Everything has an end, only the sausage has two, it says in a joke hit.
Let's see how many thick ends more than one Kasseler Ahle Worscht will have for the Kassel Documenta.
Or maybe even a happy ending?
While the supervisory board was still meeting on Friday evening, whose chairman, the mayor of Kassel Christian Geselle (SPD), ostentatiously stood behind the general director Sabine Schormann, who did not want to be responsible for anything, the damage caused by the Documenta scandal had long been obvious.
Schormann said goodbye on Saturday.
There are many people who, although they have been making pilgrimages to the Documentas for decades, are no longer interested in Kassel this time.
You've heard too much about BDS, hanging out, and collective pottering to expect anything artistically interesting.
Which is a pity, because there is a lot to discover and experience.
Unpleasant annoyance
On the other hand, among the many who are currently coming curiously, an uneasy annoyance can also be felt: as if there were either no problem with anti-Semitic motifs and no questions about politically intended art.
And as if it weren't important to talk about what anti-Semitism is and why it doesn't matter what is shown and by whom.
It's not enough to simply say that the western or northern gaze is over now or left out and enthusiastically throw yourself into the activist role.
The gaping emptiness in the middle is the dialogue that's missing.
The documenta is actually the artistic mirror of the time that it always claims to have been: After all, there is this ill-tempered insistence on one's own bossiness everywhere, from the Ukraine war to the unisex toilet.
A documenta that would become a haven and place for open debate by September 25th could have a great and groundbreaking task.
You just have to want to grab her – like a sausage.
Plenty of seating for "hanging out" and talking is provided.