In June 2018, I had the opportunity to experience the 10th Berlin Biennale We Don’t Need Another Hero for the energetic, coffee/kebab fuelled, gloriously sunny opening week.


This was my first experience of this renowned biennale and my second time in Berlin. I went to consider the themes posed by the curator Gabi Ngcobo, with a curatorial team made of Moses Serubiri, Nomaduma Rosa Masilela within the biennale’s context of Berlin. It was described in the press release as “explore[ing] the political potential of the act of self-preservation, refusing to be seduced by unyielding knowledge systems and historical narratives that contribute to the creation of toxic subjectivities”. The biennale title – a Tina Turner song – indicated to not finding answers. Rather, the curators invited “contradictions and complications” of “willful disregard for complex subjects”, typified by this funny, assertive and lyrical title.


Over the past couple of years, I have learnt that art fairs and festivals are a time for quiet contemplation and an opportunity to see a huge amount of art. I was profoundly moved by two works in the biennale, which I saw at the KW Institute for Contemporary Art. Firstly, Liz Johnson Artur’s video work “Real…Times” (2018) and secondly, the mixed-media exhibition “Untitled (Of Occult Instability) [Feeling]” (2016-18) by Dineo Seshee Bopape, that included works by Jabu Arnell, Lacell Workman and Robert Rhee. Dineo Seshee Bopape’s practice has been eloquently described by curator Osei Bonsu as “So complex are the fragile constellations … [they] evade the easy didacticism of a casual description.” Which I can only say from my experience, is true; this exhibition was an exceptional experience. The sounds of Nina Simone’s live 1976 performance of Feelings played around the amber-orange, industrial, dilapidated landscape as water droplets fell from the ceiling into buckets that were strewn across the floor. Each artist inhabited their own part of this environment, cumulatively creating an environment that invited exploration.


Dineo Sheshee Bopape, Untitled (Of Occult Instability) [Feelings] Other works on view include: Jabu Arnell, Discoball X (2018); Lachell Workman, Justice for___ (2014); Robert Rhee, EEEERRRRGGHHHH und and ZOUNDS. Photo: Timo Ohler


Liz Johnson Artur’s exhibition, showed work from her Black Balloon Archive that includes photographic representation of people of African descent. I watched her video work “Real…Times”, which lasts just over 15 minutes twice fully, and would have watched a third time if it were not for the queue that formed behind me. The work was filmed in London and showed a man preaching in the street and being arrested, women presenting on the radio, a young man – these are part of the visual components of this work that faded between each scene as a montage – moments in time that were overlapping one by one. The work felt so honest, hand-crafted and deeply personal – it is one of the best pieces of moving image I had ever seen and I look forward to watching it again to fully explore this work. Liz Johnson Artur has her first solo exhibition at South London Gallery opening in June 2019 which I am very excited to see! Also, Dineo Sheshee Bopape has an upcoming exhibition at Towner Art Gallery in Eastbourne, opening in June this year which I am looking forward to if anyone would like to see these artists work in the UK.


Liz Johnson Artur, Real…Times video from Black Balloon Archive, 1991–ongoing, installation view. Image courtesy of Berlin Biennale. Photography by Timo Ohler.


In a biennale context, spending an unusually long period of time with an artist’s work and to not quite know why is a great feeling – usually emotional – as you start taking your questions and thoughts around the festival with you, gauging a deeper sense of the biennale themes. It felt as though these artworks were here for me as they offered some meaning or truth. Of course this is not the case but with an overwhelming amount of art to see, these moments are precious and long-lasting. Another work that consumed all my attention was Mario Pfeifer’s film “Again / Noch Enimal” at Akademie der Künste – a feature length 60-minute work. The luxury of having so much time to give to each exhibition was an absolute joy.


Whilst in Berlin I visited artist collective Lou Cantor and discussed their work with them, which was an academic, insightful and fun conversation. We discussed the internet, AI and lots of other topics, including their recent publication Intersubjectivity Vol II – Scripting the Human (2018). I had the delight of working with Lou Cantor on my Masters project in 2017 and it was great to finally meet them face-to-face. Serendipitously I became friends with Scottish artist Caitlin Hyne who was studying in Germany whilst I was in Berlin. Her work and company was/is most stimulating. It was useful to meet other curators and artists whilst in Berlin – a couple of whom I have kept in touch with. Another artist’s work that I had the pleasure of seeing was Sam Samiee’s exhibition at ZK/U, which is a “production site” for research and artist residencies. I found the forms in Samiee’s work inviting and curious, and on reflection I wish I had written about this work in-situ as I feel I would have gained a lot out of this process. I follow Samiee on Instagram and always look forward to seeing what he shares (@aarsaam). Following these artists on Instagram is a useful way to “follow” the many artists you come into contact with in fleeting moments – whether it’s productive is a concern for another day.


Sam Samiee, The Unfinished Copernican Revolution (2018). Mixed media. Exhibition view: We don’t need another hero, 10th Berlin Biennale for Contemporary Art, ZK/U – Center for Art and Urbanistics, Berlin (9 June–9 September 2018). Courtesy the artist. Photo: Timo Ohler.


Biennale themes, titles, guest curators, branding, catalogues, the parties and even tote bags can be indicative of that year’s particular objective – one driving theme. Yet, as a visitor, when in the midst of a biennale, the expansive programme spread across many venues isn’t a succinct experience to take in during one week. Therefore the curator’s approach, drawing to the fore the complications and contraindications of socio-political issues worked well, as it wasn’t a didactic programme – it was expansive. I enjoyed that I didn’t leave with a singular opinion but left grateful to the organisers for sharing artists and exhibition possibilities that were previously unknown to me.


Thank you to New Art West Midlands for providing me with a Micro Bursary which was hugely helpful for this trip. I am grateful for non-tangible research outcomes. My current area of interest is thinking about festival models and curation, and having the opportunity to see the 10th Berlin Biennale was an enriching experience that feeds into my developing curatorial practice. I am delighted to say that I will be visiting the Venice Biennale (for the first time ((and my first time in Italy!)) and this trip has been supported by the Art Fund’s Jonathan Ruffer Curatorial Grants. Going to a festival for research is an incredibly exciting opportunity and valuable for developing curatorial methods, and specifically, developing ways to engage with visitors.


Laura O’Leary is Programme Assistant at QUAD, Derby and a freelance writer.

Curator Laura O’Leary used her Engine Micro Bursary to visit the Berlin Biennale back in June 2018. Read more about her research here.


Back in July 2018 I got the opportunity to visit Berlin for the Berlin Biennale. Despite previously visiting Berlin on multiple occasions, this year sparked my first visit to the Berlin Biennale. Being in its 10th year as an arts festival across Berlin this felt like an important year to visit as they take the time to reflect on how they have developed and look forward to their future as an arts festival in this ever growing and vibrant city. We don’t need another hero is the title for this year’s Biennale and it had the art scene standing at a cross roads for both contemplation of historical moments and the possibility for new and future political action. As an anniversary for the Biennale it was interesting to see how the organiser’s used this milestone to their advantage or disadvantage and hopefully set the tone for the next few years of the festival.

As a visitor I was approaching the Biennale wearing two hats, my about-to-start-final-year CSM-Fine-Art-student hat and my just-worked-as-production-manager-at-the-new-Coventry-Biennial hat. With these two perspectives in mind I had a very interesting and quite critical experience. I found it very valuable to be in this position, looking both for inspiration and references for my practice and dissertation research as well as also viewing the exhibitions and overall experience from an arts professional viewpoint.

I gave myself a healthy four days to visit Berlin as this gave me enough time to enjoy each of the four venues that the Biennale had to offer. As soon as I arrived I headed off to the first venue which was the Akademie der Künste, the Fine Art Academy in Berlin. For me this space, exhibition and overall feel was not to my liking and somehow I felt like this might have set the tone for the rest of my visit. Having shows in university buildings are always a challenge, fighting against the institution’s architecture and trying to separate itself from any feeling of being a degree show. I also couldn’t help but notice that it had a similar wooden block floor to ‘the street’ in CSM that has been breaking apart for years. However, when taking in the works there were a couple that really stood out for me. One video piece that immediately caught my eye was all voices are mine (2010) by Basir Mahood. Having not much budget and only one day to shoot, the video created comprised of poses and actions alongside other actors. Mahood sees this work as a collaboration between himself and his fellow actors which I feel sits perfectly with the overall concept of the Biennale and also sits well with my own collaborative practice. In contrast to that approach I was also very interested in the work of Sondra Perry and her video in the Biennale, IT’S IN THE GAME ‘17, looks at the forces that control space and analyses its sometimes problematic ways of classification and reading.

As the main venue for the Biennale, the KW Institute for Contemporary Art did not disappoint. Spanning the whole of the gallery, KW managed to engulf me into its many spaces and house me for a few hours. Showing artists that have helped define what this institution is was a powerful way to set the tone for the show and created a rich selection of artists for the Biennale. Personal highlights were Fabiana Faleiros’ Mastur Bar – a travelling bar that offers an extended programme beyond the walls of the Biennale. From celebrating female masturbation through music and a social space to performances looking at the use of our fingers and gestures, the multi sided project within the mini basement area of KW acted as a curious oasis within the show.

The venue that has stuck with me since my visit has been the Volksbühne Pavilion; an interesting glass construction situated next to the Volksbühne Theatre. Having a rich history of housing previous artists’ projects and performances, this space housed Las Nietas De Nonó’s interactive installation for the duration of the Biennale, opening up the space for performances and participation. As an installation in itself it felt very intriguing for such a small space and almost acted as a little utopia. It gave off similar feelings to Post Modern Plant Life, a 1 week artist residency I took part in housed in an artificial hot house in Leamington Spa; especially with its use of portable technologies, plants and cooking tools. Despite visiting the space when no event was happening, I felt that this space acted as the centre of many discussions within the Biennale and that by being located in this space that the future was ready for us and we were ready for it with camping stoves and selfie sticks.


My final day saw me getting the tube over to ZKW-Center for Art and Urbanistics to catch the last show of the Biennale. Using the 10th Biennale as a moment to re-establish connections with collectives that previously used the space felt very potent and this could clearly be felt in the works exhibited. Even though initially I felt as though I’d entered a political underground Berlin club in the middle of the day when absorbing work, when it came to seeing Heba Y. Amin’s project rightly named Anti-Control Room I was left blown away. Unnervingly blurring the lines between history, present day and the potential futures, Amin created an incredibly in-depth project that explores utopian visions and alternative political worries. The multi-channel video left me both in awe and in turmoil being faced with an alternative reality that in many ways we are already playing out in our own parallel universe.


Coming away from Berlin and my first Biennale visit I was left with an interesting mix of opinions and feelings. As a visitor coming at a quiet time in their public programme I peacefully made my way around the venues alone taking in the shows and exploring Berlin, which made my visit very subdued and flat. However, what came from uncovering the subtle decisions in selection and curation of the different shows built up a much more lasting effect on my Biennale experience that I would not have previously expected. Building on previous relationships, expanding programmes and addressing political issues collectively with new and exciting artists, the Biennale, despite feeling quite tame on first meeting, tackled some very important issues and have set themselves up as an arts festival for an exciting few years ahead. We definitely don’t need another hero, we just need a lot more cooperation.

Engine Micro Bursary awardee Emily Roderick visited the Berlin Biennale back in July 2018. She reflects on the trip here.