documenta fifteen (d15) was held in Kassel, Germany from June to September 2022, and sparked heated media attention and critical discussions before, during, and after the exhibition. With the indigenous curatorial concept of lumbung, the artistic directors, ruangrupa, a Jakarta-based artist collective, brought a new corpus of artists, artist collectives, artistic projects, and cosmologies largely from the global south to d15. Notwithstanding its decentralised curatorial method and rhizomatic exhibition structure, many critiques of d15 continue to take a top-down approach, focusing on its overarching structure, curatorial discourse, the curators’ trajectory, collective methodology, and the context of international mega-exhibitions. With a bottom-up approach and a lumbung community perspective, this essay examines some of the lumbung practices, including but not limited to social gatherings with feasts and festivals, struggles for land and natural resources, and women and queer groups’ practices. The essay argues that, in spite of challenges and limitations, the lumbung community have enabled d15 to become a site of resistance to colonialism, capitalism and patriarchy, a proposition that aligns with the initial vision for d15.
Australian and New Zealand Journal of Art, 2024. doi: 10.1080/14434318.2024.2375312
Description:
documenta fifteen (d15) was held in Kassel, Germany from June to September 2022, and sparked heated media attention and critical discussions before, during, and after the exhibition. With the indigenous curatorial concept of lumbung, the artistic directors, ruangrupa, a Jakarta-based artist collective, brought a new corpus of artists, artist collectives, artistic projects, and cosmologies largely from the global south to d15. Notwithstanding its decentralised curatorial method and rhizomatic exhibition structure, many critiques of d15 continue to take a top-down approach, focusing on its overarching structure, curatorial discourse, the curators’ trajectory, collective methodology, and the context of international mega-exhibitions. With a bottom-up approach and a lumbung community perspective, this essay examines some of the lumbung practices, including but not limited to social gatherings with feasts and festivals, struggles for land and natural resources, and women and queer groups’ practices. The essay argues that, in spite of challenges and limitations, the lumbung community have enabled d15 to become a site of resistance to colonialism, capitalism and patriarchy, a proposition that aligns with the initial vision for d15.
Australian and New Zealand Journal of Art, 2024. doi: 10.1080/14434318.2024.2375312