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RomaMoMA at documenta fifteen

Sead Kazanxhiu: The Nest, 2012–2022. Installation view, One Day We Shall Celebrate Again: RomaMoMA at documenta fifteen, Fridericianum, Kassel, 2022. Photo: Sead Kazanxhiu. Sead Kazanxhiu: The Nest, 2012–2022. Installation view, One Day We Shall Celebrate Again: RomaMoMA at documenta fifteen, Fridericianum, Kassel, 2022. Photo: Sead Kazanxhiu.
Sead Kazanxhiu: The Nest, 2012–2022. Installation view, <em>One Day We Shall Celebrate Again: RomaMoMA at documenta fifteen</em>, Fridericianum, Kassel, 2022. Photo: Sead Kazanxhiu.

June 18–September 25, 2022

We have relied on our own archives, our own transgenerational sharing of knowledge, our own pedagogies of practice. The beauty that we share with the world, the ways that we teach, learn, and thrive, have been built by us, for each other—and, yes, for you. We have healed each other, and, through our fortune-telling, our metalwork, our horses, our art, our caring for the Earth, we have strived to heal you as we heal ourselves. This is how we educate. This is our heritage. This is our culture. We heal, we teach, we share, we build new ways of knowing and new forms of being, in everything we do. —Ethel Brooks: RomaMoMA Manifesto for documenta fifteen, 2022

One Day We Shall Celebrate Again: RomaMoMA at Documenta fifteen features artworks that explore the concept, question, and (im)possibilities of a “RomaMoMA” (Roma Museum of Contemporary Art).

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How can Roma artistic heritage and contemporary art, which is still outside the cultural canon, be presented in a formal exhibition environment, when it is precisely the systematic work, the collection and recognition process of Roma art, as well as the institutions that would make it all possible, that has been lacking?

What is the definition of Roma art—or Roma artist—and should such categories even be considered? One Day We Shall Celebrate Again, which is on view at numerous places as part of documenta fifteen, transports the viewer from the past’s untold or suppressed stories to the present, creating a space that crosses modern works and voices. Within the edifice of the Fridericianum, the first public museum building on the European continent, a diversity of voices is presented through the works of older and younger generations of artists in a way that both constructs and deconstructs the idea of the Roma art museum and creates an imaginary transnational space.

Participating artists: Daniel Baker, János Balázs, Robert Gabris, Sead Kazanxhiu, Damian Le Bas, Małgorzata Mirga-Tas, Omara (Mara Oláh), Tamás Péli, Selma Selman, Ceija Stojka

Curated by Daniel Baker, Ethel Brooks, Tímea Junghaus, Hajnalka Somogyi, Eszter Szakács, Katalin Székely, Miguel Ángel Vargas

Consultants: Eszter György, Angéla Kóczé / CEU Romani Studies, Anna Lujza Szász, Teri Szücs

Contributor: East Europe Biennial Alliance

Further exhibitions of the European Roma Institute for Arts and Culture (ERIAC)
Eugen Raportoru: The Abduction from the Seraglio. Roma Women: Performative Strategies of Resistance. Collateral event at the 59th International Venice Biennale
April 23–November 27, 2022

Emília Rigová: And the One Doesn’t Stir without the Other. Roma Pavilion at the 23rd International Art Exhibition Triennale Milano
July 15–December 11, 2022

Roma Rajni: RomaMoMA Library, featuring Daniel Baker and Farija Mehmeti at Manifesta 14 in Prishtina (Kosovo)
July 22–October 30, 2022

Press: [email protected]

Fridericianum
Friedrichsplatz 18
34117 Kassel
Germany
eriac.org
Instagram / #romamoma

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