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12 5-1
MIEKE BAL
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io Guest Column | PMLA
such as Jacques Derrida, Hubert Damisch, and like narratives; theater and film are also possi
Julia Kristeva?to present their points of view ble metaphors. The point of such metaphors is
in exhibitions that were personal and partial not an invasion of visual art by language but a
and offered a provocative integration of intel serious engagement with the way art is already
lectual and artistic thought. Typical for such discursive as much as it is visual.4
an intellectual approach, the tangible trace of I am interested in the deployment of
these exhibitions is a series of beautifully pro conceptual metaphors that compare exhibi
duced books with significant texts. The general tions to other discourses of art forms and in
conception underlying this curatorial prac what it tells us about current conceptions of
tice includes three issues: the undoing of the art. These metaphors indicate the exhibitions
autonomy of the art object and subsequently "impurity" and hence the need to abandon the
an emphasis on the dependency of the object kind of visual essentialism that resists discur
on conditions of presentation; the notion that sive influence and multisensorial mixtures.
visual art, just like philosophy, has a way of I am interested, that is, in probing how such
thinking; and the end of the white cube. It also metaphors stimulate curators and critics to
signifies the end of the near monopoly of art continue their reflections on how art is best?
history and its focus on chronology. As a con most adequately and most openly?presented
sequence, the best of these exhibitions stages to the public, a public that deserves both the
a dialogue between the art and the viewer as greatest help to make sense of art and the
thinker in which the art has its own power to greatest freedom to do with art as it pleases.5
speak, and speak back.3 Implicitly and sometimes explicitly, cu
Once the apparent autonomy of art is ex rators use such metaphors to invent novel
posed for what it is?an illusion?all manner coherences for shows that do not fall back on
of "impurities" come to the fore. For instance, predictable models. In this essay I will ex
art after modernism self-consciously deployed plore the potential contribution as well as the
synesthetic mixtures of media, appealing to risks of a few of these conceptual metaphors.
more than just the eye. Additionally, artis I will mainly draw from two exhibitions that
tic and philosophical, material and aesthetic have struck me as particularly effective in ex
conditions have become overt elements of art ploring new formats. The goal of this explora
itself. As a result, the thoughts art articulates tion is to demonstrate the usefulness of such
in its own way become framed and addressed analytic language through an explanation
by discourses surrounding the exhibition and of the unique achievements of a few land
interfering with it. This might be a bit bewil mark exhibitions. In the process I also aim
dering for visitors used to the more classical to continue the more general reflection on
formats. In this essay, I develop ways of think exhibition practice beyond the art-historical
ing about such innovative exhibition practices paradigm of chronology, movements, and
that make them easier to grasp, evaluate, and monographic presentations.
enjoy on their own terms.
It is perhaps as an endorsed consequence of
Poetic Exhibiting
this discursive porosity of the exhibition space
that such creative exhibitions are frequently Literary models have frequently been invoked
structured and sometimes even presented in in attempts to conceive and subsequently ex
terms derived from other media. These are plain innovative exhibitions. Rudi Fuchs, for
conceptual metaphors invoked to discriminate example, called his interventionist exhibitions
between innovation and chaos. For instance, "couplets," using a name derived from poetics
exhibitions might be structured like poems or to characterize what can be considered visual
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12 5 Guest Column
poems because of their regular contrasts and ent from the usual ones. In a culture where art
repetitions (Blotkamp). This poetic model stands for innovation and for the exploration
attunes the visitor to the various grounds of of the not yet known, poetry is an appropriate
metaphor, not because art is a form of poetry
repetition that, in turn, foreground difference:
in style, color, scale, theme, medium, and,but in because it shares with poetry the qualities
deed, thought. Beyond such specific associa that make its artistic qualities most visible.
tions, poetry also evokes the idea of subtlety, The wall as frame can be compared to
nuance, and sensory effect, which, I imagine,
the schemata of rhyme and rhythm that have
Fuchs wished to foreground as well.6 dominated traditional poetry and against
Thus, fringe repetitions derived from which experimental, free verse has revolted.
rhyme and assonance, along with metaphor But to see how the metaphor works, it seems
and metonymy, the two privileged figuresmost of productive to consider how the best clas
poetry, are useful tools to build up the coher
sical poetry managed its effects by slight trans
ence that ensembles require after the demisegressions within traditional confinements.
of the predictable art-historical coherenceWhen Paul Verlaine wrote the famous line "il
of chronology. Two examples from Michels pleure dans mon coeur comme il pleut sur la
ville," he both exploited to the hilt and broke
series can illustrate poetry's favorite tropes.
Kristeva s exhibition Visions capitales in the
the rules of grammar while reinforcing those
Louvre in 1998 was entirely based on the
of poetry, thus elevating poetry above the rules
metaphor of its title. The unusual but illumi
of language (10). The phrase "il pleut" shows
nating metaphor, which conflated the visionthe possibility of impersonal sentences?sen
incarnated in the genre of the portrait with
tences without a subject. The appropriateness
the theme of beheading so frequent in West of extending this structure to crying, the most
ern mythology, brought to the art gathered personal of actions, cannot be denied in this
in the Hall Napoleon a philosophical reflecline. Grief as impersonal, the line tells us, goes
tion on a level uncommon in art exhibitionsbeyond the subject. This makes grief ongoing
of such great popular appeal. Like Kristevalike
s the relentless rain, inscribing it in a cos
show, Derridas Memoires d'aveugle, shown mic temporality beyond the subject's grasp.
seven years earlier in the same venue, This
ex duration is evoked by the interior rhyme
ploited an ambiguity of its concept, this time
of the thrice-repeated eu sound. The reader
to establish a metonymic relation between
immediately understands all this as right.
an artistic issue (the limitations of sight) fre Racine's dramatic infractions of the
quently represented in history painting and rhythm of his classical verse are famous cases
drawings and an epistemic one (the limita
of a different kind of infringement, this time
tions of the possibility of knowledge). Thus,
on the frame itself. With this notion of poetry
the exhibition offered in-depth thought on in mind, one could make sense of the pleasure
the traditional bond between knowledge and one extraordinary, albeit "simply" mono
seeing, ruptured the commonly assumed graphic, exhibition afforded. In the summer
causal determinism between the two, and in
and fall of 2004 an unexpected encounter be
sisted on the importance of memory in both.tween two great Belgian artists from both ends
In this vein, the notion that an exhibition
of the twentieth century and both ends of the
is a form of poetry becomes a principle of crestylistic scope of visual art appeared at first
ative curating and thus a conceptual metaphor sight to be a study in contrast. A retrospec
that encourages fresh thought about what it istive of Marthe Wery s contemporary abstract
curators do with art and how, as a result, visi
paintings, curated by Pierre-Olivier Rollin
and exhibited in Victor Horta s art nouveau
tors can engage with the art along lines differ
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12 Guest Column [ PMLA
building in Tournai, was much more than different hues and tones and the way they
that. It left me bewildered and fascinated. vary in scale and, most important?both
Wery s series of nine paintings in reds among them and within each?in their layer
called Les neufjournees is comparable to po ing of paint and the transparency that opens
etry like Verlaine's line (fig. 1). This resem the works up to a third dimension of depth.
blance is accomplished through the paintings' Consider the situation of walls imposing
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . . . . .I
2 g R . R & g igx ................................................................... :' .g' ;'4.0 - <'" 0 < g~~~~~~~~~~~~~~~~~~~~~~~~~~........
FIG.i1
Four panels from
Marthe WMry, Les
neuf journees, 1982.
Acrylic on canvas,
nine panels, each
200 x96 cm.
Collection Commu
naut6 Fran~aise
de Belgique.
Photo ?) Philippe
De Gobert.
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12 5-1 ] Guest Column 13
frames like the rules of grammar. Consider, catalog, Hendeles hinted at particular poetic
then, these monochrome paintings as harmo figures that articulated this relationship.
niously composed series of different but still One such figure is contrast. This figure
matching rectangular formats, hung so as to was at work, for example, between the quiet
enhance, not mitigate, their differences. ness of the gallery in which On Kawara's date
Because of the meticulous display, every work from the Today series (1966-present)
gallery became an artwork. The paintings in and elements from his I Am Still Alive series
Les neufjournees occupied a space on the sec (1969-present) were installed (fig. 2) and the
ond floor that is, exceptionally in the building, loud, pounding sounds of the adjacent gallery,
asymmetrical. For this kind of monochrome where James Coleman's Box (Ahhareturn
series, an asymmetrical frame constitutes a about), from 1977, was staged (Hendeles 223).
challenge. If we consider the walls as frames, The contrast was effective because a sound
equivalent to a languages structure laid down proof door between the two rooms made the
in grammar, then an asymmetrical hanging loudness of Box a shock. The equally noisy
is both in harmony and, almost inevitably, in ragtime music of Paul McCarthy's Saloon
disharmony with the grammar here. This sub (1995-96) worked differently, because this
tle wavering between obedience to rules and noise reached visitors earlier on, creeping up
transgression is comparable to Verlaine's ex on them, changing from soft and unclear to
ploitation and transgression of grammar: the loud and bizarrely out-of-date.
building, or the curator, offers a frame that Hendeles also hinted at subtle counter
deviates from the rule the building has estab points, such as between the themes of mur
lished. The curator-cum-artist responded not der and suicide found in Hanne Darboven's
by adapting but by enfolding the paintings Ansichten >82< and reiterated in the photo
within the wall space, enhancing the latter's journalist narratives of Malcolm Browne and
grammatical deviation by slightly modifying Eddie Adams on display at opposite ends of
the hanging of the other, more rule-obedient the long, narrow gallery (46-49,69-77,79-86;
walls. The hanging of the series, in the end, Hendeles juxtaposes these works on 220). But
established a tension with the particular wall after Darboven's work, these two embedded
the series occupied, which in turn was in ten themes were no longer clear opposites. Rather,
sion with the other walls. But, conforming to they were complex entanglements with the real
the subtlety of poetry, this tension was slight, world, in which perpetrator and victim are
and light. The overall sense of the poetic was not always in crystal-clear opposition, partly
not damaged but enhanced. because the individual does not act alone. But,
Poetry as metaphor is appropriate not whereas the contrast between Kawara and
only for exhibitions of abstract art. A sec Coleman proceeded in a forward movement
ond memorable exhibition was the one the of linear time, the resonance between Dar
Toronto-based collector Ydessa Hendeles boven's work and the two photojournalistic
curated in the Haus der Kunst in Munich in series emerged retrospectively. This differ
2002-03, titled Partners and devoted to the ence?between prospective and retrospective
complex relationship between the German resonance?is narratological. Hence the sec
and the Jewish peoples. This sensitive topic ond frequently alleged conceptual metaphor
was addressed in such subtle and complex derived from linguistic art, that of narrative.7
ways that the curator can be said to have of
Exhibition Narratology
fered high-level thought through the selection
and arrangement of the art. In her straight I explored the potential of this metaphor in
forward, ostensibly descriptive notes in the an earlier study, devoted to the ways in which
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14 Guest Column [ PMLA
exhibitions produce a narrative for the visitor. and caption writing, inspiring more sophisti
In brief, the visitor follows an itinerary with a cated, surprising, ambiguous, and artistically
beginning and an end, one that develops over dense invitations to encounters.
time, marked by specific rhythms and par In my earlier study I mainly looked at
ticular events that emerge in the interaction accidental effects, using the metaphor as a
between the visitor and the objects. The encoun critical tool. One example was the felicitous
ters, sometimes slowed down, sometimes sped hanging of two paintings by Caravaggio
up by means of juxtapositions and captions, are and one by Giovanni Baglione in the former
always directed or, as narrative theory would Gem?ldegalerie in Berlin-Dahlem. I had been
have it, focalized by the expository agent.8 sensitized to these effects through an earlier
In general, this narrative dimension is investigation of the homosocial narrative un
inevitable, for every visitor moves about the derlying the presentation of European impres
space in time. The point is to make it work sionist art in the Metropolitan Museum of Art,
creatively and not in a confining or bossy in New York, where a neoclassical refurbish
manner. Here, as in the case of poetry, the ing in the early 1990s had belatedly turned the
conceptual metaphor itself produces pos walls into the same kind of prescriptive frames
sibilities for creative curating and critical found in the Gem?ldegalerie. But what in New
understanding. For example, once the idea York seemed predictable and exploitative of
central to this metaphor has come up?that the traditional frames I have above compared
the encounters between works constitute to grammar became in Dahlem the occasion
events produced by presentation ploys?this for an innovative, stimulating reflection on
insight can further the self-conscious and, visual culture once the narrative of sequence
one hopes, self-critical approach to hanging was played off against the requirements of a
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12 5 Guest Column
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i6 Guest Column | PMLA
This makes exhibitions modeled on scholar terrible neglect of the paintings as they are?
ship, often intimidating in their display of a alive, strong, and challenging preconceived
knowledge the viewer does not have, difficult ideas?but would appear to be an invasion
to resist and therefore damaging to the view of the primary feature of art nouveau. This
ers' autonomy of mind. Like realistic novels, would go against the grain of Werys entire
such exhibitions perform a make-believe that artistic conception and ignore the contrast
undermines critical dialogue. between the works and the art nouveau deco
The display of art objects is just as artifi ration of the museum. But it is in relation to
cial as a play watched in the dark. Exhibitions this danger that the most brilliant aspect of
use lighting just as much as the theater. And, the collaboration between the artworks and
as in theater but less statically, visitors respond the curatorial intervention comes to the fore.
to what they see, emotionally as well as intel Instead of backdrops to figurative sculp
lectually. If the curator, then, exploits the three ture, the artist made sculptures out of her
key elements of theater that motivate the meta paintings. In this large hall as well as in the
phor?actors, the artificiality of fiction, and an gallery of large history paintings, Wery's
appeal to the audience?less traditional, more paintings were put on low supports and laid on
daring experimental exhibitions result.11 the floor, vulnerable to visitors' tripping over
In Tournai the sense of theater emerges them (figs. 3 and 4). Laid out like sculptures,
as soon as one enters the sculpture gallery, they distinguished themselves from minimal
the round main hall of the building. The view ism by their bodily texture. The paintings had
of this hall from the entrance is similar to no pedestal, an absence they shared with min
the view of a gigantic stage. In spite of being imalist sculpture, but they did have height,
natural, the almost miraculous sufficiency of floating above the ground as if on tiny legs.
light, coming from above and from the side The square and rectangular pedestals next to
galleries, has a theatrical flavor to it. This is them contributed the heaviness of classical
primarily due to the architectural magic of a sculpture, against which these thin layers of
huge building spread out in width that can be light, almost fluttering legs appeared ready to
overseen from one position in its entirety. The fly away. As the floor of a theatrical podium,
viewer is almost alone, not in a room with this ploy foregrounded the illusion by break
hundreds of seats, but the overview is similar ing it. Most striking, the paintings?juxta
to that offered in the best-designed theaters.posed to the imagined figurative sculptures
On the loggia that delimits the half second whose shadows remained in the architecture
floor, one imagines other spectators watching designed for them?became also vulnerable to
the spectacle. a form of refiguration. That is, next to a heroic
The danger of the model of theater, in figure, they looked like fallen soldiers; next to
spite of this great gain, is that Wery's works an upright man, they looked like female bod
might easily be perceived as backdrop (de ies?presences that insisted on the creatural
cor) and so become almost invisible. A lesser life of the surrounding classical works.
artist and a less visionary curator might not These reclining paintings say that Werys
have avoided this danger, which is all the work cannot be abstract because it forces the
greater since the paintings have no figuration viewer to be aware of the body?of the paint
to draw attention to them and away from the ings as body, of the visitors own body, which
stage. Their colors and their placement on the risks damaging them, and of the body ide
clearly structured walls might facilitate abus alized in the sculpture close to them. These
ing them as decorative. To understand them bodies, the paintings say, have blood and
as merely ornamental would not only be a flesh, a gender, and a skin, even if the body is
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12 5-1 ] Guest Column 17
_ | g S. | | | ~~~~~~~FI.
_ | | | | | | g ~~~~Marthe Wery, Tours
..~~~~~~~- -a -a........
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ . B.a . . t .; g B aR ya<BhOams<>Ng
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i8 Guest Column | PMLA
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12 5-1 ] Guest Column 19
riages, group portraits with a teddy bear, and altogether different cinematic one. The con
babies competing with teddy bears in size and trast between the intimate installation of the
cuteness. Two floors of walls covered from ceil photo archive, which invited viewers to dwell
ing to floor confined and held the visitor in a in and explore this installation within an in
time-consuming act of voyeurism, of intimacy stallation, and the lone figure seen from the
with unknown people, most of whom must have back in an otherwise empty gallery produced
been dead by then. After these two crowded gal the estranging sense of a sharp cut between
leries, a near-empty third one beckoned. one episode and the next, set in a completely
In this next gallery, a sculpture of an ado different space. The visual contrast was com
lescent boy kneeling in prayer was all there parable to the auditory contrast between the
was. Its back was turned to those who exited quiet Kawara and the loud Coleman installa
the photo galleries. Slowed down by the time tions mentioned above. The contrast here was
consuming?indeed, time-stopping?photo between multitude and singularity, between
galleries, one was not rushed to see the boys overwhelming and meditative, between wel
face. Eventually, though, this moment be coming warmth and cold loneliness. The lone
came inevitable. Total shock ensued when figure kneeling on the cold stone floor was
one walked through that third gallery to cut out.13
see the boys face. The face was Hitlers. The The crucial usefulness of the model of
sculpture, from 2001, was Him, by Maurizio film comes to the fore again even when we
Cattelan (fig. 6). face the abstract paintings by Wery?that
When Him entered the picture, for me is, when we consider the triangular relation
the narrative model suddenly yielded to the ship between Horta, Wery, and the curator
FIG. 5
Ydessa Hendeles,
Partners (The Teddy
Bear Project), 2002.
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20 Guest Column [ PMLA
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12 5.1 ] GuestColumn 21
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22 Guest Column | PMLA
later curated a large exhibition in the Museum Boijmans 13. This contrast between multitude and singularity
van Beuningen, in Rotterdam (see Moves). After the pro resonates with the reflections on the multitude as site of
jected five installments of the series in the Louvre were resistance given by Hardt and Negri throughout their
completed, Michel continued with two exhibitions of his book Empire.
own design, published as Posseder et detruire: Strategies
sexuelles dans Part d'Occident, on gender's impact on art,
and Painting as Crime: The Accursed Share of Modernity.
3. The idea of art as thinking is the focus of Van Al
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tion. Of course, the interpenetration also goes in the bition as Narrative Work of Art." Partners. Ed. Chris
opposite direction, as I have discussed in The Mottled Dercon and Thomas Weski. Munich: Haus der Kunst;
Screen: Reading Proust Visually. Buchhandlung Walther K?nig, 2003. 143-85. Print.
5. On the usefulness of conceptual metaphors, see Bai, Mieke. Double Exposures: The Subject of Cultural
Reynolds. Hooper-Greenhill uses the term postmodern Analysis. New York: Routledge, 1996. Print.
exhibition in an excellent study of museum and exhibi -. Introduction. Bal, Double Exposures 1-12.
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-. Reading "Rembrandt": Beyond the Word-Image
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on the concept of framing, but it is easy to realize that the teur optreedt als regisseur. " Kunstschrift 39.5 (1995):
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10. In a useful article Lehmann makes the move I am the Museum. Rotterdam: Museum Boijmans van Beu
making here?using theater and then involving land ningen, 1997. Print.
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12. As is fitting for a good curator, Pierre-Olivier Rol sees Nationaux, 1990. Print. Parti pris.
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of what they are and what they do. When I refer to the and Thomas Weski. Munich: Haus der Kunst; Buch
curator in this analysis, therefore, I mean the collabora handlung Walther K?nig, 2003. 187-229. Print.
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125.1 ] Guest Column 23
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