Proposed by Alex Ostojski
Are biennials the expression of an insatiable desire for expansion that has also taken hold of culture and is producing spectacles on an increasingly enormous scale? Can the machinery of the biennial be slowed down in favor of a sustainable mode of work and production? How can biennials—understood as platforms for international cultural collaboration—change their institutional structures in order to transform decolonial and capitalist-critical discourses into practices? Do biennials merely demonstrate the ability of capitalism to take over everything—even the critique of the system? Or does the decolonization of the format rather hold the potential for mobilizing resistance through transnational exchange?