1 Another clinical limitation is the serious toxicities that may arise following CAR T cell tumor recognition (reviewed in Sadelain et al.
While adoptive transfer of CAR T cells has seen striking results in some malignancies, its efficiency has been tempered in others due to limited expansion, persistence, and tumor homing of the transferred cells. Those collectives in turn invited more than 50 individual artists and groups to join in, and all the participating artists were then organized into 10 “mini-majelis,” or small meeting groups, to ensure that everyone was included in planning the show.A rapidly emerging immunotherapy approach is the use of chimeric antigen receptor (CAR) T cells. To create a lumbung in Kassel, ruangrupa first invited 14 artist collectives from around the world to present work at Documenta.
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The basis of ruangrupa’s curatorial concept is the “lumbung,” an Indonesian barn used to store the surplus of a rice harvest before the community makes collective decisions on how to allocate it. “These are people who, together with their art, are trying to change things,” said Sabine Schormann, Documenta’s general director. With so many diverse groups with a social or political agenda, perhaps some conflict is inevitable. Ruangrupa described the attack as “a politically motivated threat” Documenta has filed a criminal complaint. The same weekend, an unidentified intruder or intruders broke into the former Kassel nightclub where The Question of Funding is exhibiting and graffitied the walls. In an apparent bid to calm the storm, Roth issued a joint statement with Schuster on May 13, cautioning that Germany’s “special responsibility in the fight against antisemitism” required “particular sensitivity in discussions at and about Documenta.”īut the discussion has shown no signs of abating: Felix Klein, the official in Germany’s government charged with fighting antisemitism, said in a newspaper interview published May 29 that the absence of Israeli artists at Documenta could trigger speculation they had been boycotted. The organizers decided to postpone the talks until after the exhibition opens. But before the event could take place, Josef Schuster, the president of Germany’s Central Council of Jews, wrote a letter to Germany’s culture minister, Claudia Roth, criticizing Documenta’s plan to include a discussion of anti-Palestinian racism at the event.
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Pointing out that ruangrupa members are predominantly Muslim, Stefan Trinks commented in the Frankfurter Allgemeine Zeitung newspaper that their “awareness of Jewish concerns may be rather underdeveloped.”ĭocumenta first opted to address the controversy with a series of public discussions in May. The blog’s accusations were picked up by German newspapers, and some opinion writers added their own assumptions. In 2019, Germany’s Parliament declared that movement antisemitic, saying its campaigns recalled “the most terrible chapter in German history.” In January, a group called Alliance Against Antisemitism Kassel published a blog post in which it accused members of ruangrupa, the Documenta artistic team and the Palestinian collective of sympathy with the Boycott, Divestment and Sanctions movement against Israel. The decision to include a Palestinian collective called The Question of Funding, whose work explores the ways Palestinian artists finance their practice, has been a source of strife. Other participants’ causes are more vexed, at least here in Germany. That group has set up a skateboard ramp and a shadow-puppet theater in the Documenta Halle. The group is bringing a sense of Mukuru to comfortable Kassel: a pitch-dark tunnel filled with Nairobi street sounds will lead visitors into the main exhibition space, the Documenta Halle.Īnother participant, Baan Noorg Collaborative Arts and Culture, works with monks and dairy farmers in a rural area of western Thailand to promote sustainability and preserve local cultural traditions.
Wajukuu Art Project, for instance, holds art classes for children in Mukuru, a deprived district of Nairobi, Kenya, where many residents scavenge from a dump or turn to petty crime for survival. The exhibiting collectives all pursue social or environmental missions on a local level in their homelands.
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