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Pierre Huyghe, Untilled (2011–12)

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Pierre Huyghe, Untilled (2011–12) Pierre Huyghe, Untilled (2011–12), detail of site-specific installation at dOCUMENTA (13), commissioned and produced by dOCUMENTA (13) with the support of Colección CIAC AC, Mexico, Fondation Louis Vuitton pour la création, Paris, and Ishikawa Collection, Okayama, Japan. Photo: the artist, courtesy of the artist, Marian Goodman Gallery, New York/Paris, and Esther Schipper, Berlin. JCS_3.1_Weir_98-116.indd 98 4/1/14 1:42:39 PM Jcs 3 (1) pp. 98–116 Intellect Limited 2014 Journal of curatorial studies Volume 3 Number 1 © 2014 Intellect Ltd Article. English language. doi: 10.1386/jcs.3.1.98_1 ANDY WEIR Goldsmiths College, University of London Cosmic Alreadymades: Exhibiting Indifference at dOCUMENTA (13) Abstract Keywords Departing from the proposal by curator Carolyn Christov-Bakargiev to ‘see from the Documenta point of view of the meteorite’ at dOCUMENTA (13), this article analyzes the exhi- Pierre Huyghe bition’s claim to non-anthropocentric knowledge production through the paradoxical Guillermo Faivovich staging of a form that re-prioritizes human experience. It focuses on two works: Pierre Nicolas Goldberg Huyghe’s Untilled (2012), which coalesces an affect of indifference to the central- critique of ity of human experience; and Guillermo Faivovich and Nicolas Goldberg’s El Chaco anthropocentrism (2012), which sets inexperiencable timescales under contemporary exhibition condi- temporality in tions. Both works open political questions through complicity with material processes. exhibitions At the same time, they point to potentials and limitations for the methodology of the ‘alreadymade’, understood here in terms of the staging of non-human timescales for human participants, and the making affordable of systemic threat. 1. Cosmic Alreadymade i. to see from the point of view of the meteorite 1. The use of ‘apathic’, or without sensation or – Carolyn Christov-Bakargiev (2012: 30) feeling, is a variant of ‘apathetic’. Could 860,000 visitors have been intoxicated by an apathic gaze […]? – Thierry Geoffroy (2012: 228) The intoxicating apathic point of view of the meteorite haunted dOCU- MENTA (13).1 For their work El Chaco (2012), Guillermo Faivovich and 99 JCS_3.1_Weir_98-116.indd 99 4/1/14 1:42:39 PM Andy Weir Nicolas Goldberg set out to remove the largest fragment of the 4.5 billion-year-old El Chaco meteorite from its landing place in north- central Argentina and re-locate it to Kassel for the exhibition. After protests following a dispute with members of the Moqoit First Nation community, for whom El Chaco is held as a sacred link between the spiritual realm and the earth, Documenta cancelled the loan deal on the grounds of liberal openness towards and respect for the wishes of other cultures: dOCUMENTA (13) stated that no loan of the El Chaco meteorite would be further requested without a full endorsement by the pue- blos originarios, the traditional custodians of the land of Chaco, by the local community as a whole, and in careful consideration of the beliefs and principles of those custodians today. (Documenta 2012) Failing to achieve this fantasy of inclusive consensus on behalf of the community as a whole, the lump of rock remained in the show as a double looming emptiness, neither fully in its Argentinian resting place, where it was Photoshopped out of the exhibition catalogue, nor fully in Kassel, where it was referred to through minutes of a meeting capturing the decision of its non-arrival. Described by the curator Carolyn Christov-Bakargiev as an act that ‘can be interpreted within the frame and history of the conceptual ready- made’ (Documenta 2012: 60), El Chaco clearly drew on the institutional framing of dOCUMENTA (13) in order to point to and nominate the meteor and its removal as art, asking what was at stake in the temporal clashes alluded to in its accompanying description: The appearance of this cosmic ‘alreadymade’ on Friedrichsplatz constitutes a temporal paradox reminiscent of the mysterious monolith in Stanley Kubrick’s 2001: A Space Odyssey (1968). Yet it is not a message from the future but a remnant from the birth of our solar system. A sheer embodiment of mass and gravity, it coexists anachronistically in our current dematerialized and digi- talized world. (Documenta 2012: 60) Through this description of the work as a ‘cosmic alreadymade’, atten- tion was drawn to the importance of the methodological tradition of the ‘alreadymade’ in dOCUMENTA (13) as a whole. The ‘alreadymade’ can be understood as the registration of processes, temporalities and mate- rialities that do not necessarily prioritize the human (the point of view of the meteorite), and the staging of these processes for humans (the appearance on Friedrichsplatz). The conflict over El Chaco could be read as the incommensurability of claims staked for the non-terrestrial – a clash between contemporary art and Aboriginal cosmologies. At the same time, however, this can also be read as a pseudo-conflict: failing in the physical removal of the rock, the work succeeded in compressing a set of concerns – postcolonial struggle; cosmologies; the investment of spirit 100 JCS_3.1_Weir_98-116.indd 100 4/1/14 1:42:39 PM cosmic Alreadymades Guillermo Faivovich and Nicolas Goldberg, Vol. II: Chaco: First Encounter with El Chaco, June 1st, 2006 (2006), video, 12 minutes (above); Vol. II: Chaco. The Weight of Uncertainty (2012), 3,544 kg iron mass, four A4 sheets (transcriptions) (below). Photos: © Faivovich & Goldberg, courtesy of Nusser & Baumgart, Munich. 101 JCS_3.1_Weir_98-116.indd 101 4/1/14 1:42:40 PM Andy Weir in rock; pre-terrestrial timescales; bureacracies of transport; the suspense of delay; and so on – into its horizon, as they came to constitute the expanded materials of the work. El Chaco, through its registration of materialites anterior to terrrestrial timescales, performs Christov-Bakargiev’s claim for dOCUMENTA (13) as a kind of non-anthopocentric knowledge production: dOCUMENTA (13) is driven by a holistic and non-logocentric vision that is shared with, and that recognizes, the knowledges of animate and inanimate makers of the world. The attempt is to not put human thought hierarchically above the ability of other species and things to think and produce knowledge […]. [This attempt] makes us more humble, able to see the partiality of human agency, encouraging a point of view that is less anthropocentric. (2012: 31) The point of view of the meteorite, as material presence preceding human thought and experience, forces the thought of humankind’s contingency, potentially re-aligning the priority and centrality of a specifically humanist point of view. The claim for a less anthropocentric point of view, however, runs into the central paradox of then staging this as an art exhibition for humans. Christov-Bakargiev goes on to address this through a reconsid- eration of the importance of ‘art’ as a defining term: Different forms of knowledge lie at the heart of the active exercise of reimagining the world. What these participants do and what they ‘exhibit’ in dOCUMENTA (13) may or may not be art. However, their acts, gestures, thoughts and knowledges produce and are pro- duced by circumstances that are readable by art, aspects that art can cope with and absorb. The boundary between what is art and what is not becomes less important. (2012: 31) What this argument does, while claiming to deprioritize ‘art’ as a cate- gory, is actually to re-prioritize the importance of ‘exhibition’ as the primary cohering production of knowledge and meaning. The exhibition, as a container for practices of both art and non-art, comes to play the role of institutional enclosure. The idea of a meta-system that can cope with, absorb and make readable any kind of art and non-art seems to suggest not a de-prioritizing of the category of art, as is claimed, but instead the re-affirmation of art, understood in its contemporary sense as a set of conditions for the experience, interpretation and understanding of any- object-whatever (Vidokle and Wood 2012). Christov-Bakargiev’s argument here maintains a power for the exhibition-form as that which registers other productions of knowledge. Her use of the non-anthropocentric in this case could be understood as merely a truth-condition for art, while ‘art’ itself is ultimately asserted and prioritized as transcendent from the potentially ungrounding force of ‘nature’ or the non-human. The concerns surrounding and constituting El Chaco, including its temporal tensions and political resonance, become ‘circumstances readable by art’ presided 102 JCS_3.1_Weir_98-116.indd 102 4/1/14 1:42:40 PM cosmic Alreadymades over and made readable by the benevolent and sensitive-to-difference 2. In my use of the term ‘dia-chronic’, I draw on host institution, all points of view devoured by the blank and expanding Quentin Meillassoux’s meterorite-shaped hole. After Finitude, where he uses the term to This creates a tense situation. Non-anthropocentric knowledge is refer to the statements proposed and staged through a form that re-prioritizes human experi- made by science ence. I am interested in what happens to the status of the exhibition here, about events ‘anterior or ulterior to every as well as how art generally is claimed to be redefined, and in what kinds terrestrial-relation-to- of subjectivities could be produced through its performance and paradox. the-world’ (2008: 112). While the ‘arche-fossil’ Can the exhibition form itself act as a registration of the flattening out of or ‘fossil-matter’ plays human priority, or does it merely re-prioritize human subjectivity under the role of ‘indicating the existence of existing conditions? I am particularly interested in the claims to and ancestral reality or deployments of inhuman temporalities, and in considering what kinds of event’ (2008: 10), the politics are at stake in this siting of the non-anthropocentric as knowl- dia-chronic statement includes the claims to edge for art.
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