Documenta 13, one of the major festivals of the modern art, passing time in five years in Kassel, for the first time it was splashed out for borders of Germany: parallel programs go in Kabul, Alexandria, Cairo and Banff. However, and in small Kassel to look at all exhibitions and pablik - art - the projects occupying all public space of a city, it is impossible, and it is a pity. If for curator art gave the Nobel Prize, a nominee of curator Documenta of 13 Carolina Kristov - Bakardzhiev would put forward TOLSTOV`S ANNA.
on almost empty ground floor of Frideritsianuma the wind walks. In one huge hall three tiny abstract bronze of cubist Hulio Gonsalesa, as a prologue to the future victory of minimalism. In other from dinamikov any song performed by Sil Flojer, the today`s world champion on nonspektakuljarnosti flows. And a wind, a wind everywhere. A wind It not draughts, is Rajan Gender and its fans hidden behind walls. Economy of knowledge, non-material manufacture the information society will soon burst from the accumulated information, be it as much as necessary minimalistichna and nonspektakuljarna, archives and libraries are overflowed in them already anybody never will disassemble nothing. As, for example, it is impossible, and the texts Simrin Dzhill which has been hung out such kontseptualistskoj by a lane at the former main station very would be desirable to disassemble: blindly typed on the old typewriter without blanks between lines, they it is perfect nechitabelny. In general, museums are time for airing properly.
is not present, and truth, terrible closeness: in a rotunda of Frideritsianuma the imagined museum in a miniature and #150 is arranged; we today pomeshany on tiny smart phones and computers. Here the object of Mana Reja, a metronome with an eye photo on a pendulum, the Leah of eyes belonged Miller. Here its military photos, including the most famous, where it naked Hitler in a bath. Here the bottle of perfume, it from that bathroom, is spirits of Eve Brown. Here a collection of bottles and vases, them wrote in silent masterful Dzhordzho Morandi, the Leah while Miller climbed under bullets. Here, by the way, both its apolitical still-lifes at everyone the way to react to fascism. And here something become swollen that, probably, too was a vase: these are remains of a collection of the National museum in Beirut, destroyed by civil war. The exhibition is devilishly interesting, but on it is intolerable closely and stuffy: hundreds things in the tiny space which overflowed with people and has been fenced off by glass on which ironic Lawrence Wiener has written " in the middle of the middle of the middle " (" in the middle of the middle middle ") . And when you get out of this intellectual crush, you understand that the main exhibit here the visitors visible through glass which are pottering about, as ants, in museum kladovke.
fairly rumpled and shabby critics have there and then accused Carolina Kristov - Bakardzhiev of all capital sins, and first of all in aggressive ekofeminizme. Say, you feel as in wood from " Snails on a slope ": all Ottoneum, the natural sciences museum, is filled by installations with water, the earth, seeds and pieces of wood and where spit both #150; unfairly forgotten and not recognised ladies, the Leah from the same Miller to Charlotte Salomon. By the way, the present sensation of festival, the Jew who were lost in Osventsime in 1943 - the m, extremely endowed Berlin artist whose risovannyj the diary foretells, apparently, all conceptualism and all gender art of second half of XX-th century. However, ecology in a broad sense, art as a sort of social ecology in particular a pacifism sort. Carolina Kristov - Bakardzhiev continually reminds us that Documenta was German, and is wider both #150; the European and world answer to World War II and totalitarian style dominating at her age: bronze of Hulio Gonsalesa just from one of the first post-war " the document ". And then the curator - the feminist not that that prefers women, though the unique Russian participant Alexander Suhareva, the protege of fund " Victoria " built in park Karlzaue filled with all forms pablik - arta, mysterious stage installation. The curator prefers researchers so in Documenta 13 on a level with artists the set of outstanding scientists, since the candidate on the Nobel Prize of the Austrian physicist Anton Tsajlingera heatedly running on an opening day between models of the quantum teleports, much more mysterious, than all art installations participates.
the economy of knowledge will inevitably change the concept of a museum we any more do not know, where art borders lie, is more exact we know that they are not present. One of the strongest works in Frideritsianume an iconostas from hundreds cards with risovannymi apples: it is archive " the apple pastor " Korbiniana Ajgnera, the priest openly criticising a nazi mode and sent for it in Dachau where he continued to be engaged selection in good sense of a word in experiments, deducing new grades of apples. In this updated museum any scientific and vital research project is ready to turn to art. In the Greenhouse, a museum of astronomy and physics, musical inventions of Erkki Kurenniemi, Finnish Leonardo, physics, mathematics, the designer and the pioneer of electronic music, and #150 are exposed; they seem interactive mediaartom. Futuristic landscapes of cities of future Konrada Tsuze There and then hang: if not to know that their author the engineer, the inventor of the computer, it is possible to think that it is the quite good German expressionist of an epoch " the Metropolis " and " Aelitas ".
When programmers so successfully undertake brushes, the artist should sit down for books. The most impressing research on Documenta installation " Repairings " Kadera Attia. On regiments of its terrible library albums on art and managements on plastic surgery, between which the sculptures reminding of horror films: lomannye and the African ritual masks patched by means of make-shifts which have been found out on travel across Congo, are rhymed with busts mutilated on fronts of World War I and podvergshihsja to plastic operations of the soldiers, cut out of a tree in " African " to a manner on historical photos. The French artist of the Algerian origin reminds us that civilised Europe, only - only from giving of avant-gardists soglasivshajasja to recognise barbarous graven images of Africa as art, itself in the meantime transformed a godlike human choir in such that any African mask will seem in comparison in it " Dzhokondoj ". But overloaded with words and senses the European museum on - former is ready to incorporate all. And a heap of rusty scrap metal on station boondocks in which without the tablet you do not identify work of Lary Favaretto. And given to us in fleeting sensation darkness in the oldest kasselskom skvote, " the House of Huguenots " Entering in which, on pair minutes it appear in the centre invisible, but well heard horeograficheski - choral representation of Tino Segala.