- Venue
- Deutsche Guggenheim
- Location
- Germany
Whilst recently in Berlin, I was excited to see the constant change that interrupts city life, as buildings fall and new ones are erected in their place on a daily basis. This development reflects a collective perspective within the city that is trained on the future and the endless possibilities it holds. Within this context it seemed fitting that an exhibition on utopia should exist. ‘Utopia Matters: From Brotherhoods to Bauhaus’ occupies the compact gallery space of the Deutsche Guggenheim, at the very centre of this historically monumental city. With a recent renaissance in exhibitions dealing with this subject matter, I hoped to here discover if utopia did indeed matter.
Although smaller and far less imposing than other magnificent Guggenheim galleries such as those of New York and Bilbao, it is a space that has been well organised to suit the chronological order of the work. A white cube style gallery, the main room is supplemented by a smaller one upstairs; a fairly blank canvas to curate. This exhibition explores through work of various mediums how a selection of artists and artist collectives have explored utopian ideas through their artwork over a period of 130 years. The work is grouped into nine clearly defined categories, from the lesser known collectives of the Nazarenes and The Primitifs, to the familiar designs of De Stijl and Bauhaus. Wary that my art historical knowledge might falter at some of these hurdles, it is a relief to find each section accompanied by concise and accessibly written annotation. A highlight within these texts is information on where each interest in, or relation to utopian ideals stemmed from. Inspirations vary from rebellion against art academy education, to a desire to bring together the previously separate disciplines of art and craft. From each group in this exhibition there is a longing for something other than the status quo, and the excitement that this induced in attempting to bring about a radical or controversial change is often tangible in the works on display.
Particularly enjoyable for this quality is the work of the Nazarene movement, whose idealistic attitudes are captured in the detailed images of their self-printed magazine ‘The Germ’. Housed by glass display cases, their poetry and drawings are simultaneously reminiscent of political propaganda and of ancient religious documents. This might well represent the priorities of the group, as whilst rejecting official art and the education system this was borne out of, they set out to create Christian paintings that revived ‘honesty’ in art. Similarly politically motivated is the work of the Russian Constructivists, best represented here by a towering angular sculpture arching its metal limbs over passing viewers. In its situation near the similarly minimalist lines of the De Stijl paintings and the highly stylised designs of the Bauhaus, this part of the exhibition is a testament to the success of curator Vivien Greene. She has found remarkable points of comparability between groups with individual motivations, bringing them together to highlight some of the best design and creativity that was produced.
Alongside the methodical path of ‘Utopia Matters: Brotherhoods to Bauhaus’ are two temporal interventions by contemporary artists. Unfortunately this work is somewhat hard to find, with the banners of Luca Buvoli doubling as advertising outside the gallery and thus easily missed. The installation piece by artist Cao Fei is equally hidden, housed by the small upstairs exhibition space and lacking any indication it exists. However, having stumbled upon it’s door ajar what lies inside adds a fresh and exciting perspective to the whole exhibition. Clad entirely in white bar a plush red carpet, the room is designed to resemble a bedroom complete with bed, desk, photos and electronics. An enveloping white armchair focuses your gaze upon a small television set playing what appears to be an interview with the artist, yet it is entirely animated, as if translated from the real world to a digital one. A large Mac atop the desk indicates in what context this interview may have taken place, as we are invited to sit and explore the interactive virtual world of Second Life – a highly immersive online computer game where one can create an entirely alternate reality. Cao Fei has built her idealised world ‘RMB City’ in this way, blurring boundaries between art and technology. In conversation with an invigilator I was told of how Fei was reluctant to be seen by any of the staff during the set up of her work, preferring to exist only in her avatar form. This caused me to reflect on the nature of utopia being presented here, illuminating the fragile pedestal that it perches upon.
This secluded room with its own set of complete realities, need only have the slightest interruption to one’s belief in it, and the whole ideal becomes inconceivable. As with many of the exhibits, the utopia presented seems so foreign to the current reality that there could be no gradual progression toward it, only a decisive jump. Perhaps utopia has once again become prevalent in the art world as it does not necessitate a methodical plan of gradual change – something that within reality we must endure. This gap leaves space instead for criticism, optimism, humour and our real desires. Marx (1843) explained this well when he wrote, ‘if constructing the future and settling everything for all times are not our affair, it is all the more clear what we have to accomplish at present: I am referring to ruthless criticism of all that exists’. This tenuous reaching into a fabricated future is double-edged for me, as seeing the visionary and energetically driven work is also tinged with the quiet understanding that this is not a reality, this is just a hope. There is a security in dealing with utopia given that there is rarely expectation for its realisation, but ultimately this makes attempts to place it in the existing world somewhat futile and disappointing.
Curator Greene is a specialist at the Guggenheim in late 19th and early 20th century European art, and this is evidenced in her decisive selection of work. Perhaps this goes some way to explain why the contemporary interventions appears out of place in this context, and there is a divide between this and the main body of the exhibition. Although intending to give a sense of continuation and the ongoing relevance and perhaps necessity, of utopian ideals, it instead appears an afterthought; tacked-on as a disorientating leap into the present. Perhaps the question is not, ‘does utopia matter?’, but ‘does utopia still matter?’ This is the pressing issue, and unfortunately one that is not decisively addressed here.
MARX, K., 1843. Deutsch-Französische Jahrbücher. Paris.
