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Adam Szymczyk. Photo: e-flux / lokalo24

Documenta 14 Curatorial Team Addresses $8.3 Million Deficit

Documenta 14 artistic director Adam Szymczyk and the curatorial team have released an open letter in response to recent reports that the exhibition is facing an $8.3 million deficit resulting from managerial oversights. Shortly after, more than two hundred artists rallied to defend the exhibition.

“We have decided at this moment to speak out, and collectively take agency to protect the independence of Documenta as a cultural and artistic public institution from political interests,” the letter reads. “Unfortunately, politicians have prompted the media upheaval by disseminating an image of imminent bankruptcy of Documenta and at the same time presented themselves as the ‘saviors’ of a crisis they themselves allowed to develop.”

On September 12, the German newspaper HNA published an article claiming that the exhibition was bankrupt and that the insolvency of its parent company was only averted because the state of Hesse and the city of Kassel agreed to act as guarantors to keep the exhibition running until September 17. It also alleged that Szymczyk’s two-city vision for the quinquennial caused Documenta to go over its $44 million budget and that managing director Annette Kulenkampff “lacked perseverance and experience” to stop him.

Published on Thursday, September 14, the Documenta team’s letter denounces the “exploitative model under which the stakeholders of Documenta wish the ‘most important exhibition of the world’ to be produced.”

“The expectations of ever-increasing success and economic growth not only generate exploitative working conditions but also jeopardize the possibility of the exhibition remaining a site of critical action and artistic experimentation,” it reads.

The full letter is as follows:

We read with astonishment the articles that were published on September 12 in the HNA newspaper in Kassel.

Presenting their opinions as objective facts, reiterating speculations and half-truths, the authors portrayed Adam Szymczyk, the Artistic Director of documenta 14, and Annette Kulenkampff, the CEO of documenta gGmbH, as responsible for what they described as the imminent bankruptcy of documenta. According to them, this was caused by a lack of managerial capacity and a failure of financial oversight on the part of the team of documenta gGmbH. None of the journalists took their responsibility to check their facts with the two protagonists nor seek to gain a more complex picture of the situation.

We acknowledge the responsibility that comes with organizing an exhibition that is partly financed with public funds. Furthermore, documenta 14 is made public in a collective and transnational way, beyond the mechanisms of local, regional and national identities and the funding systems associated with them. The argument of responsibility and accountability has to be understood in these terms. With this in mind, we wish to correct the misleading impressions given by this misguided journalism. The dimensions and planned content of the documenta 14 project were proposed by Adam Szymczyk in late 2013. His concept of two venues, in Athens and Kassel, was clearly communicated to all responsible parties at the time, namely all the stakeholders, the Supervisory Board of documenta gGmbH, and the international selection committee. Since the moment of his appointment, all these stakeholders have continually expressed their support for the project and stood behind all steps taken in the process of this two-venue documenta 14. Indeed, it is exactly this concept, with its inherent and predictable challenges, that convinced the independent selection committee to propose Adam Szymczyk as Artistic Director of documenta 14 in November 2013. The stakeholders of documenta 14 welcomed and authorized this nomination and committed themselves to its fulfillment. They understood at that time that this great arts event could no longer rely on bringing the world to Kassel, but had to displace itself and become the embodiment of change—in order to rediscover its rationale and legitimacy—as some of the past editions of documenta did.

Given the events of the last few days, however, we must conclude that this approval was much more contingent and limited than we were led to believe. The fact is that the budget and structural funding has not substantially changed from 2012, despite the fact that this new project would necessarily have major and obvious implications on the financial side. Save for one budget adjustment, which was discussed in summer of 2016 and implemented in winter of the same year (the cost of which would be shared between the stakeholders and documenta 14 ticket sales) no additional funds were considered necessary to cover the costs of staging the exhibition in two cities over a total of 163 days of the exhibition—one entire city and 63 days more than any previous documenta.

In a spirit of collective reflection, we believe it is time to question the value production regime of mega-exhibitions such as documenta. We would like to denounce the exploitative model under which the stakeholders of documenta wish the “most important exhibition of the world” to be produced. The expectations of ever-increasing success and economic growth not only generate exploitative working conditions but also jeopardize the possibility of the exhibition remaining a site of critical action and artistic experimentation. How can the value production of documenta be measured?

The money flowing into the city through the making of documenta greatly exceeds the amount the city and region spend on the exhibition.

We have decided at this moment to speak out, and collectively take agency to protect the independence of documenta as a cultural and artistic public institution from political interests. Unfortunately, politicians have prompted the media upheaval by disseminating an image of imminent bankruptcy of documenta and at the same time presented themselves as the “saviors” of a crisis they themselves allowed to develop.

We take a stance as cultural workers who have accomplished the realization of this (certainly controversial) undertaking, documenta 14. We want to stand up in solidarity with the work of Annette Kulenkampff and the administration of documenta gGmbH.

Having no political power as such, we, as organizers of the event, wish to cherish the vivid reception and animated debate that has flowed from our efforts. We will not have them ignored by political expediency. We call upon documenta stakeholders for a moment of reflection. We are living in a moment where time and peace are in short supply. Freedom, artistic and other, is something that we all need to sustain. It seems to us more urgent than ever in today’s world. Therefore, we ask everyone, whether involved in this controversy or not, to show solidarity with us in defending the values of a free, critical, and experimental documenta.

We send this statement to German and international media in the hope of generating thoughtful discussion and a new awareness of what is at stake.

The Artistic Director and the team of documenta 14
Adam Szymczyk, Artistic Director
Sepake Angiama, Head of Education
Pierre Bal-Blanc, Curator
Marina Fokidis, Curatorial Advisor
Hendrik Folkerts, Curator
Natasha Ginwala, Curatorial Advisor
Ayşe Güleç, Community Liaison
Candice Hopkins, Curator
Salvatore Lacagnina, Studio 14
Quinn Latimer, Editor-in-Chief of Publications
Andrea Linnenkohl, Curatorial Advisor
Bonaventure Soh Bejeng Ndikung, Curator at Large
Hila Peleg, Curator
Paul B. Preciado, Curator of Public Programs
Dieter Roelstraete, Curator
Erzen Shkololli, Curatorial Advisor
Elena Sorokina, Curatorial Advisor
Monika Szewczyk, Curator
Paolo Thorsen-Nagel, Sound and Music Advisor
Katerina Tselou, Curatorial Advisor

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