An in-depth ex-post reflection on Documenta 14 by one of its curators, Pierre Bal Blanc, with the contribution of Adam Szymczyk. It’s 2013 and Adam Szymczyk, one of the most radical curators on the international scene, is called to direct the most important contemporary art exhibition in the world. Szymczyk and his team move the exhibition outside the borders of Kassel, in Athens, mostly because of its clearly antagonistic relationship with German (and Western European – U.S. American) neoliberal politics. Their curatorial approach takes the exhibition to a breaking point never seen before, especially in relation to institutions and politics. With this book, published five years after the exhibition, Pierre Bal-Blanc finally rereads, in a complete and lucid way, that historical passage in the light of its “scandal,” and he does so from a privileged position, namely that of one of the curators who accompanied Adam Szymczyk’s artistic direction, together with curators Hendrik Folkerts, Candice Hopkins, Hila Peleg, Dieter Roelstraete, Bonaventure Ndikung, Monika Szewczyk, advisors Marina Fokidis, Natasha Ginwala, Erzen Shkololli, Elena Sorokina, Paolo Thorsen-Nagel, Quinn Latimer, Katerina Tselou, Andrea Linnenkohl, Ayse Güleç, and educators and public program Paul B. Preciado, Sepake Angiama, Arnisa Zeqo and Clare Butcher. The long and in-depth essay is an articulate ex-post reflection that traces the events from a critical standpoint. As in a diary, Bal-Blanc tells us about his direct experience, overturning the dominant perspective, and offering a new and personal vision not only of the artistic choices, but also of the political and social dynamics that followed. The book concludes with an extensive and thought-provoking conversation between the artistic director of Documenta, Adam Szymczyk, and Dorota Sajewska. With a preface by Andrea Bellini, director of the Centre d’Art Contemporain Genève, The Continuum Was Performed in the Following Manner offers the possibility to study and understand the extraordinary phenomenon that is documenta, through the voices of those who for too long remained silent in the noisy media chaos that accompanied the events. The book is therefore an invitation to reread the events in a different light and reflect on the merits and limits of one of the most controversial and stimulating editions of documenta ever held.

Mad Marginal is a project started by artist Dora García in November 2009. Mad Marginal wants to research a form of artistic practice, using the tradition of antipsychiatric and anti-institutional movements as a prism to look at the work of artists who have either consciously chosen to remain outsiders or been defined as outsiders by others. The publication appears in the form of cahiers. Mad Marginal Cahier #2: The Inadequate is the second cahier, presented as the publication for the Spanish Pavilion at the 54th Venice Biennale 2011. Contributors Pierre Bal-Blanc and Elisabeth Lebovici, Howard S. Becker, J. M. Coetzee, Dora García, Katya García-Antón, Ugo Guarino, Peter McKenna and Tomasino Oh, Cesare Pietroiusti/Alessandra Meo/Mattia Pellegrini/Davide Ricco, François Piron, Tavolo del pensiero, Nicola Valentino