Is Documenta 13 post-humanist? 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 human, animal, 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.
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