As a prelude to the 2012 exhibition, dOCUMENTA (13) and Hatje Cantz published a series of notebooks, 100 Notes – 100 Thoughts, that comprised facsimiles of existing notebooks, commissioned essays, collaborations, and conversations.
A note is a trace, a word, a drawing that all of a sudden becomes part of thinking, and is transformed into an idea. This publication project follows that path, presenting the mind in a prologue state, in a pre-public arena. A space for intimacy and not yet of criticism, dOCUMENTA (13) is publishing the unpublishable, the voice—and the reader is our alibi and
ATTACHMENT / 105_Muradi-Saed.pdf
ATTACHMENT / 104_Malasauskas.pdf
ATTACHMENT / 103_Taylor-Nirenberg.pdf
ATTACHMENT / 102_Florian_Hecker_neu.pdf
ISBN (Print) / 978-3-7757-2949-9
ISBN (E-Book) / 978-3-7757-3129-4
301 Moved Permanently
Carolyn Christov-Bakargiev (*1957) is Artistic Director of dOCUMENTA (13).
Rudolf Arnheim (1904–2007) was a German-born author, art and film theorist, and perceptual psychologist.
ISBN (Print) / 978-3-7757-2948-2
ISBN (E-Book) / 978-3-7757-3128-7
Karen Barad (*1956) is Professor of Feminist Studies, Philosophy, and History of Consciousness at the University of California, Santa Cruz; she has a doctorate in theoretical physics with a concentration on quantum field theory.
ISBN (Print) / 978-3-7757-2947-5
ISBN (E-Book) / 978-3-7757-3127-0
With an introduction by Jacqueline Rose, Professor at the Queen Mary University of London and a fellow of the British Academy.
ISBN (Print) / 978-3-7757-2946-8
ISBN (E-Book) / 978-3-7757-3126-3
Alexei Penzin is a researcher at the Institute of Philosophy of the Russian Academy of Sciences, Moscow, and a member of the artists and intellectuals group Chto Delat/What is to be done?.
ISBN (Print) / 978-3-7757-2945-1
ISBN (E-Book) / 978-3-7757-3125-6
Silvia Federici (*1942) is Professor Emeritus at Hofstra University in New York.
ISBN (Print) / 978-3-7757-2944-4
ISBN (E-Book) / 978-3-7757-3124-9
With an introduction by Koyo Kouoh (*1967), Artistic Director and founder of RAW MATERIAL COMPANY in Dakar, and Agent for dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2943-7
ISBN (E-Book) / 978-3-7757-3123-2
Bifo – Franco Berardi (*1949) teaches media aesthetics at the European School of Social Imagination in San Marino.
ISBN (Print) / 978-3-7757-2942-0
ISBN (E-Book) / 978-3-7757-3122-5
Francesco Matarrese (*1950) lives in Bari and Rome. In 1978 he published his Telegramma di rifiuto (“a refusal of abstract labor in art”) and began creating an Impossible Catalogue of Non-Works of Art.
ISBN (Print) / 978-3-7757-2941-3
ISBN (E-Book) / 978-3-7757-3121-8
Clemens von Wedemeyer (*1974) is an artist living in Berlin.
Bettina Röhl (*1962) is a journalist and author living in Hamburg.
ISBN (Print) / 978-3-7757-2940-6
ISBN (E-Book) / 978-3-7757-3120-1
Salah M. Hassan is Goldwin Smith Professor, Director of the Institute for Comparative Modernities, and Professor of African and African Diaspora Art History at Cornell University in Ithaca, New York; he is a member of the Honorary Advisory Committee of dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2939-0
ISBN (E-Book) / 978-3-7757-3119-5
Philosopher Éric Alliez is a professor at the CRMEP, Kingston University, London, and at the University of Paris 8.
ISBN (Print) / 978-3-7757-2938-3
ISBN (E-Book) / 978-3-7757-3118-8
Ayreen Anastas and Rene Gabri are artists and Agents for dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2937-6
ISBN (E-Book) / 978-3-7757-3117-1
Dorothea von Hantelmann (*1969) teaches art history at the Freie Universität Berlin.
ISBN (Print) / 978-3-7757-2936-9
ISBN (E-Book) / 978-3-7757-3116-4
Iwona Blazwick (*1945) is Director of the Whitechapel Gallery in London and a member of the Honorary Advisory Committee of dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2935-2
ISBN (E-Book) / 978-3-7757-3115-7
Sarah Rifky is an author and curator living in Cairo; she is Agent for dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2934-5
ISBN (E-Book) / 978-3-7757-3114-0
ISBN (Print) / 978-3-7757-2933-8
ISBN (E-Book) / 978-3-7757-3113-3
ISBN (Print) / 978-3-7757-2932-1
ISBN (E-Book) / 978-3-7757-3112-6
ISBN (Print) / 978-3-7757-2931-4
ISBN (E-Book) / 978-3-7757-3111-9
ISBN (Print) / 978-3-7757-2930-7
ISBN (E-Book) / 978-3-7757-3110-2
ISBN (Print) / 978-3-7757-2929-1
ISBN (E-Book) / 978-3-7757-3109-6
ISBN (Print) / 978-3-7757-2928-4
ISBN (E-Book) / 978-3-7757-3108-9
ISBN (Print) / 978-3-7757-2927-7
ISBN (E-Book) / 978-3-7757-3107-2
ISBN (Print) / 978-3-7757-2926-0
ISBN (E-Book) / 978-3-7757-3106-5
ISBN (Print) / 978-3-7757-2925-3
ISBN (E-Book) / 978-3-7757-3105-8
ISBN (Print) / 978-3-7757-2924-6
ISBN (E-Book) / 978-3-7757-3104-1
ISBN (Print) / 978-3-7757-2923-9
ISBN (E-Book) / 978-3-7757-3103-4
ISBN (Print) / 978-3-7757-2922-2
ISBN (E-Book) / 978-3-7757-3102-7
ISBN (Print) / 978-3-7757-2921-5
ISBN (E-Book) / 978-3-7757-3101-0
ISBN (Print) / 978-3-7757-2920-8
ISBN (E-Book) / 978-3-7757-3100-3
ISBN (Print) / 978-3-7757-2919-2
ISBN (E-Book) / 978-3-7757-3099-0
ISBN (Print) / 978-3-7757-2918-5
ISBN (E-Book) / 978-3-7757-3098-3
ISBN (Print) / 978-3-7757-2917-8
ISBN (E-Book) / 978-3-7757-3097-6
ISBN (Print) / 978-3-7757-2916-1
ISBN (E-Book) / 978-3-7757-3096-9
ISBN (Print) / 978-3-7757-2915-4
ISBN (E-Book) / 978-3-7757-3095-2
ISBN (Print) / 978-3-7757-2914-7
ISBN (E-Book) / 978-3-7757-3094-5
ISBN (Print) / 978-3-7757-2913-0
ISBN (E-Book) / 978-3-7757-3093-8
ISBN (Print) / 978-3-7757-2912-3
ISBN (E-Book) / 978-3-7757-3092-1
ISBN (Print) / 978-3-7757-2911-6
ISBN (E-Book) / 978-3-7757-3091-4
ISBN (Print) / 978-3-7757-2910-9
ISBN (E-Book) / 978-3-7757-3090-7
ISBN (Print) / 978-3-7757-2909-3
ISBN (E-Book) / 978-3-7757-3089-1
ISBN (Print) / 978-3-7757-2908-6
ISBN (E-Book) / 978-3-7757-3088-4
ISBN (Print) / 978-3-7757-2907-9
ISBN (E-Book) / 978-3-7757-3087-7
ISBN (Print) / 978-3-7757-2906-2
ISBN (E-Book) / 978-3-7757-3086-0
ISBN (Print) / 978-3-7757-2905-5
ISBN (E-Book) / 978-3-7757-3085-3
ISBN (Print) / 978-3-7757-2904-8
ISBN (E-Book) / 978-3-7757-3084-6
ISBN (Print) / 978-3-7757-2903-1
ISBN (E-Book) / 978-3-7757-3083-9
LINK / http://www.hatjecantz.de/controller.php?cmd=detail&titzif=00002903
ISBN (Print) / 978-3-7757-2902-4
ISBN (E-Book) / 978-3-7757-3082-2
ISBN (Print) / 978-3-7757-2901-7
ISBN (E-Book) / 978-3-7757-3081-5
ISBN (Print) / 978-3-7757-2900-0
ISBN (E-Book) / 978-3-7757-3080-8
ISBN (Print) / 978-3-7757-2899-7
ISBN (E-Book) / 978-3-7757-3079-2
ISBN (Print) / 978-3-7757-2898-0
ISBN (E-Book) / 978-3-7757-3078-5
ISBN (Print) / 978-3-7757-2897-3
ISBN (E-Book) / 978-3-7757-3077-8
ISBN (Print) / 978-3-7757-2896-6
ISBN (E-Book) / 978-3-7757-3076-1
The Egyptian novelist Sonallah Ibrahim delivers in his notebook an insight into two of his novels, which are written in a rather documentary style, telling a personal story within a political system using excerpts from newspapers or speeches. One of the protagonists, Dhat, experiences suffering and tragedy in their life related to the political situation in her country. The other, Warda, dedicates her life to the liberation of humanity. Ibrahim, who is known for his radical views and his open critique for which he was imprisoned in Egypt during the 1960s, asks himself how he can escape contemporary Egyptian political and social life through his constructed characters. This notebook’s point of departure confronts the post-1970s and -’80s Egyptian society with its changes in social justice and its devaluation of education and culture. In constructing a self-reflexive examination of his own work, Ibrahim explores gender roles in Arab society and suggests how the sense of hope for the future of Arab countries could be fulfilled through the actions of young women. Sonallah Ibrahim (*1937) is a novelist living in Cairo.
ISBN (Print) / 978-3-7757-2895-9
ISBN (E-Book) / 978-3-7757-3075-4
ISBN (Print) / 978-3-7757-2894-2
ISBN (E-Book) / 978-3-7757-3074-7
ISBN (Print) / 978-3-7757-2893-5
ISBN (E-Book) / 978-3-7757-3073-0
ISBN (Print) / 978-3-7757-2892-8
ISBN (E-Book) / 978-3-7757-3072-3
ISBN (Print) / 978-3-7757-2891-1
ISBN (E-Book) / 978-3-7757-3071-6
Artist Ida Applebroog uses a wide variety of media to express themes of struggles within gender and political roles, as well as sexual-identity issues. The publication Scripts is a facsimile of excerpts from one of her personal notebooks containing a compilation of handwritten notes, storyboards, mise-en-scène drawings, and musical notations. Underlining, as well as annotations in different colors, shows that the artist has intensively worked through her notes several times. Some of the fragments on these pages read: “Silences are the undercurrent of all dramatic events.” “Each performance should be more of silence than words.” “Any silence must be punctuated by sound eventually.” For Applebroog, the staged scenes function as “a mode of narration,” and “the narratives are not meant to be truths; the characters simply are.” With only a few words and brief instructions, Applebroog develops stage plays of great dramatic density that she simultaneously comments on, questions, and interprets, thus delivering an insight into her working method. Ida Applebroog (*1929) is an artist living in New York.
ISBN (Print) / 978-3-7757-2890-4
ISBN (E-Book) / 978-3-7757-3070-9
ISBN (Print) / 978-3-7757-2889-8
ISBN (E-Book) / 978-3-7757-3069-3
ISBN (Print) / 978-3-7757-2888-1
ISBN (E-Book) / 978-3-7757-3068-6
ISBN (Print) / 978-3-7757-2887-4
ISBN (E-Book) / 978-3-7757-3067-9
This notebook is a homage of the curator Hans Ulrich Obrist to the French author, poet, and philosopher Édouard Glissant (1928–2011), who passed away this year. Glissant, one of the most influential figures of the French-speaking Caribbean and a pioneer of postcolonial thinking, called “attention to means of global exchange which do not homogenize culture but produce a difference from which new things can emerge”. Obrist encountered Glissant at the beginning of his curatorial path, following a recommendation by Alighiero Boetti, then through his books, and later in person. In the introduction, Obrist creates a multilayered portrait of the intellectual, laying out some of his key concepts: the creolization of the world, “archipelic thought,” and the museum as archipelago, as well as utopia. These ideas are expressed in a personal tone by Glissant in a selection of title pages of his books with drawings, notations and poetic dedications that are reproduced here in facsimile. Édouard Glissant (1928–2011) was a French writer, poet, and philosopher. Curator and critic Hans Ulrich Obrist (*1968) is Co-Director, Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London.
ISBN (Print) / 978-3-7757-2886-7
ISBN (E-Book) / 978-3-7757-3066-2
In his work David Link generates (apparently) interactive projects, at the interface between art, science, and technology. For LoveLetters_1.0, Link reconstructed a functional replica of one of the earliest programmable computers, the Ferranti Mark I, and an equally early program, invented in 1952 by Christopher Strachey at the University of Manchester. To produce computer-generated love letters, written using a built-in random generator. Anonymously addressed to “Darling Love” or “Jewel Duck,” the letters talk to the reader in a surprisingly human and tender way. In his introduction, Geoff Cox highlights the question, already suggested by the apparently contradictory title of this notebook, Machine Heart, of whether the human capacity for thinking and feeling has been captured by machines. David Link (*1971) is an artist and media archaeologist; he lives and works in Cologne. David Link (*1971) is an artist and media archaeologist; he lives and works in Cologne. Geoff Cox is currently a Researcher at the Digital Urban Living Research Center, Aarhus University, Denmark.
ISBN (Print) / 978-3-7757-2885-0
ISBN (E-Book) / ISBN 978-3-7757-3065-5
In his notebook, the author and journalist Dietmar Dath captures ten personal moments of art and moments of life. They are about relationships between people, their ways of dealing with one another, communication, friendship, love, art, and criticism. The protagonists include a weasel, Dath’s daughter, his father, his friend Mareike, and the artist Jeronimo Voss, who engaged in a dialogue about art with Dath while preparing an artwork for dOCUMENTA (13). In the end, the thoughts of a weasel, who is living in the author’s fridge, crystallize into a true recognition: “Not finishing flourishes in art. It is a kind of succeeding. Failure does not come into it. That is because art is there to invent goals, but not to reach them. An exhibition opening is celebrated and talked about. But its end is passed over in silence.” Author and translator Dietmar Dath (*1970) is Editor at Frankfurter Allgemeine Zeitung; he lives in Frankfurt/Main, Freiburg, and Leipzig.
ISBN (Print) / 978-3-7757-2884-3
ISBN (E-Book) / 978-3-7757-3064-8
For Search, novelist and artist Matias Faldbakken went into the log of his different hard drives and extracted parts of his Google search histories. The search phrases are printed chronologically according to when they were typed into the search box. The texts are largely based on image searches. In many respects they show the verbal semi-absurd foundation for the artist’s image production: they are partly his notes, partly his research. These search-word texts are almost like automatic writing: unconscious (or accidental) text production. They allow the reader to witness part of his working process and could be seen as a cross section of his thinking. The texts occupy a space in between the artist’s visual and textual production, ending up here as a form of (concrete) poetry. Matias Faldbakken (*1973) lives and works as an artist and writer in Oslo.
ISBN (Print) / 978-3-7757-2883-6
ISBN (E-Book) / 978-3-7757-3063-1
Berlin-based author Ingo Niermann deals with the subject matter called “drill.” In this notebook, he proclaims the self-determined drill as a new societal doctrine and gives practical instructions. After an era of opening and transgressing borders, drill could be the next step: the freedom to coerce oneself. For this purpose, the reader can participate in actions proposed by the author, such as “Join the U.S. Army,” where non-Americans can offer their services to the U.S. Army; or could decide to live a year as if it were the last. The culmination is the Drill Palace, modeled on Cedric Price’s unrealized Fun Palace, where you participate in drills, develop drills, or witness them as a spectator. With an introduction by Chus Martínez. Ingo Niermann (*1969) is a writer living in Berlin. Chus Martínez (*1972) is Member of the Core Agent Group and Head of Department for dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2882-9
ISBN (E-Book) / 978-3-7757-3062-4
ISBN (Print) / 978-3-7757-2881-2
ISBN (E-Book) / 978-3-7757-3061-7
ISBN (Print) / 978-3-7757-2880-5
ISBN (E-Book) / 978-3-7757-3060-0
ISBN (Print) / 978-3-7757-2879-9
ISBN (E-Book) / 978-3-7757-3059-4
ISBN (Print) / 978-3-7757-2878-2
ISBN (E-Book) / 978-3-7757-3058-7
In the form of a lexicon, artist Mariam Ghani describes, together with her father, the renowned anthropologist and political scientist Ashraf Ghani, the cycle of repeated collapse and recovery that Afghanistan has undergone over the course of the twentieth century. The lexicon comprises seventy-one mostly illustrated terms that include central figures and places, words that carry a specific (political) meaning in the Afghan context, and entries on recurring events and defining themes. The notebook’s point of departure is a detailed reflection on the reign of King Amanullah Khan (1919–29), whose successes and failures yielded a model for reformers who succeeded him. These thoughts are followed by a series of terms related to, among other things, Dar ul-Aman Palace, now ruin, which was part of Amanullah’s design for a “new city,” and which characterized—as a space of exception, a center of conflict, a prototype for future plans, and a symbol of past failures—twentieth-century Afghan planning policy. Mariam Ghani (*1978) is an artist based in New York and Kabul. Ashraf Ghani (*1949), author of Fixing Failed States (in English) and A Window to a Just Order (in Dari and Pashtu), lives in Kabul.
ISBN (Print) / 978-3-7757-2877-5
ISBN (E-Book) / 978-3-7757-3057-0
ISBN (Print) / 978-3-7757-2876-8
ISBN (E-Book) / 978-3-7757-3056-3
ISBN (Print) / 978-3-7757-2875-1
ISBN (E-Book) / 978-3-7757-3055-6
ISBN (Print) / 978-3-7757-2874-4
ISBN (E-Book) / 978-3-7757-3054-9
ISBN (Print) / 978-3-7757-2873-7
ISBN (E-Book) / 978-3-7757-3053-2
ISBN (Print) / 978-3-7757-2872-0
ISBN (E-Book) / 978-3-7757-3052-5
ISBN (Print) / 978-3-7757-2871-3
ISBN (E-Book) / 978-3-7757-3051-8
ISBN (Print) / 978-3-7757-2870-6
ISBN (E-Book) / 978-3-7757-3050-1
ISBN (Print) / 978-3-7757-2869-0
ISBN (E-Book) / 978-3-7757-3049-5
ISBN (Print) / 978-3-7757-2868-3
ISBN (E-Book) / 978-3-7757-3048-8
ISBN (Print) / 978-3-7757-2867-6
ISBN (E-Book) / 978-3-7757-3047-1
ISBN (Print) / 978-3-7757-2866-9
ISBN (E-Book) / 978-3-7757-3046-4
In a letter to Bettina Funcke, dOCUMENTA (13)’s Head of Publications, New York–based poet Kenneth Goldsmith (*1961) weaves the strands of his artistic practice into an overall picture of his work. He begins with the online archive UbuWeb, which he founded in 1996: a noncommercial platform where he collects and presents material from all areas of avant-garde artistic production (poetry, film, video, sound, etc. The descriptions of his work on UbuWeb, as a writer (who retypes existing texts), as a host of a weekly radio show (who reads out other DJs’ set lists and texts from blogs), and as a professor of English literature (who teaches “uncreative writing”), together with theoretical and poetic inserts, condense to a complex reflection about poetry under the influence of appropriation.
ISBN (Print) / 978-3-7757-2865-2
ISBN (E-Book) / 978-3-7757-3045-7
In his essay, Péter György reflects on the apparently unconnected “two Kassels” that exist next to each other. On the one hand, the former residential city in the middle of Germany, which was mostly destroyed in World War II and which became a border city through the inner division of Germany into East and West. On the other, the documenta city, which every five years, during the time of the exhibition, becomes the destination of an international audience and pushes the actual Kassel into the background with its “machinery of representation.” Looking toward dOCUMENTA (13), György sees a paradigm shift in the curatorial concept, which will involve as one of its sites Breitenau, a former Benedict cloister near Kassel that has been used for various functions (as a camp in Nazi years and as a girls’ reformatory until the 1970s): a shift to the connection of the contemporary art world with local history.
The art historian and culture critic Péter György (*1954) is Head of the Graduate Program for Film, Media, and Cultural History at the ELTE Budapest.
ISBN (Print) / 978-3-7757-2864-5
ISBN (E-Book) / 978-3-7757-3044-0
In a conversation with dOCUMENTA (13) Agents Ayreen Anastas and Rene Gabri, New York–based video artist Paul Ryan talks about the theoretical and biographical background to his work, about formative experiences while being an assistant to Marshall McLuhan, and about his role within the video group Raindance and their magazine Radical Software—and about how all these influences shaped his desire to connect his artistic practice with revolutionary social action. Ryan’s idea of Threeing lies at the center. Based on Charles Sanders Peirce’s phenomenological categories of firstness, secondness, and thirdness, Threeing is a voluntary practice of relating, in which three people take turns playing three roles. The conversation is complemented by a detailed appendix with illustrated texts on Threeing and on Ryan’s concept of the Relational Circuit.
ISBN (Print) / 978-3-7757-2863-8
ISBN (E-Book) / 978-3-7757-3043-3
The Chilean director, cartoonist, composer, and visual artist Alejandro Jodorowsky (*1929) dedicated a voluminous notebook to the script for his film Dune, after the 1965 science-fiction novel of the same name by Frank Herbert. He even printed the title on this book. But his ambitious project remained unrealized, and in the end, the 1974 notebook instead brings together his intensive research about the historical Tarot de Marseille. For three years, Jodorowsky followed the paths of the famous tarot deck to explore its origins and its historical development, as well as the various teachings and interpretations embedded within it. The notebook contains the result of his encounters, conversations, and studies in the form of texts, collages, and diagrams, which are reproduced here in a selection.
With an introduction by Chus Martínez, Agent, Member of Core Group, and Head of Department for dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2862-1
ISBN (E-Book) / 978-3-7757-3042-6
In his essay, G. M. Tamás (*1948), Hungarian philosopher as well as former and actual dissident, examines the character of “innocent power.” Power is per se destructive, and its effects are visible in different kinds of ruins, such as romantic ruins, war ruins, and ruins created by contemporary art. Innocent power, like capital, is impersonal and conceptual; it is a collection of concepts that has the “legitimizing” character of “knowledge.” Its recognition as the prevalent order is linked to the way we know. Thus, resistance against innocent power is illegal and unintelligent. But if there are still possible forms of resistance and rebellion against the consequences it may have, such as servitude and humiliation or deliberate imposition of misery, they are made ipso facto unreasonable.
ISBN (Print) / 978-3-7757-2861-4
ISBN (E-Book) / 978-3-7757-3041-9
Indian physicist and activist Vandana Shiva (*1952) demonstrates in a matter-of-fact way how corporations gain control over our lives. The patenting of life—from bacteria and plants to cloned animals with certain genetic characteristics—implies the reification and commercialization of life. An agreement of the World Trade Organization allows corporations to patent nearly everything we can imagine. One of the repercussions is biopiracy, the reclaiming of ancient traditional use and breeding of plants as the corporations’ own “invention,” as Shiva shows through the examples of the neem tree and basmati rice. The monopolization of seeds has forced farmers in large parts of India into dependence on corporations, which undermines the farmers’ basis of living.
ISBN (Print) / 978-3-7757-2860-7
ISBN (E-Book) / 978-3-7757-3040-2
In the second edition of his book (Vampires): An Uneasy Essay on the Undead in Film (2003), Jalal Toufic notes: “I was for years concerned with schizophrenia and with schizophrenics, who appeared in my Credits Included: A Video in Red and Green, 1995; and I am now interested in ‘the little girl,’ whom I expect to appear in my coming vampire film. . . . At one level, the Thirteenth Series in Gilles Deleuze’s The Logic of Sense, 1969, ‘The Schizophrenic and the Little Girl,’ can thus be retrospectively viewed as a program for the work of a decade on my part.” In this new essay, he writes on the portrait of the pubescent girl, included in Poe’s “The Oval Portrait.” “The successful portrait of a pubescent girl is not a rite of passage but a rite of non-passage; what needs a rite is not passage, which is the natural state (at least for historical societies), but non-passage, the radical differentiation between the before, in this case a pubescent girl, and the after, a woman.” From the portrait of the pubescent girl, Toufic moves to the portrait in general and its paradigmatic relation to the angel; thus the title of this notebook: Reading, Rewriting Poe’s “The Oval Portrait”—Angelically.
Most of Jalal Toufic’s books are available for download as PDF files at his website: www.jalaltoufic.com.
ISBN (Print) / 978-3-7757-2859-1
ISBN (E-Book) / 978-3-7757-3039-6
In his essay, Christoph Menke (*1958), Professor of Philosophy at the Goethe-University, Frankfurt am Main, focuses on the question of how and where there is equality between human beings. The author examines different notions throughout the history of philosophy, as well as varying political concepts, such as the contrarian interpretations of fascism and communism, and the differing reflections on the connection between equality and reason by Aristotle and Descartes. Responding to our current debate about the question of equality, Menke proposes a continuation through an “aesthetics of equality,” which radicalizes enlightenment’s assumption according to which all people have the same ability to reason. Here, equality consists of a force, an agency to imagine, given to all people—the equality of the possibility for an exercised and exercising formation of reason, which is not a given but a socially acquired capacity.
ISBN (Print) / 978-3-7757-2858-4
ISBN (E-Book) / 978-3-7757-3038-9
The whole world is divided up by a system of arbitrarily sanctioned units: meter, kilogram, second, hour. This gives rise to many questions of a physical, technological, and philosophical nature. Especially: What is time? And how can one oppose its enforced standardization? Answers might be found anywhere from a dynamite attack on the Royal Observatory in Greenwich to Einstein’s theory of relativity to quantum physics. In a congenial long-term collaboration with Peter L. Galison, historian, author, filmmaker, and Professor of the History of Science and Physics at Harvard University, South African artist William Kentridge is researching such solutions in The Refusal of Time, a project for dOCUMENTA (13) into which this notebook offers first insights.
ISBN (Print) / 978-3-7757-2857-7
ISBN (E-Book) / 978-3-7757-3037-2
For this series, artist Lawrence Weiner (b. 1942) has made an artist’s book in exactly the same format (A6) and with the same number of pages (24) as his first contribution to documenta 5 in 1972, curated by Harald Szeemann. The partly handwritten instructions, statements, definitions, poems, and pictograms give an insight into his artistic practice and—as eloquently as poetically—transfer his ideas around dOCUMENTA (13) into language. A central figure in Conceptual art from its beginnings, Weiner works in a wide variety of media including video, books, performance, and installation.
ISBN (Print) / 978-3-7757-2856-0
ISBN (E-Book) / 978-3-7757-3036-5
A reprint of diary pages from October 1980 by Erkki Kuriennemi (b. 1941), nuclear physicist turned artist and protagonist of electronic music in Finland whose work refutes, with a radical imagination, the common place that bases technology in frigid thought and loss of sensuality. Over decades, Kurenniemi incessantly built up an archive comprised of photographs, floppy discs and harddrives, hundreds of video and audiotapes as well as dozens of notebooks, like the one presented here.
ISBN (Print) / 978-3-7757-2855-3
ISBN (E-Book) / 978-3-7757-3035-8
In her poetic reflection, artist, poet, and essayist Etel Adnan (*1925) describes various forms of love: the love for ideas, for God, for things, and for nature. However, today we have distanced ourselves from a higher form of love that drove Nietzsche into madness and the Islamic mystic al-Hallaj into martyrdom. The love for nature, which Adnan describes through her own experience, even seems to have given way to contempt—how else could the ecological catastrophe toward which we are steering be explained? The price to stop it would be too high, as it would involve a radical change in our way of life—similar to the experience of conventional love between two people, which involves such intensity only a few are ready to endure it.
ISBN (Print) / 978-3-7757-2854-6
ISBN (E-Book) / 978-3-7757-3034-1
In 1973, an employee of the Deutsche Bank in Heidelberg identified the influential sociologist of literature and Marxist György Lukács (1885–1971) as the owner of a mass of material that had been deposited there in 1917. Among the sixteen hundred letters and text fragments of the collection, known as the “Heidelberg Suitcase” among researchers, was the notebook that has been partially reproduced in this publication. The content of the notebook is in two parts: In the front are notes Lukács took in German during lectures by Georg Simmel on “Logic and Problems of Contemporary Philosophy,” held at the Berlin University in 1906. A few years later, Lukács used the notebook again and, starting from its end, wrote in Hungarian a draft with the title “Sociology of Art.”
With an introduction by Lívia Páldi, Director of BAC – Baltic Art Center, Visby, Sweden and Agent for dOCUMENTA (13).
ISBN (Print) / 978-3-7757-2853-9
ISBN (E-Book) / 978-3-7757-3033-4
This notebook combines photographs by artist Emily Jacir with a text by political philosopher Susan Buck-Morss, who teaches at the City University of New York, written in response to the images and to conversations with the artist. Jacir’s photographs depict the former Benedictine monastery of Breitenau, near Kassel. A prison camp in the Nazi era, it became a girl’s reformatory after World War II. These images as well as other photographs taken in Kassel are accompanied by selections from the artist’s diary entries, which investigate questions around the histories of the represented sites. Recalling Walter Benjamin’s reading of Paul Klee’s Angelus Novus, Buck-Morss’ textual response unravels how truth and collective memory are established and how the inextricable relation between knowledge and power leads to the selection of what is archived and remembered.
ISBN (Print) / 978-3-7757-2852-2
ISBN (E-Book) / 978-3-7757-3032-7
In her “Letter to a Friend,” dOCUMENTA (13)’s artistic director Carolyn Christov-Bakargiev gives an insight into her working process, outlining some of the key issues around the 2012 exhibition. In shifting voices, such as storytelling, theoretical speculation, travel diary, press release, or critical reflection, she describes dOCUMENTA (13) as something more than an exhibition—for her it is a state of mind. It is a constellation of artistic acts and gestures that are already taking place as well as an exhibition that will open on June 9, 2012, and that will run for 100 days. Given the heterogeneity of the audience it addresses and the historical development of group exhibitions as “a non-commercial place to intensely aggregate,” what can this exhibition be today? Opening the boundaries of disciplines and fields of knowledge and emphasizing the procedural questions, dOCUMENTA (13) is coming together by thinking through a number of composite entangled ontologies instead of following a defined curatorial concept.
ISBN (Print) / 978-3-7757-2851-5
ISBN (E-Book) / 978-3-7757-3031-0
In 1955, the first documenta took place in Kassel. Originally planned as a one-time exhibition, it now takes place every five years and has become a primary periodic moment of exhibition and reflection on contemporary art. In this 1987 lecture, held at the University of British Columbia, Vancouver, Ian Wallace sheds light on the first documenta. After World War II, the exhibition followed the aim to represent and rehabilitate those artists who had been vilified as “degenerate” by the National Socialist regime. The first documenta is a mirror and protagonist of the postwar cultural and political climate. Under the guidance of Arnold Bode, and with the help of Werner Haftmann, it has notably contributed to what has been called “the triumphal march of abstraction,” which helped West-Germany to reintegrate itself into European modernity.
Ian Wallace (* 1943) is artist and lives in Vancouver.
ISBN (Print) / 978-3-7757-2850-8
ISBN (E-Book) / 978-3-7757-3030-3
Anthropologist Michael Taussig (*1940) is a professor at Columbia University, New York.