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The foregrounding of work concerning the second world war reflects a desire of the Documenta curatorial team, led by Adam Szymczyk, to highlight the issue of German war crimes as part of its controversial decision to mount the show in Athens as well as Kassel, the small German city that has hosted it since A short informal interview I made with the artist talking about the work can be heard here. Although none of the a-n bursary recipients actually visited Athens, their response to the curatorial theme was mixed.
Lots of people around, mostly all taking quick snaps of the work and moving on. Instagram must be in overload. While some of the artists produced in-depth critiques in their coverage of Documenta 14, others gave more concise, personal reactions. All seemed equally engaged and stimulated, as well as grateful to a-n for the funding that made it possible. Dust and sand, dust and sand, channel to channel, jump cuts, Israel.
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Safe distances. Overall, film works seemed to dominate the gaze, with some of the bloggers opting to cover less ground and experience entire film programmes, rather than attempting to access as many works as possible by hurrying from venue to venue. Furthermore, the lack of site-specificity, noted by Pat Naldiprovided a key to understanding that the work presented in Kassel has not been embedded in the buildings and streets of the locality, as iterations have successfully attempted. This tenuous relationship — and in some cases a complete disregard to its site — confirms the contextual disconnect, and feeling of cultural over-imposition [of] these blockbuster exhibition[s].
In the end, it seems, the individual art works at Documenta 14 are more important than the sum of their parts. To view all the Documenta 14 reports by a-n bursary recipients use the Documenta bursary tag. Images: 1. Documenta Photo: Michele Allen 2.
Photo: Chris Paul Daniels 3.
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