Documenta 14: Kassel

Political urgency is no less present in the quinquennial’s second chapter...

By Raimar Stange

Marta Minujín, The Parthenon of Books, 2017,
 steel, books, and plastic sheeting
, Friedrichsplatz, Kassel, documenta 14. Photo: Roman März Banu Cennetoğlu, BEINGSAFEISSCARY, 2017, various materials, Friedrichsplatz, Kassel, documenta 14, photo: Roman März Ibrahim Mahama, Check Point Sekondi Loco. 1901–2030. 2016–2017, 2016–17, various materials, Torwache, Kassel, documenta 14. Photo: Ibrahim Mahama Olu Oguibe, Das Fremdlinge und Flüchtlinge Monument (Monument for strangers and refugees), 2017, concrete, Königsplatz, Kassel, documenta 14. Photo: Michael Nast Maria Eichhorn, Unlawfully acquired books from Jewish ownership, 2017, installation view, Neue Galerie, Kassel, documenta 14. Photo: Mathias Völzke.© Maria Eichhorn/VG Bild-Kunst, Bonn 2017

So now the second half of Documenta 14 has opened. And the first question that arises is whether Kassel has succeeded in connecting to the opening of its first ‘chapter’ in Athens – whether, and how, the lines of questioning posed in Athens continue in the second instalment. Kassel’s many works in the public space already affirm this question – these sculptures and installations continue the artistic confrontations with topics like ‘the endangerment of democracy’ ‘neoliberal globalisation’ and ‘refugee crisis’.…

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