Today, Biennales seem to conquer the most remote places of the world and provide a western cultural hegemony all the way from the US to China. A question arises: What is the role of the growing number of Biennales in the art world and art market?

While the politics of most countries differ, their markets seem compatible, e.g., China and Germany. In a globalized world, the marriage of capitalism and democracy seems to deteriorate. The market seems to form its own restrictive ideologies, causing a detrimental self-referentiality.

—What is the reason for this Biennale, which structurally resembles a known form (a forum for the exchange of and artistic ideas and practice) yet is assuming a new functionality? What does it really stand for and what structures are being implemented? What are its precedents, and what will it become? To question this metamorphosis is the key focus of my project.

The plan is to implement an umbrella, allowing artists, architects, composers, writers, curators and economists to collaborate in an ideological non-predetermined manner. In a world in which critique and provocation are anticipated and incorporated into the system, the production of irregularities, interruptions and short-circuits seems the most direct route to dissolving the borders that limit our autopoetic systems—and, with a little luck, accidentally producing reality.