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SUMMER OF THE SHAMANS

Daniel Knorr, Expiration Movement, 2017, smoke, text. Installation view, Zwehrenturm, Kassel. From Documenta 14. Photo: Bernd Borchardt. © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

CONSTRUCTED FROM SCAFFOLDING on the Fried-richsplatz in Kassel, Martha Minujín’s Parthenon of Books, 2017, is unfortunately just more of the usual nonsense displayed at that location at almost every Documenta. The gigantic structure’s columns are wrapped in plastic cladding containing vast quantities of books that are or were forbidden somewhere in the world, many of which are among the staples of German households, including works by Goethe and Brecht, and the diary of Anne Frank. It turns out the last of these was banned not by a rogue state but by some American school districts (on account of its sexual content), but it really doesn’t matter. The same is true of other works dotted around the Friedrichsplatz, among them Banu Cennetoğlu’s BEINGSAFEISSCARY, 2017, in which the artist replaced the Fridericianum’s name with the ultra-profound motto BEING SAFE IS SCARY, or Daniel

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