Who’s Exploiting Who? ruangrupa on documenta fifteen

'You have to fight for every inch. Decentralisation vs hierarchy, trust vs control…' |

View this email in your browser Smoke and Mirrors 'You have to fight for every inch. Decentralisation vs hierarchy, trust vs control… Documenta should really think how it operates and try to find a different economic model, in order not to become centred, extractive and exploitative because of its scale.' Directed by the Indonesia-based collective ruangrupa, documenta fifteen, which opened in Kassel in June, confounded many assumptions about how this major survey exhibition should be organised – and who and what it should be for. Under their model of 'lumbung', the Indonesian term for a communal rice-barn, ruangrupa have attempted a radically different way of organising and sharing Documenta's financial and institutional resources among a huge number of artists and associates. Add to this the controversy that has dogged the exhibition over allegations of anti-Semitism in some of the works presented, and documenta fifteen will go down as one of the more provocative and polarising editions of the German mega-exhibition to date. As the show came to the end of its 100-day run, ArtReview's Mark Rappolt and J.J. Charlesworth spoke to ruangrupa's farid rakun and Ade Darmawan about their hopes for and the results of ruangrupa's artistic direction of documenta fifteen – and what happens next. Read now © 2022 ArtReview Ltd. All rights reserved. You are receiving this email because you opted in at www.artreview.com or the previous digital magazine website Our mailing address is: ArtReview Ltd. 1 Honduras Street London, England EC1Y 0TH United Kingdom Add us to your address book Want to change how you receive these emails? You can update your preferences or unsubscribe from this list.