We at BAK, basis voor actuele kunst stand in full allyship and solidarity with ruangrupa, all artists and activists of documenta fifteen, and the broader lumbung ecosistem. The collective learnings of decolonial praxis that this edition of documenta have brought to Kassel have been an important and invaluable achievement. This labor reveals the urgency of addressing racist and imperial political agendas perpetuated in Germany today. To echo the words of writer and researcher Sami Khatib:
. . . the charge of “antisemitism” was the fruitless attempt to discipline and lecture ruangrupa and the participating artists. With documenta15 coming to an end, we can say that this attack failed. Almost no one at documenta gave in to the lame attempt to frame the Palestinian struggle and resistance to Israeli apartheid, occupation and human rights violations as antisemitic. Documenta15 is still open, the powerful Palestinian propaganda films are still on display. It is actually amazing to realize that these films of various quality and times (mostly 1970s) can trigger the pathetic lamentations of a German cultural elite whose state is one of the main beneficiaries of the Palestinian tragedy. May the specter of the Palestinian revolution keep on haunting German ideology and drive its mouthpieces mad.
Related
In April 2016, BAK, basis voor actuele kunst, brought to life the Here We Are Academy: a spirited temporary recomposition of a refugee-initiated platform for learning called We Are Here Academy.
We at BAK, basis voor actuele kunst stand in full allyship and solidarity with ruangrupa, all artists and activists of documenta fifteen, and the broader lumbung ecosistem. The collective learnings of decolonial praxis that this edition of documenta have brought to Kassel have been an important and invaluable achievement. This labor reveals the urgency of addressing racist and imperial political agendas perpetuated in Germany today. To echo the words of writer and researcher Sami Khatib:
“To Read the War” is an assemblage of texts, visual essays, interviews, conversations, and even entire publications from BAK, basis voor actuele kunst’s archive[1] and beyond, republished here on BAK’s digital forum, Prospections. Hurtled into being in these devastating days of escalating violence in Palestine, it coincides with BAK’s long-term series To Watch the War, In Solidarity and the moving image forum To Watch the War: The Moving Image Amidst the Invasion of Ukraine (2014–2023).
“Scarecrows” is a visual essay by artist Jumana Manna. Here, Manna images daily acts of defiance by Palestinians foraging wild plants for food and medicine; something their survival had depended on for centuries. These humble resistances take place in the face of the legal prohibitions imposed by the State of Israel. The thinly veiled imperialist and racist laws, disguised as preservation decrees protecting plants and other species, are aimed, de facto, against the very possibility of people sustaining their lives on their own lands. “Lands that, in many cases,” Manna stresses, “have been expropriated by the Israeli state and are administered as Israeli settlements, nature reserves, military training areas, and other forms of ‘state land.’” The state here, indeed, continues usurping the power to decide “what is made extinct and what gets to live on; about who gets to decide the fate of these foraging traditions and the options that remain for those who don‘t.”
To Watch the War: The Moving Image Amidst the Invasion of Ukraine (2014–2023) Guidebook English , is the guidebook to the moving image forum To Watch the War: The Moving Image Amidst the Invasion of Ukraine (2014–2023), exhibited at BAK, basis voor actuele kunst, Utrecht 9 September–29 October 2023.
