Jef Cornelis Documenta 5 Documenta 5 in Film

Total Page:16

File Type:pdf, Size:1020Kb

Jef Cornelis Documenta 5 Documenta 5 in Film Jef Cornelis Documenta 5 in film Documenta 5 "Documenta 5" by Jef Cornelis is the second title of the new "Archives" collection, which is dedicated to landmark exhibitions and curatorial Program practices, and which provides reference material and moving images to a DVDs by BDV growing field of research, that of curatorial studies and exhibition ______________________________________ history. Edited by Yves Aupetitallot Held in Kassel between June and October 1972, "Documenta 5" was ______________________________________ curated by "master–curator" Harald Szeemann and remains one of the most important international exhibitions of the past few decades. Edition Entitled "Interrogation of Reality—Picture Worlds Today," it brought English / French together works by Marcel Broodthaers, Christian Boltanski, Arnulf May 2012 Rainer, Claes Oldenburg, Gerhard Richter, and Ed Ruscha, and could be ISBN: 978-3-03764-258-0 called the first exhibition as a spectacle. DVD, 135 x 190 mm CHF 38 / EUR 25 / £ 17 / US 35 Introducing the different sections ("Artist's Museum," "Individual ______________________________________ Mythologies," etc.) and protagonists, the film is both a report on trends and pacesetters of the time, as well as an approach to the phenomenon of Documenta, questioning the definitions of exhibition maker, artist, exhibition, contemporary art. Jef Cornelis has mainly worked for VRT, Belgian national television in Flemish. He has realized more than 200 films, especially on architecture, literature, and the arts. Yves Aupetitallot is an art historian, curator, art critic, and director of Le Magasin–Centre National d'Art Contemporain, Grenoble. His essay offers essential reference points that elucidate the context and debates of this pivotal exhibition. Published with Le Magasin, Centre National d'Art Contemporain, Grenoble, and Argos–Center for Art and Media, Brussels. DVD Multizone, PAL/SECAM, 54 minutes. jrp|ringier.
Recommended publications
  • Northern Gothic: Werner Haftmann's German
    documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • Editor's Note
    Editor’s Note Dear readers, Although Bauhaus is relevant throughout history, this German school of art remains an open issue in art, architecture, design, and communication, addressing the following question: To what extent is Bauhaus even possible nowadays? Thus, this was our question for the Art Style Magazine's Bauhaus Special Edition. Therefore, in an attempt to showcase some of the most important issues so our readers can attain a broad notion of this German school's legacy, our Editorial Team has been working diligently and participated in several significant events, talks, round tables, and exhibitions. The opening festival and construction of the Bauhaus Museum in Weimar, for example, offered a great view of the importance of the Bauhaus. Above all, in the sense of arts and crafts in connection with industry, this school outlined a relationship of teaching design from product development, consumption to the changes of living together. Recently, the so-called "Fishfilet scandal" – an attempt to prevent a live event by a German rock band – was an important facet in the discussion that the Bauhaus still plays a significant role in the political scene. As artists and politicians said, the ban on concerts means a "terrifying history" for Bauhaus-Dessau. A month ago, we heard news from a round table, and artistic interventions under the title "How political is the Bauhaus?". These talks had taken place in the Haus der Kulturen der Welt (House of World Cultures) in Berlin on January 19, 2019. It was part of the opening festival of Bauhaus's centenary and supported by the Senate Department for Culture and Europe.
    [Show full text]
  • 04/2014 Heldart Saadane Afif William Copley S.M.S., William Copley S.M.S
    04/2014 Heldart Saadane Afif William Copley S.M.S., William Copley S.M.S. In 2013 Heldart buys an edition named Shit Must Stop (S.M.S.). In a random conversation with artist Saadane Afif it becomes apparent that Afif is very familiar with the S.M.S. edition that was put together by the legendary William Copley, in 1968. The Marcel Duchamp prize winner Afif acquires a complete copy of the edition as well. Heldart plans exhibiting the S.M.S. edition and invites Saadane Afif to react to that endeavor. In order to participate Afif in turn recquires Heldart to assemble a selection from the 72 works contained in the S.M.S. edition and to position itself with that selection. He then in turn refers to the selection, says Afif. Heldart follows through despite its opinion that curating in general is an academic discipline and reserved to institutional activities such as museums and other scientifically relevant art contexts. In any event the result can be seen at the newly opened shopping mall called Binkini Berlin hosted in the former Bikinihaus. Saadane Afifs’ commentary consists of doubling Heldart's selection. The choice to show in a shopping mall is no coincidence. The work is not for sale and an apparent yet entirely different affirmation to the original idea behind the Shit Must Stop edition by Copley. The idea Copley’s in 1968 was to neutralize the commercial power of galleries and the political-institutional arrogance of museums by sending the self-produced edition containing the best contemporary artists of its time to art collectors directly by mail.
    [Show full text]
  • 'A Collage of Globalization' in Documenta 11'S Exhibition
    ‘A Collage of Globalization’ in Documenta 11’s Exhibition Catalogue Antigoni Memou The 11th issue of Documenta — the recurring international exhibition of contemporary art that has been held in Kassel, Germany since 1955 — was conceived as a critical space, within which contemporary art and its relationship to postcolonialism and globalization could be problematized. Its sheer scale preceded any previous issues of Documenta: it took place over eighteen months from March 2001 to September 2002, was curated by Okwui Enwezor and five co-curators — Carlos Basualdo, Ute Meta Bauer, Susanne Ghez, Sarat Maharaj and Octavio Zaya — and consisted of five platforms staged in different world cities. The first four platforms were devised as community-based public discussions and workshops with film and video programmes in Vienna, Berlin, New Delhi, St Lucia, and Lagos, while the fifth one — the exhibition — took place in Kassel. These five themed platforms allowed eighty international contributors across many different disciplines to debate the challenges of contemporary democracy, issues of truth, reconciliation and justice, postcolonial cultural formations and global megacities.1 The primary aims underpinning all five platforms — despite the diversity and complexity of discourses and the range of artistic practices included — were to challenge Documenta’s Western-centrism, both in the spatial and in the cultural-historical sense, and to question universalizing conceptions of cultural and artistic modernity. Enwezor took the 9/11 events in New York as a starting point for rethinking an alternative postcolonial world, positing ‘Ground Zero’ as a symbolic site of 1 These discursive loci that preceded the exhibition in Kassel brought together a great number of collaborators, institutions and foundations, and were perceived as an integral part of the exhibition, rather than as supplementary or complimentary to it.
    [Show full text]
  • Documenta 11
    1/21/2015 Frieze Magazine | Archive | Documenta 11 Documenta 11 About this article Documenta 11 Published on 09/09/02 By Thomas McEvilley Each of artistic director Okwui Enwezor’s six co-curators - Sarat Maharaj, Octavio Zaya, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez and Mark Nash - spoke briefly, followed by Enwezor himself. Maharaj identified the point of art today as ‘knowledge production’ and the point of this exhibition as ‘thinking the other’; Nash declared that the exhibition aimed to explore ‘issues of dislocation and migration’ (‘We’re all becoming transnational subjects’, he observed); Ghez stressed the unusual fact that as many as 70% of the works in the show were made explicitly for the Back to the main site occasion; Basualdo spoke of ‘establishing a new geography, or topology, of culture’; and Bauer spoke of ‘deterritorialization’. Finally, Enwezor began his reflections by referring to Chinua Achebe’s classic novel of pre-colonial Africa Things Fall Apart (1958). He spoke of the emergence of post-colonial identity, and said that he and his colleagues had aimed at something much larger than an art exhibition: they were seeking to find out what comes after imperialism. These remarks were significant because Documenta, along with the Venice Biennale, is one of the foremost venues at which the current cultural politics of the art world is laid out. In a sense the agenda proclaimed by these curators gave one a sense of déjà vu; or rather, it seemed not exactly to usher in a new era but to set a seal on an era first announced long ago.
    [Show full text]
  • Download Full Biography
    Sadie Coles HQ William Nelson Copley (CPLY) Biography 1919 born in New York City (NY), educated at Phillips Academy and Yale University 1942-46 Military service in Africa and Italy 1947-48 directs Copley Galleries in Beverly Hills (CA),USA, (with John Ployardt) 1947 begins to paint 1951 moves to Paris 1963 returns to New York (NY) 1992 moves to Key West, Florida where he lives until his death 1996 dies in Key West, Florida Selected Solo Exhibitions 2018 The Coffin They Carry You Off In, ICA Institute of Contemporary Art Miami, Miami (FL), USA Candice Breitz: Sex work. In dialogue with works by William N. Copley from The Frieder Burda Collection, Museum Frieder Burda | Salon Berlin, Berlin 2017 Women, Paul Kasmin Gallery, 515 W. 27th Street, New York 2016 Fondazione Prada, Milan, Italy The World According to CPLY, The Menil Collection, Houston (TX) 2015 Drawings (1962 – 1973), Paul Kasmin Gallery, New York (NY) 2013 Confiserie CPLY, Marktplatz 19, Basel, Switzerland 2012 The Patriotism of CPLY and All That, Paul Kasmin Gallery, New York (NY) Frieda Burder Museum, Baden Baden, Germany Reflection a Past Life, Linn Lühn, Düsseldorf, Germany 2011 X-Rated, Sadie Coles HQ, London 2010 me Collectors Room, Berlin X-Rated, Paul Kasmin Gallery, New York (NY) 2009 Galerie Klaus Gerrit Friese, Stuttgart, Germany Western songs, El Sourdog Hex, Berlin Linn Lühn, Cologne, Germany 2007 Linn Lühn, Cologne, Germany 2006 Works from the 1970’s, Nolan/Eckman Gallery, New York (NY) Galerie manus presse/Klaus Gerrit Friese, Stuttgart, Germany 2005 Galerie Onrust,
    [Show full text]
  • Documenta 5 Working Checklist
    HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha.
    [Show full text]
  • Danish Sixties Avant-Garde and American Minimal Art Max Ipsen
    Danish Sixties Avant-Garde and American Minimal Art Max Ipsen “Act so that there is no use in a centre”.1 Gertrude Stein Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early. Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art. Empirical minimal art The last question first. Were Danish artists and writers influenced by American minimal art? The straight answer is no. The fact is that they did not know about American minimal art when they first made works, which we today can characterize as minimal art or minimalism. Minimalism was just starting to occur in America when minimalist works of art were made in Denmark. Some Danish artists, all of them linked up with Den eksperimenterende Kunstskole (The Experimenting School of Art), or Eks-skolen as the school is most often called, in Copenhagen, were employing minimalist techniques, and they were producing what one would tend to call minimalist works of art without knowing of international minimalism. One of these artists, Peter Louis-Jensen, years later, in 1986, in an interview explained: [Minimalism] came to me empirically, by experience, whereas I think that it came by cognition to the Americans.
    [Show full text]
  • MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY Edited by John C
    KELLEY MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY edited by John C. Welchman What John C. Welchman calls the “blazing network of focused conflations” from which Mike Kelley’s styles are generated is on display in all its diversity in this second volume of his writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings. Minor Histories organizes Kelley’s writings into five sections. “Statements” consists of twenty pieces produced MINOR between 1984 and 2002 (most of which were written to accompany exhibitions), including “Ajax,” which draws on MIKE KELLEY Homeric epic, Colgate-Palmolive advertising, and Longinus to present its eponymous hero; “Some Aesthetic High Points,” an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of “creative writings” that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visu- MINOR HISTORIES al styles that characterize Kelley’s artwork. “Video Statements and Proposals” are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. “Image-Texts” offers writings that accom- Statements, Conversations, Proposals pany or are part of artworks and installations. This section includes “A Stopgap Measure,” Kelley’s zestful millennial essay in social satire, and “Meet John Doe,” a collage of appropriated texts. The section “Architecture” features a discussion of Kelley’s Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work.
    [Show full text]
  • Documenta14 in Ruins
    Leiden University – Faculty of Humanities Academic Year 2018-2019 MA Thesis Arts and Culture Documenta14 in ruins th Participation and antiquity in the 14 edition of documenta Submitted by: Ilektra/Electra Karatza Student Number: s2253836 Email: [email protected] MA in Arts & Culture 2018-2019 Specialization: Contemporary Art in A Global Perspective Word Count: 16952 Supervisor: Helen Westgeest Second Reader: Ali Shobeiri Date: 28 June 2019 1 Table of Contents Introduction……………………………………………………… 5 Chapter 1: Documenta14’s paradoxical aspirations……………… 10 1.1. The curatorial message………………………………... 10 1.2. Scholarly discourse……………………………………. 14 1.3. Commercial Publications……………………………… 18 Chapter 2: A parliament of bio-political resistance……………….. 25 2.1. The concept of the body in the Public Programs of Documenta…………………………………………… 26 2.2. The concept of space in 34 Excercises of Freedom…. 34 Chapter 3: Participation in the Parthenon of Books………………… 39 3.1. An ambivalence: The Parthenon as a symbol of free speech……………………………………….... 40 3.2. The participatory factor of the artwork………………. 45 Conclusion…………………………………………………………… 51 List of Figures………………………………………………………... 55 Bibliography…………………………………………………………... 58 2 Abstract The German exhibition documenta is inarguably one of the most well-known exhibitions worldwide and takes part every four to five years in Kassel (Germany). It is an exhibition with inherent political character since its first edition that happened in 1955. The topic discussed in this MA thesis, is the 14th edition of documenta and its partial re-location to Athens (Greece). This thesis is a critical examination of stereotypical assumptions about Greece’s past that were included in the discourse of the exhibition, and manifested through the public program Exercises of Freedom and the artwork The Parthenon of Books by Marta Minujín.
    [Show full text]
  • Art & Language and Ilya Kabakov THE
    SPROVIERI Art & Language and Ilya Kabakov THE NON-OBJECTIVE WORLD exhibiIon 30 sep - 19 nov preview 29 sep 6 - 8 pm 23 heddon street london w1b 4bq sprovieri.com +44 (0) 20 7734 2066 Sprovieri is pleased to present Art & Language and Ilya Kabakov in THE NON-OBJECTIVE WORLD. The exhibiIon revisits the radical, early 20th century theoreIcal departure spelled out by Kasimir Malevich in his book, The Non-ObjecIve World, not through his original Black SQuare painIngs, but through related works by the important living conceptual arIsts, Art & Language (Michael Baldwin and Mel Ramsden) and Ilya Kabakov. As conceptual arIsts each has absorbed, over the last 50 years, the impact which Malevich has had on modern art and turned it into something of their own. For the first Ime, in a joint collaboraIon between Sprovieri and Jill Silverman van Coenegrachts, this connecIon between the greatest and most original abstract arIst with leading conceptual arIsts of our Ime is explored. Malevich’s book on SupremaIsm The Non-ObjecIve World, was first published by the Bauhaus Press in German in 1927, but not in English unIl 1959. Michael Baldwin bought a copy in 1965. “Malevich had a certain glamour, the glamour of radicality, which every twenty year-old is searching for in their own spoay way…” he explains in an interview with Silverman van Coenegrachts. Baldwin, ader reading the Malevich book, was inspired to make a series of installaIon works based on ideas from the text. Three of which are currently in private and insItuIonal collecIons, the remaining three installaIons from 1965 – Two SupremaIst SQuares in two variaIons and Ten SupremaIst SQuares – have come directly from the arIst's studio for the first Ime and will be included in this exhibiIon.
    [Show full text]