dOCUMENTA (13) – BEHIND THE SCENES: INTERVIEW WITH ANNELIES BAKKER

Interview with Annelies Bakker, Backoffice Management Assistant in the Technical Production Team

Ms. Bakker, please briefly introduce yourself and describe your role for Documenta.

The technical production team is responsible, among other things, for the architecture of Documenta's various exhibition venues, planning the setup, and installing the works on-site. We communicate closely with the individual departments, project management, artistic direction – and, of course, with the artists themselves about their plans and ideas. We also interact a lot with architects, art handlers, and the installation teams. My position is Back Office Management Assistant. Back Office Management involves a bit of everything: We support the head of the installation team and his staff, we collect plans for the entire installation process, have access to all important buildings, and last but not least, we monitor the budgets.

So you also have a lot of contact with the artists?

Not so much personally. We have two Heads of Installation, each with their own assistant. They and the Curatorial Assistants have very close contact with the artists. But ultimately, it's always a group discussion: the curator has certain wishes, the artist naturally does too - and our department checks to what extent these can be technically realized. Everything has to be brought into harmony. While I gain a great insight into the whole process, I don't really have close contact with the artists.

What is your educational background? What did you do before?

I just finished my master's degree at Maastricht University in the Netherlands. The subject is called Arts and Heritage: Policy, Management and Education. Before that, I studied art history, but I wanted more practical relevance and more connection to the present. To do things that have a concrete outcome. So I enrolled in this master's program. And it was really the right decision. I learned a lot there. Last year, we went on a study trip to Berlin. There, we also had a longer conversation with Kulturprojekte Berlin GmbH. I immediately applied for an internship at Kulturprojekte Berlin GmbH and then worked for the "Based in Berlin" exhibition for four months last summer. I was involved in event management there. We were responsible for planning and organizing the evening program. There were different events every evening. Here in Kassel, I'm working more or less with the same people. Three of my former colleagues are now working for Documenta, and one of them asked me if I wanted to join again. That's how I ended up here. As I said, I hadn't had much to do with contemporary art before. That's why I find it exciting to be here now. Sometimes I feel like I don't know enough about the scene yet. But here I'm thrown right into it, I can absorb everything and perhaps take home some new experiences in the end. But that's all still an ongoing process. Documenta will hopefully help me to develop further in that regard.

Are you looking forward to meeting the artists in person?

That's not really what it's about for me. Of course, I enjoy getting to know the artists and seeing what they do. But I come from an artistic family. So I know how all that works, how artists think or behave. I'm also friends with artists. So I'm already familiar with this form of exchange from my private life.

So you don't feel the need to catch up there?

No, not in that respect. For me, the exciting thing is the work behind the scenes. What's happening here? How do we manage all of this? It's interesting to be a part of it, especially from a background perspective. To see how we can organize and put on this exhibition. Documenta 13 is so huge, with so many artists, and everyone wants to do their own thing and give their best. That's the real challenge.

Without revealing too much, what are you currently working on specifically?

Right now, I'm working on an overview of our projects in Karlsaue. We are using advanced Project Management Software. I'm consolidating the plans of the technical management with those of the architects, the registrar, and the media team into one large overall plan. This overall plan is accessible to everyone, including other departments. This ensures that everyone knows what is happening where and when. The overall plan is truly massive; if you want to print it, you need five meters of paper!

What are the typical problems encountered during project implementation?

Primarily, my colleagues and I have to ensure that schedules are met, budgets stay within limits, and communication flows function smoothly. It requires a lot of coordination. Every artist initially plans for themselves, but we always have to keep the entire project in mind. This starts with simple questions like "Who has the key for a specific exhibition space?" "When can the architects start their work?" or "When can the artist begin installing their works?" For example, if an artist arrives from China, everything else must already be prepared. This requires a lot of planning and organization. We can't just start installing all the artworks within a certain week sometime in May. Everything must be planned beforehand. So many things need to be considered. Are we allowed to remove a certain wall? How will the work arrive here in Kassel? How do we organize visitor flow? How do we plan the entrances and lighting in the exhibition space, and where should the sign with the title of the work ultimately hang?

That, of course, requires many decisions and problem-solving strategies that need to be newly developed?

Yes. I primarily work behind the scenes, in controlling and planning the entire process. We ensure that sufficient "manpower" is available for all tasks.

So your job is also very much about communication?

Yes, it's about getting a communicative infrastructure up and running that interlinks many very different participants.

Do you also deal a lot with authorities? For example, to obtain permits?

Yes, I don't do that directly, but we naturally plan these things within our team. The large exhibition venues have their own responsible parties. We also work hand in hand with them to obtain the necessary permits. For example, we work closely with the fire department to ensure that no one comes to harm here.

And the city proves to be cooperative?

As far as I know, yes. But I'm surprised by other things. For example, we need a large depot for all the transport crates in which the artworks arrive here. Of course, one wonders why there isn't a permanent location for this that could then be used again every five years. But that would probably be too expensive. Documenta has a process character. So you have to start all over again every five years.

Are there many colleagues with technical backgrounds on your team?

With a technical background, yes. But many are also artists themselves or have studied art at some point. One colleague, however, also studied cultural studies. So it's a colorful mix. Very different backgrounds. But the atmosphere with us is really good. We are really a nice team. Very informal. It's a bit crazy: Actually, we were all in Berlin before. Here, we now have apartments that are all in the same building. So we all go to work together every morning. And every evening, usually very late, we go home together again. Sometimes I'm the one who cooks for everyone.

That sounds like a very harmonious working atmosphere.

Yes. We all put a lot of energy into it. It's truly a very special workplace here. It's my first real job, and I'm totally happy to have joined such a great team. With nice people who are interested in their colleagues and support each other wherever possible. So many people are involved here that it's hardly possible to get to know all the colleagues from the other teams. And each department has its own unique atmosphere. It's very interesting to observe that. Currently, we're working in an old gymnasium. It's a huge space. They've put up partitions to give it some structure. But despite that, there's a great sense of openness.

Perhaps a few more words about Kassel. Have you discovered any favorite spots here yet? How do you spend your free time?

I don't have much time to go out. But I've been to the Lolita Bar with a colleague. It's a nice place. And one that people still go to. Apparently, it was like that five years ago too. I know the supermarket where I buy groceries for cooking. But that's pretty much it. Tonight, I'm going to the sauna, just to relax. The workdays here are really long.

So the city itself doesn't play a very big role?

Actually, yes, we have to take care of the exhibition venues. But there hasn't been any time for anything else so far. But I'm now planning to just spend a weekend here and explore Kassel. I had never been to the city before and unfortunately not to Documenta either. So I'm very curious to see what kind of city Kassel is.

Are you already planning for the time after Documenta?

I would like to continue working with contemporary art, planning events and happenings. I enjoy being part of such a large project, making things possible. However, I don't want to have curatorial responsibility. I feel much more comfortable as an employee on the sidelines. On the other hand, more and more artist friends are asking me to write about their work. That would also interest me greatly. Perhaps that would also be a challenge. In addition, I am publishing a book in the Netherlands, together with my mother, who is an artist.

22.05.2012