Hito Steyerl about the ways of reformulating the grammar of the radically overstrained art world. “For me, the Venice Biennale is sort of like what Stonehenge might have been—a cult centre to playtest emerging forms of oppression, excess, and hierarchy; a cult of the accursed share. In Stonehenge you might find pig bones—in Venice you will find plastic sticks to impale olives for spritzes. This kind of applied ritual is more important than the superficial pagan gloss that artworks might display. It's the infrastructure itself that is partly occult.