"The 13th Berlin Biennale, curated by Zasha Colah, explores themes of fugitivity, subversion, and art’s endurance under repressive regimes. Titled passing the fugitive on, one could read the exhibition as a ‘how to’ manual meant for a country undergoing a process of social transmogrification. ‘Foxing’––a noun turned into a verb– is how you communicate under illiberal regimes, hence the recipe: the artwork carries a message spoken in code. The sheer presence of so many encoded messages provides a diagnose for the erosion of democracy and constitutional guarantees. It’s an elegant proposition, and it’s elegantly articulated. But its theoretical elegance sometimes outpaces its political coherence. " ~ this is how DAI's HowToDoThingsWithTheory tutor Ana Teixeira Pinto steers her critical reading of the 13th Berlin Biennale towards some fundamental questions and concerns that are, to her opinion, only partially countered by the choice and curatorial positioning of the art works on display. ‘May Contain Traces of Preemptive Obedience’ is published online by MetropolisM and you can find the link HERE.