Uunsollicited art work
@documenta Kassel by Thierry
Geoffroy / ColonelKassel (
d13 2012 ) followed by d14 effects
Colonel 's art works "THE
EMERGENCY WILL
REPLACE THE CONTEMPORARY
"
was
implanted the first time the 06
th of June 2012
Several days latter the occupy movement
started to plant their tents on the grass
facing the Fredericianium in Kassel.
Colonel 's installation "THE
EMERGENCY WILL
REPLACE THE CONTEMPORARY " 3,2
kilos tent
that started
the occuppy implantation was
removed by the documenta
organizers the 21/6/2012
meanwhile the occupy camp ( after beeing inflitrated by documenta
organisers and branded docuppy ) was declared welcomed .
The occupy camp then was inflitrated by police , spies and
other
employes serving documenta
was driven in an evacuation scenario
and left
the ground 1 week before the end of d13
"THE
EMERGENCY WILL REPLACE THE CONTEMPORARY ! The Magazine
KunstHart made the printed front
page on their
dOCUMENTA special issue with the Biennalist art work unfortunatly just after that the tent
was removed by dOCUMENTA the tent was confiscated 1 day after
publication
An
art work : a painted with
spray tent as Biennalist canvas was installed by Thierry
Geoffroy / Colonel the 06 June
2012 just after
the press conference ( where
Colonel did a video work as a naive
blue Helmet )
The art work was implanted next under to the Joseph Beuys
tree and was the first tent to be planted
Colonel 's implantation was recorded by several TV reports
and photographed
The 6 th June 2012 the artist TG made a mobility
test (
"This is a
moving
exhibition ") , and the tent broke during the experiment
This first tent has been purchased for the collection of the
Museum of contemporary art - Museet for Samtidskunst in Roskilde with
support from the danish art council
The 07
th june a new art work : a tent painted on 4
sides was created and planted at
the same location
this one stayed for several weeks and created a debate
as
well as the start of the occupy movement "THE EMERGENCY WILL REPLACE THE CONTEMPORARY "
it remained until the 21 th of June until it got confiscated by
the documenta organisers
and brought down in the keller of the Fredericianium where
is what found by the artist Bongore
Those 2 tents before beeing planted were fotographed from different
angles .
"THE
EMERGENCY WILL REPLACE THE CONTEMPORARY "tent attracted the occupy camp settlement
:
7th JUNE
21 TH JUNE
The
occupy movement (for documenta got branded doccupy
probably by the
infiltrators in collaboration with documenta organisers )
was
announced
welcomed
at documenta 13 ( the 8/07) after about 30 days of
occupation
"In fact I was not welcomed , and got my tent - art
work confiscated
What was wrong
with my " occupation " to make it unwanted and confiscated ?"
I
had the first implantation in front of the Fredericianium ,
since the 6 th of June ( D DAY )
Some
of the
critics found my slogans and debate issues relevant enough to
publish them , even of their magazine front page .
I was armless and just doing constructif critics
as critics are necessary to a good art show
I was
not offending any one except maybe the tourism office
but cannot remember to have make them loose any business as I heard
after that the documenta never had so many visitors
Latter
that day the ) 9 th of June , the occupy movement constructed the
beginning of their
camp with only one tent that day. Fast
the
occupy camp started to grew ....... / as I came back
to Denmark I could follow the expansion thtough video camera
Thierry Geoffroy tent was removed
but the occupy was
not removed on the contrary the movement was announced welcomed
after 30 days of
occupation
The
curator send a press release where she welcomed
the occuppy to stay
branding it " doccupy "and referring to Beuys . (8/07)
Is there any
selectif way ( curatorial ) ways of choosing what is a welcomed
protester and
one that has to be removed ( unwanted protester) ?
Was the text " The Emergency
will replace the Contemporary " not proper for the debate
Why did documenta choose to brand it self through the slogan " Fight
Capitalism " presented in it s press release ?
( did they felt with all their sponsoring , weapon industry
environement attracted by such slogan ? )
Latter I understood that the tolerated occupy camp have been
infiltrated by police and people from documenta
that was why it got tolerated even so use for promotion ,
to give an illusion of inclusion and tolerance
Did the
documenta found the slogans on TG tent offending any one ?
Is it not true
everyone is working with the tourism office ( bringing in tourits to
Kassel )(eventually working for free)
By confiscating the tent did they wanted to do a chirurgical
exctraction for all biennalist projects
?
Is it not true the contemporary is too
late ? What is the
criterium of selection for good protester - bad
protester ? a tolerate protesteur a welcome protestor
Can
some protesters be better than others or more usefull? Is it a question
of slogan or if efficient infiltration can be done ? What are the
criteria of selection ? Can
protesters be
curated? Is it ok to use
the protesters for communication purpose? Is it a question
of aesthetic? Is it a question
of negotiations ? Is it a question
of infiltration ?
It was true that
the contemporary was always too late it was true that
the Emergency will replace the contemporary I
did not say
anything that could offend
A contemporary
art show has to also work with an ULTRACONTEMPORARY format
to be able to reflect
and debate : "In advance of
the broken arm " ( before the killing
by the tanks happen for example ) ,
not 40 years latter . Now meanwhile art ,
artists , institutions can have a real voice an some
impact
Documenta
d13
expressed
about nazism ( past nazism) , camps , deportations but
crying on
history is not enought to avoid future accidents the art scene has
also to confront with actual debates not hide them like the
enormous production of tanks in Kassel only 10 minutes walk from
d brain . Why to organized
such a large art show about the world without looking
at the world now and in proximimity .
There is not a
good art show without debate
Passed the
frustration to have been erased and removed I now start to
see clearly how the contemporary instrumentalise the protest to create
this
illusion of debate and openness How
instrumentalised protest create an opposit effect ( creating more
diversion and more apathy ) The occupy became
symbol of tolerance ( with help of infiltrations , spies , threat ) meanwhile
cleaning was done in the dark .
Some
protesters are more
welcomed than some others
curating the protesteurs ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
from Tijana Miskovic blog / link ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Kunst
und Öffentlichkeit text by Sebastian Baden Aug
22, 2014 edited by Dagmar Danko, Olivier Moeschler,
Florian Schumacher
»Occupy-Wall
Street«, »Ocularpation: Wall Street« und
»Emergency Room«
Protest und Guerillakommunikation in der Kunst bei Zefrey Throwell und
Thierry Geoffroy by Sebastian Baden ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
" Hard is the truth " commentend Arttribune ( picture from the 6/6/2012
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- From
When is a Tent Not a Tent? by Dave Loder uploaded on
academia edu
But one particular tent escaped any such attention by
dOCUMENTA(13).
The French artist Thierry Geoffroy, also known as the “Biennalist”, was
in fact the first to erect any type of tent in front of the
Fridericianum and
could certainly be defined as antagonistic in nature and directed,
while not necessarily specifically at dOCUMENTA(13), emphatically
against the institution of globalised contemporary art. The tent itself
(a form Geoffroy has been exhibiting since 1995) was spray painted with
slogans: “THE EMERGENCY WILL REPLACE THE CONTEMPORARY”; “THE
CONTEMPORARY IS ALWAYS TOO LATE”; “I AM NOT WORKING FOR THE TOURIST
OFFICE”. Installed by the artist on the 6th June a few metres from
where the dOccupy camp was to spring up, the unauthorised tent was
subsequently confiscated on the 21st June by persons unknown to be
found later in the basement of the Fridericianum.[5] The artist
questions the judgement by which the dOccupy tents were favoured over
his own; why the exhibition prefers to align themselves with the
generic slogan “Fight Capitalism”; why some protestors are more welcome
than others; and can protestors be curated?[6]
......
Geoffroy’s tent fulfils the role of a territorialising apparatus with a
patterned trajectory. By virtue of sanction, the smoothing of dOccupy
was striated, whereas as the ejection of Geoffroy maintained a
trajectory. Although the physical tent was evicted, the smooth space
remained as a void of dead grass. The tent itself was not the smooth
space, but rather was the device which territorialised the space of the
(now dead) grass and its mediated image.
film
·
Cast & Crew Produzent Christian Beetz, Susanne Heinz
Regie Katrin Heinz, Susanne Heinz
KameraJohannes Guttenhöfer
Originaltitel :Art's Home Is My Kassel
Produktionsjahr :2013
exctract from ABIGAIL SUSIK dOCUMENTA
(13) EXHIBITION REVIEWS in
Journal of Curatorial Studies Volume 2, issue 1
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- See the 4 sides of the tent (
click )
“THE EMERGENCY WILL REPLACE THE CONTEMPORARY” tent
that has 4 sides
“I AM NOT WORKING FOR THE TOURISM OFFICE”
“ART IN DELAY CAN NOT HAVE IMPACT”
“THE CONTEMPORARY IS ALWAYS TOO LATE, NEVER IN TIME”
7 june 2017 / 2,10 cm x 2,10 cm 1,5 meter high
link to Biennalist ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
TG has worked with tents in art museum since 1995 , his last exhibition with tents was at the ZKM museum in Karlsruhe 2011 see art work
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Thierry
Geoffroy works normally with the art format EMERGENCY
ROOM
the contemporary does not have the capacity to interfer wit the
emergencies of the world of today ( today is today )
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Why Kabul ?
Can a car
be good for climate ? Is
navigation a threat? I am
not
working for the tourism office or
Am I ? The naive blue helmet The next documenta should be curated
by a tank .
---------------------------more works about documenta 13 --------
by Thierry
Geoffroy /
Colonel ( 1@colonel.dk
) collaboration with EMERGENCY ROOM
and BIENNALIST ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
continent / documenta Nov 2013
Introduction byJamie Allen Can
an Art Show Like dOCUMENTA Be Dangerous ? ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
CREATIVE TIME / NEW
YORK / sept 2012 "Looking
good meanwhile selling dope " ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
e-flux journal Mars
2013
"THE NEXT DOCUMENTA SHOULD BE CURATED
BY A TANK " ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- in 2011
"Biennalist
"was supported by the ZKM Museum for conducting operations
at the Athens Biennale then currated by Nicolas
Bourriaud,
and by the Sprengel Museum for doing operation the Venice
Biennale .
Follow up of the exhibition Global art and the Museum
@
GAM @ ZKM
MUSEUM / (Peter Weibel and Hans Belting ) came
this text
uthor of
the Month
2013 : the AICA Prize for Critics 2013
on dOCUMENTA (13) recieved
by SEBASTIAN BADEN Sebastian
Baden Der Text ist eine überarbeitete Version meines
Beitrages: Die
gute Fee. Warum die dOCUMENTA (13) Künstlerträume
erfüllt, aber die Welt nicht retten kann. In: dOCUMENTA
(13)-Kunstkritik, hg. v. Staatliche Hochschule für Gestaltung
Karlsruhe 2012, S. 6-10.
Ausgezeichnet mit dem AICA (International Association of Art Critics)
Incentive Prize for Young Art Critics 2013.
Sebastian Baden ( on the right ) during a
critical
run in connection with the Biennalist exhibition at the ZKM exhibition
museum in sept 2011 ,
the debate topic was "Are Biennales
dangerous ?
"link to
Biennalist
Read
here text from Art das Kunstmagazin :
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- THE
NAIVE BLUE HELMET // KASSEL-KABUL ? 2012 why KABUL
? ( see video )
In 2011 the naive blue helmet was sended in mission and went to
Athens
during riots .
The german museum ZKM /Karlsruhe was the
commissionneur ( report from
Athens / ZKM
museum ) Also see this text by Vassilios
Oikonomopoulos: The
Biennalist in Athens –
Emergencies in the midst of unfulfilled promises. http://www.emergencyrooms.org/ATHENS_BIENNALE.html
This time Emergency
Room
is sending the naive blue helmet to Kassel / Is Kassel the wrong place
? , is he send too late .
why Kabul . ? is there any weapon market for the Kassel industry ? or
other motivations ? what are the real motivation to do art in
a war zone ?
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
published october 2012 but was written july 2012"
Il contemporaneo? È sempre in ritardo " :
"THE
CONTEMPORARY IS
ALWAYS
TOO LATE "
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- (link
to EMERGENCY ROOM )
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- SEE
FILMS --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
film
by Momenta 100 / 2012 ( the blue helmet comes back to Kassel in
sept 2012 some month after his tents has been confiscated and the
occupy camp has grown including alos art to protect new Biennalist
invasion under the beuys trees . ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The naive blue helmet at
press conference : Why all this press in Kassel ?
What is so
important to debate ? see film
"THE
NEXT
DOCUMENTA
SHOULD BE CURATED BY A CAR " from 2007
link to more -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
IS
NAVIGATION A THREAT ?
Is navigation designed in cooperation with
banks a threat for art ?
We started to ask ourselves the question in mars and did critical
runs to debate the topic .
It continued in Kassel and now the add campain has increased we are
still wondering . link
to more
http://www.emergencyrooms.org/documenta_sceptic.html see
images .
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
link to some newsletters #documentaSceptic
2017
"THE
EMERGENCY WILL REPLACE THE CONTEMPORARY "tent attracted the occupy
camp in
2012 ....but was remove allready in july 2012 leaving a trace
in 2017 one of d14 most
communicate official art work was a marble tent
that also run over budget when it had to be transported
from Athens to Kassel...
art africa magazine July 2017 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- some Texts and Critics about #documentaSceptic 2017 ( here more complete list )
A-desk Interview with Thierry Geoffroy. “The next Documenta or Venice Biennale should be curated by Mother Theresa” by Cecilia Martín .10/7/2017 catalan , english , Spanish ,
Documenta is the botox of capitalism – Thierry Geoffroy Colonel ,Olivera Z. Mijuskovic /23/4/2017 http://filozofski-pogledi Kunstforum (DE ) ,mars 2017 ( DE) "Thierry Geoffroy/COLONEL: Documenta-Skepsis " Kunstforum (DE ) , avril 2017 Documenta Athens Art forum " Learning Curves " April 12, 2017 • Athens • Kaelen Wilson-Goldie at the opening of Documenta 14 in Athens
Museum/DE : Mannheim Kunsthalle / October 2018 to 01 Mars 2019 / link
It is part of an exhibition opening the 12 october : Constructing the World: Art and Economy
With works loaned from international collections by Otto Dix, Alexander Rodchenko, Georgia O'Keefe, and Charles Sheeler, among others. Thierry Geoffroy (F), Thomas Hirschhorn (Switzerland), Alicja Kwade (Germany/Poland), Jeremy Deller (UK), Abraham Cruzvillegas (Mexico), Harun Farocki (Germany), and Antje Ehmann (Germany) are involved. thepart 2008 -2018 is curated by Sebastian Baden Can artists sometimes be in advance of the accident ? or artists mostly depicts the allready " too late "
first room: Édouard Manet: " The Execution of Emperor Maximilian "
second room : "The Emergency Will Replace the Contemporary
Constructing the World Art and Economy 2008-2018 ISBN 978-3-7356-0459-0 / Kerber Verlag Editor :Kunsthalle Mannheim, Dr. Sebastian Baden Text by Sebastian Baden, Paco Barragan, Alexander Bauer, Johan Hartle, Onur Nobrega, Berit Sandberg Artists: Maja Bajevic, BBM (Olaf Arndt und Janneke Schönenbach), Bureau d'Etudes, Claire Fontaine, Abraham Cruzvillegas, Chto Delat, Jeremy Deller, Simon Denny, Tatjana Doll, Harun Farocki mit Antje Ehmann, Thierry Geoffroy, Andreas Gursky, Thomas Hirschhorn, Olaf Holzapfel, Sanja Ivekovic, Alicja Kwade, Charles Lim Yi Yong, Maha Maamoun, Antonio Vega Macotela, Tobias Rehberger, Oliver Ressler, Mika Rottenberg, Andreas Siekmann, Superflex, Zefrey Throwell, Volume V, Maya Zack, Artur Zmijewksi
is now in the collection of the german Museum Kunsthalle Mannheim questioning other art works for questions curator Seabastian Baden at the museum is THE specialist of this art work
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- link to Biennalist
it also exist work from documenta 2007 not upload on this page yet
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
for more infos contact Thierry Geoffroy / Colonel
1@colonel.dk
Link
to Sebastian Baden text july 2012 ( some days after the tent was confiscated
)
film
·
link to Biennalist
Thierry
Geoffroy works normally with the art format EMERGENCY
ROOM 
published october 2012 but was written july 2012"
Il contemporaneo? È sempre in ritardo " :
(link
to EMERGENCY ROOM ) 
SEE
FILMS 
film
by Momenta 100 / 2012 ( the blue helmet comes back to Kassel in
sept 2012 some month after his tents has been confiscated and the
occupy camp has grown including alos art to protect new Biennalist
invasion under the beuys trees .
art africa magazine July 2017 
Book of tents in Biennalist operations
Exhibition catalogue / enlarge .
exhibition vieuw 8 mars 2019
