Page 18 - Studio International - July August 1972

gone on since 1968 ! As it is one could skirt France 1972: celebration of impotence. They are proper
round cultural-revolutionary thought—which, representatives of the unyielding conservatism
as was proved by the 1971 Cologne Congress of political power for which art is the preserve of the artistic
Art Theoreticians (which Marcuse attended), privilege.
must in no way be hostile to art! Certainly the sets the seal on So here combined were three essentials for
division of the areas of activity gave a misleading showing a system's bankruptcy: the Head of
impression, in that it obscured how great, in the failure of State (and Uncle Tom Cobley and all) playing
quantitative terms, the contribution of artistic around with `culture'; an exhibition theme
productivity would be. Moreover it was entirely art defying the most elementary ideological
justifiable to cast doubt on the rigid modesty; and a selection committee ready to
categorization of artistic trends. follow orders even when clearly dictated by
`The foundations and linkages of the politics, by an ideology of greed, and by sordid
components of the exhibition' are set out in the self-seeking.
`theory of the present age of art' by the Marxist First of all a list was drawn up of 250 artists
philosopher and art scholar Hans Heinz Holz who would qualify for inclusion. But the
on 100 of the 800 or so pages of a catalogue attacks on the exhibition had the organizers
which is a piece of art documentation of a high worried. If too many artists were invited the
order. In practical terms this documenta will special nature of the exhibition might be
make history as an exhibition of realism (in its jeopardized: mediocrity as to be homogeneous,
narrower sense), the art of ideas, the otherwise it might annihilate itself for the
aptly-named 'individual mythologies' and the benefit of a true questioning. Moreover, and
associated themes of social iconography (in its still more important, it would be more difficult
broad sense). to manipulate a too great number of participants.
In the vestibule of the new Galerie an der It would be better to be more exclusive, to offer
Schönen Aussicht the Museum Situation, the select few plenty of room to spread
which includes Duchamp, Oldenburg and themselves and the encouragement of a large
Broodthaers, is dealt with. On the ground floor cheque. (This is strictly true.)
is Realism (arranged by Ammann)— though So in the end, the list contained only a
there is unfortunately no Social Realism, the hundred or so names.
Soviets having rescinded their promise of And in spite of all the seductive offers and
assistance—and the kitsch section, ie trivial the most incredibly low dodges, at least a third
realism and trivial symbolism, arranged by of those officially invited refused to take part.
Eberhard Roters. In the basement there are Background All this, along with continual criticisms of
small sections on utopia (Francois Burghardt), The President of the Republic is an art-lover. the exhibition, should have caused the
publicity (Charles Wilp), science fiction (Pierre All of a sudden he decided to put considerable organizers, and the artists who had decided to
Versins), pre-school play (Linde Burghardt), sums of money into setting up an exhibition on show, to pause. But nothing had any effect. It
political propaganda (Richard Grübling and the theme '1960-1972, Twelve years of was as though fate had determined that the
Rainer Diederich), cover pictures for the contemporary art in France'. The title was exhibition should take place.
magazine Der Spiegel, and banknotes. On the ominous, suggesting an exhibition planned
first floor individual mythologies, from Baselitz purely for prestige, inspired by the most Conflict
to Wiley, are juxtaposed with religious nationalistic assumptions, even its period set The day the exhibition was opened to the
folk-art (Ingolf Bauer) and work by the by the duration of its instigator's power. Title public, a demonstration was organized on the
mentally ill (Theodor Spoerri). Edward and theme alike made clear what was aimed at : initiative of the F.A.P. The demonstrators
Kienholz's piece called Five Car Stud, executed the spectacular, the sham, the hollow, the smug, included artists who had refused to participate
for the London exhibition of American West the idealism—in short, everything that goes to in the exhibition and people who had denounced
Coast artists, is erected in a tent outside, as the make up art at its most disastrously self-satisfied it from the start. Altogether they were about
contribution of the documenta Foundation. and unquestioning. sixty, grouped on the steps leading to the Grand
On the ground floor of the Museum As soon as the plan became known, its Palais (where the exhibition was held) and not
Fridericianum are to be found, amongst other blemishes were pointed out with more or less even blocking the way in. Facing them were
things, Beuys's Bureau for Direct Democracy ferocity. The Front des Artistes Plasticiens some three hundred police, drawn from the
(which will remain in Kassel throughout the (F.A.P.), which at this point made itself known, Special Squads and the notorious C.R.S., and
exhibition), a Christo travel agency (where one was in the forefront of the attack. in combat gear. They twice charged into the
can book flights to see the 'Great Curtain' in The fact that no sooner was this swindle demonstrators, each time with the brutality for
Colorado), an audiovisual preface by Bazon conceived than it was unveiled, worried the which they are well known. Several people were
Brock (instead of the school for visitors), an organizers and even threatened to trouble their injured.
audiovisual visitors' book by Oskar Blase serenity.
(interviews with art trade middle-men), the It scarcely needs saying, of course, that the Conclusion
Galerie Schum's video-programme, a film selection committee was made up of people who Because of the police, the basic failure of the
area, and performance artists. The art of ideas had proved their mastery of the mediocre : the exhibition no longer seemed such a foregone
and process art are on the first floor (arranged salaried officials of Parisian art (the art, that is, conclusion. From the launching of the project
by Konrad Fischer and Klaus Honnef), with of museums and ministries); opportunists to the moment of hanging the pictures, the
Panamarenko and Serra dominant in purely without scruple or shame, already answerable whole thing had been carefully kept at a level
spatial terms, and on the second floor are more for the Paris Biennale of 1971 (at once abjectly of soothing nullity; and the police action was
individual mythologies, from Asher to La imperialist and crassly provincial); de-moded simply an extraordinarily brutal confirmation of
Monte Young. picture-mongers anxious to palm off their stock. what had been clear from the start: that this
(TRANSLATED FROM THE GERMAN BY The choice was appropriate, for men like these exhibition was a manifestation of totally
JOHN WHEELWRIGHT) are responsible for perpetuating Art as the worthless mediocrity.
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