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עמוד:14
( four discussion sessions in New Delhi , Santa Lucia , Lagos and Vienna called "platforms" preceded the "Fifth Platform " -the Documenta ) . Discussion of the "world" in fact renders discussion of art redundant , just as the mechanical renders the drawing hand redundant . The Documenta was flooded with photography and video , and contained very little , if any , drawing and painting , impressions from the unconscious , unexpected , unpreformulated world . The " platforms" held throughout the world ostensibly "decentralized" Kassel : there was once a center in Kassel . It is now dispersed , befitting ly , rightfully and justly . Our mothers used to tell us : "It is dangerous to lie to others lest you start believing your own lies . " At best , a few hundred participants came to each "platform" meeting . You don't change the world with words , and the economy , tourism and communication apparatuses remained in Kassel and were even boosted . The title " platform" has a nice ring to it , and there was nothing left to do but repress that unnecessary rebellious association - platform as a surface , a steamroller that flattens the mind . At the end of the day , it is positive and fruitful to hold a forum for discussion , in New Delhi , Kassel , Tel Aviv and even Ein Harod ; for all I care , it can even be called "platform" , but one must not confuse between a world of words and a sober reality . The other explanation for the level of the art and the lack of discussion at the Documenta relates to the range of expectations pinned on art curators . In the current artworld , art is commonly linked to occurrences in the cultural and social realms so as to produce enriched insights from the point of view of temporal thought . Some of the curators have drawn so far away from observation of art that they are no longer guilty of the "sin" of "the love of art " , and even regard it as an affliction of an obsolete western bourgeoisie . These curators have neither elaborated on fine frequencies of art perception , nor have they invested sufficient efforts in the philosophical or social discourse . This seems to be one of the reasons for the exhibition ' s shallowness and the lack of real discussion . A developed artistic charisma has replaced Eyal Sivan , Itsembatsemba , Rwanda , One Genocide Later , 1996 film : 35 mm , sound , 13 min ., directors : Alexis Cordesse / Eyal Sivan
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