Here, four Dürer etchings from the catalogue of a show I saw this summer at the Palais des Beaux-Arts, Paris…
These engravings were part of a portfolio that belonged to collector Jacques-Édouard Gatteaux (1788-1881). They were badly damaged along with other precious artworks and art objects in a fire occasioned by the Parisian communards in May 1871.
The exhibition these damaged engravings were a part of was called “The Angel of History.” Its curator-in-chief was Nicolas Bourriaud, of “relational art” fame. Bourriaud is currently director of the École des Beaux Arts.
Bourriaud’s newest art conceptual gambit is “the ruin.” The contemporary artists he assembled (among them, Haris Epaminonda, Rashid Johnson, Walead Beshty, Jospehine Meckseper) were, in his view, like Benjaminian angels of history, picking their way through fragmented piles of the past and forming new artistic narratives out of rubble.
Dürer’s singed Biblical images were on the exhibition’s second floor, amongst other artworks and objects from the Beaux-Arts archives and collections. There were models of Greek and Roman ruins, Romantic-era watercolors and sketches of ruins and photographs of destroyed buildings dating from the Franco-Prussian War and World War One.
It was moving and naughtily satisfying to look at damaged art, I admit. However, the interest of these engravings went beyond iconoclasm or pathos.
Blackened by revolutionary fire, each of these engravings was the kind of doubly-determined “dialectical image” that Walter Benjamin wrote about in “On the Concept of History.” Like all artworks, they tell a visual story, but they are also material culture. These engravings testify to the era in which they were created as well as the era in which they were damaged.
A pity, then, that Bourriaud and his team didn’t create a space for viewers to ask how their own reception in 2013 might constitute a further testimony of these engravings–can we see the present or the future in these images as well as the near and distant past?
The exhibition missed its opportunity to work dialectically because it enclosed its early modern and contemporary artworks within the limited parameters of universality, atemporality and the picturesque instead of delving into socio-aesthetic and institutional context.
“The only historian capable of fanning the spark of hope in the past is the one who is firmly convinced that even the dead will not be safe from the enemy if he is victorious. And this enemy has never ceased to be victorious.” – Walter Benjamin, Thesis VI, “On the Concept of History,” 1935