@berlinbiennale

“I consider myself a feminist, decolonial and anti-racist artist. I am interested in what I call the creation of counter-worlds or alternative worlds in the Global South, specifically in Mexico; a creation which nonetheless reverberates with other environments and is interconnected with the Global North.“ For Contemporary& América Latina, Marie-Louise Stille spoke with Naomi Rincón Gallardo about her work and the participation in the 11th Berlin Biennale. Read by following the link in our bio! _____ Images: Naomi Rincón Gallardo, “Resiliencia Tlacuache” [Opossum Resilience], 2019, HD-video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, set photos: Claudia López Terroso @daad_artists @contemporaryand.americalatina

In textile works on view at @gropiusbau, Cian Dayrit, deals with the history of militarization in the Philippines. “Embroidered side-panels depict diverse methods of militarism being used in these campaigns, as well as military camps, red-tagging of activists, forced displacement, and air raids against peasant and Indigenous communities—operations that have intensified during the Covid-19 crisis. For Dayrit, such topographical threadings are tools in themselves, ‘anting-anting’ weapons of everyday artistry for self-education and resistance.” Quoted from the text written by María Berríos for the 11th Berlin Biennale’s guidebook. _____ Images: Cian Dayrit, “Anatomy of Aggression I”, “Anatomy of Aggression II”, and “Tropical Terror Tapestry”, 2020, mixed media on textile, installation views 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photos: Mathias Völzke

At KW Institute for Contemporary, Brenda V. Fajardo invites you to immerse yourself in the Philippine nation’s fate and its evolving present. „Brenda V. Fajardo is best known for her complex works on paper that intertwine the social and political realities of the Philippines. Some of her finest works present their iconography within the schema of the tarot—a central image is bordered with a reading of the event, in which the artist divines the outcome and its possibilities. Appropriating the original tarot symbolism into a deck of images she calls ‚Baraha ng Buhay Pilipino’ (Cards of the Lives of the Filipinos), Fajardo embeds the imagery within the local and power within the feminine“ Quoted from the text written by Joselina Cruz for the 11th Berlin Biennale’s guidebook. _____ Images: “Brenda Fajardo, (1) Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko!” [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, (2) Sila Raw ay Nanlaban; Kaya Sila Namatay? [They Said They Fought Back; So They Died], 2018, colored ink on paper 32,7 × 49,7 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc. @kwinstitutefcontemporaryart

On Thursdays, the exhibition at KW Institute for Contemporary Art and at Gropius Bau is open two hours longer, until 9 pm. Book your ticket online now. _____ Images: (1) Pacita Abad, (2) Deanna Bowen, installation views 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photos: Mathias Völzke; (3) Zehra Doğan, Galli, (4) Virginia Borges, Gil DuOdé and Virginia de Medeiros, installation views 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photos: Silke Briel @kwinstitutefcontemporaryart @gropiusbau

The slow opening of the 11th Berlin Biennale began in September 2019 with “exp. 1: The Bones of the World” and has unfolded as a process through a series of four lived experiences including “exp. 2,” “exp. 3,” and an epilogue titled “The Crack Begins Within.” “The Bones of the World” was a space open to the diverse experiences that we brought with us, but also to those occurring around us, outside our comfort zones, at that very moment. This publication gathers the collected stories that made up the exhibition “exp.1: The Bones of the World” and reflects on what that initial starting point of the 11th Berlin Biennale means today after the surge of the Covid-19 pandemic. With an essay by Agustín Pérez Rubio and afterthoughts by María Berríos, Renata Cervetto, Lisette Lagnado, and Agustín Pérez Rubio. Soon available online, at KW Institute for Contemporary Art and Gropius Bau. _____ @vice_versa_artbooks

We thank all our visitors for making this exhibition a safe experience! There are four weeks left to see the 11th Berlin Biennale. Book your ticket online now, link in bio. _____

Born into a family of revered Inuit women artists, Shuvinai Ashoona creates delicate drawings. On view at KW Institute for Contemporary Art and at Gopius Bau. “In the presented selection of recent drawings, Ashoona juxtaposes and layers motifs found throughout her work—birthing mothers, human-animal hybrids, monsters, Inuktitut syllabics—in whimsical, sometimes unsettling vignettes that blur the lines between past and present, fiction and reality, traditional and globalized cultures.“ Quoted from the text written by Michèle Faguet for the 11th Berlin Biennale’s guidebook. _____ Images: Shuvinai Ashoona, (1) untitled, 2013, ink and pencil crayon on paper 127 × 123.2 cm, courtesy Shuvinai Ashoona; Collection Paul and Mary Desmarais III, (2) “Salt Bones”, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross

We are thrilled to present the first two parts of Marwa Arsanios’s trilogy “Who is afraid of ideology?” online! 👉 Link in bio. The third part, “Microresistances” (2020), is on view at KW Institute for Contemporary Art ‪until November 1.‬ “Reasserting the fundamentals of life against the machineries of capitalist exploitation is at the core of today’s anti-colonial struggle for wider social and political change, and women are fighting on its different frontiers. The three films of Marwa Arsanios’s ‘Who is Afraid of Ideology?’ series (2017–20) weave an intersectional path through these struggles of women—in places such as Northern Syria and Colombia—to claim the right to the land and to reconnect with nature in an unmediated way.” (Övül Ö. Durmusoglu) _____ Image: Marwa Arsanios, “Who is Afraid of Ideology? (Part 3) – Microresistances”, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris @marwaarsanios @ovulundesi

Bugün saat 17:00’da Gropius Bau’da gerçekleşecek Türkçe sergi turuna sen de gel! Yaklaşık 60-90 dakika sürecek tura katılım, sergi bileti ile mümkün. Bekliyoruz! Katılımcı sayısı sınırlıdır. Tickets available at Gropius Bau or online: link in bio. _____ Pacita Abad, “Marcos and His Cronies“, 1985–95, installation view 11th Berlin Biennale, Gropius Bau, ‪5.9.–1.11.2020‬, photo: Mathias Völzke

Goodbye and hello! Meet Dina El Kaisy Friemuth, Anita Beikpour, and Neda Sanai (again) tomorrow at our second gathering, when they discuss ideas on ecofeminism and hydrofeminism together with Aline Baiana and Paula Baeza Pailamilla. Moderated by María Berríos. Limited capacity, link in bio. The event will be recorded on video and made available on our website afterwards. _____ Images: (1) D.N.A, still from hydrocapsules season 2 // fluid orgasms, 2020, cinematographer: Diara Sow, graphics: Bao–Tran Tran, courtesy D.N.A (2) Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, ‪Plaza de Armas, Santiago‬ de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel @fcnn__ @dalinebaiana @paula_baeza_pailamilla

T-shirts back in stock at @kwinstitutefcontemporaryart from end of this week, limited edition, hand made, Fairtrade, organic

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