To evoke Brecht is to immediately refer to the relationship of the practice of art and the social reality which engulfs it. It is therefore suitable to start questioning the representative format and the circumstances of the International İstanbul Biennial from the very onset and in all of its manifestations.The usually slick and safe corporate performance of a press conference is turned into a testing ground for exploring the methodology of the exhibition, as curators have cast themselves in the ambivalent roles of entertainers. The reference to Brecht's Verfremdungseffekt (Alienation effect) is of course obvious – the appearance of four reciting curators on stage questions and mocks the need for 'glamour' in an art event and the stereotypes about their position as an all-female collective. There is both pleasure and discomfort in this change of format, in putting everyone involved and the whole situation a bit on its head. The format of the play, seemingly so out of place for this occasion, contests the relationship between the curator, artist and the audience, as well as the structure of biennial exhibitions as places for the development of the new and the redefinition of old modalities of art practices.