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Archive in motion,
from this text we spoke of some editions of Documenta ...


The Biennale was a great model of success, largely defined ...
Documenta seems to belong to a different family, it seems a new model.
document is in the early editions, the symbolic re-establishment of the Museum .

Under Latin documentum we find the following meaning: what is the teaching or warning, as well as model.
Cicero wrote:
documentum Fuit hominibus prudentiae ... was to men of wisdom model.

We must have as its starting point the view expressed by docere mentis .

Documenta as a museum where the art was placed in a more complex cultural program.
We think that the first edition there were speakers like Ernst Bloch, Bertolt Brecht, Siegfried Gedion ...














Arnold Bode was one of the promoters with Haftmann Werner, an art historian ... the claim was to show art from 1900 to 1950. Symptomatic was the absence of title for the exhibition.















we see in the image on the right with Roswitha Werner Haftmann Viollet
XXX. Venzia Biennale in 1960.

Documenta was born from the ruins of a bombing which saw 40,000 casualties, a huge scar to Kassel and Germany that did not remove the ruins, but gave birth on the death of a new museum reborn.

"Bei einer Grossen Picasso-Ausstellung im ruinösen Renaissancebau des Mailänder" Palazzo Reale "im Jahre 1953 kam Arnold Bode, als erfolgreicher Messearchitekt, die Idee, das als Ausstellungsort zerbombte Fridericianum Museum für die zu nutzen documents."

It was a tendency for theatrics. This show we are interested according to the White Cube ...

The will of the modern was not expressed in an attempt to hide. The artist does not disguise the fact by which the work is active.
We must think about the concept of permanent negotiation between the show and lighter than the modern forms.

art as freedom of individuals ...

edition of Documenta 3 there was a confusion between interior and exterior ...

I report what I found in THIS SITE on Document 3, 1964:
" Museum of 100 Days."

Artistic Director: Arnold Bode, Werner Haftmann

"Art is what major artists make." This was the motto of documenta 3 in 1964. Werner Haftmann again tried to justify his hypothesis on the primacy of pre-War Modernism and for the last time the show centered on the older generation of artists with selected works, documenting their exemplary role for contemporary art. However, no claim was made to completeness; the artists were purely selected according to "quality and relevance". The special feature of d3 was that it no longer entailed showcasing various groups of artists, but hinged on the artist as an individual. The freedom and independence of art was something that could no longer be construed in terms of styles and schools, but arose from the individual creative act of an outstanding artist, although Haftmann continued to adhere to his notion of "abstraction as world language "and neglected Those Most recent trends in contemporary art Which Ran Against the grain of this theory. www.documenta.de/
Document Archive











Joseph Beuys, 7000 Eichen, Documenta VII, Kassel, 1982