REALTYCOOP2017

History of Documenta The first Document was organized in 1955 by the artist Arnold Bode which wanted to offer a large exhibition on the art that the nazis banished and repressed. From the beginning, Documenta has a consideration on art history and especially the art that was exclude, forbidden or marginalized. Documenta is not a selling exhibition but it’s consider as strong critical and political engaged exhibition. It’s a exhibition which is organized every 5 years in Kassel, germany. Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days". From Documenta 5, it’s a different artistic director which is selected to direct Documenta. - documenta 5 (30 juin - 8 octobre 1972) : Harald Szeemann - documenta 6 (24 juin - 2 octobre 19774) : Manfred Schneckenburger - documenta 7 (19 juin - 28 septembre 1982) : Rudi Fuchs - documenta 8 (12 juin - 20 septembre 1987) : Manfred Schneckenburge...

The – end the end successful – attempt of “Building an unowned Property” to turn an ordinary real estate into “recent cultural object” and “immovable monument” is based on the two following laws: Granada Convention for the Protection of Architectural Heritage of Europe , from 1985, which was ratified by Greek Law 2039/1992 ( http://www.unesco.org/culture/natlaws/media/pdf/greece/gre_law2039_1992_granadaconv_greorof ) and the Greek Law 3028/2002 entitled On the Protection of Antiquities and Cultural Heritage in General (https://norwinst.w.uib.no/files/2017/03/Antiquities-Law-of-Greece_3028en.pdf) It is the later one that plays an important role, as the Granada Convention mainly lays out the general framework and idea of protecting architectural heritage (its importance in city planing, education, quality of life etc. etc.) , but also states that ideas and intentions are subject to means specific to each state or reagion. ( project proposal  and Letter to the Cultural M...

Research Summary regarding other Legislations on properties as Culture Heritage: My research was to follow the  Legislations  that Maria Eichhorn used to be able to create the unowned property and to see if this can be replicated elsewhere. The general statement of the presentation was that  it is replicable in many other countries , as such laws are not unique to the Greek legislation.  The main point in her work was to be able to declare the house as a monument protected under article 6 Law 3028\2002, which was granted by the ministerial decision number 43359\2008. The house was declared as a contemporary cultural monument for its use in Documenta 14. In the Netherlands case : under the Monuments and Historical Buildings Act of 1988 and the Heritage Preservation act, a monument is defined as: “ objects that have been created at least fifty years ago and that are of public interests due to their beauty, scientific \academic relevan...

PART A I aim to clarify the different approaches to property and ownership in Maria Eichhorn’s practice, with a view to discussing our potential intervention in Athens. How might the concept of ownership be understood and troubled through Eichhorn’s work? I will trace the various conceptions of ownerships she explores in The Politics of Restitution of 2003 before moving to The Rose Valland Institute and Building as Unowned Property , the latter two recently executed for Documenta 14. Both The Politics of Restitution and The Rose Valland Institute focus on the restoration of ownership , on establishing provenance through art historical research, workshops, seminars and making the objects under question public through exhibition display. By contrast , Building as Unowned Property attempts to negate, or at least strain, private ownership , by taking the building out of the housing market, rendering it a monument under Greek law that prohibits use (unless applications are filed and gra...