HAPPY PLACE takes as a starting point Freiburg’s symbolic identity as “the south of Germany” and explores the economy of wanderlust and the semiotics of the picturesque. The title—capitalized, toxic and performative—refers to the concept of “cruel optimism,” which upholds the concept of the idyllic retreat in the midst of precarity and everyday crisis.  

From sunset backdrops with palm trees and iconic landmarks to picturesque villages and the staged performance of local traditions—tourism operates as a business fueled by promises of happiness, escapism, and the thrill of discovery. In this cartography of desires, "the south" is often framed as an object of longing, closely tied to romanticized and exoticized images of "paradise." Yet, paradoxically, tourism itself drives significant transformations of these very destinations. Given its far-reaching impacts on economies, environments, and political structures, as well as its influence on social dynamics, tourism must be examined as a multidimensional phenomenon.

The Biennale highlights the enduring links between colonialism and the global travel industry, with a particular focus on the processes of touristification in the so-called Global South. To critically interrogate how "the south" is staged as a site of touristic fantasies—and the material consequences of these imaginations—the Biennale invites local and international artists to examine geopolitical entanglements, power structures, and the longing for "the south" in their work. At the same time, their artistic positions reflect acts of resistance against constructed notions of otherness, offering a platform for emancipatory counter-narratives.

Through a range of formats—including a city-wide exhibition, performative city tours, a symposium, and mediation programs—the Biennale opens up new perspectives on tourism and its historical as well as contemporary dynamics. The aim is to reflect on tourism in all its contradictions while reimagining tourists not merely as consumers but as political subjects.

HAPPY PLACE takes as a starting point Freiburg’s symbolic identity as “the south of Germany” and explores the economy of wanderlust and the semiotics of the picturesque. The title—capitalized, toxic and performative—refers to the concept of “cruel optimism,” which upholds the concept of the idyllic retreat in the midst of precarity and everyday crisis.  

From sunset backdrops with palm trees and iconic landmarks to picturesque villages and the staged performance of local traditions—tourism operates as a business fueled by promises of happiness, escapism, and the thrill of discovery. In this cartography of desires, "the south" is often framed as an object of longing, closely tied to romanticized and exoticized images of "paradise." Yet, paradoxically, tourism itself drives significant transformations of these very destinations. Given its far-reaching impacts on economies, environments, and political structures, as well as its influence on social dynamics, tourism must be examined as a multidimensional phenomenon.

The Biennale highlights the enduring links between colonialism and the global travel industry, with a particular focus on the processes of touristification in the so-called Global South. To critically interrogate how "the south" is staged as a site of touristic fantasies—and the material consequences of these imaginations—the Biennale invites local and international artists to examine geopolitical entanglements, power structures, and the longing for "the south" in their work. At the same time, their artistic positions reflect acts of resistance against constructed notions of otherness, offering a platform for emancipatory counter-narratives.

Through a range of formats—including a city-wide exhibition, performative city tours, a symposium, and mediation programs—the Biennale opens up new perspectives on tourism and its historical as well as contemporary dynamics. The aim is to reflect on tourism in all its contradictions while reimagining tourists not merely as consumers but as political subjects.