I first encountered the installation The Refusal of Time by South African artist William Kentridge (b. 1955) in the pages of Enrique Vila-Matas’ The Illogic of Kassel – a fictional account of dOCUMENTA (13) back in 2012. While I have not seen the work in person, I have just read the publication produced for that […]
Before housing Mattin’s Social Dissonance, the small room at the far end of Documenta-Halle was home to two expansive installations at two previous documentas: Pascale Marthine Tayou’s Game Station at Documenta 11 in 2002 and Nalina Malani’s In Search of Vanished Blood at dOCUMENTA (13) 2013. Looking at installation shots of these two works, you […]
07:11 Wake up in my room at the Hessenland Days Inn, the same hotel where Enrique Vila-Matas stayed during dOCUMENTA (13) in 2012 (when it was called the Grand City Hotel, Hessenland), and where Gerald Byrne’s film A man and a woman make love was shown in the ballroom. 07:16 Look out window at the […]
There was no way that documenta 14 was ever going to compete with its predecessor on the scale of its intervention in the expansive terrain of Karlsaue Park. Some fifty plus artworks were scattered across the park during dOCUMENTA (13), which made this the most densely populated space for works as well as of visitors, turning a quiet stroll in the park into a mass treasure hunt for art lovers.
The morning I spent at Karlsaue Park today, however, was a mixture of frustration and excitement as I combined my visits to the 4 works of documenta 14 (by Cuidad Abierta, Olaf Holzapfel, Benjamin Patterson and Lois Weinberger – pictured) with a foolhardy quest for remnants of works from five years ago.
But what this combined search for traces of past works and this year’s four pieces taught me was that one of the major strengths of documenta 14, as generated by its split between Athens and Kassel, is that it allows the artworks of one site to forge a contingent relationship with other works elsewhere, either in Athens, Kassel or both. Furthermore, each of the four works shared the form of some kind of structure which had the effect of contingency in a different way: they all demanded some form of mediation from the visitor to be activated, understood and appreciated. In other words, each work caused visitors to triangulate between what they encountered in the park and works on other sites. Of course, this is not to say that certain networks and connections between objects and artists were not deployed at dOCUMENTA (13) – there were artists, for example Susan Hiller, who had works in Karlsaue and elsewhere in Kassel. That said, the spectacle of sheer number of works to be discovered dispersed across the part, makes it harder to believe that they were meant to be encountered in this contingent, mediated way.
I will write about this in more detail tomorrow as I am experiencing some technical difficulties (in addition to extreme exhaustion from my day’s adventures) so I will continue this post on my return to Malaga tomorrow.
In the meantime, here is a video of a ten minute bike ride through the park from 2012 and dOCUMENTA (13) that you can enjoy from the comfort of your own home.
Five years ago, in the rotunda of the Fridericianum, where I sat with the other participants in The Parliament of Bodies for last night’s talk by Georges Didi-Huberman, there stood what artistic director Carolyn Christov-Bakargiev called ‘the brain’ of dOCUMENTA (13). A few posts ago I mentioned this area as encountered by Enrique Vila-Matas in […]
I did not visit Kassel five years ago, but I cannot forget Alyce Kaplan’s work in the hexagonal room on the top floor of the Orangerie. While I didn’t see it in person, her work appeared on the gray carpeting on the landing as a colorful reflection. I don’t recall stepping closer to that reflection, […]