When “Still Present”, the 12th Berlin Biennale for Contemporary Art, opened in June, it set an ambitious bar for itself, aiming at addressing “the urgent questions of the present.” This year’s edition, curated by Algerian-French artist Kader Attia, was framed as a critical discussion to examine over “two decades of decolonial engagement.” Given Berlin’s vibrancy as a place of creation, tolerance, and multicultural refuge, one expected a radical offer. It therefore came as a surprise to many that the Biennale not only failed to develop any proposition advancing decolonial discourses, even going as far as adopting regressive PR tactics to protect its controversial choice
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