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¥ documenta11 Marius Babias, Edit András, Dan Perjovschi Robert Fleck, Andreas Broeckmann, Cælin Dan dialog Hans Ulrich Obrist în dialog cu Constant arhiva Slavoj Zˇizˇek balcon Lia Perjovschi tactical media toamna 2002 • revistæ de artæ contemporanæ, Cluj, România 12 Nr. Prefl Prefl 90000 lei revistæ de artæ contemporanæ Cluj, România, nr. 12, toamna 2002 Editatæ de: IDEA Design & Print Cluj øi Fundaflia IDEA str. Paris 5–7 3400 Cluj-Napoca Tel.: 0264–194634; 431661 Fax: 0264–431603 S u m a r e-mail: [email protected] Redactor-øef: TIMOTEI NÆDÆØAN Redactori: documenta11 3 Marius Babias: Istoria expozifliei Documenta 1955–2002 AL. POLGÁR ATTILA TORDAI S. Redactor rubrica Tactical Media: 7 Edit András: Au dispærut ziarele flariste • Documenta11, Kassel, 2002 JOANNE RICHARDSON Concepflie graficæ: 10 Dan Perjovschi: De la New York la Kassel via Lagos TIMOTEI NÆDÆØAN Tehnoredactare øi prepress: LENKE JANITSEK 11 Robert Fleck: Documenta11. Cîteva însemnæri Corector: VIRGIL LEON Colaboratori speciali: 13 Andreas Broeckmann: În van sau: nostalgie dupæ dX ALEXANDRU ANTIK AMI BARAK CÆLIN DAN DAN PERJOVSCHI 14 Cælin Dan: Ultima Documenta pe stil vechi Web site: EUGEN COØOREAN DRAGOØ ØTEFAN dialog 16 Constant: New Babylon • Interviu de Hans Ulrich Obrist Textele publicate în aceastæ revistæ nu reflectæ nea pærat punctul de vedere al redacfliei. ˇ Preluarea neautorizatæ, færæ acordul scris al edi - arhiva 20 Slavoj Zizˇek: Perspectivele de azi ale politicii radicale torului, a materialelor publicate în aceastæ revistæ constituie o încælcare a legii copyright-ului. Toate articolele a cæror sursæ nu este men flio - balcon 25 Lia Perjovschi: Sens • Preocupæri cotidiene – a face sens na tæ constituie portofoliul revistei Balkon Cluj. Difuzare: > Refleaua libræriilor HUMANITAS spaflii 37 Zoltán Sebôk: Moarte în odaia din faflæ øi > www.elibris.ro > BUCUREØTI: Libræria Noi scena 40 Ubi bene ibi patria. Interviu cu Ioan Godeanu • Manifesta 4, Frankfurt Libræria Cærtureøti Muzeul Literaturii Române Galeria Nouæ > BRAØOV: 43 Vladimir Bulat: Barney: pariuri forflate • The Cremaster Cycle filme øi sculpturi 1991–2002, Libræria Libris > CLUJ: Muzeul Ludwig, Köln Galeria Veche (Piafla Unirii) Libræria Universitæflii Libræria Charta rev > TIMIØOARA: 47 Attila Tordai S.: Unde este omul? – în atracflia libertæflii • Piroschka , pavilionul KulturKontakt, IDEA Design & Print, tel.: 133329 Libræria Noi Austria, quartier21, MuseumsQuartier, Viena > IAØI: Libræria Junimea Libræria Agora 48 „Sînt destul de bun“ • interviu cu Helmut Newton de Krisztina Szipôcs > CONSTANfiA: Libræria Sophia Helmut Newton: Sex øi peisaj, Muzeul Ludwig Budapesta > ORADEA: Libræria Crican > ARAD: Libræria K&cum 50 Vasile Ernu: Despre galerie, marfæ øi curatori. II • Galeria Galeria øi Galeria de Interese, Bucureøti Comenzi øi abonamente: www.balkon.ro e-mail: [email protected] 52 Adrian Armanca: Number One øi The New Painting la Galeria Nouæ din Bucureøti Tel.: 0264–431603; 0264–431661 0264–194634 54 Réka Gyôrfi: «reality-check» • A II-a Trienalæ de Fotografie de la Hamburg ISSN 1454–7872 Tipærit la Idea Design & Print, Cluj 58 Al. Polgár: Ce fac? • Zona 4, Muzeul Revolufliei, Timiøoara Dosarul Tactical Media face parte din pro iectul Meta-Media Forum, al Fundafliei Idea, care se desfæøoaræ în perioada 2002–2003 tactical media 62 David Garcia øi Geert Lovink: ABC-ul tactical media (fragment) la Cluj. Proiectul, inclusiv publicarea acestui dosar în Balkon, este parte a proiectului Cultural Policy Sub-Component of the Arts and Culture Network Program 62 David Garcia: Douæ culturi ale rezistenflei øi este sprijinit de OSI øi 63 Joanne Richardson: Limbajul tactical media Revista ¥ Cluj apare trimestrial øi este realizatæ în colaborare 65 Jaka Zeleznikar: Acum eøti în computerul meu! • Interviu cu 0100101110101101.ORG cu revista omonimæ din Budapesta. Redacflia ¥ Budapesta Redactor-øef: 65 Coco Fusco: Teatrul electronic øi spafliul public • Interviu cu Ricardo Dominguez, EDT HAJDU ISTVÁN Redactori: ROMODA KLÁRA 67 Televiziune electrocasnicæ • Candida TV (Italia) SZÁZADOS LÁSZLÓ SZIPÕCS KRISZTINA Concepflie graficæ øi tehnoredactare: ELN FERENC 70 Joasia Krysa: Transgresiuni-TECHNO (fragment) • Interviu cu Jacek Negoda øi Peter Style de la CUKT Foto: ROSTA JÓZSEF Adresa redacfliei ¥ Budapesta: 71 Sylvie Myerson øi Vidyut Jain: Arta confuziei (fragment) • Interviu cu Frank Guerrero, ®™ark 1136 Budapest, Hollán Ernõ u. 30. Adresa poøtalæ: 1536 Budapest, Pf. 319. e-mail: [email protected] www.c3.hu/scripta/balkon 72 Tetsuo Kogawa: Radio polimorf Pe copertæ: Pavel Bræila: Shoes for Europe, 2002, fotografie folositæ pentru afiøul proiectului prezentat la Documenta11 • credit: Pavel Bræila documenta11 / balkon nr. 12, 2002 Marius Babias tindere. Pro tes tînd împotriva participærii pictorilor est-germani Willi Sitte, Werner Tübke, Bernhard Heisig øi Wolfgang Mattheurer, pictorii vest-germani Markus Lüpertz øi Georg Istoria expozifliei Documenta Baselitz („Artiøtii din RDG sînt idiofli“) øi-au retras lucrærile din expoziflie în ziua deschiderii. 1955–2002 D o c u m e n t a 5 Despre Documenta5 (1972) se spune cæ a fost cea mai bunæ dintre toate, deoarece cura- torul Harald Szeemann a reuøit sæ reducæ la minimum încærcætura ideologi cæ din perioada fondærii. Szeemann a introdus o turnuræ contemporanæ, punînd arta alæturi de nonar ta Arnold Bode, cel mai hotærît dintre dezorientaflii iubitori de artæ din Germania postbelicæ, obiectelor de cult, a propagandei øi a lumii øtiinflifico-fantastice. A refuzat opo zi flia rigidæ din- avea un plan pe cît de genial, pe atît de simplu. Fiind înlæturat de cætre naziøti din poziflia tre cele douæ mari direcflii în artæ la vremea respectivæ, realismul øi arta concep tualæ, deschizînd de profesor øi pictor, voia sæ ofere protecflie culturalæ tinerei democraflii care se pregætea un nou domeniu, acela al procesualitæflii, pentru care a inventat sintagma „Mitologii indivi - pentru reînarmare. Momeala adresatæ celor care fæceau politicæ culturalæ la Kassel, la în - duale“ (titlul cærflii publicate la Editura Merve, Berlin, 1982). Conceptul de „ope ræ totalæ de ce put reticenfli, era cæ RFG trebuie sæ-øi ræscumpere greøeala barbariei culturale naziste. artæ“ (Gesamtkunstwerk) a fost transformat într-o formulæ radical-indivi dualistæ, care prin elim- Øi anume printr-o expoziflie internaflionalæ care sæ aibæ loc o datæ la patru ani, iar mai tîr ziu inarea opozifliilor Est-Vest øi individ-colectiv, s-a dovedit a fi deopotrivæ regresiv-romanti- o datæ la cinci ani. S-a dovedit a fi fost de bun augur faptul cæ „arta degeneratæ“ a fost con - cistæ øi eficientæ politic: „Atracflia spre opera totalæ de artæ este elanul tita nic întru materia li zarea dam natæ oficial øi colecflionatæ în secret de cætre Göring. Mai mult, era foarte bine venitæ paradisului terestru“, spunea Szeemann. Noul Parsifal se numea Joseph Beuys. Acesta øi- oca zia de a se oferi în sfîrøit o replicæ, prin gloria propriei istorii a artei, expresionismului a inaugurat la Kassel un „Birou pentru Democraflia Directæ“, unde aveau loc în fiecare zi abstract american, care ajunsese în Germania o datæ cu Coca-Cola. Nu putea exista nici discuflii øi evenimente pînæ la epuizare. Marcel Broodthaers øi-a construit „Muzeul de Artæ un fel de îndoialæ cæ tot ceea ce fusese damnat de cætre naziøti apærea într-o luminæ stræ - lucitoare øi inocentæ în culisele democrafliei. Înainte de a exista vreun cuvânt pentru a de - sem na acest fenomen, Bode îl folosea deja: culturalismul. Acesta se referea deopotrivæ la despægubirea artiøtilor „degenerafli“ øi la îngenuncherea în fafla expresionismului abstract. Marøul victorios al abstracflionismului în Europa postbelicæ a aliaflilor a fost o consecinflæ a unei duble doctrine a conciliafliei, ceea ce øtia øi Bode. Totuøi, prin argumentele sale de politicæ artisticæ, el susflinea cæ abstracflionismul trage în - væ flæmintele din fascism, cu toate cæ øtia exact cæ nu existase niciodatæ o prelucrare criticæ a „artei degenerate“. Faptul cæ CIA era implicatæ este azi o certitudine. Protagoniøtii expresionismului abstract au fost suspectafli iniflial – øi nu doar de cætre McCarthy – de comunism. Nici mæcar pe ne - drept, cæci Barnett Newman se considera continuator al lui Kropotkin, iar Jackson Pollock continuator al muraliøtilor mexicani. Alfred Barr, pe atunci director la Museum of Modern Art, dat de înfleles CIA cæ prin abstracflionism Ræzboiul Rece se înarmeazæ. Prin turneul euro- pean din 1958 al expresionismului abstract, cofinanflat de CIA, avînd ca traseu oraøele Basel, Milano, Berlin, Amsterdam, Bruxelles øi Londra, s-a impus hegemonia în artæ øi supremaflia economicæ a Statelor Unite pe piafla de artæ, existente øi azi. Dacæ expresionismul abstract a suportat vreo consecinflæ a fascismului, atunci este vorba de una mercantilæ. Modernismul, dupæ cum susfline Serge Guilbaut în cartea sa How New York Stole the Idea of Modern Art [Cum a furat New York-ul ideea artei moderne], a fost redefinit în ansam- blu ca o metaforæ pentru libertate, umanism øi de mo craflie. Organizatorul de expoziflii Christos M. Joachimides, de la Berlin, o spune, întru totul în spiritul lui Bode, în felul urmætor: „Cel care – în mod paradoxal – a salvat modernismul a fost Hitler. Condamnîndu-l, i-a permis sæ devinæ martir. Cel care inifliase distrugerea moder nismului i-a pregætit terenul în a doua jumætate a secolului pentru un marø victorios unic în istoria culturii dupæ Contrareformæ“. Hitler – naøul expozifliei Documenta. Deoarece trebuia sæ limiteze realismul socialist, „arta degeneratæ“, din care fæcea parte øi expresionismul iraflionalist, a fost echivalatæ în
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  • Documenta11 / 08.06. – 15.09.2002, Kassel Binding-Brauerei,Ausstellungsarchitektur Kühnmalvezzi: Freienfoyerim

    Documenta11 / 08.06. – 15.09.2002, Kassel Binding-Brauerei,Ausstellungsarchitektur Kühnmalvezzi: Freienfoyerim

    Documenta11 / 08.06. – 15.09.2002, Kassel Binding-Brauerei,Ausstellungsarchitektur KühnMalvezzi: FreienFoyerim Das kuratorische Konzept der Documenta11 ist stärker als bei anderen documenta-Ausstellungen mit der Ausstellungsarchitektur verbunden. Indem die Plattform 5 als Ausstellung in Kassel insbesondere in der ehemaligen Binding-Brauerei als eine spezifische Raumanordnung mit wesentlichen Eigenschaften des westlich-traditionellen White Cube realisiert wurde, manifestierte sich eine kuratorische Setzung, die Moderne und hegemoniale Machtverhältnisse zueinander in Bezug setzt. Der Raum der Documenta11 kennzeichnet zugleich den mentalen Ausgangspunkt für einen neu zu überdenkenden, postkolonialen Diskurs in internatio- naler zeitgenössischer Kunst mit dem Wissen um die Struktur des ’Westernism’ (Okwui Enwezor). Inhaltliche Konzentration und formale Klarheit innerhalb der Ausstellungsräume, die eine deutliche Trennung zwischen Außen und Innen zur Folge hatten, definierten die Ausstellung als ’Handlungszone’, in der ein ’Beziehungsge- flecht der Macht’ (Ute Meta Bauer) untersucht wurde. Die Zusammenarbeit zwischen dem KuratorInnenteam um Okwui Enwezor und den AusstellungsarchitektInnen Kühn Malvezzi führte in der Binding-Brauerei zum Konzept des Stadtmodells mit Durchgängen, Plätzen, Nebenstraßen, Außen- und Innenbereichen. Statt eines Master- plans entwickelten die ArchitektInnen eine Raumstruktur, deren Regelwerke Übersicht und Entscheidungsfreiheit bot – für die kuratorische Arbeit, aber auch für die BesucherInnen der Ausstellung. 099
  • Documenta 11 As Exemplar for Transcultural Curating: a Critical Analysis

    Documenta 11 As Exemplar for Transcultural Curating: a Critical Analysis

    DOCUMENTA 11 AS EXEMPLAR FOR TRANSCULTURAL CURATING: A CRITICAL ANALYSIS by LEONÉ ANETTE VAN NIEKERK Submitted in fulfilment of the requirements for the degree PhD (Visual Studies) in the FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA April 2007 Supervisor: Dr Amanda du Preez Co-supervisor: Dr Elfriede Dreyer SUMMARY Title of thesis: DOCUMENTA 11 AS EXEMPLAR FOR TRANSCULTURAL CURATING: A CRITICAL ANALYSIS. Name of student: Leoné Anette van Niekerk Supervisor: Dr Amanda du Preez Co-supervisor: Dr Elfriede Dreyer Department of Visual Arts Degree: PhD (Visual Studies) KEY TERMS: Artistic agency, art market, curatorship, Documenta, globalisation discourse, identity politics, mega-exhibitions, multiculturalism, pluralism, postcolonial theory, public spheres,Third Cinema, transculturality. This study investigates to what extent the curatorial project of Documenta 11 offered an operative cultural concept beyond multiculturality by favouring a transcultural approach to difference in the global sphere. It questions whether the central strategy employed – of postcoloniality as tactical manoeuvre to expand both the public and aesthetic spheres in order to create the conditions for an ethical engagement with difference – could facilitate a workable exemplar for showing art from different production sites, yet resist levelling of differences for an ever-expanding global art market. Proceeding from the postcolonial institutional critique envisioned by the artistic director, Okwui Enwezor, this study engages critically with the notion of opening-out Documenta in terms of inclusivity and equality of representation. It is argued that while the proposed postcolonial reinvigoration of overlapping public spheres held the promise of heterogeneous participation and minimised the formation of hegemonies, the expansion-project of Documenta 11 could on another level be interpreted to function as a globalising instrument usurping previously unexplored territories and discover marketable ‘others’ for a neocolonial cultural marketplace.
  • Documenta (13)

    Documenta (13)

    UC Berkeley TRANSIT Title The New Diversity and the New Public: Impressions of dOCUMENTA (13) Permalink https://escholarship.org/uc/item/7xh9710d Journal TRANSIT, 9(2) Author Wolbert, Barbara Publication Date 2014 DOI 10.5070/T792025109 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The New Diversity and the New Public: Impressions of dOCUMENTA (13)1 Barbara Wolbert Figure 1: Waiting in line to see dOCUMENTA (13), Photo: Christos-Nikolas Vittoratos. When dOCUMENTA (13) closed on September 16, 2012, the German evening news show Tagesthemen reported that the exhibition had attracted around 860,000 visitors, a record for this Kassel-based quinquennial series. Among the visitors were 12,500 journalists whose reviews of the exhibition spurred even more visits both on- site and online. dOCUMENTA (13) also had a record number of first-time attendees, with almost one-third of the total visitors being under the age of thirty, another all- time high. The exhibition could also boast of 188 participating artists and art collectives, and—in addition to venues in Kabul and Bamiyan, in Alexandria and Cairo, and at The Banff Center in Alberta, Canada—of 36 sites in Kassel. 1 The formatting of official titles for the documenta series varies from event to event. In this article, simplified titles have been used for most of the previous documenta shows (e.g., Documenta 2, Documenta 3, Documenta 12), and the official titles, according to the original posters of the respective shows, have been listed in an appendix. There are two exceptions to this practice of simplifying titles: the thirteenth documenta is referred to by its official title “dOCUMENTA (13),” since it is the focus of this article; and the first documenta is referred to as “documenta,” since its title was originally unnumbered.—Ed.