\/a>, Niccol\u00f2 di Pietro Gerini<\/a>,\u00a0Yervant Gianikian and Angela Ricci Lucchi<\/a>,\u00a0Marina Gioti<\/a>,\u00a0Giovanni di ser Giovanni Guidi<\/a>,\u00a0Tomislav Gotovac<\/a>,\u00a0Jacob and Wilhelm Grimm<\/a>,\u00a0Ludwig Emil Grimm<\/a>,\u00a0Cornelia Gurlitt<\/a>,\u00a0Louis Gurlitt<\/a>, Constantinos Hadzinikolaou<\/a>,\u00a0Theodor Heuss<\/a>,\u00a0Edi Hila<\/a>,\u00a0Karl Hofer<\/a>, Ralph Hotere<\/a>, Albert Jaern<\/a>,\u00a0Sunil Janah<\/a>, Alexander Kalderach<\/a>,\u00a0Amar Kanwar<\/a>,\u00a0Leo von Klenze<\/a>,\u00a0Louis Kolitz<\/a>,\u00a0Katalin Ladik<\/a>,\u00a0Maria Lai<\/a>, Yves Laloy<\/a>,\u00a0Valery Pavlovich Lamakh<\/a>,\u00a0Karl Leyhausen<\/a>, Max Liebermann<\/a>,\u00a0George Maciunas<\/a>,\u00a0Mikhail Matyushin<\/a>,\u00a0Tina Modotti<\/a>,\u00a0Otobong Nkanga<\/a>,\u00a0Andr\u00e9 Pierre<\/a>,\u00a0Dimitris Pikionis<\/a>,\u00a0Pope.L<\/a>,\u00a0Postcommodity<\/a>,\u00a0R. H. Quaytman<\/a>,\u00a0Hasan Re\u00e7i<\/a>,\u00a0Gerhard Richter<\/a>,\u00a0W. Richter<\/a>, Erna Rosenstein<\/a>,\u00a0 Ashley Hans Scheirl<\/a>,\u00a0Marilou Schultz<\/a>,\u00a0David Schutter<\/a>,\u00a0Baldugiin Sharav<\/a>,\u00a0Nilima Sheikh<\/a>, Amrita Sher-Gil<\/a>, Vadim Sidur<\/a>,\u00a0Annie Sprinkle and Beth Stephens<\/a>,\u00a0K. G. Subramanyan<\/a>,\u00a0W\u0142adys\u0142aw Strzemi\u0144ski<\/a>,\u00a0Alina Szapocznikow<\/a>, Piotr Ukla\u0144ski<\/a>,\u00a0Cecilia Vicu\u00f1a<\/a>,\u00a0Antonio Vidal<\/a>,\u00a0Albert Weisgerber<\/a>,\u00a0Elisabeth Wild<\/a>,\u00a0Johann Joachim Winckelmann<\/a>,\u00a0Fritz Winter<\/a>, Andrzej Wr\u00f3blewski<\/a>,\u00a0Ivan Wyschnegradsky<\/a>,\u00a0Androniqi Zengo Antoniu<\/a>,\u00a0Sergio Zevallos<\/a>,\u00a0Pierre Zucca
\n<\/a><\/div>\n
Notre choix :
\nMaria Eichhorn<\/a>, Rose Valland Institute<\/em> (2017), Nine parts:Call for Papers and Workshop: Orphaned Property in Europe<\/em>September 11\u201312, 2017, Conducted by Nathalie Neumann and Ma\u0142gorzata A. Quinkenstein, Lecture by Sarah Gensburger with Isabelle Backouche and Eric Le Bourhis, Contributions by MaryKate Cleary, Raffaella Frascarelli, Dina Gold, Helge Bj\u00f8rn Horrisland, Banu Karaca, Carolin Lange, Daniel McClean, and Agnieszka Yass-Alston; Open Call: Unlawful Ownership in Germany, <\/em>Open call to the public to research and inform the Rose Valland Institute<\/em> about unlawfully held goods looted by the Nazis; Website Rose Valland Institute <\/em>www.rosevallandinstitut.org<\/a>\u00a0Collection Alexander Fiorino, Kassel <\/em>\u2013 Documents regarding the confiscation of the assets and art collection of Alexander Fiorino (1939\u201341), 519\/3 36136, pages 18, 25, 33\u201334, 44, 104, 108\u2013110, 114\u2013116, Hessisches Hauptstaatsarchiv, Wiesbaden; \u2013 Johann August Nahl d. J., Johann Christian Ruhl<\/em> (1789), oil on lead-tin alloy, 16.4 \u00d7 12.2 cm, Museumslandschaft Hessen Kassel, Graphische Sammlung; \u2013 Ludwig Sigismund Ruhl, Cleopatra<\/em> (1817), graphite, ink, and watercolor on paper, partly heightened with gold, 24.5 \u00d7 19.2 cm, affixed to drawing book, Museumslandschaft Hessen Kassel, Graphische Sammlung; \u2013 Alexander Fiorino and His Sisters<\/em> (ca. 1860), photograph, 10.1 \u00d7 12 cm, Stadtmuseum Kassel; \u2013 Alexander Fiorino and His Wife Henriette, n\u00e9e Lieberg<\/em> (ca.1900), photograph, 15 \u00d7 10.7 cm, Stadtmuseum Kassel; \u2013 J\u00fcdische Wochenzeitung f\u00fcr Kassel, Hessen und Waldeck<\/em> (Jewish weekly newspaper for Kassel, Hessen, and Waldeck), May 27, 1932, vol. 9, no. 20, Stadtmuseum KasselAlbum Bundesarchiv Koblenz, B 323\/311,<\/em>\u2013 Beschlagnahmeaktionen in Paris. Transport- und Lageraufnahmen<\/em> (Confiscations in Paris. Photographs of depots and transports, 1940\u201344), album of eighty-five black-and-white photographs, Bundesarchiv Koblenz, B 323\/311; \u2013 Sarah Gensburger, Witnessing the Robbing of the Jews: A Photographic Album, Paris, 1940\u20131944<\/em> (Bloomington: Indiana University Press, 2015); \u2013 Louvre Museum\u2014National Museum of Modern Art (Palais de Tokyo)\u2014Mansion of the Cahen d\u2019Anvers Family\u2014L\u00e9vitan Department Store<\/em> (2007), color photographs by Olivier Amsellem, in cooperation with Sarah Gensburger and Mich\u00e8le Cohen; \u2013 The Eiffel Tower as seen from Trocad\u00e9ro<\/em> (2017), color photograph by Kevin Labourdette
\nUnlawfully Acquired Books from Jewish Ownership, <\/em>\u2013 Unlawfully acquired books from Jewish ownership by the Berliner Stadtbibliothek in 1943, registered in Zugangsbuch J (accession book J); \u2013 Evacuation of the Library of the Rothschild Family by the Staff of Einsatzstab Reichsleiter Rosenberg<\/em>, Paris (1940),, photograph by Heinrich Hoffmann, Bayerische Staatsbibliothek, Munich
\n\u201cI distinguish between Germans old enough to have played a role in the war, and the post-war generation.\u201d Interview with David Toren (2016\u201317); <\/em>\u2013 Aufnahme und Sch\u00e4tzung aller Kunstgegenst\u00e4nde, Antiquit\u00e4ten, Gem\u00e4lde, echter Teppiche etc. im Hause Ahornallee 27 zu Breslau 18. Besitzer: David Israel Friedmann wohnhaft daselbst. Zum Zeitwert.<\/em> (Inventory and assessment of all works of art, antiques, paintings, real carpets, etc. at the premises Ahornallee 27 in Breslau 18. Owner: David Israel Friedmann, resident at said address. At current market value), inventory (1940) from the file Administration Wroc\u0142aw I\/16886, Archiwum Pa\u0144stwowe we Wroc\u0142awiu, Wroc\u0142aw, Poland; \u2013 Letter from Cornelius M\u00fcller Hofstede to Hildebrand Gurlitt, August 28, 1942, MNWr., GD, II\/206, k. 12, Gabinet Dokument\u00f3w, Muzeum Narodowe we Wroc\u0142awiu, Wroc\u0142aw, Poland; \u2013 Christian Thee, Artfelt Gesture, Two Riders on a Beach<\/em> (2014), Relief, acrylic foam, and acrylic paint on Masonite, 71 \u00d7 91 cm, Collection of David Toren, Esquire
\nAuction records 1935\u201342, Berlin; <\/em>Auction records with lists of the auctioned objects and the names of the buyers (1935\u201342), A Rep. 243\u201304 Nr. 46\u201363, 66\u201368, Landesarchiv Berlin; Reproductions of original documents, digital video projection, color, no sound, 720 min.
\nLibrary and Reading Room; <\/em>Thematic reference library Rose Valland Institute
\n<\/em><\/em>
\nSammy Baloji<\/a>, Fragments of Interlaced Dialogues<\/em> (2017) de Samir Baloji<\/a>, Copper Negative of Luxury Cloth. Kongo Peoples; Democratic Republic of the Congo, Republic of the Congo or Angola, Seventeenth\u2013Eighteenth Century, Inventoried 1709 <\/em>(2017), Copper Negative of Luxury Cloth. Kongo Peoples; Democratic Republic of the Congo, Republic of the Congo or Angola, Seventeenth\u2013Eighteenth Century, Inventoried 1876. <\/em>(2017), Reserve Collection of the Institute of the National Museums of Congo, Kinshasa. Views of Montuary Pottery from the Kingdom of Kongo and European Earthenware Traded between the 15th and 18th Centuries.<\/em>\u00a0(2017) Photograph; Vitrines with historical letter and seven mats of raffia fibers (Kongo Peoples; Kongo Kingdom, Democratic Republic of the Congo, Republic of the Congo or Angola, seventeenth\u2013nineteenth centuries), Raffia and pigment. https:\/\/goo.gl\/images\/xKSiHp<\/a>; Les six pi\u00e8ces sont des emprunts au\u00a0 Nationalmuseet, Copenhagen; one work: Royal Museum for Central Africa, Tervuren, Belgium<\/div>\n

W\u0142adys\u0142aw Strzemi\u0144ski<\/a>,\u00a0Six works from the series \u201cDeportations\u201d (1940), Graphite on paper, 30 \u00d7 38 cm each; Six works from the series \u201cCheap as Mud\u201d (1944), Graphite on paper, 30 \u00d7 42 cm each; Afterimage of Light. Landscape <\/em>(1949), Oil on canvas, 65 \u00d7 82 cm; Theory of Vision<\/em> (n.d.), Manuscript\u2028, All works Muzeum Sztuki w \u0141odzi, \u0141\u00f3dz<\/p>\n

Ludwig Emil Grimm<\/a>, Etchings and works on paper (1812\u201349), Various dimensions from 11.2 \u00d7 7.7 cm to 26 \u00d7 42.4 cm, Grimm-Sammlung der Stadt Kassel and Museumslandschaft Hessen Kassel; Die Mohrentaufe <\/em>(The moor\u2019s baptism, 1841), Oil on canvas\u2028, 118 \u00d7 164 cm, St\u00e4dtische Kunstsammlung<\/p>\n

Palais Bellevue 25<\/strong><\/a> Sch\u00f6ne Aussicht 2. Memories of violent conflict and related questions of territory shape the constellation of works inside the Palais Bellevue, with much of it confronting issues of trauma rooted in various \u201cdisasters of war.\u201d Alternately, the palace\u2019s eponymous beautiful view across the sprawling Auepark below, as well as the resident ghosts of two key figures of the Romantic movement, jointly bend the assembly toward an interrogation of landscape as a political project, to nature as culture.
\nArtistes : Rebecca Belmore<\/a>, Ross Birrell<\/a> and David Harding<\/a>,\u00a0Agnes Denes<\/a>,\u00a0Bonita Ely<\/a>,\u00a0Guillermo Galindo<\/a>,\u00a0Regina Jos\u00e9 Galindo<\/a>,\u00a0Olaf Holzapfel<\/a>,\u00a0Sanja Ivekovi\u0107<\/a>,\u00a0Iver J\u00e5ks<\/a>,\u00a0Lala Meredith-Vula<\/a>,\u00a0Rosalind Nashashibi<\/a>, Christos Papoulias<\/a>,\u00a0Dan Peterman<\/a>,\u00a0Abel Rodr\u00edguez<\/a>,\u00a0Roee Rosen<\/a>,\u00a0Eva Stefani<\/a>,\u00a0Mary Zygouri<\/a><\/p>\n

Notre choix :
\nRosalind Nashashibi,\u00a0<\/a>In Vivian\u2019s Garden<\/i> (2016),\u00a0Oil on canvas,\u00a060 \u00d7 90 cm;\u00a0An Audience with the King<\/i> (2017),\u00a0Oil on canvas,\u00a0140 \u00d7 100 cm;\u00a0Carnation<\/i> (2017),\u00a0Oil on canvas,\u00a0155 \u00d7 115 cm;\u00a0Dust<\/i> (2017)\u2028,\u00a0Oil on canvas,\u00a0155 \u00d7 115.2 cm;\u00a0The Exiled Prime Minister <\/i>(2017),\u00a0Oil on canvas\u2028,\u00a0140 \u00d7 100 cm;\u00a0Pegasus<\/i> (2017)\u2028,\u00a0Oil on canvas,\u00a0155.5 \u00d7 115.5 cm;\u00a0Winter (2017),\u00a0Oil on canvas,\u00a0155 \u00d7 115 cm;\u00a0Winter 2 (2017),\u00a0Oil on Canvas,\u00a0155 \u00d7 115 cm.\u00a0All works Palais Bellevue.
\nVivian\u2019s Garden (2017)\u2028,\u00a0Digital video transferred from 16 mm film, color, sound\u2028,\u00a030 min.\u2028,\u00a0Naturkundemuseum im Ottoneum, Kassel
\n<\/a>Olaf Holzapfel<\/a>, includes historical works by Hermann Gl\u00f6ckner, Jakob Ignaz Hittor, Frei Otto, Kristian Sotriffer, Hans Steffen, Dieter Wieland, and other materials
\n<\/a>Roee Rosen<\/a>
\nIver J\u00e5ks<\/a><\/p>\n

Torwache 29<\/a><\/strong> Br\u00fcder-Grimm-Platz 6.It crowns the grand vista afforded by Wilhelmsh\u00f6her Allee\u2014a view popular with the cream of Nazi Germany\u2019s military crop, who dreamt up grand designs for the so-called Gauhauptstadt<\/em> Kassel.The Monument to the Victims of Fascism in Auschwitz-Birkenau by Oskar Hansen<\/a> and paintings by Edi Hila<\/a> inside the Torwache reflect upon the ideological knot of urban planning and the politics of axial organization. The exterior of the building is enveloped in an installation by Ibrahim Mahama, whose stitched jute sack collage recounts multiple histories of global trade, individual narrations of possession and dispossession, scars of a larger narrative of migration, as well as technologies of masking and camouflage.
\nArtistes :
\nIbrahim Mahama<\/a>
\nAnnie Vigier & Franck Apertet (les gens d\u2019Uterpan)<\/a>\u200b,
\nLois Weinberger<\/a>\u00a0: Ruderal Society <\/em>(1993), Fifteen color prints 21 \u00d7 29.5 cm each; Modell <\/em>(2016) Inscribed clay 47.5 \u00d7 21 \u00d7 8 cm
\nLes toilettes<\/p>\n

<\/div>\n
\n

Neue Neue Galerie (Neue Hauptpost) 2\u00a0<\/a><\/strong>Gie\u00dfbergstra\u00dfe 22. Echoing and reconfiguring the old post office as a nexus of distribution, the artists featured here work with the axes between Kassel and Athens as lines of departure and arrival. The art on view explores the labor of dissemination\u2014by mail, on horseback, through bodies or rituals. The concept of redistribution broadens to encompass larger questions about the production of history, of how certain political conditions form a canon that in turn produces certain types of artistic labor. Many of the artworks featured in the main hall, on the mezzanine, and on the top floor (which once served as an employee canteen and rest area) generate critical ideas about intersections in history, articulating the site as a continuously evolving and dissolving heterotopia.
\nArtistes : Rasheed Araeen<\/a>, The Reading Room (2016\/2017)\u00a0Steel and glass tables, wooden stools, and copies of Third Text journal<\/em>
\nRoss Birrell<\/a>
\n<\/a>Ruth Wolf-Rehfeldt<\/a>,\u00a0<\/a>
\nUlrich W\u00fcst<\/a>,\u00a0
\nArtur \u017bmijewski<\/a>
\n<\/a>Irena Haiduk<\/a>,\u00a0
\n<\/a>Maria Hassabi<\/a><\/p>\n

Karlsaue Park 21<\/a><\/strong> An der Karlsaue 20. Four art projects of varying material presences\u2014some sonic, some architectural; some intrusive, some elusive\u2014are scattered throughout the park, which has long been a key documenta site; the early-eighteenth-century Orangerie at its eastern edge, another of Karl\u2019s building projects, also hosts documenta 14 works.
\nLois Weinberger <\/a>Ruderal Society: Excavating a Garden <\/em>(2017) Installation\u2028 100 \u00d7 1.3 \u00d7 0.22 m
\nBenjamin Patterson<\/a>: When Elephants Fight, It Is the Frogs That Suffer <\/em>(2016\u201317), Twenty-four-channel sound installation\u2028, Realization by Bernd Schultheis in cooperation with the Nassauische Kunstverein Wiesbaden, E. Gruhn, and B. Patterson<\/p>\n

BALi-Kinos 32<\/a><\/strong> Rainer-Dierichs-Platz 1.BALi-Kinos is located in Kassel\u2019s former central train station.During the one hundred days of the exhibition in Kassel, Grosses and Kleines BALi present a daily screening program, complemented by a display of photographic works and drawings installed in the cinema foyer.
\nJonas Mekas<\/a>,
\nLo\u00efs Weinberger (dans la gare)<\/p>\n


\nSkulptur Projekte M\u00fcnster<\/a>, jeudi 24 et vendredi 25 ao\u00fbt<\/span><\/strong><\/h3>\n

Mus\u00e9e LWL<\/strong><\/a>
\nArtiste : Richard Serra<\/p>\n

Koki Tanaka, Provisional Studies : Workshop#7 How to Live Together and Sharing The Unknown<\/em>, 2017<\/a>
\nAndreas Bunte<\/a>,\u00a0Laboratory Life [Laborbedingungen], 2017
\nAram Bartholl, 3V<\/em>,<\/a>
\nHito Steyert, HelloYeahWeFuckDie,<\/em><\/a> 2017
\nThomas Sch\u00fctte, Nuclear Temple<\/em>,<\/a> 2017
\nPierre Huyghe, After ALive Ahead<\/em>,<\/a>\u00a02017<\/em>
\nAram Bartholl, 5V<\/em><\/a>
\nJeremy Deller, Speak to earth and it will tell you<\/em><\/a>, 2007-2017
\nHuang Yong Ping, 100 arms of Guanyin<\/em><\/a>, 1997
\n<\/em><\/p>\n

<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Documenta 14, Kassel, mardi 22 ao\u00fbt et mercredi 23 ao\u00fbt Fridericianum 15 Artistes\u00a0: Takis, Gong (1978), Metal and electromagnet, 450 \u00d7 150 cm, Macedonian Museum of Contemporary Art, Thessaloniki Chryssa, Cycladic Books (1957), Plaster, Twenty works Dimensions ranging from 25.5 \u00d7 50.5 \u00d7 3 cm to 68.7 \u00d7 48 \u00d7 6 cm National Museum of … Continuer la lecture de Documenta 14 Kassel & Skulptur Projekte M\u00fcnster, notre corpus s\u00e9lectif<\/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":[19,59,60],"tags":[],"class_list":["post-4081","post","type-post","status-publish","format-standard","hentry","category-art-contemporain","category-documenta","category-skulptur-projekte"],"_links":{"self":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/4081","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=4081"}],"version-history":[{"count":60,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/4081\/revisions"}],"predecessor-version":[{"id":4371,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/4081\/revisions\/4371"}],"wp:attachment":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4081"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4081"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}