Visual culture allows us to trace the ways Crimean Tatars have pursued land reclamation as a spatial and temporal project that contests settler colonial occupation and its racial regime of ownership.

Artist İz Öztat’s engagement with water, which was central to her work in the mid-2010s, offers different forms of non-linear time and builds relations across time, space, and species to recall a history of genocide.

How are images implicated in the increasingly diversified and expansive ways in which industrial-scale extractive methods and practices operate? To what extent do the ways images are produced, circulated, theorized, and politicized mirror or challenge extractive methods and practices?

Documenting the lower Mississippi River as an acoustic space reveals already existing power dimensions at play before they become fully legible as symptoms of extractive dispossession. Analysing the politics of vibration, emission sources, and bandwidth use inequalities can reveal much about the colonial regime of extractive infrastructures by exposing the disassembled temporalities of the extractive event.

Themed "May You Live In Interesting Times," the 58th Biennale proceeds from the idea of multivalency, inviting complexity, ambiguity and contradiction, and constituting a point of departure rather than a conclusion.