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RETHINKING MARXISM VOLUME 16 NUMBER 1 (JANUARY 2004)

ISSN 0893-5696 print/1475-8059 online/04/010049-08© 2004 Association for Economic and Social AnalysisDOI: 10.1080/0893569042000193407

From Documenta to the Document: A German Return to Truth and Reconciliation

Charity Scribner

Documenta 11, the international platform of contemporary art and ideas, was heldin Kassel, Germany in 2002. Following its aim to “activate the space of public artas a site for the reconciliation of current political conflicts,” the curators designated“Truth and Reconciliation” as one of the platform themes. This essay evaluatesDocumenta’s success at staging this theme, and addresses the criticism that thecurators’ emphasis on public discourse diminished the aesthetic effects of the artshown. It elaborates a comparison between two works: Eyal Sivan’s film about AdolfEichmann,

The Specialist

(1996–1999), which featured in the 2002 exhibition, andPeter Weiss’ earlier play

The Investigation

(1964), which dramatizes the AuschwitzTrials held in Frankfurt from 1963–1965. Drawing from Theodor W. Adorno’s writingsboth on the Documenta projects of the 1950s and 1960s and on the aesthetics of thedocumentary, this essay demonstrates that the contemporary art exhibited inDocumenta 11 does not advance any critical strategies beyond those that emergedin Weiss’s drama.

The Investigation

offers an aesthetics of negativity that

TheSpecialist

does not match.

Key Words:

Documenta 11, Documentary Film, Documentary Literature, Truth andReconciliation, Eyal Sivan,

The Specialist

, Peter Weiss,

The Investigation

, TheodorW. Adorno,

Aesthetic Theory

Every five years since 1955 the German city of Kassel, an urban complex of tramrailsand shopping arcades built upon the wreck of allied bomb raids, stages the artexhibition Documenta. When Documenta 11, the most recent in this series, drew toa close in September 2002, it had prompted a media blitz of unmatched proportion.Some thirty thousand news items and articles about the artistic director, OkwuiEnwezor, and his platforms of contemporary art and ideas have appeared in print,broadcast, and digital media. Designating “Truth and Reconciliation” as the exhibi-tion’s theme, Enwezor derived traction from his acclaimed entrée onto the cura-torial scene at the 1997 Johannesburg Biennial. In effect, Documenta 11 rechargedfundamental questions about truth—in society, in art—questions whose roots digdeep into Germany’s dark heart. One press kit announced the aims of Documenta11: “to activate the space of public art as a site for the reconciliation of currentpolitical conflicts.” Many critics, disappointed by Enwezor’s detour from formal

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aesthetics, failed to take Documenta 11 on its own terms. But the event set out toengage the overtly political trajectory of several fields of contemporary culture. Asalon survey was not the goal. To this extent, Documenta 11 was a success. Thequestion remains, however, as to whether the producers of contemporary culturehave added any striking contributions to the matter of truth and reconciliation inthe past few years. Much of the work now occupying the museums, galleries, andpublic spaces of the world’s major cities does not approach the force or clarity ofits precursors, some of the best of which appeared in Germany soon after WorldWar II.

A central work in the German inquiry into truth and reconciliation is Peter Weiss’s

The Investigation

(

Die Ermittlung

), a play that dramatizes fragments of the FrankfurtAuschwitz trials, conducted in 1963–5 (Weiss 1964, trans. 1997). Weiss, who expatri-ated to Sweden in the 1930s, returned to the Federal Republic after the war, wherehe attended the Auschwitz hearings on a regular basis.

The Investigation

is an extractof the trials; Weiss composed the drama from “ready-made” testimonies recountedin the Frankfurt proceedings.

The Investigation

participated in a literary shift awayfrom the expressionist and toward the documentary that shot through Germanliterary culture in the 1960s and pulled many renowned authors into its current,Heinrich Böll and Hans Magnus Enzensberger among them. By culling from thetribunal, Weiss framed incisive questions about the problem of documentinghistorical trauma. The critics, for the most part, maligned Weiss’s anti-aestheticcompositional method and made repeated attempts to consign the documentarymovement to the dustbin of literary history. To a large extent, critical reception of

The Investigation

has remained stalled at this point of derision for nearly fourdecades.

Today, Weiss’s politics and aesthetics seem newly salient, particularly whenconsidered from the front lines of the culture industry, where Documenta 11 wasdeployed. Readdressing the problem of truth and reconciliation, Enwezor broad-ened the exhibition’s scope to include lectures by experts in the fields of legaltheory and human rights. For example, he invited Judge Albie Sachs, a key arbiterin the South African Commission for Truth and Reconciliation, Vojin Dimitrijevic,Director of the Belgrade Center for Human Rights, and Ruti Teitel, the New YorkLaw School professor who authored

Transitional Justice.

Antonio Negri and MichaelHardt also contributed to Documenta a paper on globalization and democracy. Butin this first platform on truth and reconciliation, only a few artists appeared on theroster. The public response to Documenta 11 has, so far, been mixed. Not onlymany of the audience members and reporters who covered the events, but also theministries of culture for both the city of Kassel and the Federal Republic as awhole (who have heavily funded Documenta since its inception in 1955), haveresponded to the series with bewilderment. “Fine,” they remark. “But where’s theart?”

The art did eventually come to Kassel. Documenta 11 concluded with an exhibitionof contemporary works by 116 artists in the summer of 2002. The contributions of aparticular filmmaker, Eyal Sivan, merit special attention; they recharged the Germanquestion of truth and reconciliation, and extended it into the killing fields of Rwanda.His film

Itsembatsemba: Rwanda, One Genocide Later

(1996) combines documentary

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DOCUMENTA 11 51

footage and photographs with the 1994 broadcasts from Radio Télevision MilleCollines that incited the Tutsi massacre.

The Specialist

(1996–9), Sivan’s secondcontribution to Documenta 11, recounts the 1961 Jerusalem trial of Adolf Eichmann,the Nazi agent who engineered the forced deportation of Jews and other enemiesof the Third Reich to death camps throughout Europe. Following Eichmann’s extra-dition from hiding in Argentina, the Israeli government commissioned Leo Hurwitz,a blacklisted filmmaker, to document the historic trial. He shot over five hundredhours of footage on video, a new medium at the time; these tapes are the rawmaterial for Sivan’s film. Like

Itsembatsemba, The Specialist

collates archival worksin an attempt to expose the dimensions of human violence. In making this documen-tary wager, Sivan revisits the terrain that Weiss mapped out in

The Investigation.

What is the effect of this return? This question enters Documenta 11 into an adjacentfield of inquiry. What is the status of an art exhibition that privileges document overfiction and discourse over aesthetics?

From the Aesthetic to the Juridical: Testing the Limits

When Adorno wrote about truth and reconciliation in

Aesthetic Theory

(1970), hewas writing about art. He staked his claim that works of art are constitutively inneed of a philosophical interpretation of their “truth content” (1970, 37; 1997, 20;see Jarvis 1998, 104). Truth and reconciliation in

The Investigation

and

TheSpecialist,

meanwhile, are a matter of actual legal practice.

The Investigation

brokenew ground in Weiss’s writing: his most important works,

Marat/Sade

(drama 1964,film 1966, codirected with Peter Brook) and the novel

The Aesthetics of Resistance

(1975–81), engaged real antagonisms but remained within the parameters ofhistorical fiction. Weiss’ alertness to the tensions between facticity and authenticityin

The Investigation

was akin to Adorno’s own, but Adorno devoted little if anyattention to Weiss’s work in his writings from the sixties. Despite Adorno’s choicenot to write about Weiss,

Aesthetic Theory

and

The Investigation

seem to look backat one another across the conceptual terrains of truth and reconciliation. Adorno’sand Weiss’s shared concern with literary and social redemption exceeds both thecodes of any theory of communicative action and the constraints of documentaryfacticity.

1

How would Sivan’s cinematic work figure into Adorno’s vision of advanced art?Few cultural critics have examined

The Specialist,

yet it stands out from a growingfield of films that seek to document the vicissitudes of human rights. Sivan’salertness to timing and gesture, his precise editing—these elements set his filmsapart, and pull them out from the scope of human rights conferences and into theartistic purview of curators like Enwezor. Where Weiss employs formal theatricaldevices to render a unique narrative from the tribunal document, Sivan utilizescinematic techniques to inflect

The Specialist.

One segment scans quickly throughsome two dozen individual testimonies of brutality and murder—in Hebrew, German,

1. Peter Uwe Hohendahl identifies the problem of reconciliation in language as a centralelement of Adorno’s thought (1996, 236, 251).

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52 SCRIBNER

French, and English. A number of others show Eichmann recounting his orderlyfulfillment of duties for the Reich. Sivan stalls and repeats these passages,emphasizing the automatonlike properties of Eichmann’s personality that illustratethe premise of Hannah Arendt’s

The Banality of Evil.

Interjections from the witnessesand Eichmann himself are layered and repeated; these elements periodically cut intothe courtroom protocols. Sivan composes these segments to strike a tension betweenexcess and restraint. One witness recounts his memories in what the judge calls “thelanguage of a poet.” The judge’s reprimand against straying from “the object of[the] trial” underscores the aesthetic charge that Sivan has created.

Turn back the clock. The critical consensus of the 1960s characterized Weiss’s

Investigation

as “singularly undramatic,” and found its minimalist redaction oftribunal testimony to amount to little more than a catalogue of atrocities.

2

One ofthe most strident and potent critiques launched against

The Investigation

was thatWeiss, in his attempt to strip down his text and reduce description and metaphor,went so far as to diminish and, in some cases, even delete reference to the Jewswho were killed and interned at Auschwitz. Weiss’s critics judged that the “toneless”and “undifferentiated” language of

The Investigation

exerted less dramatic impactthan the documents and reports from which it was derived. Yet in dismissing

TheInvestigation

as would-be reportage, the reviewers not only misrecognized Weiss’strategic reworking of the Frankfurt testimonials. They also failed to recognize hislarger point about the relationship between the work of art and the historicaldocument.

Rather than merely reiterating the tribunal,

The Investigation

clearly marks itsaesthetic difference from the letter of the law.

3

In his prefatory note on dramaturgy,Weiss makes plain the difference between his text and the actual trials, emphasizingthat the work’s purpose is

not

to retry the defendants who feature in the play. Lessa legal drama than a reflection on language and culture,

The Investigation

disclosesthe continuities between the idioms of the concentrationary universe and themindset of market rationalization that survived the Holocaust and engineeredpostwar Germany’s

Wirtschaftswunder.The Investigation

delivers only a partial montage of the Auschwitz tribunal. Yes,it contains “the facts,” but merely a selection of them. Sivan’s

The Specialist

achieves a comparable critical sedimentation. Condensing the proceedings, Weissand Sivan excise much of the material that originally mediated between and amongthe individual statements, and thereby alter the meaning and function of thetestimonies. In

The Investigation

and

The Specialist

the authorial voice registersnegatively: it comes through in what Weiss and Sivan edit out of the records. Theopen-ended final scene of

The Investigation,

for example, resonates within theregister of the aesthetic. It stops short of the verdict, and leaves the audience to

2. For an overview of the critiques of

The Investigation,

see Ezrahi (1980, 36); Langer (1975,31); Rosenfeld (1980, 155–8). Robert Cohen (1998) has written another excellent account ofthe critical reception of

The Investigation,

which engages the surveys by Ezrahi, Langer, andRosenfeld as well as two related essays by James E. Young (1988) and Andreas Huyssen (1980).3. In 1995, the Staatsarchiv in Wiesbaden and the Fritz Bauer Institute in Frankfurt madeavailable to the public copies of the Frankfurt trials. Transcription began in 1998. RebeccaWittmann (2002) has published the groundbreaking work on the Frankfurt tapes.

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DOCUMENTA 11 53

judge the accused. The unpassed sentence of

The Investigation

thus thwarts anysense of dramatic resolution, and resists the forced reconciliation that the Adenaueradministration sought to expedite in the Frankfurt Tribunal.

4

If

The Investigation

and The Specialist suggest the possibility that narrativematerial can inhere even in the anti-aesthetic order of the document, then itapproaches the argument that Adorno elaborates in “Towards a Theory of theArtwork.” In this enigmatic section from

Aesthetic Theory,

Adorno draws uponWalter Benjamin’s earlier reflections about the difference between the artwork andthe document in order to refine his own distinction between art (as in the generaldiscourse of art) and the particular artwork. “Art is in no way simply equivalent withartworks,” Adorno asserts, “for artists are always also at work on art and not onlyon artworks. Art as such is independent even of the artwork’s consciousness” (Adorno1999, 182). Although he allows that “functional forms” (

Zweckformen)

may develophistorically into artworks, Adorno nonetheless strives, here as elsewhere, to distin-guish between the cognitive and formal aspects of art making. He recalls Benjamin’sseparation of the artwork from the document in

One-Way Street,

and acknowledgesthat this distinction can be sustained to the extent that it rejects works that are notin themselves determined by the “law of form” (

Formgesetz)

. And yet Adorno alsowants to turn away from this formalist logic. Many works, he points out, objectivelyare artworks even when they do not present themselves as art.

What does this mean? How could a work objectively be art even if not presentedas such? Adorno does not provide any examples at this juncture, but a remark madeby the communications director of Documenta 11 would seem to substantiateAdorno’s claim. Returning from a visit to The Hague, the director spoke at lengthabout the chambers of the International Criminal Tribunal there, the architecture ofwhich aligns with the design of courthouses in Frankfurt and Jerusalem. Audiorecorders transcribe each word of investigation and testimony into databases, whichare recopied, digitalized, and instantly archived. Headset-wearing observers listenin on the simultaneous translation of every utterance into all the major languages.Sheets of glass subdivide prosecutors from defense counselors and defendants fromwitnesses. These walls both cordon off the members of the tribunal assembly and,in certain places, reflect back the image of the viewer, like mirrors. The sensory andconceptual dynamics of The Hague’s facilities were akin, the director claimed, tothose of an avant-garde art installation. “You know what?” he said. “It was just likea Dan Graham piece.”

4. Patterned after Dante’s

Divine Comedy

,

The Investigation

is composed of eleven cantos(

Gesänge

). “The Song of the Platform” opens the play, as the Judge asks the First Witness toestimate the distance between the railway station and the camp. The matter-of-fact natureof both the Judge’s question and its answer (“About five kilometers from the main camp”) setsthe stage for the exhaustive process of building and corroborating evidence in the court, aprocess which informs and determines the rhetoric of the entire drama. At the same time,Weiss’s initial image also brings to mind one of the most recognizable icons of Holocaustliterature and art—that of train tracks pointing through grasslands toward their dead end atthe Auschwitz gates. Weiss’ first lines, thus, serve a double duty: just as they establish thedrama’s documentary tone, they also allude to the previous work of writers and artists whohave struggled to give aesthetic form to the traumas of the Holocaust while assuming a positionwithin the field that these cultural producers first created.

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This comparison of the International Criminal Tribunal to the glass pavilionsproduced by conceptual artist Dan Graham parallels Adorno’s claim for the workwhich “objectively constitutes an artwork even though it does not present itself asart” (Adorno 1999, 182). Yet, Adorno identifies a certain limit to his paradigm thatmerits closer attention. In

Aesthetic Theory

he holds that although certain workscan be regarded as art, no real art can function like a work. The transfer onlyoperates in one direction: from work to art, not the other way around.

In “Towards a Theory of the Artwork,” Adorno does not produce an example ofthe work that tends toward art, perhaps as part of his rhetorical strategy. However,he does offer an example of art which attempts to present itself as a work, but fails:his example is Documenta. By the time Adorno was completing the last texts thatwould be included in

Aesthetic Theory,

four Documentas had been held—in 1955,1959, 1964, and 1968. Then as now, Documenta was one of the most prominentEuropean showcases of advanced art and, as such, enjoyed broad exposure inGermany’s public sphere and mass media. Adorno notes that the choice of the term“Documenta” as the title for the exposition was an inauspicious one, for it “glossesover” the persistent divide between art and the document that impedes any circuitwhich would run from art to work. This flaw in the Documenta vision, then, actuallyundermines the traditional curatorial project. In suggesting some equivalence orexchangeability between art and document, Adorno argues, the curators abet thevery historicist aesthetic consciousness that museums of contemporary art shouldwant to oppose. Along with related attempts to identify “the so-called classics ofmodernism,” the Kassel curators, by insisting upon the documentary function of art,were returning to the affirmative, conservative folds of the culture industry. Fast-forwarding

Aesthetic Theory

to our millennium, the question persists: did Documenta11 risk eclipsing art with document and discourse?

The Politics of Public Culture

In the period that has followed the close of Documenta 11, the conversation hasfocused more on the lectures on truth and reconciliation than on the art that wasexhibited in the program, prompting skeptics to sound (again) the death knell of art.Entering the terrain of human rights and jurisprudence, Documenta 11 loosened itsgrasp on the discourse of aesthetics, a grasp which, perhaps, no one has held withsuch intense rigor since Adorno. The recent media coverage of Documenta’s forayinto the echelons of legal theorists, policymakers, and Nobel laureate economistshas left films like

The Specialist

in the shadows, yet Sivan’s work could serve as anobject lesson for the curators of Documenta 12. For

The Specialist

manages tonegotiate both the juridical and aesthetic implications of truth and reconciliation.Like Weiss, Sivan strikes this balance, not by thrusting the abject referents ofdamage and destruction before his audience, but rather by outlining the limits ofwhat can be represented. Hurwitz had already set the frame for this approach: whencamp footage is projected onto the tribunal screen, he keeps his camera focused onthe members of the court. Only a radically oblique image of the newsreel can beseen flickering within the wider shot of the court. Weiss makes similar choices in

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The Investigation.

In cutting away all heroic, theatrical gesture, he trains theaudience’s attention on the horror of the material history of Auschwitz—its lexicon,its inventories. A drama any less economical could not accurately render theactuality of the Holocaust trauma. And so, with this understanding, Weiss’s decisionto obliterate direct reference to Jewish life and Jewish death can be reconsideredand, perhaps, justified. Abstaining from devices of realism and naturalism, Weissenacts a kind of

Bilderverbot

, or ban on graven images, in

The Investigation;

heoffers a negative disclosure of Jewish culture that informs the drama throughout.What fades away in terms of overt reference to Jewish history comes back amplifiedas an aesthetics of negativity that defines Weiss’s project as a whole.

Like the artists who Adorno privileges in

Aesthetic Theory,

Weiss and Sivan do notdevelop photographic documents of war crimes trials as such, but rather exposereversed imprints of the larger social forces that made the tribunals necessary in thefirst place. Although

The Investigation

incorporates documentary fragments, itnonetheless displaces and reconcatenates them into an open-ended text.

TheSpecialist

captures moments where Eichmann strategically appropriates Zionistparoles, and casts a critical light on Israel’s own agenda of occupation and Pales-tinian containment. The ease with which an operator like Eichmann could deploy therhetoric of human rights organizations—perhaps already exhausted in the 1960s—putsinto question the value of truth and reconciliation commissions across the globe.Both Weiss and Sivan complicate their projects and resist any false reconciliation.In Adornean terms, it is only through such transformation, and “not through an ever-falsifying photography” that art can give empirical reality its due (259). In addressingthe challenge to activate the space of truth and reconciliation, the curators of thenext Documenta would do well to take into account these insights from the culturalmoment of

Aesthetic Theory,

published thirty years ago, when high modernism spokeits last words.

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Ästhetische Theorie.

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Cohen, R. 1998. The political aesthetics of Holocaust literature: Peter Weiss’s

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