By Hakan Topal, August 20th, 2012 
In my last post, I explored the idea of artistic research as I reflected on my visit to this year’s documenta exhibition. Today I will follow up by reviewing a case in point, “The Afghan Seminars” of dOCUMENTA (13), and then add some concluding reflections.
dOCUMENTA (13) actively stimulated the development of new artistic encounters by commissioning new projects, organizing various proceedings and publications. The organizers invited various artists and scholars for a series of events before and after the opening, for example, in Kabul, Cairo and Banff. “The Afghan Seminars: A Position of Documenta (13)” is particularly interesting because it included artists such as Michael Rakowitz, Giuseppe Penone, Mario Garcia Torres, Francis Alys, and Adrian Villar Rojas, most of whom were commissioned to produce a new work related to their experience in the war-torn country. In addition, the exhibition in Goethe Institute, Kabul presented 27 artists from 13 countries as part of the dOCUMENTA (13).
Although artists had no prior personal knowledge about the context of Afghanistan, they came up with interesting plans. For instance, in his film, “Reel/Unreel” (click link to watch), Francis Alys follows children who are playing a game with a steel circle, as well as an actual film reel given to them by the artist himself. Children continuously navigate by rolling the reels, following different paths in Kabul streets. The camera constantly shows the rotating reels in a close shot, depicting an intimate engagement with the urban context, providing a unique perspective, and a ground-up view of the city. The film operates in many layers. As we follow the kids and the reels, the film reel unfolds and refolds back, both literally and metaphorically, depicting life in Kabul. The project relates to the Kabul’s recent troubled past where films were burned down by the Taliban. However, the children’s playfulness offers the possibility for a joyful future.
Michael Rakowitz’s “What Dust Will Rise?” (2012) (click link for image), a conceptually complex project deals with the books that were destroyed during the aerial bombing in Kassel in 1941. Rakowitz’s . . .
Read more: Notes on dOCUMENTA (13): Afghanistan and Conclusions
By Hakan Topal, August 17th, 2012 
This years’ documenta—dOCUMENTA (13) titled with a small d as a subtle typographic gesture to create a distinctive branding —is sited around the city of Kassel with over 180 art projects, mostly new commissions. With a budget of thirty five million euros, it is the most expensive contemporary art exhibition in the world.
I visited dOCUMENTA (13) during the opening dates of the exhibition. Everyone spoke of the curator’s peculiar approach, choices, and her eccentric personality. The idea of the star curator is relentlessly promoted in the growing numbers of biennials and triennials all over the world, without bearing on the quality or content of the exhibitions. But nevertheless, the organizers use the lure of the curator-figure as a cheap marketing strategy. In fact three months before the opening, a press kit landed on blogs, featuring curator Carolyn Christov-Bakargiev in various glamor shots with different outfits. With almost no mention of the participating artists, the emphasis was on the curator as the sole mastermind.
These days, biennial openings are eerily like business events. Museum directors, gallery owners, collectors and schmoozing artists form a toxic bubble, diluting art’s effectiveness for a salient alternative future, transforming it into any other commercial activity. But one has to ignore all this to see the content and the hard work put into the exhibition by thousands of cultural producers. A biennial is best navigated by creatively selecting the sources to read, the people to speak with, the restaurants to eat at, and the events to participate in. Even so, it is exhausting to spend three days to see all the work. I have to admit that I could not watch all the films or visit all the sites.
Nevertheless, compared to many other contemporary art biennials, with its scope and careful execution, documenta is still a very exceptional experience. Since the organizers have an extensive time period to put the exhibition together, from its research to its commissioned projects, it provides a vigorous snapshot of the current state of contemporary art. Because of its scholarly yet experimental approach . . .
Read more: Notes on dOCUMENTA (13): Artistic Research
By Hakan Topal, August 16th, 2012 
This is the first of three posts on this year’s Documenta art exhibition. -Jeff
Documenta opened its doors to the public on June 6th. Documenta —one of the largest contemporary art exhibitions in the world—takes place in Kassel, Germany every five years. This high point of the international art world calendar was initiated in 1955 to heal the scars of the Second World War, largely as a response to the “Degenerate Art” exhibition by NAZI regime. But it also intended to show the open mindedness of western societies and freedom of expression to the rest of the world, specifically the Eastern Bloc. Obviously the world’s political conjuncture has dramatically changed, since then, as has the exhibition.
One of the most interesting aspects of this year’s exhibition was its multifaceted relationship with the idea of nature and the paranormal. Some of the projects sited in Kassel’s Orangerie, Karlsaue Park and the Ottoneum (the natural history museum) offered a distinct approach to engage with matter and living things as an artistic category.
Eighteenth century parks in the English tradition are spread around Europe as idealized slices of nature in urban settings, with Arcadian forests, bridges, small houses and creeks. The bourgeoisie depicted the countryside in a sentimental way, as a response to rapid urbanization. Nature became something to be looked at and leisurely experienced. Parks are highly crafted artificial sites and reflect this modernist ideology. A small army of maintenance workers maintains the ecosystem and botanists carefully manage the flowers and plants. Even wildness is manufactured.
Pierre Huyghe’s “Untitled (2011-12),” one of the most intriguing projects of the exhibition, negotiates with the park itself. When one arrives to the composting area of the park to see Huyghe’s work, they encounter scattered aggregate, asphalt, sand, soil and construction materials. The location registers as peculiar and haphazard. One inevitably wonders if they arrived to the right site, or just a staging areas for park services. But there is no randomness like this in German parks, known for their preciseness. So this oddity resolves itself as you navigate by jumping over the . . .
Read more: Notes on dOCUMENTA (13): Parks, Nature and Artifact
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