“文献展的神话——阿尔诺德·博德与他的后继者们”被戏称为“关于文献展的文献展”。展览选在第十四届卡塞尔文献展开展前的一个多月开幕,是作为预热的一个极为合适的时间点。展览入口处,代表历届文献展的十三面旗帜依次排列,顿时将观者带入厚重的历史感之中。左侧楼梯处对于中国与文献展关系的时间轴梳理,将此展览与泛泛的巡展区别开来。仔细阅读时间轴,可以发现中国艺术界与文献展的关联约始于20世纪70年代左右,而此时文献展的主体已经完成了从现代主义艺术到当代艺术的转 “The myth of documentary exhibition - Arnold Bode and his successors ” is dubbed the “Documentary Exhibition on Documentary”. The opening of the exhibition for more than a month prior to the opening of the fourteenth Kassel documentary is an excellent time to warm up. At the entrance to the exhibition, the 13 representative flags representing the previous literature exhibitions are arranged in sequence, and the viewer is immediately brought into the heavy sense of history. The left-hand staircase provides a timeline review of the relationship between China and the documentary exhibition, distinguishing this exhibition from the general touring exhibition. By carefully reading the timeline, we can see that the association between the Chinese art world and the documentary exhibition began around the 1970s, when the main body of the documentary exhibition has completed the transition from modernist art to contemporary art