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Posted On: August 7th 2026, 01:26 pm
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THROWNACK: ISSUE #6 DO (NOT) DISTURB
One year before the 2027 Documenta takes place in Kassel, Maria Neff @neffmaria revisits the previous edition from 2022 to examine the artistic programme Chilltan, initiated by artist Saodat Ismailova and the group DAVRA. Neff observes how the different performances and artworks of the Chilltan programme evoke multiple modes of relationality by drawing on customs, rituals, and myths from Central Asia. The essay examines how these acts continuously constitute ways of living that oppose dominant regimes of productivity and acceleration.
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Maria Neff @neffmaria is currently pursuing an M.A. in the History of Art at Humboldt-Universität zu Berlin. She previously completed a B.A. in Art and Visual History and Philosophy at the same university, and studied Philosophy of Aesthetics and History of Art at the University of Edinburgh. Her research explores how contemporary art in Central Asia navigates the conditions of postcoloniality, and how performative and
decolonial gestures give rise to new epistemic frameworks and modes of artistic production.
Read her full essay via our link in bio!
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Image: Saodat Ismailova, Chilltan #2, documenta fifteen, Kassel, 2022. Installation view. Photo by Nicolas Wefers. © Saodat Ismailova. Courtesy of the artist.
One year before the 2027 Documenta takes place in Kassel, Maria Neff @neffmaria revisits the previous edition from 2022 to examine the artistic programme Chilltan, initiated by artist Saodat Ismailova and the group DAVRA. Neff observes how the different performances and artworks of the Chilltan programme evoke multiple modes of relationality by drawing on customs, rituals, and myths from Central Asia. The essay examines how these acts continuously constitute ways of living that oppose dominant regimes of productivity and acceleration.
•
Maria Neff @neffmaria is currently pursuing an M.A. in the History of Art at Humboldt-Universität zu Berlin. She previously completed a B.A. in Art and Visual History and Philosophy at the same university, and studied Philosophy of Aesthetics and History of Art at the University of Edinburgh. Her research explores how contemporary art in Central Asia navigates the conditions of postcoloniality, and how performative and
decolonial gestures give rise to new epistemic frameworks and modes of artistic production.
Read her full essay via our link in bio!
•
Image: Saodat Ismailova, Chilltan #2, documenta fifteen, Kassel, 2022. Installation view. Photo by Nicolas Wefers. © Saodat Ismailova. Courtesy of the artist.
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