What does accountability mean to all of us? And what forms of response can being held accountable take? These questions are at the heart of the Reflection in Numbers pavilion by British-Nigerian multidisciplinary artist and designer, Yinka Ilori MBE. The pavilion invites visitors to embark on a critical and artistic journey exploring the complex themes of racism in sports and personal accountability. In his creative approach, Ilori underscores the players’ experience of oscillating between 'a sense of belonging and the fear of radical exclusion' constantly as mentioned in the press release.

Opened on June 7, 2024, as part of Haus der Kulturen der Welt’s festival, Ballet of the Masses—On Football and Catharsis, Ilori’s work asserts that “the audience must be held accountable for their actions.” The recently concluded programme coincided with UEFA EURO 2024, hosted in Germany. As a multidisciplinary institution in Berlin, HKW encourages the practices of visual and performative arts, literature and cultural discourse and now integrates football as a practice and concept.

According to the statement by Prof Bonaventure Soh Bejeng Ndikung, Director and chief curator of the festival, Europe is experiencing a rise in ideological clashes and political upheaval that prey upon fears akin to those experienced during the First World War. In this context, invoking Soviet composer Dmitri Shostakovich’s phrase, “Football is the ballet of the masses,” was significant for the curator, who cited 'John Sander's article "The ballet of the masses: Football and Dance from Shostakovich to 'Pop' Robson" published in Football Paradise on May 12, 2022'. Shostakovich, who found solace in football, implied that the sport, like ballet, is an artistic and aesthetic practice; sonically, in performance and otherwise. Akin to high art, it can pacify the masses and serve as a powerful cultural force.

It is still common in many stadiums in Europe and North America today that people of colour are greeted with racist chants, monkey noises and Nazi salutes. An example was the match on February 25, 2006, between Real Zaragoza and FC Barcelona. Samuel Eto’o, playing for Barcelona, received various forms of racist insults from the crowd. After a chorus of monkey chants and bottles thrown at him, Eto’o stopped the match, collected the ball and said “No más!” (No more!). For this racist abuse, Real Zaragoza was fined 600 euros, a decision that appeared more as an encouragement than a deterrent.

Kevin-Prince Boateng, a German-Ghanaian footballer, echoed this sentiment in 2013 when he said, “I tried to ignore racism. Similar to a headache that you know will go away if you just wait long enough. But that is a misconception. Racism does not go away. If we don’t confront it, it will spread. We have to confront racism and combat it.” It’s important to note that football clubs and associations are investing in the fight against racism and finding methods to make their players feel more accepted. However, much work remains to be done.

The Ballet of the Masses—On Football and Catharsis project presents the sport as both an aesthetic and socio-political experience. It mirrors society’s inherent beauties and ills, mirroring football as a socio-cultural manifestation. Drawing parallels between the festival’s theme and the pavilion, both highlight the cultural impact of football, emphasising its potential as an artistic and aesthetic practice capable of pacifying and galvanising the masses. Similarly, the British designer uses the sport as a metaphor for societal reflection, urging visitors to examine their biases and behaviours. Highlighting the dual nature of football, both the festival and the pavilion act as mirrors to society, compelling us to acknowledge and rectify the inequalities and prejudices that persist in our communities.

The architectural series at HKW, Shaped to the Measure of the People’s Songs, extends to 2024 with Ilori’s artistic intervention. His pavilion critically examines issues related to racism in sports and addresses issues of coexistence through its materiality and form. The mirrors inside the pavilion serve multiple purposes, encourage introspection and also create an environment where one is constantly aware of being observed; a multiplication of oneself. This reflective design element is crucial as it visually and metaphorically represents the scrutiny faced by football players, particularly those who are victims of racial abuse. The mirrors create a sense of vulnerability and self-awareness, pressing visitors to consider their role in perpetuating or combating racism.

The round shape of the pavilion is reminiscent of a stadium, immersing visitors in the environment where the issue is most visible. It’s a deliberate reminder of the physical and emotional space where players witness both the adoration and vitriol of the crowd. The continuous, circular design establishes a unified area for contemplation and accountability, echoing the form of a stadium.

The use of the calabash in the pavilion's design is particularly poignant. It is not just an aesthetic choice but a cultural symbol with meaning. In West African communities, the calabash is used for musical instruments, religious ceremonies, as a kitchen utensil and daily life. By integrating it into the design, Ilori connects the theme to broader cultural practices of community, participation and resilience mirroring the vibrant atmosphere of football matches, where celebration and noise are central.

The instruments within the pavilion are not merely decorative; they are functional. Visitors can engage with the space by playing instruments such as the Kumbengo kora, contributing to the collective symphony. They amplify and reinterpret stadium chants, driving visitors to become active participants in this multisensory immersive experience. This also reinforces the message of collective accountability.

Ilori’s work with the community design project is a continuation of his commitment to public art that challenges and engages communities. His previous installations, like Filtered Rays, the designer’s first permanent installation on the banks of the River Spree in Neukölln have similarly used public spaces to create thought-provoking and visually stunning experiences. The pavilion builds on this legacy, using art and design to foster critical conversations about race, sports and society.

In light of the many issues facing our world today, Ilori's pavilion stands as a beacon of critical reflection and accountability. At a time of heightened negativity and division, the design and interactive elements challenge visitors to confront their actions and consider their roles in perpetuating or combating racism. By creating a space that is both visually striking and emotionally arresting, he prompts us to take meaningful steps towards inclusivity and justice. As we leave the Reflection in Numbers pavilion, we are left to ponder: How can we, as individuals and as a society, take meaningful steps towards accountability and inclusivity in all aspects of life?

The Reflection in Numbers pavilion by Yinka Ilori is open to the public from June 7 - October 31, 2024, at Haus der Kulturen der Welt in Berlin, Germany.