|Quotations and comments about the inclusion of art from Africa, Asia and Latin America in the documenta IX, 1992|
|»We have told ourselves, we need a completely new approach to the documenta, we are starting from scratch. We forget all the artists we know, we forget the scene, the journals and our library. We travel the world and then report to the public from A to Z.«
Jan Hoet in an interview with Art, Art Nr. 3/1992, p. 68
Whoever critically examines the documenta with its regularly - favored artists will reach an immediate conclusion: in the West, nothing new. Because it cannot be regarded as a world exhibition of contemporary art. Even though Jan Hoet ... extended the geographical horizons of his predecessors, it can´t be deemed as an opening to the Third World...
... this year´s documenta proved that the door to the world of Western art has been opened just a crack for Third World artists.
Paolo Bianchi, in: Kunstforum, Vol. 119/1992, p. 527 and 532
... Hoet believes in the universality of Western aesthetics . ... He has travelled in vain through the countries of Africa and Asia, because nothing corresponded to his own visions ...
Eduard Beaucamp, Frankfurter Allgemeine Zeitung, June 15, 1992
... One could also recognise a rapid development in the visual arts. For the first time in documenta history Jan Hoet invited twelve artists from the so-called Third World. To some people this was too few, but I see it as a brave statement to include two African sculptors who had been previously ignored.
Alfons Hug, director of the Exhibition Department in The House of World Cultures, Berlin. neue bildende kunst, issue 4/5 1995, p. 108
photo: Ludwig Rauch