JCS 1 (3) pp. 369–381 Intellect Limited 2012
Journal of curatorial studies Volume 1 Number 3 © 2012 Intellect Ltd Exhibition Reviews. English language. doi: 10.1386/jcs.1.3.369_7
Exhibition Reviews
7th BERLIN BIENNALE: FORGET FEAR . Curated by Artur Zmijewski in collaboration with associate curator Joanna Warsza and the art collective Voina, presented at the KW Institute for Contemporary Art and other venues (27 April–1 July 2012), Berlin Reviewed by Catherine Tedford, Richard F. Brush Art Gallery, St. Lawrence University The organizers of this year’s Berlin Biennale asked participants to focus on ‘concrete activities . leading to visible effects’ and ‘finding answers, not asking questions’ (Zmijewski 2012a: 10). Associate curator Joanna Warza writes that ‘We searched for art in civil disobedience, in politics, in representative state art, in the politics of memory, in capitalist appropriation, or in educational activities seen as “bad art”’ (2012: 9).. In an early open call, the Biennale’s curator/artist-provocateur, Artur Zmijewski, invited artists and art groups from around the world to submit new materials and statements regarding their political views. From over 5,000 responses, he and his curatorial team assembled an ambitious, multifaceted array of exhibition projects, performances, films, lectures, public and web-based discussions, publications, an ArtWiki online public research archive, an ‘autonomous university’, and countless other endeavours. Artists, activists and scholars from Germany, Poland, Spain, Hungary, Iceland, Israel, Palestine, Brazil, Columbia and elsewhere were selected to participate. Many works in the Biennale at the KW Institute were project-oriented and presented in documentary photography, film, installations and gatherings. One artist, Khaled Jarrar, showed individual photographs of people whose passports had been stamped with his official seal for The State of Palestine (2011). With this performance piece, he declared the existence of a
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non-existent state. Israeli artist Yael Bartana (2012) presented Berlin’s first congress of the Jewish Renaissance Movement in Poland, and distributed a manifesto calling for the return of 3,300,000 Jews and ‘all those for whom there is no place in their homelands – the expelled and the persecuted’. As an object-based work, a notable exception was Wolf Geyr’s Nazilike banner, New World Order (2011), which hung from a high window in the inner courtyard and featured the distinctive American $ dollar sign in place of a swastika. The banner was part of an Occupy Wall Street pop-up show in New York City in October 2011, though seeing the piece in Berlin, and referencing Adolf Hitler and World War II so directly in this context, was bound to sting. Certain projects in the Biennale were launched prior to the opening of the show, and many will extend well beyond its closing. Three months beforehand, for example, Czech artist Martin Zet sparked a scandal by attempting to collect and recycle 60,000 copies of Thilo Sarrazin’s controversial Deutschland schafft sich ab (Germany Does Away with Itself), a bestselling book in which the author, a former Berlin finance senator, blamed Muslim immigrants for ‘dumbing down’ the country. Zet’s project lost momentum after being compared to Nazi book-burnings in 1933; fewer than a dozen of Sarrazin’s books were submitted, and the artist’s intentions remain ambiguous, as does any significant impact of the project. Sarajevo-born, London-based Nada Prlja constructed a black stone ‘Peace Wall’ – twelve metres long and five metres high, dividing Friedrichstrasse in the central Berlin-Kreuzberg district – to call attention to the rapid gentrification of the city and to economic and social inequalities among residents, storekeepers, neighbourhoods, corporate entities and tourists. Situated steps from the former Berlin Wall and famous Checkpoint Charlie Cold War border post, the piece was defaced to the point that it had to be prematurely dismantled. The artist, too, was verbally attacked while the project evolved. One of the most visible aspects of the Biennale, conceptually and physically, was the central hall at the KW Institute, which was converted into a makeshift experimental Occupy Biennale site. Global and local Occupy movements were invited to attend, and various stations were arranged for couch discussions, protest literature and chalkboard manifestos, e.g., ‘This is Jean Baudrillard at his best – simulacrum,’ and ‘Es gibt kein richtiges Leben im falschen (T. W. Adorno)’ (There is no right life in the wrong one). Tables covered with stencils and spray paint allowed visitors to make signs on used scraps of cardboard. One set of stencils outlined ‘anon’ and ‘ymous’, while others showed the dates: 1605, 1789, 1968, 1989. Behind the Institute, people hammered tent stakes and planted basil in an urbanen Garten. Hand-scrawled ‘to do’ lists were tacked up on walls. This component of the Biennale was most at odds with itself – a room strewn with well-meaning, though somewhat self-important, grunge and hippie types, students and intellectuals, alongside a wealthier, tonier stream of attendees, the latter of whom eventually made their way outside to smoke cigarettes, drink Milchkaffees, and play with their Blackberries in the warm spring sun. Though Occupy sites around the world comprise many contradictory elements, the museum setting in this case negated any sense of urgency or real purpose.
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Indignad@s/Occupy Biennale (2012), installation views in the KW Institute for Contemporary Art. Photos: © Marcin Kalinski, courtesy of the 7th Berlin Biennale.
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In choosing to disregard traditional models of presenting art objects for display, exhibition organizers and participants generated ideas and actions that will appear in some cases indefinitely, beyond the Biennale itself, in other contexts, on the streets and online. Near daily posts and videos documenting general assemblies, seminars, music concerts and poetry slams could be found on the website for the Indignad@s at Occupy Biennale (2012), a decentralized group who collaborated in efforts to rebalance traditional hierarchical and institutional power structures and roles: The next two months will be a collective experiment, as we work together to transform the gallery hall into a space where we can discuss both political questions and organizational strategies, grow through public interaction, and engage in various forms of activism, from creative actions to mass demonstrations [….] Art for art’s sake is not a feature of the BB7 concept. We are dealing with the grassroots questions of politics and culture, down to earth, with our feet on the ground floor. (Görß and Rudolph 2012) In mid-May, Occupy Biennale moved out to the streets, and Indignad@s and anti-capitalist activists joined Blockupy Frankfurt marches at the European Central Bank’s headquarters. In early June, protesters participated in demonstrations against Deutsche Bank in Berlin. Members of New York City’s Occupy Museums were invited to join the Biennale and occupied the Pergamon Museum to ‘question and confront the issue of colonization and misappropriation of art and cultural heritage’ and ‘bless victory for horizontality, sharing and non-ownership’ (Occupy Museums 2012). Ultimately, as to be expected, the KW Institute was ‘occupied’. Two weeks before the close of the Biennale, Occupy participants challenged the very structure of the organization itself with calls for decentring power from exhibition curators and museum staff in order to ‘loosen the assumptions of cultural, institutional and economic hierarchy and bring the 7th Berlin Biennale into line with the stated claims to “present art that actually works, makes its mark on reality, and opens a space where politics can be performed”’ (Indignad@s at Occupy Biennale 2012, with quote . from curator Zmijewski 2012b: 6). Elsewhere in Germany, other performances were taking place, and annual Walpurgisnacht and May Day gatherings provided a marked contrast to the Biennale. Walpurgis Night is a traditional pagan holiday celebrated in central and northern Europe on 30 April, six months from Halloween, during which huge bonfires are lit and witches meet and revel with the gods. This year in Berlin, political demonstrations that day drew 3,300 protesters and hundreds of well-armed police. The following day, May Day festivals in Berlin drew an estimated 30,000–36,000 protesters and 7,000 security forces dressed in full riot gear. Authorities anticipated larger than usual crowds to celebrate the 25th anniversary of May Day and rolled out a state-of-the-art 10,000-litre water cannon to hose down troublemakers, if necessary.
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Was one set of staged political or social protests more empowering than another? Not necessarily. Did the Biennale accomplish what it set out to do? Yes, by all means. It was not always pretty, and in some cases, it was downright painful in profound and personal ways. Yet the Biennale highlighted many of the ongoing global struggles in a post-9/11 world where lately one’s right . to assemble and speak truth to power may be challenged. Curator Zmijewski succeeded in his effort ‘to open access to performative and effective politics that would equip we ordinary . citizens with the tools of action and change. Art is one of these tools’ (Zmijewski 2012b: 7). The Indignad@s in Berlin have taken first steps in a deliberative process calling for greater horizontality and inclusivity at the KW Institute and elsewhere. The future is unknown, but change is certainly in effect.
References Bartana, Yael (2012), ‘First International Congress of the Jewish Renaissance Movement in Poland (JRMiP): AND EUROPE WILL BE STUNNED’, manifesto print on paper. Görß, Rainer and Ania Rudolph (2012), ‘Projekt Raumkonzept BB7 | Space Design Occupy Berlin’, http://occupybb.org/plan. Accessed 6 June 2012. Indignad@s at Occupy Biennale (2012), ‘7th Berlin Biennale is Moving Toward Horizontality’, http://occupybb7.org/node/335. Accessed 19 June 2012. Occupy Museums (2012), ‘Ceremony at the Pergamon Altar for Restitution of Art and Culture to the Commons!’, http://occupymuseums.org/. Accessed 16 June 2012. Warsza, Joanna (2012), ‘Doing Things with Art: A Vocabulary that Helped to Build the Structure of the 7th Berlin Biennale’, Act for Art: Forget Fear, . Berlin: KW Institute for Contemporary Art, pp. 8–9. . Zmijewski, Artur (2012a), ‘Foreword’, in Artur Zmijewski and Joanna Warsza (eds), Forget Fear, Cologne: Verlag der Buchhandlung Walther . Koenig, p. 10. Zmijewski, Artur (2012b), ‘7th Berlin Biennale for Contemporary Politics’, Act for Art: Forget Fear’, Berlin: KW Institute for Contemporary Art, pp. 5–7. Contact: Richard F. Brush Art Gallery, St. Lawrence University, 23 Romoda Drive, Canton, NY 13617, USA. E-mail:
[email protected] Catherine Tedford has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format it was submitted to Intellect Ltd.
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PRETERNATURAL Curated by Celina Jeffery, Canadian Museum of Nature (9 December 2011–4 March 2012), St. Brigid’s Centre for the Arts (10 December 2011–17 February 2012), and Patrick Mikhail Gallery (4 January– 7 February 2012), Ottawa Reviewed by Christine Conley, University of Ottawa The preternatural is an intriguing if elusive concept for an exhibition. Understood as a condition ‘between the supernatural and the habitual patterns of the world’, the preternatural in art relates to nature in ways that exceed the categorical thinking endorsed by scientific understanding and the strictures of theology (Jeffery 2011: 2). Ottawa-based curator Celina Jeffery has selected a natural history museum, a deconsecrated Catholic church, and a commercial gallery in a strip mall as installation sites for this innovative project involving eight international artists. The choices are strategic. Each venue offers a specific framework for considering the indeterminacy of the preternatural as a form of aberrant perception, beyond the Kantian notion of the world ‘as is’. Such a turning away from the pressures of validation exerted by science and religion, as Rei Terada proposes, insists upon the value of the ephemeral, the perceptually marginal, and the sublime (2009: 3–7). Five of the artists in Preternatural are presented in the Canadian Museum of Nature, a Beaux-Arts and Tudor-style heritage site originally built in 1910 to house Canada’s Geological Survey and National Museums. Occupying a large gallery separate from the museum’s natural history displays, Preternatural departs from previous exhibitions in the museum’s recently launched Nature Art program through its ‘subversions of the natural world’ (Jeffery 2011: 1), employing various strategies to make strange the institution’s modes of presentation. Andrew Wright’s photographs of Baffin Island differ radically from the conventions in Awesome Arctic, a concurrent show of field photographs from Museum expeditions. The four Chromira Lightjet prints in Nox Borealis (2011), mounted on plywood panels, are paired to form two views of the Arctic expanse, utterly defamiliarized through the inversion of the image so that the orientation of inky, black sky and pale, snowy terrain are reversed. The interruption and distortion of the image across curved panels, like wet photos hung to dry and rigidified, furthers this disorienting effect. In denying the viewer the assurance of the panoramic or dioramic view, Nox Borealis registers estrangement from an environment both threatening and imperiled. Where Wright counters the transparency of nature photography in the Museum with intimations of the sublime, Anne Katrine Senstad exceeds the authoritative claims of didactic video. The Sugarcane Labyrinth (2011) documents a collaborative land project in Theriot, Louisiana that used the local staple of sugarcane, freighted with historical associations and hopes for sustainable recovery, to create a labyrinth. The hand-held camera navigates the bewildering network of paths in a disorienting fashion
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Adrian Göllner, Handel’s Cloud (2012), site-specific installation at St. Brigid’s Centre for the Arts, Ottawa. Photo: Rémi Thérault, courtesy of Preternatural.
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enhanced by a sinister soundtrack by J. G. Thirlwell. The music works well to suggest a latent threat, vacillating between moments of emergent hope and the fear of being perpetually lost, while local instrumental and fauna sounds evoke meanings beyond what the camera can make visible. Marie-Jeanne Musiol’s The Radiant Forest Energy (2011) most successfully brings together the Museum’s conventions of instructive display with techniques of knowledge unsanctioned by science. Musiol uses Kirlian photography to make invisible phenomena perceptible. This electro-magnetic process captures in the contact print otherwise undetectable fields emanating from plants to register energy emissions as a function of their physical status. The resulting radiant herbarium is arranged here like a series of botanical specimens. The accompanying video makes a bold proposal: these light radiant fields enfold a mirror image of the cosmos. Enhanced by J. Mark Seck’s subtly suggestive soundtrack, the camera zooms in on ‘flaming’ leaves whose flickering emanations do look remarkably like celestial bodies in the night sky. The persuasive beauty of Musiol’s parascientific deployment of Kirlian photography conveys a desire to believe in accounts of the phenomenal world beyond existing scientific recognition – an impulse at the heart of the preternatural. Adrian Göllner’s installation similarly engages a desire for knowledge of the ineffable within the context of St. Brigid’s Centre for the Arts, a Catholic church deconsecrated in 2006 that is redolent with past celebrations of the Eucharist and the miracle of transubstantiation. Built in 1890 to serve the largely Irish anglophone parish in Ottawa’s historic Lowertown and partially restored since its reincarnation as a cultural centre, St. Brigid’s incorporates an eclectic mix of Medieval revival architecture and Art Nouveau interior décor. Göllner focusses on the building’s architecture in Handel’s Cloud (2011), a ten-minute performance where concealed fire extinguishers abruptly discharge downwards through the pendants of the Tudor-style vaults. Observers are briefed in advance of what is technically about to happen. However, the timing of this visually ephemeral but sonically resonant display, dramatically illuminated via the stained glass windows of the aisle, is determined by the score of Handel’s Messiah in ways that remain opaque to the observer. The anticipation and response bring the audience together, not in rapt worship, but as witnesses to a visual spectacle reminiscent of sacred apparitions in art. Göllner detaches aesthetic value from religious ritual in a way that recalls the wondrous interplay of sound and pageantry in St. Brigid’s previous ecclesiastic incarnation, offering a meditation on the miraculous that might confer meaning on human existence beyond the monopoly of organized religions. Such aspirations might seem misplaced at Patrick Mikhail’s commercial gallery, located in an obscure strip mall in the city’s south end sandwiched between Italian and Thai restaurants. Within this emphatically secular context of material consumption, Shin Il Kim’s video triptych Invisible Masterpiece (2004) foregrounds the spectator of art with a certain irony. His stop-action animation employs hundreds of pressed line drawings on paper derived from photographs of visitors as they contemplate various gallery installations at New York’s Metropolitan Museum of Art. With the removal of the art objects and their attendant cultural and monetary value, the minute shifts of line in these silhouetted figures, seemingly afloat in white space, achieve an acute
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awareness of the body’s disposition in the process of looking, oscillating between Kantian attunement and the transcendence of Zen meditation. Preternatural affirms the persistence of human longing for the marvelous in an experience of the natural world unfettered by materialism or institutionalized knowledge. Within each of these three locations, art becomes most subversive when it invites a harder look within the anticipation of enlightenment.
References Jeffery, Celina (2011), Preternatural, Brooklyn, NY: Punctum Books. Terada, Rei (2009), Looking Away: Phenomenality and Dissatisfaction, Kant to Adorno, Cambridge, MA: Harvard University Press. E-mail:
[email protected] Christine Conley has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format it was submitted to Intellect Ltd.
U-N-F-O-L-D: A CULTURAL RESPONSE TO CLIMATE CHANGE Curated by David Buckland and Chris Wainwright, Anna-Maria and Stephen Kellen Gallery, Parsons The New School for Design, New York (30 September–15 December 2011). An exhibition first shown at the University of Applied Arts, Vienna (18 May–8 June 2010) and traveling to seven locations, most recently at Liverpool John Moores University, Liverpool (8 March–26 April 2012). Reviewed by Andrew Bieler, York University Tracing lines of travel across wide-ranging topographies, this touring exhibition responds to the challenge of sustainable curatorial practice by not only honestly mapping its own carbon footprint but, pedagogically, by inviting the imagining of the journey towards sustainability. U-n-f-o-l-d brings together 25 artists, musicians and other creative practitioners who participated in Cape Farewell expeditions to the High Arctic (2007 and 2008) and the Andes (2009). Curator David Buckland founded Cape Farewell, an organization that kindles ‘a cultural response to climate change’ by initiating conversational drift between artists and scientists and then expanding these climate dialogues through the production of films, concerts, books and exhibitions (Buckland 2012: 137; Buckland and Lertzman 2008). The title of the exhibition, U-n-f-o-l-d, reflects the expeditionary practice at the core of the international Cape Farewell Project, which has embedded more than 140 artists and 45 scientists on journeys to the planet’s tipping points. These journeys include trekking but most
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U-n-f-o-l-d: A Cultural Response to Climate Change (2010), installation view. Photo: Chris Wainwright, courtesy of Cape Farewell. commonly unfold on a boat. Buckland explains that ‘each expedition has a scientific and cultural objective: the boat is a research platform, a vehicle for social engagement and creative exchange’ (2012: 137–8). The curatorial process leads from expedition to exhibition: artists are given an open-ended invitation to participate in a journey, without any obligation to produce new work, and their unfolding creations become the basis for subsequent exhibitions (Buckland and Wainwright 2010). U-n-f-o-l-d responds to the multidisciplinary breadth of climate science with a similarly ambitious scope, from conceptual art to poetry and
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singer-songwriter compositions. Robyn Hitchcock and KT Tunstall soulfully adapt George Harrison’s Here Comes the Sun in There Goes the Ice (2010), where visitors find themselves humming ‘There goes the world, Turning, All round itself, Burning ice, Alive … alive’. These lyrics are a suitable soundtrack for the global purview of the show: from oil exploration along the Madre de Dios River in the Peruvian Amazon, as Adriane Colburn explores in Forest for the Trees (2010), to Disko Bay, where Sunand Prasad’s Greenhouse Gas (2008) shows the space occupied by the average monthly per-person emission of carbon dioxide in the United Kingdom. In Ackroyd and Harvey’s Polar Diamond (2009), the failure of global flows of capital to account for the real price of carbon is allegorically brought into focus with a dazzling diamond that was grown with the leg of a polar bear; the price of extinction should certainly be brought to mind by this transformation of a species indicator of biodiversity loss into the hardened symbol of surplus value. Throughout these explorations, the global agenda of the show dialectically intertwines with mobile ways of knowing: from the deployment of the movement of the boat as a drawing tool in Tracey Rowledge’s Arctic Drawing (2008) to Chris Wainwright’s photographs of Hitchcock performing Here Comes The Sun – There Goes The Ice (2010) in semaphore language, as instructions for an approaching ship. The show traces paths of inquiry into consumption and progress. Lemn Sissay’s short film What If? (2009) brings the intimate space of his poetry performance, alongside musicians Gary Crosby and Peter Edwards, into dialogue with fleeting landscape shots of crumbling icebergs, traffic jams and cityscapes to explore the ties that bind the current socio-ecological crisis to ideologies of progress. He queries the limits of economic calculation and progress by rendering an ambient realm between desire and industry: What if the industrial dream sold us out from within, What if our impenetrable defence sealed us in, What if our wanting more was making less, And what if all this wasn’t progress? Sissay’s poetic probe of progress might be experienced in synaesthetic harmony with Buckland’s photographic series, called Ice Texts (2008), which is a print series of large-scale text projections on icebergs. Specifically, in Discounting the Future (2008, text by Amy Balkin), the title of the artwork is projected in bright white capital lettering over the surface of the top half of a Greenland iceberg so that ‘THE’ and ‘FUTURE’ are broken apart by a crack running across the ice, which brings the catastrophic overtones of the text into greater relief. This might prompt viewers to rethink the discordant temporalities between the rhythms of human progress, the cycles of consumption in a high carbon society, and the eons of geological time. Similarly, in Michèle Noach’s Through The Ice, Darkly (2010), the fissures of geological time are seen from the perspective of a tourist who witnesses the sublime scale of Norwegian glaciers c. 1890–1930, then, as the viewer shifts position in front of the 3D lenticular print, travels to see their presently diminished mass. The show playfully experiments with mapping. While the expeditions are thoroughly mapped, Sam Collins’ Sometimes the Journey Is Better than
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Sam Collins, Sometimes the Journey Is Better than the Destination (2010), installation view and detail of packing crates, GPS tracker, cables, monitor. Photo: Chris Wainwright, courtesy of Cape Farewell. the Destination (2010) maps the exhibition itself. The crates used to transport the works in U-n-f-o-l-d among university galleries in Europe, North America and China are placed together alongside computer monitors with GPS tracking of the exhibition’s global journey. By visualizing the physical infrastructure of packing, shipping routes and satellite tracking that supports the exhibition and its carbon footprint, it addresses the central contradiction faced by art exhibitions dealing with sustainability issues: raising awareness about sustainability within unsustainable institutional contexts. Thereby, Collins’s work provokes a discussion about the environmental impact of the artworld and the role of art education in leading to a sustainable future. This traveling exhibition prompts a new story in response to each of its host institutions. At the Kellen Gallery, Radhika Subramaniam designed a critical education component that juxtaposed the voyage of the exhibition against the sea level’s rise around New York City. A workshop, led by the Canary Project, gathered together Parsons students, faculty and the artist collective Mare Liberum for a canoe expedition down the Gowanus Canal that was the basis for an exhibition on this notorious Brownfield site, called Fieldnotes from the Gowanus. U-n-f-o-l-d tackles what is known as ‘Giddens’ paradox’: people will not seriously address climate change until its dangers become evident at the level of everyday life, by which point the consequences will render intervention futile (Giddens 2009; Urry 2011: 14–15). The expeditions and
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resulting traveling exhibition are upfront about their carbon footprints and seek to evoke the visceral impact of global warming that will confirm the ethics of reduced consumption and sustainable economies. U-n-f-o-l-d shows how an innovative partnership between contemporary art and science can begin the journey towards a low-carbon society and craft a nuanced and urgent call to mitigate the effects of anthropogenic climate change.
References Buckland, David (2012), ‘Climate is Culture’, Nature Climate Change, 11, pp. 137–40. Buckland, David and Wainwright, Chris (eds) (2010), U-n-f-o-l-d: A Cultural Response to Climate Change, Vienna: Springer-Verlag/Wien. Buckland, David and Renee Lertzman (2008), ‘Praxis: Interview – David Buckland, Founder, Cape Farewell, with Renee Lertzman’, Environmental Communication: A Journal of Nature and Culture, 2: 1, pp. 110–18. Giddens, Anthony (2009), The Politics of Climate Change, Cambridge: Polity Press. Urry, John (2011), Climate Change and Society, Cambridge: Polity Press. E-mail:
[email protected] Andrew Bieler has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format it was submitted to Intellect Ltd.
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