Is Documenta 13 post-human? Three blitzschnell dispatches by Quinn Latimer, Filipa Ramos, and Ana Teixeira Pinto provide very different accounts of this friendly Frankenstein of an exhibition—an “ambitious world of worlds” (Ramos) or “engaged with the world that we (joyfully, sorrowfully, weirdly) inhabit” (Latimer). Rich in animal, vegetal, and other worldly influences, Teixeira Pinto perhaps best surmises the exhibition in equating Documenta to a breed of “urban wildlife” […] “a species neither wild nor domestic and created by the peculiar ecology of the refuse of civilization, an animal that burrows in sewers and scavenges leftovers.” What these perspectives share is an appreciation for the depiction of the world’s fertile fragility, but this too is tinged with an uneasiness of mind.
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Coming soon, reviews of “Glaze,” at Galerie Chez Valentin, Paris; Martin Kippenberger at Carolina Nitsch, New York; “We love you,” at Limoncello, London; Silke Otto-Knapp at Galerie Daniel Buchholz, Berlin; “Stand still like the hummingbird,” at David Zwirner, New York; “Steel Life,” at Michael Benevento, Los Angeles; and Zoe Leonard at Raffaella Cortese, Milan.
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