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Berlin Biennale für zeitgenössische Kunst","",[],[11,15,18,20,22,24,26,29,32,34,36,38,41,44,47,49,52,55,58],{"id":12,"title":13,"isListed":14},"kuenstler-innen","künstler*innen",true,{"id":16,"title":17,"isListed":14},"ueber","über",{"id":19,"title":19,"isListed":14},"home",{"id":21,"title":21,"isListed":14},"programm",{"id":23,"title":23,"isListed":14},"parcours",{"id":25,"title":25,"isListed":14},"besuch",{"id":27,"title":28,"isListed":14},"photography","Photography",{"id":30,"title":31,"isListed":14},"notes","Notes",{"id":33,"title":33,"isListed":14},"news",{"id":35,"title":35,"isListed":14},"presse",{"id":37,"title":37,"isListed":14},"suche",{"id":39,"title":40,"isListed":14},"folge-uns","folge uns",{"id":42,"title":43,"isListed":14},"merle-kroger-was-fehlt-eksik-olan-whats-missing","Merle Kröger / Was fehlt – Eksik Olan - What's missing DE/EN",{"id":45,"title":46,"isListed":14},"merle-kroger-was-fehlt-eksik-olan-whats-missing-tr","Merle Kröger / Was fehlt – Eksik Olan - What's missing TR",{"id":48,"title":48,"isListed":14},"legal",{"id":50,"title":51,"isListed":14},"leichte-sprache","Leichte Sprache",{"id":53,"title":54,"isListed":14},"ma-thida-lotus-und-wasserhyazinthe","Ma Thida / Lotus und Wasserhyazinthe",{"id":56,"title":57,"isListed":14},"vermittler-innen","Vermittler*innen",{"id":59,"title":60,"isListed":61},"error","Error",false,{"code":4,"status":5,"result":63},{"footer_menu":64,"footer_description":95,"footer_images":96},[65,72,77,83,89],{"title":66,"link_type":67,"internal_page":68,"external_url":8},"contact","internal",[69],{"id":70,"title":66,"url":71},"legal/kontakt","https://13api-live.berlinbiennale.de/public/en/legal/contakt",{"title":73,"link_type":74,"internal_page":75,"external_url":76},"jobs","external",[],"https://www.berlinbiennale.de/en/2510/jobs",{"title":78,"link_type":67,"internal_page":79,"external_url":8},"code of conduct",[80],{"id":81,"title":78,"url":82},"legal/code-of-conduct","https://13api-live.berlinbiennale.de/public/en/legal/code-of-conduct",{"title":84,"link_type":67,"internal_page":85,"external_url":8},"data policy",[86],{"id":87,"title":84,"url":88},"legal/data-policy","https://13api-live.berlinbiennale.de/public/en/legal/data-policy",{"title":90,"link_type":67,"internal_page":91,"external_url":8},"imprint",[92],{"id":93,"title":90,"url":94},"legal/impressum","https://13api-live.berlinbiennale.de/public/en/legal/imprint","\u003Cp>The Berlin Biennale is organized by KUNST-WERKE BERLIN e. V. The Berlin Biennale is \u003Cem>f\u003C/em>unded by the Kultursti\u003Cem>f\u003C/em>tung des Bundes (German Federal Cultural Foundation). The Kultursti\u003Cem>f\u003C/em>tung des Bundes is \u003Cem>f\u003C/em>unded by the Beau\u003Cem>f\u003C/em>tragte der Bundesregierung \u003Cem>f\u003C/em>ür Kultur und Medien (Federal Government Commissioner \u003Cem>f\u003C/em>or Culture and the Media).\u003C/p>",[97,100],{"url":98,"alt":8,"link":99},"https://13api-live.berlinbiennale.de/public/media/site/2a966ee85e-1741270644/logo_ksb_sw_eps.svg","https://www.kulturstiftung-des-bundes.de/en",{"url":101,"alt":102,"link":103},"https://13api-live.berlinbiennale.de/public/media/site/e5a7cd249e-1746776096/bkm_de_v2__web_farbig.png","Logo of \"Der Beauftragte der Bundesregierung für Kultur und Medien\".","https://www.kulturstaatsminister.de",{"code":4,"status":5,"result":105},[106,111,116,121,126,131,136,140,144,149,154,159,164,169,174,179,184,189,194,199,204,209,214,219,224,229,234,239,244,249,254,259,264,269,274,279,284,289,294,299,304,309,314,319,324,329,334,339,344,349,354,359,364,369,374,379,384],{"id":107,"title":108,"subtitle":8,"shortDescription":8,"description":109,"uri":110},"kuenstler-innen/simon-wachsmuth","Simon Wachsmuth","\u003Cp>In 1920, artists John Heartfield and Rudolf Schlichter faced charges of defamation of the German army for their contribution to Berlin’s First International Dada Fair: a dummy of a pig-faced military officer, which they christened \u003Cem>Prussian Archangel\u003C/em>. Strung up on the ceiling, the figure bore a sash with the title line from the popular Christmas carol, \u003Cem>Vom Himmel hoch, da komm ich her\u003C/em>. Translating loosely to “I come from heaven on high,” the song was attributed to the Reformer Martin Luther. Intended as a rebuke to the church, in the hands of the Dadaists—many of whom had been forced against their will to fight in the first World War—the carol was reinterpreted as an anti-war anthem. A second sign dangled from the figure’s waist, stipulating that in order to truly understand the work, one must first engage in twelve hours of field exercises with a full backpack on the Tempelhofer Feld.\u003C/p>\u003Cp>Simon Wachsmuth takes this absurd directive literally in his new work, \u003Cem>From Heaven High\u003C/em>. The first of its three acts opens with a soldier complying with Heartfield and Schlichter’s marching orders—however begrudgingly—on Berlin’s Tempelhofer Feld, a site that has served as martial training grounds, an airfield, and a concentration camp, as well as a public park. Wachsmuth digs further into the controversial his- tory of this stretch of land in the work’s second act, which uses animation to build into a discussion on freedom. The third and final act addresses the constraints placed on a specific freedom—the freedom of speech—alluding to the weaponization of the justice system against artists like Heartfield and Schlichter (and later other colleagues, including Otto Dix and Georg Grosz), as a means of suppressing creative expression.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/simon-wachsmuth",{"id":112,"title":113,"subtitle":8,"shortDescription":8,"description":114,"uri":115},"kuenstler-innen/anawana-haloba","Anawana Haloba","\u003Cp>Anawana Haloba’s experimental opera is part of an ongoing sound research on different Southern African oral traditions. Her work focuses on voice as the primary instrument of storytelling—tragedies, dramas, and the celebration of life—and how these forms of orality might expand our understanding of opera beyond the western tradition. Haloba uses the drivers of regular speakers and produces eight sculptural forms that function as reverberation cases. Some of these sculptures borrow their form from marriage or initiation ceremonies, others are invented by the artist for our present time.\u003C/p>\u003Cp>The characters of this operatic sculpture are a mix of legendary and historical figures: Mukamusaba, Alice Lenshina, and Lucy Sichone—whom she refers to as her “female Fanons.” Mukamusaba, which means “You shall fear her/them” or “the one who embodies greatness” in siLozi language, is the central character. Lenshina was a self-appointed prophetess, she founded the Lumpa Church which stood against colonial injustice and carried out political activities, clashing with the Zambian government under President Kenneth Kaunda. Sichone was a Zambian civil rights activist and educator, who founded the Zambia Civic Education Association and was part of the United National Independence Party.\u003C/p>\u003Cp>Haloba recovers their lives from memories embedded in songs and oral transmission, using the masquerade and opera as myth-making grounds to reimagine and make their stories accessible. Spatially staged as a threshold, Haloba gives voice to the spirits of contemporary struggles, to reimagine a concept of community and solidarity, harmonizing collective anger, as she writes, “into a loud song of resistance.” These voices call and respond to each other to tell stories of grief and tragedy from different parts of the world.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Valentina Viviani\u003C/p>","artists/anawana-haloba",{"id":117,"title":118,"subtitle":8,"shortDescription":8,"description":119,"uri":120},"kuenstler-innen/han-bing-kashmiri-cabbage-walker","Han Bing & Kashmiri Cabbage Walker","\u003Cp>The Kashmiri Cabbage Walker draws their strength from the absurdity of walking a cabbage on a small cart, a gesture that mocks the equal absurdity of the dangerous militarization of Kashmir, where there is one soldier to every seven civilians. Active since 2015, the Kashmiri Cabbage Walker is always in disguise, wearing a \u003Cem>pheran\u003C/em>—a traditional Kashmiri coat. They are a fugitive figure, of diffuse and collective subjecthood, allowing the action to be performed in solidarity with many struggles around the world while eluding surveillance and capture. Passing it on.\u003C/p>\u003Cp>The \u003Cem>Walking the Cabbage \u003C/em>performance and movement was initiated by Han Bing in Beijing’s Tiananmen Square in 2000. Bing understands the cabbage as a symbol of rural sustenance, and points to its place in contemporary China, where, disregarded by poodle-walkers, it remains the main nourishment of those with limited resources. Walking a cabbage combines two elements—vegetable and movement—to address how everyday practices, identities, and ideas become naturalized through continuous repetition. By pulling these elements into a performative space, Bing inverts the idea of what is natural, putting into question what we believe constitutes us. They continued walking vegetables and objects in daily life for many years. This resonates deeply in contexts like Kashmir and Cairo.\u003C/p>\u003Cp>Passing to Berlin twenty-five years after the first performance in Beijing, the displayed cart is a mischievous signal to the potential of radical actions, which in their silence and wit can be extremely loud. The absurdity of the urban performative walks by Bing and the Kashmiri Cabbage Walker inverts the logic of unjustified violence. A provocation for us to look into the normalized forms of oppression that surround us, or inhabit us.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Valentina Viviani\u003C/p>","artists/han-bing-kashmiri-cabbage-walker",{"id":122,"title":123,"subtitle":8,"shortDescription":8,"description":124,"uri":125},"kuenstler-innen/anna-scalfi-eghenter","Anna Scalfi Eghenter","\u003Cp>In a pamphlet, Karl Liebknecht, one of the founders of the revolutionary socialist Spartacus group (later the Spartacus League), called on workers to gather on Berlin’s Potsdamer Platz on May 1, 1916. He delivered a stern rebuke to the German military machine. Decrying the abuses of martial law, he urged the people to join forces against the real enemy: an imperialist government that sustains itself through violence. He was arrested and on June 28, 1916, Liebknecht faced charges of high treason for his actions. His trial took place within the rooms of this very courthouse, but due to his extreme popularity, the proceedings were closed to the public. Mocking the cowardice of his accusers, Liebknecht reportedly denounced the trial as “comedy.”\u003C/p>\u003Cp>Anna Scalfi Eghenter resurrects  this history with \u003Cem>Die Komödie! \u003C/em>Spanning multiple rooms, the installation updates Liebknecht’s pleas for workers to unite. In this case, however, the artist identifies the modern financial market as the common battleground, imploring consumers to rise up against the financial infrastructures that dictate cycles of exploitation, consumption, and waste.\u003C/p>\u003Cp>Viewers must first pass through a storm of reprints of Liebknecht’s pamphlets before moving through various environments related to his historical trial and Eghenter’s contemporary consumerist restaging. In the final room, holes in the floor allow access to further audio and visual material on Liebknecht. This sense of the building revealing the secrets of the trial carries over into a final intervention: a red neon reading “COMUNISTA,” which can be seen through the windows. This gesture effectively reverses the situation in which the politician could be glimpsed by his supporters locked outside the courthouse.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/anna-scalfi-eghenter",{"id":127,"title":128,"subtitle":8,"shortDescription":8,"description":129,"uri":130},"kuenstler-innen/jane-jin-kaisen","Jane Jin Kaisen","\u003Cp>Many nations consider their island communities to be peripheral—a place where the habits of the mainland aren’t present. Jane Jin Kaisen shot four videos on the island of Jeju in South Korea. \u003Cem>Core \u003C/em>leads into Jeju’s Serpent Cave while \u003Cem>Portal \u003C/em>dives into the crevices in its intertidal zone. In \u003Cem>Wreckage\u003C/em>, underwater footage shows the ravenous sea superimposed with a propaganda film produced by the US Army in Jeju in 1945 to the sounds of a shamanic ritual lament.\u003C/p>\u003Cp>In \u003Cem>Halmang\u003C/em>, Kaisen portrays eight elderly \u003Cem>haenyeo \u003C/em>sea divers—women who dive into the sea throughout the year to harvest mollusks and seaweed—on a rocky outcrop tending to rolls of \u003Cem>sochang\u003C/em>. \u003Cem>Sochang\u003C/em>, which are also featured in Kaisen’s installation \u003Cem>Knots and Folds\u003C/em>, are long pieces of narrow cotton cloth used in rites of passage and shamanic rituals for the sea goddess, but are used in household settings as well. The rocky lava islet depicted in \u003Cem>Halmang \u003C/em>serves both as a shamanistic shrine to the wind goddess and as a departure point for the dives.\u003C/p>\u003Cp>\u003Cem>Halmang \u003C/em>is the Korean word for grandmother and also for shamanistic goddesses of Jeju, among others Seolmundae Halmang, who created the world and all life on it. Kaisen’s film grants us an intimate view of these women’s work, interweaving shamanistic practices with the solidarities the women cultivate among themselves in labor. As they tend to the long cotton, draped like a mythical creature or spiral, we witness a ritual—a choreography of slow, deliberate movements that reveals a profound spiritual connection to nature. Presenting a feminist dialogue drawn from folklore, Kaisen critiques modern society’s disregard for alternative spiritualities.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/jane-jin-kaisen",{"id":132,"title":133,"subtitle":8,"shortDescription":8,"description":134,"uri":135},"kuenstler-innen/milica-tomic","Milica Tomić","\u003Cp>In July 1995, Bosnian Serb forces descended on Srebrenica—previously declared a “safe area” for Bosnia’s muslim population by the United Nations—and forcibly expelled approximately 30,000 women and children, before systematically executing at least 8,000 men and boys. Many of these bodies were then exhumed and reburied in secondary and tertiary mass graves to obscure the scale of the killings. This took place under the eyes of NATO and Dutch peacekeepers, yet so many questions remain. In the thirty years since, the identities of Srebrenica’s victims and perpetrators have often been flattened to serve politically expedient ethno-national narratives, so that even in acts of commemoration, those who lost their lives are once again denied their humanity, reduced instead to ideological markers.\u003C/p>\u003Cp>Milica Tomić questions how one can hold the memory of such massacres without perpetuating fresh violence. Together with scholars, artists, and activists, she formed Grupa Spomenik, which engages with the theory of the psychoanalyst Jacques Lacan to explore the conditions under which art and theory can produce its own discourse on genocide and the contemporary state of permanent war. Tomić’s installation couples Grupa Spomenik’s \u003Cem>Matheme of Genocide \u003C/em>(2009), a Lacanian analysis of the Srebrenica massacre, with \u003Cem>Portrait of MM \u003C/em>(1999/2025), a film she shot after NATO’s bombardment of Belgrade. The artist records a meeting with her mother, the Yugoslavian actress Marija Milutinović, who, in her later years, began creating large abstract textile works using macramé, a knotting technique that traces back to ancient Assyria. Tomić responds to the form of the knot, as it appears within both her mother’s practice and in Lacanian theory, as a vehicle for subjectivities that can slip from the scripts of national trauma.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/milica-tomic",{"id":137,"title":138,"subtitle":8,"shortDescription":8,"description":8,"uri":139},"kuenstler-innen/liste","list","artists/list",{"id":141,"title":142,"subtitle":8,"shortDescription":8,"description":8,"uri":143},"kuenstler-innen/glyphen","glyphs","artists/glyphs",{"id":145,"title":146,"subtitle":8,"shortDescription":8,"description":147,"uri":148},"kuenstler-innen/gernot-wieland","Gernot Wieland","\u003Cp>In his new film, Gernot Wieland addresses a process whose urgency we recognize, yet which has rarely been successfully put into practice: healing society from the traumatic legacy of male-dominated, colonial Western art history. And this is just one of many narratives that permeate the social order, continually producing and reinforcing structures of oppression.\u003C/p>\u003Cp>The therapeutic tool of choice is the family constellation. Its representatives are ceramic figures that stand in for “Old Master” paintings, but also for mother, father, ego, Freudian psychoanalysis—and a fox. Perhaps this cultural-historical family constellation can expose mechanisms of power, but it does nothing to undo the loss. We don’t only lose people; Western art history itself is also built upon loss. Its scaffolding holds only by means of dispossession, colonial plunder, and the exclusion of marginalized groups.\u003C/p>\u003Cp>Like a storyteller, Wieland’s voice-over meanders through memories that at times spread their wings and take flight as fictions, only to suddenly crash back down onto the ground of historical reality. His tragicomic film and collaborative lecture-performance draw upon his upbringing in postwar Austria during the 1970s and ’80s—an “environment of repression.” There is something childlike in the tension between humor and seriousness: children observe—and speak about what they see, bluntly. In his writings on Marxist children’s theater, Walter Benjamin attributed something revolutionary to the power of children’s gestures and words. Perhaps the melancholy in Wieland’s work stems from the sorrow of having lost this childlike perspective. Even when his film treats certain subjects with a light touch, there is never a moment when the weight of loss, violence, and trauma is not palpable—making the inner pulse, like thick blue veins on a hand—perceptible from the outside.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Alicja Schindler\u003C/p>","artists/gernot-wieland",{"id":150,"title":151,"subtitle":8,"shortDescription":8,"description":152,"uri":153},"kuenstler-innen/zoncy-heavenly","Zoncy Heavenly","\u003Cp>When fires burn in war zones after bombing, soot particles scatter the sunlight in such a way that the sky turns unnatural shades of yellow and orange. It will not turn pink or purple under these conditions. This color spectrum only occurs naturally—at sunrise or sunset. By painting the sky pink and purple in \u003Cem>Lady Farmers’ Magenta Sky\u003C/em>, Zoncy Heavenly creates an alternative narrative, one where it is not war, but one’s own imagination that determines an environment’s atmosphere. Across Zoncy Heavenly’s practice—which spans photography, installation, painting, performance, and mediation work—art serves as a means of processing collective trauma.\u003C/p>\u003Cp>In the stark landscape of her painting, women farmers raise their arms, extending three fingers of their right hands. Originally a rebel salute from the American sci-fi film series \u003Cem>The Hunger Games \u003C/em>(2012–23), the gesture has become a symbol of resistance against the military dictatorship in Myanmar. Before moving to Berlin on a DAAD scholarship in 2022, Zoncy Heavenly co-organized a women’s protest against the 2021 military coup in Myanmar. From Berlin, she continues to follow the ongoing demonstrations by women farmers via social media. Most of these women have lost their husbands and sons, their farmland and homes, and are now displaced. Their unwavering courage gives the artist hope that justice remains possible.\u003C/p>\u003Cp>Sounds of airstrike explosions— emitted from tactile sound modules shaped like toy fighter jets—add an auditory dimension to the work. During the 13th Berlin Biennale, the artist will also contribute to the art mediation program. For Zoncy Heavenly, art and its activation through audience engagement is more than a way to deal with the war coverage from Myanmar. It’s also an opportunity to acquire and share knowledge about how trauma can be healed through alternative narratives.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Alicja Schindler\u003C/p>","artists/zoncy-heavenly",{"id":155,"title":156,"subtitle":8,"shortDescription":8,"description":157,"uri":158},"kuenstler-innen/iris-yingzen","Iris Yingzen","\u003Cp>Around ninety per cent of the population of Nagaland belong to Indigenous groups who are suffering under India’s rapid modernization pressure. The fight for sovereignty after India’s independence in 1947 led to decades of conflict with the Indian army. Militant groups turned inward, trapping civilians in cycles of violence. As abuse and killings escalated, drugs and alcohol numbed a generation to the turmoil. Between 1997 and 2007, Iris Yingzen witnessed brutality firsthand. She saw young men return from torture and imprisonment, their psyches shattered, and many unable to survive long after their release. She watched grief consume other women.\u003C/p>\u003Cp>As a young mother troubled by her own children growing up amid armed conflict, Yingzen began guerrilla gardening in 2005 at an electric post once used for torture and neglected as a garbage dump right outside her home. Slowly, she planted iris, callas, and lilies over the waste—a quiet act of defiance, rewriting the narrative of a place that once held collective trauma. Initially met with resistance from neighbors, the project gradually earned their support—they stopped throwing garbage there and began protecting the garden.\u003C/p>\u003Cp>\u003Cem>Garden of Hope \u003C/em>reflects the transformation of this site in six large-scale paintings. They depict mothers, wives, sisters, a family, neighbors, and the artist herself—those who have endured conflict and grief. The artist stands alone, lost in contemplation. She begins to plant saplings with the help of two students. We watch the site transform as neighbors join the gardening—an evocative representation that honors women who have endured conflict yet continue to rebuild through grief, community, and renewal.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Somrak Sila\u003C/p>","artists/iris-yingzen",{"id":160,"title":161,"subtitle":8,"shortDescription":8,"description":162,"uri":163},"kuenstler-innen/chaw-ei-thein","Chaw Ei Thein","\u003Cp>\u003Cem>Artists’ Street\u003C/em>, Chaw Ei Thein’s Myanmar protest landscape in fabric sculptures epitomizes the relational nature and mutual support of human ties, knotted in the transitional phase between enforced exile and a fragile, yet powerful, diasporic agency. Meandering through the 13th Berlin Biennale’s eponymously titled exhibition at KW Institute for Contemporary Art, it signals an engagement with place and community commensurate with the hope in a common destiny. Where the yard is the measure of yearning, monumentality emerges through intimacy—marked by minute details from stories shared only in secrecy, murmured messages that might carry a penultimate warning of impending demise—or simply be the last.\u003C/p>\u003Cp>The hand-stitched textile sculptures depict architectures and scenes of artistic protests against Myanmar’s military regime, spanning from the 1996 student demonstrations to the 2007 Saffron Revolution and the aftermath of the 2021 coup. Taken together, they form a palimpsest of decades of accumulated resistance, and act as the embodied memory of an episode of protest, of a performance of refusal, either witnessed by the artist firsthand or passed on to her by secondhand accounts, oral histories, and other documentation. At the seams of its memorial fabric, Chaw Ei Thein’s \u003Cem>Artists’ Street \u003C/em>materializes the performative necessity of the political under circumstances of dispossession such as those encountered by her community, which has been subjected to recurring assaults on its integrity.\u003C/p>\u003Cp>In her emboldened embodiment of feminist resistance and transnational grassroots activism, Chaw Ei Thein and her companions delineate the blueprint for further actions so long as they will be needed, and the roadmap for the miles left to march.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/chaw-ei-thein",{"id":165,"title":166,"subtitle":8,"shortDescription":8,"description":167,"uri":168},"kuenstler-innen/shahana-rajani","Shahana Rajani","\u003Cp>Tracing its origins back over fifty million years, the date palm is a symbol of sustenance and resilience. This species not only thrives in harsh conditions, but also nourishes those around it. Pollinated by the wind, its roots reach deep into the earth to find water in arid lands. Perhaps for this reason, it is said that the tree has access to hidden knowledge, which it chose to reveal to Bibi Fatima, the beloved daughter of the Prophet Muhammad. Continuing this legacy, there is a Baloch tradition, passed down among women, of turning to the date palm for guidance when trying to locate those who were abducted and disappeared by the army. But these women are not the only ones who have sought to tap the power of the palm. The date tree also appears as the emblem of the Pakistan Rangers, a paramilitary unit tasked with enforcing law and order.\u003C/p>\u003Cp>Shahana Rajani considers these competing claims in \u003Cem>a cipher for the missing\u003C/em>. Weathered hands twist palm leaves into a small, knotted bundle, which is then released on a floor mat to be read. There is a delicate interplay of tension and release, as the leaves give way to unseen pressures to take on a new form. Intersplicing this imagery are shots of Korangi, an industrial neighborhood of Karachi. The land was formerly a forest of mangroves and mud flats, where date palms flourished. Now these trees have been supplanted by military structures, branded with the Rangers’ emblem. And yet, despite the paramilitary’s efforts to exert its presence on the land, Rajani observes how the desert itself has answered with its own resistance, opting for ways of seeing and knowing beyond the data harvested by military surveillance.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/shahana-rajani",{"id":170,"title":171,"subtitle":8,"shortDescription":8,"description":172,"uri":173},"kuenstler-innen/sawangwongse-yawnghwe","Sawangwongse Yawnghwe","\u003Cp>The Joker is anti-capitalism; he hates Wayne Enterprises, which makes and procures weapons for Batman. The Joker presents an arms list like it’s a menu, affixing it with words like “prix fixe,” “antipasti,” “primi,” “secondi,” “contorni,” and “dolci.” He plans to take over the world—by feeding everyone more sugar.\u003C/p>\u003Cp>From the heights of KW Institute for Contemporary Art’s attic, overlooking the city and the 13th Berlin Biennale, he observes us from his lair. Cherry-red healing lamps shine from the tiny windows of his hideout. The broken pieces of his scattered childhood dream—a career as a stand-up comedian—have not been fully swept away. The Joker goes to therapy, only to realize the analyst is just as broken as he is. He turns to art history and Frantz Fanon’s how-to book, \u003Cem>The Wretched of the Earth \u003C/em>(1961).\u003C/p>\u003Cp>Yellow contact lenses, lime-green makeup, and clown exercises are all part of the preparation for world takeover. The headquarters is a Gesamtkunstwerk-as-practical-joke. Sawangwongse Yawnghwe, playing the Joker in a video, rattles off statements that unravel the intricacies of the worlds of finance, military, and politics. An architectural model of the Shan Palace, occupied by the military for decades, is one day to be the Yawnghwe Museum. For now, a fictional Yawnghwe Museum roams in exile. A maze of banners hold linkages between conflicts, arms production, and the national manufacturing of weapons.\u003C/p>\u003Cp>These networks commonly intersect behind the veneer of museum committees, biennale funding, and art patronage. The arms list mirrors an artist list. Exhibition-making is also an exercise of international soft power. The Joker mocks the militarization and weaponization of art. The Joker is a disruptive element in society. He expresses the grievances of the people.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma \u003C/p>","artists/sawangwongse-yawnghwe",{"id":175,"title":176,"subtitle":8,"shortDescription":8,"description":177,"uri":178},"kuenstler-innen/stacy-douglas","Stacy Douglas","\u003Cp>Franz Kafka’s novel \u003Cem>The Trial \u003C/em>(1925) plunges an unsuspecting young man into the brutalities of bureaucracy, when one day he wakes to find himself charged with an offense he knows nothing about. His attempts to fight this injustice lampoon the opacity and absurdity of legal proceedings, though his inability to defend himself is far from comic.\u003C/p>\u003Cp>As a professor of legal studies, Stacy Douglas draws on her expertise to comment on the ways that legal codes operate on the presumption of always being \u003Cem>right\u003C/em>, rather than existing as a malleable (and fallible) social contract. This means those who find themselves in alternative positions—even unknowingly, as Kafka’s protagonist did—are automatically deemed \u003Cem>wrong\u003C/em>.\u003C/p>\u003Cp>Douglas tackles the implications of this misconception in \u003Cem>Law Is Aesthetic: Trope\u003C/em>. The first chapter in this quartet of videos combines examples of the trope of abruptly finding oneself on the wrong side of the law with footage of news anchors describing turns of events as “Kafkaesque.” The coinage repeats in the second installment, in which an individual who has found themself at odds with the law reads sections of Canadian case law that use the same term. A third video follows the rehearsal of Douglas’ one-act play, \u003Cem>Waiting for Law\u003C/em>—a riff on Samuel Beckett—, which charges two protagonists with the crime of both waiting and not waiting, neither of which is allowed. The final video presents love letters on “counter-monumentality,” a central thesis of her academic work.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/stacy-douglas",{"id":180,"title":181,"subtitle":8,"shortDescription":8,"description":182,"uri":183},"kuenstler-innen/margherita-moscardini","Margherita Moscardini","\u003Cp>The staircase in KW Institute for Contemporary Art is a walkable sculpture by Margherita Moscardini. Each of its 561 stones is engraved with a number—a reference to its legal status. Moscardini initially gifted the stones to stateless, supranational, and extraterritorial organizations and nations—such as universities, Indigenous groups, and autonomous regions—who were then asked to donate them back as building blocks for the staircase. A series of certificates, also on view, indicate that the stones now belong to no one. With this sculpture, Moscardini materializes a thought experiment on national law within the framework of an art institution: How can “neutral” objects be created—objects that do not belong to the state whose territory they physically occupy?\u003C/p>\u003Cp>\u003Cem>The Stairway\u003C/em>’s design is reminiscent of the courtyard of the Tomb of the Virgin Mary in East Jerusalem. The principle of the Status Quo applies there, which regulates equal access to multi-religious sites in Jerusalem and Bethlehem. Originally established in an Ottoman decree in 1852 and upheld in later peace agreements such as the Berlin Treaty (1878), the Status Quo continues to enable a legal space aimed at fostering non-hierarchical coexistence among people of different faiths. Moscardini transfers this idea from the sacred to the civic, creating an experiment in national law and the commons within an artistic framework: a space made of “stateless” stones. She explores what forms of universal citizenship might be possible—ones rooted neither in territorial affiliation nor kinship. And she reminds us of something often forgotten amid the privatization of public space and debates on migration: that we are all guests on a planet that once belonged to no one.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Alicja Schindler\u003C/p>","artists/margherita-moscardini",{"id":185,"title":186,"subtitle":8,"shortDescription":8,"description":187,"uri":188},"kuenstler-innen/memory-biwa","Memory Biwa","\u003Cp>Memory Biwa delves into the complicated legacy of colonialism in Namibia, the site of the first genocide of the twentieth century. Despite its emphasis on remembrance culture, Germany has done little to acknowledge its 1904–08 campaign against the Herero and Nama people, many of whom were interned in concentration camps or left to die in the desert. Despite its name, the “Hererostein,” a 1907 monument at Berlin’s Columbiadamm Friedhof, grieves not for Namibians, but for seven German imperial soldiers tasked with putting down their resistance. \u003C/p>\u003Cp>In 2009—more than a century later—a second, smaller monument was added to recognize the tens of thousands killed during this campaign. Even in this gesture, the victims are neither named, nor numbered, and the atrocities are framed vaguely as a “colonial war,” rather than a genocide. Only in 2021 did Germany officially apologize for its actions in Namibia. The following year, a plaque from Tempelhofer Feld’s History Trail openly described the events as a genocide. Last summer, in another gesture towards reparation, a section of Petersallee in Berlin-Wedding—formerly named for colonialist Carl Peters—was renamed to honor Namibian anti-apartheid activist Anna Mungunda.\u003C/p>\u003Cp>In revisiting this history and the compounded violence of suppressing its memory, Biwa recalls the figs her grandmother once grew. These trees were quiet assertions of autonomy in an era of apartheid and land dispossession, providing shelter and sustenance, while reinforcing one’s relationship to the soil. Under the framework of a traditional Nama home, Biwa will host the \u003Cem>Yvette Abrahams Reading Cycle\u003C/em>, a series of reading sessions that explore the activist’s legacy of cultivating indigenous plants. These gatherings build upon \u003Cem>Peda\u003C/em>’\u003Cem>Gogo\u003C/em>, an artist-led procession to the contested commemoration sites around Tempelhofer Feld.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/memory-biwa",{"id":190,"title":191,"subtitle":8,"shortDescription":8,"description":192,"uri":193},"kuenstler-innen/isaac-kalambata","Isaac Kalambata","\u003Cp>“Witch” is an exceedingly useful term. In fairy tales and folklore, the witch is often portrayed as evil, a villain by virtue of the audacity to live by their own rules. Magic plays a role in this, but more often than not, that magic is merely the means to slip the binds of society’s restrictions and regimes. For this reason, the term “witch” has historically been levied at individuals who posed a threat to existing power structures, be they political, religious, or socio-economic.\u003C/p>\u003Cp>Recent scholarship has done much to redeem the term “witch” within the context of feminist economic discourse, identifying the branding of witches as part of the maintenance of capitalism. In Isaac Kalambata’s pair of new collages, the artist explores how these same mechanisms have also served colonialism. Both works draw from the Witchcraft Act of 1914, a legislation that expressly sought to entrench the colonial Christian church by curtailing alternative spirituality and healing practices within what is now Zambia. The ordinance reduced witchcraft to the attempt “to control by non-natural means the course of nature,” with particular attention to the use of charms.\u003C/p>\u003Cp>Kalambata reanimates this symbolism in \u003Cem>Bamucapi\u003C/em>, which brings archival materials together with a cast of characters that include an excommunicated archbishop, two healers, and a prophetess. Centering on healing, \u003Cem>Mizyu \u003C/em>draws its title from the root sources of traditional medicine. Quoting a Bemba proverb “Ukwimba akati, Kusanka na Lesa” [To dig for medicine, you mix it with God], Kalambata surveys how property laws have denied foragers access to land, and thus to the ingredients they seek. The artist offers the figure of the Mwendanjangula, a mythical forest being associated with nature as an example of a sustainable relationship to natural resources.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/isaac-kalambata",{"id":195,"title":196,"subtitle":8,"shortDescription":8,"description":197,"uri":198},"kuenstler-innen/akademia-ruchu","Akademia Ruchu","\u003Cp>Akademia Ruchu [Movement Academy] began creating performances in the 1970s and 1980s as part of numerous anti-communist activities in the spirit of social resistance, which ultimately led to the creation of the anti-communist solidarity movement in Poland. Presented as photographs and a video at the \u003Cem>Artists’ Street\u003C/em>, these performances manifest the mutually reinforcing relationship between public space and mass action, as if one depended on the other to reveal its full potential in and for civic action. Part behavioral theater, part theater of the absurd, this loose transdisciplinary artistic formation straddled a broad range of expressions, from visual to live art, eschewing the art gallery in favor of public space or other non-institutional sites.\u003C/p>\u003Cp>Helmed by Wojciech Krukowski (1944–2014), Akademia Ruchu deployed strategies that would currently be deemed civil disobedience. Their peaceful methods of disrupting the typical flow of daily life and its pedestrian activities (pun intended) can be seen in \u003Cem>Potknięcie\u003C/em>, which consisted of Akademia Ruchu members repeatedly stumbling around before a public of unsuspecting passers-by. Attentive pedestrians may have noticed that this unfolded in front of the former Communist party headquarters.\u003C/p>\u003Cp>Realized with stealth and speed a year before martial law, \u003Cem>Sprawiedliwość jest ostoją mocy i trwałości Rzeczypospolitej \u003C/em>involved performers lifting a banner bearing the motto of the Palace of Justice as a slogan for a silent show of popular support for the registration of the Independent Self-Governing Trade Union “Solidarity” (NSZZ “Solidarność”). With this performance, Akademia Ruchu consciously tried to make history, but above all, their work was about healing the social tissue, revitalizing what could have disappeared, interpersonal bonds, and the spirit of resistance.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/akademia-ruchu",{"id":200,"title":201,"subtitle":8,"shortDescription":8,"description":202,"uri":203},"kuenstler-innen/amol-k-patil","Amol K Patil","\u003Cp>Amol K Patil approaches Sophiensæle’s early years as a space of intensive political and cultural activity during its time as the headquarters of the Berlin Craftsmen’s Association. He explores this through the “BDD Chawls” (Bombay Development Department): special architecture used as social housing for trade union workers in Mumbai. These buildings—known for their cramped living conditions and communal bathrooms—were originally constructed by the British in the early twentieth century to house poor male migrant workers who toiled in factories or mines. Chawls were important spaces of political activism, both during the colonial period and after India’s independence in 1947. B. R. Ambedkar, the principal architect of the Constitution of India, lived here. The buildings were demolished and replaced by new ones several years ago as part of large-scale remodeling and upgrading projects.\u003C/p>\u003Cp>Patil grew up near the chawls. His artistic affinity for sound and movement can be traced back to his fondness for the interlocking, noisy life there. His father belonged to the factory workers’ union and wrote experimental plays, which were performed for the union members in the 1980s. His grandfather wrote \u003Cem>powada\u003C/em>, a form of spoken word or rap, to document Ambedkar’s political uprisings against India’s abhorrent caste system. Although officially banned, discrimination against people based on their hierarchical position in the caste system is still a reality in India today. Patil seeks to use art to make the voices of the chawls’ former inhabitants audible again and reflect their collective character.\u003C/p>\u003Cp>A radio plays fiery speeches, but then combusts into a cloud of smoke. B. R. Ambedkar, Rosa Luxemburg, Karl Liebknecht, and the workers’ movement itself are linked in the drawings on the walls. The theater of the social and its political dimension unfolds.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kito Nedo\u003C/p>","artists/amol-k-patil",{"id":205,"title":206,"subtitle":8,"shortDescription":8,"description":207,"uri":208},"kuenstler-innen/armin-linke","Armin Linke","\u003Cp>In 2025, Armin Linke captured Anton von Werner’s \u003Cem>The Berlin Congress 1878 \u003C/em>(1881) in the ballroom of the Berlin Senate Chancellery, which depicts a conference dominated by the Central Powers of that time. Otto von Bismarck, Russian diplomat Count Schuvalov, and Austro-Hungarian Count Andrássy draw the eye to the painting’s foreground, where the handshake between Bismarck and Schuvalov serves as a visual anchor. Through orchestrated lighting, positioning, and gestures, the artist portrays a two-tier diplomacy where major powers impose fateful decisions on the Balkan nations, whose representatives skulk on the sidelines.\u003C/p>\u003Cp>Held at the Reich Chancellery from June 13 to July 13, 1878, the summit reorganized the Balkans. Germany hosted, with Austria-Hungary, Russia, and Britain participating, while the Ottoman Empire observed. Bismarck’s Germany—which had no territorial claims in the Balkans—acted as an “honest broker,” but not without self-interest. Berlin, Vienna, and London sought to curb Moscow’s influence which, despite its military strength, secured only minor gains in Bessarabia. Balkan national aspirations were ignored as territories were arbitrarily annexed by Austria-Hungary, sowing the seeds of World War I and other future conflicts. Six years later, Bismarck mediated the Berlin Conference (1884)—also known as the “Scramble for Africa”—where European powers carved up the continent without African participation.\u003C/p>\u003Cp>A lasting legacy of the 1878 Congress was the formalization of the Ottoman Status Quo decree at the religious sites in Jerusalem and Bethlehem. Today, it governs rights of worship and ownership at these sacred places.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Somrak Sila\u003C/p>","artists/armin-linke",{"id":210,"title":211,"subtitle":8,"shortDescription":8,"description":212,"uri":213},"kuenstler-innen/artcom-platform","Artcom Platform","\u003Cp>Since 2020, the women-led collective of artists and researchers Artcom Platform has developed new systems of care for Kazakhstan’s Lake Balkhash. The sickle-shaped lake is one of the world’s largest, but it faces the same threats from over-extraction and climate change that have drained the Aral Sea and other nearby bodies of water. Kazakhstan has recently agreed on building a nuclear plant on Balkhash’s shores, further endangering the surrounding environment.\u003C/p>\u003Cp>To find hope for this natural resource, Artcom Platform turns to the tactics of \u003Cem>Qazaqlïq\u003C/em>, the semi-nomadic tradition of “steppe democracy” that has allowed the Kazakh people to preserve their way of life even under colonial oppression and forced  sedentarization. \u003Cem>Qazaqlïq \u003C/em>implies a voluntary rejection of social and legal constraints, a willful fugitivity in the pursuit of true freedom. The collective is drawn to the medium of video, as the digital camera is capable of recreating the perspective of someone moving through the landscape on horseback. They use this format to create \u003Cem>Balkhash Zhyry\u003C/em>, a video essay on the various attacks on the lake’s ecosystems told in the voice of the lake itself. The video is presented within a structure fashioned from steppe reeds, nodding to a tradition of weaving as collective practice.\u003C/p>\u003Cp>As a second gesture, Artcom Platform intervenes within the stairwell of the former courthouse with a silent monument that commemorates the individuals across Kazakhstan who were killed, detained or tortured in 2022, in an uprising known as “Bloody January.” Triggered by skyrocketing petroleum prices, the peaceful protests expressed increasing discontent with the government, who in turn labeled its own citizens “terrorists” to justify lethal force in its response.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/artcom-platform",{"id":215,"title":216,"subtitle":8,"shortDescription":8,"description":217,"uri":218},"kuenstler-innen/busui-ajaw","Busui Ajaw","\u003Cp>Busui Ajaw was born into a family of seven sisters, steeped in the myths, traditions, and spiritual beliefs of the Akha people from the highlands of Southeast Asia. Her joyful childhood in nature was abruptly disrupted at fifteen when the family fled to escape crossfires of violent clashes between the Myanmar military and the United Wa State Army (UWSA)—one of the largest armed militias in Myanmar. The onslaught that began with land destruction, the occupation of agricultural areas, and the draining of rivers, escalated to theft, rape, methamphetamine distribution, the use of men as human shields in minefields, and extrajudicial killings, ultimately forcing the Akha from their homes. Crossing rivers and mountains, they left behind a lawless homeland only to face new oppression as illegal stateless labor migrants in Thailand. This traumatic journey profoundly shaped Ajaw’s art, inspiring her to develop a visual language marked by isolation and meditation that reconnects with her spiritual roots and conveys her inner turmoil, anxiety, and alienation.\u003C/p>\u003Cp>Ajaw’s series of five paintings not only bears witness to this brutal violence. The artist also evokes memories of her village by an abundant river, the vanishing Akha way of life, and the loss of spiritual traditions, such as oral rituals and objects that were largely erased by early twentieth-century missionary activity. She views her resilience as a series of rebirths—like a tree that, with each fall, deepens its roots and rises stronger to preserve the fading legacy of the Akha and their primordial lineage.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Somrak Sila\u003C/p>","artists/busui-ajaw",{"id":220,"title":221,"subtitle":8,"shortDescription":8,"description":222,"uri":223},"kuenstler-innen/bwanga-benny-blow-kapumpa","Bwanga “Benny Blow” Kapumpa","\u003Cp>Why does the numeric virtual interface of Instagram or other platforms have the inherent power of belief? When European powers conquered the world, their civilizational push aimed to eradicate traditional beliefs, healing, and folk practices that held people together.\u003C/p>\u003Cp>Bwanga “Benny Blow” Kapumpa invites Doctor Bwanga, a fictional character, to hold court as a traditional healer, called \u003Cem>Ng’aka \u003C/em>in Zambia, to the 13th Berlin Biennale. Doctor Bwanga is out to heal the anxieties of modern life caused by politics, corrupt regimes, and the vain egos of men.\u003C/p>\u003Cp>Seeing the practice of the healer as a third dimension of human interactions, Kapumpa believes we can explore subconscious ancestral knowledge through storytelling and soothsaying. Although Zambian folk traditions were suppressed under British rule, they persisted and remain significant among many communities along the Zambezi River.\u003C/p>\u003Cp>Kapumpa’s sessions take place in a typical German phonebooth topped with a Zambian thatched roof. Here, the audience can phone Doctor Bwanga to hear his artificially generated voice and advice. We believe most digital myths but question traditional knowledge systems labeled as folk.\u003C/p>\u003Cp>Doctor Bwanga’s arrival is announced by posters throughout Berlin and a social media campaign, mirroring the many advertisements for witchdoctors found on public transportation, public toilets, and government buildings. Someone among us is a customer seeking these services to validate their existence. For Doctor Bwanga, the sighting of foxes around Berlin is a sign that the spirits of German ancestors are visiting their descendants, who eagerly want to communicate. Doctor Bwanga serves as the medium, ironically an algorithm seeking to make us believe in it.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/bwanga-benny-blow-kapumpa",{"id":225,"title":226,"subtitle":8,"shortDescription":8,"description":227,"uri":228},"kuenstler-innen/daniel-gustav-cramer","Daniel Gustav Cramer","\u003Cp>Death Valley in California is a place of extreme heat and dryness. A few years ago, when Daniel Gustav Cramer spent several days in the northern part of the US national park, he noticed a coyote passing his bungalow every morning at roughly the same time. The artist photographed the animal in the early light of dawn, noticing how it seemed completely unfazed by the human observation of its daily routine. Some years after this encounter with the coyote, Cramer spotted a fox moving through the wintery twilight from the balcony of his Berlin apartment. The fox slipped through a hole in a fence across the street, crossed the road, and eventually disappeared between parked cars. Cramer realized that the fox and the coyote shared a striking resemblance. As in a seemingly random circular motion, two distant places became connected through these two animals.\u003C/p>\u003Cp>With \u003Cem>Fox & Coyote\u003C/em>, Cramer brings the wild Californian animal to Berlin as part of a sprawling, citywide installation in which images of the coyote are distributed across the city. From these scattered images, a cohesive yet shifting “sculptural object” is created within the urban thicket. In addition to the circular parcours of the venues of the 13th Berlin Biennale, this emotional cartography of the coyote forms a spatially expansive conceptual whole that only materializes as a sculpture in the minds of the viewers.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kito Nedo\u003C/p>","artists/daniel-gustav-cramer",{"id":230,"title":231,"subtitle":8,"shortDescription":8,"description":232,"uri":233},"kuenstler-innen/elshafe-mukhtar","Elshafe Mukhtar","\u003Cp>“Every border implies the violence of its maintenance,” writer Ayesha A. Siddiqi has observed. This statement neatly encapsulates a key truth about political borders: they exist only in their enforcement. Rivers change course, waters recede, jungles dry into deserts, and deserts bloom into jungles. Through these cycles, a community’s claim to land can never truly be fixed but must be constantly performed as shared history.\u003C/p>\u003Cp>In his new series of drawings, Elshafe Mukhtar bears witness to the first days of the war that has raged in Sudan since April 15, 2023, when the paramilitary Rapid Support Forces (RSF) clashed with the country’s army. Some of the RSF’s first targets included museums and archives, reservoirs of cultural memory not only for Sudan, but for the entire region. Khartoum’s renowned National Museum—formerly home to one of the most important collections in Africa, with extensive artifacts from Nubian culture—was reportedly heavily looted, with historical records disappearing overnight.\u003C/p>\u003Cp>Mukhtar draws a line between this targeted cultural erasure and the destruction of Wadi Halfa, an ancient Nubian settlement whose ruins were flooded in 1964 as part of the construction of the Aswan Dam. In this sense, the violence aims to eradicate the shared history that tethers a particular culture to the land. Mukhtar’s drawings convey the general confusion of those early days: bombs rain down onto rooftops, women and children clutch at empty bowls, and fighters from both sides have no heads, but instead wear boots on their necks—alluding to the army and the RSF—or metal cups (“koz”), in a nod to popular slang for the Muslim Brotherhood. The displacement thus not only extends to the population and its cultural heritage, but also to the political promise of the 2018 December Revolution, which sought to put the country back in the hands of its people.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/elshafe-mukhtar",{"id":235,"title":236,"subtitle":8,"shortDescription":8,"description":237,"uri":238},"kuenstler-innen/etcetera","Etcétera","\u003Cp>Argentinian collective Etcétera’s ambitious intergalactic campaign \u003Cem>LIBERATE MARS, \u003C/em>presented at the 13th Berlin Biennale in the form of a newly commissioned interactive installation, is a call to unfree the neoliberal systems wreaking havoc on Earth’s Indigenous resources and imaginaries. In 2005, Etcétera co-founded the International Errorist movement, an international organization that advocates error as a philosophy of life. Maintaining their “errorist” stance, once defined as “an erroneous philosophical position,” Etcétera moves beyond the neo-retro Dada aesthetic of the \u003Cem>Errorist Cabaret \u003C/em>(2009) to launch a post-futuristic, albeit equally absurdist, critical moving-image aesthetic. This new approach challenges the falsity and coloniality inherent in the multiplanetary life narratives, promoted by private aerospace companies, such as the SpaceX propaganda spectrum.\u003C/p>\u003Cp>Focusing their lenses on the so-called Lithium Triangle—comprising the three Latin American countries of Argentina, Bolivia, Chile, where Indigenous territories are exploited for lithium extraction—Etcétera also invites the public to direct their gaze toward their own involvement in extractivism and space fantasy from an infinity greenscreen room. They do so by juxtaposing a classic video projection featuring a film that is occasionally interrupted by a screensaver-like Martian landscape with an archetypal green-screen room for chroma keying, only to later swap their roles. The unsuspecting participant public, equipped with space-themed props left in the green room, may find themselves propelled into the Martian landscape of the projection, implying implicit complicity as they simultaneously perform the first protest on Mars. Ever.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Toncan\u003C/p>","artists/etcetera",{"id":240,"title":241,"subtitle":8,"shortDescription":8,"description":242,"uri":243},"kuenstler-innen/fredj-moussa","Fredj Moussa","\u003Cp>In his humorously tragic films, Fredj Moussa combines landscape, storytelling, and absurdist props crafted from cloths and repurposed waste or fabrics to reveal socio-political realities. As a Franco-Tunisian born in France, he often draws on European literature set in Tunisia to create commentaries on alienation and belonging.\u003C/p>\u003Cp>In his new work, Moussa creates a comic critique of the word “Barbarian.” Even as the Renaissance was enlightening Italy, prejudices against those enriching Europe through trade and other forms of cultural exchange persisted, as they were perceived as alien cultures of uncivilized, fearsome so-called “barbarians.” Reading Giovanni Bocaccio’s \u003Cem>The Decameron\u003C/em>—a fourteenth century set of short stories—provides insight into the prevailing prejudices of that time: In the chapter “Fifth Day, Novel II,” the figure Gostanza boards a boat, despairing about the loss of her lover, and is wrecked near Sousse in Tunisia. To the Romans, this North African coast was known as the “Barbary Coast.” The French word \u003Cem>Berbère\u003C/em>, referring to the Indigenous people living there—the Amazigh—originates from this term.\u003C/p>\u003Cp>Like many other literary works, Bocaccio’s novel cycle is considered a product of European culture. Directly or indirectly, however, non-European influences via trade routes or the oral transmission of stories are integral to this work. Just as cultural exchange beyond the seas is always in motion, so too are the images in Moussa’s film. With the aid of humor, his visual poetry opens a perspective on the Eurocentrism of Western Literature. His film raises the questions of how discriminatory perceptions inform the realities of racism today and have fueled imperialistic colonial fantasies of civilizing cultures outside the realm of Europe.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/fredj-moussa",{"id":245,"title":246,"subtitle":8,"shortDescription":8,"description":247,"uri":248},"kuenstler-innen/freeszfe","Freeszfe","\u003Cp>Choral singing, flag waving, a man bouncing in the air, candles in the rain: all the tropes of popular protest. Yellow face masks printed with a black raised hand—Covid-era props for demonstration. And the slogans: “We stand for academic freedom!” “We are the essence of the university,” “We stand for our autonomy and our rights until our last breath.”\u003C/p>\u003Cp>There was plenty of theater at this protest, which came to be known, as #FreeSzFE. It was launched in 2020 at the University for Theater and Film Arts of Budapest (SzFE) to defend academic freedom imperiled by the investiture of a government-appointed chancellor. On October 23, the number of protesters swelled from 450 students to 30,000 supporters from the general population in commemoration of the 1956 Hungarian revolution. Three videos of SzFE student actions appear in the \u003Cem>Artists’ Street\u003C/em>.\u003C/p>\u003Cp>Rooted in a long tradition of campus sit-ins, blockades, and street actions, the 71-day #FreeSzFE blockade—now the Freeszfe Society, led by former students and an ex-faculty member of Hungary’s premier theater and film school—became a blueprint for subsequent university action against authoritarian regimes seeking to curtail history to political propaganda and reduce curricula to party lines. To ensure that affected students could still graduate, several universities launched an emergency exit program as part of a unique and swift Pan-European alliance.\u003C/p>\u003Cp>At a time when the US government is taking sweeping measures to cut funding and exert control over some of its most eminent universities, not only does the oft self-righteous stance castigating Eastern European regimes as backward not hold anymore, but the lesson givers have also changed sides.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons \u003C/p>\u003Cp>\u003C/p>\u003Cp>Pan-European alliance: Akademie für Darstellende Kunst Baden-Württemberg, Ludwigsburg, Germany; Universität Mozarteum, Salzburg, Austria; Akademia Teatralna im. Aleksandra Zelwerowicza, Warsaw, Poland; Accademia Teatro Dimitri, Verscio, Switzerland; Filmakademie Wien, Austria\u003C/p>","artists/freeszfe",{"id":250,"title":251,"subtitle":8,"shortDescription":8,"description":252,"uri":253},"kuenstler-innen/gabriel-alarcon","Gabriel Alarcón","\u003Cp>Two hands hold a banner with the phrase “We can all see that the colonizer is naked,” referring to the story \u003Cem>Emperor’s New Clothes\u003C/em>, symbolizing the empty promises of capitalism and the barren landscapes left behind by the world’s insatiable hunger for infinite profit. With his series of \u003Cem>retablos\u003C/em>—devotional folk altars—Gabriel Alarcón reimagines symbols of colonial power from a contemporary perspective.\u003C/p>\u003Cp>Some of his \u003Cem>retablos \u003C/em>tell the story of teacher protests for better working conditions, others of protest in the Andes region against the state’s decision to grant international mining companies easier access to lithium reserves. The Lithium Triangle, spanning Argentina, Chile, and Bolivia, holds one of the world’s largest lithium deposits. Its continuous extraction not only destroys the Andean ecosystem, but also displaces Indigenous people from the territories sacred to them.\u003C/p>\u003Cp>The installation of the \u003Cem>retablos \u003C/em>in the Hamburger Bahnhof ’s Werkraum forms the constellation of a march itself, mirroring the Malón de la Paz [Peace Raid] in 1946 and 2006: walks by Indigenous communities across the Andes from Jujuy to Buenos Aires to demand the restitution of their ancient lands. These walks were repeated again in 2023 to protest Argentina’s plans to pay its debts by exploiting the region.\u003C/p>\u003Cp>In his works, the artist uses symbols of power to mock the nation state as well as to speak about colonial oppression and the violent processes of cultural syncretization, which disregards Indigenous cosmologies and their sacred connection to the land.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/gabriel-alarcon",{"id":255,"title":256,"subtitle":8,"shortDescription":8,"description":257,"uri":258},"kuenstler-innen/helena-uambembe","Helena Uambembe","\u003Cp>“The more creative with your trauma, the better,” artist Helena Uambembe deadpans in her video \u003Cem>How to Make a Mud Cake\u003C/em>. Her words are sardonic, a jibe at the expectation that one should treat their pain as a commodity, packaging and peddling their wounds for an external market eager to pantomime empathy.\u003C/p>\u003Cp>A playful but biting commentary on loss and reckoning, \u003Cem>How to Make a Mud Cake \u003C/em>suggests that trauma is more than one person’s burden, that it can seep into the soil and permeate a culture. Uambembe’s work is rooted in this experience of inherited trauma. The artist grew up as the child of displaced Angolans in Pomfret, South Africa, where her father fought as a soldier in the 32 Battalion, an elite South African military unit whose conscripts were largely of Angolan heritage. Much of her work grapples with these various levels of estrangement.\u003C/p>\u003Cp>The video conflates a children’s game with an online cooking tutorial, as the artist assumes the persona of a social media chef to tackle the lingering trauma of colonialism. Laying out her ingredients, she works clumps of soil between her palms to “remove any land grabs.” At one point, she urges her viewers to “make sure not to cut yourself,” before adding “but if you do it adds to your life story.”\u003C/p>\u003Cp>The video is rounded out with a series of ink prints on kitchen rags, listing out package warnings: “May contain traces of nationalism” or “May contain traces of fascism.” The prints operate in the same imposter mode as the video, by deliberately emulating cheap, mass-produced goods. Their humor is immediate, but their truth registers more deeply. After all, how can one remove blood once it has soaked into the soil?\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/helena-uambembe",{"id":260,"title":261,"subtitle":8,"shortDescription":8,"description":262,"uri":263},"kuenstler-innen/htein-lin","Htein Lin","\u003Cp>As one of the few items capable of freely passing in and out of a cell, prison linens have long been dangled as a trope of potential escape—whether that release comes through the form of a knotted rope ladder or a noose. Htein Lin used prison-issued cotton cloth to propose a different form of escape. In 1988, the artist, then a law student, participated in the 8888 Uprising, a protest movement against the political party that had held Myanmar since 1962. In the aftermath, Htein Lin spent two years in refugee camps on the Indian border, where he embraced his early passion for art.\u003C/p>\u003Cp>Htein Lin returned to Myanmar only to be later accused of inciting protest against the government. He served over six years in prison. During this time, Htein Lin continued his creative practice, conceptualizing performances, editing a samizdat publication, and putting on an exhibition. While there were limited resources for production, the artist experimented with the potential for expression, taking up objects like bowls, cigarette lighters, and carved soap to create prints on linens, which were then smuggled out.\u003C/p>\u003Cp>This selection of Htein Lin’s \u003Cem>Prison Paintings \u003C/em>bears the artist’s testimony of the time spent behind bars. The cruel conditions are reflected in the \u003Cem>Guernica\u003C/em>-style gaping mouths, the contortions of bodies warped by hunger and deprivation. Figures and faces emerge from coiled patterns, only to sink back into the compositions. And yet, Htein Lin does not relinquish his humanity. Buxom dancing girls and tender family scenes speak to a longing for companionship and intimacy, while a work like \u003Cem>The Escaping Soul (2)\u003C/em>—a face formed from two footprints—insists on the artist’s ability to be both present and absent.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/htein-lin",{"id":265,"title":266,"subtitle":8,"shortDescription":8,"description":267,"uri":268},"kuenstler-innen/huda-lutfi","Huda Lutfi","\u003Cp>Long associated with mystery, secrecy, and sorcery or, to the obverse, idiocy and tomfoolery, hooded hats have long meandered in the popular imagination as normalized symbols of Otherness. The conical variety, known as “dunce cap” or “fool’s hat,” was the one chosen by Egyptian artist Huda Lutfi for her aptly titled installation \u003Cem>The Fool’s Journal\u003C/em>. A cultural historian well-versed in the multifarious references associated with such hats, Lutfi presented \u003Cem>The Fool’s Journal \u003C/em>in Cairo in the immediate aftermath of the popular uprising centered around Tahrir Square during the so-called Arab Spring (2011), which the installation both tangentially comments upon and documents in a cunning gesture of support. Made from haphazardly assembled paper cut-outs of various Arabic journals published during that pivotal period in contemporary Egyptian history—one that saw the deposition of its long-time ruler, ignited unrest across the region, and captured the global imagination already inflamed by the Occupy Wall Street movement in the United States—it stood then, as now, as a beacon for the emancipatory aspirations of the multitude.\u003C/p>\u003Cp>The work is now re-presented to the public for the first time in the 13th Berlin Biennale. How will these testimonies resonate more than a decade later under the inflamed geopolitical circumstances in the Middle East? Left untranslated by design in Berlin—a global city with a sizeable Arabic-speaking community—who will \u003Cem>The\u003C/em> \u003Cem>Fool’s Journal \u003C/em>directly address in all the intricacies of a native tongue and the volatile political feelings it can incense?\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/huda-lutfi",{"id":270,"title":271,"subtitle":8,"shortDescription":8,"description":272,"uri":273},"kuenstler-innen/judith-blum-reddy","Judith Blum Reddy","\u003Cp>It should come as no surprise that an US American citizen who declared “I’m Afraid of Americans” in 2018 could also say, three years later, “Everything is not OK,” transforming the casual idiom “Everything is OK” into a critique of cultural cover-up in the name of politically correct normalcy. The first statement is the title of Judith Blum Reddy’s mixed media-series presented in the \u003Cem>Artists’ Street\u003C/em>, while the latter pronouncement, three years before the most recent US presidential election, is not only the title of another series, but also the title of her first retrospective in France, the country she claims as her second home. What might Blum Reddy add to that, five months into the 47th American Presidency?\u003C/p>\u003Cp>The progeny of survivors from an Austrian Jewish family exterminated in Nazi concentration camps, Blum Reddy cites camp transportation records, among other lists of bureaucratic regimes like pre-1968 France and contemporary India. These documents, and other seemingly mundane archival material that finds meaning in numerical mass, form the backbone of her artistic material. Seemingly paradoxical, as autoportraits often are—for Blum Reddy views her self-reflexive practice as just that—she uses the very method she critiques as her own critical mode. The absurd abundance, teetering on the verge of the nonsensical, that she conjures in her assemblages delivers truth through her own form of direct democracy: an unself-censored art. With fragments like “happy pill,” “brain ache,” “It’s fantastic,” interspersed with “truth squad,” “clown parade,” or “axis of evil,” she counters blatant brainwashing with potent political grammar.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons \u003C/p>","artists/judith-blum-reddy",{"id":275,"title":276,"subtitle":8,"shortDescription":8,"description":277,"uri":278},"kuenstler-innen/kazuko-miyamoto","Kazuko Miyamoto","\u003Cp>Among the freest of free spirits, few artists wore that distinction as well as Kazuko Miyamoto. A wide-angle view of her sixty-year practice reveals a methodical investigation of structuring principles grounded in material and corporeal forms in service of feminist doxa and praxis. From the \u003Cem>String Constructions \u003C/em>of the 1970s—nail-pinned, cotton string spatial drawings—to the kimono-shaped wooden patterns and fabric garments of the 2000s, Miyamoto’s work combines conceptual rigor and formal generosity. This generosity extended into activism: from participant to organizer and ultimately gallerist, Miyamoto supported women artists through the collective, woman-only A.I.R. Gallery (since 1974) and her own no-membership space, Onetwentyeight, still active at 128 Rivington Street. From Sol LeWitt to David Hammons, Ana Mendieta, and Howardena Pindell, Miyamoto’s exhibition-making activities and how they sprung from the artistic life on the streets are presented for the first time at the 13th Berlin Biennale in a slideshow rendered in the grainy iconicity of historical memory.\u003C/p>\u003Cp>Yet, it is still another aspect of Miyamoto’s work, integral to her existence as a non-European immigrant artist active in the precarious downtown New York art scene of the vanishing twentieth century that is most fittingly presented in \u003Cem>Artists’ Street\u003C/em>: her keen attention to the street and its inhabitants, from the sex workers who allowed her to photograph them to the homeless men with whom she collaborated, as exemplified by \u003Cem>Waiting for the Carnival \u003C/em>(1983). Referencing Samuel Beckett’s \u003Cem>Waiting for Godot \u003C/em>(1952), \u003Cem>Waiting for the Carnival \u003C/em>is remembered through artistic photographs of Miyamoto dressed as a homeless person meandering from the A.I.R. Gallery through the Lower East Side and ending in front of the avantgarde performance art space, Franklin Furnace. Life performs art performs life.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/kazuko-miyamoto",{"id":280,"title":281,"subtitle":8,"shortDescription":8,"description":282,"uri":283},"kuenstler-innen/kiki-roca-las-chicas-del-chancho-y-el-corpino","Kikí Roca, Las Chicas del Chancho y el Corpiño","\u003Cp>Using gendered irony and humor against patriarchal power has a long tradition in the history of feminist politics, blending domestic references with social commentary and carnivalesque aesthetics in engaged artistic practices. The absent body is a charged signifier in the state rhetoric of “disappearance” used to cover up the murders of political opponents during Argentina’s military dictatorship (1976–1983). In the post-dictatorship era, the absent female body in \u003Cem>El Corpiño\u003C/em>, a realistic rendition of a monumental brassiere realized by a female collective led by Cristina “Kikí” Roca, acts as a cipher for national politics from Córdoba, a city with its own long history of resistance against the dictatorship in Argentina, ranging from the University Reform of 1919 (led by the artist’s grandfather, Deodoro Roca) to the decisive civil uprising El Cordobazo in 1969.\u003C/p>\u003Cp>The artists’ tongue-in-cheek response (“Until when...”) to a masculinist statement by the then-provincial Governor (“...we have to put out our chests...”) is written onto a tag dangling between the bra’s two cups. It operates as a gender reversal (female breasts in lieu of a male chest) and a critique within the context of corruption-induced economic downturn, against the backdrop of broader calls for reparative justice by the Mothers and Grandmothers of the Disappeared on Buenos Aires’ Plaza de Mayo. Thirty years after its first reveal in public space, what will the transferal of its scaled-up version from one of Córdoba’s main political stages to the indoor space of a public art institution in Berlin evoke and provoke—especially in light of Kikí Roca’s statement: “Today, interventions are already institutionalized, as is the discussion of art and politics with its spaces on the Web, forums, and seminars, which show a different scenario from that time”?\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/kiki-roca-las-chicas-del-chancho-y-el-corpino",{"id":285,"title":286,"subtitle":8,"shortDescription":8,"description":287,"uri":288},"kuenstler-innen/larissa-araz","Larissa Araz","\u003Cp>In 2005, the Kurdistan red fox was renamed from \u003Cem>Vulpes vulpes kurdistanica \u003C/em>to \u003Cem>Vulpes vulpes\u003C/em>, the roe deer \u003Cem>Capreolus capreolus armenius \u003C/em>to \u003Cem>Capreolus capreolus \u003C/em>and the taxonomic name of wild sheep was changed from \u003Cem>Ovis armeniana \u003C/em>to \u003Cem>Ovis orientalis anatolicus\u003C/em>. The Turkish authorities viewed such taxonomic names as perilous to national unity. These animals, though endangered, have long inhabited the wild stretches that cross the border into Armenia and Kurdistan.\u003C/p>\u003Cp>The fox’s rechristening to a national nomenclature has not improved its chances of survival or reduced human conflict. This contemporary convention of renaming not only animals, but also cities, countries, and monuments is a historical revision catering to the reemergence of nationalism in Turkey and an ethos that blurs common sense.\u003C/p>\u003Cp>Addressing the family of foxes that regularly visits the Hamburger Bahnhof garden, Larissa Araz envisages a long and diffused chalk mural. She depicts a haunting Anatolian and Mesopotamian landscape where the natural habitat is in danger. This is the land of the fox, who moves across large distances unhindered by political geography as a fugitive avoiding humans. Mirroring the moving multitudes of people who have been displaced by the drawing up of borders, Araz asks us to visit, through the perspective of foxes, a historic landscape of profound connectedness between humans and non-humans.  \u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/larissa-araz",{"id":290,"title":291,"subtitle":8,"shortDescription":8,"description":292,"uri":293},"kuenstler-innen/luzie-meyer","Luzie Meyer","\u003Cp>Statement:\u003C/p>\u003Cp>The curators have replaced the previous text on this artwork at the request of the artist.\u003C/p>\u003Cp>New Text:\u003C/p>\u003Cp>\u003Cem>Berlin Piece for Voice and Tap Dance \u003C/em>is a 20-minute, six-channel audio piece for voice and tap dance, presented on six speakers in the former Kantine of the Sophiensaele—a space once used for weddings and festivities, and as a meeting place for the German Communist Party, where figures such as Karl Liebknecht, Rosa Luxemburg, and Clara Zetkin delivered speeches.\u003C/p>\u003Cp>Drawing inspiration from the heterogeneous traditions of tap dance, a form shaped by multiculturalism, histories of oppression, the entertainment industry, and the syncopated rhythms of the “machine age”; the work reflects on the dialectics of freedom and restraint. At its core is a formally playful poetic text in English and German, employing rhymes, alliterations, homophony, semantic shifts, metaphors, and wordplay, weaving multiple registers of meaning through repetition and sonic patterning.\u003C/p>\u003Cp>Developed in response to Berlin’s cultural climate, the site-specific work engages with the political tensions between October 2024 and June 2025: the failure of the German ruling coalition and ensuing elections, the precarious conditions of cultural producers, recent attacks on artistic freedom, the polarized debate over Germany’s stance on the war in the Middle East, the rise of the far-right AfD, and looming cultural funding cuts—all within the global backdrop of environmental crises and resurgent fascism. Invoking the site’s rich history, Meyer’s rhythmic, lyrical composition draws on fragments from conversations, artist union meetings, exhibitions, senate debates, and diverse news sources. Appropriated texts mingle with neologisms and linguistic play, shaped by the artist’s perspective on the historical moment, channeling the emotional charge of this tense atmosphere and revealing the desires, fears, and pressures underlying artistic production under increasingly difficult conditions.\u003C/p>","artists/luzie-meyer",{"id":295,"title":296,"subtitle":8,"shortDescription":8,"description":297,"uri":298},"kuenstler-innen/major-nom","Major Nom","\u003Cp>Originally written and performed in 1987 by Zarganar—a popular Burmese comedian, actor, and fierce junta critic—the all-male, at-turns witty, at-turns slapstick comedy \u003Cem>Beggars’ National Convention \u003C/em>was performed with four fellow comedians on several occasions. It became a historic event, its impact lingering in audiences’ memory to this day. The actors wielded humor as armor, mining the collective psyche to make social and political commentary explicit. Like Russian dolls, Zarganar layered multiple spoof executions, using physical and homophonic humor while strategically staging the performance in front of the town hall of Yangon—Myanmar’s capital until 2005. His biting satire mocked General Ne Win’s Burma Socialist Programme Party (BSPP), exposing its militaristic hierarchy, failing educational system, and disastrous economic policies—so severe the government sought international financial aid, even from Nepal. Timed with a military parliamentary council meeting, one of the shows ended with the comedians being arrested immediately after the performance and held in an interrogation camp for three days.\u003C/p>\u003Cp>The 13th Berlin Biennale brings \u003Cem>The Beggars’ Convention \u003C/em>to the historic Sophienstraße in Berlin-Mitte. It is restaged by Major Nom, instrumental in fundraising for the Civil Disobedience Movement after Myanmar’s 2021 coup. This movement defiantly united vast segments of society, disrupting military operations and drawing global scrutiny. Thinking through the work of fundraising through the historic play, Major Nom satirizes slacktivism, the international development sector, and the corrupt, fascist trends of twenty-first century world leaders—mirroring Zarganar’s original performance structure and character dynamics, but this time performed by queer and female-identifying actors.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Somrak Sila\u003C/p>","artists/major-nom",{"id":300,"title":301,"subtitle":8,"shortDescription":8,"description":302,"uri":303},"kuenstler-innen/merle-kroeger","Merle Kröger","\u003Cp>In the recent push to install protective nets on San Francisco’s Golden Gate Bridge, it was revealed that most suicides take place with the jumper facing the city, not the ocean. While this could be a simple matter of logistics, it prompted ruminations about the idea of suicide as the ultimate escape \u003Cem>from\u003C/em> something, rather than \u003Cem>towards\u003C/em> the unknown. Fugtivity, as a curatorial concept, takes this same pivot, recasting the idea of the refugee into someone actively choosing an alternative. \u003C/p>\u003Cp>In 1983, after months of fighting extradition from Germany, young Turkish activist Cemal Kemal Altun chose an alternative, leaping to his death from the window of a courthouse in Berlin-Tiergarten. The news of his passing was broken to his family on camera, as part of a report for \u003Cem>Panorama\u003C/em>. The journalist, Navina Sundaram, had built her career advocating for a “New World Communication Order” that could help correct the biases perpetuating what she called “a neo-cultural colonialism.” While the activist’s suicide provoked strong political repercussions, Sundaram’s report refused to abandon who he was as a person. Her decision to preempt prepared interviews with this raw footage was met with strong criticism, including from her colleague, Peter Gatter, who sparred with Sundaram on air over the ethics of broadcasting this traumatic moment. \u003C/p>\u003Cp>Merle Kröger pieces together this story in her audio installation, which explores wider aspects of Altun’s death within the context of anti-immigrant rhetoric in Germany since the 1980s. Kröger previously helped develop \u003Cem>The Fifth Wall\u003C/em>, an archive of Sundaram’s work as a filmmaker and editor. She used this insight to analyze the circumstances around Altun’s trial in her literary essay \u003Cem>Panorama\u003C/em>, upon which this work is based. \u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/merle-kroeger",{"id":305,"title":306,"subtitle":8,"shortDescription":8,"description":307,"uri":308},"kuenstler-innen/mila-panic","Mila Panić","\u003Cp>For her contribution to the 13th Berlin Biennale, Mila Panić sets up the comedy club \u003Cem>Big Mouth\u003C/em>, which styles itself according to the trappings of an established club with a lineup of international comics. You enter the throat of \u003Cem>Big Mouth \u003C/em>with a series of ironic self-portraits. Downstairs, in the belly of KW Institute for Contemporary Art, Panić’s jokes play out a narrative that borrows from the tradition of the “jester’s privilege” to poke fun at our insensitivity for letting the lives of war refugees, immigrants, and their children remain unseen. Neon signs talk about an immigrant’s existential crisis, which lingers as a series of challenges, setbacks, and successes.\u003C/p>\u003Cp>Panić’s humor is rooted in her experience growing up in Bosnia, a country devastated by war in the early ’90s, driven by nationalist ambitions and territorial disputes. Language, once a tool of identity, became a weapon that deepened division. The ensuing atrocities created vast diasporas, displacing people into foreign lands where they were met with fresh forms of discrimination.\u003C/p>\u003Cp>Stand-up comedy holds a powerful place in the collective consciousness, especially in a world saturated by media aligned with power. It has become a double-edged instrument: while right-wing populist movements have weaponized its reach, comedians who punch up often pay a price. Many face censorship or even imprisonment, their words reverberating far beyond the club stage.\u003C/p>\u003Cp>Panić does not title her installation \u003Cem>Big Mouth \u003C/em>for the obvious resonances of satire but for her courage to speak up with tongue and cheek humor—where gravity is not abandoned, but rather deliberately argued through wit.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/mila-panic",{"id":310,"title":311,"subtitle":8,"shortDescription":8,"description":312,"uri":313},"kuenstler-innen/nge-nom","Nge Nom","\u003Cp>Nge Nom launched a Civil Disobedience Movement (CDM) network in Myanmar by fundraising for striking civil workers just three days after the military coup on February 1, 2021, which escalated into a full-scale civil war. The military’s brutal crackdown led to thousands of deaths, mass displacement, and warnings of famine. Nominated for the 2022 Nobel Peace Prize, the CDM is hailed as a non-violent resistance movement capable of inspiring other pro-democracy initiatives amid rising authoritarianism, uniting generations and ethnic groups across Myanmar. To protect her family, Nge Nom’s identity remains concealed.\u003C/p>\u003Cp>In April 2021, Nge Nom joined a protest near her safe house in Myanmar. While sharing a pomelo fruit with fellow demonstrators, she saw military vehicles speeding toward the group. Panic set in. After a desperate run, they eventually sought refuge in the home of an elderly couple who directed them to a backyard ditch where they could hide. As soldiers threatened to burn the house down, Nge Nom crawled into a smaller ditch, but her friends were paralyzed. They were later assaulted and arrested. Escaping through a chute in a wooden fence, she was invited by another elderly woman to hide in her home until the evening.\u003C/p>\u003Cp>This installation—comprising mud, water, plants, and a wooden fence—becomes a poignant symbol not only of survival and traumatic loss but also of the intelligence and courageous resistance of Myanmar’s younger generation against military control. The more apolitical older generation is often called “Generation Lee” [Generation penis] by Gen Z. Yet, in this work, the artist honors intergenerational connections and the protection elders provided to strangers from the younger generation beneath their veneer of neutrality.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Somrak Sila\u003C/p>","artists/nge-nom",{"id":315,"title":316,"subtitle":8,"shortDescription":8,"description":317,"uri":318},"kuenstler-innen/padmini-chettur","Padmini Chettur","\u003Cp>In a conversation with the poet Osvaldo Ferrari, Jorge Luis Borges describes time as “more real than we are,” extrapolating that “we are made up of time and not of flesh and bone.” The writer explains his reasoning by pointing to the experiences in our dream worlds, which he claims are inherently temporal, rather than spatial.\u003C/p>\u003Cp>Padmini Chettur uses her body to explore the potential alternate realities when one unhinges the spatial from the temporal, much like as in Borges’ dream worlds. Trained in the classical Indian dance form of Bharatanātyam, Chettur has since broken from this system to develop her own choreographic grammar based on scores of movement and stillness. Chief among her gestures are those of rotation around an axis, as a means of plotting the space through the presence of the physical body.\u003C/p>\u003Cp>Chettur’s new work, \u003Cem>of a denser time\u003C/em>, continues the artist’s research into the ways that our bodies can slow time and rescript the space around us. In this 3-channel video installation, the artist imagines her space as a dense layering of circuits; the dancer’s body can move along these rotations, or it can counter them, using resistance to build, not block. The camera moves in an orbital trajectory, so that the viewer’s position relative to the body in motion is never fixed but must constantly be reassessed and renegotiated. By folding the viewer into the relationship between camera and dancer, Chettur thus disturbs their own conception of time and space, sofening the edges of the absolute. This gentle disorientation is bolstered by the artist’s careful deployment of translu- cent projections.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/padmini-chettur",{"id":320,"title":321,"subtitle":8,"shortDescription":8,"description":322,"uri":323},"kuenstler-innen/panties-for-peace","Panties for Peace","\u003Cp>With a knack for satire and a penchant for transgression, the Lanna Action for Burma Committee might seem ill-equipped to enter into diplomatic negotiations with Myanmar’s military junta. Yet, this transnational activist network aims precisely to strike the old generals where it hurts: below the belt. With an arsenal of panties, this international coalition of women uses the mail as a medium to enact a war on the military’s superstitious nerves. According to Burmese cultural assumptions, men’s \u003Cem>hpoun\u003C/em>—a concept of superior masculine power and honor—can be destroyed if they come into contact with women’s sarongs or underwear.\u003C/p>\u003Cp>Between the years 2007 and 2010, the Lanna Action network inundated the mailboxes of Burmese embassies in Australia, Brazil, Canada, Thailand, and other allied countries with packages of panties addressed to Myanmar’s top officials. The committee also produced a blog with video clips featuring their iconic G-string logo, bragging about the benefits of voting for their party in the 2010 elections. With lines such as “With our sarongs flying high as flags, we will enjoy wind-powered electricity. Vote for our party, the Lanna Panty Party. We will bring light to everyone!” the committee members leave little doubt about the spoofy nature of the pranks—and their badass words(wo)manship.\u003C/p>\u003Cp>Yet, these self-described witches hark back to a time-honed carnivalesque register of transgression around what Russian semiotician Mikhail Bakhtin termed “the lower bodily stratum.” By referring to Junta members’ appalling reputations as abusers, and attempting to degrade their male ego precisely where they have hurt their sisters-in-arms, the members of the Lanna Action group demonstrate their fearless command on a battlefield of their own: derision and humor.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/panties-for-peace",{"id":325,"title":326,"subtitle":8,"shortDescription":8,"description":327,"uri":328},"kuenstler-innen/peoples-tribunal","People‘s Tribunal","\u003Cp>When one recognizes the law as a social contract—an “aesthetic,” to use the words of legal scholar and artist Stacy Douglas—then one also recognizes the ability to generate alternate legal systems with distinct definitions of process and justice. \u003C/p>\u003Cp>The 13th Berlin Biennale will convene two People’s Tribunals, community-sourced judicial forums to address human rights violations and crimes against humanity perpetrated by government actors, private militias, or corporations. Each tribunal will invite legal professionals, activists, and expert witnesses to weigh in on a different case in which justice was denied by the current governing bodies (often due to those institutions’ varying levels of complicity). While the final outcomes of these tribunals will be symbolic, the process gives us a glimpse of what other systems can be possible when we reject the idea of existing law as absolute.\u003C/p>\u003Cp>The \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/peoples-tribunal-bana-group\">first People’s Tribunal\u003C/a>, organized in collaboration with the Bana Group for Peace and Development, addresses the repression and persecution of activists in Sudan. A \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/peoples-tribunal-zu-kunst-im-widerstand-gegen-unterdruckung-falle-aus-den-philippinen-2025\" target=\"_blank\">second tribunal\u003C/a>, will convene to discuss cultural repression and civic rights in the Philippines. Helping to present evidence will be the German chapter of the International Coalition for Human Rights in the Philippines and ALPAS Pilipinas, an advocacy group whose acronym loosely translates to “Alternative Dreams for our Land and our People.” Each tribunal will conclude with an open forum, a discussion among the tribunal’s participants and the audience. \u003C/p>\u003Cp>Mediated by the artist duo Sinthujan Varatharajah and Moshtari Hilal, documentation of these tribunals and the evidence gathered for each case will be on view throughout the biennial, allowing the public a chance to make informed contributions to the proceedings.  \u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/peoples-tribunal",{"id":330,"title":331,"subtitle":8,"shortDescription":8,"description":332,"uri":333},"kuenstler-innen/piero-gilardi","Piero Gilardi","\u003Cp>Piero Gilardi’s combination of conceptual art with carnivalesque aesthetics produced post-surrealist visions for his self-proclaimed brand of techno-utopian future. Acting in the service of political engagement, his works blend agitprop direct action and ecological restoration. Having played a central role in the leading conceptual movements of the second half of the twentieth-century, along with fellow engaged artists of the Italian and international art worlds, marked by his noted intellectual contribution to Harald Szeemann’s \u003Cem>When Attitudes Become Form \u003C/em>(1969) and Germano Celant’s later Arte Povera exhibitions, the Turinese artist chose to embrace the world on a far wider stage.\u003C/p>\u003Cp>For the \u003Cem>Artists’ Street\u003C/em>, Gilardi will be reinstated in his favorite arena and given “The Greatest Free Show on Earth,” with a carnival-like street procession, setting forth the formidable future-folk characters he convoked for his grand protest parades the world over. Bringing to mind Northern Italy’s own historical and contemporary carnival traditions, as well as the international carnivalesque sensibility of anti-global capitalist or anti-nuclear protests, which he fueled with irreverent portrayals of the powerful, Gilardi’s vision oscillated between a vanishing taste for the grotesque and an avant-garde take on the most progressive political issues.\u003C/p>\u003Cp>Having bowed out in 2023 before the advent of the newest despots, Gilardi will leave us wanting for new puppets, big heads, and a whole arsenal of street protest trickery to plot their (at least symbolic) toppling in a world gone topsy-turvy.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/piero-gilardi",{"id":335,"title":336,"subtitle":8,"shortDescription":8,"description":337,"uri":338},"kuenstler-innen/salik-ansari","Salik Ansari","\u003Cp>Originally trained as a painter, Salik Ansari has welcomed influences from design and the digital realm, as his work has shifted towards more sociopolitical themes. His video series \u003Cem>Home Barricades \u003C/em>(2020), for example, looked at the increasingly prevalent encroachment of barricades onto public life in India, particularly during times of protest. Ansari’s work refused to normalize this arbitrary exclusion of the public from public space.\u003C/p>\u003Cp>For his project \u003Cem>Altar of Absences\u003C/em>, the artist takes up another intrusion into public life. Last year, India’s top court ruled against “bulldozer justice,” the practice of retributive demolition under the pretense of governance. In the case of India, many of these instances of so-called “justice” were levied at individuals based on caste, religion, or political beliefs. Targeted structures were often summarily declared as “illegally constructed,” with their owners given little time or recourse to appeal the decision.\u003C/p>\u003Cp>Similar acts of punitive (and frequently extrajudicial) destruction can be found across the globe. \u003Cem>Altar of Absences \u003C/em>embraces this ubiquity in its depictions of unspecified demolitions, completing their violence by concealing the targets. Instead, the artist focuses on the jaws of excavators amid the rubble, with the kind of irregular framing suggestive of newspaper reportage or shots by casual observers. The emphasis on absence serves as what Ansari calls a “living, shapeshifting scar”; Even if these walls were to be reconstructed exactly as they were, the site would always carry the memory of this violence. With the title of the series, the artist nurtures a kind of devotion to these memories, delivering a firm rebuke to the political amnesia that weaponizes the regulation of public space.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Kate Sutton\u003C/p>","artists/salik-ansari",{"id":340,"title":341,"subtitle":8,"shortDescription":8,"description":342,"uri":343},"kuenstler-innen/sarnath-banerjee","Sarnath Banerjee","\u003Cp>Hailed as the foremost Indian comic book writer since his graphic novel \u003Cem>Corridor \u003C/em>(2004), Calcutta-raised, Berlin-based Sarnath Banerjee has evolved into a globetrotting visual critic with post-colonial wit in the eerily imperialist order of a neo-liberal third millennium. A self-described “sideways reporter of insignificant things,” he is an affable commentator on the quotidian, a recorder of the pedestrian, and a believer in the importance of the mundane, bringing minor stories into greater narrative frames to measure up to history. Reflecting on his profoundly relational work, he has said that it “doesn’t exist in isolation” and that “the reader is very much part of the work.”\u003C/p>\u003Cp>Putting his words into practice, Banerjee has devised a vast multimedia installation for the 13th Berlin Biennale. The work combines drawing and audio, on the structures of typical newspaper stands found in India’s public spaces. Entitled \u003Cem>Critical Imagination Deficit\u003C/em>, it is a testament to Banerjee’s diagnosis of a fleeting era of intellectual dominance—a crisis in Euro-American hegemonic power structures, the symptoms of which he may have keenly observed from his German home.\u003C/p>\u003Cp>As bold as it is modest and ambitious—as the comic often deceptively is—how might Banerjee’s \u003Cem>Critical Imagination Deficit \u003C/em>stand up on a musealized street? Or could it, in fact, only exist there? Could the piece withstand the confrontation with the street? I believe it would—and hope that by doing so, it will restore what the artist terms “political being and imaginative flight.”\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/sarnath-banerjee",{"id":345,"title":346,"subtitle":8,"shortDescription":8,"description":347,"uri":348},"kuenstler-innen/tsuyoshi-ozawa","Tsuyoshi Ozawa","\u003Cp>What do a milk crate and an eggplant have in common and what could they possibly do together? As improbable as any other, the answer came from the streets of Tokyo’s Ginza district in 1993: an art gallery. An anti-establishment gesture by artist Tsuyoshi Ozawa protesting the pay-to-play gallery rental system prevalent in the Japanese capital’s art district, the \u003Cem>Nasubi Gallery \u003C/em>(Eggplant Gallery) consisted of a rotating display of commissioned art projects in a blue milk crate affixed to a tree trunk across from the Nabis Gallery (pronounced “Nabisu”). Reversing the last two syllables of this well-known rental gallery’s name, Ozawa aimed his arrow directly at the heart of a system he deemed deleterious to art. By contrast, Ozawa invited up-and-coming artists to fill his teeny-weeny space, dubbed the “world’s smallest gallery,” with site- and above all size-specific works. Relaunched in 1997 as the \u003Cem>New Nasubi Gallery\u003C/em>, with ambitions as big as Marcel Duchamp’s portable personal museum \u003Cem>La Boîte-en- valise \u003C/em>(1936–41), Ozawa’s participatory project went global, presenting miniature works by international artists. The gallery later became itinerant and traveled the world with Ozawa’s growing list of invitations to feature his project, most notably in Hou Hanru and Hans Ulrich Obrist’s canonical interdisciplinary touring exhibition \u003Cem>Cities on the Move \u003C/em>(1997–99).\u003C/p>\u003Cp>In the year 1998 alone, a blue soap (Jinran Kim) and a large egg (more ostrich- than chicken-sized, Dagmar Tinschmann), or a cut-out paper theater (Kathrin Schiffbauer) and a miniature lifejacket (Li Koelan), among other such singular secular art altars, were displayed. Showing them as part of the \u003Cem>Artists’ Street \u003C/em>commemorates Ozawa’s exhibition at Asian Fine Arts Gallery on Sophienstraße in 1998, during which the works were presented “on the street” and in the neighborhood of Sophiensæle parallel to the opening of the first Berlin Biennale.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons\u003C/p>","artists/tsuyoshi-ozawa",{"id":350,"title":351,"subtitle":8,"shortDescription":8,"description":352,"uri":353},"kuenstler-innen/vikrant-bhise","Vikrant Bhise","\u003Cp>Access to water in the city of Mumbai is limited, and the lines of potable water are always contaminated with sewage from seepages in the pipes when it reaches the slums. Vikrant Bhise depicts women and men marching towards and ultimately merging into a large pipe that appears to engulf this stream of humanity. The image is ambiguous; set in contemporary times, it recalls another famous march to a water tank.\u003C/p>\u003Cp>“Untouchability,” which was part of the caste system in India, dehumanized a person based on a spectrum of purity. A person considered “untouchable” could not access public property such as roads, markets, and thoroughfares as well as religious shrines and temples. They could not participate in weddings and feasts or dine communally with other villagers. They were denied access to water and food sources and could not drink from public wells and water tanks.\u003C/p>\u003Cp>On March 20, 1927, B. R. Ambedkar— a social reformer and future architect of the Indian Constitution of 1950, which included the abolition of “untouchability”—led a group of “untouchables” along with others from the so-called upper castes to a water tank in Mahad where they proceeded to drink together from the public tank, breaking religious tenets. This march was called a “Satyagraha,” which means firmly holding onto the truth. The term was first used in 1906, during Mahatma Gandhi’s experiments with civil disobedience while organizing Indians against apartheid in South Africa.\u003C/p>\u003Cp>Bhise’s family members were part of the Dalit Panthers, a movement against caste discrimination. As a child, he witnessed police shooting at protestors from his community just outside the entrance of their slum. The impressive scale of his work and the gathering of human bodies venerates the idea of pacifist civil disobedience, while recalling the first march to annihilate caste.\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/vikrant-bhise",{"id":355,"title":356,"subtitle":8,"shortDescription":8,"description":357,"uri":358},"kuenstler-innen/yoshiko-shimada-bubu-de-la-madeleine","Yoshiko Shimada and BuBu de la Madeleine","\u003Cp>A square black-and-white photograph depicts a pair posing in male drag within a hot pink, heart-shaped fabric frame trimmed by white frills. This gesture sets the tone for Japanese performance artists Yoshiko Shimada and BuBu de la Madeleine’s genre-bending collaborative work: relentless and unapologetic about queering heteronormative representations of the masculinist power and military violence that resulted in the creation of “pan-pan”—Japanese women subjected to prostitution during the American occupation of Japan after World War II. Far from the “exotic” seductress roles Asian women were compelled to adopt in these coerced sexual practices, the artists chose to embody American General MacArthur (Yoshiko) and Japanese Emperor Hirohito (BuBu) during their infamous 1945 encounter that sealed the fate of Imperial Japan as another American-controlled make-believe democracy. The impersonation, as striking as it is irreverent, seemed to suggest that Japan’s rendition to the United States was equivalent to prostitution to foreigners.\u003C/p>\u003Cp>Formal strategies of distantiation and appropriation allude to the irreconcilable and unreconciled nature of false gender dichotomies, real war traumas and historical \u003Cem>disenactment \u003C/em>as suggested by the splintering of the year 1945 while the wholesomeness of their enactment is restored with the year of the work’s making (1998) and its unabashed political captioning “Made in Occupied Japan.”\u003C/p>\u003Cp>Having graduated from art academy and liberal art college in the 1980s, BuBu in Japan and Yoshiko in the United States, the former becoming the star of the Dumb Type artist collective, an active performance artist and sex worker activist, the latter a feminist artist, they made the limitations of a binary vision evident in their collective practice. With \u003Cem>1945\u003C/em>, these artists imply that “heartening the square” might be just as impossible as squaring the circle.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Claire Tancons \u003C/p>","artists/yoshiko-shimada-bubu-de-la-madeleine",{"id":360,"title":361,"subtitle":8,"shortDescription":8,"description":362,"uri":363},"kuenstler-innen/zamthingla-ruivah-shimray","Zamthingla Ruivah Shimray","\u003Cp>The \u003Cem>kashan \u003C/em>is a woolen sarong worn by women in the Naga Hills in India. Zamthingla Ruivah Shimray’s work \u003Cem>Luingamla Kashan \u003C/em>is an elegy for a friend in the form of a luminous red sarong. The patterns were re-worked over four years to evoke brutality, the joyful spirit of a young girl, and the path to justice. The sarong’s geometric designs condense history into insect metaphors.\u003C/p>\u003Cp>Indian army officers murdered the young Luingamla Muinao in 1986 after attempting to rape her. They were immune from being tried by civil courts under the colonial-era Armed Forces Special Powers Act (1958). Student groups and women’s organizations rallied to bring the case before the courts—four years later they won it. Shimray wove this \u003Cem>kashan \u003C/em>to commemorate Luingamla’s path to justice. The \u003Cem>kashan \u003C/em>enters living culture, with its story passed down through community memory and song. Today, it has spread across 232 villages, with over 6,000 women involved, who have produced more than 15,000 \u003Cem>Luingamla Kashans\u003C/em>.\u003C/p>\u003Cp>Shimray also presents two new weavings in the form of \u003Cem>kachons\u003C/em>, large traditional shawls. These works speak of the eruptions of violence from 2023 to 2024 in Manipur, India. Woven into \u003Cem>Rai-Mui Kachon\u003C/em>, one can recognize street blockades and figures protesting, fighting, the burning of temples and homes, mob killings, and deaths. \u003Cem>Rairā Kachon\u003C/em>, on the other hand, stands as a veiled message, written in the language of form, color, and rhythm, waiting for the time to be revealed.\u003C/p>\u003Cp>Shimray’s work has the potential to change how we think of art. It offers a path to something new: the future of abstraction, semiotics, the reinvention of forms of collaboration, and the possibilities of political art.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Sumesh Sharma\u003C/p>","artists/zamthingla-ruivah-shimray",{"id":365,"title":366,"subtitle":8,"shortDescription":8,"description":367,"uri":368},"kuenstler-innen/die-fliege","The Fly","\u003Cp>\u003Cem>The Fly \u003C/em>was first conceived by Htein Lin in prison and performed for a handful of fellow political prisoners. Only anecdotal accounts document its existence, yet it entered Myanmar’s art history as an absurd masterpiece. Htein Lin performed it many times after his release.\u003C/p>\u003Cp>Following the thwarted 1988 democratic uprising in Myanmar, Htein Lin fled into exile and joined the resistance group All Burma Students’ Democratic Front in the jungle. There, internal conflicts led to brutal purges—comrades, driven by paranoia and madness, became more vicious than the military, subjecting him to months of torture. He escaped, but around twenty others were executed. In May 1998, falsely accused of plotting a protest, he was imprisoned for more than six years. His incarceration was a challenge to survive and art was his oxygen. While he was imprisoned again for one year in 2022, his former performance partner Chaw Ei Thein, reenacted the work.\u003C/p>\u003Cp>Shot in a single handheld take, \u003Cem>The Fly (Paris)’\u003C/em>s low-resolution footage shifts between close-ups of Htein Lin’s face, blurred body, and dimly lit glimpses of the performance space. Seated, bound, and naked under a spotlight, he fixates on a droning fly, amplifying his entrapment. His expressions and movements synchronize with the fly’s hum, embodying both captor and captive. In a pivotal moment, Htein Lin catches and eats the fly. His body convulses briefly before transforming—no longer bound, he adopts the fly’s erratic energy. He explores his newfound freedom, now harassing the audience. Like a prisoner absorbing the force that once oppressed him, Htein Lin turns limitation into liberation. Despite relentless persecution, he discovers profound freedom within the focused space of his mind.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Somrak Sila\u003C/p>","artists/the-fly",{"id":370,"title":371,"subtitle":8,"shortDescription":8,"description":372,"uri":373},"kuenstler-innen/floral","flowers","\u003Cp>Opening the exhibition, a line of flower studies brings together eight artworks from different regions and contexts as a garden. The garden appears as a line, but it moves in all kinds of directions—as vegetal life does, to whisper very different stories.\u003C/p>\u003Cp>The section reflects on the harrowing number of contemporary artists, whose mediums vary, who have been engaging in flower studies as a side practice: a humble, almost closed-door practice. Encountering them during research, it has been difficult to grasp any exact meaning. Many of these floral works were created in exile or in hiding. They bear the memory of trauma—of landscapes marked by displacement and the historical extraction of vital forces.\u003C/p>\u003Cp>The flower studies have an element of quietness or apparent passivity. An uncontroversial activity, the act of drawing, painting, or photographing flowers nevertheless foregrounds persistence—the urge to keep working, even under difficult mental states or circumstances. Sometimes it is done for the sake of the ongoing practice itself as a form of resistance, at other times they smuggle hidden messages to pass on.\u003C/p>\u003Cp>The section is inspired by the artist and poet Nyi Pu Lay, who died in hiding. He spent his time in seclusion making flower studies. Until today, it is too risky to retrieve the paintings as they might reveal the hiding place of his entire body of work. His work is not displayed, but the missing flower may potentially be carried in the imagination of the viewer through a long descriptive label written by his friend, the author Ma Thida.\u003C/p>\u003Cp>Fredj Moussa’s flower is one from a recurrent gesture of drawing and painting. Some flowers are annotated with inscriptions, such as the word \u003Cem>warda\u003C/em>, both Arabic for “rose” and the name of a pasta brand; or with dates where only a number remains, marking the everydayness of the act. Yet the flowers are imaginary. It is a studio practice exploring the absurdity of drawing fictional flowers of imagined lands.\u003C/p>\u003Cp>Grenada, an island country in the Caribbean, was colonized by European settlers. French colonizers extinguished the Indigenous population, the Caribs, and then brought slaves from Africa to turn the island into plantations. In 2024, Steve McQueen photographed the flowers that have remained a constant throughout the island’s many turns of fate. His portrayal of Grenada’s flowers—beautiful, enigmatic, powerful—and the dissonant, alarming title of the series adds to the discordant hinge of beauty and brutality on which this section of the exhibition is premised.\u003C/p>\u003Cp>Revered for her puppets and politically incisive ironic photomontages, Hannah Höch was part of the Berlin Dada storm, an anti-war, anti-bourgeoisie pacifist art movement that erupted during the First World War. Bisexual, ex-communist, ex-Dada, blacklisted, and poor, Höch self-exiled to an old guardhouse in Tegel forest on the outskirts of Berlin in 1939, parking a caravan outside. She buried her photomontages, objects, and works by other Dada artists in the garden. Although the photomontages were hidden, she designed the garden itself—still extant today—as a collage of vegetables, flowers, and as rumored plants banned by the Nazi regime.\u003C/p>\u003Cp>The flower study by Erika Kobayashi whispers the story of a theater troupe of Japanese girls who were forced to build paper balloons to transport bombs with the winter wind current to the United States. The group toured fascist Italy and Nazi Germany in 1938 wearing silk kimonos with cherry blossom motifs. The cherry blossom stands as an ambiguous symbol of Japanese imperial power and its expansionist dreams in the 1930s. At the same time, Kobayashi highlights the flower’s resilience in the face of nuclear annihilation, transcending mere symbolism.\u003C/p>\u003Cp>Arguably the most renowned Roma artist, Ceija Stojka painted scenes recalled from her internment at the Auschwitz, Ravensbruck, and Bergen-Belsen concentration camps. In this work of absolute restraint from 2011, fear is made lucid through its peculiar framing focusing on spiraling cobblestones. The presence of military boots in the top right corner instills apprehension, while small yellow flowers make their way between the stones.\u003C/p>\u003Cp>The refuge garden of the artist OMARA Mara Oláh is a composition of flowerbeds of poppies and a view of the garden in a landscape painted onto cigarette boxes. It is a medium she often used, along with small pieces of wood and tarot cards, on which she made stunning, angry, erotic works and scenes of her life as part of the Roma community in Hungary, often annotated with daring, audacious, or humorous captions.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Zasha Colah and Valentina Viviani\u003C/p>","artists/flowers",{"id":375,"title":376,"subtitle":8,"shortDescription":8,"description":377,"uri":378},"kuenstler-innen/fluechtigkeit","fugitivity","\u003Cp>On the second level of the courthouse, in the final room of the 13th Berlin Biennale for Contemporary Art—if the route is followed—there is a window covered in overgrown, thick green vines. Vegetal life and dappled light pierce the monotony of the hallways and labyrinthine rooms of the courthouse and prison that have lain in their own atomic white dust for thirteen years.\u003C/p>\u003Cp>Three works from nonadjacent places and times speak to each other as a way to end the biennial. In one work, a Creole spoken-word sound work by Daniella Bastien plays intermittently. In the 1700s and early 1800s, Mauritius island was uninhabited. It became a stopover for slave ships from the African mainland, Madagascar, India, and Southeast Asia. Le Morne Brabant—a 556-meter-tall mountain that juts out into the Indian Ocean—became known as the Maroon Republic due to the protection mountainous caves and thick forest provided fugitive enclaves. Their acts of resistance inspired Maroon settlements in other regions. The details of the following story are uncertain, yet these facts are clear: women, men, and children saw no other way to escape than to leap together from the mountain as officers were ascending. Bastien draws on Creole oraliture passed down in songs through generations to compose a new work about the expulsion—or synchronized leap—of perhaps hundreds of Maroons. Bastien’s voice sounds out the jump into the air and the fatal fall of bodies from the summit.\u003C/p>\u003Cp>Shift to Camerhogne, the Indigenous name for Grenada, an island country in the Atlantic Ocean. The farming Arawak and maritime Carib peoples—from whom the Caribbean Sea gets its name—fought against the theft and ethnic cleansing of their lands. In 1651, the last resisting Carib families climbed up the forty-meter cliff on the northern end of the island. Called Caribs’ Leap, the cliff marks a tragic, synchronized jump of forty men, women, and children from the summit down into the Atlantic Ocean. Grenada was repopulated by slave labor from Africa to work in plantations. Recalling this story, a work by Steve McQueen shows flowers photographed in the same Grenadian mountainscape. The series title, \u003Cem>Bounty\u003C/em>, signals the historical extraction of vital forces—of the land and its cosmologies, of the runaway, fugitive slaves—and the exchange and recompense for their recapture.\u003C/p>\u003Cp>A more recent history is recorded in abstract strokes, by ☂️M. M. Thein, \u003Cem>44th St. Fallen Heroes\u003C/em>. It depicts the leap into the void, from the fourth floor of a building, by five activists of the Civil Disobedience Movement—a nonviolent uprising of strikes and creative acts of resistance in Myanmar in 2021—to avoid being captured by the military junta who had found their place of hiding. The act of jumping out toward something, resonating eerily with Yves Klein’s famous \u003Cem>Leap Into the Void \u003C/em>(1960), is in real life a fatal gesture of freedom by one’s own means.\u003C/p>\u003Cp>Instances of leaving the building reappear through artworks and historical anecdotes of the former Lehrter Straße prison and courthouse, for instance by abseiling down tied bedsheets as a member of the Red Army Faction did in 1976. Sometimes it is one’s artworks that can leave the building, smuggled out with the complicity of the guards (Htein Lin, 1998–2004). One also leaves the building by saying it has been enough, as in the tragic 1980s history of Cemal Kemal Altun. Falsely accused of treason by the Turkish government, he was deceived by the West German judicial system. Instead of insisting on his recognition as an asylum seeker, the court gave in to the political pressure for extradition. At yet another hearing of his case, he took his own life, leaping out of a Berlin courthouse through a window (Merle Kröger, 2025).\u003C/p>\u003Cp>A radical way of transforming one’s circumstances is through the act of refusal—deserting, ditching, abandoning, or marooning oneself from life. Considering acts of leaving the building with a steel-nibbed pen, this biennial as a whole delves into the many ways of converting adverse circumstances through the means available: through acts of humor, burlesque, fugitivity, gratuitous giving, or meaning-giving. Perhaps one of the most radical acts of gratuitous giving is giving one’s life for another. In existential thought, we live absurdly, neither choosing our circumstances, nor choosing to be born. The idea that we may have agency only over our death gives strength to the act of living. Milica Tomić’s ambiguous title—\u003Cem>Is There Anything in This World You Would Be Ready to Give Your Life For?\u003C/em>—seems to not only ask for what one would give one’s life \u003Cem>up\u003C/em>, but also what one would devote one’s life \u003Cem>for\u003C/em>.\u003C/p>\u003Cp>Leaps are also performed by the mind, as in the utopian stairway by Margherita Moscardini. Or as artist Memory Biwa has shared: as the fleeing Nama looked back along the !Garib or Orange River route to their homeland, their bodies transformed into Namibian plants called halfmens. Perhaps the utmost act of converting one’s circumstances is the imaginative leap, layering the earth with meanings that tie us back to the earth. Were that leap to be performed collectively?\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Zasha Colah and Valentina Viviani\u003C/p>","artists/fugitivity",{"id":380,"title":381,"subtitle":8,"shortDescription":8,"description":382,"uri":383},"kuenstler-innen/parallelgesellschaft","parallelgesellschaft","\u003Cp>The intersectional, post-German artist collective parallelgesellschaft (a German term meaning “parallel society”), has been organizing live reading events at bars across Berlin-Neukölln since 2017. Their format blends readings, concerts, stand-up comedy, and political discourse. Literary and musical forms of expression are given equal space, and the audience is invited to take part in the conversation. The collective deliberately focuses on German-language texts—both to engage in critical discourse on socially relevant topics in German and to actively claim linguistic space. Their show during the 13th Berlin Biennale revolves around trickery as an art of survival.\u003C/p>\u003Cp>The members of parallelgesellschaft are independent artists working in theater, literature, visual arts, music, and film. Additionally, many collaborate with educational institutions as curators, moderators, and workshop facilitators. For them, art and entertainment are inherently political (inter)actions. Their shows act as a hinge: not only do they connect the artistic with the political, but they also, so they say, “foster net-working among non-\u003Cem>white\u003C/em> artists.”\u003C/p>\u003Cp>Each event features a guest artist from the fields of music or literature, along with an external expert—ranging from activists and researchers to journalists and trade unionists. In preparation for a show, another artist takes over parallelgesellschaft’s Instagram account to explore an upcoming theme from an additional perspective. This digital space also provides visibility for educators and artists whose work only exists online.\u003C/p>\u003Cp>The time audience and performers spend together is at the heart of parallelgesellschaft’s endeavor. Whether critical, cathartic, or humorous, these moments strengthen the collective aesthetic experience and forge connections between people on and off the stage long after the performance has ended.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text: Alicja Schindler\u003C/p>","artists/parallelgesellschaft",{"id":385,"title":386,"subtitle":8,"shortDescription":8,"description":387,"uri":388},"kuenstler-innen/exterra-xx-kuenstlerinnengruppe-erfurt","Exterra XX – Künstlerinnengruppe Erfurt","\u003Cp>\u003Cstrong>KW Institute for Contemporary Art\u003C/strong>\u003C/p>\u003Cp>Active in the former German Democratic Republic in the decade preceding Germany’s reunification and a few years thereafter, from 1984 to 1994, Exterra XX – Künstlerinnengruppe Erfurt transformed from a fringe art group into a cultural lobbying force in Thuringia’s conservative capital city.\u003C/p>\u003Cp>The group’s uncanny shape-shifting abilities, rooted in the free-spirited approach of its fifteen-something members and the diversity of their activities—including salon-style home-gatherings, filmmaking, fashion and object shows, performances, exhibition-making, and institution-building)—are evidenced over time in the group’s myriad names, which included Avantfemme, Undine, Atlantis, and Exterra XX. These names suggest a radical feminist slant and the potential for power that had developed among all the women over the years.\u003C/p>\u003Cp>The material chosen for the \u003Cem>Artists’ Street \u003C/em>provides documentary evidence of one of the most volatile aspects of the group’s variegated practice: runway shows displaying imaginative fashion objects. At these events, designs based on the women’s dreams and traumas were presented to a public of supporters, fellow artists, and creatives from Erfurt’s largely underground scene in the 1980. This might also be the collective’s most emblematic activity, bringing out the daring carnivalesque register typical of old medieval marketplaces from whence their situated practice in Erfurt also sprang, in contrast to the private-is-political ethos born of Stasi-era scars and scares of earlier days from which the group emancipated itself to become a full-grown female cultural movement.\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cstrong>Former Courthouse Lerther Straße\u003C/strong> \u003C/p>\u003Cp>As an entity that only exists through the law, the state will use every means of that same law to maintain itself. The Ministerium für Staatssicherheit [Ministry for State Security]—known colloquially as the Stasi—was established in 1950 as a means to surveil citizens of what was then East Germany through a network of civilian informants. Their tactics were frequently subtle yet brutal, relying on forms of social sabotage and weaponized bureaucracy to isolate individuals from the wider community, limiting the potential for collective action on a meaningful scale.\u003C/p>\u003Cp>This was the context in which the Exterra XX – Künstlerinnengruppe Erfurt was forged. Initiated in 1984, the collective developed from a regular meeting of women sharing artistic ideas into an artist association that produced and exhibited films, performances, fashion, and other forms of visual art and design. As member Monika Andres summarized, “we were furies, ordinary gals, women who didn’t fit into any clichés, not even ones like escapist, antiestablishment, punk, hope, ‘church’ or female artist.”\u003C/p>\u003Cp>Early in the morning on December 4, 1989—mere days after East Germany broke with the socialist system—heightened air pollution levels were measured in Erfurt and other East German cities, corroborating reports that Stasi headquarters were burning their files. Five women—among them Exterra XX – Künstlerinnengruppe Erfurt members—led a collective action that would later be referred to as the group’s “greatest performance.” Threatening to sue the Stasi for the destruction of public property, the women launched an occupation of the Stasi headquarters in Erfurt and took control of the evidence of their years of oppression.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Text KW Institute for Contemporary Art: Claire Tancons\u003C/p>\u003Cp>Text Former Courthouse Lehrter Straße: Kate Sutton\u003C/p>","artists/exterra-xx-kuenstlerinnengruppe-erfurt",{"code":4,"status":5,"result":390},[391,411,433,442,450,471,488,504,512,532,545,556,572,590,603,622,640,659,673,691,710,730,748,759,768,797,807,828,845,857,873,879,893,908,925,936,945,961,975,993,1009,1015,1025,1038,1052,1062,1068,1079,1089,1106,1122,1135,1147,1157,1173,1184,1195,1207,1219,1229,1246,1260,1271,1281,1297,1310,1328,1339,1354,1372,1383,1395,1404,1413,1422,1431,1450,1470,1485,1497,1509,1519,1535,1551,1564],{"id":392,"title":393,"url":394,"slug":395,"format":396,"programTitle":397,"programSubtitle":398,"programLocation":399,"otherLocation":8,"programSchedule":403,"description":409,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/the-beggars-convention","Major Nom mit Shu1o1O, Ngar galay (Little Fish), Larmashee: The Beggars’ Convention, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/the-beggars-convention","the-beggars-convention","Encounters","Major Nom with Shu1o1O, Ngar galay (Little Fish), Larmashee","\u003Cp>\u003Cem>The Beggars’ Convention\u003C/em>, 2025\u003C/p>",[400],{"id":401,"title":402,"uri":401},"parcours/sophiensaele","Sophiensæle",[404],{"id":405,"programDay":406,"programTimeStart":407,"programTimeEnd":408},"0","2025-06-14","17:00:00","18:00:00","\u003Cp>The Burmese director and junta critic Zarganar wrote the play \u003Cem>Beggars’ National Convention\u003C/em>, mocking the Burma Socialist Programme Party in 1987 in the lead up to elections. After one of the performances, the actors were arrested as the curtains closed. \u003C/p>",null,{"id":412,"title":413,"url":414,"slug":415,"format":396,"programTitle":416,"programSubtitle":417,"programLocation":418,"otherLocation":8,"programSchedule":422,"description":427,"thumbnailCaption":8,"thumbnail":428},"programm/kalender/han-bing-walking-the-cabbage-in-berlin","Han Bing, Walking the Cabbage in Berlin, 2020/25","https://13api-live.berlinbiennale.de/public/en/program/calendar/han-bing-walking-the-cabbage-in-berlin","han-bing-walking-the-cabbage-in-berlin","Han Bing","\u003Cp>\u003Cem>Walking the Cabbage in Berlin\u003C/em>, 2020/25\u003C/p>",[419],{"id":420,"title":421,"uri":420},"parcours/kw-institute-for-contemporary-art","KW Institute for Contemporary Art",[423],{"id":405,"programDay":424,"programTimeStart":425,"programTimeEnd":426},"2025-06-13","20:00:00","21:00:00","\u003Cp>Walking a cabbage on a small cart is an absurd gesture that satirizes the equal absurdity of political realities such as militarization and censorship. \u003Cem>Walking the Cabbage\u003C/em> is the title of a  social intervention initiated by artist Han Bing in Beijing’s Tiananmen Square in 2000. Since then, Bing has walked cabbages as well as other vegetables and fruits through public spaces, provoking dialogue and encouraging critical reflection. On the occasion of the opening of the 13th Berlin Biennale, under the title \u003Cem>Walking the Cabbage in Berlin \u003C/em>(2020/25), Bing will “walk the cabbage” once again. Bing views the cabbage as a symbol of rural sustenance, highlighting its significance in contemporary China as a staple food for those with limited means. Twenty-five years after Bing’s inaugural cabbage walk in Beijing, the performance’s arrival in Berlin sends a playful yet powerful signal about the potential of radical actions—actions that, through their silence and wit, can speak volumes. The absurdity of this urban performance subverts the logic of unjustified violence, provoking us to examine the normalized forms of oppression that surround—or inhabit us.\u003C/p>",{"id":429,"uuid":430,"url":431,"alt":432},"han_bing_walking_the_cabbage_in_beijing.jpg","file://5AvAyokXl8GY0gEA","https://13api-live.berlinbiennale.de/public/media/site/2d2e32d927-1749037906/han_bing_walking_the_cabbage_in_beijing.jpg","A person is seen from behind on a crosswalk pulling a cabbage on a leash. There are cars, people walking, people cycling, a bus and trees in the background.",{"id":434,"title":393,"url":435,"slug":436,"format":396,"programTitle":397,"programSubtitle":398,"programLocation":437,"otherLocation":8,"programSchedule":439,"description":409,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/the-beggars-convention-3","https://13api-live.berlinbiennale.de/public/en/program/calendar/the-beggars-convention-3","the-beggars-convention-3",[438],{"id":401,"title":402,"uri":401},[440],{"id":405,"programDay":441,"programTimeStart":407,"programTimeEnd":408},"2025-06-15",{"id":443,"title":393,"url":444,"slug":445,"format":396,"programTitle":397,"programSubtitle":398,"programLocation":446,"otherLocation":8,"programSchedule":448,"description":409,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/the-beggars-convention-4","https://13api-live.berlinbiennale.de/public/en/program/calendar/the-beggars-convention-4","the-beggars-convention-4",[447],{"id":401,"title":402,"uri":401},[449],{"id":405,"programDay":441,"programTimeStart":425,"programTimeEnd":426},{"id":451,"title":452,"url":453,"slug":454,"format":8,"programTitle":452,"programSubtitle":8,"programLocation":455,"otherLocation":465,"programSchedule":466,"description":470,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/eroeffnung","Opening of the 13th Berlin Biennale for Contemporary Art","https://13api-live.berlinbiennale.de/public/en/program/calendar/opening","opening",[456,457,458,461],{"id":420,"title":421,"uri":420},{"id":401,"title":402,"uri":401},{"id":459,"title":460,"uri":459},"parcours/hamburger-bahnhof","Hamburger Bahnhof – Nationalgalerie der Gegenwart",{"id":462,"title":463,"uri":464},"parcours/ehemaliges-gerichtsgebaeude-lehrter-strasse","Former Courthouse Lehrter Straße","parcours/former-courthouse-lehrter-strasse","All venues",[467],{"id":405,"programDay":424,"programTimeStart":468,"programTimeEnd":469},"19:00:00","22:00:00","\u003Cp>On Friday, June 13, 2025, the 13th Berlin Biennale for Contemporary Art will open its four \u003Ca href=\"https://13.berlinbiennale.de/en/parcours\" target=\"_blank\" title=\"Parcours\">venues\u003C/a> to the public. The opening ceremony will take place from 7 to 10 pm at KW Institute for Contemporary Art, Sophiensæle, Hamburger Bahnhof – Nationalgalerie der Gegenwart, and the former Courthouse Lehrter Straße. Admission is free.\u003C/p>",{"id":472,"title":473,"url":474,"slug":475,"format":396,"programTitle":251,"programSubtitle":476,"programLocation":477,"otherLocation":8,"programSchedule":479,"description":483,"thumbnailCaption":8,"thumbnail":484},"programm/kalender/gabriel-alarcon","Gabriel Alarcón, 4000 m ü. NN, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/gabriel-alarcon","gabriel-alarcon","\u003Cp>\u003Cem>4000 m ü. NN\u003C/em>, 2025\u003C/p>",[478],{"id":459,"title":460,"uri":459},[480],{"id":405,"programDay":441,"programTimeStart":481,"programTimeEnd":482},"14:00:00","14:30:00","\u003Cp>The paths of the processions in the Andes are marked by \u003Cem>apachetas\u003C/em>—collective piles of stones created by each person who travels the path, carrying a stone that represents their wishes and requests to suprahuman entities. The presence of these accumulations symbolizes the resilience of a culture that could not be entirely erased. As he walks, Gabriel Alarcón builds a small \u003Cem>apacheta\u003C/em> in Berlin using local stones and elements. For a brief moment, the exhibition space is transformed into a sacred space, and his path into a procession as Alarcón carries stones with him. Finally, ending the journey, he will build an \u003Cem>apacheta\u003C/em> as an apparition—a sign of the existence and resistance of another culture.\u003C/p>",{"id":485,"uuid":486,"url":487,"alt":8},"bb13_kw_gabriel-alarcon_encounters_eikewalkenhorst_2025_web01.jpg","file://n3SYi50ThiRfALqI","https://13api-live.berlinbiennale.de/public/media/site/52123ad417-1753452257/bb13_kw_gabriel-alarcon_encounters_eikewalkenhorst_2025_web01.jpg",{"id":489,"title":490,"url":491,"slug":492,"format":396,"programTitle":133,"programSubtitle":493,"programLocation":494,"otherLocation":8,"programSchedule":496,"description":499,"thumbnailCaption":8,"thumbnail":500},"programm/kalender/milica-tomic","Milica Tomić, Who Makes Profit on Art and Who Gains From It Honestly?, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/milica-tomic-berlin-statement","milica-tomic-berlin-statement","\u003Cp>\u003Cem>The Berlin Statement. Who Makes Profit on Art and Who Gains From It Honestly?\u003C/em>, 2025\u003C/p>",[495],{"id":462,"title":463,"uri":464},[497],{"id":405,"programDay":441,"programTimeStart":408,"programTimeEnd":498},"18:20:00","\u003Cp>Milica Tomić’s performance \u003Cem>The Berlin Statement. Who Makes Profit on Art and Who Gains From It Honestly?\u003C/em> extends the \u003Cem>Edinburgh Statement\u003C/em> by Yugoslav conceptual artist Raša Todosijević (1945–2024). He wrote and performed this work in 1975 as a sharp critique and analysis of the power relations within the global art system. Todosijević exposes the structural positions these relations occupy—the roles, functions, and economic interests, defining art as a permanent site of conflict, embedded in the politics of its context. In her performance, Tomić builds on this foundation by using space and language to expose the evolving roles, struggles, and dynamics within today’s art system, adding new positions in response to contemporary realities. Her work reflects the shifts in the art world under the pressure of global neoliberal capitalism and the rise of oligarchic technocracy, revealing how class struggle continues to manifest within art.\u003C/p>",{"id":501,"uuid":502,"url":503,"alt":8},"bb13_kw_-milicatomic_encounters_eikewalkenhorst_2025_web02.jpg","file://7eaWVXu6RK8QzN4F","https://13api-live.berlinbiennale.de/public/media/site/018616c629-1753450459/bb13_kw_-milicatomic_encounters_eikewalkenhorst_2025_web02.jpg",{"id":505,"title":393,"url":506,"slug":507,"format":396,"programTitle":397,"programSubtitle":398,"programLocation":508,"otherLocation":8,"programSchedule":510,"description":409,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/the-beggars-convention-2","https://13api-live.berlinbiennale.de/public/en/program/calendar/the-beggars-convention-2","the-beggars-convention-2",[509],{"id":401,"title":402,"uri":401},[511],{"id":405,"programDay":406,"programTimeStart":425,"programTimeEnd":426},{"id":513,"title":514,"url":515,"slug":516,"format":396,"programTitle":517,"programSubtitle":518,"programLocation":519,"otherLocation":8,"programSchedule":521,"description":526,"thumbnailCaption":8,"thumbnail":527},"programm/kalender/mila-panic-carmen-chraim-big-mouth","Mila Panić with Carmen Chraim, Big Mouth, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/mila-panic-carmen-chraim-big-mouth","mila-panic-carmen-chraim-big-mouth","\u003Cp>Mila Panić with Carmen Chraim\u003C/p>","\u003Cp>\u003Cem>Big Mouth\u003C/em>, 2025\u003C/p>",[520],{"id":420,"title":421,"uri":420},[522],{"id":405,"programDay":523,"programTimeStart":524,"programTimeEnd":525},"2025-07-31","20:30:00","21:30:00","\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimization—told through personal stories of growing up in Bosnia, and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">Mila Panić\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>",{"id":528,"uuid":529,"url":530,"alt":531},"bb13_panic_mila_big-mouth1.jpg","file://k8pRam8KFhCODJuw","https://13api-live.berlinbiennale.de/public/media/site/a0ed2136a8-1749208986/bb13_panic_mila_big-mouth1.jpg","Two Neon signs lying on a table with cables around displaying the words \"Big Mouth\" in blue and a big red open mouth above it.",{"id":533,"title":534,"url":535,"slug":536,"format":537,"programTitle":8,"programSubtitle":538,"programLocation":539,"otherLocation":8,"programSchedule":541,"description":544,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-jannina-brosowsky-und-duc-vu-manh","Focus Tour with Jannina Brosowsky and Duc Vu Manh","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-jannina-brosowsky-and-duc-vu-manh","focus-tour-jannina-brosowsky-and-duc-vu-manh","Mediation","\u003Cp>Focus Tour with Duc Vu Manh and Jannina Brosowsky (EN)\u003C/p>",[540],{"id":462,"title":463,"uri":464},[542],{"id":405,"programDay":406,"programTimeStart":543,"programTimeEnd":407},"16:00:00","\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003Cbr>\u003Cbr>\u003Cstrong>Duc Vu Manh\u003C/strong> lives and works in Berlin. As a Viet-German art mediator and creative artist, he focuses on necessary questions of social justice, solidarity, and self-determination. He regards curiosity about art as the basis for encounters: It enables storytelling with a view to community, empowerment, and the recognition of diverse perspectives.\u003C/p>",{"id":546,"title":547,"url":548,"slug":549,"format":537,"programTitle":8,"programSubtitle":550,"programLocation":551,"otherLocation":8,"programSchedule":553,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-arootin-mirzakhani","Focus Tour with Arootin Mirzakhani (KW/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-arootin-mirzakhani","focus-tour-arootin-mirzakhani","\u003Cp>Focus Tour with Arootin Mirzakhani (DE)\u003C/p>",[552],{"id":420,"title":421,"uri":420},[554],{"id":405,"programDay":406,"programTimeStart":543,"programTimeEnd":407},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003C/p>",{"id":557,"title":558,"url":559,"slug":560,"format":396,"programTitle":561,"programSubtitle":518,"programLocation":562,"otherLocation":8,"programSchedule":564,"description":567,"thumbnailCaption":8,"thumbnail":568},"programm/kalender/mila-panic-deo-katunga-big-mouth","Mila Panić with Deo Katunga, Big Mouth, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/mila-panic-deo-katunga-big-mouth","mila-panic-deo-katunga-big-mouth","\u003Cp>Mila Panić with Deo Katunga\u003C/p>",[563],{"id":420,"title":421,"uri":420},[565],{"id":405,"programDay":566,"programTimeStart":524,"programTimeEnd":525},"2025-06-19","\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimization—told through personal stories of growing up in Bosnia, and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>",{"id":569,"uuid":570,"url":571,"alt":8},"bb13_kw_encounters_marinahoppmann_2025_web-11-von-15.jpg","file://NdNFRKERUTmUZh4I","https://13api-live.berlinbiennale.de/public/media/site/00584a82df-1753451482/bb13_kw_encounters_marinahoppmann_2025_web-11-von-15.jpg",{"id":573,"title":574,"url":575,"slug":576,"format":396,"programTitle":577,"programSubtitle":578,"programLocation":579,"otherLocation":580,"programSchedule":581,"description":584,"thumbnailCaption":8,"thumbnail":585},"programm/kalender/monolog-einer-socke","Gernot Wieland with Carla Åhlander and Konstantin von Sichart, Monologue of a sock, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/monologue-of-a-sock","monologue-of-a-sock","\u003Cp>Gernot Wieland with Carla Åhlander and Konstantin von Sichart\u003C/p>","\u003Cp>\u003Cem>Monologue of a sock or What would we have told the children?\u003C/em>, 2025\u003C/p>",[],"Berlinische Galerie",[582],{"id":405,"programDay":583,"programTimeStart":407,"programTimeEnd":408},"2025-07-20","\u003Cp>A fox jumps into the Spree.\u003Cbr>A human thinks he has to save him.\u003Cbr>What do we pass on—in language, in images, in gestures?\u003Cbr>What would we tell the children?\u003Cbr>Maybe everything.\u003Cbr>Maybe just: That we don’t know either?\u003Cbr>What happens when a puppet show collapses before it ever takes the stage? What remains when the cast walks out—except, perhaps, a sock puppet too stubborn to quit?\u003C/p>",{"id":586,"uuid":587,"url":588,"alt":589},"bb13_gernotwieland_01_fox.png","file://qi1NaoAz5PLu2l1g","https://13api-live.berlinbiennale.de/public/media/site/825631cd68-1749213411/bb13_gernotwieland_01_fox.png","An illustration drawn with a blue pencil of many people who are gathering together in the stomach of a whale. A Words displayed around the whale are connected to the people by fine lines.",{"id":591,"title":592,"url":593,"slug":594,"format":396,"programTitle":595,"programSubtitle":518,"programLocation":596,"otherLocation":8,"programSchedule":598,"description":601,"thumbnailCaption":8,"thumbnail":602},"programm/kalender/mila-panic-maya-upchurch-big-mouth","Mila Panić with Maya Upchurch, Big Mouth, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/mila-panic-maya-upchurch-big-mouth","mila-panic-maya-upchurch-big-mouth","\u003Cp>Mila Panić with Maya Upchurch\u003C/p>",[597],{"id":420,"title":421,"uri":420},[599],{"id":405,"programDay":600,"programTimeStart":524,"programTimeEnd":525},"2025-07-03","\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimisation—told through personal stories of growing up in Bosnia and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>",{"id":528,"uuid":529,"url":530,"alt":531},{"id":604,"title":605,"url":606,"slug":607,"format":396,"programTitle":608,"programSubtitle":609,"programLocation":610,"otherLocation":8,"programSchedule":612,"description":616,"thumbnailCaption":8,"thumbnail":617},"programm/kalender/parallelgesellschaft-i-con","parallelgesellschaft, I, CON","https://13api-live.berlinbiennale.de/public/en/program/calendar/parallelgesellschaft-i-con","parallelgesellschaft-i-con","\u003Cp>parallelgesellschaft\u003C/p>","\u003Cp>\u003Cem>I, CON\u003C/em>\u003C/p>",[611],{"id":420,"title":421,"uri":420},[613],{"id":405,"programDay":614,"programTimeStart":426,"programTimeEnd":615},"2025-07-09","22:30:00","\u003Cp>Are you a con artist or do you just have imposter syndrome? Do people without imposter syndrome feel like they’re faking it because everyone else has imposter syndrome? When everything is fake (truth, law, nation) and built on distrust, when conforming means lying, then fraud becomes an act of resistance. Learning to get by, means learning to survive. Give me a fish, and I’ll eat for a day. Give me a crash course in document forgery, and maybe the welfare office won’t cut my benefits.\u003C/p>",{"id":618,"uuid":619,"url":620,"alt":621},"bb13_parallelgesellschaft.jpg","file://6x5B3vBCh8TFbVOZ","https://13api-live.berlinbiennale.de/public/media/site/8c9ee64bab-1749214902/bb13_parallelgesellschaft.jpg","A mural with nine people painted in blue are looking at the viewer. Several words are written above in red in different fonts. One of the words is displaying \"parallelgesellschaft\".",{"id":623,"title":624,"url":625,"slug":626,"format":627,"programTitle":628,"programSubtitle":629,"programLocation":630,"otherLocation":631,"programSchedule":632,"description":635,"thumbnailCaption":8,"thumbnail":636},"programm/kalender/peoples-tribunal-bana-group","People’s Tribunal: Bana Group for Peace and Development","https://13api-live.berlinbiennale.de/public/en/program/calendar/peoples-tribunal-bana-group","peoples-tribunal-bana-group","Encounters, Mediation","\u003Cp>Bana Group for Peace and Development\u003C/p>","\u003Cp>\u003Cem>People’s Tribunal on the Systematic Targeting of Women Activists in Sudan\u003C/em>\u003C/p>",[],"Kulturfabrik Moabit",[633],{"id":405,"programDay":634,"programTimeStart":543,"programTimeEnd":425},"2025-06-22","\u003Cp>The 13th Berlin Biennale will convene two \u003Ca href=\"https://13.berlinbiennale.de/en/artists/peoples-tribunal\">People’s Tribunals\u003C/a>, community-sourced judicial forums to address human rights violations and crimes against humanity when justice has been denied on a state or international level. \u003C/p>",{"id":637,"uuid":638,"url":639,"alt":8},"bb13_kw_bana-group_encounters_eikewalkenhorst_2025_web06_2.jpg","file://Br1QBy37QSzNK0OH","https://13api-live.berlinbiennale.de/public/media/site/336a686d26-1753452506/bb13_kw_bana-group_encounters_eikewalkenhorst_2025_web06_2.jpg",{"id":641,"title":642,"url":643,"slug":644,"format":396,"programTitle":645,"programSubtitle":646,"programLocation":647,"otherLocation":8,"programSchedule":649,"description":653,"thumbnailCaption":8,"thumbnail":654},"programm/kalender/critical-imagination-deficit-lecture-1","Sarnath Banerjee with Zasha Colah, Critical Imagination Deficit Lecture 1, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/critical-imagination-deficit-lecture-1","critical-imagination-deficit-lecture-1","\u003Cp>Sarnath Banerjee with Zasha Colah\u003C/p>","\u003Cp>\u003Cem>Critical Imagination Deficit Lecture 1: No One Wakes Up Feeling Post Colonial In Delhi\u003C/em>, 2025\u003C/p>",[648],{"id":420,"title":421,"uri":420},[650],{"id":405,"programDay":651,"programTimeStart":408,"programTimeEnd":652},"2025-06-25","18:30:00","\u003Cp>Through his drawing-based lectures, Sarnath Banerjee explores the intersection between comics and theatre. When a comic book is staged well, it can produce unexpected experiences—melancholy, unease, joy, longing, and disquiet. Through these picto-textual performances, Banerjee seeks to record the emotional history of our times. Using ordinary micro-encounters that arise from geographical and cultural dislocation, he aims to explore the spontaneous experiences that emerge when specificities meet and modernities collide. A section of his work addresses the poorly understood political and social rifts between the diaspora and the newly arrived.\u003C/p>",{"id":655,"uuid":656,"url":657,"alt":658},"bb13_sarnath_banerjee2.jpg","file://H4t9zvWUTsJWKrZf","https://13api-live.berlinbiennale.de/public/media/site/6016df8b08-1749215730/bb13_sarnath_banerjee2.jpg","A painting of a person's feet in the foreground in a dark room. In the background a person sleeping on a red couch under yellow bed sheets is visible. In the bottom right corner a portait of a person in a circle with closed eyes is painted.",{"id":660,"title":661,"url":662,"slug":663,"format":396,"programTitle":664,"programSubtitle":665,"programLocation":666,"otherLocation":8,"programSchedule":668,"description":653,"thumbnailCaption":8,"thumbnail":672},"programm/kalender/critical-imagination-deficit-lecture-2","Sarnath Banerjee, Critical Imagination Deficit Lecture 2, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/critical-imagination-deficit-lecture-2","critical-imagination-deficit-lecture-2","\u003Cp>Sarnath Banerjee\u003C/p>","\u003Cp>\u003Cem>Critical Imagination Deficit Lecture 2: Cemetery Of Dead Words\u003C/em>, 2025\u003C/p>",[667],{"id":420,"title":421,"uri":420},[669],{"id":405,"programDay":670,"programTimeStart":408,"programTimeEnd":671},"2025-07-10","18:45:00",{"id":655,"uuid":656,"url":657,"alt":658},{"id":674,"title":675,"url":676,"slug":677,"format":396,"programTitle":678,"programSubtitle":679,"programLocation":680,"otherLocation":8,"programSchedule":682,"description":685,"thumbnailCaption":8,"thumbnail":686},"programm/kalender/notes-from-the-aboveground","Sawangwongse Yawnghwe with Jonathan Lemke, Notes from the Aboveground, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/notes-from-the-aboveground","notes-from-the-aboveground","\u003Cp>Sawangwongse Yawnghwe with Jonathan Lemke\u003C/p>","\u003Cp>\u003Cem>Notes from the Aboveground\u003C/em>, 2025\u003C/p>",[681],{"id":420,"title":421,"uri":420},[683],{"id":405,"programDay":684,"programTimeStart":407,"programTimeEnd":408},"2025-07-06","\u003Cp>\u003Cem>Notes from the Aboveground\u003C/em> is a collaborative performance by Sawangwongse Yawnghwe and Jonathan Lemke, emerging from the project \u003Cem>The Joker’s Headquarter\u003C/em>. The piece takes Fjodor Dostoevsky’s novella \u003Cem>Notes from the Underground\u003C/em> (1864) as a conceptual foil—reading it not as a document of the 19th century, but as a lens through which to view the fractured psyche of the contemporary, socially withdrawn subject. Referencing a figure who retreats from public life into anonymous spheres, the performance stages a dialogue in the mode of stand-up-comedy, in which tenderness and aggression coalesce.\u003C/p>",{"id":687,"uuid":688,"url":689,"alt":690},"bb13_yawnghwe_sawangwongse_self-portrait_05.jpg","file://HWmA6UB7C2hLhw30","https://13api-live.berlinbiennale.de/public/media/site/06ad1b94d3-1749217522/bb13_yawnghwe_sawangwongse_self-portrait_05.jpg","Two separate pictures show the artist with their face painted like the Joker. One the left picture, they gaze seriously into the camera. On the right, the artist is screaming with their mouth open.",{"id":692,"title":693,"url":694,"slug":695,"format":696,"programTitle":8,"programSubtitle":697,"programLocation":698,"otherLocation":699,"programSchedule":700,"description":704,"thumbnailCaption":8,"thumbnail":705},"programm/kalender/the-watermelon-woman","The Watermelon Woman (USA 1996, R: Cheryl Dunye)","https://13api-live.berlinbiennale.de/public/en/program/calendar/the-watermelon-woman","the-watermelon-woman","Sister Organization, Screening","\u003Cp>\u003Cem>The Watermelon Woman\u003C/em> (USA 1996, D: Cheryl Dunye)\u003C/p>",[],"SİNEMA TRANSTOPIA",[701],{"id":405,"programDay":702,"programTimeStart":525,"programTimeEnd":703},"2025-06-21","23:00:00","\u003Cp>A landmark of New Queer Cinema, \u003Cem>The Watermelon Woman \u003C/em>(directed by Cheryl Dunye, USA 1996, 84 minutes, English) is both a playful as well as a radical intervention into film history. Cheryl Dunye, who stars as herself, embarks on a journey to uncover the forgotten legacy of a fictional Black lesbian actress from the 1930s, known only as “The Watermelon Woman.” Blending fiction and documentary, the film critiques the erasure of Black queer voices in cinema while asserting the importance of self-representation. Dunye challenges dominant historical narratives, exposing the gaps and silences in the archive, while simultaneously crafting a space for Black lesbian identity on screen.\u003Cbr>\u003Cbr>\u003Cstrong>Cheryl Dunye\u003C/strong> is a Liberian-American film director, producer, screenwriter, editor and actress. Dunye’s work often concerns themes of race, sexuality, and gender, particularly issues relating to black lesbians.\u003C/p>",{"id":706,"uuid":707,"url":708,"alt":709},"bb13_thewatermelonwoman_02.jpg","file://5VekNF2Lkm7Vw5Ia","https://13api-live.berlinbiennale.de/public/media/site/313e16710e-1749216425/bb13_thewatermelonwoman_02.jpg","Two people are standing in a book or video store. One person on the left is looking at a shelf while the other person is turning their head in their direction wearing sunglasses.",{"id":711,"title":712,"url":713,"slug":714,"format":715,"programTitle":716,"programSubtitle":717,"programLocation":718,"otherLocation":8,"programSchedule":720,"description":729,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/simone-dede-ayivi","Simone Dede Ayivi und Kompliz*innen, Hä!?","https://13api-live.berlinbiennale.de/public/en/program/calendar/simone-dede-ayivi","simone-dede-ayivi","Sister Organization","\u003Cp>Simone Dede Ayivi & Kompliz*innen\u003C/p>","\u003Cp>\u003Cem>Hä?!\u003C/em>\u003C/p>",[719],{"id":401,"title":402,"uri":401},[721,722,725,727],{"id":405,"programDay":566,"programTimeStart":468,"programTimeEnd":425},{"id":723,"programDay":724,"programTimeStart":468,"programTimeEnd":425},"1","2025-06-20",{"id":726,"programDay":702,"programTimeStart":468,"programTimeEnd":425},"2",{"id":728,"programDay":634,"programTimeStart":468,"programTimeEnd":425},"3","\u003Cp>\u003Cem>Hä?!\u003C/em> is an evening about understanding and misunderstanding in the migration society and the question of how we do not lose all the achievements of recent years despite the shift to the extreme right. We dare to take a self-critical look at our concepts of diversity, while at the same time doing everything, we can to remain many and become even more. Above all, we should come to an understanding about how we got here, what happened and who this “we” we keep talking about actually is. There is a lot to clarify. Before we lose our tongue or they shut us up.\u003Cbr>\u003Cbr>A production by Simone Dede Ayivi & Kompliz*innen in co-production with Sophiensæle. Supported by the Senate Department for Culture and Social Cohesion and the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.\u003C/p>",{"id":731,"title":732,"url":733,"slug":734,"format":715,"programTitle":735,"programSubtitle":736,"programLocation":737,"otherLocation":8,"programSchedule":739,"description":743,"thumbnailCaption":8,"thumbnail":744},"programm/kalender/jessica-teixeira-monga","Jéssica Teixeira MONGA","https://13api-live.berlinbiennale.de/public/en/program/calendar/jessica-teixeira-monga","jessica-teixeira-monga","\u003Cp>Jéssica Teixeira\u003C/p>","\u003Cp>\u003Cem>MONGA\u003C/em>\u003C/p>",[738],{"id":401,"title":402,"uri":401},[740,741],{"id":405,"programDay":600,"programTimeStart":425,"programTimeEnd":525},{"id":723,"programDay":742,"programTimeStart":425,"programTimeEnd":525},"2025-07-04","\u003Cp>With her award-winning work \u003Cem>MONGA\u003C/em>, Brazilian director and performer Jéssica Teixeira embarks on her first European tour, including two performances at Sophiensæle.\u003C/p>",{"id":745,"uuid":746,"url":747,"alt":8},"monga-patricia-almeida-web.jpg","file://zvytsGnsIw2srT9M","https://13api-live.berlinbiennale.de/public/media/site/91ba82636a-1750862072/monga-patricia-almeida-web.jpg",{"id":749,"title":750,"url":751,"slug":752,"format":715,"programTitle":8,"programSubtitle":753,"programLocation":754,"otherLocation":8,"programSchedule":756,"description":758,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/historische-hausfuehrung-sophiensaele","Historic House Tour of Sophiensaele","https://13api-live.berlinbiennale.de/public/en/program/calendar/historic-house-tour-sophiensaele","historic-house-tour-sophiensaele","\u003Cp>Historic House Tour\u003C/p>",[755],{"id":401,"title":402,"uri":401},[757],{"id":405,"programDay":742,"programTimeStart":407,"programTimeEnd":652},"\u003Cp>Sophiensæle can look back on an eventful and varied past since its construction as a craftsmen’s association house at the beginning of the 20th century. During the tour, the Sophiensæle will be discussed against the background of its various uses and meanings: as an educational and training center for craftsmen, as an organizational site for a workers’ movement, as a place of Nazi forced labor, as workshops for the Maxim Gorki Theatre and, since 1996, as a venue for the independent performing arts in Berlin-Mitte.\u003C/p>",{"id":760,"title":761,"url":762,"slug":763,"format":537,"programTitle":8,"programSubtitle":550,"programLocation":764,"otherLocation":8,"programSchedule":766,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-arootin-mirzakhani-3","Focus Tour with Arootin Mirzakhani (HB/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-arootin-mirzakhani-3","fokus-tour-mit-arootin-mirzakhani-3",[765],{"id":459,"title":460,"uri":459},[767],{"id":405,"programDay":724,"programTimeStart":407,"programTimeEnd":408},{"id":769,"title":770,"url":771,"slug":772,"format":537,"programTitle":8,"programSubtitle":773,"programLocation":774,"otherLocation":8,"programSchedule":776,"description":792,"thumbnailCaption":8,"thumbnail":793},"programm/kalender/offenes-atelier-umut-evers","Open Atelier with Umut Evers","https://13api-live.berlinbiennale.de/public/en/program/calendar/open-atelier-umut-evers","open-atelier-umut-evers","\u003Cp>Open Atelier with Umut Evers\u003C/p>",[775],{"id":420,"title":421,"uri":420},[777,779,781,782,784,786,789],{"id":405,"programDay":634,"programTimeStart":778,"programTimeEnd":408},"15:00:00",{"id":723,"programDay":780,"programTimeStart":778,"programTimeEnd":408},"2025-06-29",{"id":726,"programDay":684,"programTimeStart":778,"programTimeEnd":408},{"id":728,"programDay":783,"programTimeStart":778,"programTimeEnd":408},"2025-07-13",{"id":785,"programDay":583,"programTimeStart":778,"programTimeEnd":408},"4",{"id":787,"programDay":788,"programTimeStart":778,"programTimeEnd":408},"5","2025-07-27",{"id":790,"programDay":791,"programTimeStart":778,"programTimeEnd":408},"6","2025-09-14","\u003Cp>Open ateliers are family-friendly workshops held every Sunday afternoon from 3–6 pm at rotating venues throughout the duration of the 13th Berlin Biennale for Contemporary Art. These drop-in sessions are free of charge and need no prior registration. These Open Ateliers invite visitors of all ages to engage playfully and intuitively with the exhibition’s themes, materials, and questions.\u003C/p>",{"id":794,"uuid":795,"url":796,"alt":8},"bb13_umut_evers_07_web.jpeg","file://sN7SWchj3iyN4fHG","https://13api-live.berlinbiennale.de/public/media/site/38f1d54721-1750324202/bb13_umut_evers_07_web.jpeg",{"id":798,"title":799,"url":800,"slug":801,"format":537,"programTitle":8,"programSubtitle":802,"programLocation":803,"otherLocation":8,"programSchedule":805,"description":544,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-duc-vu-manh-3","Focus Tour with Duc Vu Manh (LS/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-duc-vu-manh-3","focus-tour-duc-vu-manh-3","\u003Cp>Focus Tour with Duc Vu Manh (EN)\u003C/p>",[804],{"id":462,"title":463,"uri":464},[806],{"id":405,"programDay":702,"programTimeStart":543,"programTimeEnd":407},{"id":808,"title":809,"url":810,"slug":811,"format":537,"programTitle":8,"programSubtitle":812,"programLocation":813,"otherLocation":8,"programSchedule":815,"description":544,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-duc-vu-manh-4","Focus Tour with Duc Vu Manh (LS/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-duc-vu-manh-4","fokus-tour-duc-vu-manh-4","\u003Cp>Focus Tour with Duc Vu Manh (DE)\u003C/p>",[814],{"id":462,"title":463,"uri":464},[816,819,820,821,823,825,827],{"id":405,"programDay":441,"programTimeStart":817,"programTimeEnd":818},"11:00:00","12:00:00",{"id":723,"programDay":634,"programTimeStart":817,"programTimeEnd":818},{"id":726,"programDay":783,"programTimeStart":817,"programTimeEnd":818},{"id":728,"programDay":583,"programTimeStart":818,"programTimeEnd":822},"13:00:00",{"id":785,"programDay":824,"programTimeStart":818,"programTimeEnd":822},"2025-08-24",{"id":787,"programDay":826,"programTimeStart":818,"programTimeEnd":822},"2025-09-07",{"id":790,"programDay":791,"programTimeStart":818,"programTimeEnd":822},{"id":829,"title":830,"url":831,"slug":832,"format":537,"programTitle":8,"programSubtitle":833,"programLocation":834,"otherLocation":8,"programSchedule":836,"description":844,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-thesea-rigou","Focus Tour with Thesea Rigou (KW/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-thesea-rigou","focus-tour-thesea-rigou","\u003Cp>Focus Tour with Thesea Rigou\u003Cstrong> \u003C/strong>(DE)\u003C/p>",[835],{"id":420,"title":421,"uri":420},[837,838,840,842],{"id":405,"programDay":702,"programTimeStart":543,"programTimeEnd":407},{"id":723,"programDay":839,"programTimeStart":543,"programTimeEnd":407},"2025-08-02",{"id":726,"programDay":841,"programTimeStart":543,"programTimeEnd":407},"2025-08-09",{"id":728,"programDay":843,"programTimeStart":818,"programTimeEnd":822},"2025-09-13","\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003Cbr>\u003Cbr>\u003Cstrong>Thesea Rigou\u003C/strong> is a Cypriot interdisciplinary artist, educator, and gardener based in Berlin. Their artistic practice centers on socio-ecological themes, weaving together installations, performances, and printmaking through a blend of theoretical inquiry and material experimentation. As an art educator, Thesea enjoys hosting safer spaces for critical dialogue and political engagement, drawing on experience in collaborative and self-organized projects.\u003C/p>",{"id":846,"title":847,"url":848,"slug":849,"format":537,"programTitle":8,"programSubtitle":850,"programLocation":851,"otherLocation":8,"programSchedule":853,"description":844,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-thesea-rigou-en","Focus Tour with Thesea Rigou (KW/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-thesea-rigou-en","fokus-tour-thesea-rigou-en","\u003Cp>Focus Tour with Thesea Rigou\u003Cstrong> \u003C/strong>(EN)\u003C/p>",[852],{"id":420,"title":421,"uri":420},[854,855,856],{"id":405,"programDay":634,"programTimeStart":817,"programTimeEnd":818},{"id":723,"programDay":824,"programTimeStart":818,"programTimeEnd":822},{"id":726,"programDay":791,"programTimeStart":818,"programTimeEnd":822},{"id":858,"title":859,"url":860,"slug":861,"format":537,"programTitle":862,"programSubtitle":863,"programLocation":864,"otherLocation":8,"programSchedule":866,"description":872,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-workshop-mit-zoncy-heavenly","Focus Workshop with Zoncy Heavenly","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-workshop-with-zoncy-heavenly","focus-workshop-with-zoncy-heavenly","\u003Cp>Focus Workshop with Zoncy Heavenly\u003C/p>","\u003Cp>\u003Cem>The Lucky Draw_negotiating with an art Biennale\u003C/em>\u003C/p>",[865],{"id":420,"title":421,"uri":420},[867,868,870],{"id":405,"programDay":670,"programTimeStart":407,"programTimeEnd":468},{"id":723,"programDay":869,"programTimeStart":407,"programTimeEnd":468},"2025-08-07",{"id":726,"programDay":871,"programTimeStart":407,"programTimeEnd":468},"2025-09-04","\u003Cp>The \u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">Focus Workshops\u003C/a> are closely related to the Focus Tours and place an emphasis on deeper engagement with selected themes, artistic works, or questions raised by the 13th Berlin Biennial. They invite participants to consciously take more time to explore speci\u003Cem>f\u003C/em>ic areas o\u003Cem>ff\u003C/em>ocus.\u003C/p>",{"id":874,"title":875,"url":876,"slug":875,"format":8,"programTitle":8,"programSubtitle":8,"programLocation":877,"otherLocation":8,"programSchedule":878,"description":8,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-thesea-rigou-4","fokus-tour-thesea-rigou-4","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-thesea-rigou-4",[],[],{"id":880,"title":881,"url":882,"slug":883,"format":537,"programTitle":8,"programSubtitle":884,"programLocation":885,"otherLocation":8,"programSchedule":887,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/focus-tour-jannina-brosowsky","Focus Tour with Jannina Brosowsky (LS/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-jannina-brosowsky","focus-tour-jannina-brosowsky","\u003Cp>Focus Tour with Jannina Brosowsky (EN)\u003C/p>",[886],{"id":462,"title":463,"uri":464},[888,890,892],{"id":405,"programDay":889,"programTimeStart":543,"programTimeEnd":407},"2025-06-28",{"id":723,"programDay":891,"programTimeStart":543,"programTimeEnd":407},"2025-07-19",{"id":726,"programDay":843,"programTimeStart":543,"programTimeEnd":407},{"id":894,"title":895,"url":896,"slug":897,"format":537,"programTitle":8,"programSubtitle":812,"programLocation":898,"otherLocation":8,"programSchedule":900,"description":544,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-duc-vu-manh-5","Focus Tour with Duc Vu Manh (KW/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-duc-vu-manh-5","fokus-tour-duc-vu-manh-5",[899],{"id":420,"title":421,"uri":420},[901,902,904,906],{"id":405,"programDay":889,"programTimeStart":543,"programTimeEnd":407},{"id":723,"programDay":903,"programTimeStart":543,"programTimeEnd":407},"2025-07-05",{"id":726,"programDay":905,"programTimeStart":543,"programTimeEnd":407},"2025-08-30",{"id":728,"programDay":907,"programTimeStart":543,"programTimeEnd":407},"2025-09-06",{"id":909,"title":910,"url":911,"slug":912,"format":537,"programTitle":8,"programSubtitle":913,"programLocation":914,"otherLocation":8,"programSchedule":916,"description":924,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-with-sarah-steiner","Focus Tour with Sarah Steiner (LS/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-with-sarah-steiner","fokus-tour-with-sarah-steiner","\u003Cp>Focus Tour with Sarah Steiner (DE)\u003C/p>",[915],{"id":462,"title":463,"uri":464},[917,918,919,920,922],{"id":405,"programDay":780,"programTimeStart":817,"programTimeEnd":818},{"id":723,"programDay":684,"programTimeStart":817,"programTimeEnd":818},{"id":726,"programDay":788,"programTimeStart":818,"programTimeEnd":822},{"id":728,"programDay":921,"programTimeStart":818,"programTimeEnd":822},"2025-08-10",{"id":785,"programDay":923,"programTimeStart":818,"programTimeEnd":822},"2025-08-17","\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003Cbr>\u003Cbr>\u003Cstrong>Sarah Steiner\u003C/strong> is an artist. Curious about the poetry of the ephemeral, the unfinished, and the supposedly flawed, her artistic practice explores concepts of emptiness and silence, of relationships, language and intimacy, of body, space, and time, and investigates the question of where the self ends and the other begins. In doing so, she follows shadows and echoes, traces the in-between and seeks an experience with all her senses by slowing down.\u003C/p>",{"id":926,"title":927,"url":928,"slug":929,"format":537,"programTitle":8,"programSubtitle":930,"programLocation":931,"otherLocation":8,"programSchedule":933,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-valentina-viviani","Curatorial Tour with Valentina Viviani (KW/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/curatorial-tour-with-valentina-viviani","curatorial-tour-with-valentina-viviani","\u003Cp>Curatorial Tour with Valentina Viviani (EN)\u003C/p>",[932],{"id":420,"title":421,"uri":420},[934],{"id":405,"programDay":780,"programTimeStart":817,"programTimeEnd":818},"\u003Cp>In addition to the \u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">Focus tours\u003C/a> led by the mediators of the 13th Berlin Biennale, visitors may also opt for tours with the curators who guide visitors through the exhibition, offering cues and insights into the curatorial concept of each Biennale venue.\u003C/p>",{"id":937,"title":938,"url":939,"slug":940,"format":537,"programTitle":8,"programSubtitle":930,"programLocation":941,"otherLocation":8,"programSchedule":943,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-valentina-viviani-2","Curatorial Tour with Valentina Viviani (LS/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/curatorial-tour-with-valentina-viviani-2","curatorial-tour-with-valentina-viviani-2",[942],{"id":462,"title":463,"uri":464},[944],{"id":405,"programDay":614,"programTimeStart":543,"programTimeEnd":407},{"id":946,"title":947,"url":948,"slug":949,"format":537,"programTitle":8,"programSubtitle":950,"programLocation":951,"otherLocation":8,"programSchedule":953,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-arootin-mirzakhani-3","Focus Tour with Arootin Mirzakhani (KW/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-arootin-mirzakhani-3","fokus-tour-arootin-mirzakhani-3","\u003Cp>Focus Tour with Arootin Mirzakhani (EN)\u003C/p>",[952],{"id":420,"title":421,"uri":420},[954,955,956,957,959,960],{"id":405,"programDay":441,"programTimeStart":817,"programTimeEnd":818},{"id":723,"programDay":684,"programTimeStart":817,"programTimeEnd":818},{"id":726,"programDay":783,"programTimeStart":817,"programTimeEnd":818},{"id":728,"programDay":958,"programTimeStart":817,"programTimeEnd":818},"2025-08-03",{"id":785,"programDay":921,"programTimeStart":817,"programTimeEnd":818},{"id":787,"programDay":923,"programTimeStart":817,"programTimeEnd":818},{"id":962,"title":963,"url":964,"slug":965,"format":537,"programTitle":8,"programSubtitle":966,"programLocation":967,"otherLocation":8,"programSchedule":969,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-niusha-ramzani","Focus Tour with Niusha Ramzani (HB/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-niusha-ramzani","fokus-tour-mit-niusha-ramzani","\u003Cp>Focus Tour with Niusha Ramzani (EN)\u003C/p>",[968],{"id":459,"title":460,"uri":459},[970,971,973],{"id":405,"programDay":742,"programTimeStart":407,"programTimeEnd":408},{"id":723,"programDay":972,"programTimeStart":543,"programTimeEnd":407},"2025-08-01",{"id":726,"programDay":974,"programTimeStart":543,"programTimeEnd":407},"2025-08-29",{"id":976,"title":977,"url":978,"slug":979,"format":537,"programTitle":8,"programSubtitle":966,"programLocation":980,"otherLocation":8,"programSchedule":982,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-niusha-ramzani-2","Focus Tour with Niusha Ramzani (LS/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-niusha-ramzani-2","fokus-tour-mit-niusha-ramzani-2",[981],{"id":462,"title":463,"uri":464},[983,984,986,988,989,991,992],{"id":405,"programDay":903,"programTimeStart":543,"programTimeEnd":407},{"id":723,"programDay":985,"programTimeStart":543,"programTimeEnd":407},"2025-07-12",{"id":726,"programDay":987,"programTimeStart":543,"programTimeEnd":407},"2025-07-26",{"id":728,"programDay":841,"programTimeStart":543,"programTimeEnd":407},{"id":785,"programDay":990,"programTimeStart":543,"programTimeEnd":407},"2025-08-16",{"id":787,"programDay":905,"programTimeStart":543,"programTimeEnd":407},{"id":790,"programDay":907,"programTimeStart":543,"programTimeEnd":407},{"id":994,"title":995,"url":996,"slug":997,"format":537,"programTitle":8,"programSubtitle":833,"programLocation":998,"otherLocation":8,"programSchedule":1001,"description":844,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-thesea-rigou-5","Focus Tour with Thesea Rigou (SoSä/KW/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-thesea-rigou-5","fokus-tour-thesea-rigou-5",[999,1000],{"id":401,"title":402,"uri":401},{"id":420,"title":421,"uri":420},[1002,1005,1007],{"id":405,"programDay":1003,"programTimeStart":543,"programTimeEnd":1004},"2025-07-11","17:30:00",{"id":723,"programDay":1006,"programTimeStart":543,"programTimeEnd":1004},"2025-08-08",{"id":726,"programDay":1008,"programTimeStart":543,"programTimeEnd":1004},"2025-08-22",{"id":1010,"title":1011,"url":1012,"slug":1011,"format":8,"programTitle":8,"programSubtitle":8,"programLocation":1013,"otherLocation":8,"programSchedule":1014,"description":8,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-with-sarah-steiner-2","fokus-tour-with-sarah-steiner-2","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-with-sarah-steiner-2",[],[],{"id":1016,"title":1017,"url":1018,"slug":1019,"format":537,"programTitle":8,"programSubtitle":930,"programLocation":1020,"otherLocation":8,"programSchedule":1022,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-valentina-viviani-3","Curatorial Tour with Valentina Viviani (SoSä/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/curatorial-tour-with-valentina-viviani-3","curatorial-tour-with-valentina-viviani-3",[1021],{"id":401,"title":402,"uri":401},[1023],{"id":405,"programDay":1024,"programTimeStart":543,"programTimeEnd":407},"2025-07-30",{"id":1026,"title":1027,"url":1028,"slug":1029,"format":1030,"programTitle":1031,"programSubtitle":1032,"programLocation":1033,"otherLocation":8,"programSchedule":1035,"description":1037,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/in-conversation-anawana-haloba","Anawana Haloba: In Conversation","https://13api-live.berlinbiennale.de/public/en/program/calendar/in-conversation-anawana-haloba","in-conversation-anawana-haloba","Talk","\u003Cp>Anawana Haloba\u003C/p>","\u003Cp>\u003Cem>In Conversation\u003C/em>\u003C/p>",[1034],{"id":459,"title":460,"uri":459},[1036],{"id":405,"programDay":903,"programTimeStart":778,"programTimeEnd":8},"\u003Cp>Text by the organizer:\u003C/p>",{"id":1039,"title":1040,"url":1041,"slug":1042,"format":696,"programTitle":8,"programSubtitle":1043,"programLocation":1044,"otherLocation":699,"programSchedule":1045,"description":1047,"thumbnailCaption":8,"thumbnail":1048},"programm/kalender/78-dana","78 dana (78 Days, Serbia 2024, D:  Emilija Gašić)","https://13api-live.berlinbiennale.de/public/en/program/calendar/78-dana","78-dana","\u003Cp>\u003Cem>78 dana \u003C/em>[78 Days] (Serbia 2024, D: Emilija Gašić)\u003C/p>",[],[1046],{"id":405,"programDay":985,"programTimeStart":525,"programTimeEnd":703},"\u003Cp>After their father is drafted during the 1999 NATO bombing of Serbia, three sisters begin recording a Hi8 video diary from their rural home. They film themselves putting on make-up, picking cherries, playing games, arguing, and helping their mother in the kitchen. This fragile, intimate world becomes a kind of refuge—a buffer against the outside reality of sirens, bombings, and war. Director Emilija Gašić skillfully weaves together the viewpoints of the three sisters—each at a different stage of adolescence—to build a layered portrait of youth shaped by war. \u003Cem>78 Days\u003C/em> not only faithfully captures the aesthetic, texture, and emotional resonance of 1990s home videos, it also reflects on how the camera becomes part of familial relationships. Through its close observation of domestic life and shared authorship, the film doubles as a subtle piece of technological ethnography—tracing how handheld media shapes intimacy and memory.\u003C/p>",{"id":1049,"uuid":1050,"url":1051,"alt":8},"bb13_sinema_transtopia_78_days_01.jpg","file://u5HwI9hOy95K21MF","https://13api-live.berlinbiennale.de/public/media/site/b6bfdfb809-1751547644/bb13_sinema_transtopia_78_days_01.jpg",{"id":1053,"title":1054,"url":1055,"slug":1056,"format":537,"programTitle":8,"programSubtitle":930,"programLocation":1057,"otherLocation":8,"programSchedule":1059,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/curatorial-tour-with-valentina-viviani-4","Curatorial Tour with Valentina Viviani (HB/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/curatorial-tour-with-valentina-viviani-4","curatorial-tour-with-valentina-viviani-4",[1058],{"id":459,"title":460,"uri":459},[1060],{"id":405,"programDay":1061,"programTimeStart":543,"programTimeEnd":407},"2025-08-06",{"id":1063,"title":1064,"url":1065,"slug":1064,"format":8,"programTitle":8,"programSubtitle":8,"programLocation":1066,"otherLocation":8,"programSchedule":1067,"description":8,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-zasha-colah-2","kuratorische-tour-mit-zasha-colah-2","https://13api-live.berlinbiennale.de/public/en/program/calendar/kuratorische-tour-mit-zasha-colah-2",[],[],{"id":1069,"title":1070,"url":1071,"slug":1072,"format":537,"programTitle":8,"programSubtitle":1073,"programLocation":1074,"otherLocation":8,"programSchedule":1076,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-zasha-colah-3","Curatorial Tour with Zasha Colah (LS/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/kuratorische-tour-mit-zasha-colah-3","kuratorische-tour-mit-zasha-colah-3","\u003Cp>Curatorial Tour with Zasha Colah (EN)\u003C/p>",[1075],{"id":462,"title":463,"uri":464},[1077],{"id":405,"programDay":1078,"programTimeStart":543,"programTimeEnd":407},"2025-09-03",{"id":1080,"title":1081,"url":1082,"slug":1083,"format":537,"programTitle":8,"programSubtitle":1073,"programLocation":1084,"otherLocation":8,"programSchedule":1086,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-zasha-colah-4","Curatorial Tour with Zasha Colah (KW/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/kuratorische-tour-mit-zasha-colah-4","kuratorische-tour-mit-zasha-colah-4",[1085],{"id":420,"title":421,"uri":420},[1087],{"id":405,"programDay":1088,"programTimeStart":543,"programTimeEnd":407},"2025-09-11",{"id":1090,"title":1091,"url":1092,"slug":1093,"format":537,"programTitle":1094,"programSubtitle":1095,"programLocation":1096,"otherLocation":8,"programSchedule":1098,"description":1105,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-workshop-mit-arootin-mirzakhani","Focus Workshop with Arootin Mirzakhani","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-workshop-mit-arootin-mirzakhani","fokus-workshop-mit-arootin-mirzakhani","\u003Cp>Focus Workshop with Arootin Mirzakhani\u003C/p>","\u003Cp>\u003Cem>Narration of Order – The State as Artist of Its Own History\u003C/em>\u003C/p>",[1097],{"id":420,"title":421,"uri":420},[1099,1101,1103],{"id":405,"programDay":1100,"programTimeStart":407,"programTimeEnd":468},"2025-07-17",{"id":723,"programDay":1102,"programTimeStart":407,"programTimeEnd":468},"2025-08-14",{"id":726,"programDay":1104,"programTimeStart":407,"programTimeEnd":468},"2025-08-28","\u003Cp>The Focus Workshops are closely related to the Focus Tours and place an emphasis on deeper engagement with selected themes, artistic works, or questions raised by the 13th Berlin Biennial. They invite participants to consciously take more time to explore speci\u003Cem>f\u003C/em>ic areas o\u003Cem>f f\u003C/em>ocus.\u003C/p>",{"id":1107,"title":1108,"url":1109,"slug":1110,"format":396,"programTitle":1111,"programSubtitle":1112,"programLocation":1113,"otherLocation":1114,"programSchedule":1115,"description":1117,"thumbnailCaption":8,"thumbnail":1118},"programm/kalender/prossession-peda-gogo","Memory Biwa with Lusine Khurshudyan, Prossession Peda’Gogo, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/prossession-peda-gogo","prossession-peda-gogo","\u003Cp>Memory Biwa with Lusine Khurshudyan\u003C/p>","\u003Cp>\u003Cem>Prossession Peda’Gogo\u003C/em>, 2025\u003C/p>",[],"Public space",[1116],{"id":405,"programDay":987,"programTimeStart":818,"programTimeEnd":481},"\u003Cp>\u003Cem>Prossession Peda’Gogo\u003C/em> reflects on historical presences and enduring spatial injustices related to Namibia and Armenia in public spaces in Berlin. At Tempelhofer Feld, two commemorative plaques obliquely reflect the genocides of Namibia and Armenia. The plaques on the Feld reference the adjacent cemeteries, where a contested monument that glorifies genocide, and a Namibia-shaped plaque inscribe a double reading of disavowel on the ground. \u003C/p>",{"id":1119,"uuid":1120,"url":1121,"alt":8},"bb13_kw_memorybiwa_-encounters_web_-thabothindi_2025_24.jpg","file://Icepnaz75WXLc4iG","https://13api-live.berlinbiennale.de/public/media/site/a6f1458b5a-1757593338/bb13_kw_memorybiwa_-encounters_web_-thabothindi_2025_24.jpg",{"id":1123,"title":1124,"url":1125,"slug":1126,"format":537,"programTitle":8,"programSubtitle":1127,"programLocation":1128,"otherLocation":8,"programSchedule":1130,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-niusha-ramzani-3","Focus Tour with Niusha Ramzani (HB/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-niusha-ramzani-3","fokus-tour-mit-niusha-ramzani-3","\u003Cp>Focus Tour with Niusha Ramzani (DE)\u003C/p>",[1129],{"id":459,"title":460,"uri":459},[1131,1133],{"id":405,"programDay":1132,"programTimeStart":543,"programTimeEnd":407},"2025-07-18",{"id":723,"programDay":1134,"programTimeStart":543,"programTimeEnd":407},"2025-08-15",{"id":1136,"title":1137,"url":1138,"slug":1139,"format":537,"programTitle":8,"programSubtitle":884,"programLocation":1140,"otherLocation":8,"programSchedule":1142,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/focus-tour-jannina-brosowsky-2","Focus Tour with Jannina Brosowsky (KW/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-jannina-brosowsky-2","focus-tour-jannina-brosowsky-2",[1141],{"id":420,"title":421,"uri":420},[1143,1144,1145],{"id":405,"programDay":583,"programTimeStart":818,"programTimeEnd":822},{"id":723,"programDay":788,"programTimeStart":818,"programTimeEnd":822},{"id":726,"programDay":1146,"programTimeStart":818,"programTimeEnd":822},"2025-08-31",{"id":1148,"title":1149,"url":1150,"slug":1151,"format":537,"programTitle":8,"programSubtitle":1127,"programLocation":1152,"otherLocation":8,"programSchedule":1154,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-niusha-ramzani-4","Focus Tour with Niusha Ramzani (LS/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-niusha-ramzani-4","fokus-tour-mit-niusha-ramzani-4",[1153],{"id":462,"title":463,"uri":464},[1155,1156],{"id":405,"programDay":958,"programTimeStart":818,"programTimeEnd":822},{"id":723,"programDay":1146,"programTimeStart":818,"programTimeEnd":822},{"id":1158,"title":1159,"url":1160,"slug":1161,"format":537,"programTitle":8,"programSubtitle":1162,"programLocation":1163,"otherLocation":8,"programSchedule":1165,"description":792,"thumbnailCaption":8,"thumbnail":1169},"programm/kalender/offenes-atelier-mit-netzwerk-gegen-feminizide-berlin-und-colectiva-hilos","Open Atelier with Netzwerk gegen Feminizide Berlin and Colectiva HILOS","https://13api-live.berlinbiennale.de/public/en/program/calendar/open-atelier-with-netzwerk-gegen-feminizide-berlin-and-colectiva-hilos","open-atelier-with-netzwerk-gegen-feminizide-berlin-and-colectiva-hilos","\u003Cp>Open Atelier with Netzwerk gegen Feminizide Berlin and Colectiva HILOS\u003C/p>",[1164],{"id":462,"title":463,"uri":464},[1166,1167,1168],{"id":405,"programDay":958,"programTimeStart":778,"programTimeEnd":408},{"id":723,"programDay":921,"programTimeStart":778,"programTimeEnd":408},{"id":726,"programDay":923,"programTimeStart":778,"programTimeEnd":408},{"id":1170,"uuid":1171,"url":1172,"alt":8},"bb13_ngfb.jpg","file://wiY8JsPOL5OzNRNT","https://13api-live.berlinbiennale.de/public/media/site/3805423201-1752235803/bb13_ngfb.jpg",{"id":1174,"title":1175,"url":1176,"slug":1177,"format":396,"programTitle":1178,"programSubtitle":518,"programLocation":1179,"otherLocation":8,"programSchedule":1181,"description":601,"thumbnailCaption":8,"thumbnail":1183},"programm/kalender/mila-panic-mit-sasha-dolgopolov","Mila Panić with Sasha Dolgopolov, Big Mouth, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/mila-panic-with-sasha-dolgopolov","mila-panic-with-sasha-dolgopolov","\u003Cp>Mila Panić with Sasha Dolgopolov\u003C/p>",[1180],{"id":420,"title":421,"uri":420},[1182],{"id":405,"programDay":1104,"programTimeStart":524,"programTimeEnd":525},{"id":528,"uuid":529,"url":530,"alt":531},{"id":1185,"title":1186,"url":1187,"slug":1188,"format":396,"programTitle":1189,"programSubtitle":518,"programLocation":1190,"otherLocation":8,"programSchedule":1192,"description":601,"thumbnailCaption":8,"thumbnail":1194},"programm/kalender/mila-panic-mit-victor-patrascan","Mila Panić with Victor Patrascan, Big Mouth, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/mila-panic-with-victor-patrascan","mila-panic-with-victor-patrascan","\u003Cp>Mila Panić with Victor Patrascan\u003C/p>",[1191],{"id":420,"title":421,"uri":420},[1193],{"id":405,"programDay":1102,"programTimeStart":524,"programTimeEnd":525},{"id":528,"uuid":529,"url":530,"alt":531},{"id":1196,"title":1197,"url":1198,"slug":1199,"format":396,"programTitle":1200,"programSubtitle":518,"programLocation":1201,"otherLocation":8,"programSchedule":1203,"description":1205,"thumbnailCaption":8,"thumbnail":1206},"programm/kalender/mila-panic-mit-tamer-kattan","Mila Panić with Tamer Kattan, Big Mouth, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/mila-panic-with-tamer-kattan","mila-panic-with-tamer-kattan","\u003Cp>Mila Panić with Tamer Kattan\u003C/p>",[1202],{"id":420,"title":421,"uri":420},[1204],{"id":405,"programDay":1088,"programTimeStart":524,"programTimeEnd":525},"\u003Cp>This event takes place as part of Berlin Art Week 2025.\u003C/p>",{"id":528,"uuid":529,"url":530,"alt":531},{"id":1208,"title":1209,"url":1210,"slug":1211,"format":396,"programTitle":664,"programSubtitle":1212,"programLocation":1213,"otherLocation":8,"programSchedule":1215,"description":1205,"thumbnailCaption":8,"thumbnail":1218},"programm/kalender/critical-imagination-deficit-lecture-3","Sarnath Banerjee, Critical Imagination Deficit Lecture 3, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/critical-imagination-deficit-lecture-3","critical-imagination-deficit-lecture-3","\u003Cp>\u003Cem>Critical Imagination Deficit Lecture 3: Other People’s Nostalgia\u003C/em>, 2025\u003C/p>",[1214],{"id":420,"title":421,"uri":420},[1216],{"id":405,"programDay":1217,"programTimeStart":408,"programTimeEnd":468},"2025-09-12",{"id":655,"uuid":656,"url":657,"alt":658},{"id":1220,"title":574,"url":1221,"slug":1222,"format":396,"programTitle":577,"programSubtitle":578,"programLocation":1223,"otherLocation":8,"programSchedule":1225,"description":1205,"thumbnailCaption":8,"thumbnail":1228},"programm/kalender/monolog-einer-socke-2","https://13api-live.berlinbiennale.de/public/en/program/calendar/monolog-einer-socke-2","monolog-einer-socke-2",[1224],{"id":420,"title":421,"uri":420},[1226,1227],{"id":405,"programDay":791,"programTimeStart":778,"programTimeEnd":8},{"id":723,"programDay":791,"programTimeStart":407,"programTimeEnd":8},{"id":586,"uuid":587,"url":588,"alt":589},{"id":1230,"title":1231,"url":1232,"slug":1233,"format":1234,"programTitle":8,"programSubtitle":1235,"programLocation":1236,"otherLocation":1237,"programSchedule":1238,"description":1241,"thumbnailCaption":8,"thumbnail":1242},"programm/kalender/watermelon-man","Watermelon Man","https://13api-live.berlinbiennale.de/public/en/program/calendar/watermelon-man","watermelon-man","Screening, Sister Organization","\u003Cp>\u003Cem>Watermelon Man\u003C/em> (USA, 1970, D: Melvin Van Peebles)\u003C/p>",[],"Filmrauschpalast Moabit",[1239],{"id":405,"programDay":1006,"programTimeStart":1240,"programTimeEnd":703},"21:15:00","\u003Cp>Protagonist Jeff Gerber has everything—a wife and two children, a house in the suburbs, and a great job. However, he is also a loud-mouthed racist. One morning he wakes up and, looking in the bathroom mirror, realizes that he has turned into a black man. Suddenly Gerber has to deal with a shocked family, ignorance in the office, and the back seats on the bus. With his film \u003Cem>Watermelon Man\u003C/em>, Melvin Van Peebles creates a sarcastic counter-image to the entertainment cinema of the late 1960s and early 1970s. In his Kafkaesque comedy, he exposes stereotypes, racism, and social constraints. As in classical tragedy, the events are commented on by a choir. Van Peeble’s soundtracks, including those from his later films, are celebrated today as formative for jazz music.\u003C/p>",{"id":1243,"uuid":1244,"url":1245,"alt":8},"bb13_watermelon-man_4k-4.jpeg","file://4zRMJx2G7j3gspcE","https://13api-live.berlinbiennale.de/public/media/site/5036fb882b-1752500913/bb13_watermelon-man_4k-4.jpeg",{"id":1247,"title":1248,"url":1249,"slug":1250,"format":1234,"programTitle":8,"programSubtitle":1251,"programLocation":1252,"otherLocation":699,"programSchedule":1253,"description":1205,"thumbnailCaption":8,"thumbnail":1256},"programm/kalender/esquirlas","Esquirlas","https://13api-live.berlinbiennale.de/public/en/program/calendar/esquirlas","esquirlas","\u003Cp>\u003Cem>Esquirlas \u003C/em>[Splinters] (Argentina 2020, D: Natalia Garayalde)\u003C/p>",[],[1254],{"id":405,"programDay":843,"programTimeStart":408,"programTimeEnd":1255},"19:15:00",{"id":1257,"uuid":1258,"url":1259,"alt":8},"bb13_sinema_transtopia_splinters_1.jpg","file://ViaVrPr4vZs4XK7R","https://13api-live.berlinbiennale.de/public/media/site/02aaa1f3ed-1754569884/bb13_sinema_transtopia_splinters_1.jpg",{"id":1261,"title":1262,"url":1263,"slug":1264,"format":537,"programTitle":8,"programSubtitle":1265,"programLocation":1266,"otherLocation":8,"programSchedule":1268,"description":1270,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-zoncy-heavenly","Focus Tour with Zoncy Heavenly (KW/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-zoncy-heavenly","fokus-tour-zoncy-heavenly","\u003Cp>Focus Tour with Zoncy Heavenly\u003Cstrong> \u003C/strong>(EN)\u003C/p>",[1267],{"id":420,"title":421,"uri":420},[1269],{"id":405,"programDay":891,"programTimeStart":543,"programTimeEnd":407},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/zoncy-heavenly\">\u003Cstrong>Zoncy Heavenly\u003C/strong>\u003C/a>, *1987 in Kawthaung, Burma. Places o\u003Cem>f\u003C/em> belonging: Berlin. A\u003Cem>ff\u003C/em>inity: Diverze Youth Art Plat\u003Cem>f\u003C/em>orm, Association \u003Cem>f\u003C/em>or Myanmar Contemporary Arts (AMCA).\u003C/p>",{"id":1272,"title":1273,"url":1274,"slug":1275,"format":537,"programTitle":8,"programSubtitle":966,"programLocation":1276,"otherLocation":8,"programSchedule":1278,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-niusha-ramzani-5","Focus Tour with Niusha Ramzani (SoSä/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-niusha-ramzani-5","fokus-tour-mit-niusha-ramzani-5",[1277],{"id":401,"title":402,"uri":401},[1279],{"id":405,"programDay":1280,"programTimeStart":543,"programTimeEnd":407},"2025-07-25",{"id":1282,"title":1283,"url":1284,"slug":1285,"format":396,"programTitle":1286,"programSubtitle":1287,"programLocation":1288,"otherLocation":8,"programSchedule":1290,"description":1292,"thumbnailCaption":8,"thumbnail":1293},"programm/kalender/milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-1","Milica Tomić, What Does the Name of War Stand for Today? Sequence 1: Mathemes of Articulation: Against the Logic of Erasure","https://13api-live.berlinbiennale.de/public/en/program/calendar/milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-1","milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-1","\u003Cp>Jelena Petrović in conversation with Sami Khatib and Milica Tomić\u003C/p>","\u003Cp>\u003Cem>What Does the Name of War Stand for Today? \u003C/em>Sequence 1:\u003Cem> Mathemes of Articulation: Against the Logic of Erasure\u003C/em>\u003C/p>",[1289],{"id":462,"title":463,"uri":464},[1291],{"id":405,"programDay":974,"programTimeStart":407,"programTimeEnd":652},"\u003Ch3>\u003Cstrong>\u003Cem>What Does the Name of War Stand for Today?\u003C/em>\u003C/strong>\u003C/h3>",{"id":1294,"uuid":1295,"url":1296,"alt":8},"bb13_miliciatomic_eberle-eisfeld_2025_web_1691000.jpg","file://BEKsSoOBezErfXg6","https://13api-live.berlinbiennale.de/public/media/site/0855236bfb-1752232945/bb13_miliciatomic_eberle-eisfeld_2025_web_1691000.jpg",{"id":1298,"title":1299,"url":1300,"slug":1301,"format":396,"programTitle":1302,"programSubtitle":1303,"programLocation":1304,"otherLocation":8,"programSchedule":1306,"description":1292,"thumbnailCaption":8,"thumbnail":1309},"programm/kalender/milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-2","Milica Tomić, What Does the Name of War Stand for Today? Sequence 2: Is There Anything in This World You Would Be Ready to Give Your Life For?","https://13api-live.berlinbiennale.de/public/en/program/calendar/milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-2","milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-2","\u003Cp>Jelena Petrović in conversation with Aleksandar Matković and Godofredo Enes Pereira\u003C/p>","\u003Cp>\u003Cem>What Does the Name of War Stand for Today? \u003C/em>Sequence 2:\u003Cem> Is There Anything in This World You Would Be Ready to Give Your Life For?\u003C/em>\u003C/p>",[1305],{"id":462,"title":463,"uri":464},[1307],{"id":405,"programDay":1308,"programTimeStart":407,"programTimeEnd":652},"2025-09-05",{"id":1294,"uuid":1295,"url":1296,"alt":8},{"id":1311,"title":1312,"url":1313,"slug":1314,"format":396,"programTitle":1315,"programSubtitle":1316,"programLocation":1317,"otherLocation":8,"programSchedule":1319,"description":1323,"thumbnailCaption":8,"thumbnail":1324},"programm/kalender/memory-biwa-mit-anike-joyce-sadiq","Memory Biwa with Anike Joyce Sadiq, Yvette Abrahams Reading Cycle","https://13api-live.berlinbiennale.de/public/en/program/calendar/memory-biwa-with-anike-joyce-sadiq","memory-biwa-with-anike-joyce-sadiq","\u003Cp>Memory Biwa with Anike Joyce Sadiq\u003C/p>","\u003Cp>\u003Cem>Yvette Abrahams Reading Cycle\u003C/em>\u003C/p>",[1318],{"id":462,"title":463,"uri":464},[1320],{"id":405,"programDay":841,"programTimeStart":1321,"programTimeEnd":1322},"15:30:00","16:30:00","\u003Cp>Memory Biwa’s work centers on the legacy of colonialism in Namibia, where the former German Empire committed a genocide against the Herero and Nama peoples. What can be built from the dust of this historical catastrophe? Biwa’s response is a garden at the former Courthouse Lehrter Straße, featuring a Nama reed house as a space for resilience and growth. Through her installation, she explores sites of memory and embodied forms of transmission—building worlds with words. In her space, Biwa, together with invited guests and visitors of the 13th Berlin Biennale, engages with themes such as shapeshifting monuments, Black geographies, and ecologies. \u003C/p>",{"id":1325,"uuid":1326,"url":1327,"alt":8},"bb13_memorybiwa_dr.yvette-abrahams_web.jpg","file://IR2yyzIpoUGNMS7B","https://13api-live.berlinbiennale.de/public/media/site/403279d7a9-1753782429/bb13_memorybiwa_dr.yvette-abrahams_web.jpg",{"id":1329,"title":1330,"url":1331,"slug":1332,"format":396,"programTitle":1333,"programSubtitle":1316,"programLocation":1334,"otherLocation":8,"programSchedule":1336,"description":1323,"thumbnailCaption":8,"thumbnail":1338},"programm/kalender/memory-biwa-mit-celine-barry-und-gifty-amoateng","Memory Biwa with Céline Barry and Gifty Amoateng, Yvette Abrahams Reading Cycle","https://13api-live.berlinbiennale.de/public/en/program/calendar/memory-biwa-mit-celine-barry-und-gifty-amoateng","memory-biwa-mit-celine-barry-und-gifty-amoateng","\u003Cp>Memory Biwa with Céline Barry and Gifty Amoateng\u003C/p>",[1335],{"id":462,"title":463,"uri":464},[1337],{"id":405,"programDay":990,"programTimeStart":1321,"programTimeEnd":1322},{"id":1325,"uuid":1326,"url":1327,"alt":8},{"id":1340,"title":1341,"url":1342,"slug":1343,"format":627,"programTitle":1344,"programSubtitle":1345,"programLocation":1346,"otherLocation":631,"programSchedule":1347,"description":1349,"thumbnailCaption":8,"thumbnail":1350},"programm/kalender/peoples-tribunal-zu-kunst-im-widerstand-gegen-unterdruckung-falle-aus-den-philippinen-2025","People’s Tribunal zu Kunst im Widerstand gegen Unterdrückung – Fälle aus den Philippinen, 2025","https://13api-live.berlinbiennale.de/public/en/program/calendar/peoples-tribunal-zu-kunst-im-widerstand-gegen-unterdruckung-falle-aus-den-philippinen-2025","peoples-tribunal-zu-kunst-im-widerstand-gegen-unterdruckung-falle-aus-den-philippinen-2025","\u003Cp>ALPAS Pilipinas; International Coalition for Human Rights in the Philippines, Germany (ICHRP Germany); Gabriela Germany\u003C/p>","\u003Cp>\u003Cem>People’s Tribunal on\u003C/em> \u003Cem>Art for Resisting Oppression—Philippine cases, \u003C/em>2025\u003C/p>",[],[1348],{"id":405,"programDay":824,"programTimeStart":543,"programTimeEnd":425},"\u003Cp>The 13th Berlin Biennale for Contemporary Art convenes two \u003Ca href=\"https://13.berlinbiennale.de/en/artists/peoples-tribunal\">People’s Tribunals\u003C/a>—community-sourced judicial forums to address human rights violations and crimes against humanity when justice has been denied at a state or international level. \u003C/p>",{"id":1351,"uuid":1352,"url":1353,"alt":8},"bb13_kw_-peoplestribunal_encounters_web_-dianapfammatter-_2025-13.jpg","file://vnaZuZ1RKmWwNYPh","https://13api-live.berlinbiennale.de/public/media/site/f4f0efc8ca-1757595311/bb13_kw_-peoplestribunal_encounters_web_-dianapfammatter-_2025-13.jpg",{"id":1355,"title":1356,"url":1357,"slug":1358,"format":537,"programTitle":1359,"programSubtitle":1360,"programLocation":1361,"otherLocation":8,"programSchedule":1364,"description":1367,"thumbnailCaption":8,"thumbnail":1368},"programm/kalender/fokus-workshop-mit-alvin-collantes-and-thesea-rigou","Focus Workshop with Alvin Collantes and Thesea Rigou","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-workshop-mit-alvin-collantes-and-thesea-rigou","fokus-workshop-mit-alvin-collantes-and-thesea-rigou","\u003Cp>Focus Workshop with Alvin Collantes and Thesea Rigou\u003C/p>","\u003Cp>\u003Cem>Somatic Exercises in the Exhibitions\u003C/em>\u003C/p>",[1362,1363],{"id":401,"title":402,"uri":401},{"id":420,"title":421,"uri":420},[1365,1366],{"id":405,"programDay":523,"programTimeStart":407,"programTimeEnd":468},{"id":723,"programDay":1088,"programTimeStart":407,"programTimeEnd":468},"\u003Cp>Moderated by Alvin Collantes and Thesea Rigou, this workshop invites participants to explore the exhibitions of the 13th Berlin Biennale through movement and physical response. Over two hours, Alvin and Thesea will guide participants through individual and group exercises inspired by specific artworks and themes from the exhibitions. \u003Cbr>\u003Cbr>The workshop is open to all abilities—no prior experience is required. Wear comfortable, movement-friendly clothing and shoes. \u003Cbr>\u003C/p>",{"id":1369,"uuid":1370,"url":1371,"alt":8},"240426_kw_0991_lq.jpg","file://8R9c48oNqrk6lhxp","https://13api-live.berlinbiennale.de/public/media/site/0ce53d7b8a-1753963341/240426_kw_0991_lq.jpg",{"id":1373,"title":1374,"url":1375,"slug":1376,"format":537,"programTitle":8,"programSubtitle":1377,"programLocation":1378,"otherLocation":8,"programSchedule":1380,"description":1382,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-with-anja-soeyuenmez","Focus Tour with Anja Söyünmez (LS/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-with-anja-soeyuenmez","fokus-tour-with-anja-soeyuenmez","\u003Cp>Focus Tour with Anja Söyünmez (EN)\u003C/p>",[1379],{"id":462,"title":463,"uri":464},[1381],{"id":405,"programDay":839,"programTimeStart":543,"programTimeEnd":407},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003Cbr>\u003Cbr>\u003Cstrong>Anja Söyünmez\u003C/strong> is a multidisciplinary scholar and art producer who also maintains an artistic practice. Her work moves between academic inquiry and cultural production, with a focus on postcolonial and decolonial perspectives, territoriality and affect.\u003C/p>",{"id":1384,"title":1385,"url":1386,"slug":1387,"format":537,"programTitle":8,"programSubtitle":1388,"programLocation":1389,"otherLocation":8,"programSchedule":1391,"description":1394,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-hyemi-jo","Focus Tour with Hyemi Jo (HB/DGS)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-with-hyemi-jo","focus-tour-with-hyemi-jo","\u003Cp>Focus Tour with Hyemi Jo (DGS)\u003C/p>",[1390],{"id":459,"title":460,"uri":459},[1392,1393],{"id":405,"programDay":921,"programTimeStart":543,"programTimeEnd":407},{"id":723,"programDay":907,"programTimeStart":817,"programTimeEnd":818},"\u003Cp>\u003Ca href=\"https://www.instagram.com/reel/DNDYUn1oSfx/?igsh=MXFjY3Y4czB0Y3lxZg==\" target=\"_blank\">Announcement Video (in German Sign Language\u003C/a>)\u003C/p>",{"id":1396,"title":1397,"url":1398,"slug":1399,"format":537,"programTitle":8,"programSubtitle":913,"programLocation":1400,"otherLocation":8,"programSchedule":1402,"description":924,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-sarah-steiner-3","Focus Tour with Sarah Steiner (KW/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-sarah-steiner-3","fokus-tour-mit-sarah-steiner-3",[1401],{"id":420,"title":421,"uri":420},[1403],{"id":405,"programDay":990,"programTimeStart":543,"programTimeEnd":407},{"id":1405,"title":1070,"url":1406,"slug":1407,"format":537,"programTitle":8,"programSubtitle":1073,"programLocation":1408,"otherLocation":8,"programSchedule":1410,"description":935,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/kuratorische-tour-mit-zasha-colah-5","https://13api-live.berlinbiennale.de/public/en/program/calendar/kuratorische-tour-mit-zasha-colah-5","kuratorische-tour-mit-zasha-colah-5",[1409],{"id":401,"title":402,"uri":401},[1411],{"id":405,"programDay":1412,"programTimeStart":543,"programTimeEnd":407},"2025-08-20",{"id":1414,"title":1415,"url":1416,"slug":1417,"format":537,"programTitle":8,"programSubtitle":1127,"programLocation":1418,"otherLocation":8,"programSchedule":1420,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-niusha-ramzani-6","Focus Tour with Niusha Ramzani (SoSä/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-niusha-ramzani-6","fokus-tour-mit-niusha-ramzani-6",[1419],{"id":401,"title":402,"uri":401},[1421],{"id":405,"programDay":1308,"programTimeStart":543,"programTimeEnd":407},{"id":1423,"title":1424,"url":1425,"slug":1426,"format":537,"programTitle":8,"programSubtitle":950,"programLocation":1427,"otherLocation":8,"programSchedule":1429,"description":555,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-arootin-mirzakhani-4","Focus Tour with Arootin Mirzakhani (HB/EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/fokus-tour-mit-arootin-mirzakhani-4","fokus-tour-mit-arootin-mirzakhani-4",[1428],{"id":459,"title":460,"uri":459},[1430],{"id":405,"programDay":1217,"programTimeStart":543,"programTimeEnd":407},{"id":1432,"title":1433,"url":1434,"slug":1435,"format":715,"programTitle":1436,"programSubtitle":1437,"programLocation":1438,"otherLocation":8,"programSchedule":1440,"description":1445,"thumbnailCaption":8,"thumbnail":1446},"programm/kalender/crowd-control-oliver-zahn","Crowd Control Oliver Zahn","https://13api-live.berlinbiennale.de/public/en/program/calendar/crowd-control-oliver-zahn","crowd-control-oliver-zahn","\u003Cp>Oliver Zahn\u003C/p>","\u003Cp>\u003Cem>Crowd Control\u003C/em>\u003C/p>",[1439],{"id":401,"title":402,"uri":401},[1441,1442,1443,1444],{"id":405,"programDay":1088,"programTimeStart":468,"programTimeEnd":525},{"id":723,"programDay":1217,"programTimeStart":468,"programTimeEnd":525},{"id":726,"programDay":843,"programTimeStart":468,"programTimeEnd":525},{"id":728,"programDay":791,"programTimeStart":468,"programTimeEnd":525},"\u003Cp>Oliver Zahn’s \u003Cem>Crowd Control\u003C/em> explores the performative history of riot police. Visualized as a collective body of eight performers, it highlights the extreme theatricality of police units aimed at controlling crowds, protests, or riots.\u003C/p>",{"id":1447,"uuid":1448,"url":1449,"alt":8},"oliver-zahn_crowd-control_gedviletamosiunaite_4492_web_2.jpg","file://ocGUmnh477lqiuEn","https://13api-live.berlinbiennale.de/public/media/site/9765f73dd4-1756374438/oliver-zahn_crowd-control_gedviletamosiunaite_4492_web_2.jpg",{"id":1451,"title":1452,"url":1453,"slug":1454,"format":715,"programTitle":1455,"programSubtitle":1456,"programLocation":1457,"otherLocation":8,"programSchedule":1459,"description":1465,"thumbnailCaption":8,"thumbnail":1466},"programm/kalender/subjoyride","Boglárka Börcsök & Andreas Bolm: subjoyride","https://13api-live.berlinbiennale.de/public/en/program/calendar/subjoyride","subjoyride","\u003Cp>Boglárka Börcsök & Andreas Bolm\u003C/p>","\u003Cp>\u003Cem>subjoyride\u003C/em>\u003C/p>",[1458],{"id":401,"title":402,"uri":401},[1460,1462,1463,1464],{"id":405,"programDay":1461,"programTimeStart":425,"programTimeEnd":8},"2025-09-10",{"id":723,"programDay":1088,"programTimeStart":426,"programTimeEnd":8},{"id":726,"programDay":1217,"programTimeStart":426,"programTimeEnd":8},{"id":728,"programDay":843,"programTimeStart":426,"programTimeEnd":8},"\u003Cp>Berlin-based choreographer, dancer, and performer Boglárka Börcsök and the artist-filmmaker Andreas Bolm explore the provocative-grotesque legacy of the German Dada artist Baroness Elsa von Freytag-Loringhoven. They seek to transform resistance to patriarchal art historiography into a sensual experience.\u003C/p>",{"id":1467,"uuid":1468,"url":1469,"alt":8},"subjoyride_-gedvile-tamosiunaite_2_web.jpg","file://qbnpmXkABC7cTF0Y","https://13api-live.berlinbiennale.de/public/media/site/204c6f1dce-1756374833/subjoyride_-gedvile-tamosiunaite_2_web.jpg",{"id":1471,"title":1472,"url":1473,"slug":1474,"format":537,"programTitle":1475,"programSubtitle":1476,"programLocation":1477,"otherLocation":8,"programSchedule":1479,"description":1484,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/ruhige-stunden-silent-hours","Ruhige Stunden [Silent Hours]","https://13api-live.berlinbiennale.de/public/en/program/calendar/ruhige-stunden-silent-hours","ruhige-stunden-silent-hours","\u003Cp>\u003Cem>Ruhige Stunden\u003C/em> [Silent Hours]\u003C/p>","\u003Cp>Focus Workshop with Jannina Brosowsky and Anja Söyünmez (DE)\u003C/p>",[1478],{"id":420,"title":421,"uri":420},[1480,1482],{"id":405,"programDay":1481,"programTimeStart":407,"programTimeEnd":468},"2025-08-19",{"id":723,"programDay":1483,"programTimeStart":407,"programTimeEnd":468},"2025-09-02","\u003Cp>Please refer to the German version for further information on this program.\u003C/p>",{"id":1486,"title":1487,"url":1488,"slug":1489,"format":396,"programTitle":1490,"programSubtitle":1491,"programLocation":1492,"otherLocation":8,"programSchedule":1494,"description":1496,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/stacy-douglas-in-conversation","On Legality, Illegality, and Political Culture: Stacy Douglas in conversation with Alexander Gorski","https://13api-live.berlinbiennale.de/public/en/program/calendar/stacy-douglas-in-conversation","stacy-douglas-in-conversation","\u003Cp>Stacy Douglas in conversation with Alexander Gorski\u003C/p>","\u003Cp>\u003Cem>On Legality, Illegality, and Political Culture\u003C/em>\u003C/p>",[1493],{"id":420,"title":421,"uri":420},[1495],{"id":405,"programDay":1412,"programTimeStart":408,"programTimeEnd":468},"\u003Cp>As part of the participation in the 13th Berlin Biennale, Stacy Douglas initiates a conversation with Alexander Gorski, European Legal Support Centre (ELSC) lawyer, on censorship, Palestine, and the need for an enhanced political culture in contemporary German cultural institutions.\u003C/p>",{"id":1498,"title":1499,"url":1500,"slug":1501,"format":537,"programTitle":8,"programSubtitle":1502,"programLocation":1503,"otherLocation":8,"programSchedule":1505,"description":1508,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-touren-ehemaliges-gerichtsgebaeude-en","Focus Tour Former Courthouse (EN)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tours-former-courthouse-en","focus-tours-former-courthouse-en","\u003Cp>CANCELLED: Focus Tour (EN)\u003C/p>",[1504],{"id":462,"title":463,"uri":464},[1506],{"id":405,"programDay":1507,"programTimeStart":543,"programTimeEnd":407},"2025-08-23","\u003Cp>+++ This Focus Tour is cancelled. +++\u003C/p>",{"id":1510,"title":1511,"url":1512,"slug":1513,"format":537,"programTitle":8,"programSubtitle":1514,"programLocation":1515,"otherLocation":8,"programSchedule":1517,"description":1382,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/fokus-tour-mit-anja-soeyuenmez-2","Focus Tour with Anja Söyünmez (KW/DE)","https://13api-live.berlinbiennale.de/public/en/program/calendar/focus-tour-with-anja-soeyuenmez-2","focus-tour-with-anja-soeyuenmez-2","\u003Cp>Focus Tour with Anja Söyünmez (DE)\u003C/p>",[1516],{"id":420,"title":421,"uri":420},[1518],{"id":405,"programDay":1507,"programTimeStart":543,"programTimeEnd":407},{"id":1520,"title":1521,"url":1522,"slug":1523,"format":537,"programTitle":8,"programSubtitle":1524,"programLocation":1525,"otherLocation":8,"programSchedule":1527,"description":1530,"thumbnailCaption":8,"thumbnail":1531},"programm/kalender/offenes-atelier-mit-ercan-arslan","Open Atelier with Ercan Arslan","https://13api-live.berlinbiennale.de/public/en/program/calendar/open-atelier-with-ercan-arslan","open-atelier-with-ercan-arslan","\u003Cp>Open Atelier with Ercan Arslan\u003C/p>",[1526],{"id":420,"title":421,"uri":420},[1528,1529],{"id":405,"programDay":1146,"programTimeStart":778,"programTimeEnd":408},{"id":723,"programDay":826,"programTimeStart":778,"programTimeEnd":408},"\u003Cp>Open ateliers are \u003Cem>f\u003C/em>amily-\u003Cem>f\u003C/em>riendly workshops held every Sunday a\u003Cem>f\u003C/em>ternoon \u003Cem>f\u003C/em>rom 3–6 pm at rotating venues throughout the duration o\u003Cem>f\u003C/em> the 13th Berlin Biennale \u003Cem>f\u003C/em>or Contemporary Art. These drop-in sessions are \u003Cem>f\u003C/em>ree o\u003Cem>f\u003C/em> charge and need no prior registration. These Open Ateliers invite visitors o\u003Cem>f\u003C/em> all ages to engage play\u003Cem>f\u003C/em>ully and intuitively with the exhibition’s themes, materials, and questions.\u003C/p>",{"id":1532,"uuid":1533,"url":1534,"alt":8},"ercan-arslan-collage.jpg","file://uCCEXm87NmtE4rTJ","https://13api-live.berlinbiennale.de/public/media/site/bca8117f4e-1756211632/ercan-arslan-collage.jpg",{"id":1536,"title":1537,"url":1538,"slug":1539,"format":396,"programTitle":1540,"programSubtitle":1541,"programLocation":1542,"otherLocation":8,"programSchedule":1544,"description":1546,"thumbnailCaption":8,"thumbnail":1547},"programm/kalender/the-stairway-on-trial","Margherita Moscardini, The Stairway on Trial “Give me a legal personhood, and I will be state-less.”","https://13api-live.berlinbiennale.de/public/en/program/calendar/the-stairway-on-trial","the-stairway-on-trial","\u003Cp>Margherita Moscardini\u003C/p>","\u003Cp>\u003Cem>The Stairway on Trial “Give me a legal personhood, and I will be state-less.”\u003C/em>\u003C/p>",[1543],{"id":420,"title":421,"uri":420},[1545],{"id":405,"programDay":907,"programTimeStart":1322,"programTimeEnd":652},"\u003Cp>The artist \u003Ca href=\"https://13.berlinbiennale.de/en/artists/margherita-moscardini\">Margherita Moscardini\u003C/a>, with a team of engineers and lawyers, has made a staircase and a model for legislation into the open ground of the main hall of KW Institute for Contemporary Art. Mimicking a flight of stairs in East Jerusalem—in the Palestinian Occupied Territories, this walkable stone sculpture becomes a fitting stage for the live talk event \u003Cem>The Stairway on Trial\u003C/em>. \u003C/p>",{"id":1548,"uuid":1549,"url":1550,"alt":8},"bb13_margheritamoscardini_eberle-eisfeld_2025_web_7224.jpg","file://0tdls9mE1h4OkeF4","https://13api-live.berlinbiennale.de/public/media/site/2b76641757-1752487146/bb13_margheritamoscardini_eberle-eisfeld_2025_web_7224.jpg",{"id":1552,"title":1553,"url":1554,"slug":1555,"format":1030,"programTitle":1556,"programSubtitle":1557,"programLocation":1558,"otherLocation":1559,"programSchedule":1560,"description":1563,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/e-flux-conversation","conversation","https://13api-live.berlinbiennale.de/public/en/program/calendar/e-flux-conversation","e-flux-conversation","\u003Cp>Catrin Lorch, Jörg Heiser, Julieta Aranda, and Zasha Colah in conversation\u003C/p>","\u003Cp>\u003Cem>the stakes of belonging\u003C/em>\u003C/p>",[],"Online via Live-Stream",[1561],{"id":405,"programDay":1088,"programTimeStart":1562,"programTimeEnd":817},"09:00:00","\u003Cp>A conversation between Catrin Lorch, Jörg Heiser, Julieta Aranda, and Zasha Colah on what art criticism and belonging can be—both as affinity and as civic responsibility—in times of genocides, the permanent war economy, scold culture, and an overwhelming retreat towards insularity. This meeting seeks to be a difficult and candid reflection on belonging—to a city, to internationalism, to a way of seeing the world, to art, to each other.\u003C/p>",{"id":1565,"title":1566,"url":1567,"slug":1568,"format":1030,"programTitle":1569,"programSubtitle":1570,"programLocation":1571,"otherLocation":1572,"programSchedule":1573,"description":1575,"thumbnailCaption":8,"thumbnail":410},"programm/kalender/eriac-panel-discussion-mit-timea-junghaus-valentina-viviani-zasha-colah","ERIAC, Panel Discussion mit Timea Junghaus, Valentina Viviani, Zasha Colah","https://13api-live.berlinbiennale.de/public/en/program/calendar/eriac-panel-discussion-with-timea-junghaus-valentina-viviani-zasha-colah","eriac-panel-discussion-with-timea-junghaus-valentina-viviani-zasha-colah","\u003Cp>Zasha Colah, Marita Muukkonen, Selma Selman, Valentina Viviani\u003C/p>","\u003Cp>\u003Cem>The Claims of Art from a World of Crisis\u003C/em>\u003C/p>",[],"ERIAC – European Roma Institute for Arts and Culture",[1574],{"id":405,"programDay":1461,"programTimeStart":1322,"programTimeEnd":8},"\u003Cp>\u003Cstrong>Moderated by Timea Junghaus\u003C/strong>\u003C/p>",{"code":4,"status":5,"result":1577},[1578,1584,1590,1593,1596,1600,1606,1612,1615,1619,1623,1627,1631,1634,1638,1642,1645,1649,1653,1657,1660,1663,1667,1670,1673,1677,1680,1683,1686,1689,1693,1695,1699,1702,1705,1708,1711,1714,1718,1721,1724,1726,1729,1733,1736,1739,1741,1744,1747,1751,1754,1757,1760,1763,1767,1771,1775,1779,1783,1787,1790,1793,1796,1799,1803,1807,1811,1815,1818,1822,1825,1829,1832,1835,1838,1841,1844,1847,1850,1854,1858,1861,1865,1869,1872],{"id":392,"title":393,"description":1579,"headline":8,"programTitle":397,"programSubtitle":398,"format":396,"uri":1580,"programLocation":1581},"\u003Cp>The Burmese director and junta critic Zarganar wrote the play \u003Cem>Beggars’ National Convention\u003C/em>, mocking the Burma Socialist Programme Party in 1987 in the lead up to elections. After one of the performances, the actors were arrested as the curtains closed. \u003C/p>\u003Cp>For the 13th Berlin Biennale for Contemporary Art, Major Nom, a key figure in the Civil Disobedience Movement after Myanmar’s 2021 coup, will restage the formerly male-cast piece as an Anyeint play with queer and female-identifying performers in drag.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/major-nom\">\u003Cstrong>Major Nom\u003C/strong>\u003C/a>, *1990 in Yangon, Myanmar. Places of belonging: Yangon.\u003C/p>","program/calendar/the-beggars-convention",{"id":401,"uuid":1582,"url":1583,"title":402},"page://aQ5LTRz3EwC8wcNl","https://13api-live.berlinbiennale.de/public/en/parcours/sophiensaele",{"id":412,"title":413,"description":1585,"headline":8,"programTitle":416,"programSubtitle":417,"format":396,"uri":1586,"programLocation":1587},"\u003Cp>Walking a cabbage on a small cart is an absurd gesture that satirizes the equal absurdity of political realities such as militarization and censorship. \u003Cem>Walking the Cabbage\u003C/em> is the title of a  social intervention initiated by artist Han Bing in Beijing’s Tiananmen Square in 2000. Since then, Bing has walked cabbages as well as other vegetables and fruits through public spaces, provoking dialogue and encouraging critical reflection. On the occasion of the opening of the 13th Berlin Biennale, under the title \u003Cem>Walking the Cabbage in Berlin \u003C/em>(2020/25), Bing will “walk the cabbage” once again. Bing views the cabbage as a symbol of rural sustenance, highlighting its significance in contemporary China as a staple food for those with limited means. Twenty-five years after Bing’s inaugural cabbage walk in Beijing, the performance’s arrival in Berlin sends a playful yet powerful signal about the potential of radical actions—actions that, through their silence and wit, can speak volumes. The absurdity of this urban performance subverts the logic of unjustified violence, provoking us to examine the normalized forms of oppression that surround—or inhabit us.\u003C/p>\u003Cp>Abridged from a text by Valentina Viviani\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/han-bing-kashmiri-cabbage-walker\">\u003Cstrong>Han Bing\u003C/strong>\u003C/a>, *1978 in Yuzhou, China. Places of belonging: China. Affinity: Amor Mundi Institute, Intervention Committee. Book: \u003Cem>The Art of Protest. Political Art and Activism\u003C/em>, 2021.\u003C/p>","program/calendar/han-bing-walking-the-cabbage-in-berlin",{"id":420,"uuid":1588,"url":1589,"title":421},"page://aMgOidqlDgOFPkpf","https://13api-live.berlinbiennale.de/public/en/parcours/kw-institute-for-contemporary-art",{"id":434,"title":393,"description":1579,"headline":8,"programTitle":397,"programSubtitle":398,"format":396,"uri":1591,"programLocation":1592},"program/calendar/the-beggars-convention-3",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":443,"title":393,"description":1579,"headline":8,"programTitle":397,"programSubtitle":398,"format":396,"uri":1594,"programLocation":1595},"program/calendar/the-beggars-convention-4",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":451,"title":452,"description":1597,"headline":8,"programTitle":452,"programSubtitle":8,"format":8,"uri":1598,"programLocation":1599},"\u003Cp>On Friday, June 13, 2025, the 13th Berlin Biennale for Contemporary Art will open its four \u003Ca href=\"https://13.berlinbiennale.de/en/parcours\" target=\"_blank\" title=\"Parcours\">venues\u003C/a> to the public. The opening ceremony will take place from 7 to 10 pm at KW Institute for Contemporary Art, Sophiensæle, Hamburger Bahnhof – Nationalgalerie der Gegenwart, and the former Courthouse Lehrter Straße. Admission is free.\u003C/p>\u003Cp>\u003C/p>\u003Cp>Please note:\u003Cbr>– bags exceeding A4 are not permitted in any of the exhibition spaces \u003Cbr>– eating and drinking is not permitted in the exhibition spaces; any bottles carried must be left at the entrance\u003Cbr>– there may be waiting times; we seek to keep these as short as possible\u003C/p>","program/calendar/opening",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":472,"title":473,"description":1601,"headline":8,"programTitle":251,"programSubtitle":476,"format":396,"uri":1602,"programLocation":1603},"\u003Cp>The paths of the processions in the Andes are marked by \u003Cem>apachetas\u003C/em>—collective piles of stones created by each person who travels the path, carrying a stone that represents their wishes and requests to suprahuman entities. The presence of these accumulations symbolizes the resilience of a culture that could not be entirely erased. As he walks, Gabriel Alarcón builds a small \u003Cem>apacheta\u003C/em> in Berlin using local stones and elements. For a brief moment, the exhibition space is transformed into a sacred space, and his path into a procession as Alarcón carries stones with him. Finally, ending the journey, he will build an \u003Cem>apacheta\u003C/em> as an apparition—a sign of the existence and resistance of another culture.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/gabriel-alarcon\">\u003Cstrong>Gabriel Alarcón\u003C/strong>\u003C/a>\u003Cstrong>, \u003C/strong>*1982 in San­ Salvador de Jujuy, Argentina. Places of belonging: San Salvador de Jujuy, Córdoba.\u003C/p>","program/calendar/gabriel-alarcon",{"id":459,"uuid":1604,"url":1605,"title":460},"page://orcSQUiUx41yTO74","https://13api-live.berlinbiennale.de/public/en/parcours/hamburger-bahnhof",{"id":489,"title":490,"description":1607,"headline":8,"programTitle":133,"programSubtitle":493,"format":396,"uri":1608,"programLocation":1609},"\u003Cp>Milica Tomić’s performance \u003Cem>The Berlin Statement. Who Makes Profit on Art and Who Gains From It Honestly?\u003C/em> extends the \u003Cem>Edinburgh Statement\u003C/em> by Yugoslav conceptual artist Raša Todosijević (1945–2024). He wrote and performed this work in 1975 as a sharp critique and analysis of the power relations within the global art system. Todosijević exposes the structural positions these relations occupy—the roles, functions, and economic interests, defining art as a permanent site of conflict, embedded in the politics of its context. In her performance, Tomić builds on this foundation by using space and language to expose the evolving roles, struggles, and dynamics within today’s art system, adding new positions in response to contemporary realities. Her work reflects the shifts in the art world under the pressure of global neoliberal capitalism and the rise of oligarchic technocracy, revealing how class struggle continues to manifest within art.\u003C/p>\u003Cp>The \u003Cem>Edinburgh Statement\u003C/em> was first reinterpreted by Tomić in 2012 as part of the Pančevo Biennial and the October XXX symposium. She further updated the work in 2016, providing a feminist reworking of the original text in a new version entitled \u003Cem>The Nottingham Statement\u003C/em>, and in 2022 she performed a new iteration, \u003Cem>The Belgrade Statement\u003C/em>, in the 59th October Salon, reframed within a new cultural and political context.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/milica-tomic\">\u003Cstrong>Milica Tomić\u003C/strong>\u003C/a>, *1960 in Belgrade, Yugoslavia. Places of belonging: Belgrade, Zenica, Frankfurt am Main, Berlin, Graz, Vienna. Affinity: Grupa Spomenik, Four Faces of Omarska, Annenstrasse 53. Book: \u003Cem>Geography of Looking. Matter of Appearance\u003C/em>, 2023.\u003C/p>\u003Cp>\u003C/p>","program/calendar/milica-tomic-berlin-statement",{"id":462,"uuid":1610,"url":1611,"title":463},"page://KLmidQfjLQBGlcPe","https://13api-live.berlinbiennale.de/public/en/parcours/former-courthouse-lehrter-strasse",{"id":505,"title":393,"description":1579,"headline":8,"programTitle":397,"programSubtitle":398,"format":396,"uri":1613,"programLocation":1614},"program/calendar/the-beggars-convention-2",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":513,"title":514,"description":1616,"headline":8,"programTitle":517,"programSubtitle":518,"format":396,"uri":1617,"programLocation":1618},"\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimization—told through personal stories of growing up in Bosnia, and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">Mila Panić\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>\u003Cp>\u003Cstrong>Carmen Chraim\u003C/strong>, *1988 in Beirut, Lebanon. Places of belonging: Lebanon, Berlin. Affinity: Comedy In English, Berlin, Queen Bees Comedy.\u003C/p>","program/calendar/mila-panic-carmen-chraim-big-mouth",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":533,"title":534,"description":1620,"headline":8,"programTitle":8,"programSubtitle":538,"format":537,"uri":1621,"programLocation":1622},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003Cbr>\u003Cbr>\u003Cstrong>Duc Vu Manh\u003C/strong> lives and works in Berlin. As a Viet-German art mediator and creative artist, he focuses on necessary questions of social justice, solidarity, and self-determination. He regards curiosity about art as the basis for encounters: It enables storytelling with a view to community, empowerment, and the recognition of diverse perspectives.\u003C/p>\u003Cp>\u003Cstrong>Jannina Brosowsky\u003C/strong> is a theater maker and artist. Jannina’s work focuses on expanding access to cultural participation, breaking down barriers and promoting new aesthetics. Jannina’s productions have been shown at the 19th World Congress for Children and Youth Theatre in Cape Town, South Africa and as part of the Special Olympics World Games 2023 in Berlin.\u003C/p>","program/calendar/focus-tour-jannina-brosowsky-and-duc-vu-manh",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":546,"title":547,"description":1624,"headline":8,"programTitle":8,"programSubtitle":550,"format":537,"uri":1625,"programLocation":1626},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003C/p>\u003Cp>\u003Cstrong>Arootin Mirzakhani\u003C/strong>, also known as \u003Cstrong>\u003Cem>miss certainly\u003C/em>\u003C/strong>, lives and works with art as a thinking system to make hegemonic structures tangible in acts of coming together. Engaging with one's own (un)freedom and human relationships within their social, cultural, and collective contexts is central to this practice. Complex relations between the gaze, emotions, cultural hegemony, social power, and fiction form key elements that are explored performatively through various forms.\u003C/p>","program/calendar/focus-tour-arootin-mirzakhani",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":557,"title":558,"description":1628,"headline":8,"programTitle":561,"programSubtitle":518,"format":396,"uri":1629,"programLocation":1630},"\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimization—told through personal stories of growing up in Bosnia, and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>\u003Cp>\u003Cstrong>Deo Katunga\u003C/strong>, *∞ in Sofia, Bulgaria. Places of belonging: Universe. Video: \u003Cem>Notes S.B. All my sponsors are my childhood homies\u003C/em>.\u003C/p>","program/calendar/mila-panic-deo-katunga-big-mouth",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":573,"title":574,"description":1632,"headline":8,"programTitle":577,"programSubtitle":578,"format":396,"uri":1633,"programLocation":410},"\u003Cp>A fox jumps into the Spree.\u003Cbr>A human thinks he has to save him.\u003Cbr>What do we pass on—in language, in images, in gestures?\u003Cbr>What would we tell the children?\u003Cbr>Maybe everything.\u003Cbr>Maybe just: That we don’t know either?\u003Cbr>What happens when a puppet show collapses before it ever takes the stage? What remains when the cast walks out—except, perhaps, a sock puppet too stubborn to quit?\u003C/p>\u003Cp>\u003Cem>Monologue of a sock or What would we have told the children?\u003C/em> is a lecture performance born from the ashes of a doomed production for children and adults. Somewhere between memory and make-believe, three voices lead the audience through stories of animals and childhood, hierarchies and homes, and the quiet comedy of trying and failing. With a mixture of storytelling, moving image, and the occasional threadbare puppet, this performance is not quite theatre, not quite a lecture. Absurd, touching, and gently anarchic, this is a piece about what remains when plans unravel, and the unexpected stories that then might emerge—also for the sock puppet left behind.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/gernot-wieland\">\u003Cstrong>Gernot Wieland\u003C/strong>\u003C/a>, *1968 in Horn, Austria. Places of belonging: Hiking in the mountains in the fog, without any visibility. Book: \u003Cem>Thievery and Songs\u003C/em>, 2020.\u003C/p>\u003Cp>\u003Cstrong>Carla Åhlander\u003C/strong>, *1966 in Lund, Sweden. Places of belonging: Where my languages are spoken. Book: \u003Cem>Carla Åhlander. Learn to read\u003C/em>, 2022.\u003C/p>\u003Cp>\u003Cstrong>Konstantin von Sichart\u003C/strong>, *1989 in Munich, FRG. Places of belonging: Berlin in summer, Brazil. Affinity: Urso Ki Ti Schubsen.\u003C/p>","program/calendar/monologue-of-a-sock",{"id":591,"title":592,"description":1635,"headline":8,"programTitle":595,"programSubtitle":518,"format":396,"uri":1636,"programLocation":1637},"\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimisation—told through personal stories of growing up in Bosnia and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>\u003Cp>\u003Cstrong>Maya Upchurch\u003C/strong>, *2001 in Chicago, USA. Places of belonging: Krakow,­ Berlin, Rzeszow, Chicago.\u003C/p>","program/calendar/mila-panic-maya-upchurch-big-mouth",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":604,"title":605,"description":1639,"headline":8,"programTitle":608,"programSubtitle":609,"format":396,"uri":1640,"programLocation":1641},"\u003Cp>Are you a con artist or do you just have imposter syndrome? Do people without imposter syndrome feel like they’re faking it because everyone else has imposter syndrome? When everything is fake (truth, law, nation) and built on distrust, when conforming means lying, then fraud becomes an act of resistance. Learning to get by, means learning to survive. Give me a fish, and I’ll eat for a day. Give me a crash course in document forgery, and maybe the welfare office won’t cut my benefits.\u003C/p>\u003Cp>In their special session as part of the 13th Berlin Biennale, the reading performance collective parallelgesellschaft focuses on the business of deception and discusses the pros and cons of lying. Guest musician Shadore brings real rap from Neukölln. And, as always, there will be forgery-proof texts and songs from the ensemble. This time featuring: Armeghan Taheri, Jacinta Nandi, Ken Yamamoto, Miedya Mahmod, Ralph Tharayil, Tanasgol Sabbagh, and Temye Tesfu.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/parallelgesellschaft\">\u003Cstrong>parallelgesellschaft\u003C/strong>\u003C/a> founded in 2017 in Berlin, Germany. Places of belonging: Berlin, Neukölln. Members: Anujah Fernando, Armeghan Taheri, Jacinta Nandi, Ken Yamamoto, Miedya Mahmod, Ralph Tharayil, Tanasgol Sabbagh, Thi Le-Thanh Ho, ተመስገን ተስፉ (Temye Tesfu).\u003C/p>","program/calendar/parallelgesellschaft-i-con",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":623,"title":624,"description":1643,"headline":8,"programTitle":628,"programSubtitle":629,"format":627,"uri":1644,"programLocation":410},"\u003Cp>The 13th Berlin Biennale will convene two \u003Ca href=\"https://13.berlinbiennale.de/en/artists/peoples-tribunal\">People’s Tribunals\u003C/a>, community-sourced judicial forums to address human rights violations and crimes against humanity when justice has been denied on a state or international level. \u003C/p>\u003Cp>The People’s Tribunal on the Systematic Targeting of Women Activists in Sudan is presented by the Bana Group for Peace and Development. The ongoing conflict in Sudan, which pits the Sudanese Armed Forces (SAF) against the Rapid Support Forces (RSF), has unleashed a wave of human rights abuses. While the general civilian population has suffered immensely, women have become specific targets of egregious violence and systematic oppression by both warring parties and their affiliates. This case highlights the atrocities committed against these women, showcasing a deliberate effort to silence their voices, dismantle their networks, and suppress any form of dissent.\u003C/p>\u003Cp>Following the tribunal, a public open forum will examine the persistent failure to deliver justice to the Sudanese people, despite overwhelming evidence of repression and atrocity. The discussion will place these failures within a broader history of international impunity. In particular, the well-documented connections between the SAF and RSF’s use of sexual violence, enforced disappearances, physical assault, and targeted killings, including the mass atrocities committed in Darfur, will be addressed.\u003Cbr>\u003Cbr>\u003Cstrong>Bana Group for Peace and Development\u003C/strong>, founded 2017. Places of belonging: Berlin, Khartoum, El-Fasher, El Gezira, Cairo, Nairobi. Affinity: Kurve Wustrow. e.V., Society for Threatened Peoples (Gesellschaft für bedrohte Völker). Representative members: Mai Ali and Ilaaf Khalfalla.\u003C/p>\u003Cp>Bana Group for Peace and Development would like to thank Aisha Nasser, Ashwag Mohamed, Ekram Hamza, Fidaa Abdallah, Rania Ibrahim, and Wafia Khamis.Supporters: Kurve Wustrow e.V., Civil Peace Service, Federal Ministry for Economic Cooperation and Development (BMZ), Medica mondiale, AMICA e.V.\u003C/p>\u003Cp>\u003Cstrong>Project Lead People’s Tribunal\u003C/strong>: Jasmine Grace Wenzel\u003C/p>\u003Cp>\u003C/p>","program/calendar/peoples-tribunal-bana-group",{"id":641,"title":642,"description":1646,"headline":8,"programTitle":645,"programSubtitle":646,"format":396,"uri":1647,"programLocation":1648},"\u003Cp>Through his drawing-based lectures, Sarnath Banerjee explores the intersection between comics and theatre. When a comic book is staged well, it can produce unexpected experiences—melancholy, unease, joy, longing, and disquiet. Through these picto-textual performances, Banerjee seeks to record the emotional history of our times. Using ordinary micro-encounters that arise from geographical and cultural dislocation, he aims to explore the spontaneous experiences that emerge when specificities meet and modernities collide. A section of his work addresses the poorly understood political and social rifts between the diaspora and the newly arrived.\u003C/p>\u003Cp>Banerjee believes that performativity is at the heart of comic-making. In comics, text and pictures, seldom explain each other; rather, they are in opposition. This creates something entirely uncanny, often beyond the imagination of the creator. As with theatre, makers can rarely predict the psychological states their work will evoke. While writing a comic, the author performs a place, a city, people, and their lived and un-lived fantasies. These stories are Banerjee’s way of coming to terms with the panic of the foreign and the cold dread of home.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/sarnath-banerjee\">\u003Cstrong>Sarnath Banerjee\u003C/strong>\u003C/a>, *1972 in Burdwan, India. Places of belonging: Delhi. Book: \u003Cem>Doab Dil\u003C/em>, 2018.\u003C/p>","program/calendar/critical-imagination-deficit-lecture-1",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":660,"title":661,"description":1650,"headline":8,"programTitle":664,"programSubtitle":665,"format":396,"uri":1651,"programLocation":1652},"\u003Cp>Through his drawing-based lectures, Sarnath Banerjee explores the intersection between comics and theatre. When a comic book is staged well, it can produce unexpected experiences—melancholy, unease, joy, longing, and disquiet. Through these picto-textual performances, Banerjee seeks to record the emotional history of our times. Using ordinary micro-encounters that arise from geographical and cultural dislocation, he aims to explore the spontaneous experiences that emerge when specificities meet and modernities collide. A section of his work addresses the poorly understood political and social rifts between the diaspora and the newly arrived.\u003C/p>\u003Cp>Banerjee believes that performativity is at the heart of comic-making. In comics, text and pictures, seldom explain each other; rather, they are in opposition. This creates something entirely uncanny, often beyond the imagination of the creator. As with theatre, makers can rarely predict the psychological states their work will evoke. While writing a comic, the author performs a place, a city, people, and their lived and un-lived fantasies. These stories are Banerjee’s way of coming to terms with the panic of the foreign and the cold dread of home.\u003Cbr>\u003Cbr>\u003Cstrong>Sarnath Banerjee\u003C/strong>, *1972 in Burdwan, India. Places of belonging: Delhi. Book: \u003Cem>Doab Dil\u003C/em>, 2018.\u003C/p>","program/calendar/critical-imagination-deficit-lecture-2",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":674,"title":675,"description":1654,"headline":8,"programTitle":678,"programSubtitle":679,"format":396,"uri":1655,"programLocation":1656},"\u003Cp>\u003Cem>Notes from the Aboveground\u003C/em> is a collaborative performance by Sawangwongse Yawnghwe and Jonathan Lemke, emerging from the project \u003Cem>The Joker’s Headquarter\u003C/em>. The piece takes Fjodor Dostoevsky’s novella \u003Cem>Notes from the Underground\u003C/em> (1864) as a conceptual foil—reading it not as a document of the 19th century, but as a lens through which to view the fractured psyche of the contemporary, socially withdrawn subject. Referencing a figure who retreats from public life into anonymous spheres, the performance stages a dialogue in the mode of stand-up-comedy, in which tenderness and aggression coalesce.\u003C/p>\u003Cp>What begins as an attempt at connection becomes increasingly erratic, shaped by the search for a language adequate to both inner compulsion and social failure. Oscillating between staged intimacy and calculated exposure, \u003Cem>Notes from the Aboveground\u003C/em> explores the joke as a fragile rhetorical tool—an unstable compound of laughter and violence, strategy, and collapse. Rather than catharsis, the performance offers a mode of inhabiting contradiction: a space in which social ghosts speak in borrowed voices.\u003Cbr>\u003Cbr>\u003Cstrong>Sawangwongse Yawnghwe\u003C/strong>, *1971, Na Lek Village, Burma. Places of belonging: Europe: Netherlands, Italy; Asia: Shan State, Chiang Mai; Canada. Affinity: Yawnghwe Office in Exile. Book: \u003Cem>The Disasters of Military Rule in Burma\u003C/em>, 2007/08.\u003C/p>\u003Cp>\u003Cstrong>Jonathan Lemke\u003C/strong>, *1987 in Hamburg, Germany. Places of belonging: Berlin.\u003C/p>","program/calendar/notes-from-the-aboveground",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":692,"title":693,"description":1658,"headline":8,"programTitle":8,"programSubtitle":697,"format":696,"uri":1659,"programLocation":410},"\u003Cp>A landmark of New Queer Cinema, \u003Cem>The Watermelon Woman \u003C/em>(directed by Cheryl Dunye, USA 1996, 84 minutes, English) is both a playful as well as a radical intervention into film history. Cheryl Dunye, who stars as herself, embarks on a journey to uncover the forgotten legacy of a fictional Black lesbian actress from the 1930s, known only as “The Watermelon Woman.” Blending fiction and documentary, the film critiques the erasure of Black queer voices in cinema while asserting the importance of self-representation. Dunye challenges dominant historical narratives, exposing the gaps and silences in the archive, while simultaneously crafting a space for Black lesbian identity on screen.\u003Cbr>\u003Cbr>\u003Cstrong>Cheryl Dunye\u003C/strong> is a Liberian-American film director, producer, screenwriter, editor and actress. Dunye’s work often concerns themes of race, sexuality, and gender, particularly issues relating to black lesbians.\u003C/p>\u003Cp>The \u003Cem>f\u003C/em>ilm program of \u003Ca href=\"https://sinematranstopia.com/en\">SİNEMA TRANSTOPIA\u003C/a> \u003Cem>Fugitive Traces: Challenging Narratives and Power Structures \u003C/em>explores the politics of images, the ethics of filmmaking, and the power dynamics embedded in film history and production. The selected films challenge dominant narratives, offering alternative perspectives that resonate with the 13th Berlin Biennale’s curatorial concept of fugitivity—the capacity of art to establish its own laws in defiance of oppressive structures. In a climate of fear, such structures function seamlessly, compelling the oppressed to develop creative strategies to bypass the systemic obstacles they face. This act of \u003Cem>foxing\u003C/em>—a subversive play of evasion and resistance—becomes a commitment to artistic autonomy and the defiance of unjust norms. Through humor, subtlety, and critical reflection, the films in this program disrupt conventional storytelling, expose exploitative practices, and reclaim marginalized narratives, turning cinema into a space of resistance and liberation. \u003C/p>","program/calendar/the-watermelon-woman",{"id":711,"title":712,"description":729,"headline":8,"programTitle":716,"programSubtitle":717,"format":715,"uri":1661,"programLocation":1662},"program/calendar/simone-dede-ayivi",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":731,"title":732,"description":1664,"headline":8,"programTitle":735,"programSubtitle":736,"format":715,"uri":1665,"programLocation":1666},"\u003Cp>With her award-winning work \u003Cem>MONGA\u003C/em>, Brazilian director and performer Jéssica Teixeira embarks on her first European tour, including two performances at Sophiensæle.\u003C/p>\u003Cp>In \u003Cem>MONGA\u003C/em>, Teixeira continues her investigation into the politics of the body on stage. Drawing on personal and historical references—such as Julia Pastrana, a 19th-century Mexican woman exploited in freak shows, and the “werewolf-woman” acts popular in 1980s Brazilian circuses—Teixeira weaves a powerful solo that confronts the audience’s gaze with rawness, vulnerability, and defiance. \u003Cem>MONGA\u003C/em> is not a re-enactment of circus acts or documentary theatre; rather, it is an attempt to reclaim the image and reimagine it through one’s own body—a poetic reckoning with the spectacle of difference and the violence of being seen as “other.”\u003Cbr>\u003Cbr>\u003Cstrong>Jéssica Teixeira\u003C/strong> is a multi-artist living in Fortaleza, Brazil. Her artistic practice is strongly characterized by her engagement with her own body, which she uses as an instrument for critical reflection and a means of political resistance. In 2025, Jéssica Teixeira was awarded the most prestigious Brazilian theater prize in the category Best Director for her work \u003Cem>MONGA\u003C/em>.\u003C/p>","program/calendar/jessica-teixeira-monga",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":749,"title":750,"description":758,"headline":8,"programTitle":8,"programSubtitle":753,"format":715,"uri":1668,"programLocation":1669},"program/calendar/historic-house-tour-sophiensaele",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":760,"title":761,"description":1624,"headline":8,"programTitle":8,"programSubtitle":550,"format":537,"uri":1671,"programLocation":1672},"program/calendar/fokus-tour-mit-arootin-mirzakhani-3",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":769,"title":770,"description":1674,"headline":8,"programTitle":8,"programSubtitle":773,"format":537,"uri":1675,"programLocation":1676},"\u003Cp>Open ateliers are family-friendly workshops held every Sunday afternoon from 3–6 pm at rotating venues throughout the duration of the 13th Berlin Biennale for Contemporary Art. These drop-in sessions are free of charge and need no prior registration. These Open Ateliers invite visitors of all ages to engage playfully and intuitively with the exhibition’s themes, materials, and questions.\u003C/p>\u003Cp>The first Open Atelier, led by artist Umut Evers, takes place over seven dates in the courtyard of KW Institute for Contemporary Art. Together with the visitors, a hanging installation—a kind of “wishing tree”—will be created using indigo (a deep blue pigment) and various fabric scraps. The colonial history of indigo will also be addressed: Once a symbol of exploitation, dyeing here becomes a meditative and creative act of collective remembrance.\u003Cbr>\u003Cbr>\u003Cstrong>Umut Evers\u003C/strong> is an interdisciplinary artist whose work dissolves the boundaries between craft, body, and collective experience. Through her practice with natural indigo, she creates decelerated spaces that center process and presence. Her installations invite participation—a radical counterpoint to a production-driven world.\u003C/p>","program/calendar/open-atelier-umut-evers",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":798,"title":799,"description":544,"headline":8,"programTitle":8,"programSubtitle":802,"format":537,"uri":1678,"programLocation":1679},"program/calendar/focus-tour-duc-vu-manh-3",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":808,"title":809,"description":544,"headline":8,"programTitle":8,"programSubtitle":812,"format":537,"uri":1681,"programLocation":1682},"program/calendar/fokus-tour-duc-vu-manh-4",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":829,"title":830,"description":844,"headline":8,"programTitle":8,"programSubtitle":833,"format":537,"uri":1684,"programLocation":1685},"program/calendar/focus-tour-thesea-rigou",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":846,"title":847,"description":844,"headline":8,"programTitle":8,"programSubtitle":850,"format":537,"uri":1687,"programLocation":1688},"program/calendar/fokus-tour-thesea-rigou-en",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":858,"title":859,"description":1690,"headline":8,"programTitle":862,"programSubtitle":863,"format":537,"uri":1691,"programLocation":1692},"\u003Cp>The \u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">Focus Workshops\u003C/a> are closely related to the Focus Tours and place an emphasis on deeper engagement with selected themes, artistic works, or questions raised by the 13th Berlin Biennial. They invite participants to consciously take more time to explore speci\u003Cem>f\u003C/em>ic areas o\u003Cem>ff\u003C/em>ocus.\u003C/p>\u003Cp>At the meeting point, the workshop starts with a lucky draw—a familiar tradition in which participants randomly select a card that determines their role for the event. Participants could find themselves among one of these key figures of a Biennale for contemporary art: an artist, curator, director, sponsor, collector, critic, journalist, or visitor.\u003C/p>\u003Cp>A fox guides us through 28 pieces of art showcased in the KW Institute for Contemporary Art building and its courtyard. Each participant takes on the persona of a fox, concealing their true identity from both the group and the surrounding art context. The fox provides clues on how the Berlin Biennale navigates the balance between local cultural expressions and global dialogues, featuring newly presented and re-contextualized historical works.\u003C/p>\u003Cp>After the tour, each participant reveals their true identity by delivering a public speech about the 13th Berlin Biennale using a megaphone. (Each speech will be recorded, pending the consent of the participants.) In this way, aco-authorship is claimed to interpret the Berlin Biennale’s relevancy against the surrounding localities.\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/zoncy-heavenly\">\u003Cstrong>Zoncy Heavenly\u003C/strong>\u003C/a>, *1987 in Kawthaung, Burma. Places of belonging: Berlin. Affinity: Diverze Youth Art Platform, Association for Myanmar Contemporary Arts (AMCA).\u003C/p>","program/calendar/focus-workshop-with-zoncy-heavenly",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":874,"title":875,"description":8,"headline":8,"programTitle":8,"programSubtitle":8,"format":8,"uri":1694,"programLocation":410},"program/calendar/fokus-tour-thesea-rigou-4",{"id":880,"title":881,"description":1696,"headline":8,"programTitle":8,"programSubtitle":884,"format":537,"uri":1697,"programLocation":1698},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003C/p>\u003Cp>\u003Cstrong>Jannina Brosowsky\u003C/strong> is a theater maker and artist. Jannina’s work focuses on expanding access to cultural participation, breaking down barriers and promoting new aesthetics. Jannina’s productions have been shown at the 19th World Congress for Children and Youth Theatre in Cape Town, South Africa and as part of the Special Olympics World Games 2023 in Berlin.\u003C/p>","program/calendar/focus-tour-jannina-brosowsky",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":894,"title":895,"description":544,"headline":8,"programTitle":8,"programSubtitle":812,"format":537,"uri":1700,"programLocation":1701},"program/calendar/fokus-tour-duc-vu-manh-5",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":909,"title":910,"description":924,"headline":8,"programTitle":8,"programSubtitle":913,"format":537,"uri":1703,"programLocation":1704},"program/calendar/fokus-tour-with-sarah-steiner",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":926,"title":927,"description":935,"headline":8,"programTitle":8,"programSubtitle":930,"format":537,"uri":1706,"programLocation":1707},"program/calendar/curatorial-tour-with-valentina-viviani",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":937,"title":938,"description":935,"headline":8,"programTitle":8,"programSubtitle":930,"format":537,"uri":1709,"programLocation":1710},"program/calendar/curatorial-tour-with-valentina-viviani-2",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":946,"title":947,"description":1624,"headline":8,"programTitle":8,"programSubtitle":950,"format":537,"uri":1712,"programLocation":1713},"program/calendar/fokus-tour-arootin-mirzakhani-3",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":962,"title":963,"description":1715,"headline":8,"programTitle":8,"programSubtitle":966,"format":537,"uri":1716,"programLocation":1717},"\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003C/p>\u003Cp>\u003Cstrong>Niusha Ramzani \u003C/strong>is a cultural worker and art mediator. With a keen interest in archives, the impossibility of translation, and new forms of collective action, Niusha’s work frequently intersects with public spaces and culinary practices. Based in Berlin, they have no plans to relocate and envision a world ruled by no one.\u003C/p>","program/calendar/fokus-tour-mit-niusha-ramzani",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":976,"title":977,"description":1715,"headline":8,"programTitle":8,"programSubtitle":966,"format":537,"uri":1719,"programLocation":1720},"program/calendar/fokus-tour-mit-niusha-ramzani-2",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":994,"title":995,"description":844,"headline":8,"programTitle":8,"programSubtitle":833,"format":537,"uri":1722,"programLocation":1723},"program/calendar/fokus-tour-thesea-rigou-5",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1010,"title":1011,"description":8,"headline":8,"programTitle":8,"programSubtitle":8,"format":8,"uri":1725,"programLocation":410},"program/calendar/fokus-tour-with-sarah-steiner-2",{"id":1016,"title":1017,"description":935,"headline":8,"programTitle":8,"programSubtitle":930,"format":537,"uri":1727,"programLocation":1728},"program/calendar/curatorial-tour-with-valentina-viviani-3",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1026,"title":1027,"description":1730,"headline":8,"programTitle":1031,"programSubtitle":1032,"format":1030,"uri":1731,"programLocation":1732},"\u003Cp>Text by the organizer:\u003C/p>\u003Cp>The Berlin Biennale edition of \u003Cem>In Conversation\u003C/em> provides insights into the 13th Berlin Biennale. In conversation with the artist \u003Ca href=\"https://13.berlinbiennale.de/en/artists/anawana-haloba\">Anawana Haloba\u003C/a>, we learn more about her working method, in which the voice plays a decisive role as the primary instrument of storytelling - of tragedies, dramas and life. \u003C/p>\u003Cp>We are delighted that the 13th Berlin Biennale is taking the strong presence of foxes in Berlin's cityscape as a starting point for thinking about contemporary art as an exploration of transience: a family of foxes has also lived on the Hamburger Bahnhof grounds for many years.\u003C/p>\u003Cp>Moderation: Zasha Colah, Curator 13th Berlin Biennale; Axel Wieder, Director Berlin Biennale\u003C/p>","program/calendar/in-conversation-anawana-haloba",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":1039,"title":1040,"description":1734,"headline":8,"programTitle":8,"programSubtitle":1043,"format":696,"uri":1735,"programLocation":410},"\u003Cp>After their father is drafted during the 1999 NATO bombing of Serbia, three sisters begin recording a Hi8 video diary from their rural home. They film themselves putting on make-up, picking cherries, playing games, arguing, and helping their mother in the kitchen. This fragile, intimate world becomes a kind of refuge—a buffer against the outside reality of sirens, bombings, and war. Director Emilija Gašić skillfully weaves together the viewpoints of the three sisters—each at a different stage of adolescence—to build a layered portrait of youth shaped by war. \u003Cem>78 Days\u003C/em> not only faithfully captures the aesthetic, texture, and emotional resonance of 1990s home videos, it also reflects on how the camera becomes part of familial relationships. Through its close observation of domestic life and shared authorship, the film doubles as a subtle piece of technological ethnography—tracing how handheld media shapes intimacy and memory.\u003C/p>\u003Cp>The \u003Cem>f\u003C/em>ilm program of \u003Ca href=\"https://sinematranstopia.com/en\">SİNEMA TRANSTOPIA\u003C/a> \u003Cem>Fugitive Traces: Challenging Narratives and Power Structures \u003C/em>explores the politics o\u003Cem>f\u003C/em> images, the ethics o\u003Cem>f\u003C/em> \u003Cem>f\u003C/em>ilmmaking, and the power dynamics embedded in \u003Cem>f\u003C/em>ilm history and production. The selected \u003Cem>f\u003C/em>ilms challenge dominant narratives, o\u003Cem>ff\u003C/em>ering alternative perspectives that resonate with the 13th Berlin Biennale’s curatorial concept o\u003Cem>f\u003C/em> \u003Cem>f\u003C/em>ugitivity—the capacity o\u003Cem>f\u003C/em> art to establish its own laws in de\u003Cem>f\u003C/em>iance o\u003Cem>f\u003C/em> oppressive structures. In a climate o\u003Cem>f\u003C/em> \u003Cem>f\u003C/em>ear, such structures \u003Cem>f\u003C/em>unction seamlessly, compelling the oppressed to develop creative strategies to bypass the systemic obstacles they \u003Cem>f\u003C/em>ace. This act o\u003Cem>f\u003C/em> \u003Cem>foxing\u003C/em>—a subversive play o\u003Cem>f\u003C/em> evasion and resistance—becomes a commitment to artistic autonomy and the de\u003Cem>f\u003C/em>iance o\u003Cem>f\u003C/em> unjust norms. Through humor, subtlety, and critical re\u003Cem>f\u003C/em>lection, the \u003Cem>f\u003C/em>ilms in this program disrupt conventional storytelling, expose exploitative practices, and reclaim marginalized narratives, turning cinema into a space o\u003Cem>f\u003C/em> resistance and liberation. \u003C/p>","program/calendar/78-dana",{"id":1053,"title":1054,"description":935,"headline":8,"programTitle":8,"programSubtitle":930,"format":537,"uri":1737,"programLocation":1738},"program/calendar/curatorial-tour-with-valentina-viviani-4",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":1063,"title":1064,"description":8,"headline":8,"programTitle":8,"programSubtitle":8,"format":8,"uri":1740,"programLocation":410},"program/calendar/kuratorische-tour-mit-zasha-colah-2",{"id":1069,"title":1070,"description":935,"headline":8,"programTitle":8,"programSubtitle":1073,"format":537,"uri":1742,"programLocation":1743},"program/calendar/kuratorische-tour-mit-zasha-colah-3",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1080,"title":1081,"description":935,"headline":8,"programTitle":8,"programSubtitle":1073,"format":537,"uri":1745,"programLocation":1746},"program/calendar/kuratorische-tour-mit-zasha-colah-4",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1090,"title":1091,"description":1748,"headline":8,"programTitle":1094,"programSubtitle":1095,"format":537,"uri":1749,"programLocation":1750},"\u003Cp>The Focus Workshops are closely related to the Focus Tours and place an emphasis on deeper engagement with selected themes, artistic works, or questions raised by the 13th Berlin Biennial. They invite participants to consciously take more time to explore speci\u003Cem>f\u003C/em>ic areas o\u003Cem>f f\u003C/em>ocus.\u003C/p>\u003Cp>Stories about new beginnings, guilt, order and identity—told by states, written in images, laws and archives. After 1945, Germany created narratives of denazification and democracy—not only formally through official documents, but also through cultural rewritings in television, schoolbooks, architecture, and language. These narratives only become reality when they are collectively embodied, believed, and reinforced through repetition. Bodies carry these narratives, consciously or unconsciously, across generations, as attitudes, as silence, as knowledge. What happens when we begin to look back and retell these \u003Cem>facts\u003C/em> in reverse?\u003C/p>\u003Cp>Instituting, the creation of order through repetition and assertion, is a central practice of state power. Fictions are used to generate conditions that are meant to be natural. History becomes narrative; narrative becomes norm. Are rules, order, and law in Germany themselves a form of artistic state practice? How can our understanding of art as a field of aesthetics shift into being a means to create the make-up of our political reality?\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cstrong>Arootin Mirzakhani\u003C/strong>, also known as \u003Cstrong>\u003Cem>miss certainly\u003C/em>\u003C/strong>, lives and works with art as a thinking system to make hegemonic structures tangible in acts o\u003Cem>f\u003C/em> coming together. Engaging with one's own (un)\u003Cem>f\u003C/em>reedom and human relationships within their social, cultural, and collective contexts is central to this practice. Complex relations between the gaze, emotions, cultural hegemony, social power, and \u003Cem>f\u003C/em>iction \u003Cem>f\u003C/em>orm key elements that are explored per\u003Cem>f\u003C/em>ormatively through various \u003Cem>f\u003C/em>orms.\u003C/p>","program/calendar/fokus-workshop-mit-arootin-mirzakhani",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1107,"title":1108,"description":1752,"headline":8,"programTitle":1111,"programSubtitle":1112,"format":396,"uri":1753,"programLocation":410},"\u003Cp>\u003Cem>Prossession Peda’Gogo\u003C/em> reflects on historical presences and enduring spatial injustices related to Namibia and Armenia in public spaces in Berlin. At Tempelhofer Feld, two commemorative plaques obliquely reflect the genocides of Namibia and Armenia. The plaques on the Feld reference the adjacent cemeteries, where a contested monument that glorifies genocide, and a Namibia-shaped plaque inscribe a double reading of disavowel on the ground. \u003C/p>\u003Cp>In the shadow of the Sehitlik Mosque, the Turkish cemetery, often celebrated as a gesture of cultural integration and mutual respect, for many, also evokes painful associations—with genocide and its denial, with the ethnic cleansing in Artsakh, and the strong political alliances that enable such injustices to persist. Drawing on personal and multigenerational narratives as descendants of genocide survivors, Memory Biwa and Lusine Khurshudyan conjure a reversal—a walking backwards—in the places that they were least expected to dwell in, offering a counter-memory of the living.\u003Cbr>\u003Cbr>\u003Cstrong>Lusine Khurshudyan\u003C/strong>, *1994 in Yerevan, Armenia, Places of belonging: Yerevan, Berlin, Muş (Մուշ). Affinity: Café Arakil.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/memory-biwa\">\u003Cstrong>Memory Biwa\u003C/strong>\u003C/a>, *1979 in Windhoek, Namibia. Places of belonging: Northern and Western Cape, Tanzania. Affinity: Pungwe Listening.\u003Cbr>\u003Cbr>Please bring a pen and a notebook to the event. In case of strong sunshine please bring a hat, enough drinking water and an umbrella in case it rains. At the end of the event, we will gather on the grass. You are welcome to bring a blanket. \u003C/p>\u003Cp>Information on accessibility can be found below.\u003C/p>","program/calendar/prossession-peda-gogo",{"id":1123,"title":1124,"description":1715,"headline":8,"programTitle":8,"programSubtitle":1127,"format":537,"uri":1755,"programLocation":1756},"program/calendar/fokus-tour-mit-niusha-ramzani-3",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":1136,"title":1137,"description":1696,"headline":8,"programTitle":8,"programSubtitle":884,"format":537,"uri":1758,"programLocation":1759},"program/calendar/focus-tour-jannina-brosowsky-2",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1148,"title":1149,"description":1715,"headline":8,"programTitle":8,"programSubtitle":1127,"format":537,"uri":1761,"programLocation":1762},"program/calendar/fokus-tour-mit-niusha-ramzani-4",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1158,"title":1159,"description":1764,"headline":8,"programTitle":8,"programSubtitle":1162,"format":537,"uri":1765,"programLocation":1766},"\u003Cp>Open ateliers are family-friendly workshops held every Sunday afternoon from 3–6 pm at rotating venues throughout the duration of the 13th Berlin Biennale for Contemporary Art. These drop-in sessions are free of charge and need no prior registration. These Open Ateliers invite visitors of all ages to engage playfully and intuitively with the exhibition’s themes, materials, and questions.\u003C/p>\u003Cp>Over three sessions, a workshop is facilitated by the Netzwerk gegen Feminizide Berlin (Network Against Feminicide Berlin) in the garden of the former courthouse on Lehrter Straße. Visitors are invited to take part in the participatory art action \u003Cem>Sangre de mi Sangre\u003C/em> [Blood of my Blood] by the feminist collective Colectiva Hilos. The project draws attention to feminicides and violent disappearances in Mexico. Through collective weaving, an expression of resistance and solidarity emerges—a space for exchange, shared remembrance, and the building of a defiant community.\u003C/p>\u003Cp>On the occasion of the months of action against feminicide and sexual violence, there will be a procession with the woven nets to the peace statue of the AG “Trostfrauen” [working group “comfort women”]. The procession will take place after the last open atelier with Netzwerk gegen Feminizide Berlin and Colectiva HILOS at the 13th Berlin Biennale on August 17 at 6 pm.\u003Cbr>\u003Cbr>\u003Cstrong>HILOS\u003C/strong> is a feminist art collective that uses textiles as its most important means of expression. The members are committed to human rights and a just society with diverse ways of thinking, loving and living. HILOS' artistic actions draw attention to inequality, feminicide and the forced disappearance of people in order to question and transform these forms of violence and domination. Through their participatory practice, they act towards a culture of intercultural dialog and peace.\u003C/p>","program/calendar/open-atelier-with-netzwerk-gegen-feminizide-berlin-and-colectiva-hilos",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1174,"title":1175,"description":1768,"headline":8,"programTitle":1178,"programSubtitle":518,"format":396,"uri":1769,"programLocation":1770},"\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimisation—told through personal stories of growing up in Bosnia and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>\u003Cp>\u003Cstrong>Sasha Dolgopolov, \u003C/strong>*1994 in Magadan, Russia. Places of belonging: Magadan, Pavlovsk, Voronezh, Moscow, Tbilisi, Tallinn, Berlin.\u003C/p>","program/calendar/mila-panic-with-sasha-dolgopolov",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1185,"title":1186,"description":1772,"headline":8,"programTitle":1189,"programSubtitle":518,"format":396,"uri":1773,"programLocation":1774},"\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimisation—told through personal stories of growing up in Bosnia and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>\u003Cp>\u003Cstrong>Victor Patrascan\u003C/strong>, *1988 in Tulcea, Romania. Places of belonging: Living on the road.\u003C/p>","program/calendar/mila-panic-with-victor-patrascan",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1196,"title":1197,"description":1776,"headline":8,"programTitle":1200,"programSubtitle":518,"format":396,"uri":1777,"programLocation":1778},"\u003Cp>This event takes place as part of Berlin Art Week 2025.\u003C/p>\u003Cp>Over the course of six nights, Mila Panić performs 45 minutes of stand-up comedy, each night joined by a local Berlin-based comedian doing a shorter set. With her texts, she dives into topics like war, empathy, and victimisation—told through personal stories of growing up in Bosnia and moving to Germany. Panić has built a reputation for hard-hitting humour with an ironic twist, captivating audiences with her sharp wit and fearless commentary. Her comedy is clever, provocative, and challenges thinking in the most hilarious ways.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">\u003Cstrong>Mila Panić\u003C/strong>\u003C/a>, *1991 in Brčko,­ Yugoslavia. Places of belonging: Grbavica, Lipovac, Brčko, Berlin. Affinity: Fully Funded Residencies e.V. Podcast: \u003Cem>Broken English\u003C/em>, 2022/23.\u003C/p>\u003Cp>\u003Cstrong>Tamer Kattan, \u003C/strong>Places of belonging: Cairo, Los Angeles (Chicano neighborhoods), New York City (Brooklyn), Berlin (Kreuzberg). Podcast: \u003Cem>They Tried to Bury Us with Tamer Kattan\u003C/em>, 2018/19.\u003C/p>","program/calendar/mila-panic-with-tamer-kattan",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1208,"title":1209,"description":1780,"headline":8,"programTitle":664,"programSubtitle":1212,"format":396,"uri":1781,"programLocation":1782},"\u003Cp>This event takes place as part of Berlin Art Week 2025.\u003C/p>\u003Cp>When a comic book is staged well, it can produce unexpected experiences—melancholy, unease, joy, longing, and disquiet. By creating the right setting and tone, a comic book can almost write itself. Through these picto-textual performances, Sarnath Banerjee seeks to record the emotional history of our times. On the base of ordinary micro-encounters, he aims to explore the experiences that emerge when specificities meet and modernities collide. \u003C/p>\u003Cp>A section of his work addresses the poorly understood political and social rifts between the diaspora and the newly arrived. Banerjee believes that performativity is at the heart of comic-making. In comics, text and pictures seldom explain each other; rather, they are in opposition. This creates something entirely uncanny, often beyond the imagination of the creator. As with theatre, makers can rarely predict the psychological states their work will evoke. While writing a comic, the author performs a place, a city, people, and their lived and un-lived fantasies. These stories are Banerjee’s way of coming to terms with the panic of the foreign and the cold dread of a so-called “home.”\u003C/p>\u003Cp>The lecture performance will be followed by a conversation with Sarnath Banarjee, Sneha P., and Krishan Rajapakshe; moderated by Saba Bagheri.\u003Cbr>\u003Cbr>\u003Cbr>\u003Cstrong>Krishan Rajapakshe\u003C/strong>, *1984 in Negombo, Sri Lanka. Places of belonging: Negombo, Colombo, Berlin. Affinities: foundationClass, Common Cooking Practice (CCP). Zine: \u003Cem>What does the river whisper when it meets the Sea\u003C/em>?, 2025.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/sarnath-banerjee\">\u003Cstrong>Sarnath Banerjee\u003C/strong>\u003C/a>, *1972 in Burdwan, India. Places of belonging: Delhi. Book: \u003Cem>Doab Dil\u003C/em>, 2018.\u003Cbr>\u003Cbr>\u003Cstrong>Sneha P.\u003C/strong> Places of belonging: Bombay, Berlin. Affiliations: Berlin School of Economics.\u003C/p>","program/calendar/critical-imagination-deficit-lecture-3",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1220,"title":574,"description":1784,"headline":8,"programTitle":577,"programSubtitle":578,"format":396,"uri":1785,"programLocation":1786},"\u003Cp>This event takes place as part of Berlin Art Week 2025.\u003C/p>\u003Cp>–\u003C/p>\u003Cp>A fox jumps into the Spree.\u003Cbr>A human thinks he has to save him.\u003Cbr>What do we pass on—in language, in images, in gestures?\u003Cbr>What would we tell the children?\u003Cbr>Maybe everything.\u003Cbr>Maybe just: That we don’t know either?\u003Cbr>What happens when a puppet show collapses before it ever takes the stage? What remains when the cast walks out—except, perhaps, a sock puppet too stubborn to quit?\u003C/p>\u003Cp>\u003Cem>Monologue of a sock or What would we have told the children?\u003C/em> is a lecture performance born from the ashes of a doomed production for children and adults. Somewhere between memory and make-believe, three voices lead the audience through stories of animals and childhood, hierarchies and homes, and the quiet comedy of trying and failing. With a mixture of storytelling, moving image, and the occasional threadbare puppet, this performance is not quite theatre, not quite a lecture. Absurd, touching, and gently anarchic, this is a piece about what remains when plans unravel, and the unexpected stories that then might emerge—also for the sock puppet left behind.\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/gernot-wieland\">\u003Cstrong>Gernot Wieland\u003C/strong>\u003C/a>, *1968 in Horn, Austria. Places of belonging: Hiking in the mountains in the fog, without any visibility. Book: \u003Cem>Thievery and Songs\u003C/em>, 2020.\u003C/p>\u003Cp>\u003Cstrong>Carla Åhlander\u003C/strong>, *1966 in Lund, Sweden. Places of belonging: Where my languages are spoken. Book: \u003Cem>Carla Åhlander. Learn to read\u003C/em>, 2022.\u003C/p>\u003Cp>\u003Cstrong>Konstantin von Sichart\u003C/strong>, *1989 in Munich, FRG. Places of belonging: Berlin in summer, Brazil. Affinity: Urso Ki Ti Schubsen.\u003C/p>","program/calendar/monolog-einer-socke-2",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1230,"title":1231,"description":1788,"headline":8,"programTitle":8,"programSubtitle":1235,"format":1234,"uri":1789,"programLocation":410},"\u003Cp>Protagonist Jeff Gerber has everything—a wife and two children, a house in the suburbs, and a great job. However, he is also a loud-mouthed racist. One morning he wakes up and, looking in the bathroom mirror, realizes that he has turned into a black man. Suddenly Gerber has to deal with a shocked family, ignorance in the office, and the back seats on the bus. With his film \u003Cem>Watermelon Man\u003C/em>, Melvin Van Peebles creates a sarcastic counter-image to the entertainment cinema of the late 1960s and early 1970s. In his Kafkaesque comedy, he exposes stereotypes, racism, and social constraints. As in classical tragedy, the events are commented on by a choir. Van Peeble’s soundtracks, including those from his later films, are celebrated today as formative for jazz music.\u003C/p>\u003Cp>\u003Cstrong>Melvin Van Peebles\u003C/strong>, *1932 in Chicago, USA–2021, New York, USA.\u003C/p>","program/calendar/watermelon-man",{"id":1247,"title":1248,"description":1791,"headline":8,"programTitle":8,"programSubtitle":1251,"format":1234,"uri":1792,"programLocation":410},"\u003Cp>This event takes place as part of Berlin Art Week 2025.\u003C/p>\u003Cp>It could have been mistaken for footage of a bombing happening elsewhere—a scene of horror taking place in a distant location. This event, however, hit in the middle of life, close-up, in daylight. In 1995, in the Argentine city of Río Tercero, province of Córdoba, an explosion at a military arms factory left devastation in its wake. Debris and dust filled the air, people were injured and killed, and in the years that followed, trauma and illness lingered like invisible aftershocks.\u003C/p>\u003Cp>Though the city has never forgotten that tragic day, filmmaker Natalia Garayalde offers a profoundly intimate perspective on this collective memory by turning her lens toward her own family’s experience. In doing so, she transforms a local catastrophe into a powerful, emotionally resonant narrative with sharp political insight.\u003C/p>\u003Cp>All acts of remembrance are, in some way, acts of montage. Garayalde meticulously assembles footage captured by her family—avid amateur documentarians—both before and after the explosion. Through this process, memory gains new depth. The archival images are recontextualized, layered with fresh meaning decades later, and the past resurfaces with striking clarity. What emerges is a poignant meditation on how to film an emotion—how to capture the texture of grief, anger, and resilience as they ripple through time.\u003C/p>\u003Cp>The film program \u003Cem>Fugitive Traces: Challenging Narratives and Power Structures \u003C/em>of SİNEMA TRANSTOPIA—one of the Sisters Organizations of the 13th Berlin Biennale—explores the politics of images, the ethics of filmmaking, and the power dynamics embedded in film history and production. The selected films challenge dominant narratives, offering alternative perspectives that resonate with the 13th Berlin Biennale’s curatorial concept of fugitivity—the capacity of art to establish its own laws in defiance of oppressive structures. In a climate of fear, such structures function seamlessly, compelling the oppressed to develop creative strategies to bypass the systemic obstacles they face. This act of \u003Cem>foxing\u003C/em>—a subversive play of evasion and resistance—becomes a commitment to artistic autonomy and the defiance of unjust norms. Through humor, subtlety, and critical reflection, the films in this program disrupt conventional storytelling, expose exploitative practices, and reclaim marginalized narratives, turning cinema into a space of resistance and liberation.\u003C/p>","program/calendar/esquirlas",{"id":1261,"title":1262,"description":1270,"headline":8,"programTitle":8,"programSubtitle":1265,"format":537,"uri":1794,"programLocation":1795},"program/calendar/fokus-tour-zoncy-heavenly",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1272,"title":1273,"description":1715,"headline":8,"programTitle":8,"programSubtitle":966,"format":537,"uri":1797,"programLocation":1798},"program/calendar/fokus-tour-mit-niusha-ramzani-5",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1282,"title":1283,"description":1800,"headline":8,"programTitle":1286,"programSubtitle":1287,"format":396,"uri":1801,"programLocation":1802},"\u003Ch3>\u003Cstrong>\u003Cem>What Does the Name of War Stand for Today?\u003C/em>\u003C/strong>\u003C/h3>\u003Cp>\u003C/p>\u003Cp>War today is not an exception—it is the ruling logic of the world. Concealed behind the language of democracy, freedom, and human rights, it underwrites the neoliberal global order. Contemporary war no longer needs to be declared—it is managed, normalized, and enacted through legal, institutional, and discursive regimes embedded in everyday life. Calibrated to uphold inequality, contemporary war is not waged to be won, but to permanently suppress resistance and normalize intervention in the name of peace.\u003C/p>\u003Cp>Structured in two sequences, \u003Cem>What Does the Name of War Stand for Today? \u003C/em>positions participatory practice as possible acts of political subjectivation, where dominant narratives begin to fracture. It recognizes war not as a past crisis, but as the governing logic of the present—unfolding through the hijacking of memory, surveillance infrastructures, militarized borders, racialized abandonment, neocolonial extractivism, and weaponized domination.\u003C/p>\u003Cp>\u003Cem>What Does War Stand for Today? \u003C/em>is an art-theory project by Grupa Spomenik (2010–12), which was co-founded by Milica Tomić. The project is developed in collaboration with groups in Prishtinë, Tuzla, Zagreb, Ljubljana, Belgrade, Sarajevo, Berlin, Bregenz, and beyond. Based on the translation of Catherine Hass’s thesis of the same name, it articulates the 1990s wars in Yugoslavia not as concluded historical events, but as the emergence of a new mode of waging war that has since taken permanent form and become globally sustained.\u003C/p>\u003Cp>\u003C/p>\u003Ch3>\u003Cstrong>Sequence 1:\u003C/strong>\u003Cem> \u003C/em>\u003Cstrong>\u003Cem>Mathemes of Articulation: Against the Logic of Erasure\u003C/em>\u003C/strong>\u003C/h3>\u003Cp>\u003C/p>\u003Cp>The first sequence of the event series draws on Grupa Spomenik’s project \u003Cem>Mathemes of Re-association\u003C/em>, dealing with genocide, ethnic cleansing, and war crimes of the 1990s. Starting from the Yugoslavian context, the event attempts to map uneven geographies of a present in which peace itself becomes a weapon. Engaging the concept of political subjectivation, it confronts the imperial-fascist continuum embedded in today’s machinery of war and destruction. The event asks whether any form of social or (geo)political subjectivation can still emerge under regimes that render genocide unspeakable and freedom illegible.\u003C/p>\u003Cp>\u003C/p>\u003Cp>This sequence is dedicated to Branimir Stojanović, co-founder and member of the Grupa Spomenik.\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cstrong>Jelena Petrović\u003C/strong>, *1974 in Svetozarevo, Yugoslavia. Places of Belonging: Ljubljana, Sarajevo, Vienna, Belgrade. Affinities: Grupa Spomenik, Red Min(e)d. Book: \u003Cem>Women’s Authorship in Interwar Yugoslavia. The Politics of Love and Struggle\u003C/em>, 2018.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/de/kuenstler-innen/milica-tomic\">\u003Cstrong>Milica Tomić\u003C/strong>\u003C/a>, *1960 in Belgrade, Yugoslavia. Places of belonging: Belgrade, Zenica, Frankfurt am Main, Berlin, Graz, Vienna. Affinities: Grupa Spomenik, Four Faces of Omarska, Annenstrasse 53. Book: \u003Cem>Geography of Looking. Matter of Appearance\u003C/em>, 2023.\u003C/p>\u003Cp>\u003Cstrong>Sami Khatib\u003C/strong>, Book: ‘\u003Cem>Teleology without End’: Walter Benjamin’s Dislocation of the Messianic\u003C/em>, 2013.\u003C/p>","program/calendar/milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-1",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1298,"title":1299,"description":1804,"headline":8,"programTitle":1302,"programSubtitle":1303,"format":396,"uri":1805,"programLocation":1806},"\u003Ch3>\u003Cstrong>\u003Cem>What Does the Name of War Stand for Today?\u003C/em>\u003C/strong>\u003C/h3>\u003Cp>\u003C/p>\u003Cp>War today is not an exception—it is the ruling logic of the world. Concealed behind the language of democracy, freedom, and human rights, it underwrites the neoliberal global order. Contemporary war no longer needs to be declared—it is managed, normalized, and enacted through legal, institutional, and discursive regimes embedded in everyday life. Calibrated to uphold inequality, contemporary war is not waged to be won, but to permanently suppress resistance and normalize intervention in the name of peace.\u003C/p>\u003Cp>Structured in two sequences, \u003Cem>What Does the Name of War Stand for Today? \u003C/em>positions participatory practice as possible acts of political subjectivation, where dominant narratives begin to fracture. It recognizes war not as a past crisis, but as the governing logic of the present—unfolding through the hijacking of memory, surveillance infrastructures, militarized borders, racialized abandonment, neocolonial extractivism, and weaponized domination.\u003C/p>\u003Cp>\u003Cem>What Does War Stand for Today? \u003C/em>is an art-theory project by Grupa Spomenik (2010–12), which was co-founded by Milica Tomić. The project is developed in collaboration with groups in Prishtinë, Tuzla, Zagreb, Ljubljana, Belgrade, Sarajevo, Berlin, Bregenz, and beyond. Based on the translation of Catherine Hass’s thesis of the same name, it articulates the 1990s wars in Yugoslavia not as concluded historical events, but as the emergence of a new mode of waging war that has since taken permanent form and become globally sustained.\u003C/p>\u003Cp>\u003C/p>\u003Ch3>\u003Cstrong>Sequence 2:\u003Cem> Is There Anything in This World You Would Be Ready to Give Your Life For? \u003C/em>[Wofür steht der Name des Krieges heute? Teil 2: Gibt es etwas auf dieser Welt, wofür du bereit bist, dein Leben zu geben?]\u003C/strong>  \u003C/h3>\u003Cp>\u003C/p>\u003Cp>Connecting local sites across planetary mines, Sequence 2 of the event series takes a conversation on the extractivist frontlines where war economies persist—not despite peace, but through it. This talk traces how extractivism functions not merely as an economic model, but as a global political order that reshapes land, law, and life. From new lithium mining zones in Serbia– promoted as national salvation and as vital to EU green agendas—to the global systems of dispossession and environmental destruction, today’s war reveals itself as a logic of extraction. This logic is legitimized through the political discourses of sustainability, transition, and rescue, while simultaneously appropriating and repurposing the emancipatory legacies of antifascist and anticolonial struggles. In defending those legacies, many of today’s forms of resistance emerge—not only in response to what has been lost, but in commitment to what still refuses to be silenced or erased.\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cstrong>Aleksandar Matković\u003C/strong>, *1988, Places of belonging: Berlin, Amsterdam, Fruška Gora mountain. Affiliation: Transnational Institute, Amsterdam. Book: \u003Cem>At the Dawn of Revolution: Marxist education in the Kingdom of Yugoslavia\u003C/em>, forthcoming 2025.\u003C/p>\u003Cp>\u003Cstrong>Godofredo Enes Pereira\u003C/strong>, *1979, Places of belonging: Porto, London. Affiliation: Territorial Research Group (GIT). Book: \u003Cem>2025 CERFI: Militant Analysis and Collective Equipment\u003C/em>, forthcoming 2025.\u003C/p>\u003Cp>\u003Cstrong>Jelena Petrović\u003C/strong>, *1974 in Svetozarevo, Yugoslavia. Places of Belonging: Ljubljana, Sarajevo, Vienna, Belgrade. Affinities: Grupa Spomenik, Red Min(e)d. Book: \u003Cem>Women’s Authorship in Interwar Yugoslavia. The Politics of Love and Struggle\u003C/em>, 2018.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/de/kuenstler-innen/milica-tomic\">\u003Cstrong>Milica Tomić\u003C/strong>\u003C/a>, *1960 in Belgrade, Yugoslavia. Places of belonging: Belgrade, Zenica, Frankfurt am Main, Berlin, Graz, Vienna. Affinities: Grupa Spomenik, Four Faces of Omarska, Annenstrasse 53. Book: \u003Cem>Geography of Looking. Matter of Appearance\u003C/em>, 2023.\u003C/p>","program/calendar/milica-tomic-what-does-the-name-of-war-stand-for-today-sequence-2",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1311,"title":1312,"description":1808,"headline":8,"programTitle":1315,"programSubtitle":1316,"format":396,"uri":1809,"programLocation":1810},"\u003Cp>Memory Biwa’s work centers on the legacy of colonialism in Namibia, where the former German Empire committed a genocide against the Herero and Nama peoples. What can be built from the dust of this historical catastrophe? Biwa’s response is a garden at the former Courthouse Lehrter Straße, featuring a Nama reed house as a space for resilience and growth. Through her installation, she explores sites of memory and embodied forms of transmission—building worlds with words. In her space, Biwa, together with invited guests and visitors of the 13th Berlin Biennale, engages with themes such as shapeshifting monuments, Black geographies, and ecologies. \u003C/p>\u003Cp>These gatherings take place as part of her \u003Cem>Yvette Abrahams Reading Cycle\u003C/em>, held in honor of Yvette Abrahams—a healer, organic farmer, and historian who lives in South Africa. Following \u003Cem>Prossession Peda’Gogo\u003C/em>—a procession as part of the 13th Berlin Biennale with Lusine Khurshudyan to memorial plaques about Armenia and Namibia on Tempelhofer Feld—the \u003Cem>Reading Cycle\u003C/em> is the third movement of a series of artistic works by Biwa.\u003C/p>\u003Cp>\u003Cstrong>Anike Joyce Sadiq\u003C/strong>, *1985 in Heidelberg, Deutschland. Orte der Zugehörigkeit: Berlin-Kreuzberg. Aufnahme (mit Judith Hamann): \u003Cem>Playing the Structure\u003C/em>, 2023.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/memory-biwa\">\u003Cstrong>Memory Biwa\u003C/strong>\u003C/a>, *1979 in Windhoek, Namibia. Orte der Zugehörigkeit: Northern and Western Cape, Tansania. Verbundenheit: Pungwe Listening.\u003C/p>\u003Cp>Information on accessibility will follow shortly.\u003C/p>","program/calendar/memory-biwa-with-anike-joyce-sadiq",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1329,"title":1330,"description":1812,"headline":8,"programTitle":1333,"programSubtitle":1316,"format":396,"uri":1813,"programLocation":1814},"\u003Cp>Memory Biwa’s work centers on the legacy of colonialism in Namibia, where the former German Empire committed a genocide against the Herero and Nama peoples. What can be built from the dust of this historical catastrophe? Biwa’s response is a garden at the former Courthouse Lehrter Straße, featuring a Nama reed house as a space for resilience and growth. Through her installation, she explores sites of memory and embodied forms of transmission—building worlds with words. In her space, Biwa, together with invited guests and visitors of the 13th Berlin Biennale, engages with themes such as shapeshifting monuments, Black geographies, and ecologies. \u003C/p>\u003Cp>These gatherings take place as part of her \u003Cem>Yvette Abrahams Reading Cycle\u003C/em>, held in honor of Yvette Abrahams—a healer, organic farmer, and historian who lives in South Africa. Following \u003Cem>Prossession Peda’Gogo\u003C/em>—a procession as part of the 13th Berlin Biennale with Lusine Khurshudyan to memorial plaques about Armenia and Namibia on Tempelhofer Feld—the \u003Cem>Reading Cycle\u003C/em> is the third movement of a series of artistic works by Biwa.\u003C/p>\u003Cp>The event is kindly supported by AfroPolitan Berlin. \u003C/p>\u003Cp>\u003Cstrong>Céline Barry\u003C/strong>, *1979 in Berlin. Places of belonging: Berlin, Dakar, Boké. Affiliation: FG DeKolonial e.V. – association of antiracist, postcolonial, and decolonial thought and practice. Article: “Kreuzberg is a construction site. A grounded theory in pictures”, 2025.\u003C/p>\u003Cp>\u003Cstrong>Gifty Amoateng\u003C/strong>, *1989 in Hünfeld.\u003Cstrong> \u003C/strong>Places of belonging: Berlin, Kumasi, Ghana. Affiliation: off:hybrid. \u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/memory-biwa\">\u003Cstrong>Memory Biwa\u003C/strong>\u003C/a>, *1979 in Windhoek, Namibia. Orte der Zugehörigkeit: Northern and Western Cape, Tansania. Verbundenheit: Pungwe Listening.\u003C/p>","program/calendar/memory-biwa-mit-celine-barry-und-gifty-amoateng",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1340,"title":1341,"description":1816,"headline":8,"programTitle":1344,"programSubtitle":1345,"format":627,"uri":1817,"programLocation":410},"\u003Cp>The 13th Berlin Biennale for Contemporary Art convenes two \u003Ca href=\"https://13.berlinbiennale.de/en/artists/peoples-tribunal\">People’s Tribunals\u003C/a>—community-sourced judicial forums to address human rights violations and crimes against humanity when justice has been denied at a state or international level. \u003C/p>\u003Cp>The People’s Tribunal on \u003Cem>Art for Resisting Oppression—Philippine cases \u003C/em>puts state forces on trial for their coordinated attacks on artistic and cultural rights. At the heart of the Tribunal is the recognition that the right to cultural expression is inseparable from the political and economic struggles of the people. Art and culture are not a luxury—they are weapons, lifelines, and offer room for reflections of a people’s dignity, aspirations, and resistance.\u003C/p>\u003Cp>The Tribunal will hear testimonies from Filipino artists who are grassroots organizers—some now in exile in Europe due to political persecution, others continuing to face repression in the Philippines. These artists report on their experiences and their ways of artistic expression that embody the very spirit authorities have tried to silence. Each act will demonstrate how the repression of artistic expression is a deep form of violence—aimed at extinguishing not just voices, but the “soul of resistance.” This event is about solidarity, truth-telling, and collective judgment—as well as honoring those who continue to speak and fight through their art.\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cstrong>ALPAS Pilipinas\u003C/strong>, founded 2021 in Berlin, Germany. Places of belonging: Luzon, Visayas, Mindanao. Fanzine: \u003Cem>Banana Ketchup\u003C/em>, 2023. Representative member: Catherine Abon.\u003C/p>\u003Cp>\u003Cstrong>Gabriela Germany\u003C/strong> is the German chapter of the GABRIELA National Alliance of Women. This grassroots alliance comprises over 200 organisations, institutions, desks, and programmes for women from across the Philippines. It seeks to fight for the liberation of all oppressed Filipino women and the rest of the population. Gabriela Germany campaigns on issues specific to migrant women, such as women’s rights, gender discrimination and violence against women, as well as women’s health and reproductive rights.\u003C/p>\u003Cp>\u003Cstrong>International Coalition for Human Rights in the Philippines (ICHRP) – Germany\u003C/strong>, founded 2024 in Berlin, Germany. Places of belonging: Philippines, Germany. Mentioned in: “ICHRP Germany launched on International Human Rights Day”, 2025. Representative member: Annemarie Anecio Mier.\u003C/p>\u003Cp>\u003Cstrong>Acknowledgments:\u003C/strong> Chris Ablon, ICHRP – Europe, Czarina Musni, Karapatan, Marikit Saturay, Migrante Europe, Reya Morgado\u003C/p>\u003Cp>\u003Cstrong>Project Lead People’s Tribunal\u003C/strong>: Jasmine Grace Wenzel\u003C/p>","program/calendar/peoples-tribunal-zu-kunst-im-widerstand-gegen-unterdruckung-falle-aus-den-philippinen-2025",{"id":1355,"title":1356,"description":1819,"headline":8,"programTitle":1359,"programSubtitle":1360,"format":537,"uri":1820,"programLocation":1821},"\u003Cp>Moderated by Alvin Collantes and Thesea Rigou, this workshop invites participants to explore the exhibitions of the 13th Berlin Biennale through movement and physical response. Over two hours, Alvin and Thesea will guide participants through individual and group exercises inspired by specific artworks and themes from the exhibitions. \u003Cbr>\u003Cbr>The workshop is open to all abilities—no prior experience is required. Wear comfortable, movement-friendly clothing and shoes. \u003Cbr>\u003C/p>\u003Cp>\u003Cstrong>Thesea Rigou\u003C/strong> is a Cypriot interdisciplinary artist, educator, and gardener based in Berlin. Their artistic practice centers on socio-ecological themes, weaving together installations, performances, and printmaking through a blend of theoretical inquiry and material experimentation. As an art educator, Rigou enjoys hosting safer spaces for critical dialogue and political engagement, drawing on experience in collaborative and self-organized projects.\u003Cbr>\u003Cbr>\u003Cstrong>Alvin Collantes\u003C/strong> is a Filipino-Canadian dance artist, drag performer, and a newly certified Jungian Life Coach based in Berlin. Drawing from his personal experiences as passionate raver, queer, immigrant and a person of colour, the essence of his research explores topics of assimilation and its emotional upheavals, physical sensations and untold stories of marginalized bodies and tackling the impact of drag and resilience in queer communities towards the cultivation of self-acceptance.  \u003C/p>","program/calendar/fokus-workshop-mit-alvin-collantes-and-thesea-rigou",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1373,"title":1374,"description":1382,"headline":8,"programTitle":8,"programSubtitle":1377,"format":537,"uri":1823,"programLocation":1824},"program/calendar/fokus-tour-with-anja-soeyuenmez",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1384,"title":1385,"description":1826,"headline":8,"programTitle":8,"programSubtitle":1388,"format":537,"uri":1827,"programLocation":1828},"\u003Cp>\u003Ca href=\"https://www.instagram.com/reel/DNDYUn1oSfx/?igsh=MXFjY3Y4czB0Y3lxZg==\" target=\"_blank\">Announcement Video (in German Sign Language\u003C/a>)\u003C/p>\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003C/p>\u003Cp>\u003Cstrong>Hyemi Jo\u003C/strong> is from South Korea and is Deaf. She works as an artist, activist, and web designer in Berlin. Hyemi is involved in political activities that enhance the visibility and strengthen the voices of the Deaf community, and she also creates performances focused on Deaf culture. She enjoys the diversity that Berlin embodies, specifically the intersection of Asian, Queer, and Deaf communities.\u003C/p>\u003Cp>German Sign Language Interpreter: Viviane Grünberger\u003C/p>","program/calendar/focus-tour-with-hyemi-jo",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":1396,"title":1397,"description":924,"headline":8,"programTitle":8,"programSubtitle":913,"format":537,"uri":1830,"programLocation":1831},"program/calendar/fokus-tour-mit-sarah-steiner-3",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1405,"title":1070,"description":935,"headline":8,"programTitle":8,"programSubtitle":1073,"format":537,"uri":1833,"programLocation":1834},"program/calendar/kuratorische-tour-mit-zasha-colah-5",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1414,"title":1415,"description":1715,"headline":8,"programTitle":8,"programSubtitle":1127,"format":537,"uri":1836,"programLocation":1837},"program/calendar/fokus-tour-mit-niusha-ramzani-6",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1423,"title":1424,"description":1624,"headline":8,"programTitle":8,"programSubtitle":950,"format":537,"uri":1839,"programLocation":1840},"program/calendar/fokus-tour-mit-arootin-mirzakhani-4",{"id":459,"uuid":1604,"url":1605,"title":460},{"id":1432,"title":1433,"description":1445,"headline":8,"programTitle":1436,"programSubtitle":1437,"format":715,"uri":1842,"programLocation":1843},"program/calendar/crowd-control-oliver-zahn",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1451,"title":1452,"description":1465,"headline":8,"programTitle":1455,"programSubtitle":1456,"format":715,"uri":1845,"programLocation":1846},"program/calendar/subjoyride",{"id":401,"uuid":1582,"url":1583,"title":402},{"id":1471,"title":1472,"description":1484,"headline":8,"programTitle":1475,"programSubtitle":1476,"format":537,"uri":1848,"programLocation":1849},"program/calendar/ruhige-stunden-silent-hours",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1486,"title":1487,"description":1851,"headline":8,"programTitle":1490,"programSubtitle":1491,"format":396,"uri":1852,"programLocation":1853},"\u003Cp>As part of the participation in the 13th Berlin Biennale, Stacy Douglas initiates a conversation with Alexander Gorski, European Legal Support Centre (ELSC) lawyer, on censorship, Palestine, and the need for an enhanced political culture in contemporary German cultural institutions.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/stacy-douglas\">\u003Cstrong>Stacy Douglas\u003C/strong>\u003C/a> (she/they) is Associate Professor of law and legal studies at Carleton University with interests in law, aesthetics, democracy, and governance. In addition to her book \u003Cem>Curating Community. Museums, Constitutionalism, and the Taming of the Political\u003C/em> (Michigan, 2017), she has published in \u003Cem>Law and Critique\u003C/em>, \u003Cem>Feminist Legal Studies\u003C/em>, and \u003Cem>Radical Philosophy\u003C/em>. She is also a multi-media artist, working in performance art, collage, video, and playwriting.\u003C/p>\u003Cp>\u003Cstrong>Alexander Gorski \u003C/strong>practices criminal and immigration law. He studied law in Passau, Mexico City, and Munich. He completed his legal clerkship at the Berlin Higher Regional Court, the Tegel Prison, and the European Center for Constitutional and Human Rights (ECCHR).He is currently an Attorney with the Amigo Kanzlei firm in Berlin and also a partner attorney at the Amsterdam-based non-governmental organization European Legal Support Center (ELSC). He has represented numerous artists and individuals that have been criminalized for pro-Palestinian activism in Germany.\u003C/p>","program/calendar/stacy-douglas-in-conversation",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1498,"title":1499,"description":1855,"headline":8,"programTitle":8,"programSubtitle":1502,"format":537,"uri":1856,"programLocation":1857},"\u003Cp>+++ This Focus Tour is cancelled. +++\u003C/p>\u003Cp>Focus Tours are led by mediators and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Biennial for Contemporary Art. The tours are designed as open dialogues, encouraging visitors to slow down, reflect collectively, and consciously engage with bodily experiences during the exhibition visit. Moments for pause and reflection are an integral part.\u003C/p>","program/calendar/focus-tours-former-courthouse-en",{"id":462,"uuid":1610,"url":1611,"title":463},{"id":1510,"title":1511,"description":1382,"headline":8,"programTitle":8,"programSubtitle":1514,"format":537,"uri":1859,"programLocation":1860},"program/calendar/focus-tour-with-anja-soeyuenmez-2",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1520,"title":1521,"description":1862,"headline":8,"programTitle":8,"programSubtitle":1524,"format":537,"uri":1863,"programLocation":1864},"\u003Cp>Open ateliers are \u003Cem>f\u003C/em>amily-\u003Cem>f\u003C/em>riendly workshops held every Sunday a\u003Cem>f\u003C/em>ternoon \u003Cem>f\u003C/em>rom 3–6 pm at rotating venues throughout the duration o\u003Cem>f\u003C/em> the 13th Berlin Biennale \u003Cem>f\u003C/em>or Contemporary Art. These drop-in sessions are \u003Cem>f\u003C/em>ree o\u003Cem>f\u003C/em> charge and need no prior registration. These Open Ateliers invite visitors o\u003Cem>f\u003C/em> all ages to engage play\u003Cem>f\u003C/em>ully and intuitively with the exhibition’s themes, materials, and questions.\u003C/p>\u003Cp>Inspired by the concept and title of the 13th Berlin Biennale exhibition \u003Cem>passing the fugitive on\u003C/em>, artist Ercan Arslan will be creating postcard collages together with participants during two Open Studio Sundays. The process begins with drawings left behind by visitors during the “hang-out moments.” These motifs can be combined with magazine clippings, photographs, and participants’ own drawings and images, and transferred onto blank postcards to form new compositions.\u003C/p>\u003Cp>In this setting, the postcard becomes a connecting element: it preserves memories and associations, transforms them into an artistic object, and sets them in motion once again. As both individual and collective traces, the postcards are passed on—or mailed—released into the world as fleeting testaments to creative exchange and shared imagination.\u003C/p>\u003Cp>\u003Cstrong>Ercan Arslan\u003C/strong> is a freelance artist working in painting and sculpture. After studying painting in London, he relocated to Berlin, where he currently lives and works. His works are exhibited internationally and are part of both public and private collections.\u003C/p>","program/calendar/open-atelier-with-ercan-arslan",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1536,"title":1537,"description":1866,"headline":8,"programTitle":1540,"programSubtitle":1541,"format":396,"uri":1867,"programLocation":1868},"\u003Cp>The artist \u003Ca href=\"https://13.berlinbiennale.de/en/artists/margherita-moscardini\">Margherita Moscardini\u003C/a>, with a team of engineers and lawyers, has made a staircase and a model for legislation into the open ground of the main hall of KW Institute for Contemporary Art. Mimicking a flight of stairs in East Jerusalem—in the Palestinian Occupied Territories, this walkable stone sculpture becomes a fitting stage for the live talk event \u003Cem>The Stairway on Trial\u003C/em>. \u003C/p>\u003Cp>If this staircase had legal personhood, it would be stateless. In front of the two-states, one-state solution, Moscardini recalls an old resolution, the UN resolution 181 (II), 1947, where the internationalization of a city—or just some buildings—suggested a special, non-state, free-state, a-territorial government.  \u003C/p>\u003Cp>The international commoning of this staircase, via legal acrobatics, places the stairway under a legislation model based on the common heritage of mankind, albeit its recognition in international law is still to be tested. \u003C/p>\u003Cp>This series of talks, by the artist, one of the lawyers, and one of the signatories of a single stone block composing the staircase, puts the stairway on trial: prefiguring, imagining possible scenarios on the part of the law-writers; and attesting, substantiating, and testifying from real-life scenarios on the part of the Autonomous Administration of North East Syria/Kongra Star.\u003C/p>\u003Cp>\u003C/p>\u003Cp>\u003Cstrong>Margherita Moscardini \u003C/strong>is an artist. \u003Cbr>*1981 in Livorno, Italy. Book: \u003Cem>Margherita Moscardini. Metropolitan Voids Agency\u003C/em>, Archive Books, 2025.\u003C/p>\u003Cp>\u003Cstrong>Prof. Lawrence Liang\u003C/strong> is an academic and lawyer. \u003Cbr>*1974, India. He is Dean of the School of Legal and Socio-Politcal Studies, Ambedkar University, Delhi, India; and co-founder of the Alternative Law Forum, Center for Internet and Society. \u003C/p>\u003Cp>\u003Cstrong>Emîne Osê \u003C/strong>is a member of the Alliances and Democratic Relations Committee of Kongra Star \u003Cbr>*1976 in\u003Cem> \u003C/em>Heseke, Suriye, Rojava-Kurdistan. Places of belonging: Rojava, Dêrîk. Affiliations: Democratic Autonomous Administration of North and East Syria (DAANES), Kongra Star.\u003C/p>","program/calendar/the-stairway-on-trial",{"id":420,"uuid":1588,"url":1589,"title":421},{"id":1552,"title":1553,"description":1870,"headline":8,"programTitle":1556,"programSubtitle":1557,"format":1030,"uri":1871,"programLocation":410},"\u003Cp>A conversation between Catrin Lorch, Jörg Heiser, Julieta Aranda, and Zasha Colah on what art criticism and belonging can be—both as affinity and as civic responsibility—in times of genocides, the permanent war economy, scold culture, and an overwhelming retreat towards insularity. This meeting seeks to be a difficult and candid reflection on belonging—to a city, to internationalism, to a way of seeing the world, to art, to each other.\u003C/p>\u003Cp>\u003Ca href=\"https://www.youtube.com/live/MbIRm_Cld7o\" title=\"Livestream\">\u003Cstrong>Join the Live-Stream here\u003C/strong>\u003C/a>\u003Cstrong>.\u003C/strong>\u003Cbr>\u003Cstrong>\u003Cbr>Catrin Lorch\u003C/strong> is an art historian, editor, and critic, working for newspapers and magazines. Currently Head of Press of the 13th Berlin Biennale.\u003C/p>\u003Cp>\u003Cstrong>Jörg Heiser\u003C/strong> is Director of the Institute for Art in Context at the University of the Arts in Berlin, Germany. For twenty years, he was an editor at \u003Cem>frieze \u003C/em>magazine\u003Cem>,\u003C/em> and also wrote regularly for \u003Cem>Süddeutsche Zeitung\u003C/em>. He continues to write criticism for \u003Cem>e-flux\u003C/em> and \u003Cem>Republik.ch\u003C/em>.\u003C/p>\u003Cp>\u003Cstrong>Julieta Aranda\u003C/strong> is an artist, communication director of \u003Cem>e-flux Agenda\u003C/em>, and editor of \u003Cem>e-flux journal\u003C/em>.\u003C/p>\u003Cp>\u003Cstrong>Zasha Colah\u003C/strong> is curator of the 13th Berlin Biennale. She is the co-artistic director of Ar/Ge Kunst (Bozen, 2023–), and lecturer in Curatorial Studies at Nuova Accademia di Belle Arti (Milano, 2018–). Member of Clark House Initiative (Mumbai, 2010–22).   \u003C/p>","program/calendar/e-flux-conversation",{"id":1565,"title":1566,"description":1873,"headline":8,"programTitle":1569,"programSubtitle":1570,"format":1030,"uri":1874,"programLocation":410},"\u003Cp>\u003Cstrong>Moderated by Timea Junghaus\u003C/strong>\u003C/p>\u003Cp>\u003C/p>\u003Cp>If art exists, most explicitly, in moments of crisis and catastrophe—as is attested by artists of the 13th Berlin Biennale and its Sister Organizations—what are its languages and preoccupations? What does it leave to us as viewers, spectators, audience, receivers, and is it what we expect, or can even understand fully in the present?\u003C/p>\u003Cp>In an era where crisis has become the status quo, what is the role of art when survival itself is at stake? This conversation invites thinkers, artists, and curators to explore how art functions as a site of resistance, a space for critical imagination, and as cultural evidence—the artistic action, its orality, and forms of transmission, recognized as a fundamental part of history and world making.\u003C/p>\u003Cp>As financial markets trade in cultural capital and institutions buckle under the weight of political instrumentalization, we ask: Does art still possess the radical potential to repair, to challenge, to propose new futures? Which are the artistic claims of our times?\u003C/p>\u003Cp>The panel will draw from historical moments when art redefined itself in response to catastrophe—from avant-garde movements born from the rubble of war to contemporary interventions emerging from zones of displacement. This conversation will not seek definitive answers, but rather provoke a rethinking of the possibilities of art in the present moment, in a time when uncertainty is our only certainty.\u003C/p>\u003Cp> \u003C/p>\u003Cp>\u003Cstrong>Marita Muukkonen\u003C/strong> is a curator as well as co-founder and director of Perpetuum Mobile (PM), the non-profit organization running the international NGOs Artists at Risk (AR) and Ecologists at Risk (ER). She curates internationally, has served as curator at FRAME – Contemporary Art Finland; editor of FRAMEWORK – The Finnish Art Review; Chairperson of the Helsinki International Artists-in-Residence Programme (HIAP), and held key functions at the Nordic Institute for Contemporary Art (NIFCA). \u003C/p>\u003Cp>\u003Cstrong>Selma Selman\u003C/strong> is a visual and performance artist from Bosnia and Herzegovina of Romani origin. Her multidisciplinary practice includes performance, video, painting, and installation, often rooted in autobiographical narratives that confront social injustice, gender-based violence, and systemic discrimination. In her ongoing performance \u003Cstrong>\u003Cem>Motherboards\u003C/em> \u003C/strong>(2023–ongoing) Selman, alongside her family members, dismantles electronic waste to extract precious metals—a process that deconstructs racialized and reductive narratives while offering tangible insights into power and sustainability. Her works have been exhibited at documenta fifteen, the Venice Biennale (FutuRoma Pavilion), Autostrada Biennale, Gropius Bau, Schirn Kunsthalle, Istanbul Biennial. Selman is also the founder of the educational initiative \u003Cem>Get the Heck to School\u003C/em>, which supports Roma girls facing poverty and marginalisation. \u003C/p>\u003Cp>\u003Cstrong>Timea Junghaus\u003C/strong> is an art historian, curator, and a leading voice of the Roma cultural and political movement. As Executive Director of the European Roma Institute for Arts and Culture (ERIAC) in Berlin, she has forged an unprecedented institutional platform for Roma creative expression. Her research and curatorial practice interrogate modern and contemporary art through critical theory, with particular attention to cultural difference, coloniality, and minority representation. Junghaus’s curatorial achievements include the First Roma Pavilion at the 52nd Venice Biennale (2007); the visual art section of RomArchive (2017); the prefigurative institution RomaMoMA (2005-present); the Roma contributions at Manifesta 14 (2022) and documenta fifteen (2022); and the Milan Triennale (2022).\u003C/p>","program/calendar/eriac-panel-discussion-with-timea-junghaus-valentina-viviani-zasha-colah",{"code":4,"status":5,"result":1876},[1877,1882,1887,1892,1897,1902,1907,1911,1916,1921,1926,1931,1936],{"id":1878,"title":1879,"description":1880,"headline":8,"uri":1881},"news/die-13-berlin-biennale-endet-nach-95-tagen-und-47-veranstaltungen","The 13th Berlin Biennale ends after 95 days and 47 live acts","\u003Cp>Last Sunday, September 14, 2025, the 13th Berlin Biennale drew to a close with over 130,000 visitors. Under the title \u003Cem>passing the fugitive on\u003C/em>, the exhibition showed over 170 works by more than 60 \u003Ca href=\"https://13.berlinbiennale.de/en/artists/list\">artists\u003C/a> at four venues in Berlin. A majority of these works were commissioned for the Berlin Biennale. The venues included the \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\">KW Institute for Contemporary Art\u003C/a>, the \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/sophiensaele\">Sophiensæle\u003C/a>, the \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/hamburger-bahnhof\">Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>, and the \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/former-courthouse-lehrter-strasse\">former Courthouse Lehrter Straße\u003C/a>. \u003C/p>\u003Cp>The title of the exhibition alludes to art’s ability to define its own laws in the face of legislative violence in unjust systems, the artist’s capacity for clarity of gesture and action in their own historical condition, and to pass these on. \u003C/p>\u003Cp>The 13th Berlin Biennale has grounded the former Courthouse Lehrter Straße as a site for artistic production. This historic building—where Karl Liebknecht was put on trial in 1916—became the setting for works that explored the threshold between \u003Cem>Legality, Illegality, and the Artist’s Claim\u003C/em>. \u003Cem>foxing\u003C/em> described the possibility of transforming one’s own adverse circumstances. Under the sections titled \u003Cem>Artists’ Street\u003C/em> and \u003Cem>Moving Multitudes and the Conscience of Art\u003C/em> the exhibition focused on the histories of artistic positions rooted in unauthorized, fugitive acts on the street, or those within sit-ins, blockades, and civil disobedience movements, or those never seen in hiding and prisons out of view, to make comparative and intergenerational art histories palpable. Works shown at the Sophiensæle under the title \u003Cem>Blueprint of Berlin\u003C/em> used three cultural forms infused with restive political energy—the tap dance, the \u003Cem>anyeint\u003C/em>, and the \u003Cem>powada\u003C/em>—to engage with the layered history of the building and of Berlin up to the present elections.\u003C/p>\u003Cp>This edition of the biennale, developed portions of the program in curatorial co-conspiracy with four \u003Ca href=\"https://13.berlinbiennale.de/en/program/sister-organizations\">sister organizations\u003C/a>: the European Roma Institute for Arts and Culture (ERIAC), Filmrauschpalast Moabit, SİNEMA TRANSTOPIA, and the Sophiensæle. Many events of the \u003Cem>Encounters\u003C/em> series took place at Kulturfabrik Moabit.\u003C/p>\u003Cp>47 events from the \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/encounters\">Encounters\u003C/a> series to unannounced \u003Cem>fugitive acts\u003C/em> opened up the exhibition space to unexpected and ephemeral encounters between artists and visitors. With \u003Cem>Walking the Cabbage in Berlin\u003C/em>, \u003Ca href=\"https://13.berlinbiennale.de/en/artists/han-bing-kashmiri-cabbage-walker\">Han Bing\u003C/a> opened the \u003Cem>Encounters\u003C/em> program on June 13, 2025, walking a cabbage through the streets of Berlin-Mitte, 25 years after walking it in Tiananmen Square. With \u003Cem>The Beggars’ Convention\u003C/em>, \u003Ca href=\"https://13.berlinbiennale.de/en/artists/major-nom\">Major Nom\u003C/a> brought a theater performance on the recent civil disobedience movement in Myanmar to Berlin with queer and female-identifying performers in drag. \u003Ca href=\"https://13.berlinbiennale.de/en/artists/mila-panic\">Mila Panić’s\u003C/a> stand-up comedy club \u003Cem>Big Mouth\u003C/em> found continuities between the Bosnian war, Ukraine, and Gaza over six evenings with changing guests. \u003C/p>\u003Cp>Two \u003Ca href=\"https://13.berlinbiennale.de/en/artists/peoples-tribunal\">People’s Tribunals\u003C/a>—civil society court forums—dealt with human rights violations and crimes against humanity: the Bana Group for Peace and Development held a \u003Cem>People’s Tribunal on the Systematic Targeting of Women Activists in Sudan\u003C/em>. The \u003Cem>People’s Tribunal on Art for Resisting Oppression—Philippines cases\u003C/em>, led by ALPAS Pilipinas, the International Coalition for Human Rights in the Philippines (ICHRP) – Germany, and Gabriela Germany, sought justice for the systematic attacks on art and cultural rights. Both tribunals admitted sculpture, orality, and performance as forms of legal evidence. The People’s Tribunals were realized in collaboration with the mediation team as part of the \u003Cem>Encounters\u003C/em> series.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/artists/margherita-moscardini\">Margherita Moscardini’s\u003C/a> work \u003Cem>The Stairway\u003C/em>, as well as the historic staircase in the former Courthouse, repeatedly served as sites for fugitive acts throughout the exhibition period. At the end of August, \u003Cem>Walking the Silence\u003C/em> at Görlitzer Park by the \u003Ca href=\"https://13.berlinbiennale.de/en/artists/han-bing-kashmiri-cabbage-walker\">Kashmiri Cabbage Walker\u003C/a>—made a bridge to the beginning of the exhibition.\u003C/p>","news/the-13th-berlin-biennale-ends-after-95-days-and-47-live-acts",{"id":1883,"title":1884,"description":1885,"headline":8,"uri":1886},"news/das-vermittlungsprogramm-der-13-berlin-biennale-fuer-zeitgenoessische-kunst","The Mediation Program of the 13th Berlin Biennale for Contemporary Art","\u003Cp>The \u003Ca href=\"https://13.berlinbiennale.de/en/program/mediation\">mediation program\u003C/a> of the 13th Berlin Biennale for Contemporary Art seeks ways to expand institutional structures and open museum spaces for public discussion. With several formats, such as the long-established \u003Ca href=\"https://13.berlinbiennale.de/en/program/curators-workshop\">Curators Workshop\u003C/a> and the \u003Ca href=\"https://13.berlinbiennale.de/en/program/university-triangle\">University Triangle\u003C/a>, which took place for the first time, this edition of the Berlin Biennale brought curators and students from two universities into dialogue with the exhibition. \u003C/p>\u003Cp>\u003C/p>\u003Ch2>\u003Cstrong>Curators Workshop\u003C/strong>\u003C/h2>\u003Cp>Since the 4th Berlin Biennale for Contemporary Art took place in 2006, every iteration of the Berlin Biennale has featured a Curators Workshop. This edition of the Curators Workshop, entitled \u003Cem>Fugitive Acts: Art and Politics\u003C/em>, took place from September 1 to 7, and considered the place of politics within contemporary exhibition making, which the participants examined in various formats. \u003Cbr>\u003Cbr>The program included tours of the exhibition with the curators and artists of the 13th Berlin Biennale, workshops with Doreen Mende from the Staatliche Kunstsammlungen Dresden, and lectures by Duygu Örs with Jas Wenzel (co-lead Education and Mediation at the 13th Berlin Biennale) and Somrak Sila (curator and author), as well as discussions with Christian Oxenius (International Biennial Association (IBA)) and Leutrim Fishekqiu with Vatra Abrashi (Autostrada Biennale, Kosovo), among others.\u003C/p>\u003Cp>The Curators Workshop \u003Cem>Fugitive Acts: Art and Politics \u003C/em>is organized in collaboration with Goethe-Institut and the ifa – Institut für Auslandsbeziehungen, and is supported by Volkswagen Group as the Educational Partner of the 13th Berlin Biennale.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>\u003Cstrong>University Triangle \u003C/strong>\u003C/h2>\u003Cp>For the first time, the 13th Berlin Biennale hosted a second professional discourse format: a \u003Ca href=\"https://13.berlinbiennale.de/en/program/university-triangle\">summer school\u003C/a> developed in collaboration with the Technische Universität Berlin (Institute of Art Studies and Historical Urbanism) and the NABA, Nuova Accademia di Belle Arti (with its two campuses in Milan and Rome). Through workshops, discussions and their own projects, participants explored artistic and curatorial questions, developing approaches that critically engage with political and social contexts. The results were compiled in a zine workshop led by Anja Söyünmez.\u003Cbr>\u003Cbr>Faculty members: Andris Brinkmanis, Merten Lagatz, Marco Scotini\u003C/p>\u003Cp>\u003C/p>\u003Ch2>\u003Cstrong>Open Ateliers\u003C/strong>\u003C/h2>\u003Cp>The \u003Ca href=\"https://13.berlinbiennale.de/en/visit/open-ateliers\">Open Ateliers\u003C/a> are family-friendly workshops held every Sunday afternoon from 3 to 6 pm during the 13th Berlin Biennale at rotating venues. Over the course of six workshops, indigo-dyed fabric remnants were used to create the installation \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/open-atelier-umut-evers\">\u003Cem>Wunschbaum\u003C/em> [Wishing Tree]\u003C/a>, which can be seen in the KW’s education room next to the artist Zoncy Heavenly’s work. Another \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/open-atelier-with-netzwerk-gegen-feminizide-berlin-and-colectiva-hilos\">workshop run by the Netzwerk gegen Feminizide Berlin\u003C/a> [Network Against Femicide Berlin] took place in the garden of the former Courthouse on Lehrter Straße. Participants wove red nets together and became part of the participatory art action \u003Cem>Sangre de mi Sangre\u003C/em> [Blood of My Blood] by the feminist collective Colectiva Hilos. The last two Sundays feature \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/open-atelier-with-ercan-arslan\">collage studios by artist Ercan Arslan\u003C/a> in the KW courtyard. The collages are based on drawings left by visitors during the Hang-Out Moments, reassembled on postcards.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>\u003Cstrong>Hang-Out-Moments\u003C/strong>\u003C/h2>\u003Cp>Scattered throughout the exhibition, the \u003Ca href=\"https://13.berlinbiennale.de/en/program/mediation\">Hang-Out-Moments\u003C/a> invite visitors to slow down time. They offer a space for self-mediation and aim to create moments of lingering, sensing, and expanding one’s own perception. The Hang-Out-Moments are places to sit or lie down, to draw, to flip through readings, or to touch materials connected to artworks. They were created in collaboration between poet Tracy Fuad, artist Sarah Steiner, and the Biennale’s mediation team, and were carefully curated by Berlin Biennale’s intern Jasmin Awale.\u003Cbr>\u003Cbr>The educational program of the 13th Berlin Biennale is realized thanks to the support of its Education Partner, Volkswagen Group.\u003C/p>","news/the-mediation-program-of-the-13th-berlin-biennale-for-contemporary-art",{"id":1888,"title":1889,"description":1890,"headline":8,"uri":1891},"news/13-berlin-biennale-sommer-pieces","13th Berlin Biennale Summer Pieces!","\u003Cp>As a keepsake or for everyday wear, \u003Ca href=\"https://bb-shop.visitate.net/en/product/43199\">tote bags\u003C/a> and\u003Ca href=\"https://newslettertogo.com/rimnoamr-ez1swh86-yz8yd0vr-12w1\"> \u003C/a>\u003Ca href=\"https://bb-shop.visitate.net/en/merchandise?category=Merchandise\">T-shirts\u003C/a> made from recycled and organic materials have been designed by Enver Hadzijaj. \u003C/p>\u003Cp>Available at the ticket counters at KW Institute for Contemporary Art, the former Courthouse Lehrter Straße, and in our\u003Ca href=\"https://newslettertogo.com/rimnoamr-ez1swh86-5jeuob8i-5bl\"> \u003C/a>\u003Ca href=\"https://bb-shop.visitate.net/en\">webshop\u003C/a>.\u003C/p>","news/13th-berlin-biennale-summer-pieces",{"id":1893,"title":1894,"description":1895,"headline":8,"uri":1896},"news/vermittlungsprogramm","Mediation Program","\u003Cp>Part of the exhibition of the 13th Berlin Biennale are not only the events of the \u003Cem>Encounters\u003C/em> series, but also the broad \u003Ca href=\"https://13.berlinbiennale.de/en/program/mediation\">educational program\u003C/a> with \u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">Focus Tours\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">Focus Workshops\u003C/a>, and the \u003Ca href=\"https://13.berlinbiennale.de/en/visit/open-ateliers\">Open Ateliers\u003C/a>.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>Focus Tours­\u003C/h2>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">­Focus Tours\u003C/a> are led by \u003Ca href=\"https://13.berlinbiennale.de/en/mediators\">mediators\u003C/a> and offer visitors an opportunity to explore a specific theme or perspective within the 13th Berlin Bienniale.\u003Cbr>\u003Cbr>\u003Cstrong>Recurring dates:\u003C/strong>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar?venues=KW+Institute+for+Contemporary+Art&formats=Mediation\">KW Institute for Contemporary Art\u003C/a>:\u003Cbr>Every Saturday, 4 pm (in German)\u003Cbr>Every Sunday, 12 noon (in English)\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar?venues=Former+Courthouse+Lehrter+Stra%C3%9Fe&formats=Mediation\">Former Courthouse Lehrter Straße\u003C/a>:\u003Cbr>Every Saturday, 4 pm (in English)\u003Cbr>Every Sunday, 12 noon (in German)\u003Cbr>\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar?venues=Sophiens%C3%A6le,Hamburger+Bahnhof+%E2%80%93+Nationalgalerie+der+Gegenwart&formats=Mediation\">Sophiensæle / Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>:\u003Cbr>Alternating every Friday, 4 pm (in German or English)\u003Cbr>\u003Cbr>Free of charge with valid exhibition ticket \u003Cbr>Without prior registration\u003Cbr>\u003Cbr>Meeting point: Ticket counter at each venue; Sophiensæle: courtyard\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar?formats=Mediation\">To the calendar\u003C/a>\u003C/p>\u003Cp>\u003C/p>\u003Ch2>Focus Workshops\u003C/h2>\u003Cp>­The \u003Ca href=\"https://13.berlinbiennale.de/en/visit/focus-tours\">Focus Workshops\u003C/a> are closely related to the Focus Tours and place an emphasis on deeper engagement with selected themes, artistic works, or questions raised by the 13th Berlin Bienniale.\u003Cbr>\u003Cbr>Limited capacity\u003Cbr>Please register via \u003Ca href=\"mailto:mediation@berlinbiennale.de\">mediation@berlinbiennale.de\u003C/a> \u003C/p>\u003Cp>\u003Cstrong>Upcoming Workshops\u003C/strong>\u003C/p>\u003Cp>Focus Workshop with \u003Ca href=\"https://13.berlinbiennale.de/en/artists/zoncy-heavenly\">Zoncy Heavenly\u003C/a>:\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/focus-workshop-with-zoncy-heavenly\">The Lucky Draw_negotiating with an art biennale\u003C/a>\u003C/p>\u003Cp>Venue: \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\">KW Institute \u003Cem>f\u003C/em>or Contemporary Art\u003C/a>\u003Cbr>Language: English\u003C/p>\u003Cp>July 10, 2025, 5–7 pm \u003Cbr>August 7, 2025, 5–7 pm \u003Cbr>September 4, 2025, 5–7 pm \u003C/p>\u003Cp>Focus Workshop with Arootin Mirzakhani:\u003Cbr>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/fokus-workshop-mit-arootin-mirzakhani\">\u003Cem>Narration of Order – The State as Artist of Its Own History\u003C/em>\u003C/a>\u003Cbr>\u003Cbr>Venue: \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\">KW Institute \u003Cem>f\u003C/em>or Contemporary Art\u003C/a>\u003C/p>\u003Cp>July 17, 2025, 5–7 pm (German)\u003Cbr>August 14, 2025, 5–7 pm  (English)\u003Cbr>August 28, 2025, 5–7 pm  (German)\u003C/p>\u003Cp>More dates will \u003Cem>f\u003C/em>ollow soon. \u003C/p>\u003Cp>\u003C/p>\u003Ch2>open ateliers\u003C/h2>","news/mediation-program",{"id":1898,"title":1899,"description":1900,"headline":8,"uri":1901},"news/der-ausstellungsbegleiter-der-13-berlin-biennale","The Exhibition Companion to the 13th Berlin Biennale","\u003Cp>­The exhibition companion to the 13th Berlin Biennale provides an in-depth insight into the more than 160 works by 70 artists. \u003Cbr>\u003Cbr>Experimenting with the format of the guidebook, Somrak Sila, Claire Tancons, Kito Nedo, Sumesh Sharma, and Kate Sutton have been invited to author essays for the five sections of the 13th Berlin Biennale in their own distinct voices and from their own lived experience. They have each written a specialist text on a section, carrying their arguments through their reckoning with the various artistic works.\u003Cbr>\u003Cbr>The exhibition companion is available at our ticket counters at KW Institute for Contemporary Art, at the former Courthouse Lehrter Straße, at Walther König at Hamburger Bahnhof, and in our \u003Ca href=\"https://newslettertogo.com/rimnoamr-jcv9v0ir-d11bbokm-y62\" target=\"_blank\">webshop\u003C/a>. \u003Cbr>\u003Cbr>184 pages\u003Cbr>12 €\u003Cbr>ISBN 978-3-00-082629-0\u003Cbr>Design: Enver Hadzijaj\u003C/p>","news/the-exhibition-companion-to-the-13th-berlin-biennale",{"id":1903,"title":1904,"description":1905,"headline":8,"uri":1906},"news/call-for-applications-workshop-fuer-kurator-innen","Call for Applications: Curators Workshop","\u003Cp>\u003Cstrong>September 1–7, 2025\u003C/strong>\u003C/p>\u003Cp>\u003Ca href=\"https://13api-live.berlinbiennale.de/public/media/site/50103ed481-1750673314/bb13-curators-workshop-call-for-applications.pdf\">Call \u003Cem>f\u003C/em>or Applications (PDF)\u003C/a>\u003Cbr>Deadline: July 13, 2025\u003C/p>\u003Cp>Marking its 10th iteration since 2006, this edition of the Curators Workshop \u003Cem>Fugitive Acts: Art and Politics\u003C/em> considers the place of politics within contemporary exhibition making. Politics have always been part of exhibitions, from the early world and trade exhibitions and their role within the history of colonization, for example, to the fascist or cold war propaganda shows. With the Western historical avantgardes, political engagement often became a driving force for artistic innovation, in which exhibitions emerged as a space for critical, subversive discussions.\u003Cbr>\u003Cbr>This approach is still crucial as an ambition, defining the value—or “relevance”—of an exhibition. In contrast, with the theme Fugitive Acts: Art and Politics, this Curators Workshop seeks to explore how the format of the exhibition can be considered politically—how curatorial practice can address the exhibition format itself as a political form. This includes the way it places itself within a discussion, its relation to the public, to infrastructure and towards decisions that happen in advance of an exhibition.\u003Cbr>\u003Cbr>In collaboration with Goethe-Institut, ifa – Institut für Auslandsbeziehungen, and with the support of 13th Berlin Biennale’s Educational Partner Volkswagen Group, the Berlin Biennale invites a group of fifteen early-career curators, educators, and other practitioners to participate in this seven-day workshop. \u003Cbr>\u003Cbr>You can find more details on the timeline and the selection committee as well as information on the application process via the \u003Ca href=\"https://13api-live.berlinbiennale.de/public/media/site/50103ed481-1750673314/bb13-curators-workshop-call-for-applications.pdf\">Open Call (PDF)\u003C/a>.\u003C/p>","news/call-for-applications-curators-workshop",{"id":1908,"title":1909,"description":1910,"headline":8,"uri":1908},"news/die-13-berlin-biennale-schaut-auf-ihre-eroeffnung-zurueck","Die 13. Berlin Biennale schaut auf ihre Eröffnung zurück","\u003Cp>The 13th Berlin Biennale for Contemporary Art \u003Cem>passing the fugitive on\u003C/em> began with a successful opening week. More than 20.000 visitors saw the exhibition at its four locations in Berlin. At the opening, 2000 professional visitors and 350 members of the press were registered. \u003C/p>\u003Cp>The event program \u003Ca href=\"/en/@/page/BxMUtK66pboZZNxm\" target=\"_blank\">\u003Cem>Encounters\u003C/em>\u003C/a> began with Han Bing’s performance \u003Cem>Walking the Cabbage in Berlin\u003C/em> through the streets of Berlin-Mitte, also recorded 300 spectators. On the opening weekend, they experienced four performances of \u003Ca href=\"/en/@/page/WkIbxTFhYv5K6Nto\" target=\"_blank\">Major Nom’s\u003C/a> \u003Cem>The Beggars’ Convention\u003C/em> in the Sophiensæle and the performance \u003Cem>The Berlin Statement. Who Makes Profit on Art and Who Gains From It Honestly?\u003C/em> by \u003Ca href=\"/en/@/page/phMS8SsRVq3Lv3KX\" target=\"_blank\">Milica Tomić\u003C/a> at the former Courthouse Lehrter Straße and \u003Ca href=\"/en/@/page/zHhozRjg6Yd7jRbN\" target=\"_blank\">Gabriel Alarćons\u003C/a> \u003Cem>4000 m. ü NN\u003C/em> at Hamburger Bahnhof – Nationalgalerie der Gegenwart. \u003C/p>",{"id":1912,"title":1913,"description":1914,"headline":8,"uri":1915},"news/die-13-berlin-biennale-fuer-zeitgenoessische-kunst-eroeffnet-und-stellt-ihr-programm-vor","The 13th Berlin Biennale for Contemporary Art opens and publishes its program","\u003Cp>The 13th Berlin Biennale for Contemporary Art titled \u003Cem>passing the fugitive on\u003C/em> opens on the evening of June 13, 2025, 7-10 pm, at four locations in Berlin with over 170 works by more than 60 artists. More than half of the artworks are newly commissioned for the exhibition.\u003C/p>\u003Cp>The 13th Berlin Biennale for Contemporary Art is curated by Zasha Colah. Valentina Viviani is Assistant Curator. \u003C/p>\u003Cp>Artists work. Under the harshest conditions, imprisonment, censorship, repression, torture. In the face of legislative violence artists make artistic claims. For this 13th Biennale, the Indian curator, Zasha Colah is working together with artists notably from Myanmar, the Northeast of India, Argentina, the !Garib-Zambezi-Afrasian-Seabelt, Sudan, Kazakhstan, Hungary, Italy, and Germany. \u003C/p>\u003Cp>Rarely in the history of the Berlin Biennale has there been a more fitting time to present international perspectives on the present moment.  The exhibition considers the ways in which thinking and imagination persist, even under conditions of persecution, militarization, and ecocide. Despite constraints on their freedoms, artists may discover profound freedom within the focused space of their minds.  \u003C/p>\u003Cp>The title of the 13th Berlin Biennale—\u003Cem>passing the fugitive on\u003C/em>—also refers to the aesthetic character of the works on view, which incorporate ephemeral forms of transmission and materialization, often engaging the body and orality. In the event series \u003Cem>Encounters\u003C/em>, the works of art speak to viewers directly. They encompass theatrical stagings, performances, reading groups, talks, tribunals, spoken word, commemorative walks, and stand-up comedy.\u003C/p>\u003Cp>The 13th Berlin Biennale opens at the following locations in the city: \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\">KW Institute for Contemporary Art\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/sophiensaele\">Sophiensæle\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/hamburger-bahnhof\">Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>, and in the former Courthouse Lehrter Straße\u003Ca href=\"https://13.berlinbiennale.de/en/parcours/former-courthouse-lehrter-strasse\">. \u003Cbr>\u003C/a>\u003Cbr>The Berlin Biennale has been supported by the Kulturstiftung des Bundes (German Federal Cultural Foundation) as one of its “cultural beacons” in Germany since 2004.\u003Cstrong> \u003C/strong>\u003C/p>\u003Cp>Information on the \u003Ca href=\"https://13.berlinbiennale.de/en/artists/list\">exhibiting artists\u003C/a> may be found here.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>\u003Cstrong>Sister Organizations\u003C/strong>\u003C/h2>\u003Cp>Highlighting independent institutions as incubators for artistic innovation in Berlin, the 13th Berlin Biennale has forged sisterhoods with cultural spaces deeply rooted in the city. Sections of the program are hosted and organized in curatorial complicity with these four sister organizations: \u003Ca href=\"https://eriac.org\" target=\"_blank\">European Roma Institute for Arts and Culture (ERIAC)\u003C/a>, \u003Ca href=\"https://www.filmrausch.de\" target=\"_blank\">Filmrauschpalast Moabit\u003C/a>, \u003Ca href=\"https://sinematranstopia.com/de\" target=\"_blank\">SİNEMA TRANSTOPIA\u003C/a>, \u003Ca href=\"https://sophiensaele.com/de\" target=\"_blank\">Sophiensæle\u003C/a>.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>\u003Cstrong>Encounters and fugitive acts\u003C/strong>\u003C/h2>\u003Cp>Various activations, tribunals, performances, lectures, and walks will take place during the opening week and throughout the exhibition’s duration. The\u003Cem>Encounters\u003C/em>series opens up the exhibition space to unexpected or ephemeral acts that are not always listed in the program in advance. These scheduled—and spontaneous—encounters seek to create a sense of immediate complicity, creating a different relationship between the artwork and its audience.\u003C/p>","news/the-13th-berlin-biennale-for-contemporary-art-opens-and-publishes-its-program",{"id":1917,"title":1918,"description":1919,"headline":8,"uri":1920},"news/eroeffnungsprogramm","Opening Program of the 13th Berlin Biennale","\u003Cp>The 13th Berlin Biennale for Contemporary Art opens to the public on June 13, 2025 at 7 pm at four venues: \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\">KW Institute for Contemporary Art\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/sophiensaele\">Sophiensæle\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/hamburger-bahnhof\">Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>, and in a \u003Ca href=\"https://newslettertogo.com/rimnoamr-h1t5tgrm-rhmtagkj-r34\">former courthouse on Lehrter \u003C/a>\u003Ca href=\"https://13.berlinbiennale.de/en/parcours/former-courthouse-lehrter-strasse\">Straße\u003C/a> in Berlin-Moabit. \u003Cbr>\u003Cbr>The \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar\">program\u003C/a> of the opening week is now available on the website of the 13th Berlin Biennale. It includes \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/han-bing-walking-the-cabbage-in-berlin\">Han Bing\u003C/a> with an intervention, \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/the-beggars-convention\">Major Nom\u003C/a> and the theatre play \u003Cem>The Beggars’ Convention\u003C/em>, 2025 at Sophiensæle’s Festsaal, \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/milica-tomic\">Milica Tomić\u003C/a> with a statement at the former Courthouse Lehrter Straße, and \u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar/gabriel-alarcon\">Gabriel Alarcón\u003C/a> with a procession at Hamburger Bahnhof.\u003Cbr>\u003Cbr>Tickets for the exhibition are now available in the \u003Ca href=\"https://bb-shop.visitate.net/en/tickets\" target=\"_blank\">webshop\u003C/a> of the Berlin Biennale. For tickets to the performances of Major Nom on June 14 and 15, please visit the \u003Ca href=\"https://sophiensaele.reservix.de/p/reservix/group/506998\" target=\"_blank\" title=\"Webshop Sophiensaele\">webshop of Sophiensæle\u003C/a>. The full program of the 13th Berlin Biennale for June and July will be available online from June 12.\u003C/p>","news/opening-program",{"id":1922,"title":1923,"description":1924,"headline":8,"uri":1925},"news/die-13-berlin-biennale-fur-zeitgenoessische-kunst-gibt-ihren-titel-bekannt","The 13th Berlin Biennale for Contemporary Art Announces Its Title","\u003Cp>\u003Cem>passing the fugitive on\u003C/em>—with this title, the 13th Berlin Biennale for Contemporary Art opens on June 13, 2025. The international exhibition brings together over 60 artists and presents more than 170 works that open windows into a range of geographical contexts across four venues: \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\" target=\"_blank\">KW Institute for Contemporary Art\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/sophiensaele\" target=\"_blank\">Sophiensæle\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/hamburger-bahnhof\" target=\"_blank\">Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>, and a \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/former-courthouse-lehrter-strasse\" target=\"_blank\">former Courthouse on Lehrter Straße\u003C/a> in Berlin-Moabit.\u003Cbr>\u003Cbr>With the exhibition title, Zasha Colah, the curator of the 13th Berlin Biennale, references art’s ability to define its own laws in the face of lawful violence in unjust systems and to assert itself even under conditions of persecution and militarization—sending messages that can be passed on. \u003Cem>passing the fugitive on\u003C/em> can thus be understood as a call to action or an instruction piece: visitors are called upon to become fugitive themselves, to spread the content of the works from mouth to mouth, until it can materialize. The exhibition is premised on that unpredictable moment when an act of individual imagination may become collective.\u003Cbr> \u003Cbr>The title of the 13th Berlin Biennale refers to the aesthetic character of the works on view, which incorporate fugitive forms of transmission and materialization, engaging the body and orality. When the works of art speak directly—in moments of theatrical stagings, performances, reading groups, scientific lectures, tribunals, spoken-word, and collective commemorative walks in the city to small enacted jokes or stand-up comedy—a sense of immediate complicity emerges between artwork and audience. \u003Cbr>\u003Cbr>\u003Cstrong>Tickets\u003C/strong> are now available via our \u003Ca href=\"https://bb-shop.visitate.net/en/tickets\" target=\"_blank\" title=\"Online Shop\">online shop\u003C/a>.\u003C/p>\u003Cp>From June 14 on, you can also buy them at our ticket counters at KW Institute for Contemporary Art and in the former Courthouse Lehrter Straße, as well as at the ticket counter at Hamburger Bahnhof.\u003Cbr> \u003Cbr>The 13th Berlin Biennale is curated by Zasha Colah. Valentina Viviani is Assistant Curator.\u003C/p>","news/the-13th-berlin-biennale-for-contemporary-art-announces-its-title",{"id":1927,"title":1928,"description":1929,"headline":8,"uri":1930},"news/akkreditierung-vorbesichtigung","Accreditation for the Preview of the 13th Berlin Biennale has started","\u003Cp>The preview days of the 13th Berlin Biennale for Contemporary Art will take place on June 12 and June 13, 2025 from 10 am to 6 pm at all venues: \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/kw-institute-for-contemporary-art\" target=\"_blank\" title=\"KW Institute for Contemporary Art\">KW Institute for Contemporary Art\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/sophiensaele\" target=\"_blank\" title=\"Sophiensaele\">Sophiensæle\u003C/a>, \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/hamburger-bahnhof\" target=\"_blank\" title=\"Hamburger Bahnhof\">Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>, and in the \u003Ca href=\"https://13.berlinbiennale.de/en/parcours/former-courthouse-lehrter-strasse\" target=\"_blank\" title=\"Former Courthouse Lehrter Straße\">former Courthouse Lehrter Straße\u003C/a> in Berlin-Moabit. Accreditation requests will be accepted until May 25.\u003Cbr>\u003Cbr>Requests after the deadline on May 25 cannot be considered. An accreditation is mandatory for the participation in the preview; we do not offer accreditation on site. Further information will follow with the confirmation of accreditation.\u003Cbr>\u003Cbr>\u003Cstrong>Accreditation for Professionals\u003C/strong>\u003Cbr>The preview of the 13th Berlin Biennale is open to professionals on June 13 from 10 am to 6 pm. A valid accreditation will also guarantee free access to the exhibition on June 14. \u003Cbr>\u003Cbr>We kindly ask for your understanding that only professionals in the fields of arts and culture are eligible to register for the professional preview. For a successful accreditation, please name the institution you are working for. If you are working freelance, list the last two exhibition projects that you have been involved with.\u003Cbr>\u003Cbr>Registration for accreditation is now open via \u003Ca href=\"https://sweapevent.com/professionalpreview13thberlinbiennaleforcontemporaryart\" target=\"_blank\" title=\"Accreditation Professional Preview\">this link\u003C/a>.\u003Cbr>\u003Cbr>Contact\u003Cbr>Alexandra Stoll\u003Cbr>\u003Ca href=\"mailto:professionalaccreditation@berlinbiennale.de\" title=\"professionalaccreditation@berlinbiennale.de\">professionalaccreditation@berlinbiennale.de\u003Cbr>\u003C/a>\u003Cbr>\u003Cstrong>Accreditation for members of the press\u003C/strong>\u003Cbr>If you are interested in the press preview (June 12 and June 13, 10 am to 6 pm), please register via \u003Ca href=\"https://sweapevent.com/presspreview13thberlinbiennaleforcontemporaryart\" target=\"_blank\" title=\"Accreditation Press Preview\">this link\u003C/a>.\u003Cbr>\u003Cbr>The press conference will take place on June 12 at 11 am at Sophiensæle (Festsaal). To attend the press conference, please register \u003Ca href=\"https://sweapevent.com/13thberlinbiennalepressconference\" target=\"_blank\" title=\"Accreditation Press Conference\">here\u003C/a>. \u003Cbr>\u003Cbr>We ask for your understanding that the total number of visitors to the press conference and the exhibition spaces is limited. Registration is therefore reserved for journalists with a valid press ID or an editorial letter about the planned coverage.\u003Cbr>\u003Cbr>Contact\u003Cbr>Catrin Lorch\u003Cbr>\u003Ca href=\"mailto:press@berlinbiennale.de\" title=\"press@berlinbiennale.de\">press@berlinbiennale.de\u003Cbr>\u003C/a>\u003Cbr>We are looking forward to your visit!\u003C/p>","news/accreditation-preview",{"id":1932,"title":1933,"description":1934,"headline":8,"uri":1935},"news/die-ausstellungsorte-der-13-berlin-biennale","The 13th Berlin Biennale for Contemporary Art Announces its Venues","\u003Cp>From June 14 to September 14, 2025, the 13th Berlin Biennale for Contemporary Art will present its program across four venues: \u003Ca href=\"https://www.kw-berlin.de/en/\" target=\"_blank\">KW Institute for Contemporary Art\u003C/a>, \u003Ca href=\"https://sophiensaele.com/en\" target=\"_blank\">Sophiensæle\u003C/a>, \u003Ca href=\"https://www.smb.museum/en/museums-institutions/hamburger-bahnhof/home/\" target=\"_blank\">Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003C/a>, and a former courthouse on Lehrter Straße in Berlin-Moabit. By introducing the former Courthouse Lehrter Straße, the Berlin Biennale is opening a new space for contemporary art in Berlin.\u003C/p>\u003Cp>The 13th Berlin Biennale investigates a specific line of contemporary artistic languages drawn from diverse practices and art histories from nonadjacent geographies, focusing on the capacity of art in politically challenging times.  \u003C/p>\u003Cp>The four \u003Ca href=\"https://13.berlinbiennale.de/en/parcours\">venues\u003C/a> have ambivalent histories—of violence but also resistance—spanning from the present day, through the post-1989 period, the period of divided Germany, National Socialism, the Weimar Republic, and the German Empire. Their spatial structures still bear traces of turbulence, protest, or suppression and, finally, how artists in Berlin performed a re-commoning of these spaces over time.\u003C/p>\u003Cp>Concentrated in the center of Berlin, the venues form a walkable route, stretching from the starting point at KW Institute for Contemporary Art all the way to the former Courthouse Lehrter Straße. The parcours of the 13th Berlin Biennale is inspired by the circular movements of foxes—a leitmotif of the curatorial program—as they navigate the urban landscape.\u003C/p>\u003Cp>Underscoring Berlin’s institutions as incubators for artistic ferment, the 13th Berlin Biennale has formed sisterhoods with cultural spaces deeply embedded in Berlin through co-curatorial projects. These sister organizations include the \u003Ca href=\"https://eriac.org\" target=\"_blank\">European Roma Institute for Arts and Culture\u003C/a> (ERIAC), the \u003Ca href=\"https://www.filmrausch.de\" target=\"_blank\">Filmrauschpalast Moabit\u003C/a> at Kulturfabrik, \u003Ca href=\"https://sinematranstopia.com/en\" target=\"_blank\">SİNEMA TRANSTOPIA\u003C/a>, and the \u003Ca href=\"https://sophiensaele.com/en\" target=\"_blank\">Sophiensæle\u003C/a>. \u003C/p>\u003Cp>The 13th Berlin Biennale is curated by Zasha Colah. Valentina Viviani is Assistant Curator.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/parcours\">More about the venues\u003C/a>\u003C/p>","news/the-13th-berlin-biennale-for-contemporary-art-announces-its-venues",{"id":1937,"title":1938,"description":1939,"headline":8,"uri":1940},"news/laufzeit-und-visuelle-identitaet-der-13-berlin-biennale-fuer-zeitgenoessische-kunst","Running Time and visual Identity of the 13th Berlin Biennale for Contemporary Art","\u003Cp>The 13th Berlin Biennale for Contemporary Art opens to the public from June 14 to September 14, 2025 and is curated by Zasha Colah. As Assistant Curator, the team of the 13th Berlin Biennale warmly welcomes Valentina Viviani. Exhibitions and programs of the Berlin Biennale take place at KW Institute for Contemporary Art, its founding organization, and other locations in the city.\u003C/p>\u003Cp>In her work as a curator and writer, Zasha Colah explores artistic imagination as well as artistic acts of civil disobedience under conditions of sustained oppression.\u003C/p>\u003Cp>Colah on premises of the next Berlin Biennale: “The large presence of foxes within the inner city of Berlin is a starting point for thinking through the 13th Berlin Biennale for Contemporary Art as an investigation of fugitivity. The encounter with urban foxes has been described by poets as presencing, a spinning in place, delaying in the fox’s presence for a time. The mind encounters otherness, but does not move on to associative thought chains—or prejudice. This encounter has less to do with the human identifying with the fox, but of entering a new sphere of equality with it.”\u003C/p>\u003Cp>The visual identity of the upcoming Berlin Biennale is developed by Enver Hadzijaj. Hadzijaj’s design practice draws on strongly conceptual approaches and artistic expression. For the 13th Berlin Biennale, Hadzijaj has set up a visual identity that is characterized by encounters between a strict typography reminiscent of bureaucratic correspondence, and fleeting, graphic symbols.\u003C/p>","news/running-time-and-visual-identity-of-the-13th-berlin-biennale-for-contemporary-art",{"code":4,"status":5,"result":1942},[1943,1946,1948,1950,1953],{"id":420,"title":421,"description":1944,"headline":1945,"uri":420},"\u003Cp>KW Institute for Contemporary Art\u003Cbr>Auguststraße 69\u003Cbr>10117 Berlin\u003C/p>\u003Cp>\u003C/p>\u003Ch2>foxing\u003C/h2>\u003Cp>Two attitudes open the exhibition: two moving image works-in the form of burlesque and grotesque flies—and a section called \u003Cem>flowers\u003C/em>. As part of this prologue, a negotiation table draws us simultaneously to written codification, law-making, and accord writing. In its sight-line, a stairway leading down into an open ground stages a claim: that this walkable sculpture is an international commons in the making, a legislative hole in the national fabric. At the other end of the open ground, non-violent acts of nighttime gardening fugitively reclaim a site of torture and death as a public space for the commons through artistic means. Both acts of \u003Cem>foxing\u003C/em>—converting one’s adverse circumstances—are separated by a trajectory of sunlight. In this central ground or square, one must pass through a threshold of sculptures made of speech and voice, instrumentation, call and response.\u003C/p>\u003Ch2>Artists’ Street\u003C/h2>\u003Cp>Five levels, vertically stacked like a tower, form one section of the biennale, named after the art actions by artists, comedians, and theater professionals in the days and months following the military coup in February 2021 in Myanmar. The artists had declared the street outside Yangon's courthouse as “Artists’ Street,\" performing a feminist cabaret-style queering of the street.\u003C/p>\u003Cp>This attitude of carnivalesque gaiety resonates not only with intergenerational women-driven humor against militarism, but also with the \u003Cem>escraches\u003C/em>—performative street acts with absurd, surreal imaginaries, staged in front of the homes of collaborators with Argentina's last dictatorship to expose them. In proximity, artworks from diverse geographies thread together other inter-generational art histories.\u003C/p>\u003Cp>The attitude of the Brazilian dramatist, Augusto Boals Joker or Difficultator, emerges in artistic languages that do not articulate simple answers, but rather, push ideas toward complexity. The artists difficultate ideas of critical imagination—and its deficiency—as well as interplanetary extractivism via a protest on Mars, a menu of global arms sales as the slavery of our times and the black humor of a comedy club.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>History of the building \u003C/h2>\u003Cp>The Berlin Biennale was founded in 1996, emerging from Kunst-Werke—now \u003Ca href=\"https://www.kw-berlin.de/en/\" target=\"_blank\">KW Institute for Contemporary Art\u003C/a>. Since its first edition in 1998, the Berlin Biennale has consistently presented a large part of its program at KW. Established in 1991 in a dilapidated margarine factory, KW has since become a home for progressive artistic practices. It played a crucial role in positioning Berlin as an internationally relevant location for contemporary art following the fall of the Berlin Wall. KW’s work is driven by the urgent questions of our time, shaping its approach to the production, presentation, and mediation of contemporary art. Without a permanent collection, KW maintains the flexibility and openness to respond to the present and to develop a program attuned to contemporary realities. While internationally recognized, KW remains deeply rooted in its local context.\u003C/p>","KW Institute for \nContemporary Art",{"id":401,"title":402,"description":1947,"headline":402,"uri":401},"\u003Cp>Sophiensæle\u003Cbr>Sophienstraße 18\u003Cbr>10178 Berlin\u003C/p>\u003Cp>\u003C/p>\u003Ch2>Blueprint of Berlin\u003C/h2>\u003Cp>Layers of one hundred years of Berlin’s history emerge from the corners, courtyards, windows, and cracks of Sophiensæle. Once an Artisans‘ Union Hall, it was a fiery place for speech-making, vaudeville, and Yiddish theater. It had its own newspaper, a library and a bowling alley. During 1933, it was almost immediately shut down because of its communist affiliations and became a forced labor camp. It had been the workshop for stage set designs for the Maxim Gorki Theater under the GDR, later becoming part of the indie Berlin cultural scene.\u003C/p>\u003Cp>Bringing fugitive acts of liveness of \u003Cem>Powada\u003C/em> singers, tap-dance, and \u003Cem>Anyeint\u003C/em> cabaret, the artworks address the building as a protagonist of the histories it has traversed Light, gesture, speech, and voice take the dimension of choreography and theater, drawing us to Weimar cabarets, the violent closure of cultural space, to its cultural East, and the recent elections.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>History of the building \u003C/h2>\u003Cp>Since its founding in 1996, \u003Ca href=\"https://sophiensaele.com/en\" target=\"_blank\">Sophiensæle\u003C/a> has been one of the most important production houses for the independent performing arts scene in Berlin and beyond. For the 13th Berlin Biennale, the building that houses today’s Sophiensæle will become a “blueprint for Berlin”, exemplifying the history of the city over the course of the 20th century. It not only tells of the rise of social democratic forces and workers’ associations and their destruction by the National Socialist dictatorship, but also of the redevelopment of democratic principles and the occupation of spaces in the center of the city by artists. \u003C/p>\u003Cp>Built between 1904 and 1905 as a craftsmen’s clubhouse, the building was originally dedicated to the education of workers, but soon developed into a meeting place for the revolutionary Left. Rosa Luxemburg and Karl Liebknecht, Erich Mühsam and Clara Zetkin spoke here; and it was here that Erich Mühsam warned against the rise of fascism in Germany in the early 1920s. After the NSDAP came to power, the craftsmen’s association was hastily banned and the clubhouse closed. A few years later, the rooms of the Sophiensæle–mainly the Festsaal–were misused during the Nazi dictatorship as a forced labor camp to produce propaganda leaflets for the fascist regime. Traces of this can still be seen on the walls of Sophiensæle today.\u003Cbr>\u003Cbr>In the GDR years, the stage workshops of the Maxim Gorki Theater occupied the space until, in the autumn of 1996, Sasha Waltz and Jochen Sandig, together with Jo Fabian, Holger Zebu Kluth and Dirk Cieslak, reimagined Sophiensæle as an independent theater—by artists, for artists. Since then, Sophiensæle has become a platform for contemporary performing arts, embracing diverse artistic practices beyond genre boundaries and showcasing both emerging and established voices, with a blend of local and international perspectives.\u003Cbr>\u003C/p>",{"id":459,"title":460,"description":1949,"headline":460,"uri":459},"\u003Cp>Hamburger Bahnhof – Nationalgalerie der Gegenwart\u003Cbr>Invalidenstraße 50\u003Cbr>10557 Berlin\u003C/p>\u003Cp>\u003C/p>\u003Ch2>Moving Multitudes\u003C/h2>\u003Cp>A fox inhabits the grounds of the Hamburger Bahnhof – Nationalgalerie der Gegenwart. Hinting at this presence the Hall 3 hosts artworks that explore how fugitive struggle is passed from individual cunning into the collective imaginary.\u003C/p>\u003Cp>Artworks are arranged into a moving multitude such that the audience would need to join it in order to enter the space. Andean traveling altars stand or move in procession as a collective body, holding symbolic fragments as testimonials of Indigenous resistance. B.R. Ambedkar led the Mahad satyagraha in a collective walk to drink water from a public tank, nonviolently breaking unjust customary laws collectively. The Kuroshio warm ocean current connects shamanic knowledge across lands, moving with the current from shore to shore, and against colonial trade routes.\u003C/p>\u003Cp>For a short period, the biennial brings non-adjacent terrains—the Lithium Triangle in the Andes, the Kuroshio ocean current, the Zomia hill regions in Southeast Asia, Anatolia, and Mesopotamia—into a single procession to reclaim international solidarity movements: to retrieve solidarity for all that we never were.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>History o\u003Cem>f\u003C/em> the building\u003C/h2>\u003Cp>\u003Ca href=\"https://www.smb.museum/en/museums-institutions/hamburger-bahnhof/home/\" target=\"_blank\">Hamburger Bahnhof\u003C/a> was founded as the Contemporary Art Museum of the Nationalgalerie collection in Berlin in 1996. Its name and structure point back to the building’s original purpose: It was first opened in 1846 as the terminus for the Hamburg-Berlin railway. However, the growing traffic volume in the early 20th century forced its closure after just 40 years, and it was repurposed as a museum for transport and construction in 1906. During World War II, the former station was damaged by air raids and battles for Berlin’s city center in April and May 1945. When Germany was divided during the post-war period, the former train station remained abandoned—a museum entirely without visitors—until the Berlin Senate acquired the building in 1984. Following extensive renovations in the mid-1990s, Hamburger Bahnhof reopened as home of the Nationalgalerie collection. Today, the museum collects contemporary art as the Nationalgalerie der Gegenwart and shows special exhibitions as well as presentations of the collection.\u003Cbr>\u003C/p>",{"id":462,"title":463,"description":1951,"headline":1952,"uri":464},"\u003Cp>Former Courthouse Lehrter Straße\u003Cbr>Lehrter Straße 60\u003Cbr>10557 Berlin\u003C/p>\u003Cp>\u003C/p>\u003Ch2>Legality, Illegality, and the Artist’s Claim\u003C/h2>\u003Cp>This former courthouse—punctured by holes—allows for an investigation of ideas of legality and illegality but opposes this binary with the \u003Cem>artist’s claim\u003C/em>, and the artist's ability to designate an action, or a readymade as an art-work. The urinal was once claimed as an artwork, but the biennial argues that the act of stopping the secret police from burning files or the act of saving a lake might be the artistic claim of \u003Cem>our\u003C/em> times.\u003C/p>\u003Cp>Working with the history of this bureaucratic building, artists have brought to the surface trials and stories from its time as a Military Detention Centre to make anti-military claims in the language of humor and the absurd. Taking on the orality of a space such as a court, artists propose claims through knotting, walking, reading groups, scientific lectures, and People’s Tribunals to restore meaning, and open channels for dignity.\u003C/p>\u003Cp>The exhibition is a technology for expanding and slowing down time for thinking through devastation and violence, in a time when Al accelerates and reduces it. The holes of the building open a sedimentary understanding of the present, offering the experience of quantum time and the transmission of missing fragments of history via silent monuments, and counter monumentality.\u003C/p>\u003Cp>\u003C/p>\u003Ch2>History o\u003Cem>f\u003C/em> the building\u003C/h2>\u003Cp>The former Courthouse Lehrter Straße has been vacant since 2012 and is being made accessible for the first time as a site for contemporary art in Berlin in the context of the 13th Berlin Biennale.\u003C/p>\u003Cp>The brick building was completed in 1902 as an extension to the Northern Military Prison on Lehrter Straße and is connected to the prison building at Lehrter Straße 61 by a bridge, which was referred to by prisoners as the “bridge of sighs”, inspired by the Venetian bridge of the same name. \u003C/p>\u003Cp>One of the most famous trials held here was the 1916 trial against Karl Liebknecht. Liebknecht was arrested for taking part in an anti-war demonstration, initially transferred to the adjacent prison, and sentenced to several years of imprisonment. After his release, Liebknecht gave one of his first speeches at Sophiensæle. \u003C/p>\u003Cp>Later, the building complex served as a military training center and, with the reintroduction of military courts by the NSDAP, as a Wehrmacht investigative prison. Bullet holes in the facade suggest that fierce battles between the German Wehrmacht and the Red Army must have taken place here. After the war, the complex was located in West German territory. In 1950, the prison administration moved into the courthouse building, and the adjacent prison was used as a women’s prison until the mid-1980s. Renowned inmates included members of the Red Army Faction. Poor prison conditions, among other factors, resulted in protests, escape attempts, and breakouts, with employees resigning in solidarity. \u003C/p>\u003Cp>The building was last used as a branch of the Tiergarten District Court. In preparation for the 13th Berlin Biennale, the structure of the offices will not be changed. They continue to bear witness of the conditions of justice.\u003C/p>\u003Cp>The Senate Department for Culture and Social Cohesion plans to subsequently develop the building into an artistic production venue for Berlin’s independent art scene.\u003C/p>","Former Courthouse\nLehrter Straße",{"id":1954,"title":396,"description":1955,"headline":396,"uri":1954},"parcours/encounters","\u003Cp>To encounter implies the unforeseen quality of the meeting between two, between many. It stops us in our tracks, even if briefly, delaying time. Like when we encounter a fox in the city at dawn. We observe carefully, we listen to the fox moving, to the surroundings. We may walk alongside her, side-glancing to see which way she follows, or we may stay still and try to make the encounter last as long as we can. Are we both different afterward? I like to believe that we carry the traces of this encounter.\u003C/p>\u003Cp>Throughout the 13th Berlin Biennale for Contemporary Art, the artists propose encounters intrinsic to their own works, generated by the claims they present us with: from reading groups, scientific lectures, tribunals, and collective commemorative walks in the city to small enacted jokes or comedy nights. Together, these events form the \u003Cem>Encounters \u003C/em>series. Some are conceived as fugitive acts, being unexpected, or of an ephemeral nature, focusing on orality and bare forms of transmission.\u003C/p>\u003Cp>\u003Ca href=\"https://13.berlinbiennale.de/en/program/calendar?formats=Encounters\">To the calendar\u003C/a>\u003C/p>\u003Cp>\u003C/p>\u003Cp>What do we mean today when we say orality? What are the practices we could identify as such if we move away from an anthropological lens? The 13th Berlin Biennale brings together the many contemporary forms of orality and discursivity in current use as art languages to emphasize the conceptual, humorous, and artistic registers.\u003C/p>\u003Cp>Works and projects shown in the 13th Berlin Biennale reflect on the act of transmission and passing something on. They consider how messages are concealed in signs or double-meanings that allow them to pass through borders, through mechanisms of surveillance or censorship in unjust states, to then be read in multiple ways. Sometimes, the works have clear interlocutors, sometimes they initiate a movement of transmission without knowing whether the message will be received nor by whom or when. Open-ended in interpretations, the conviction we work with is that this message must move, reverberate, and pass on. The stories, premises, and questions take different forms or degrees of “hiding.” Many speak in inventive ways, in the path of the fox-as-trickster. More or less opaque, they unfold in the work of artists who understand transmission as something that will always be shape-shifting to avoid capture, but also for thinking not to become stifled.\u003C/p>\u003Cp>At first sight, these artistic actions might seem innocuous or familiar (hence not threatening or disorienting), but by looking with attention, tuning in to them, we can glimpse the freedoms they smuggle in and out. You, the audience, become complicit in these encounters. As when you are told a joke, and you laugh because you get the reference, you can read in-between lines, you are \u003Cem>in \u003C/em>on the joke. Laughter here works as a response, as if saying “I hear you, I’m with you.” It is acknowledging that there is something being passed on to you. Take the joke, keep passing it on, make others laugh and find in them new accomplices.\u003C/p>\u003Cp> \u003C/p>\u003Cp>Text: Valentina Viviani\u003C/p>",1764580573336]