Die Teilung der Erde (The division of the world) - Schlachthof Conversation with the artist Dierk Schmidt
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Comprising eleven abstract paintings, the work Die Teilung der Erde – Tableaux zu rechtlichen Synopsen der Berliner-Afrika-Konferenz (The division of the world – Tableaux on the legal synopses of the Berlin Africa Conference) by the artist Dierk Schmidt is dominated by the colours white and aggressive orange, and arranged in a display which can be approached from all sides. Five tableaux forge a link, among other things, between the Conference of 1884/85, the economic and legal ramifications and the claim for compensation lodged in 2001. The schematic images are augmented by graphic elements, multilayers of silicone, overlapping textures and texts. The final image is an oil portrait of the Federal Minister Heidemarie Wieczorek-Zeul.
Between these works are captions enhancing the historical depiction with the inclusion of another layer which confronts the viewer with issues of far-reaching complexity. Visitors to the Schlachthof Conversation with Dierk Schmidt were invited to join the documenta artist and embark on a journey of exploration through the series The division of the world.
In recent years, the Berlin-based artist Dierk Schmidt has been examining the concept of the historical painting and the possibilities of forging a new, extended definition. As a further development in our understanding of the historical painting, this revised definition represents a shift away from the depiction of hegemonic relationships towards a self-reflective examination and portrayal of social conditions.
Between these works are captions enhancing the historical depiction with the inclusion of another layer which confronts the viewer with issues of far-reaching complexity. Visitors to the Schlachthof Conversation with Dierk Schmidt were invited to join the documenta artist and embark on a journey of exploration through the series The division of the world.
In recent years, the Berlin-based artist Dierk Schmidt has been examining the concept of the historical painting and the possibilities of forging a new, extended definition. As a further development in our understanding of the historical painting, this revised definition represents a shift away from the depiction of hegemonic relationships towards a self-reflective examination and portrayal of social conditions.
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“How can painting address topical issues?” A crucial question which Schmidt has attempted to answer by taking a gradual approach. Is it possible for painting to develop its intrinsic power of representation if there are no available images of the event?
In 2001 Schmidt realised a triptych Xenophob - Schiffsbruchszene, gewidmet 350 ertrunkenen Asylsuchenden im indischen Ozean, 19.Oktober 2001 am Morgen, (Xenophobe – A shipwreck scene, dedicated to the 350 asylum-seekers drowned in the Indian Ocean on the morning of 19 October 2001) in reference to The raft of Medusa by Théodore Géricault; Freedom, which alludes to the Nike clip featuring the soccer player Ronaldo and which, at the same time, is evocative of Eugène Delacroix’s Liberty on the barricades. Up to today, both works have been hanging in the same position in the Louvre. In the centre piece Louvre 2001/Salon Carré 1819, Schmidt incorporates this placing, whilst updating the subject.
Xenophobe thematises the terrible fate of Indonesian refugees off the coast of Australia, where a fully laden ship with 497 people on board sank. To date the Australian government has refused to comment on the disaster. Only after Schmidt’s painstaking and exhaustive research were the pieces of the puzzle finally assembled and the event entered public consciousness, thus exposing the active involvement of the Australian government in the disaster.
As becomes evident, the questions posed by the present of the past and their visualisation can only be answered in a fragmentary manner. This gradual approach to fashioning a representation of history which defies the direct mediation of information is a potential ideally suited to the medium of painting.
In 2001 Schmidt realised a triptych Xenophob - Schiffsbruchszene, gewidmet 350 ertrunkenen Asylsuchenden im indischen Ozean, 19.Oktober 2001 am Morgen, (Xenophobe – A shipwreck scene, dedicated to the 350 asylum-seekers drowned in the Indian Ocean on the morning of 19 October 2001) in reference to The raft of Medusa by Théodore Géricault; Freedom, which alludes to the Nike clip featuring the soccer player Ronaldo and which, at the same time, is evocative of Eugène Delacroix’s Liberty on the barricades. Up to today, both works have been hanging in the same position in the Louvre. In the centre piece Louvre 2001/Salon Carré 1819, Schmidt incorporates this placing, whilst updating the subject.
Xenophobe thematises the terrible fate of Indonesian refugees off the coast of Australia, where a fully laden ship with 497 people on board sank. To date the Australian government has refused to comment on the disaster. Only after Schmidt’s painstaking and exhaustive research were the pieces of the puzzle finally assembled and the event entered public consciousness, thus exposing the active involvement of the Australian government in the disaster.
As becomes evident, the questions posed by the present of the past and their visualisation can only be answered in a fragmentary manner. This gradual approach to fashioning a representation of history which defies the direct mediation of information is a potential ideally suited to the medium of painting.
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Currently on display in the Aue-Pavillon of documenta 12, The division of the world is the result of a reflective exploration by the artist of Germany’s colonial history and policies. The use of such techniques as the overlaying of materials like silicone, oil painting on foil or canvas, a distinctive language of form is developed.
In his critical examination of the facts of colonial history, Schmidt poses the following question: “To what extent is international law also colonial law?” Is the law, as we know it, capable of reflecting history?
The series of paintings is divided into four “installation levels”.
1. Orange images with coding
2. Linguistic level for decoding
3. The “footstep” level
4. A portrait on foil of Heidemarie Wieczorek-Zeul
At the Berlin Africa Conference of 1884/1885, convened by Bismarck, the 14 European powers and the USA decided to abolish the international slave trade and to divide up the African continent into colonies. The Free State of Congo was transferred into the hands of King Leopold II of Brussels, who henceforth was owner of the territory.
In Schmidt’s view, the structural violence, which found expression in the articles of the Africa conference, only permits an abstract image, and his white paintings within the series represent his attempt to come to terms with this violence. And by identifying and naming the resulting trauma, he has given those who have lost their voice a forum from which they can be heard. The sequence of footsteps is an indirect reference to the inadequacies of international law and the layers of silicone on the paintings can be interpreted in relation to this. Dierk Schmidt describes the fractures as a metaphor for a disenfranchised existence.
The orange chart shows a possible depiction of the Berlin Africa Conference, with the Congo represented by the white line. During the course of Africa’s economic exploitation, the river and the construction of a railway line became a source of dispute between the native Namibian tribe, the Hereros, and the German colonial administration. The Germans declared war on the Hereros and drove them from their lands, which culminated in an act of genocide.
In 2004, some 100 years later, the Federal Minister for Economic Development and Cooperation Heidemarie Wieczorek-Zeul extended a formal apology to the Hereros by saying the Lord’s Prayer.
In his critical examination of the facts of colonial history, Schmidt poses the following question: “To what extent is international law also colonial law?” Is the law, as we know it, capable of reflecting history?
The series of paintings is divided into four “installation levels”.
1. Orange images with coding
2. Linguistic level for decoding
3. The “footstep” level
4. A portrait on foil of Heidemarie Wieczorek-Zeul
At the Berlin Africa Conference of 1884/1885, convened by Bismarck, the 14 European powers and the USA decided to abolish the international slave trade and to divide up the African continent into colonies. The Free State of Congo was transferred into the hands of King Leopold II of Brussels, who henceforth was owner of the territory.
In Schmidt’s view, the structural violence, which found expression in the articles of the Africa conference, only permits an abstract image, and his white paintings within the series represent his attempt to come to terms with this violence. And by identifying and naming the resulting trauma, he has given those who have lost their voice a forum from which they can be heard. The sequence of footsteps is an indirect reference to the inadequacies of international law and the layers of silicone on the paintings can be interpreted in relation to this. Dierk Schmidt describes the fractures as a metaphor for a disenfranchised existence.
The orange chart shows a possible depiction of the Berlin Africa Conference, with the Congo represented by the white line. During the course of Africa’s economic exploitation, the river and the construction of a railway line became a source of dispute between the native Namibian tribe, the Hereros, and the German colonial administration. The Germans declared war on the Hereros and drove them from their lands, which culminated in an act of genocide.
In 2004, some 100 years later, the Federal Minister for Economic Development and Cooperation Heidemarie Wieczorek-Zeul extended a formal apology to the Hereros by saying the Lord’s Prayer.
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The image of the fourth level shows the visibly moved minister after the reading of the prayer. With this acknowledgement of the political and moral responsibility of the German colonial administration, Wieczorek-Zeul adopted a clear position on this issue, and in so doing established the term genocide within this context – a term which hitherto had been avoided and even banned by previous German governments. However, even today, Germany still refuses to make reparations - to which the Hereros have now responded by filing a law suit against the German state in the USA.
The work The division of the world – Tableaux on the legal synopsis of the Berlin Africa Conference is an individual form of an alternative history. On the one hand, Schmidt has filled the gap in the historical representation of this event, whilst at the same time reopening it. “It is always both”, replied Schmidt to a visitor, explaining that it was ultimately his research and not necessarily the visual depiction which closed these gaps in our knowledge.
Consequently, his work is less concerned with rationality and more with highlighting a path into the future. His objective is not to bring about transparency, but to provoke and challenge our perceptions. “And the Crystal Palace”, enthused Schmidt, “is a great place to achieve this.”
Silke Kachtik
The work The division of the world – Tableaux on the legal synopsis of the Berlin Africa Conference is an individual form of an alternative history. On the one hand, Schmidt has filled the gap in the historical representation of this event, whilst at the same time reopening it. “It is always both”, replied Schmidt to a visitor, explaining that it was ultimately his research and not necessarily the visual depiction which closed these gaps in our knowledge.
Consequently, his work is less concerned with rationality and more with highlighting a path into the future. His objective is not to bring about transparency, but to provoke and challenge our perceptions. “And the Crystal Palace”, enthused Schmidt, “is a great place to achieve this.”
Silke Kachtik
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