{"id":4019,"date":"2017-08-23T10:00:05","date_gmt":"2017-08-23T09:00:05","guid":{"rendered":"http:\/\/lantb.net\/figure\/?p=4019"},"modified":"2018-02-26T11:27:59","modified_gmt":"2018-02-26T10:27:59","slug":"documenta-14-documenta-walks","status":"publish","type":"post","link":"http:\/\/lantb.net\/figure\/?p=4019","title":{"rendered":"Documenta 14. Documenta Walks \/ Maria Eichhorn’s Rose Valland Institute"},"content":{"rendered":"

\"\"<\/a>
\nPhoto: Benjamin Kiel. Image et texte repris d’un post d’Ann-Kathrin une m\u00e9diatrice de la Documenta, sur facebook, qui soul\u00e8ve quelques questions \u00e0 propos d’un genre artistique, difficile, pr\u00e9sent de mani\u00e8re r\u00e9currente dans les deux Documenta : \u00a0l’\u00abART-ARCHIVE\u00bb*. Dans la pi\u00e8ce de Maria Eichhorn The Rose Valland Institute<\/a> (<\/i>Neue Galerie)\u00a0prise en exemple ici, cette critique de l’histoire litt\u00e9ralement mise en \u0153uvre<\/i> interroge au pr\u00e9sent, dans le champ de l’institution mus\u00e9ale et du march\u00e9 de l’art, des \u00e9l\u00e9ments de son fonctionnement (p\u00e9rennit\u00e9 du pillage des \u0153uvres d’art de l’\u00e9poque nazie, \u00e0 l’image de celle de l’\u00e9poque coloniale)* :\u00a0Member of the Chorus**Ann-Kathrin about Maria Eichhorn’s Rose Valland Institute<\/em> at Neue Galerie [dit]: \u00ab\u00a0I am intrigued by Eichhorn’s critical take on history, a recurring theme in documenta 14. Who is writing history? Who can be cited? Who owns its artefacts? These issues provide a red thread through many artworks. It is not necessarily about pointing out facts, it’s more of a radical position that invites visitors of documenta 14 to raise further questions when they go home, to their work places, in other institutions.\u00a0\u00bb\u00a0Paths, routes, and parcours cross and intertwine, as visitors follow in the footsteps of Annemarie and Lucius Burckhardt (1930\u20132012; 1925\u20132003) and their method of strollology<\/strong><\/span>***. The practice of these two unconventional thinkers affiliated with Kassel’s town and landscape planning has been a point of departure to think about the act of walking. Joining a member of the documenta 14 Chorus, visitors can create their own lines of enquiry, questioning and entering into dialogue as they unravel and unfold documenta 14 together.<\/p>\n

*L’art archive est le terme forg\u00e9 (ou repris) par Philippe Dagen (dans un article paru dans Le Monde<\/em>) qu’il explicite \u00e0 propos de \u00ab\u00a0l’\u0153uvre de Maria Eichhorn, The Rose Valland Institute<\/em>, \u00ab\u00a0du nom de celle qui, au Jeu de paume, espionna les d\u2019\u0153uvres d\u2019art vol\u00e9es par les nazis dans les collections juives fran\u00e7aises de 1940 \u00e0 1944. En plusieurs salles, Eichorn montre l\u2019ampleur et la violence des pillages, le commerce intense qu\u2019ils ont nourri, la complicit\u00e9 de tant de mus\u00e9es et de marchands et, depuis la fin de la guerre, la constance avec laquelle ceux-ci sont rest\u00e9s sourds et aveugles, \u00e0 moins d\u2019\u00eatre contraints \u00e0 avouer et \u00e0 restituer par l\u2019action des chercheurs et des m\u00e9dias. Documents incontestables et sourc\u00e9s, commentaires pr\u00e9cis sans pathos :L’ART-ARCHIVE est ici \u00e0 son plus haut. La collection Gurlitt, d\u00e9couverte par hasard en 2013, y tient une place centrale \u2014affaire non encore r\u00e9gl\u00e9e. Eichhorn r\u00e9v\u00e8le aussi que le marchand nazi Hildebrand Gurlitt avait une s\u0153ur artiste, Cornelia, morte en 1919 \u00e0 29 ans. Ses estampes font songer \u00e0 celles, contemporaines, de Dix et Grosz, ces \u00ad\u00abd\u00e9g\u00e9n\u00e9r\u00e9s\u00bb du IIIe Reich gr\u00e2ce auxquels son fr\u00e8re fit son ignominieuse fortune.\u00a0\u00bb \u00ab\u00a0Ainsi on\u00a0lit dans le Beaux Arts,<\/i> septembre 2017, page 135 : exposition du 2 novembre 2017 au 18 mars 2018 au Kunst Museum Bern \u00ab\u00a0Collection Gurlitt, \u00e9tat des lieux: \u00ab\u00a0l’art d\u00e9g\u00e9n\u00e9r\u00e9\u00a0\u00bb confisqu\u00e9 et vendu\u00a0\u00bb. \u00a0Et le commentaire dans l’article de Charles Flours qui l’annonce: \u00ab\u00a0le Kunst Museum Bern ne cesse d’enrichir ses collections de mani\u00e8re spectaculaire. L’un des apports les plus m\u00e9diatis\u00e9s concerne la collection Gurlitt, constitu\u00e9e par un marchand munichois sous le IIIe Reich : r\u00e9v\u00e9l\u00e9e en 2012, elle a \u00e9t\u00e9 l\u00e9gu\u00e9e par son fils au Kunst Museum Bern. Cet ensemble tr\u00e8s important de 1500 \u0153uvres, comprenant des toiles et des dessins de Gauguin, C\u00e9zanne, Monet, Renoir, Picasso, mais aussi du Blaue R\u00e9it\u00e8re et de la Nouvelle Objectivit\u00e9, fait l’objet d’une enqu\u00eate pouss\u00e9e. Il s’agit de r\u00e9tablir la transparence sur leur provenance et d’assurer le retour des pi\u00e8ces spoli\u00e9es \u00e0 leurs propri\u00e9taires l\u00e9gitimes.\u00a0\u00bb<\/p>\n

Dans deux salles adjacentes \u00e0 celles de Maria Eichhorn, Fragments of Interlaced Dialogues<\/em> (2017) de Sammy Baloji<\/a> met \u00e0 jour l’attitude mus\u00e9ale \u00ab\u00a0post-colonialiste\u00a0\u00bb ordinaire en six pi\u00e8ces : Copper Negative of Luxury Cloth. Kongo Peoples; Democratic Republic of the Congo, Republic of the Congo or Angola, Seventeenth\u2013Eighteenth Century, Inventoried 1709 <\/em>(2017), Copper Negative of Luxury Cloth. Kongo Peoples; Democratic Republic of the Congo, Republic of the Congo or Angola, Seventeenth\u2013Eighteenth Century, Inventoried 1876. <\/em>(2017), Reserve Collection of the Institute of the National Museums of Congo, Kinshasa. Views of Montuary Pottery from the Kingdom of Kongo and European Earthenware Traded between the 15th and 18th Centuries.<\/em>\u00a0(2017) Photograph; Vitrines with historical letter and seven mats of raffia fibers (Kongo Peoples; Kongo Kingdom, Democratic Republic of the Congo, Republic of the Congo or Angola, seventeenth\u2013nineteenth centuries), Raffia and pigment. https:\/\/goo.gl\/images\/xKSiHp.\u00a0<\/a>Les six pi\u00e8ces sont des emprunts au \u00a0\u00bb Nationalmuseet, Copenhagen; et pour une pi\u00e8ce au Royal Museum for Central Africa, Tervuren, Belgium\u00a0\u00bb.<\/p>\n

**<\/span>documenta 14 Walks accompanied by members of the Chorus are available in 20 different languages and deepen the exp\u00e9rience of the visit. http:\/\/www.documenta14.de\/en\/walks<\/a>
\n***<\/span>\u00a0\u00bb Also called Spaziergangswissenschaft<\/i> (knowledge about moving through space), strollology deals with human perception and its feedback into planning and building\u00a0\u00bb:\u00a0\u00ab\u00a0We are conducting a new science,\u00a0\u00bb Burckhardt explained to Hans-Ulrich Obrist in the preface to his book Why is Landscape Beautiful?<\/i> \u00ab\u00a0It’s founded on the idea that the environment is normally not perceived, and if it is, it tends to be in terms of the observer’s preconceived ideas. The classic walk goes to the city limits, the hills, the lake, the cliffs. But walkers also traverse parking lots, suburbs, settlements, factories, wastelands, highway intersections on their way to meadows, moors, farms. Coming home, when the walker tells what he has seen he tends to speak only of the forest and the lake, the things he set out to see, the things he read about, had geographical knowledge of, or saw in brochures and pictures. He leaves out the factory and the dump. Strollology deals not only with these prefabricated ideal images, but with the reality they eliminate.\u00a0\u00bb
\n\u00c9galement appel\u00e9 Spaziergangswissenschaft<\/i> (connaissance sur le passage \u00e0 travers l’espace), la promenade traite de la perception humaine et ses retour d’information sur la planification et la construction \u00bb:\u00ab Nous menons une nouvelle science \u00bb, explique Burckhardt \u00e0 Hans-Ulrich Obrist dans la pr\u00e9face de son livre <\/span>Why is Landscape Beautiful?<\/i> <\/span>\u00abIl est fond\u00e9 sur l’id\u00e9e que l’environnement normalement<\/span> n’est pas per\u00e7u , et si c’est le cas, il tend \u00e0 l’\u00eatre selon les id\u00e9es pr\u00e9con\u00e7ues de l’observateur. <\/span>La promenade classique va aux limites de la ville, aux collines, au lac, aux falaises. <\/span>Mais les marcheurs traversent aussi des parkings, des banlieues, des entreprises, des usines, des friches, des intersections routi\u00e8res sur le chemin des prairies, des landes, des fermes. De retour chez lui, <\/span>quand le promeneur raconte ce qu’il a vu, il a tendance \u00e0 ne parler que de la for\u00eat et du lac, les choses qu’il avait projet\u00e9 de voir, les choses qu’il a lues, ou dont il a une connaissance g\u00e9ographique ou qu’il a vu dans des brochures et sur des images. <\/span>Il laisse tomber l’usine et la d\u00e9charge. <\/span>Strollology<\/strong> traite non seulement de ces images pr\u00e9fabriqu\u00e9es id\u00e9ales, mais aussi de la r\u00e9alit\u00e9 qu’ils \u00e9liminent. <\/span>\u00bb<\/span><\/span><\/p>\n

Cette science \u00e9tait n\u00e9cessaire et implicite dans la pratique de d\u00e9ambulation \u00e0 la fois dans les expositions nombreuses du type Art-Archive, demandant une attention \u00e0 toute \u00e9preuve de lecture, d’observation d’\u00e9l\u00e9ments expos\u00e9s en vitrines innombrables dans de grands espaces d’exposition, et le long des trajets entre les diff\u00e9rents sites, nous \u00a0r\u00e9v\u00e9lant la ville bombard\u00e9e et reconstruite apr\u00e8s la deuxi\u00e8me guerre.
\nNous ne sommes pas all\u00e9.e.s \u00e0 Peppermint 12<\/a><\/strong> Untere Karlsstra\u00dfe 834117.
\nDuring documenta 14, the office library of Lucius and Annemarie Burckhardt (1925\u20132003 and 1930\u20132012) resides at Peppermint. The practice of these two unconventional thinkers affiliated with the University of Kassel has substantially influenced the development of aneducation\u2019s approach to \u201cwalking the city\u201d as a way of learning. Inside Peppermint you can find Terminal, a space of quietude measuring just a few square meters featuring the simple elements of a chair, a table, a lamp, and a pair of sound-isolating headphones. Visitors may use the space to pause, to breathe, to slow down, to unclutter, to undo, to be silent. These activities\u2014or anactivities\u2014are also part of the complex of strolling, listening, reading, mapping, weaving, storytelling, and eating that form the intricate root system that is Peppermint.
\nArtistes : Lucius and Annemarie Burckhardt<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Photo: Benjamin Kiel. Image et texte repris d’un post d’Ann-Kathrin une m\u00e9diatrice de la Documenta, sur facebook, qui soul\u00e8ve quelques questions \u00e0 propos d’un genre artistique, difficile, pr\u00e9sent de mani\u00e8re r\u00e9currente dans les deux Documenta : \u00a0l’\u00abART-ARCHIVE\u00bb*. Dans la pi\u00e8ce de Maria Eichhorn The Rose Valland Institute (Neue Galerie)\u00a0prise en exemple ici, cette critique de l’histoire … Continuer la lecture de Documenta 14. Documenta Walks \/ Maria Eichhorn’s Rose Valland Institute<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19,59,44],"tags":[],"class_list":["post-4019","post","type-post","status-publish","format-standard","hentry","category-art-contemporain","category-documenta","category-everyday-life"],"_links":{"self":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/4019","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4019"}],"version-history":[{"count":51,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/4019\/revisions"}],"predecessor-version":[{"id":4710,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=\/wp\/v2\/posts\/4019\/revisions\/4710"}],"wp:attachment":[{"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4019"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4019"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/lantb.net\/figure\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4019"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}