The art world expected great things from the tenth edition of the Berlin Biennale for Contemporary Art – the first to be curated by an African woman. But the show refused to produce a simplified and linear narrative of colonialism. 

The media art project “Smile to Vote” revolves around a voting booth that scans faces and automates the vote-casting process. Its originator, artist Alexander Peterhaensel, criticises the increasing encroachment of technology on privacy.