We’re familiar with the contemporary role of curators, extending beyond selecting artworks and presenting them beautifully in a white cube. Storytelling, a practice ingrained in human history through various mediums like visual representation, oral tradition, and written documentation, stands as one of our oldest traditions—a pillar without which societies might collapse. In the realm of storytelling, a relatively recent approach has emerged: curation. While we’ve witnessed curators shaping narratives through paintings, sculptures, prints, videos, and even ready-made, the idea of curating a whole new story, an entire exhibition derived from ten shows hosted by a major global contemporary art establishment like the Documenta, is particularly intriguing. After all, how often do curators get to create an exhibition from within another exhibition?
“As the saying goes, it’s the victors who write the story. But in the case of Documenta, Germany’s world-famous art exhibition founded in the rubble of World War II, the opposite is also true….Documenta, it’s clear, was far from just a neutral celebration of contemporary art.” writes Kate Brown, as she explores the exhibition 2021-22 “Documenta: Politics and Art,” held at the German Historical Museum in Berlin (Brown, 2021).
Arnold Bolde, a Kassel-based artist, and teacher, realized in 1955 how culturally isolated Germany had become after the war. filled with postwar idealism, he intended to reconcile Germans with worldwide artistic endeavors that had been outlawed under the Nazi dictatorship as ‘Entartete Kunst’ or degenerate art: expressionism, fauvism, cubism, Blauer Reiter, Pittura Metafisica, and Futurism. As a result, he dreamed of the Documenta project as part of the Bundesgartenschau, a biannual horticultural display held at the time in Kassel. The inaugural Documenta concentrated on abstract art, specifically abstract painting from the 1920s and 1930s, and featured notable painters such as Kandinsky and Picasso. Documenta’s focus turned to modern art over time and has created a tremendous quantity of material since the beginning, which Bolde began to archive in 1961 (Leclézio, 2021).
The inaugural Documenta had two major goals: to restore modernism to Germany after it had been repressed by the Nazis and to reintegrate German modernists, particularly abstract painters, into European cultural and political life after WWII. They emphasized abstract art’s expressive and redemptive characteristics, linking it to individuality, creative freedom, and internationalism. A third unforeseen consequence was that abstract art became a symbol of rising consumer culture in the 1950s, linking West German politics with Western capitalism. It took a decade to prepare the framework for the comeback of modernism, with Documenta playing a critical part in crystallizing and solidifying this cultural change. With abstract art at its ideological foundation, Documenta became a part of respecting national identity and the significance of history and tradition (Wallace, 1987). Or so they would have us believe. Critics contend that the early Documenta exhibitions only presented half of the story and deliberately excluded social realism artworks.
In this context, making reference to the early 1950s West German socialist consensus, which pushed for commemorating the war against fascism via social realism, adds another depth to the complicated interaction between art, politics, and historical memory at the time. The intentional absence of these realist artworks, noted for their direct involvement with political and social themes, was seen by critics as a selective or even biased representation (Wallace, 1987).
As stated previously, curation is emerging as a contemporary method of storytelling, and storytelling is fundamentally about communicating ideas and concepts. The fascinating part is that stories can be altered to fit certain purposes. Consider a courtroom scenario as an example of this phenomenon, when the same narrative is being discussed by two opposing parties. Yet, there are two separate conclusions, similar to two sides of the same coin. While one story strives for prosecution and secures an imprisonment term, the other seeks exoneration to relieve the accused of legal consequences. This example demonstrates how narrative may be influenced by certain goals. A similar scenario may be seen in relation to the Documenta displays with the 2021-22 exhibition “Documenta: Politics and Art.”
Lars Bang Larsen, co-curator of the exhibition in Berlin, emphasizes that Documenta was more than just an art show; it was also interwoven with geopolitical and cultural issues. The exhibition and its organizers helped to shape narratives about both the East and the West. Documenta 2 included 37 American artists as part of an “institutional package” put together by MoMA director Porter McCray in 1959. Interestingly, McCray did not select a single work that was figurative. Instead, Documenta promoted Abstract Expressionist forms, showing artists such as Jackson Pollock and East Germans working in a similar vein, breaking from the country’s dominant figurative art prevalent at the time. The trend continued with Documenta 4, which featured Pop Art and Minimalism artists such as Andy Warhol and Jo Baer (Brown, 2021).
The exhibition goes into the roots of Documenta, giving light on the involvement of former Nazis among its organizers and the resulting influence on the exhibited work, according to Julia Voss, another co-curator of the Berlin exhibition. The exhibition focuses on Werner Haftmann, a co-founder with Nazi ties, and how his Nazi affiliations impacted the selection of artists and artworks. Those who had talked about or lived through the Holocaust experiences were specifically excluded (Brown, 2021).
The initial Documenta aimed to revitalize German cultural life and reintegrate the country into the worldwide creative community. This admirable objective, however, should have been accompanied by significant ethical considerations. There is a convincing case to be made for dealing with the atrocities within the context of ethical obligation, historical truth, and the function of art as a mirror of social reality. The problem is to strike a nuanced and fair balance between these goals within the context of any particular exhibit.
The scenario is similar to the continuing debate over social responsibility in filmmaking, which is another significant storytelling tool. In 2019, Indian actress Parvathy Thiruvothu Kottuvatta ignited debate by calling out actors for glorifying regressive protagonists. The discourse on social responsibility in film echoes with Documenta’s historical critique, in which deliberate exclusions of social realism artworks spurred arguments about art’s obligation to portray social reality.
There are parallels between filmmakers negotiating challenging topics with caution and Documenta organizers’ curatorial choices in creating postwar German identity. Filmmakers, artists, and curators find themselves at the crossroads of cultural expression and societal expectations as they strive to gently balance artistic freedom with social responsibility, analyzing the enormous effect of art and entertainment on the fabric of society.
Regrettably, despite the passage of time, curators and artists still encounter challenges when navigating the intersection of the art industry and societal expectations. This was evident in the most recent Documenta (Documenta fifteen) held in 2022, where once again, the exhibits faced criticism for being antisemitic and anti-zionist. The controversy was significant enough that one of the film screenings had to be removed from the exhibition.
Unfortunately, the challenges for curators and artists as they navigate the delicate intersection of art and social responsibility persist even as the art world evolves. The latest Documenta Fifteen, held in 2022, is a poignant reminder of these ongoing battles, as the displays were once again criticized for being antisemitic and anti-zionist. The cancellation of one of the film screenings in reaction to the mounting criticism highlighted the seriousness of the issue. However, it is critical to recognise that the interpretation and comprehension of art may vary greatly depending on the current circumstances, historical context, and geopolitical atmosphere.
The Documenta’s past and present stand as testaments to the ongoing issues encountered by curators and artists, emphasizing the importance of a nuanced and thorough approach in curating judgements. Every endeavor needs to be executed with a heightened understanding of the possible social consequences, as well as a dedication to navigate these challenges responsibly if the art world is to really bridge divides and create conversation.
References:
Wallace, I. (2012). The first Documenta 1955. OnCurating, (33), 36-43. https://www.on-curating.org/files/oc/dateiverwaltung/issue-33/pdf/Oncurating_Issue33.pdf
Viveros-Faune, C. (2021, June 18). A startling exhibition on the history of Documenta reveals the political moves—and Nazi ties—of its first curators. Artnet News. https://news.artnet.com/exhibitions/documenta-the-politics-of-display-review-1977077
The politics of the early Documenta art shows. (2021, June 18). DW Documentary. https://www.youtube.com/watch?v=ycoA3XGT1jA
The Documenta art exhibition and the debate over antisemitism | DW Documentary. (2022, January 16). [Video]. YouTube. https://www.youtube.com/watch?v=PfDw6t3IZew
Kimmelman, M. (2022, July 22). How the Documenta fifteen went wrong. The New Yorker. https://www.newyorker.com/culture/cultural-comment/how-the-documenta-fifteen-went-wrong
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