Intellection photos on Flickr

215-Mile Range “Tesla Model 3” Electrifies the World by Automotive Rhythms

1

Tesla design models have influenced our intellects with clean power, high safety ratings and a wide array of 21st century technologies. Tesla, the purveyor of premium electric cars utilizes supercar acceleration and cat-like reflexes to also appeal to our lust for power and the primal urge to control and direct it. The Model 3 will begin pricing at $35,000 which is roughly half the cost of a base Model S. The base car will accelerate 0-60 mph in less than 6 seconds, enjoys an electric range of at least 215 miles per charge, seats five comfortably and provides storage from front and rear trunks. Expect deliveries yearend 2017.

ADAM SMITH POLITICAL ECONOMIST by summonedbyfells

Born in Kirkcaldy the young Smith had a precocious intellect gaining admition to Glasgow University at the age of 14. He became a friend of the David Hume (whose own statue is on the opposite side of the Royal Mile) and through Hume was tenured at Edinburgh University. Adam Smith's greatest achievements were in the realms of economics: -

"After toiling for nine years, in 1776 Smith published An Inquiry into the Nature and Causes of the Wealth of Nations (usually shortened to The Wealth of Nations), which is thought of as the first work dedicated to the study of political economy. Economics of the time were dominated by the idea that a country’s wealth was best measured by its store of gold and silver. Smith proposed that a nation’s wealth should be judged not by this metric but by the total of its production and commerce—today known as gross national product (GDP). He also explored theories of the division of labor, an idea dating back to Plato, through which specialization would lead to a qualitative increase in productivity.

Smith’s ideas are a reflection on economics in light of the beginning of the Industrial Revolution, and he states that free-market economies (i.e., capitalist ones) are the most productive and beneficial to their societies. He goes on to argue for an economic system based on individual self-interest led by an “invisible hand,” which would achieve the greatest good for all. In time, The Wealth of Nations won Smith a far-reaching reputation, and the work, considered a foundational work of classical economics, is one of the most influential books ever written.

In 1787, Smith was named rector of the University of Glasgow, and he died just three years later, at the age of 67". Adam Smith. (2014). The Biography.com website. Retrieved 10:21, Jul 09, 2014, from www.biography.com/people/adam-smith-9486480.

Its interesting to ponder what Smith would have made of Scotland's current political and independence debate. I have a YES campaign leaflet from an earlier visit to the auld country; offering a route to full employment, higher wages, low cost housing, better education, universal welfare and every common-good short of eternal life! It would appear Adam Smith should rethink his arguments? But hang-on didn't that other son of Kirkcaldy, Gordon Brown, flunk it when he had a go?

Adam Smith 1723 - 1790.

John Milton Earle (1794-1874) by Ken Horn

[CCA: pioneer Ralph Earle, my 9xg-grandfather. Ralph1 = his g4, my g9, thus we are 5th cousins, 5 times removed.]

[KLH/ChatGPT Sketch based on source below:]

John Milton Earle (1794–1874) stands as one of those quietly powerful figures in American life whose influence ran deeper than fame. A journalist, reformer, public servant, and man of conscience, he helped shape the moral and political climate of Massachusetts in the turbulent decades leading up to the Civil War.

Born April 13, 1794, in Leicester, Massachusetts, Earle descended from the colonial pioneer Ralph Earle. His education was modest—common schools and Leicester Academy—but his intellect and discipline quickly set him apart. After early work in commerce, he moved to Worcester in 1816 and soon entered into partnership in a retail business. Yet it was not trade that would define him, but the printed word.

In 1823, Earle became associated with the Massachusetts Spy, a newspaper that would become his life’s work. For thirty-five years he guided its voice—most of that time as editor, and for many years as sole proprietor. Under his leadership, the paper expanded to include a daily edition in 1845, amplifying its reach and influence. Earle’s editorial style was marked by precision, courtesy, and moral clarity. He avoided sensationalism and personal attack, preferring careful reasoning and principled argument. Readers trusted him because they knew exactly where he stood—and why.

That steadiness proved crucial in the great moral crisis of his age. Though not aligned with the most radical abolitionists, Earle was an early and unwavering opponent of slavery. Through his newspaper and political activity, he helped transform Worcester County into a stronghold of anti-slavery conviction. During the rise of the Free Soil movement, his influence helped propel leaders such as George S. Boutwell, Charles Sumner, and Henry Wilson to prominence. These were not easy stands to take; they often put him at odds with friends and colleagues. But Earle followed conscience over convenience, even when the cost was personal.

His public service matched his editorial labors. He served multiple terms in the Massachusetts legislature, contributed to the state constitutional convention of 1853, and held various civic and financial offices in Worcester. Appointed postmaster by President Abraham Lincoln in 1862 and reappointed by Andrew Johnson, he ultimately lost the position when he refused to endorse policies he could not support. It was a costly act of integrity—one he accepted without bitterness.

Beyond politics and journalism, Earle found joy in the natural world. A devoted botanist, horticulturist, and conchologist, he became widely respected for his knowledge. He helped found the Worcester County Horticultural Society and served as its president, while his collection of sea shells—gathered through connections with Nantucket whalers—became one of the finest in the region and was later donated to the local natural history society. In fields and forests, with flower box in hand, he pursued beauty and knowledge with the same quiet dedication that marked his public life.

Earle’s personal life reflected similar depth. In 1821 he married Sarah Hussey of Nantucket, a woman remembered for her tireless compassion, especially toward enslaved people. Together they raised a large family and cultivated a home marked by moral seriousness and intellectual engagement. A lifelong member of the Society of Friends (Quakers), Earle’s faith shaped both his character and his public witness.

He died on February 8, 1874, leaving behind no grand monument—only something more enduring: a reputation for integrity, clarity of thought, and unwavering commitment to what is right. In an age of loud voices and fierce conflict, John Milton Earle proved that steady conviction, expressed with grace and courage, can help bend the course of history.

From pp. 205-9 of The Earle Family: Ralph Earle and His Descendants Compiled By Pliny Earle of Northampton, Massachusetts. Printed For The Family. Worcester, Mass.: Press of Charles Hamilton, 1888.

John Milton Earle is the fourth-great-grandson of pioneer ancestor Ralph Earle.

[868-1]. John7 Milton Earle (Pliny,6 Robert,,5 Robert,4 Ralph,3 William,2 Ralph1), son of Pliny and Patience (Buffum) Earle, b. April 13, 1794, in Leicester, Mass. ; m. June 6, 1821, Sarah (b. Aug. 26, 1799; d. March 9, 1858), dau. of Tristram and Sarah (Folger) Hussey, of Nantucket, Mass., and d. Feb. 8, 1874.

Of his wife an obituary notice says : "Aside from her own family circle, no one has cause to mourn more deeply than the slave, for whose interests her labors were untiring."

The following sketch is mostly taken from obituary notices published soon after his decease:

John Milton Earle was educated in a common school and at Leicester Academy. He assisted in his father's business, and at one period was clerk in the store of the Northbridge cotton mill at Whitinsville, of which Paul Whitin, Pliny Earle & Brothers and others were proprietors. In 1816 he went to Worcester, where, with [p206] his future brother-in-law, Anthony Chase, and under the firm name of Earle & Chase, he opened a store on the northern corner of Main and Thomas streets. Their place of business was afterward removed farther south on Main street, and in 1823 they purchased the Massachusetts Spy, to the columns of which John M. had previously been a contributor. For thirty-five years afterward, until 1858, he was its principal manager and editor, and during fifteen years of that time its sole proprietor. It was in the course of this period that the Daily Spy was established, the first number having been issued July 22, 1845.

His best years were given to editorial work, and in that work he doubtless had greater influence than many men whose names were more widely known. He was a careful and accurate writer, both as to style and manner, invariably courteous and candid, making no random statements and never indulging in insinuation or innuendo. He was especially self-reliant, forming opinions and reaching conclusions for himself; and when once he had taken a position it needed a vast shining of the 'inner light ' to alter or change his views. But men knew where to find him, and always on the right side of every moral issue before the public. He wrote with the. grace and elegance born of native ability and the constant friction of weekly and daily duty. Seldom did he indulge in humor or playfulness, though he loved and enjoyed the sharp encounter of harmless wit.

Though not a technical Garrisonian abolitionist, he was one of the earliest pioneers in the anti-slavery movement, making that sentiment always prominent in his political faith, even while an ardent whig. He was second only to the late Judge Charles Allen, at the time of the Free Soil movement in 1845, in bringing about the great political revolution which resulted in the election of George S. Boutwell as Governor of Massachusetts, and Charles Sumner and Henry Wilson as United States Senators. "This controversy was a most painful event to him, because it brought him into opposition with men whom he personally esteemed and who had been his political associates, but he did not shrink from the strife, and, of course, there could be no doubt, as he stood upon the parting of the ways, in which direction his convictions of duty would lead him." His influence through the newspaper which he conducted did much to put Massachusetts on the right side in the great struggle between slavery and freedom, which was fought out within the next fifteen years, and especially to [p207] make Worcester county the stronghold of conscientious and determined political opposition to slavery. It was called the ' banner county' of the State, in that great conflict of opinion which resulted in the war of the rebellion and the extermination of chattel bondage in the United States. "Mr. Earle had few superiors in the country in editorial ability and experience, and there are few who have devoted so many years to journalism. In this regard, as well as in some others, he much resembled his distinguished friend, William Cullen Bryant."

Among various official positions which he held, aside from his arduous duties as a journalist, he was Representative to the General Court in the years 1844, 1845, 1846, 1850, 1851 and 1852, and Senator in 1858. During his service as member of the Legislature, he was in the habit of writing the leading editorial articles for the Spy in the cars on the way to Worcester at night ; frequently penciling his criticisms of public men and measures on the blank margin of the Boston Journal.

He was likewise a member of the Convention for the revision of the Constitution of the State, which held its meetings in the State House in Boston, in 1853. In a letter written April 16 of that year, he says, " The Convention will meet in about two weeks. I shall go in favor of very radical changes in our system, taking all patronage from the Governor and other executive officers, and bringing all elections as near to the people in their primary organizations as possible. I shall therefore go for representation, in both branches, by election in single districts, the apportionment thereof based not upon population but upon voters, so that the representation shall be, what it professes to be, one of the actual sovereignty."

While political journalism was his work during so many years, conchology, botany and horticulture were his recreation and delight. As a pomologist, botanist, &c, he had few superiors in this country, being hardly second even to his friend, the Hon. Marshall P. Wilder, with whom he was always very intimate. He studied botany, both theoretically and practically, in his early years, generally carried his box for flowers with him when riding in the country in the floral months, and frequently traversed field, meadow and forest in search of specimens. Hence few were so well acquainted as he with the flora of Worcester county. He was one of the founders of the Worcester County Horticultural Society, one of its officers from the [p208] beginning, its president for several years, and one of the largest contributors to its exhibitions. He was an acknowledged authority on all matters relating to garden culture, and had no greater pleasure than in comparing notes with other enthusiasts in that line, discussing and testing the merits of new varieties of flowers or fruit, or freely imparting his stores of knowledge to interested listeners.

As he married in Nantucket, he frequently visited that island, where he became acquainted with the captains of whale-ships who brought sea-shells of both the Atlantic and the Pacific ocean. This gave him the opportunity to select the finest specimens for his own conchological cabinet. He knew not only the dealers in shells, but most of the owners of large private collections in New England and the Middle States, and thus had facilities for enlarging his collection by frequent exchanges. Several years before his decease, he gave this collection, which had become the most extensive in the county, and was scarcely equaled by any other private one in the State, to the Natural History Society in Worcester.

He was an Alderman of the city of Worcester soon after its incorporation, one of the Vice-presidents of the Worcester County Institution for Savings, and a Director of the State Mutual Life Assurance Company from its organization to the time of his death ; and held offices of trust in other institutions.

On the 12th of May, 1859, he was appointed by Gov. Nathaniel P. Banks "Commissioner to examine into and report upon the condition of the Indians and descendants of the same in the Commonwealth." President Lincoln, in 1S62, appointed him as Postmaster of Worcester, an office which he filled with the same conscientious fidelity which distinguished all his conduct in public and private life. At the expiration of his term he was reappointed by Andrew Johnson, the commission bearing date of July 7, 1865. Not long afterwards he received a printed circular endorsing Johnson's policy, with the request that he should sign it and return it to the Executive department at Washington. As he could not conscientiously sign it, he laid it aside and made no reply. The circular was soon followed by another, identical in its purport and request with the first. This, too, was laid aside, unsigned and unacknowledged. As might have been expected under the then existing administration, and as he did expect, his removal from office was not long delayed. And thus was sacrificed, for opinion's sake, one of the most lucrative governmental positions in Massachusetts.

[p210]

From that time he took no active part in public affairs, though he retained to the last his interest in them, and was always willing to give his counsel, advice, and any information in his power, to those of his friends who desired them.

"He was a faithful member of the Society of Friends, an upright, God-fearing man, beloved and respected in every private and public relation."

The children of John Milton and Sarah (Hussey) Earle were:

1889-1. Anne H. Earle, b. April 17, 1822; m. Edward Southwick.

1890-2. Elizabeth Earle, b. May 4, 1824; d. Jan. 13, 1858.

1891-3. Mary F. Earle, b. July 25, 1826; d. Aug. 25, 1826.

1892-4. Catherine Earle, b. Jan. 24, 1828 ; m. Moses Farnum.

1893-5. Martha B. Earle, b. Dec. 28, 1829; m. Henry Earle [1900-3].

1894-6. Sarah F. Earle, b. Dec. 8, 1831 ; lives, unm., in Worcester.

1895-7. Pliny Earle, b. July 21, 1834; lives, unm., in Leicester.

1896-8. Samuel H. Earle, b. May 25, 1837; d. Sept. 22, 1837.

1897-9. Frances C. Earle, b. April 2, 1840; lives, unm., in Philadelphia, Pa.

Public Domain

documenta kassel 2022 tent by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

www.emergencyrooms.org

www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

documenta-13----kassel---thierry-geoffroy--colonel vieuw wikipedia landscape by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

en.wikipedia.org/wiki/Thierry_Geoffroy