Documenta14 & Curatorial Innovation

IMG_8423The innovation of Documenta14  did not lie in the fact that it happened equally in two cities. Documenta 11 and 13 had not taken place in cities other than Kassel, nor was it that the highest percentage of the artists came from the periphery of the Western world. Documenta12 had a high rate of artists from the periphery. The same concept had been already shown in the exhibition Magiciens de la Terre in 1989 at the Centre Georges Pompidou by the curator Jean-Hubert Martin – a theme about post-colonialism with artists from the periphery of the Western art world (Magiciens de la Terre, 2017). The innovation laid firstly in the fact that this Documenta supported a large number of artists who were not represented by commercial galleries and they worked in non-material, ephemeral and social practices. Documenta14 embedded fully the curatorial activism as defined by Maura Reilly ᾽to give voice to those who have been historically silenced or omitted altogether’ (2017). Secondly, the working relationship between the artistic director, his team and the artists was cooperative; the artistic director and the team took care to listen closely and carefully to the artists, rather than imposing a top-down curatorial will as the artists by themselves stated that we understood this exhibition to be a listening documenta’ (E-Flux conversations, 2017a). Thirdly, it was an apatride exhibition, at least in the Athens exhibition, in that there were no dates and place of birth/origin of the artists, an idea that the artists themselves asked for (Stedelijk Museum, 2016). Fourthly, it concentrated on the language and stories that each artist from the periphery had faced and the hardship they had overcome. The artists had to bring their personal stories in every form, artwork, performance, music, into the exhibition and tried to be inclusive as well as specific, which means they had to concentrate on the dominant narrative of the Athens model and on the complex narrative, which was that of Athens and Kassel. The juxtaposition of stories from all over the globe could be disorienting but was precisely the point of the structure of this exhibition (E-Flux conversations, 2017a). Finally, the event was part of a process of acquiring experience for all the participants; this fact could erase any claim and criticism of the reviewers about the event. For example, one of the reviewers, Sarah Crown, wrote about the banned books in The Parthenon of Books ‘by being pinned and mounted salon style, the volumes became untouchable and unreadable symbols, which is precisely what the fascists made of them’ (Cowan, 2017). In the last week of the exhibition, all those books were given out for free to the visitors. This high complexity of the show in real time created an interesting fact that nobody could have seen the same thing and even if that happened the time would have changed the initial impression. Nothing is static, precisely as the people interact in the virtual world on the Internet.

Extract from “Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition” MA Thesis by Dia Mexi, 2018


 

Reference List

E-flux conversations (2017a) A statement by the artists of documenta 14 [Online]Available from: https://conversations.a.com/t/a-statement-by-the-artists-of-documenta-14/7031 [Accessed 10 October 2017].

Cowan, S. (2017) ‘Documenta’s False Optimism’ The Paris Review, [Online] Available from: https://www.theparisreview.org/blog/2017/10/05/documentas-false-   optimism/ [Accessed 24 November 2017].

Reilly, M.(2017) What is curatorial activism? Artnews [Online] Available from: http://www.artnews.com/2017/11/07/what-is-curatorial-activism/ [Accessed 3 December 2017].

Stedelijk Museum (2016) Talk: Documenta14 Learning from Athens [Online video] Available from: https://www.stedelijk.nl/nl/evenementen/talk-documenta-14–learning-from-athens [Accessed 14 September 2017].

 

 

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Documenta14 & Postmodernism

IMG_8514Elisabeth Wild, Fantasias, 2016–17, collages, installation view, Neue Galerie, Kassel, documenta 14, pic. Dia Mexi, 2018

Okwui Enwezor, the artistic director of Documenta11, said that he sees the Documenta’s exhibition as more a diagnosis than a prognosis of the art in the future (Bolen, 2002). If Documenta1 crystallized and consolidated the modernism in Germany (Wallace, 1987), the Documenta14 did the same for postmodernism in the global art market. The diagnosis that Documenta14 provides is what the postmodernism theory already incorporates, where scholars are engaging to make modernism less Eurocentric by including the art production outside Western Europe and the United States (minorities) and engaging with postcolonial theory (Woods, 1999:44).

Documenta14 event as an identity had all the characteristics of postmodernism era in art as Ihab Hassan (one of the earliest commentators on postmodernism) has described its characteristics in comparison to modernism ‘Modernism /Postmodernism: Form/Antiform, Design/Chance, Art Objects, Finished Work/Process, Performance, Creation, Totalization/Decreation, Deconstruction, Genre / Text, Interpretation/Against Interpretation Determinacy/Indeterminacy, Transcendence/Immanence’ (Woods, 1999: 59).

Hassan has designated the tendencies of postmodernism in two concepts, indeterminacy, and immanence, which both cases are manifested in the workings of language (Woods, 1999: 59). It appeared that Adam Szymczyk wanted to show precisely the postmodernism era with all the characteristics of indeterminacy and immanence and workings with language. In his first interviews, he described the title Learning from Athens as working title and also he gave the hint of his inspiration, which was the title of the book Learning from Las Vegas by Robert Venturi (Szymczyk, 2015b), the representative of postmodernism in architecture. The project had the method of synthesis rather than analysis, freestyle, playful full of doubt, complexity, and incoherence. All the characteristics that Levin had described for the postmodernism era such as the experimental process of the exhibition (1988), which in Documenta14’s case was denoted by the working title.

Documenta14 reference to political and cultural issues in deracialised and denationalized discourse was another characteristic of the modernistic era described by of Jahan Ramazani (Mao and Wlakowits, 2008:739).

On the other hand, since Documenta14’s show as a whole was contained in the definition and the rhetoric of the postmodernism era then this fact can justify the criticism of many reviewers who argued that it created a political vacui (Tzirtzilakis, 2017; Falkenshausen, 2017). The latter came following the argument that postmodernism is nothing but another stage in the West’s crisis of consciousness (Quasyon, 2008) ultimately apolitical and does not feed into larger projects of emancipation (Quasyon, 2008).

All the previous Documentas were based exclusively upon its summarizing of contemporary developments. On the other hand, the initial Documenta in 1955 performed a unique historical role. Unlike the exhibitions that followed the first Documenta attempted a systematic recuperation and accounting (but not necessarily a thorough one) of the history of modern art from 1905 to the 1950s.

Documenta14 as a show was an amalgamation of postmodernism with all the characteristics of the art in the era of postmodernism and postcolonialism of the art and the inclusion of the otherness.

An extract from “Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition” by Dia Mexi’s MA thesis, 2018.  Copyright:  Dia Mexi,  2018

 

 

Reference List

Bohlen, C. (2002) ‘Global vision for global show documenta’. New York Times. [Online] Available from: http://www.nytimes.com/2002/02/12/arts/global-vision-for-global-show- documenta-curator-sees-art-expression-social.html [Accessed 12 November 2017].

Falkenshausen von, S. (2017) ‘Get Real’, Frieze, [Online], Available from: https://frieze.com/article/get-real-0 [Accessed 19 September 2017].

Mao, D. and Wlakowits, R. (2008) ‘The new Modernist Studies’ PMLA 123(3) : 737-7

Quasyon, A. (2008) ‘Postcolonialism and Postmodernism’ [ebook]. In: Schwarz, H. and Ray, S. eds. A companion to Postcolonial studies. New Jersey: Wiley:p.87-111. Available from: https://books.google.co.uk/books?hl=en&lr=&id=Xdnk8v-H9HIC&oi=fnd&pg=PA87&dq=postcolonial+postmodernism&ots=4xKGoZuHdQ&sig=_V2_PbVXCTb2DR0RfPTBltw1Js0#v=onepage&q=postcolonial%20postmodernism&f=false [Accessed 10 November 2017].

Wallace, I. (1987) The first documenta 1955: The Triumph of Pessimism. University of British Columbia Department of Fine Arts, 26 September 1987. [Online] Available from:  http://d13.documenta.de/research/assets/Uploads/Wallace-The-First-Documenta-1955.BF.clean.doc [Accessed 10 October 2017].

Woods, T. (1999) Beginning Postmodernism. Manchester: Manchester University Press

Tζιρτζιλάκης, Γ. (2017) ‘Eνα ατελές λεξικό για την documenta14’ Αυγή. 20/12 [Online] Available from: http://www.avgi.gr/article/10812/8301992/ena-ateles-lexiko-gia-ten-documenta-14 [Accessed 1 September 2017].

 

Documenta14 Reflecting on the past Documentas

Documenta is one of the more important and critically esteemed art exhibitions. The founder of Documenta was Arnold Bode, a curator, painter and academic professor. The first Documenta took place in Kassel in 1955, as a matter of cultural urgency in post-war Germany, aiming to bring Germany back into dialogue with the rest of the world and to connect with the international world of the twentieth-century art. Ian Wallace argued ‘Documenta was part of the recognition of national rootedness and the role of history and tradition in this process; this was its specific ideological role and the status of abstract art was at the center of it’ (Wallace, 1987). It started as part of the Horticultural show of that time and later because of its success became autonomous perpetuating the exhibition of this ‘museum of 100 days’ (Wallace, 1987) every five years. The quinquennial interval of the event was established after the second Documenta, which took place four years later in 1959 after Documenta 1 in 1955. This change was due to in-house problems of Documenta Institution (Documenta, 1959). Since 1959 the exhibition has been organized by a limited liability company Documenta gGmbH[1], which is a non-profit organization, supported and funded by the city of Kassel, the State of Hesse and by the German Cultural Foundation. On behalf of the board of the company, an international jury is assembled to appoint the artistic director for each exhibition.

Arnold Bode led the Documenta until 1968 with the help of Werner Haftmann and other curators/artist historians. Documenta acted as both a survey and a forum for contemporary art. During that time artists and curators started a movement to mobilize more physical interactivity for the viewer, inspiring spectators to move from passive recipients or art objects to more active participants engaging directly with art (Wallace, 1987).

In 1972 Documenta5 was led by a single artistic director with the assigned title Secretary-General. Harald Szeemann introduced the themed exhibition, and instead of making an exhibition with the most important artists from the point of art history knowledge, rather he put forward his perspective of the time. This model became a signature of Documenta (Hantelmann von, 2014). Also, he replaced the concept Museum of the 100 Days with Hundred-Day Event (Documenta, 1972). Since his appointment as a solely responsible artistic-director, a new era started for the curator’s status, which was perceived to be a powerful figure as the single author of an exhibition (O’Neill, 2012).

The following Documentas, of the 1970s, 1980s up until the Documenta10 moved away from the social and political realities and followed a more pluralistic way of exhibitions following the global art market.

In 1997 Documenta10 was led by Catherine David, the first woman in Documenta’s history who challenged the past concept of Documenta by introducing politics and poetics. David’s concept was to have access to the state of the world beyond the society of the spectacle. In addition to the various publications, she introduced ‘100 days -100 Guests’ (Documenta, 1997) to which David invited guests from all regions of the world to talk about various matters. Her intellectual approach to the exhibition examined the political, social, economic and cultural issues of the contemporary globalized world. The Documenta10 concept was based on a critical confrontation with the present and claimed an ethical and political approach. Since David’s time the art exhibitions started to increase the presence of text in art either with various publications or the text was itself an art, which was called ‘textuality’ (Meecham and Sheldon, 2005), an aspect that arguably shows how far contemporary art is linguistically oriented (Meecham and Sheldon, 2005).

In 2002 Documenta11 was led by Okwui Enwezor, the first non-European art director, who addressed at the African continent which helped to give a global perspective on Documenta’s theme. It was the first truly global, postcolonial Documenta exhibition. Documenta11 took place in five places (Lagos, Vienna, Berlin, New Delhi and Kassel) with five different themes. The framework of these various themes was Art is the production of Knowledge. Many of the projects were documentary in nature, which aimed to ‘describe the present location of culture and its interfaces with another complex, global knowledge systems’ (Documenta, 2002). The most noteworthy achievement of Documenta11 was to expose the ‘unspoken hierarchies of attention in the Western exhibition scene’ (Documenta, 2002); foreigners were not any more objects of fascination and exoticism, but they looked by themselves back to the West.

In 2007 Documenta12 was led by a couple, namely Roger Buergel as art director and Ruth Noack as curator. They developed their concept in the framework The Migration of Forms (Documenta, 2007) where they illuminated the limited primary forms of the visual culture that used in different context and different conceptual focuses during the human history. Under three subtitles of their concept including Is Modernity our Antiquity? , they pointed out that ‘contemporary does not mean that the works originated yesterday’ (Documenta, 2007).

In 2012 Documenta13 led Carolyn Christov Bakargiev, the second woman in its history, who took the concept from Documenta11 a step further by having concurrent events outside the city of Kassel such as Kabul, Alexandria/Cairo, and Banff where the exhibitions were different to this in Kassel. Bakargiev did not choose any particular concept as a theme, and despite some critique about the absence of a subject (Basualdo, 2011) it was a blockbuster exhibition with 900.000 visitors mainly in Kassel. This unprecedented visibility of a show with the vast amount of varied artworks was interpreted as its ‘logic is nothing more than that of capitalism in its late-stage’ (Munde, 2015).

Documenta has already become the strongest and the most famous institution of the contemporary art in the world. The reason for its success according to Bernd Leifeld, CEO of Documenta organization, lies in the fact that it reinvents itself every time, along with the person who leads it (Reyman, 2014). Documenta and all the large exhibitions such as biennales make central the issue of interpretation by one individual, star curator since without the element of interpretation and individuality the show lose their ability to communicate and have an impact on a marketing level in the Western capitalist world (Basualdo, 2011).

The Documenta14 concept according to its artistic director (Szymczyk, 2015a) not only referred to the first edition of Documenta but also drew reference and inspiration from Documenta10, an avowedly political event, and Documenta11, which highlighted postcolonial issues. Also, Documenta14 tried to reflect on Documenta12’s concept Is modernity our antiquity?, which interrogated how cultures and societies have modernized and how their modernizing seem to be as different as the rates of transformation, the economic ideas and the social actors that are driving this process of change (Schollhammer, 2007).

[1] In German tax law is a limited liability company, whose earnings for charitable use only (Wikipedia)

 

Extract from  “Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition” by Dia Mexi MA Dissertation Jan’ 2018

 

Reference list

Basualdo, C. (2011)‘The unstable institution’. In: O’Neill, P. ed. Curating Subjects.  London: Open editions: 39-52.

Meecham, P. and Sheldon, J. (2005) Modern art: a critical introduction. 2nd Ed. London: Routledge.

Schöllhammer, G., Buergel, R.M. and Noack, R. (2007) Documenta magazine no.1-3, 2007 reader. Köln: Taschen.

Szymczyk, A. (2015a) 1955-20155 A Documenta Century [Online video] Available from : https://www.youtube.com/watch?v=yfoCwv916wY&t=30s [Accessed 10 November 2017].

Wallace, I. (1987) The first documenta 1955: The Triumph of Pessimism. University of British Columbia Department of Fine Arts, 26 September 1987. [Online] Available from: http://d13.documenta.de/research/assets/Uploads/Wallace-The-First-Documenta-1955.BF.clean.doc [Accessed 10 October 2017].

 

Documenta14 & the Concept of Textuality

Language and semiotics or more precisely Documenta10’s concept of textuality was Szymczyk’s main tool of developing Documenta14’s  project. Textuality according to poststructuralism means that the source of a text is another text, a subtext which indicates something totally different from what usually is and it works against and undermines a text’s potential meaning; it questions the power and ideologies and problematizes what we know and how we know (Tansell, 1993). Szymczyk chose the concept of textuality which assumes the impossibility of thought without language (Tansell, 1993).

Szymczyk argued that the assigned reference of the main title  Learning from Athens as working title (which remained as working title until the end of the project) denoted the process of the experience that all the participants of this project were going to acquire (Szymczyk, 2015a). The title also had multiple layers of understanding it, such as its inspiration came from the title of the book Learning from Las Vegas, which its main theme was how the modern movement in architecture used decoration in order to convey meaning. In the case of Athens, its antiquity was used to establish the credentials of Western civilization (Szymczyk, 2015a). Another layer was that by choosing the word learning he wanted to emphasize the concept of hospitality without preconditions that can open up conversations that it is nonhierarchical (Koskina and Szymczyk, 2017). -“Documenta14: Learning From Athens: How to Unlearn What to Expect From A Contemporary Art Exhibition” MA Thesis by A.Mexi, January, 2018

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References

Tanselle, T. (1993) A Rationale of Textual Criticism New Princeton Encyclopedia of Poetry & Poetics [ebook] . [Accessed 14 November 2017].

Szymczyk, A. (2015a) 1955-20155 A Documenta Century [Online video] Available from : https://www.youtube.com/watch?v=yfoCwv916wY&t=30s [Accessed 10 November 2017].

Koskina, K. and Szymczyk, A. (2017) Double Gambit : Katerina Koskina and Adam Szymczyck in conversation with Domenick Ammirati [Online] Available from: http://www.documenta14.de/en/south/25220_double_gambit_katerina_koskina_and_adam_szymczyk_in_conversation_with_domenick_ammirati [Accessed 12 October 2017].