It will focus on complex global challenges this time around, such as sustainability, climate change, social justice and equitable resource allocation.
The Documentawhich takes place every five years at Kassel – this year from 18 June to 25 September and is considered in parallel with Venice Biennale as the most important international presentation of works of contemporary art, it has evolved into a kind of artistic “seismograph” and a field of engagement with current social issues. It opens its gates to the public today (until September 25) and will be attended by German President Frank-Walter Steinmeier, Hesse Prime Minister Boris Rhein and Indonesian Ambassador Arif Havas Ogroseno / Arif Havos.
It will focus on complex global challenges this time around, such as sustainability, climate change, social justice and equitable resource allocation. Documenta was always very interesting and there was always a lot of noise before it started. Documenta without reactions is not Documenta after all. This year she aspired to work as an Exhibition of Contemporary Art without Borders and the discussions revolved around the original idea of ​​assigning – for the first time – her artistic curation to an Indonesian art collective, “Ruangrupa”, instead of one person. In fact, the motto of Documenta 15 was also chosen the Indonesian “lumbung”, ie the storage of the surplus rice harvest and its fair distribution, in its artistic version of course. This completely original idea, however, has been overshadowed since January by the accusations of anti-Semitism of this group and of documenta itself.
But what is this hitherto unknown “Ruangrupa” collective, which has caused so much debate, and how will “lumbung” be applied artistically?
«We want to create a globally oriented, collaborative and interdisciplinary art and culture platform that will impact after 100 days of Documenta 15. The approach of curation (documenta) aims at a different art model in terms of ideas, knowledge, programs and innovations“, Stated” Ruangrupa “in 2018 when she was assigned the artistic curation of Documenta 15.
“Ruangrupa” means “space of art” in free translation. It is a nine-member art collective in the Indonesian capital Jakarta, which organizes joint festival exhibitions and other events. It was founded in 2000 and is based on the solidarity, sustainable, collective, social, local and personal participation of its members and is closely linked to Indonesian culture. In the early 2000s, due to the political and social conditions after the end of the Suharto regime, it turned private into public art spaces, in many small “Ruangrupa”, so that artists could devote themselves to it.
“Ruangrupa” promotes the artistic dimension of “lumbung”, a practice in rural Indonesia where surplus rice is stored in a common warehouse and distributed according to collective criteria for the benefit of the community. It connects artists with other disciplines, such as the social sciences, politics, technology or the media, to become critical thinkers and find ways to solve Indonesia’s contemporary problems. Lumbung is based on the common values ​​of all involved, humor, independence, generosity, transparency, flexibility and rebirth. As an artistic and economic model, “lumbung” is based on the principles of collectivity, the joint creation of artistic resources and their fair distribution.
This tradition, principles and values ​​of “lumbung” wanted to transfer “Ruangrupa” to Kassel and this is exactly what is implemented by everyone in documenta 15. “Ruangrupa” also wants to turn the passive art market into an active art creation in the world level. That’s why he invited collectives, organizations and initiatives from around the world that respond to the values ​​of “lumbung” because of their inspiring methods, their deep artistic roots in local social structures and their experimental organizational and economic approaches, to work exactly on new art models and collective artistic practices. These include a Bangladeshi group on waste prevention, the Danish refugee support organization, and a group of beekeepers in Kassel.
The focus of this year’s Documenta is not on contemporary art stars as on other occasions, but on social initiatives, collectives and organizations that will jointly apply “lumbung” in practice: that is, the collective happiness of the people, the rights of the people. immigrants, the possibility of participation, the awakening of latent abilities within communities, forms of resistance through art. The ideas expressed by this model are implemented first with a regional network “lumbung” in Kassel and at a second, international, level with the creation of a global network of members established for Documenta.
But why not discuss all these new elements that Indonesian collectivity brings to art and are accused of being anti-Semitic, overshadowing the very essence of documenta?
A Palestinian cultural center in Ramallah, which works with Ruangrupa, was denounced earlier this year for anti-Semitic positions and trends in art. Indonesian curators have also been accused of selecting members of the BDS movement, which has been condemned by the German parliament as anti-Semitic and has not invited any Israeli artists, even those who are clearly opposed to the official to the Palestinians. “It’s hard to ‘believe it’s a coincidence,'” the chairman of the German Central Jewish Council, Josef Schuster, told Die Welt. “Israeli artists were invited. It looks like a boycott.”
The Green Minister of Culture, Claudia Roth, he said, then, trying to balance the situation: “Anti-Semitism has no place in Documenta and in Germany. At the same time, artistic freedom is a key issue. The origin (but) alone can not determine what will be presented and what will not “, while in a recent interview with Spiegel magazine she stressed:” There should be no anti-Semitism in documenta. However, in case there is, measures will be taken. There is a legal basis for this. “
Some criticized “Ruangrupa” for keeping silent or not commenting on the problems of racism in Indonesia itself. Recently, the UN spoke of terrible human rights violations by Melanesians living in the province of Papua. The Frankfurter Allgemeine Zeitung even asked: “How should this collective be described as uninformed or hypocritical?” Ruangrupa and Documenta categorically denied all allegations. A number of discussions on the issue were canceled, however, following a protest by the Jewish Council, among other things, due to the composition of the discussion groups.
At the press conference, the Social Democrat mayor of Kassel and chairman of the Documenta 15 Supervisory Board, Christian Gezelehowever, reiterated that “due to Germany’s historical responsibility, there is a very clear position on anti-Semitism and Israel’s right to exist». The Green Minister of Culture of the state of Hesse (where Kassel is located) Angela Dorn was also clear: ““Anti-Semitism has no place in Documenta.” Its director general, Sabine Sorman, stressed, however, that “at the heart of Ruangrupa’s artistic idea” is collective work, solidarity, participation and an orientation towards the common good instead of individualism, greed and the pursuit of power. . “Ruangrupa” is critical of the artist’s western ideal as an authority, of the laws of the art market and of institutions in general. The ongoing debate has largely ignored the core idea of ​​a documenta that is essentially testing new ideas for 21st century problems.».
Despite all this debate, it is predicted that and this year’s Documenta will be a success. Ticket pre-purchase has already surpassed 50,000, while one euro from each ticket will be allocated to environmental programs, such as the maintenance of oil palm and rubber plantations in Sumatra. They will present their works at Documenta 14 collectivesorganizations and bodies, as well as 54 artists from around the world.
