A national pavilion at the world’s oldest art biennale can be a logical place for an artist whose ‘career’ has been vigorously progressing – an artist like Haegue Yang, born and raised in South Korea and now active in Europe for about a decade.

Recently, Dieter Roelstraete stated in e-flux journal that the current obsession with history amongst artists is nothing other than an excuse to avoid dealing with troublesome issues concerning our future. Anselm Franke disagrees, arguing that an understanding of history is essential to contemporary art practice.

Museums are gradually beginning to realize what can be done with new, increasingly sophisticated digital technology. The so-called ‘ubiquitous’ museum, which can be visited everywhere and at all times, is steadily drawing closer.