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  1. The Documenta 14 reader

    Munich ; London ; New York : Prestel Verlag, [2017]

    First conceived in 1955 by Arnold Bode, the inaugural documenta exhibition endeavored to bring Germany back into artistic dialogue with the rest of the post-war world. More than sixty years later, documenta 14 returns to its initial motivation by extending its base in the city of Kassel, Germany to Athens, Greece. Accompanying documenta 14, this book functions as a "reader, " evoking the various meanings associated with that term. Emphasizing the importance of literature, storytelling, performance, and pedagogy, it features illustrations and critical writings that address and expand upon the exhibition's theme of economic and cultural realities in a new world. As the current social and political trends in Europe and the world have divided people geographically and economically, this documenta returns to its roots-bringing to light another significant moment in world history.

  2. South as a state of mind

    2012-2015 : [Athens] : [Dyo Deka Ekdotiki SA, a collaboration of LIFO free press & Kunsthalle Athena] <2015-> : Kassel : documenta and Museum Fridericianum Veranstaltungs-GmbH

    The magazine of Documenta 14

  3. aneducation, documenta 14.

    Berlin : Archive Books, [2018]

    This is not a book of good intentions. It attempts to introduce a chorus of voices that speak from different positions on 'aneducation', the education program for Learning from Athens, documenta 14 in Athens and Kassel. Instead of objectives and overviews, target groups and outcomes, successes or failures, the program was determined by process and experience. In thinking through the body it was possible to examine how we come together and recognize knowledge not as a one-way transmission but as a form of exchange that can be circulated. Further, the aim was to listen and learn as an institution, be receptive, and acknowledge the complexities of hearing, from eavesdropping to listening to one's inner voice. The mode of 'being with' guided our program and publication, both of which seek to lay bare the opaque relationships between education, exhibition making, and their publics. Forty-eight entries are organized alphabetically as a lexicon, each written by various members of the 'aneducation' team and documenta 14 Chorus, as well as curators, artists, and educators who contributed to the program. The publication's many points of departure present just as many desires for other sites of learning. Cross references among the entries show the deep relationships that existed, and continue to deepen, between the methods, programs, and locations of 'aneducation'.

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