https://doi.org/10.1162/grey_a_00346 Editors’ Introduction: Pious Technologies and Secular Designs MARÍA GONZÁLEZ PENDÁS AND WHITNEY LAEMMLI The “science of spirits” that structured the taxonomy of the Encyclopédie. Pierre Curie and Marie Curie’s regular séance attendance. Spaceships engineered to “touch the face of God.” Modernist office furniture designed to sacralize the corpora- tion.1 In recent years, scholarship across disciplines has worked to undermine the myths of Western disenchantment

Cover of Die graphischen Künste 22 (1899), which includes Alois Riegl, “Die Stimmung als Inhalt der modernen Kunst” (Mood as the Content of Modern Art). Digital Library Heidelberg. © Universitätsbibliothek Heidelberg. l D o w n o a d e d f r o m h t t p : / / directo . m i t . / mi

Discussion among members of Taring Padi and students of the MA in Transcultural Studies and Art History, Heidelberg University, at Documenta 15, Hallenbad Ost, Kassel, Junio 28, 2022. Photograph by Georgy Radchenko. 94 https://doi.org/10.1162/grey_a_00380 Learning with Documenta 15: Principles, Practices, Problems MONICA JUNEJA AND JO ZIEBRITZKI In 1982, visitors to Documenta 7 encountered a pile of seven thou- sand basalt stones on the grounds in

Gudskul. Installation view, Documenta 15, Kassel, 2022. 64 https://doi.org/10.1162/grey_a_00379 Missed Encounters: Introduction to Documenta 15 Dossier ERIC C.H. DE BRUYN Last summer, Documenta 15 (the latest installment of the quin- tennial exhibition of contemporary art in Kassel, Alemania) was roiled by a particularly vehement reception in the German press, with various accusations of antisemitism being fielded against participants in the exhibition. What happened was more

On Documenta 15 T.J. DEMOS In an early statement on their approach to Documenta 15, the artistic collective ruangrupa announced the exhibition’s frame- trabajar: The concept ruangrupa has prepared for documenta fifteen is “Lumbung.” A lumbung—or rice barn—is a place to store communally-produced rice as a common resource for future use. If Documenta was launched with the noble intention to heal European war wounds, este

A Provocation to Contemporary Art as Place-Making: Some Observations after Documenta 15 RAQS MEDIA COLLECTIVE 1. Since the beginning of this century a search for new ways of gathering has been underway. Documenta 11 signified that the poetics of equality and multiple wills to globality are impor- tant grounds on which to gather and listen to the world. This was also evident in the processes

Wang Mingqi. Projection Team on the Lake. Cut-paper illustration by a projectionist of an open-air screening. From Dianying fangying (Film projection), No. 3 (1965). l D o w n o a d e d f r o m h t t p : / / directo . m i t . / e d u g r e y /

“Reproduction of a drawing by M. Suppantschitsch.” Max Suppantschitsch. Cypressen (Cypresses). From Alois Riegl, “Die Stimmung als Inhalt der modernen Kunst” (Mood as the Content of Modern Art). 26 https://doi.org/10.1162/grey_a_00301 Mood as the Content of Modern Art ALOIS RIEGL TRANSLATED BY LUCIA ALLAIS AND ANDREI POP l D o w n o a d e d f r o m h t t p :

Jack Burnham. Beyond Modern Sculpture: The Effect of Science and Technology on the Sculpture of This Century(1968). Cover. 88 doi:10.1162/GREY_a_00205 Jack Burnham Redux: The Obsolete in Reverse? LUKE SKREBOWSKI The emergence of a “post-formalist esthetic” may seem to some to embody a kind of absolute philosophy, something which, through the nature of concerns cannot be tran- scended. Yet it is more likely that a “systems