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D Documenta 3KRWRJUDSKHUXQNQRZQ Documenta (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY

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D Documenta 3KRWRJUDSKHUXQNQRZQ Documenta (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY ,QVWDOODWLRQYLHZRIGRFXPHQWD ZLWKZRUNVE\-XOLR*RQ]DOHV d documenta 3KRWRJUDSKHUXQNQRZQ dOCUMENTA (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY The goal of the conference d documenta is to provide a forum for discussion and re- ÁHFWLRQRQWKHKLVWRU\RI documenta, its various incarnations and its future. 7KHÀUVWHGLWLRQRIdocumenta was held in Kassel in 1955 on the initiative of Ar- QROG%RGH6LQFHWKHQLWKDVFRPHWRGHÀQHDNH\SHULRGLFPRPHQWZKHQDWÀYH year intervals, contemporary art is generated, exhibited and elaborated. In Kassel, the people who are interested in art and in its relation to the world meet, assess the situa- tion and share their views. For those involved in the organization of the next documenta in 2012, dOCUMENTA (13), the journey begins with this conference. This conference brings together the Artistic Directors of the previous editions of documenta, who are present as representatives of the artists and the curatorial teams d who together conceived, imagined, witnessed and dreamed documenta. Each former 'LUHFWRUKDVEHHQDVNHGWRPDNHDSUHVHQWDWLRQDERXWWKHLUdocumentaE\ÀUVWGH- scribing their understanding, at the time of their project, of the sense of the present: how did they feel present to their time, what did this mean, and how did this inform WKHVWUDWHJLHVWKH\HPSOR\HGWKHGHFLVLRQVWKH\PDGH"6HFRQGO\WKHVSHDNHUVKDYH EHHQDVNHGWRRXWOLQHLQUHWURVSHFWZKDWWKH\PLJKWKDYHGRQHGLIIHUHQWO\²LQWKH documenta light of the changes occurred in the art world and the world at large subsequently to a conference towards dOCUMENTA (13) their documenta. Some of the participating artists in various editions of documenta una conferenza verso dOCUMENTA (13) KDYHDOVREHHQDVNHGWRVSHDNDWWKLVFRQIHUHQFH konferenz auf dem weg zur dOCUMENTA (13) In the early 1950s, documenta was conceived as a direct response to the Third Re- ich’s policies towards “degenerate art”; at the time, in Germany, only an art which September 18th and 19th, 2009 celebrated the regime was allowed, while all avant-gardes were banned. Over the years, documenta later came to signify, in the context of Western Europe, a space in which Lecture Hall and Theater full freedom of expression could be achieved. More recently, it has been a platform for Castello di Rivoli Castello di Rivoli Museo d’Arte Contemporanea a critique of Euro-Centrism. In contrast to other periodic international exhibitions that Museo d’Arte Contemporanea have emerged from the world fair models of the 19th century, documenta is therefore Piazza Mafalda di Savoia characterized by a strong theoretical grounding and a sense of the urgency of art in so- 10098 Rivoli (Turin) ciety. Tel. +39 011 9565280 A historical circumstance connects documenta to the Castello di Rivoli. Rudi Fuchs, There is a direct shuttle service who was the Artistic Director of documenta 7 in 1982, became, two years later, the from the Fermi metro stop to the Castello di Rivoli. IRXQGLQJGLUHFWRURI WKH&DVWHOORGL5LYROL7RGD\&DURO\Q&KULVWRY%DNDUJLHYFKLHI Shuttle departure schedule from Fermi: curator since 2001 and interim artistic director of the Castello di Rivoli in 2009, has 9 a.m., 10.30 a.m., 11.30 a.m., 2.25 p.m., 4 p.m. been appointed to the next documenta, to be held in 2012. Shuttle departure schedule from the Castello di Rivoli piazza Mafalda di Savoia: 5.05 p.m., 6.45 p.m., 7.45 p.m. ‘dOCUMENTA (13) ²VD\V&KULVWRY%DNDUJLHY²LVEHLQJGHYHORSHGIURPDQDUFKHR- logical perspective, according to which every cultural project that moves forward must For more information contact: EHJURXQGHGLQDEDFNZDUGJD]HLQDQHFRORJLFDOUHODWLRQVKLSWRWKHSDVW+RZZDV Tel. +39 0119565270 REGIONE PIEMONTE FONDAZIONE CRT the present imagined in the second half of the 20th century and what was considered The d documenta conference is organized by Castello di Rivoli Museo d’Arte Contemporanea, Rivoli- or visit www.castellodirivoli.org CAMERA DI COMMERCIO INDUSTRIA ARTIGIANATO E AGRICOLTURA DI TORINO XUJHQWDWHDFKVXFFHVVLYHHGLWLRQRIWKHH[KLELWLRQ"·7KLVFRQIHUHQFHVHHNVWREULQJWKH Turin and documenta und Museum Fridericianum Veranstaltungs-GmbH, Kassel, in collaboration with www.documenta.de CITTÀ DI TORINO past, present, and future of documenta into one room, in conversation. Goethe-Institut Turin, and with further support from IFA-Institut für Auslandsbeziehungen e.V. UNICREDIT PRIVATE BANKING - GRUPPO UNICREDIT 2004), Sonderbare Museumsbesuche (Munich the Kunsthalle Köln, Cologne. From 1991 Saturday, September 19th id was Director of Witte de With, Rotter- documenta as a visual cultural event, ow- and Senior Vice President of the San Fran- tion of the 2009 economic crisis, by dis- program 2006). Publications in english www.adbk. to 2005 he was Professor of modern and dam. Since 1998 she has been in charge of LQJWRLWVVSHFLÀFKLVWRU\DQGWRWKHFRQGL- cisco Art Institute, and Adjunct Curator at cussing the vacuity of symbolic systems Each 30-40 minute lecture will be followed de/Medien/PDF/Profs/grasskamp/grasskamp_ FRQWHPSRUDU\ DUW DW WKH .XQVWDNDGHPLH 11.00 ²12.00 the project Représentations Arabes Contempo- tions of its conception and evolution. the International Center of Photography, DQG UHÁHFWLQJ RQ WKH WUDQVIRUPDWLRQ RI by a discussion with the participating au- publications_e_2008.pdf. The lecture focuses Münster, of which he was also Rector be- Jan Hoet rainesZKLFKWDNHVWKHIRUPRI H[KLELWLRQV 1HZ<RUN+HOLYHVLQ6DQ)UDQFLVFRDQG the meaning of ‘style’. dience. on documenta’s formative years and its tween 1996 and 2005. He was a consultant documenta: confronting the artist with physical seminars and publications in various Eu- 14.30 ²15.30 1HZ<RUN+HZDVWKHIRXQGHUDQGHGLWRU rise to importance on the global art scene, WRWKH$QNDXIVNRPPLVVLRQGHV'HXWVFKHQ and mental choices such as Jazz, Boxing and ropean cities. In 2005-06, David was guest Okwui Enwezor of the journal Nka: Journal of Contemporary 16.30 ²17.00 as well as on its role in the history of ex- Bundestag until 2005 and is the author of Baseball UHVHDUFKHUDWWKH:LVVHQVFKDIWVNROOHJ%HU- Revisiting documenta 11, 2002 African Art, published by the African Study Carolyn Christov-Bakargiev Friday, September 18th hibitions. numerous publications on modern and con- with reference to documenta IX, 1992 lin, and in 2009 she was the Artistic Direc- Art critic, writer and curator, and special- Center at Cornell University. He was Ad- Notes towards dOCUMENTA(13), 2012 WHPSRUDU\DUW7KURXJKDEDFNZDUGJODQFH Art historian and curator, Jan Hoet (b. tor of ADACH (Abu Dhabi Authority for L]HG LQ FRQWHPSRUDU\ $IULFDQ DUW 2NZXL junct Curator of Contemporary Art at the A curator and writer, Carolyn Christov- 10.00 ²10.30 14.30 ²15.30 on the legacy of documenta 5, the lecture con- Leuven, Belgium, 1936) was the Artistic Culture and Heritage) Platform for Venice, Enwezor (b. Calabar, Nigeria, 1963) was Art Institute of Chicago where he curated %DNDUJLHY E5LGJHZRRG1- LVWKH Registration Jean-Christophe Ammann centrates on documenta 6 and 8, as it analyzes Director of documenta IX, 1992. He cur- at theVenice Biennale. The lecture will fo- the Artistic Director of documenta 11, 2002. the exhibition Mirror’s Edge in 1999. He was Artistic Director of dOCUMENTA(13), Thoughts on documenta 5, 1972 the conception, programming and realiza- UHQWO\ZRUNVDVDIUHHODQFHFXUDWRU+HZDV cus on the particular position occupied by He is currently Dean of Academic Affairs the Artistic Director of the 2nd Johannesburg 2012. She has been Chief Curator at Cas- 10.30 ²11.00 A curator and an art historian, Jean- tion of both exhibitions and offers an self- WKHIRXQGHURI WKH6WHGHOLMN0XVHXPYRRU Biennale (1996-98) and in 2001, he curated tello di Rivoli Museo d’Arte Contempo- Introduction Christophe Ammann (b. Berlin, Germany, critical evaluation. Actuele Kunst S.M.A.K. in Ghent, which the exhibition The Short Century (Chicago, ranea since 2002, and is interim director 1939) was one of three participants in the he directed from 1975 to 2001, and of 1HZ<RUNDQG0XQLFK +HZDVWKH$UWLV- for 2009. The author of publications 11.00 ²12.00 FXUDWRULDOZRUNJURXSIRUdocumenta 5, 1972, 16.30 ²17.30 the museum MARTa Herford, of which tic Director of BIACS 2 , the 2nd Inter- including Arte Povera (London, 1999), Heiner Georgsdorf directed by Harald Szeemann. He has been Rudi Fuchs he was Director between 2001 and 2008. national Biennial of Contemporary Art of she was Senior Curator at P.S.1 Contem- The Magic of the Beginning. About Arnold a Professor at the Johann Wolfgang Goethe- Notes on documenta 7, 1982 He curated important international exhi- Seville (2005-07), and of the 7th Gwangju SRUDU\ $UW &HQWHU D 0R0$ DIÀOLDWH Bode (1900–1977) and his documenta 8QLYHUVLWlW)UDQNIXUWDP0DLQVLQFH Curator and art historian, Rudi Fuchs (b. bitions, among which Art in Europe after Biennale (2008). The 2002 edition of docu- 1HZ<RUNIURPWR&XUDWHG exhibitions From 1968 to 1977, he was the Director of Eindhoven, Netherlands, 1942) was the 1968, Ghent (1980); Chambres d´amis, Gh- mentaZDVDUWLFXODWHGDORQJÀYHSODWIRUPV exhibitions include On taking a normal situ- Chairman of the Kuratoriums der Arnold- Kunstmuseum Luzern, Lucerne, then of Artistic Director of documenta 7, 1982. He ent (1986); Open Mind (Closed Circuits), IRUGLVFXVVLRQ²WKHÀUVWIRXUZHUHFRQIHU- ation and retranslating it into overlapping and Bode-Stiftung der Stadt Kassel, Heiner Kunsthalle Basel from 1978 to 1988. Be- studied at Leiden University, where he grad- Ghent (1989); Rendez(-)Vous, Ghent (1993); ences held in Vienna, New Delhi, St. Lucia multiple readings of conditions past and present, *HRUJVGRUI E/HLWULQJ6WHLHUPDUN$XV- tween 1989 and 2002, he directed the Mu-
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