Documenta11_Press Release

[Claudia Berkermann]

Kassel, September 15, 2002 - MM

Dear Ladies and Gentlemen, dear Colleagues,

After almost four years of work and intense debate, research,
discussion, and cooperation with many partner institutions and
individuals, after four platforms in Vienna and Berlin, New Delhi, St.
Lucia, and Lagos with over 130 international participants and more than
10.000 visitors, the fifth platform of Documenta11, the exhibition in
Kassel, is drawing to a close today. After one hundred days of active
engagement with the artistic positions presented in Kassel, after
hundered days of film program with 25 films by 14 filmmakers, after 53
artists’ presentations, workshops, lectures, performances, concerts, and
discussions, it remains to draw a first balance.

The exhibition has in many ways exceeded our expectations, not only in
the statistical facts of numbers and sales. The interest and the
discussions that the exhibition has generated among the citizens of
Kassel, among the visitors who came form all over theworld, and among
the members of the press, is mirrored in the best attendance figures
ever achieved since the founding of documenta. Equally, the worldwide
media response, which even close to the end of the exhibition still
reported in detail about individual artists’ projects, about discursive
tendencies of the show, and about the possible ramifications of the
exhibition’s role in the discursive relation of art and society at
large, should be understood as a sign for Documenta11’s success.

In total, 650.000 paying visitors attended the fifth platform of
Documenta11 in Kassel.

Especially the Two-Day-Ticket was very popular among the visitors. In
comparison to the 1997 documenta X, the number of sold Two-Day-Tickets
nearly doubled. In 1997, approximately 6,5% of the visitors used a
Two-Day-Ticket to visit the exhibition, whereas in 2002, 11,5% of the
visitors purchased such a ticket.

Between the opening days and September 15, almost 15.000 journalists
have registered to see and report on the exhibition.


Nearly 200.000 visitors, or 32% of all visitors of the exhibition, have
used one of the services offered by the Documenta11_Visitor Service.

93% of these visitors have booked a guided tour, resulting in a total of
14.500 guided tours. 7% of the visitors, a total 14,500 visitors,
attended the introductory lectures at the Bali cinema.

70% of all guided tours were individual group tours that were booked in
advance. 30% of all guided visitors decided spontaneously in Kassel to
participate in a one-hour tour.

Approximately 10% of all tours were given in languages other than
German. Of these tours, 59% were given in English, followed by French
(13%), Dutch (11%), Spanish (8%), Japanese (3%), Russian (4%), and
Polish (2%).

30% of all entrance tickets sold through the Visitor Service were
purchased online, a service particularly often used by individual
visitors to Documenta11.


The sales figures of all Documenta11 publications are equally positive.
Combining direct sales in Kassel and the sales through the bookstores,
the Documenta11 Short Guide has sold 110.000 copies. The German edition
of the Catalogue has sold 16.000 copies, the English edition of the
Catalogue has sold 11.000 copies. After two weeks on the market, the
Picture Book has sold 8,500 copies. 600 copies of the German edition of
the Platform1 publication have already been ordered, and 1300 copies of
the English edition of Platform1 and 350 copies of the Platform2
publication have been sold.


The Documenta11 website is not only a source of practical information,
but further enables access to all platform discussions, to render
transparent the research process that has shaped Documenta11 since its
official start in March 2001.

Since April 23, 2001, the video section of the website features 230
lectures of platform 1 to 4 as “Real-Video-broadcasts”. This corresponds
to more than 11 gigabyte of data and a total length of 6200 minutes. In
total, the website contains approximately 3500 sub-sites with more than
1500 illustrations.

A look at the statistics informs about the excellent visitors’ numbers
of the website, which during the duration of the exhibition had an
average of 8.2 million page impressions and approximately 140,000 visits
per month. The breadth and density of information is mirrored in the
duration of individual visits: On average, each visitor of the website
remained on it for 60 clicks before leaving the site again; this means
that each visitor visited 60 sub-sites of www.documenta.de before
exiting the site.

Already prior to the opening of the exhibition, the videos of the
platform lecture were visited up to 2251 times per month between March
and Mai 2002.

The extraordinarily extensive and diverse contents of the Documenta11
website was also honored by independent internet magazines.
www.documenta.de was awarded website of the month by the German computer
magazine com!online in its September 2002 issue.


Since 1998, when Okwui Enwezor was announced artistic director of
Documenta11, more than 15,000 articles, announcements, and news reports
have appeared in the national and international press, more than 7,000
articles alone in 2002.

A large number of daily and weekly newspapers have dedicated series of
reports to Documenta11. Among other, the Hessisch/Niedersächsische
Allgemeine Zeitung, the ZEIT, the Tageszeitung, the Frankfurter
Rundschau, and the Neue Osnabrücker Zeitung have reported in often daily
series about the exhibition. A comparable breadth of reviews can also be
found in the radio and television reportage, as well as the
online-services of various newspapers, TV-stations, and radio programs.
Our media partners, the Hessischer Rundfunk HR2 and the TV-station Arte
broadcast – often many times per day – radio features, short films, and
artist’s productions. The radio program of the Hessischer Rundfunk hr2
has broadcasted so-called “Documenta11-diaries” on a daily basis. In the
internet, HR-online, ZDF-online, arte-online, and FAZ.net, the
online-service of the Frankfurter Allgemeine Zeitung, have featured
individual Documenta11-Sites. Until now, more than 100 hours of TV and
radio material on Documenta11 has been broadcasted, ranging from
stations and formats as diverse as the Public Access Channel Kassel to
the Spanish CNN and the Italian RAISAT, from the ZDF-news format
heute-Journal to the SAT 1 talk show “Harald-Schmidt-Show.”

Special interest magazines like Artforum (May 2002,  Summer 2002, and
September 2002), Art. Das Kunstmagazin (June 2002, July 2002, and August
2002), Kunstforum (Nr. 161, August-October 2002), Tema Celeste (July
2002 and August 2002), Art Monthly (July 2002), Monthly Art Magazine
(August 2002), ), Frieze (September 2002), Art in America (September
2002), or the chinese art magazine Artist (Juli 2002) have reported in
great extent and in special editions about Documenta11.

The art academy in Kassel and the film academy in Ludwigsburg have
developed special projects about Documenta11 with their students, from
which a series of short films were generated that were realized by the
students.

In all news reports and articles, an enduring interest in Documenta11 is
evident: following the first assessments, which we have briefly
presented in previous press releases, the most recent comments shed a
light on the guiding ideas and concepts of the exhibition, and attempt a
prognosis of the exhibition’s reverberations for contemporary art in
general.

In special interest journals and magazines, Documenta11 is equally
celebrated: Amine Haase writes in her introductory text for the special
edition of Kunstforum (August – October 2002), published on the occasion
of Documenta11: “The D11 is the first Documenta of the 21st century, and
it clearly provides a possibility to understand the choices of positions
and perspectives we have to perceive the world: We can either assume a
Western-centric position, endlessly circling around itself, or one which
is located in the margins. In Kassel, art truly is a means of insight.
… In a skillful balancing-act and with excellently selected art works,
D11 constructs a red thread which through its entanglements provides an
image of the world.”

Even at the end of the exhibition, extended reports continued in the
daily press. Kurt Kladler writes on August 31/September 1, 2002, in the
Neue Zürcher Zeitung: „Okwui Enwezor gab der Wissensproduktion einen
eigenen Status, indem er sie als Praxisform zum integralen Bestandteil
der Documenta11 machte und dadurch auch in das Gefüge von Hierarchien
eingriff, die das Verhältnis von Wissensproduktion und Kunst regeln. ...
Das wache Bewusstsein für Fragen von Hierarchien und der symbolischen
Politik von strukturellen Entscheidungen war eine der wesentlichen
Qualitäten dieser Documenta. ... Die Loslösung von einem einzigen
Zentrum, die zeitliche Ausweitung des Documenta-Geschehens und die
reflektierte Begleitung der Arbeitsprozesse sind Entscheidungen, deren
Gewicht und politische Dimension leicht übersehen und als politisch
korrektes Handeln interpretiert werden. Im Rückblick auf die zwei Jahre
des ‚Projektes Documenta11’ zeigt sich darin aber eine grundlegendere
Entscheidung. Sie basiert auf der Erkenntnis, dass unser Agieren als
politische Subjekte auch eine Funktion der Gesellschaftsarbeit ist, die
durch Institutionen ermöglicht wird. ... Die Institution wird nicht nur
zum Vehikel der Realisation einer Ausstellung, sondern ist selbst
Produkt und Medium eines politisch motivierten Gestaltungsprozesses.“

Niklas Maak attempts on September 14, 2002, in the Frankfurter
Allgemeine Zeitung to give an overview of the critical responses,
especially in the American press:
„In den Vereinigten Staaten wurde die Documenta von Beginn an scharf
kritisiert. Blake Gopnik von der ‚Washington Post’ sah in Kassel ‘die
tiefe Abscheu der globalen Linken für unser Land’ am Werk, die ‘New York
Times’ fand sie ‘puritanisch und humorlos’. Im Vorfeld des 11.
Septembers schlossen sich auch einige der überwiegend positiv
berichtenden Medien der amerikanischen Kritik an. ‘Die 11. Documenta und
der 11. September haben eins gemeinsam: die antiwestliche Speerspitze’,
hieß es vor kurzem in der ‘Welt’. Die Autorin befand allen Ernstes, daß
‘der Terror die antiwestlichen Angriffspläne der Documenta durchkreuzt’
habe. ‘Er galt demselben Ziel, erfolgte aber mit einer Wucht, die alle
intellektuellen Winkelzüge in den Schatten stellte.’ Selten ist Kunst so
unverfroren kriminalisiert worden wie mit der absurden Behauptung,
Documenta-Leiter Okwui Enwezor verfolge im Bereich der Ästhetik dasselbe
wie die Massenmörder des 11. Septembers und unterscheide sich von deren
Motivationen nur graduell. Sicher war es mehr als ungeschickt, daß
Enwezor in seinem Katalogtext die Anschläge auf das World Trade Center
zur ‘Abrechnung mit den Werten des Westens’ erklärt. Es wäre aber
voreilig, die Ausstellung dafür in Sippenhaft zu nehmen. ... Die
herausragende Qualität dieser Documenta liegt gerade darin, daß sie
nicht auf erwartbare Schockeffekte setzt, nicht die Kunstproduktion
fremder Länder mit einer im Kern neokolonialen Geste als bewundernswerte
Exotica feiert, sondern den ethnologischen Blick umkehrt und spielerisch
gegen den verdutzten Besucher richtet: Ecke Bonk etwa findet in Grimms
Wörterbuch derart absurde Worte, daß man die eigene Sprache bald wie ein
exotisches Werkzeug bestaunt. Die Documenta 11 ist das Vorbeben einer
anderen Weltsicht: einer Sicht, die nicht gegen Amerika und Europa
gerichtet ist, sich aber entfernt von den Gewißheiten des hier geprägten
Blickes auf die Bilder der Gegenwart.“

And Thomas Wagner, writing in the same issue of the  Frankfurter
Allgemeine Zeitung, comes to the following conclusion: „Erfrischend
brachte die Documenta Elemente unterschiedlicher Kulturen zur Kollision,
versäumte es aber, sich der westlich dominierten Nivellierung des
Ästhetischen entgegenzustemmen. Viele der Stimmen, die zu vernehmen
waren, sprachen zwar von fernen Ereignissen und fremden Kulturen, von
anderen Denkweisen und symbolischen Ordnungen, doch wie sie sprachen,
blieb meist vertraut und westkunstmarktkompatibel. Ähnliches gilt für
die Präsentation, die sich defensiv auf den "White Cube" und die
Tradition des europäischen Kunstmuseums stützte. Das machte die Werke
einerseits zugänglicher, zeigte aber auch, wie schwer es ist,
Alternativen zu entwickeln. Selten wurde das Allerneueste so schnell
musealisiert, das Terrain jenseits der gesicherten Säle so in mediale
Ferne gerückt wie diesmal. Nur Thomas Hirschhorn harrte aus, vor Ort.

Nach der Documenta ist immer auch vor der Documenta. Und so bleibt zu
fragen: Kann die Institution Documenta als intellektuelles Labor
überleben, wenn sie auch künftig dem Druck ausgesetzt bleibt, immer
höhere Besucherzahlen vorweisen zu müssen? Es war zeitweise sehr voll in
Kassel, zu voll. Wenn sich die Besucher scharenweise durch die Säle und
Raumlabyrinthe schoben, dann war dies kein Ort mehr, an dem Kunst
angemessen rezipiert werden konnte. Auch so wird Welt unsichtbar. Und
was es für einen ambitionierten Ansatz bedeutet, wenn bei derartigen
Großveranstaltungen am Ende die Erwartung eines Spektakels über dessen
bewußte Zurückweisung triumphiert, kann man sich vorstellen. Von den
Machern selbst beklagt wurde es jedenfalls nicht.

So hat die elfte Documenta die Kunst zwar nicht im agitatorischen Sinn
politisiert, das Politische in den Zeiten der Globalisierung aber
erfolgreich als Territorium der Kunst zurückgewonnen. Sie beackerte das
unübersichtliche Gelände mit großem Ernst - und vergaß darüber die
stärksten Bataillone gegen das Unrecht: die subversiven Potentiale des
Humors, das Befreiende des Lachens, die List der Trickser und die
Frechheit der Narren. Korrektes Wissen von den Übeln der Welt wird kaum
reichen. Denn das Dröhnen wird bleiben.“


Since 1992, documenta is working together with the Institute for
Economics of the Kassel University. Like before for DOCUMENTA IX and
documenta X, Documenta11 is evaluated under the direction of Professor
Dr. Gerd-Michael Hellstern. A first resume after two waves of
evaluations exists, the final results will be released in Fall 2002 by
Professor Hellstern.

First of all, the study proves your excellent cooperation and work:
86,8% of all visitors learned about Documenta11 through the media, in
print, radio, online, and television reports.

We are pleased to learn that our work is confirmed by the results of the
study. More than two thirds of all visitors rated Documenta11 as “very
good” or “good”.

Three thirds of the visitors rated the services used in conjuction with
the exhibition as “good” or “very good”.

The composition of Documenta11’s visitors is equally interesting: 7,1%
of all visitors are from Kassel, which means that 46.150 citizens, or
nearly 24% of all citizens of Kassel have seen the exhibition. 28% of
the visitors came from countries other than Germany.



We hope to welcome you again in Kassel for the start of documenta 12 on
June 16, 2007.


With best regards

Markus Müller
Director of Communication
Documenta11
Friedrichsplatz 18
D-34117 Kassel
Fon +49.561.70 72 7 50
Fax + 49.561.70 72 7 58
www.documenta.de

Documenta11_Timeline

On October 26, 1998, the First Mayor of Kassel, Georg Lewandowski,
acting on behalf of Documenta’s supervisory board, announced Okwui
Enwezor as Artistic Director of Documenta11.

Insistently transnational, interdisciplinary and transgenerational in
its concerns, the broad artistic and critical scope of Documenta11 was
devised by Enwezor and his team of six co-curators, Carlos Basualdo, Ute
Meta Bauer, Susanne Ghez, Sarat Maharaj, Mark Nash, and Octavio Zaya,
who were introduced to the public on October 12, 2000.

Comprised of a constellation of five platforms, realized on four
continents over the span of eighteen months between March 2001 and
September 2002, Documenta11 extends in substantive, spatial and temporal
terms beyond the traditional 100 days format of past documenta
exhibitions. The first four platforms were devised as committed,
discursive, public interventions, and enacted within distinct
communities around themes conceived to probe the contemporary
problematics and possibilities of art, politics, and society. Creating a
network of partners, collaborators, and interlocutors, many institutions
and foundations were instrumental in realizing, together with
Documenta11, the platforms, among them the Academy of Fine Arts
Vienna/Institute for Contemporary Art, the House of World Cultures and
the German Academic Exchange Service DAAD, Berlin, the Prince Claus Fund
for Culture and Development, the Hague, the India Habitat Center, New
Delhi, CODESRIA (Council for the Development of Social Science Research
in Africa), Dakar, and the Goethe Institute Inter Nationes, Munich and
Lagos.

The first platform, Democracy Unrealized took place in Vienna, Austria,
from March 15 to April 20, 2001 in Vienna. It continued from October 9
to October 30, 2001, in Berlin, Germany. Platform2, Experiments with
Truth: Transitional Justice and The Processes of Truth and
Reconciliation, took place in New Delhi, India, from May 7 to May 21,
2001, and consisted of five days of public panel discussions, lectures,
and debates and a video program that included over 30 documentaries and
fiction films. The third platform, Créolité and Creolization, was held
on the West Indian island of St. Lucia in the Caribbean between January
12 and January 16, 2002. Platform4, held in Lagos from March 15 to March
21, 2002, Under Siege: Four African Cities, Freetown, Johannesburg,
Kinshasa, Lagos, engaged the current state of affairs of fast-growing
African urban centers in a public symposium, along with a workshop,
“Urban Processes in Africa,” organized in collaboration with CODESRIA.
Over the course of one year, more than 80 international participants
across many disciplines—philosophers, writers, artists, architects,
political activists, lawyers, scholars, and other cultural
practitioners—contributed to the evolving, dynamic public sphere that
spelled out Documenta11’s attempt to formulate a critical model that
joins heterogeneous cultural and artistic circuits of present global
context.

In February 2001, the website of Documenta11 (www.documenta.de) was
launched. It has served as a source of practical information, and has
also provided comprehensive access to the debates and discussions of the
platforms. As an important step toward that aim, on April 23, 2001,
Documenta11 launched the video section of its website, making available
all lectures, presentations, and discussions in ”Real Video“ broadcast.

On October 8, 2001, Documenta11 and point d’ironie, published by agnes
b. and edited by Hans-Ulrich Obrist, published the first issue in a one
year collaboration, designed by Thomas Hirschhorn. The second issue,
designed by Yona Friedman, was released on January 15, 2002. A third
issue is designed by Hanne Darboven.

Thinking and doing Documenta11, a program of public lectures and
artists’ talks as well as seminars and workshops for the education of
the Documenta11 guides, was initiated on February 4, 2002. Conceived by
Documenta11 co-curators Sarat Maharaj—who conducted a seminar at
Humboldt University Berlin in the Fall semester of 2001/02 under the
same title— Ute Meta Bauer and the Documenta11 Education Project
Advisors Oliver Marchart and Karin Rebbert, the series was to analyze
the conceptual and organizational processes of Documenta11. Comprising
five segments which ran over five months, thinking and doing Documenta11
revisited the central concerns of the five Documenta11 Platforms, and
discussed the historical, social, and institutional conditions for
contemporary artistic production, and reception, both in seminars with
the 120 guides, who work for Documenta11’s Visitors Service, and in
public lectures. In this ongoing project, invited international scholars
and artists of Documenta11 present ideas and their work. Dedicated also
to the fostering of critical dialogue with young professionals in the
fields of visual practice, the Documenta11 Education Project also
comprises a fellowship program. On March 4, 2002, nine young curators,
artists, and scholars from Mexico, Japan, India, Italy, Belarus, the US,
Germany, and Austria began their work in Kassel to participate in the
formation of the fifth platform.

On February 28, 2002, Documenta11 announced the architectural firm Kühn
Malvezzi selected to design the exhibition galleries. The German-Italian
firm, founded in 2001, based in Vienna, and consisting of Wilfried Kühn
(*1967), Johannes Kühn (*1969), and Simona Malvezzi (*1966), devised an
elegant, articulate, multifaceted spatial design for our new venue at
the Binding Brauerei. The scale of the exhibition spaces adds
substantially, in total square meters, to the exhibition space of
Documenta11, allowing for a scale that enables a focused engagement with
the individual artistic works. Built in 1897, the brewery was expanded
four times over the course of its one hundred year history and shut down
two years ago. The stylistically heterogeneous building complex is the
starting point of Kühn Malvezzi’s architectural design for Documenta11.
Developing a flexible grid structure to transform this non-art site into
an ideal exhibition space, they made minimal interventions into the
building’s substance and its partly historic landmark façade. In
addition to the Binding Brauerei, The Museum Fridericianum, the
Karlsaue, the documenta-hall, and the Kulturbahnhof, and other locations
in the city, will host other exhibition projects. A staff of 120
installers started working in the buildings on March 4, 2002.

On the occasion of Documenta11, the German Federal Ministry of Finance,
Hans Eichel, issued a special postage stamp and a 10 Euro commemorative
coin on May 2, 2002.

On April 30, 2002, Documenta11 announced the list of the 116 invited
artists and artists’ groups, and on June 8, 2002, we opened the fifth
platform of Documenta11, after almost four years of activities,
research, and public debates, around which the project was organized.

Throughout the 100 days of the exhibition, a program of artists’
presentations, concerts, performances, workshops, and a film program has
further augmented the generous scale and exploratory character of the
exhibition.

>From June 8 to September 15, 2002, 25 films by 14 filmmakers and
filmmakers’ collectives have been presented in the Documenta11_Film
Program in three daily screenings. Four films—Atanarjuat by Igloolik
Isuma Productions, Ticket to Jerusalem by Rashid Masharawi, A Night of
Prophecy by Amar Kanwar, and From the Other Side by Chantal Akerman—had
German and World premieres at the film program of Documenta11.


On June 13, 2002, Andreja Kuluncic gave an artists’ presentation
entitled Distributive Justice: Good Old Theories And Bad Practices, and
on June 14, 2002, Documenta11 participants Le Groupe Amos presented a
lecture on Democracy, Development And Peace: Working with illiterate
people in the Democratic Republic of the Congo.

The series “Studio talks on Photography and Film”, organized by
Documenta11 and Sparkassen-Finanzgruppe, was initiated on June 16, 2002,
with a discussion between Allan Sekula, Okwui Enwezor, and Chris Dercon.
The series continued on July 13, 2002, with a discussion between David
Goldblatt,  Carlos Basualdo, Okwui Enwezor, and Thomas Weski. On August
17, 2002, Bernd and Hilla Becher discussed with Okwui Enwezor, and Heinz
Liesbrock, and on September 7, 2002, Fiona Tan responded to Okwui
Enwezor, and Catherine David.

>From June 6 to 8, 2002, John Bock began the public rehearsals, concerts,
lectures, events, and action pieces that comprise Gribbohm II b, his
work for Documenta11. Further public presentations took place on June 12
to 17, 2002, from June 19 to 23, 2002, from July 3 to 7, 2002, from July
10 to 14, 2002, from July 25 to 28, and July 31, 2002, on August 1,
2002, from August 20 to 25, 2002, and from August 28 to September 2,
2002. On August 20, 2002, John Bock presented a concert/performance,
together with the Austin, Texas, based band And You Will Know Us By the
Trail of Dead.

As a result of the Media Partnership between Documenta11 and ARTE - TV
the master class of the German - French film academy has caught
cineastic impressions of Documenta11 in Kassel. 30 short films of three
minutes length each have been produced, which were screened daily,
beginning July 15, 2002, on ARTE.

On July 16, 2002, Documenta11 artists Alejandra Riera and Doina Petrescu
presented a conference-discussion in conjunction with the 4th draft of a
work in progress L'association (des pas). Fîlmek kû nikare bê avakirin.
Un film non réalisable, 2002. Madjiguène Cissé, Fulvia Carnevale, Doina
Petrescu, and Alejandra Riera participated.

Documenta11 participants Raqs Media Collective from New Delhi presented
their work in a series of public presentations in Kassel. On July 17,
2002, they participated in a public chat, together with ZonAnomala from
Venice, Italy, and Nomads & Residents from New York/Los
Angeles/Rotterdam/Berlin, organized by the Documenta11_Education
Project. On July 19 and 20, 2002, Raqs hosted a public discussion in the
documenta-Halle, as part of their work for Documenta11, 28°28’N /
77°15’E:: 2001/2002. An Installation on the Coordinates of Everyday Life
– Delhi. Ravi Sundaram (New Media Theorist, Sarai/Centre for the Study
of Developing Societies, Delhi), Nancy Adajania (Art Critic, Curator &
Filmmaker, Editor 'Art India', Mumbai), Lawrence Liang (Lawyer and Legal
Scholar) Alternative Legal Forum, Bangalore), and Geert Lovink (New
Media Theorist & Critic, Nettime & Society for Old and New Media,
Amsterdam/Sydney), participated.

On July 26 and 27, 2002, Documenta11 artist Walid Ra'ad presented his
performance/lecture The Loudest Muttering is Over: Documents from The
Atlas Group Archive.

On August 1, 2002, Documenta11 artist, Fareed Armaly presented a
discussion and film screening on “the production of documentary film
production through two recent Palestinian examples”, together with
Palestinian fillmakers Rashid Masharawi and Mai Masri, and a discussion
between Fareed Armaly, Dr. Helmut Draxler, and Ute Meta Bauer.

On  August 14, 15, and 16, 2002, Documenta11 artist Joan Jonas presented
her performance Lines in the Sand. A proposal concerning Helen of Egypt
at the Frizz Theater in Kassel. On August 16, 17, and 18, 2002, Hanne
Darboven’s concert Sextett für Streicher op. 44 (1998/1999) was
performed by the Frankfurt based orchestra Ensemble Modern at the Kassel
State Theater.

On August 23, 2002, another presentation of Documenta11 artists took
place: Nomeda & Gediminas Urbonas presented their project Transaction,
and organized a Jembe (Drum) Session that went on all night.

The Documenta11_Artist Presentations continued with a public
presentation by the Senegalese artists’ group Huit Facettes on September
11, 2002, and on September 13, 2002, Documenta11 artists’ group
Multiplicity held a workshop in conjunction with their work at
Documenta11, Journey through a Solid Sea.

Documenta11 will continue after the closing of Platform5 through its
publications. In Fall/Winter 2002, the remaining publications of
Platform3 and Platform4 will be released.