In response to Hyperallergic’s request for comment, Documenta 15’s press coordinator sent the following statement: “The management of documenta and ruangrupa have taken note of the assessment of the committee. ruangrupa, as the Artistic Direction of documenta fifteen has the sole right to decide and does not wish to follow the recommendation to temporarily remove the work Tokyo Reels by Subversive Film from the exhibition.”
ents, but also the comments inserted between the films, which legitimize the hatred of Israel aThe advisory committee deemed the films, as well as talks accompanying the screenings, inappropriate. “What is highly problematic about this work is not only the films, which contains antisemitic and anti-Zionist elemnd the glorification of terrorism in the source material through heir uncritical discussion,” the council determined. It then proceeded to criticize the “one-sided” portrayal of Israelis and Palestinians in the films and the characterization of Israel as “fascist.” The council’s statement invoked the International Holocaust Remembrance Alliance’s definition of antisemitism to argue that TRFF qualifies as antisemitic.
The September 10 open letter — signed by Documenta 15’s curatorial group ruangrupa, Palestinian artist collective the Question of Funding, and Subversive Film, all of whom have now been targets of antisemitism allegations in the course of Documenta 15’s lead-up and run — pushes back on the advisory council’s verdict.
“We do not accept the allegations of their preliminary report, which unashamedly reproduce poorly researched claims from the media; likewise, the report lacks scientific proof, academic references, rigorous argumentation and integrity,” the open letter reads. The writers specifically take issue with the International Holocaust Remembrance Alliance’s definition of antisemitism, contending that it miscasts any criticism of Israel as antisemitic, and denounces the council’s categorization of TRFF as “propaganda.”
“Their simplistic notion of ‘propaganda’ enables a specious argument that critique of the State of Israel is an incitement of hatred of an entire people—this is a very serious accusation that shocks and hurts us,” the letter continues, reiterating support for Jewish “comrades” whom they are united with in the struggle against the Israeli state.
Beyond refuting the council’s argument, the open letter criticizes Documenta’s role in cultivating an environment in which artists and curators have been subject to a relentless smear campaign. “We are outraged, we are exhausted, but our struggle will continue,” it reads.
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