Forecast Festival 2045

The first ever activation of [UN]COMMON THREADS. Given that Forecast is an art festival, we chose to speculate on art events themselves, and asked: what histories are embedded in the structure of biennials, triennials, and annual art, design and culture-led festivals? How do these events shape, and how are they shaped by, the cultural, economic and political landscapes around them? What possibilities exist for alternative forms of cultural exchange?

For over a century, cultural events such as annual art and design festivals, biennials and triennials have mirrored the occurrences, shortcomings and complexities of the times in which they were held. In the mid-to-late nineteenth century, early art expositions in Anglo-American cities showcased nationalist ideals, imperial ambition and industrial progress. These events placed the Western gaze at the centre of knowledge production, and shaped early ideas about global cultural exchange. As international exhibitions gained prominence, nations employed artistic production to reinforce their cultural and political narratives on a global stage.

Over the past decades, festivals, fairs and biennials have expanded globally, dominating how art is presented and consumed. With nearly 300 biennials and art festivals held across different continents today, these events have become key platforms for artistic dialogue and political commentary. The instabilities of our times—colonialism, violence, migration, inequality, pollution, extractivism, climate distraction—often appear in curatorial notes. While such events remain highly significant for both established and emerging artists, discussions about their role and the need for transformation have been ever-present. Many argue that art festivals critique the very systems they rely on, frequently remaining within the boundaries of aestheticising crisis, risk and vulnerability.

This controversy manifests in various ways. Organisers strive to balance artistic freedom with institutional constraints influenced by political conditions and market forces. Creatives—artists and cultural workers—offer critical perspectives while navigating precarious conditions, sometimes responding with protests and strikes. Locals, including citizens and diverse communities in Berlin, may benefit from increased visibility but also face over-tourism, rising costs and gentrification. Audiences seek both the pleasure of aesthetic experience and critical engagement with today’s complex crises.

Some models, such as Forecast Festival, are already challenging these contradictions by offering an unorthodox framework that prioritises mentorship and artistic autonomy over institutional branding. Yet the broader questions remain: What will the world look like in the future, and how will art festivals reflect it? Will they continue as globalised mega-events, or will new models emerge that decentralise artistic power, prioritise local communities and resist market pressures? Can artists and curators carve out truly independent spaces, or will art events remain entangled in the politics of funding, spectacle and cultural diplomacy?

Participants stepped into the roles of the four stakeholders—organisers, creatives, locals and audiences—and wrote from within a Forecast Festival of 2045, in a world transformed by climate shifts, technological change, political upheaval and new cultural movements. Art festivals are patchworks of power, labour and histories, layered over time. Through the game we unravelled and reimagined those layers, questioning who controls them, who benefits from them, and what futures they might produce.