The dOCUMENTA (13) Reports- Grows in the Desert of Modernism

(Published on Art Taipei Forum July  http://www.atfm.asia/en/article.php?id=150 )

Documenta 13 set numerous records. First is the breakthrough of geographical limitations- besides in Kassel, Germany, the exhibition venues sprawls to Afghanistan, Egypt and Canada. It is a challenge for viewers’ bodies and brains as there are more than 30 sites within Kassel, among this 52 works sits in Karlsaue Park. Then it comes to the breakthrough of art itself, when the participants come from fields of art, science, philosophy, nature, music and so one whose ideas were realized in the format of paintings, videos, installations, forums, publications and performances. The director Carolyn Christov-Bakargiev noted: "Documenta is more than, and not only, an exhibition—it is a state of mind." This so called "no concept" mega-exhibition was truly sense reviving, and was extremely profound, free and rebellious so that the visitors’ minds were blown in the misty boundary of art.

The first edition of Documenta was born under the expectation of rebuilding German culture during post-war time, before then modern works were prohibited and downgraded to Degenerate art by Nazi. Documenta turned art back to its glory. There were many works here reflecting the historical importance of Documenta: on the ground floor of Fridericianum sat Julio Gonzalez’s sculptures depicting human figures. Back in the corner Khaled Hourani’s installation told the story of Picasso’s painting shown in Palestine for the first time, and how it was censored when the work entered its troubled territory. In the Ottoneum, Mark Dion’s timber library greeted to Joseph Beuys (1921-1986) who planted seven thousand oak trees thirty years ago at the same place.

While wandering in the main site (Fridericianum) there was dense concern over significant global historical events as well as wars. The highest charged work was on the third floor. The daunting space was cramped with various African carved wood busts, documents and objects, as if it’s an anthropology laboratory. On the wall juxtaposed the photos of the repaired busts and severely-injured or disfigured soldiers in World War I. Each projected broken face flashed in the dusky room just like thunders were approaching, giving a sense of conflict mixing something remote but intimate. Kader Attia named this work “The Repair from Occidental to Extra-Occidental Cultures”. A much softer piece was found in the overwhelming apple paintings by artist Korbinian Aigner. During his detention in the concentration camp he cultivated four new strains of apples. The apples propagated while Jewish suffered on the verge of extinction; these drawings demonstrated the artist’s deepest grief as well as his respectable determination.



The historical trauma kept haunting outside of the Fridericianum, at most with different connotations. One of the cottages at Karlsaue Park played a sweet reunion scene of a German couple welcoming their young son’s return from the battle field. Then the creepy things began and restaged, there were different “sons” telling different experience in Afghanistan, who acted with sexually charged intimations with the mother. The real son actually fell in the battle field. In Omer Fast’s surreal fictional films he examined the dialectics between fact and absurdity, here in his work the loss and long for regain, grief and joy brought by war was radically delivered.

Documenta 13 conducted a history lecture which was heavy without being dogmatic. After 100 days, what would that be rooted in the spectators’ minds and memories? Would that be the breeze delivered by Ryan Gander in the lobby of the Fridericianum, cooly blew through the poles then swiftly glide away. Or could it be Ceal Floyer’s vibrating looped sound piece: “I’ll just keep on…, till I get it right...”

Along the ease of war and the rise of economy in Europe, Documenta became an experimental platform for art and social issues. The curators were empowered to question and even to reverse the contemporary scene. They raised new issues and formed new contexts. The concept of “antagonism” of Documenta 13 was visible from the lineup of the exhibits: anti-Capitalism, anti- Androcentrism, anti-Western art-historical cannon, decentralization and even anti-anthropocentrism. The Hugenottenhaus built by Theaster Gates from Chicago was one of the most engrossing highlights. Stepping in the under-construction building, the humble timber materials fitted perfectly on the mottled wall.  Workers were bustling in and out fixing up the ceiling and the floor, nearly every room was infused with wonderful music. If one is lucky, there will be jazz live performance by the artists! Within this abandon house it is surprising to retrieve utopian harmony and beauty. Though isolated in the desert of Capitalism and Modernism, people were not desperate; still they could communicate with their true and sincere spirit.

At dOCUMENTA(13) one can feel the ambivalence of depression and delight, coolness and enthusiasm. Dance and music were the vital factors contributing to this ingenious balance. Wandering in Kassel while having no idea where and what art is, the visitors might end up breaking into an underground gathering space. In the darkness there were moving faint figures who slowly moved and whispered. Suddenly these people started to sing, clap and stamp in chorus. It was until someone came to hold your hands to join the group then you felt the warm currents in the darkness. This was a classic performance by British artist Tino Sehgal, who had made a brilliant interpretation of the definition of art for the show.

After the trauma of the history was wryly revealed, and the past was juxtaposed with the persisting illusion of the peaceful and prosperous scene of Capitalism, the ongoing Documenta is breaking all the constructions thought to be perfect and fine.    At the meantime, it invites and takes in more and broader possibilities. It is trying to deliver a message that art can open up a pure wonderland for the world, where there is no obstacles to communication, no boundaries for ideas, no more hierarchies between the center and the periphery. Even art may no longer be art; it in the end will bring light and hope.