Excerpt - Modernity?
ROGER M. BUERGEL
Der Ursprung | The Origins
It is worth examining the origins of documenta, for after a closer look at its beginnings, the baggage of expectations and projections that weighs down on this exhibition like a sack of boulders falls away. There is nothing wrong with expectations and projections, of course, especially in connection with art. They point to a realm of experience that demands more from us than what we already are or think we are. Unfortunately, however, expectations and projections often go hand in hand with misconceptions-misconceptions that can get in the way of encounters with art.
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Der Ursprung | The Origins
It is worth examining the origins of documenta, for after a closer look at its beginnings, the baggage of expectations and projections that weighs down on this exhibition like a sack of boulders falls away. There is nothing wrong with expectations and projections, of course, especially in connection with art. They point to a realm of experience that demands more from us than what we already are or think we are. Unfortunately, however, expectations and projections often go hand in hand with misconceptions-misconceptions that can get in the way of encounters with art.
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UNCTAD III
Santiago de Chile, 06/1971-04/1972
In the late 1960s and early 1970s a unique moment of political and cultural collaboration was in the making. The strong conviction of forthcoming radical social change impulsed particular forms of militant innovation in Latin America. Intense and sometimes contradictory practices were taking place, ranking from pop propaganda silk screening, and a museum founded as a confrontation against American media imperialism, to the concretion of architecture as a collective enterprise; a few encounters with the utopian idea of spaces "by the people, for the people."
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Santiago de Chile, 06/1971-04/1972
In the late 1960s and early 1970s a unique moment of political and cultural collaboration was in the making. The strong conviction of forthcoming radical social change impulsed particular forms of militant innovation in Latin America. Intense and sometimes contradictory practices were taking place, ranking from pop propaganda silk screening, and a museum founded as a confrontation against American media imperialism, to the concretion of architecture as a collective enterprise; a few encounters with the utopian idea of spaces "by the people, for the people."
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TONI MARAINI
Schwarze Sonne der Erneuerung | Black Sun of Renewal
The magazine Souffles made an important contribution to modern Moroccan culture in the 1960s. The impact of its literary, artistic, and cultural production were of the greatest importance. Since its inception, it attracted some of the best young poets, artists, and intellectuals. It was not only a literary magazine; it also published notes and comments on the sociocultural situation, cinema, theater, and art, as well as critical texts, manifestos, and historical essays. By demasking neocolonial ideology, it stirred up the stagnant literary and intellectual situation in the country.
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Schwarze Sonne der Erneuerung | Black Sun of Renewal
The magazine Souffles made an important contribution to modern Moroccan culture in the 1960s. The impact of its literary, artistic, and cultural production were of the greatest importance. Since its inception, it attracted some of the best young poets, artists, and intellectuals. It was not only a literary magazine; it also published notes and comments on the sociocultural situation, cinema, theater, and art, as well as critical texts, manifestos, and historical essays. By demasking neocolonial ideology, it stirred up the stagnant literary and intellectual situation in the country.
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LEE LOZANO
Lee Lozano (1930-1999)-who at the end of her life called herself only "E2-was one of the most radically freethinking and aesthetically fascinating artists in the New York avantgarde of the 1960s and early 1970s. In Lee Lozano’s body of work, spanning roughly ten years, constant themes such as sexuality and identity as well as the principle of process and seriality are all decisive. Her great interest in fantasy and dreams is striking. "Seek the extremes," was one of her mottoes; "that’s where all the action is."
Lee Lozano (1930-1999)-who at the end of her life called herself only "E2-was one of the most radically freethinking and aesthetically fascinating artists in the New York avantgarde of the 1960s and early 1970s. In Lee Lozano’s body of work, spanning roughly ten years, constant themes such as sexuality and identity as well as the principle of process and seriality are all decisive. Her great interest in fantasy and dreams is striking. "Seek the extremes," was one of her mottoes; "that’s where all the action is."
