BerlinBiennale:德國柏林當代藝術雙年展是由柏林當代藝術雙年展公司舉辦、KW當代藝術研究院的藝術總監、班收藏家及贊助人創辦；宗旨在開放空間中實驗、辨認、批判藝壇的最新趨勢，給予年輕藝術家機會去接觸更廣闊的觀眾層面。

柏林雙年展舉辦至今，在德國褒貶不一。主流的聲音認為，雙年展上涉及的政治、社會話題包括主權、大屠殺、吸毒，卻沒有涉及當下人們更為關心的話題，比如經濟危機、勞動力短缺、老齡化等問題。

在距離柏林市中心亞歷山大廣場不遠的奧古斯特大街上，有一座被廢棄的、“醜陋”的灰色教堂。它沒有尖頂，沒有標識，也聽不到鐘聲。教堂名叫聖·伊莉莎白，是2012年的第七屆柏林雙年展主展廳之一。雙年展從4月27日開始，將一直持續到7月1日。教堂內被五顏六色的塗鴉佔據，它們是展覽的內容之一。教堂中心散放著各色顏料，任何人都可以拿起畫筆，在天花板上、牆壁上甚至地板上隨意塗鴉。不知哪位慕名前來的中國人也加入了創作隊伍，在地板上留下四個斗大的黑色漢字:活在當下。

第七屆雙年展的主題為“忘掉恐懼”，祖米卓斯基將它解釋為“不用擔心受到威脅，自由表達”。他從全世界7500多位藝術家的作品中挑選出30多位藝術家的電影、紀錄片、繪畫、裝置藝術作品，組成了柏林雙年展的主體。祖米卓斯基意圖將藝術與政治結合，讓藝術不再是“無病呻吟，或者穿著奇裝異服坐在路邊咖啡館喝咖啡的小資情調”，他希望藝術成為批判社會、改變社會的一種力量。

祖米卓斯基在德國引起的廣泛關注源於他拍攝的一部短片《貝雷》（也叫《標籤遊戲》）。在這部60分鐘的短片中，他組織了一組裸體的普通成年男女，記錄他們在前納粹集中營毒氣室中玩標籤遊戲的表現。他們需要舉著標籤，在曾經的毒氣室裡跑圈圈，或者大笑。這部短片拍攝於1999年，祖米卓斯基將心理學中的暗示療法運用到短片中，在美國、英國、波蘭等地展映時曾引起極大反響，《紐約時報》評論:“《貝雷》是一部觸及猶太人大屠殺和嘗試撫平二戰創傷的力作。”

The berlin biennale für zeitgenössische kunst e.v. was founded on March 26, 1996 by Klaus Biesenbach, founding director of KW Institute for Contemporary Art, and a group of collectors and patrons of the arts such as Eberhard Mayntz. Eberhard Mayntz has since then been chairman of the association’s board.

The idea of establishing a biennale in Germany was inspired by the Venice Biennale in 1995. Following the demise of aperto – the forum for young contemporary art founded in 1981 – there was much discussion about the need to heighten the profile of contemporary art in Berlin, a fact which undoubtedly accelerated the project’s progress.

The aim of the association is to organise a representative, international exhibition of contemporary art in berlin every two years and to attract attention to less established younger artists. The exhibition’s original and most important institutional partner is the KW Institute for Contemporary Art, which regularly provides the Berlin Biennale with the use its exhibition spaces.

In 1998, Klaus Biesenbach took the artistic helm of the 1st Berlin Biennale in cooperation with Nancy Spector and Hans Ulrich Obrist. For the 2nd Berlin Biennale in 2001, the baton was passed to Saskia Bos, who is in turn followed by Ute Meta Bauer for the 2004 exhibition. The 4th Berlin Biennale in 2006 was curated by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick. Adam Szymczyk was chosen for the 5th Berlin Biennale in 2008 who then appointed Elena Filipovic as co-curator. Kathrin Rhomberg curated the 6th Berlin Biennale in 2010. The 7th Berlin Biennale was curated by Artur Zmijewski together with associate curators Voina and Joanna Warsza in 2012.

The Berlin Biennale has established itself as an ‘open space’ that experiments, identifies and critically examines the latest trends in the art world. The innovative character of this “art lab,” which tries and tests the greenest shoots in the art world is to be expanded, with the particular aim of giving young artists the opportunity to introduce themselves to broad sections of the public.

Although the exhibition has an essentially public character, it also has an inner forum in which event organisers, artists, curators, selected critics, cooperation partners, sponsors and promotors committed to the advancement of this association work at shaping the exhibition and its seismographic interpretation of current cultural and social developments.