The final chapter was a field trip to Documenta. These are just the tip
of the iceberg of Carolyn Christov-Bakargiev's very well curated show of the zeitgeist
“I Need Some Meaning I Can Memorise (The Invisible Pull),” Ryan Gander
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| Khaled Hourani and Rashid Masharawi's 'Picasso in Palestine', a prisoner's version in coffee with video doc reflected |
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| Hannah Ryggen, notice Mussolini getting a spear in the head. When is was exhibited in a world fair years ago the corner was folded down over the offending corner |
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| Boetti |
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| Michael Rakowitz, to my mind one of the best installations in the show. Banned or destroyed books carved from stone collected at the destroyed Baniyan Buddhas, vitrines with burned objects from the bombed out Fridericium came together in a polyvalent critique of the wages of war. |
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| Ladies and Gentlemen of the audience |
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| Kassel through dirty window |
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| J in Kentridge's installation |
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| William Kentridge, another of the highlights |
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| Stuart Ringholt |
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| Sanya Ivekovic's 'The Donkey, my hero', among them Steve Biko and Ahmed Basiony |
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| Zanele Muholi |
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| Geoffry Farmer's 'Leaves of Grass' |
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| Details |
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| Nedko Solakov (After) |
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| Before as child star |
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| Nedko as Knight Rockstar |
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| David Link, early computer generated love letters |
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