Julia Voss

Lars Bang Larsen

Raphael Gross

Dorothee Wierling

Alexia Pooth

Dorlis Blume

From 1955 onwards, the makers of each documenta sought to offer insights into current trends in art and to document the spirit of their particular time. This publication sets the history of documenta in the context of the political, cultural and socio-historical development of the Federal Republic of Germany in the second half of the twentieth century. It thereby illuminates a relationship of mutual dependence between art and history. Time and time again, this major international exhibition was a place where West Germany's perception of itself was negotiated. From the very beginning, progressive and regressive political currents were active there side to side--Page 4 of cover.

Politics and Art : Deutsches Historisches Museum, [Berlin, 18. 6. 2021-9. 1. 2022]

Documenta

Doris Blume

Every few years since 1955, the creators of documenta set themselves the task of providing an insight into current trends in art and of capturing the zeitgeist of recent art production. Despite its name, documenta's primary concerns are neither with the simple documentation of individual artists and their work nor with developments in art history, but instead with providing a historical space where art reflects and comments on social constellations and political or social change, or demands it through art interventions. documenta is not only a historical testimony and event, but also a show at which - through the medium of art-- self-interpretation becomes the catalyst for debate and historical change. For the first time, this book places the history of documenta in the context of the political, cultural and societal development of Germany during the second half of the twentieth century, illustrating how art and history can be explored in terms of a mutually dependent relationship.

Politics and Art

Obwohl Raum und Autorschaft viel diskutiert werden, ist eine Verbindung beider Konzepte bisher kaum erfolgt. Unter dem theorieaffinen Ansatz der Autorgeografie verbindet Alexia Pooth erstmals das Zum-Künstler-Machen und -Gemacht-Werden mit der Produktion von Räumlichkeit (Stadt, Landschaft, Innenraum, Nation). Ausgangspunkt für dieses kritische Nachdenken ist der US-amerikanische »self-taught artist« Clifford Holmead Phillips (1889-1975). Anhand seines in den USA und Europa situierten Nachlasses fokussiert die Studie Stilisierungs- und Platzierungsprozesse von Kunst und Künstlerschaft und spürt den Mythen und Sprechperspektiven nach, die 'vor Ort' zur Ausbildung von Autorschaft beitragen.

Der Nachlass des US-amerikanischen Malers C.H. Phillips (1889-1975) aus autorgeografischer Perspektive

Kunst, Raum, Autorschaft

Alexia Pooth

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