HARALD SZEEMANN Museum of Obsessions October 13th, 2018 – January 20th, 2019 KUNSTHALLE DÜSSELDORF HARALD SZEEMANN Museum of Obsessions Harald Szeemann Museum of Obsessions One of the most distinguished 9 10 advocates of conceptual art and postminimalism, and a figure who 11 became synonymous with the Geographies advent of globalism in contemporary 8 art, Harald Szeemann (Swiss, 12 1933–2005) developed a new form of exhibition-making that centered A on close collaborations with artists 7 6 and a sweeping international vision of contemporary culture. Szeemann’s exhibitions covered B vast areas of research, challenging 5 traditional narratives of art history B and often embracing creative fields outside the visual arts. For each 3 of his more than 150 installations 4 and exhibitions, Szeemann added materials to his vast library and research archive, which he referred 2 to as the “Museum of Obsessions”. His museum comprised not only the physical place of the archive but also a mental landscape that 1 encompassed all moments of genius and artistic intensity treated in Szeemann’s exhibitions, both realized and unrealized, past and future. This exhibition is divided into Grandfather: thematic sections. “Avant- A Pioneer Like Us Gardes” (2nd floor) addresses 1974 / 2018 Szeemann’s early exhibitions and his engagement with the artistic vanguards of the 1960s and early 1970s. “Utopias and Visionaries” (the light blue Room on the 1st floor) explores a trilogy of exhibitions Szeemann organized in the 1970s and 1980s that rewrote the narrative of early twentieth-century modernism as a story of alternative political movements, mystical worldviews, and utopian ideologies. Fabbrica In the Foyer, “Geographies” Rosa examines Szeemann’s own Swiss identity, his penchant for travel, and his focus on broad international exhibitions and regional presentations later in his career. A reconstruction of Szeemann’s 1974 exhibition Grandfather: a Pioneer Like Us is on view in the so called “Seitenlichtsaal” on the 1st floor. The exhibitions have been organized by the Getty Research Institute, Los Angeles, in cooperation Entrance with the Kunsthalle Düsseldorf. Curated by Glenn Phillips and Philipp Kaiser together with Doris Chon and Pietro Rigolo. 1 8 ½ Years 13 12 Avant-Gardes 2 – 7 8 – 11 1 – 2 4 5 – 8 10 3 9 2 Live in Your Head. When Attitudes Become Form 1 documenta 5 Happening & Fluxus 1 28 3 2 – 27 4 29 5 Utopias and 1–7 Visionaries 32 30 31 2 3 12 10 –11 The Bachelor Machines Tendency toward the 13 Gesamtkunstwerk: European Utopias since 1800 18 14 –17 8 19 9 4 24 12 – 15 20 – 23 11 1 12 – 13 14 10 15 16 Monte Verità 9 – 11 9 8 5 1– 8 6 7 6 1–7 2 3 12 10 –11 The Bachelor Machines Tendency toward the 13 Gesamtkunstwerk: European Utopias since 1800 18 14 –17 8 19 9 4 24 12 – 15 20 – 23 11 1 12 – 13 14 10 15 16 Monte Verità 9 – 11 9 8 5 1– 8 6 7 6 5. This Way Brouwn, Proposals for Avant-Gardes the Exhibition Plans and Projects as Art (1969) April 15, 1969 1 Stanley Brouwn (Suriname-born Dutch, 1935–2017) Manuscript letter with ink sketches 8 ½ Years 13 12 6 Unsolicited Proposal to NASA Sent to Szeemann for the Exhibition 2 – 7 8 – 11 Plans and Projects as Art (1969) April 2, 1969 1 – 2 4 5 – 8 10 3 9 Stephen Kaltenbach 2 (American, b. 1940) Typescript letter and gelatin silver print Live in Your Head. When Attitudes Become Form 7. ­Harald Szeemann’s Letter of Resignation from the Kunsthalle Bern 1 May 10, 1969 documenta 5 Harald Szeemann Manuscript letter Happening & Fluxus 1 8.–12. 28 3 Agentur für geistige 2 – 27 Gastarbeit Szeemann founded his Agentur 4 für geistige Gastarbeit (Agency for 29 Spiritual Guest Labor) in 1969 in the wake of his resignation from the 5 Kunsthalle Bern. Emancipated from any official museum institution, he established himself as one of the first 32 30 independent curators. “Guest Labor” 31 refers to Szeemann’s identity as the grandson of a Hungarian immigrant as well as to the political plight of 8 ½ Years migrant laborers in Switzerland, who had suffered increased discrimination In 1961, at age twenty-eight, with artists’ letters, proposals, in recent years. This touted outsider Szeemann was appointed and drawings from this period. status acknowledges Szeemann’s director of the Kunsthalle Bern The entrance wall in this room new-found identity as an independent in Switzerland, becoming one of reproduces a selection of posters agent doing the geistige (spiritual the youngest museum directors from the more than fifty exhibitions or intellectual) work of curating for in the world. During his 8½-year that were held at the Kunsthalle institutions on a temporary basis. tenure, Szeemann transformed the Bern during Szeemann’s tenure. Szeemann had a series of stamps Kunsthalle into an international made bearing the agency’s name showcase, focusing on the 1. Exhibition posters Kunsthalle and its various mottoes, including most current developments in Bern from 1961–1969 Besitz durch freie Aktionen ersetzen contemporary art while developing (Replace Property with Free Actions) innovative historical and thematic 2. Drawings for Christo and Jeanne- and SELBST (SELF). These designs exhibitions. Among these projects Claude’s Wrapped Kunsthalle, Bern, and mottoes made their way onto were surveys of kinetic art, art of Switzerland, 1967–68 his fax letterhead and packing tape, the mentally ill, religious folk art, 1968 which were used in the daily operation and science fiction as visual culture. Christo (Bulgarian-born American, b. 1935) of his business. In this way, Szeemann Szeemann looked at historical Pencil on paper realized his own utopic vision of modernism through exhibitions of a freelance curatorial agency as surrealism, Francis Picabia, Wassily 3. Drawing of Electric Nail, Proposal a “one-man team,” unburdened by the Kandinsky, Kazimir Malevich, and for the Exhibition 12 Environments bureaucracy of an official institution. Marcel Duchamp. He frequently (1968) exhibited American artists during ca. 1968 Wall, from left to right Günther Uecker this time, including projects by 8. List of Possible Names and Robert Rauschenberg, Andy Warhol, (German, b. 1930) Ink and felt marker on paper Mottoes for Szeemann’s Agency and Roy Lichtenstein. He was the 1970 first curator to commission artists 4. Letter of Invitation to Szeemann Harald Szeemann Christo and Jeanne-Claude to wrap with a Hand-Drawn Map of Several Typescript a building. Wrapped Kunsthalle, Places in Switzerland Among the names and mottoes Bern, Switzerland, 1967–68 (1968) 1971 that Szeemann considered for his was a project developed for the Jean Tinguely agency were “Agency that Profits Kunsthalle’s fiftieth anniversary. (Swiss, 1925–1991) from the Generation Gap,” “Agency Manuscript letter with ink, felt marker, and Szeemann built close relationships colored pencil sketches for Temporary Show Business,” with artists, and his archive is rich “Accomplishments,” and “Maybe.” 9.+10. Two Stamp Compositions 1. Four Poster Concept Drawings Projected Made with Szeemann’s Stamps for When Attitudes Become Form 4. Slideshow of Images from When early 1970s ca. 1969 Attitudes Become Form (1969) Harald Szeemann Markus Raetz (Swiss, b. 1941) Stamped and hand-drawn ink on paper Ink on paper 5. Wind in Water: Snow, Facsimile December 15, 1968 1968 11. ­Szeemann’s Fax Letterhead 2. Bern Mirror Displacement 1969 Hans Haacke Harald Szeemann (German, b. 1936) Facsimile Robert Smithson Xerox on board (American, 1938–1973) In case Gelatin silver prints This work was exhibited in When 12. Stamps and Packing Tape Szeemann produced these six Attitudes Become Form. ca. 1969–1975; ca. 2004 photographs, part of Robert Harald Szeemann Smithson’s Mirror Displacement 6. Photograph of the Roof of the Mixed media series, according to instructions Kunsthalle, Bern, Being Occupied Screens provided by Smithson. An by the Radiation from Uranyl Nitrate 13. Harald Szeemann – enlargement from the series was (UO2(NO3)2) The Bern Years exhibited in When Attitudes Become 1969 Produced by IMAGE and CONTENT / Form. Robert Barry Reto Caduff for Kunsthalle Bern / (American, b. 1936) The Getty Research Institute 3. In case Gelatin silver print As his contribution to When Attitudes Become Form, artist Robert Barry placed mildly radioactive uranyl Live in Your b e nitrate on the roof of the Kunsthalle Head. a a d Bern. c e e When Attitudes 7. Instructions for Representing Uranyl Nitrate (UO2(NO3)2) in the Become Form When Attitudes Become Form a. Szeemann’s Address List Exhibition Catalog 1969 In 1968, Szeemann was approached for His Visit to New York 1968 Robert Barry by the public relations firm Ruder (American, b. 1936) Finn and the tobacco conglomerate Harald Szeemann Typescript Philip Morris to produce a major Ink on paper corporate-sponsored exhibition of 8. Contract for Purchase of b. ­Szeemann’s Address List recent art. Szeemann embarked a Concept Tableau for His Visit to Los Angeles on a whirlwind of travel in search 1967 1968 of new talent. The resulting Edward Kienholz Harald Szeemann (American, 1927–1994) Printed paper exhibition, Live in Your Head. When Ink on paper Printed paper Attitudes Become Form (1969), This work was exhibited in When became perhaps the most infamous c. ­Szeemann’s Address List for Attitudes Become Form. exhibition of the 1960s – a sprawling, His Visit to San Francisco incredible, infuriating display of 1968 9. In case mostly younger artists on the verge Harald Szeemann of fame. The project surveyed Ink on paper related tendencies in art movements a b c d d. Catalog for When Attitudes e across the United States and Become Form Europe, focusing on conceptual Harald Szeemann, e e and process-based practices. editor (Bern: Kunsthalle Bern, 1969) a b c d Many artists made their works Szeemann modeled this exhibition directly on site, nearly destroying catalog after his own burgeoning the Kunsthalle Bern in the process: archive.