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Referred to by its artistic director Jan Hoet as the ‘documenta of locations’, documenta IX (1992) was a colossal show. Amid the art, an extensive public program – which included jazz, boxing, and baseball, among other events – pervaded the city of Kassel during its periodic stint as a ‘Museum of 100 Days’. Any attempt to view all that comprised documenta IX would have resulted in a grueling, disorienting experience for the visitor. There was 'almost everything available' for Hoet’s show, and this meant a cacophony of works so loud it could easily drown out the individual voices of the artists involved. But were the artworks subservient to documenta IX’s labyrinthine spectacle?

Diese wissenschaftliche Arbeit ist auch als Hörbuch verfügbar! Kontaktieren Sie bei Interesse die Autorin Ronja Electra Ehrenberg (electra.ehre@gmali.com). Auf Anfrage stellt die Autorin gern weiteres Forschungsmaterial zur Verfügung. Zögern Sie nicht, Frau Ehrenberg für Rückfragen, Kooperationen oder Kritik zu kontaktieren. Eine gedruckte Ausgabe der Masterarbeit befindet sich im Bestand des documenta Archiv in Kassel: http://alephino.documentaarchiv.de/alipac/XGZBXYFMRDBPTRRQLSBR-00023/find-simple?C1=%28&V1=ehrenberg+daybook&C2=%29&F1=ALL&A1=N Bei der Vermittlung von Ausstellungen sind biografische Angaben zu Künstler*innen nahezu obligatorisch. Es scheint ein ungeschriebenes Gesetz zu sein, dass in Ausstellungskatalogen von Geburtsdaten, Lebensgeschichte und Referenzen zu lesen ist. Solche Angaben präsentieren sich in der Regel als wertneutrale Faktizitäten. Doch bereits die Auswahl von dem, was geschrieben und so sichtbar gemacht wird, sind subjektiv. So verrät die Reproduktion biografischer Angaben Mannigfaches über die Autor*innen und die als Herausgeber*innen fungierenden Institutionen. Augenscheinlich werden derartig ungeschriebene Gesetze besonders dann, wenn es um die Darstellung derer geht, die von der Norm abweichen und nicht die normativen ‚Kategorien‘ einer Gesellschaft bedienen. Der Einfluss von Kunstpublikationen ist dabei eminent. Als maßgebliches Repräsentationsmittel gravieren sich ihre Inhalte in die Kunstgeschichtsschreibung sowie Diskurse ein, auf ihren Seiten soll das Ephemere einer Ausstellung festgehalten werden. Im Unterschied dazu bleibt die Reflexion über Ausstellungskataloge in kunsttheoretischen Diskursen dagegen häufig aus. Mit der Analyse der documenta 14-Publikation Daybook wird in vorliegender Arbeit versucht, einen kleinen Teil dieser klaffenden Lücke zu füllen. Die documenta gilt als eine der weltweit bedeutendsten Ausstellungsreihen für zeitgenössische Kunst. Sie stellt ein Kulturereignis dar, das erheblichen Einfluss auf die Gesellschaft und auf den Kanon beansprucht. Welche biografischen Informationen finden Interessierte zu Teilnehmer*innen der documenta 14, wenn sie sich nachträglich im Ausstellungskatalog informieren wollen? Im Daybook ist allen Künstler*innen jeweils eine Doppelseite gewidmet. Die übergeordnete Forschungsfrage für diese Arbeit lautet: ⧫ Mit welcher Häufigkeit werden verschiedene biografische Angaben zu Künstler*innen im Daybook sichtbar gemacht? Es ergeben sich konkret folgende Unterfragen, die in Wechselwirkung zueinanderstehen: ⬧ Was bleibt unsichtbar? ⬧ Finden auch Aspekte Erwähnung, die als marginalisiertanzusehen sind? Diesbezüglich werden age, race sowie queerness fokussiert. Um den genannten Fragen auf den Grund zu gehen und um zu untersuchen, wie facettenreich die 142 Texte im Daybook sind, werden sie in Close Readings inspiziert. Mithilfe eines umfassenden Kategoriensystems wird ausgewertet, wie es um die Quantität verschiedener biografischer Angaben steht. Es wird untersucht, ob die Aussagen im Kontext der Ausstellung oder davon losgelöst getätigt werden. Mit einem Fokus auf marginalisierte Aspekte in Biografien werden die Informationen im Daybook stichprobenartig mit öffentlich zugänglichem Material verglichen, beispielsweise mit den offiziellen Internetpräsenzen der Künstler*innen. So soll veranschaulicht werden, was im Daybook unsichtbar bleibt. Im Vorfeld sowie während der Ausstellung publizierte die documenta 14 die Zeitschriftenreihe South as a State of Mind, auf deren Seiten ebenfalls manche im Daybook vertretenen Künstler*innen präsentiert werden. Inhaltliche Schwerpunkte wie Kolonialismus, Sexualpolitik oder gesellschaftlicher und politischer Widerstand lassen vermuten, dass marginalisierte Themen artikuliert werden. Aus diesen Gründen sollen diese Magazine teilweise ergänzend in die Analyse miteinbezogen werden. Zuletzt wird ein Blick darauf geworfen, inwiefern für Rezipient*innen transparent ist, wer die Artikel im Daybook verfasst hat und wie multiperspektivisch die Publikation ist. Zur Ergänzung des Materials wurden zwei Expert*innen-Interviews mit einer der Herausgeber*innen sowie dem Bildredakteur der documenta 14-Publikationen geführt.

The case is George Hadjimichalis' Documenta 14 installation Crossroad. The CrossroadWhere Oedipus Killed Laius. A Description and History of the Journey from Thebes toCorinth, Delphi, and the Return to Thebes (1990–95/1997). The approach of the article islocation studies from the angle of psychogeography (Coverley), Situationism and geocriticism(Westphal). These theories are applied to the Greek landscapes as rendered in GeorgeHadjimichalis' artistic textualization of the route in his multimedia installation. Crossroad hasmultiple sources. The article casts light on the topographical nature of the Oedipus conflict and itscultural history, including not only the landscape and its route as they exist today, but also as theyare figured in Sophocles' play Oedipus Rex, and as they are thematized in Sigmund Freud's TheInterpretation of Dreams.

Il 20 luglio del 1964 la Pravda pubblica un duro attacco alla Biennale di Venezia - che sancisce, con il premio assegnato a Rauschenberg, la consacrazione del New Dada e della Pop Art - accusandola di “ciarlataneria”. Analogamente da parte della critica italiana emerge una diffusa tendenza a non ammettere la stessa liceità estetica del Realismo Socialista, recuperando i termini di una contrapposizione tra “arte” e “kitsch” il cui antecedente fondamentale può essere identificato nel celebre testo di Greenberg del 1939. Sempre nel 1964 la terza edizione di documenta a Kassel propone una lettura del contemporaneo che esclude programmaticamente il realismo, assumendo una visione idealista che rifiuta ogni possibile tangenza tra ricerche estetiche e dimensione politica. L’articolo si propone di indagare l’affermazione di un modello di lettura del Realismo Socialista che risente profondamente delle politiche culturali in atto negli anni della guerra fredda, i cui retaggi continueranno a perpetuarsi nel dibattito successivo sul realismo, trovando solo in anni recenti, con autori come Boris Groys, una forma di problematizzazione. On the 20th of July 1964, Pravda condemns as “charlatan/swindler” the Venice Biennale, which had consecrated officially New Dada and Pop Art by awarding the Grand Prize to Rauschenberg. Similarly, Italian critics start displaying the general tendency to deem Socialist Realism as not equally valuable on an aesthetic level, regaining the terms of the contradistinction between “art” and “kitsch” whose main antecedent is Greenberg’s breakthrough essay from 1939. Moreover, in 1964 the third documenta in Kassel presents a reading of contemporary art which purposely ignores realism, assuming an idealistic perspective which refuses the possibility of any overlap between aesthetic investigations and political dimensions. This paper aims to analyse the rising of a reading model of Social Realism deeply influenced by the cultural politics of the Cold War years, whose heritage will keep on perpetuating itself in the following debate on realism, and which has been put into question only in recent years by theorists such as Boris Groys.

In diesem Essay wird mit besonderem Blick auf die Kataloge der ersten 4 documenta-Ausstellungen geprüft, wie Positionen aus den engeren Maghreb-Staaten präsentiert wurden und somit auch der Frage nachgegangen, wie "international" - so der Untertitel der Ausstellungsreihe - die documenta war..., Auf Anfrage stellt die Autorin gern weiteres Forschungsmaterial zur Verfügung. Zögern Sie nicht, Frau Ehrenberg für Rückfragen, Kooperationen oder Kritik zu kontaktieren (electra.ehre@gmail.com). Eine gedruckte Ausgabe des Essays befindet sich im Bestand des documenta Archiv in Kassel: http://alephino.documenta-archiv.de/alipac/PDHRJKYWCSZHRAYNBDCU-00002/full-set?RES=7&NUM=2

Documenta 14 gebruikt Kassel niet als een instrumentele plek met gebouwen en muren en parken waar de kunst mooi op uitkomt, maar het neemt Kassel serieus als gesprekspartner en het beschouwt de bewoners als de eerste doelgroep. Het richt zich tot Kassel en de bewoners van Kassel doordat het zich verbindt met wat er al gebeurt, wat er al te zien is, en de geschiedenis van de gebouwen.

Documenta 14 gebruikt Kassel niet als een instrumentele plek met gebouwen en muren en parken waar de kunst mooi op uitkomt, maar het neemt Kassel serieus als gesprekspartner en het beschouwt de bewoners als de eerste doelgroep. Het richt zich tot Kassel en de bewoners van Kassel doordat het zich verbindt met wat er al gebeurt, wat er al te zien is, en de geschiedenis van de gebouwen.

Submitted by Boris Flegr (boris@uerj.br) on 2021-01-05T16:58:17Z No. of bitstreams: 1 Laura de Araujo Jorge Cosendey_dissertacao.pdf: 6671838 bytes, checksum: 357594fb8d09c887aaf32dd085efd920 (MD5) Made available in DSpace on 2021-01-05T16:58:17Z (GMT). No. of bitstreams: 1 Laura de Araujo Jorge Cosendey_dissertacao.pdf: 6671838 bytes, checksum: 357594fb8d09c887aaf32dd085efd920 (MD5) Previous issue date: 2017-03-09 Taking the exhibition space as the central means of displaying art at the present-day, this research envisages the roles played by curators and their hybrid profiles, regarding the significant changes in the art system dynamics and its modes of production during the 20th Century. Through analysis of exhibitions and the curatorial studies, some parallel axis of discussion will follow on this work: from the formation of an exhibitionary culture as a technique of visibility and paradigm for showing art; thoughts on the installation in space as inherent to artistic practice; to the propositive actions of curators as independent iniciatives or with their respective institutions. All this points out a complexity that unfolds in the different levels of the art system. Voices of curators, artists and critics regarding their possible roles will be taken up in order to draw a network of agents and functions. Exhibition situations will be taken as examples of social spaces where art can happen, as historical and modern art collectios, periodic and international exhibitions, or museums in global expansion. To think through these two variants the exhibition and the curator is what this research will further develop Entendendo o espaço expositivo como o meio central de apresentação e circulação da arte hoje, esta pesquisa dedica-se aos papéis do curador e seus perfis híbridos, tendo em vista uma significativa transformação nas dinâmica do sistema de arte ao século XX e seus modos de produção, especialmente após a segunda metade deste período. A partir do campo de análises sobre exposições e estudos curatoriais, há eixos paralelos de discussão que procuramos abordar neste trabalho: desde a formação da cultura expositiva como meio, ferramenta de visibilidade e paradigma para a apresentação da arte; as preocupações quanto à ocupação instalativa do espaço como parte inerente ao trabalho artístico; até as ações propositivas de curadores seja em atuação independente seja em relação à instituição que representam. Aponta-se para uma complexidade do sistema de arte que se desdobra em diversos níveis, desde as relação entre o gênero expositivo como veículo das estruturas do pensamento moderno até a hibridização de papéis no campo da arte. Vozes de curadores, artistas e críticos serão convocadas para discorrer sobre seus possíveis papéis, a fim de construir relações entre esta teia de agentes e funções. São abordadas situações expositivas através de exemplos de espaços sociais onde a arte pode acontecer, como coleções históricas e de arte moderna, exposições periódicas e internacionais, museus em expansão global. O discurso curatorial apresenta-se, assim, na interseção entre as formas assumidas pelo pensamento sobre a arte e as formas como a arte é consumida. Pensar através destas duas variantes a exposição e o curador é o que esta pesquisa busca desenvolver

Referred to by its artistic director Jan Hoet as the ‘documenta of locations’, documenta IX (1992) was a colossal show. Amid the art, an extensive public program – which included jazz, boxing, and baseball, among other events – pervaded the city of Kassel during its periodic stint as a ‘Museum of 100 Days’. Any attempt to view all that comprised documenta IX would have resulted in a grueling, disorienting experience for the visitor. There was 'almost everything available' for Hoet’s show, and this meant a cacophony of works so loud it could easily drown out the individual voices of the artists involved. But were the artworks subservient to documenta IX’s labyrinthine spectacle?

On the occasion of documenta's 14th edition, this special issue scrutinizes the ways in which the Kassel-based periodic exhibition has been contributing to curating the history of the present since its inception in 1955. From diverse perspectives, the authors engage with questions of how documenta's iterations played a significant role not only in the making of a history of contemporary art but also in the canon of the relatively young field of curatorial and exhibition studies. Focusing on documenta's engagement with artistic and broader cultural developments, as well as its implication in shifting socioeconomic and geopolitical contexts, the texts assembled in this issue touch upon documenta's continuous dedication to instituting and reconfiguring the contemporary throughout its history. Its characteristic dedication to contemporaneity and institutional temporariness have continuously challenged researchers to reflect and revise their methodologies and epistemological foundations. Due to documenta's specific character as a recurring large-scale exhibition with a relatively stable framework that has to be reinterpreted anew every five years, documenta's potentials for mediating ideologies and power structures, notions of authorship and agency, as well as relations between the local and the global have furthermore fueled negotiations of the relationship of art and politics from the outset. with contributions by Kathryn M. Floyd, Phillipp Oswalt, Susanne König, + ID: 555063 + Reihentitel: OnCurating + PeerReviewed

International audience

One of the crucial changes that occurred in contemporary visual art in the twentieth century was the formation of an immense institutional platform with thousands of very different institutions that not only exhibit, house, and support contemporary art, but also directly commission it and produce it. This global network of institutions is run by contemporary art experts – which as a rule means curators, not artists. Curators are the ones who devise and administer programmes, who invite the public to participate in a varied and constant stream of events, and who guide the public using a complex discourse rich in metaphor and conceptual abstraction. The art system, therefore, not only allows but even demands that the curator, too, in keeping with the charismatic ideology of the art field, be as fully “consecrated” as possible and also that production relations be defined, not clearly as actual production relations, but rather as, for instance, the relations of hospitable hosting., Jedna od ključnih promjena koje su se dogodile u suvremenoj likovnoj umjetnosti u 20. stoljeću bila je stvaranje goleme institucionalne platforme s tisućama vrlo različitih institucija koje ne samo da pokazuju, čuvaju, i podupiru suvremenu umjetnost, nego je i izravno naručuju i produciraju. Ovu globalnu mrežu institucija vode stručnjaci za suvremenu umjetnost – što po pravilu znači kustosi, a ne umjetnici. Kustosi su oni koji osmišljavaju i upravljaju programima, koji pozivaju publiku da sudjeluje u raznovrsnom i konstantnom tijeku događaja te koji je usmjeravaju pomoću kompleksnog, metaforički bogatog i apstraktnoga konceptualnog diskursa. Umjetnički sustav, dakle, ne samo da dopušta nego, u skladu s karizmatičnom ideologijom umjetničkog polja, i zahtijeva da se u najvećoj mogućoj mjeri posvećuje i kustosa te da se proizvodni odnosi ne definiraju kao stvarni proizvodni odnosi nego više kao da su, primjerice, odnosi gostoljubivosti između domaćina i gosta. U takvoj strukturi, moramo prihvatiti činjenicu da su i gostoljubivost i gostoprimstvo strukturalno i profesionalno uvjetovani, a pored toga i da ovakav način rada stvara, između ostalog, i specifične oblike i vrste slika, prikaza. Ovdje ne mislimo samo na slike povezane s umjetničkim djelima, nego i slike – dostavljene širokoj javnosti uglavnom putem medija ili putem internetskih društvenih mreža – koje su povezane sa samim institucionalnim segmentom, u kojem motivi gostoljubivosti i prikazi kustosa i njihovih aktivnosti zauzimaju bitno mjesto. Slike ove vrste danas su redovita pratnja »života« izložbi, institucija i kustosa, tako da ima smisla da ih se razumije kao sastavni dio tih uslužnih rituala. S obzirom na komunikaciju tih slika putem javnih medija, sljedeće su dvije činjenice najbolje prikazane kao značajna suprotnost: ovakve slike posredovane su namjerno i svjesno, ali čini se kao da nastaju nekako slučajno. Kao prvo, te slike ne vidimo kao sastavni dio nekoga određenog načina rada, nego samo kao njegovu diskretnu »nuspojavu«; kao drugo, mi to razumijemo kao činjenično i nepristrano izvještavanje medija o važnim događajima – izvješćivanje koje podliježe novinarskoj objektivnosti i etici. Doima se kao da je objavljivanje tih slika u medijima nešto što se može ali ne mora dogoditi – unatoč činjenici da je proizvodnja i distribucija institucionalnih slika sustavno organizirana i planirana. Institucije i kustosi namjerno stvaraju i usmjeravaju takve prezentacije, i pokušavaju koliko je moguće upravljati načinom na koji su priopćene. S takvim slikama slijede širok spektar strateških ciljeva, na primjer u odnosu na njihove izvore financiranja, bili oni javni ili privatni. Unutar samoga umjetničkog polja, medijske slike očituju svoj utjecaj na mnogo različitih načina koje je, s obzirom na njihovu složenost, teško definirati. Prilično je očito da medijske operacije s institucionalnim slikama mogu u velikoj mjeri doprinijeti akumulaciji simboličkog kapitala, prestiža i sličnih faktora, koji postižu visoku operativnost u polju i koje kustosi i drugi svjesno slijede i koriste u svom radu, na primjer u uspostavljanju svoga ugleda. Teže je – s obzirom na izvanredno reagiranje umjetničkog polja na medijske impulse – utvrditi kako medijske slike aktivno pridonose formiranju najrazličitijih nizova konkretnih mišljenja, stavova i procjena.

Helmut Bröker wurde bekannt durch Ausstellungseröffnungen, Vorträge, Autorenlesungen, Seminare, unter anderem während der Documenta-Ausstellungen 1977, 1982, 1987 und 1992 im regelmäßig (täglich) und öffentlich an verschiedenen Standorten in Kassel stattfindenden Documenta-Seminar; im daraus hervorgehenden KUNSTGESPRÄCH, einem von ihm seit 1983 konzipierten öffentlichen Forum für Begegnung und Austausch an Orten in Basel, St. Gallen und Zürich sowie ab 1984 in Berlin, u. a. während der Freien Berliner Kunstausstellung (FBK) 1994; zur Reichstagsverhüllung durch Christo 1995 im :Kunstgespräch: unter freiem Himmel. Die :Kunstgespräche: fanden daneben bis zu seinem Tod weiterhin zu öffentlich relevanten Themen regelmäßig statt. Bröker hinterließ keine Bücher oder gedruckten Vorträge, jedoch Einladungstexte zu den von ihm verantworteten Veranstaltungen. please find a chronological documentation of the public work of helmut bröker compiling announcements to lectures, invitation texts and descriptions in public lecture table of contents in this publication.

Autor u članku razmatra načine na koje se u suvremenom hrvatskom društvu pristupa izučavanju Holokausta. Poseban osvrt posvećen je ulozi krivotvoritelja suvremene hrvatske povijesti poput Documente u širenju nepovjerenja u dijelu hrvatskog društva prema istraživanju zločina počinjenih nad Židovima u NDH.

La tesi si propone di analizzare le prime tre edizioni di documenta (1955, 1959, 1964) e il modo in cui l’arte italiana è stata proposta, interpretata e recepita all’interno di esse. L’analisi è stata condotta sui fondi d’archivio conservati presso il documenta Archiv di Kassel - a cui si sono affiancate ricerche presso l’Archivio Giuseppe Marchiori di Lendinara, l’Archivio Storico della Fondazione La Triennale di Milano, l’archivio del Kunsthistorisches Institut di Firenze - con l’obiettivo di ricostruire le specificità delle tre edizioni prese e in esame e in particolare il modo in cui esse hanno messo in mostra l’arte italiana del Novecento. Sorta in una città distrutta dai bombardamenti durante la seconda guerra mondiale e marginalizzata nel nuovo assetto geopolitico della Germania divisa, documenta si pone come un luogo di codificazione di una precisa visione del modernismo, a partire dal recupero dell’arte bandita negli anni della dittatura, ma anche come luogo di esaltazione dell’astrattismo in chiave anti-sovietica. La ricerca ha quindi permesso di indagare il ruolo dell’esposizione nel contesto tedesco e nel processo di rinnovamento dei sistemi espositivi - considerando i progetti realizzati e irrealizzati, il rapporto tra gli allestimenti progettati da Arnold Bode e la linea teorica proposta da Werner Haftmann, il modo in cui le singole esposizioni si sono inserite nel dibattito - concentrandosi soprattutto sulla questione del sistema di scambi tra l’Italia e la Germania del periodo preso in esame, muovendo quindi da una prospettiva “esterna” al territorio per considerare le modalità di diffusione dell’arte italiana su un piano internazionale e il modo in cui documenta si è fatta promotrice di determinati modelli interpretativi. This thesis aims at investigating the first three editions of documenta (1955, 1959, 1964) and how Italian art was proposed, interpreted and recognized inside these exhibitions. The work has been developed starting from the archival collections of documenta Archiv in Kassel, which have been studied also through researches in the Giuseppe Marchiori Archiv in Lendinara, the historical archive of Fondazione la Triennale in Milan and the archiv of Kunsthistorisches Institut in Florence, with the goal to reconstruct the specificity of the three editions and in particular to analyse how they exhibited the Italian art of the twenty-century. Founded in a city destroyed by the bombing of the Second World War and marginalized in the new geopolitical order of the divided Germany, documenta codified a specific point of view on Modernism, by reassessing the value of the art censored by the dictatorship during the previous years, but also glorifying abstract art in opposition to Soviet Socialist Realism. This research allowed us to investigate the role of documenta in the German context and in the process of renovation of the exhibition system - considering the realized and unrealized projects, the relationship between the exhibition design projected by Arnold Bode and the theoretical plan of Werner Haftmann, the connection of each exhibition with the coeval debate - with a central focus on the question of the relations between Italy and Germany in the chosen period, moving from an “external” perspective to consider the way Italian art spread internationally and how documenta promoted specific interpretative models.

Entre 9 de Setembro de 2013 e 10 de Janeiro de 2014 realizei estágio com a equipa da Sistema Solar, CRL. no âmbito do mestrado em Edição de Texto. Durante este período, converti livros em reedição para o Acordo Ortográfico da Língua Portuguesa de 1990, trabalhei em revisão de texto, fiz cotejo, dei apoio na composição de texto a partir de manuscritos autógrafos, acompanhei processos de produção e promoção do livro e apresentei uma proposta de edição – de Le Dernier Testament, de Raul Leal. O presente relatório expõe este processo de aprendizagem, descreve as tarefas executadas e procura a partir delas problematizar algumas das questões que se colocam ao sector editorial actual. Quais os desafios que envolve este novo Acordo Ortográfico para a edição? Qual a missão e os limites da missão do revisor? Como definir e aplicar critérios editoriais no trabalho com manuscritos? Como fazer uso da inovação tecnológica de que tem vindo a ser palco este mercado? E, relativamente ao mercado, como se conjuga hoje concentração editorial, crise, independência e emoção? São algumas das perguntas levantadas, a que nem sempre se dá resposta.