dOCUMENTA (13) does not take place anywhere near New York, but I wanted to include it because this exhibition, which happens only once every five years is on the cutting edge of contemporary art and thought. dOCUMENTA (13) is taking place right now in Kassel, Germany. I had the good fortune to be part of an art action (blog to come), concurrent with the exhibition and within walking distance from the main venues, so I was able to see a good cross-section of the show. The show is enormous, however, taking place at eight main locations in Kassel, with many other small venues around the center of the city including pop-up cottages in the park. There are more than 300 participants, so seeing everything and taking it all in is close to impossible. The exhibition opened June 9 and closes September 16, 2012.
What is dOCUMENTA?
dOCUMENTA was born out of the
trauma of WWII. Designed to banish the darkness of Nazism, it made its first
debut in 1955. Kassel,
Germany is the central point for the exhibition. During WWII, Kassel was all
but leveled by Allied bombing raids.
dOCUMENTA (13) is physically and conceptually sited in four locations—Kassel,
Germany, Kabul, Afghanistan, Alexandria/Cairo, Egypt and Banff, Alberta, Canada and was curated by Carolyn Christov-Bakargiev. Roberta Smith of the New York Times titled her review, “Art Show as Unruly Organism.” The kindest comment she made was that the show is “alternatingly inspiring—almost visionary,
and insufferable.”
I
couldn't agree more. As
an artist and educator, keeping in step with what’s new on the art scene
is
imperative for me. Often, I am left puzzled, wondering if the artist is
watching from some remote location laughing his beret off. My visit to
dOCUMENTA (13) was no different. I felt a range of emotions come up
during the week of my visit (July 1-8), including bewilderment, anger,
delight, and especially, resistance.
According to the curator, dOCUMENTA (13) “is dedicated to artistic research and forms of
imagination that explore commitment, matter, things, embodiment, and
active living in connection with, yet not subordinated to, theory. These
are terrains where politics are inseparable from a sensual, energetic,
and worldly alliance between current research in various scientific
and artistic fields and other knowledges, both ancient and
contemporary. dOCUMENTA (13) is driven by a holistic and
non-logocentric vision that is skeptical of the persisting belief in
economic growth. This vision is shared with, and recognizes, the shapes
and practices of knowing of all the animate and inanimate makers of
the world, including people.” (
http://d13.documenta.de/.
Accessed on July 18, 2012.)
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| The Fredericianum |
The statement is impressive, but what does it
mean? Are the curator's words merely a justification for her unruly, often sometimes outstanding, organism? Is it a manifesto for the Emperor's new clothes? The curator's complete statement is on display in the Fridericianum, the traditional heart of the exhibition. I have to admit, most of the statement struck me as vague, but clarity began to peak through with this statement:
There are four
conditions that are
put into Play with the conceptual and
the real spaces
Of the Project. These conditions Relate to the four locations and
To specific experiences of time:
on Stage
I am playing a role
(Keeps us present in the here and now)
Under Siege
I am encircled by
hostile others
(Compresses Time)
In a state of hope
I am the dreaming subject of
anticipation
(Releases time through sense of
promise)
On retreat
I am withdrawn from others
(suspends time)
The element of time
played an important part of the exhibition, and is reflected in
ancient
artifacts and historic art that were also part of the exhibition. Some examples are the Bactrian Princesses, dating from 2500-1500 BC in central Asia, two paintings by Salvador Dali, and even Eva Braun’s powder compact. In today's blog, I would like to revisit some of the art I saw there, and relate it to these states of being, according to my own personal history, biases and preferences.
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One of the “Bactrian Princesses”. Lovely. What I like about these delicate and tiny sculptures (about 5" high) is
that they could be from anywhere: Japan, Eastern Europe, Etruria, and from any time period, including our own.
They are universal. |
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I AM PLAYING A ROLE: This work is located in the Brothers’ Grimm Museum, an appropriate choice
for an artist who wants to be a medieval knight. This large nearly life-size painting is one piece of an
elaborate installation. Artist: Nedko Solokov
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I AM PLAYING A ROLE: The lovely Lillian from eastern France leads a therapy
called “Museum of Hypothetical Lifetimes.” She is an artist, not a psychotherapist or anthropologist. The Sanatorium isn’t real, either. It is a pop-up
experience in Kassel’s central park which had people lining up for appointments for a variety of mysterious therapies. The description of the therapy, which I personally experienced, reads “... takes curatorial practice out of the system of art objects and into narratives of the self.”
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I AM IN A STATE OF HOPE and I AM UNDER SIEGE
Part of a large installation of sculptures atop the bunker
in Kassel. I imagine that being in a bunker, one hopes to come out alive.
This circular construction allows a panoramic view of the valley. The shape of the circle symbolizes eternity, and to me, suggests being in a state of hope.
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This infuriating sculpture blocked entrance to a large part of the sculpture exhibit. Visitors had to shimmy in between the stone wall and the pillar to the left of the sculpture...a very tight squeeze. I felt as though I were "escaping" from something menacing, as one who was "under seige" would feel.
The bunker used by Kassel residents during World War II during Allied bombings. It is an obvious reference to "being under seige".
I AM UNDER SEIGE: William Kentridge
with Peter L. Gallison in "Refusal of Time", a multi-media extravaganza fusing
video, sculpture and music. It was amazing. He is a South African artist and
the piece, designed specifically for the site, seemed to be about oppression as it relates to his South African roots, but it is too complex and richly layered to simply attribute its meaning to one aspect. It was mesmerizing. TOP: Larger than life marching silhouettes worked their way around the room to the sound of cacophonous brass instruments at the peak of the visual experience. The aural and visual elements definitely created tension throughout the presentation. Chairs were scattered about the room, but they were nailed in place and couldn't be moved, so viewers were "held hostage".
I AM UNDER SIEGE AND I AM PLAYING A ROLE:
There is an obvious allusion to the seige of the Nazis as well as to the subject of theater in this elaborate work which included both writing and illustration of a mulit-page book. She created it in response to the multiple
suicides of women in her family during the Nazi era. She was murdered at
Auschwitz in 1939. Artist: Charlotte Solomon. "Life or Theatre?"
I AM ON RETREAT: This work was comprised of windshield wipers and speakers. Prayers could be heard as the wipers came together. Works like this really puzzle me. Perhaps he is interested in the contrast of technology and spirituality. “Praying” by Thomas Bayrle
I AM ON RETREAT: Theaster Gates, Huguenot House: a veritable walk-in collage of recycled building
materials with videos of blues performers and occasional
performances. Another puzzlement, this work just looked like a dump to me! But this room reminds me of the austere accommodations I had when I participated in a retreat at Mundelein, a training ground for Catholic priests.
These are just a few examples from the works I viewed. I hope it sheds light on how the curator's ideas are reflected in the works. Look for my upcoming post "dOCUMENTA (13): Inspiring or Insufferable?
