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This article is about the art event. For the Leeds-based music collective see Manifesta .




Manifesta is a biennial visual art event that began as a Dutchmarker initiative to create a pan-European platform for the contemporary visual arts. Unlike most biennials, Manifesta is held in a different location each time it is held, and the concept of an itinerant event first took shape in Rotterdammarker in 1996, in consultation with a specially appointed International Advisory Board (the forerunner of the present International Foundation), and the support of various national governmental arts organisations and ministries of culture in Europe. The main office of the International Foundation Manifesta, initator of the various editions of the Manifesta Biennial is located in Amsterdammarker, The Netherlandsmarker.

Manifesta developed into a fast growing network for young professionals in Europe and one of the most innovative biennial exhibition programme to be held anywhere. This is due, in no small measure, to its pan-European ambitions and its uniquely nomadic nature. Both the network and the exhibition, with its related activities, are equally important components of this itinerant event. Manifesta offers a platform for emerging artists, on the basis of a networking organisation, which is able to respond flexibly to new artistic, technological and cultural developments. The most obvious aspects of Manifesta's inbuilt flexibility is the fact that a new, pan-European theme or concept is developed on each occasion by a team of outside curators, working in close consultation with representatives of all kind of cultural, social, academic institutions in the host city. In other words, each new edition aims to establish a close dialogue between a specific cultural and artistic situation and the broader context of European visual contemporary art.

Manifesta 1 was held in Rotterdam, The Netherlands in 1996 in 16 different museums and 36 public spaces. A team of five curators, from Barcelonamarker, Budapestmarker, Londonmarker, Moscowmarker, and Parismarker/Zurich, selected 72 artists from 30 different European countries and five from elsewhere. Since then it has been held in Luxembourgmarker (1998), Ljubljanamarker (2000), Frankfurtmarker (2002) and San Sebastianmarker (Spain) in 2004. The event was due to be held in the ethnically-divided city of Nicosiamarker, Cyprus, in 2006 but was cancelled at the last moment. In 2008 Manifesta 7 is taking place in Trentino-Alto Adige/Südtirol, Italy.

The Manifesta biennials and organisation have not operated without controversy. The most notable problem was in 2006 when the event was cancelled in Cyprus. A number of critics of the planned Cyprus event claimed Manifesta was too concerned with gaining sponsorship from big business and government, and not enough with the needs of artists, particularly those in the host country.

Manifesta Editions

Manifesta 1, Rotterdammarker, The Netherlandsmarker, 1996

Manifesta 1 was developed by Hedwig Fijen and Jolie van Leeuwen as the first edition of the Manifesta Biennal.Curated by Andrew Renton, Katalyn Neray, Rosa Martinez, Viktor Misiano and Hans Ulrich Obrist, it was held in 16 different museumsand 36 public spaces in Rotterdammarker, the Netherlandsmarker. All the works displayed at Manifesta 1 were specially made forthis event and many of the participating artists where exhibiting outside their own countries for the first time in theircareer. Many of these artists went on to exhibit extensively in public and commercial galleries in Europe and the US,and to take part in major international events, such as the Venice Biennale and the documenta. A novel aspect of this exhibition – taken onby subsequent editions of Manifesta – was the emphasis given to collaborative work between artists, curators,representatives of different disciplines and the general public. In the months prior to the opening, the curatorial teamresponsible for realizing the exhibition held a series of so called ‘open’ and ‘closed house’ meetings in a dozendifferent cities all over Europe, in which professionals and members of the general public were invited to participate.

Artists Manifesta 1Martin Beck (Austria / USA) • Mila Bredikhina (Russia) • Patrick Van Caeckenbergh (Belgium) • Entertainment & Co • (Portugal) • Mat Collishaw (Great Britain) • Maurice O’Connell (Ireland) • Rogelio López Cuenca (Spain) • Maria Eichhorn (Germany) • Olafur Eliasson (Island) • Ayse Erkmen (Turkey) • Vadim Fishkin (Russia) • Bernhard Fuchs (Switzerland) • Tamara Grcic (Germany) • Joseph Grigely (USA) • Douglas Gordon (Scotland) • Tommi Grönlund (Finland) • Marie-Ange Guilleminot (France) • Dmitri Gutov (Russia) • Jitka Hanzlová (Germany) • Róza El-Hassan (Hungary) • Carl Michael von Hausswolff (Sweden) • Christine Hill (Germany) • Carsten Höller (Germany) • Fabrice Hybert (France) • IRWIN (Slovenia) • Siraj Izhar (Great Britain) • Henrik Plenge Jacobsen (Denmark) • Robert Jankuloski (Macedonia) • Piotr Jaros (Poland) • Koo Jeong-a (France) • Ivana Keser (Croatia) • Soo-Ja Kim (South-Korea) • Suchan Kinoshita (Netherlands) • Oleg Kulik (Russia) • Renée Kool (Netherlands) • Pavel Kopriva (Czech Republic) • Yuri Leiderman (Russia) • Tracy Mackenna (Scotland) • Esko Männikkö (Finland) • Eva Marisaldi (Italy) • Jenny Marketou (Greece) • Roger Meintjes (Portugal) • Regina Möller (Germany) • NEsTWORK (Netherlands) • Petteri Nisunen (Finland) • Roman Ondák (Slovakia) • Huang Yong Ping (France) • Valeri Podoroga (Russia) • Tadej Pogacar (Slovenia) • Mathias Poledna (Austria) • Liza May Post (Netherlands) • Luca Quartana (Italy) • Tobias Rehberger (Germany) • Gerwald Rockenschaub (Austria) • Arsen Savadov (Ukraine) • Pit Schulz (Germany) • Georgy Senchenko (Ukraine) • subREAL (Rumania) • Nedko Solakov (Bulgaria) • János Sugár (Hungary) • Kathy Temin (Australia) • Hale Tenger (Turkey) • Jaan Toomik (Estonia) • Rirkrit Tiravanija (USA) • Didier Trenet (France) • Rosemarie Trockel (Germany) • Mette Tronvoll (Scandinavia) • Uri Tzaig (Israel) • Paco Vacas (Spain) • Eulàlia Valldosera (Spain) • Lydia Venieri (Greece) • Susann Walder (Switzerland) • Sam Taylor-Wood (Great Britain) • Catherine Yass (Great Britain)

Manifesta 2, Luxembourgmarker, 1998

Manifesta 2 was held under the patronage of the Ministry of Culture of Luxembourg, curated by Robert Fleck, MariaLind and Barbara Vanderlinden, and included mostly site-specific work. For the first time, Manifesta included a seriesof international discussions and debates and launched a cumulative ‘Info lab’ (the basis of Manifesta’s present growingarchive), with up-to-date printed and audiovisual material about current artistic tendencies in 30 different Europeancountries. Another innovative feature of Manifesta 2, which has been further developed for Manifesta 3 and 4, was theinvolvement of 30 young people from all over Europe in a training programme specially devised for Manifesta 2 withorganisational and educational purposes. More than 43 European countries participated financially andorganisationally in Manifesta 2, contributing, for example, to the curators’ and artists’ travel costs and other expensesrelated to transport and additional activities. The exhibition catalogue contained information about the infrastructure forcontemporary visual art in approximately 30 European countries.

Artists Manifesta 2Eija-Liisa Ahtila (Finland) • Kutlug Ataman (Turkey) • Orla Barry (Great Britain) • Emese Benczúr (Hungary) • Christine Borland (Scotland) • Eriks Bozis (Latvia) • Maurizio Cattelan (Italy) • Alicia Framis (Netherlands) • Dora Garcia (Netherlands / Belgium) • Dr. Galentin Gatev (Bulgaria) • Dominique Gonzales-Foerster (France) • Felix Gonzales-Torres (USA) • Carsten Höller (Germany) • Pierre Huyghe (France) • Sanja Ivekovic (Croatia) • Inessa Josing (Estonia) • Kristof Kintera (Czech Republic) • Elke Krystufek (Austria) • Peter Land (Denmark) • Maria Lindberg (Sweden) • Michel Majerus (Germany) • Bjarne Melgaard (Norway / Australia) • Deimantas Narkevicius (Lithuania) • Fanni Niemi-Junkola (Finland) • Honoré ’O (Belgium) • Boris Ondreicka (Slovakia) • Tanja Ostojic (Jugoslavia) • Marko Peljhan (Slovenia) • Dan Perjovschi (Rumania) • Franz Pomassl (Austria) • Antoine Prum (Luxembourg) • Tobias Rehberger (Germany) • Jeroen de Rijke / Willem de Rooij (Netherlands) • Bojan Sarcevic (France) • Eran Schaerf (Germany / Belgium) • Tilo Schulz (Germany) • Nebojsa Soba Seric (Bosnia) • Ann-Sofi Sidén (USA / Sweden) • Andreas Slominski (Germany) • Sean Snyder (Germany) • Apolonija Sustersic (Slovenia / Netherlands) • Sarah Sze (USA) • Bert Theis (Italy) • Piotr UklánskiGitte Villesen (Denmark) • Richard Wright (Scotland)

Manifesta 3, Ljubljanamarker, Sloveniamarker, 2000

For Manifesta 3 the work by artists, artists’ collectives, urban planners and architects was spread over three mainvenues. For the first time, Manifesta received press coverage in the United States of America, but no less importantwas the high proportion of visitors from neighbouring countries in East and South-East Europe. Another brand newinitiative was to give the exhibition a theme, which the curatorial team (Francesco Bonami, Ole Bouman, MariaHlavajova and Kathrin Rhomberg) named Borderline Syndrome. Energies of Defence. In order to support the subjectthey were exploring they also solicited catalogue contributions not only from a wide range of Slovenian and foreignintellectuals (philosophers, historians and sociologists among others), but also from the general public. The cataloguehas turned today into a collector’s item. The nature of the events in Ljubljana reflected the thriving intellectual life of thecity and the relevance of interdisciplinary practice in the arts – particularly, the crossover between visual art, cinemaand performance, and interaction with new media.

Artists Manifesta 3Gruppo A12 (Italy) • Adel Abdessemed (France) • Pawel Althamer (Poland) • Rasmus Knud & Søren Andreasen (Denmark) • Maja Bajevic (Bosnia) • Simone Berti (Italy) • Ursula Biemann (Switzerland) • Roland Boden (Germany) • Agnese Bule (Lithuania) • Nayia Frangouli & Yane Calovski (Great Britain / USA) • Phil Collins (Northern Ireland) • Joost Conijn (Netherlands) • Josef Dabernig (Austria) • Colin Darke (Northern Ireland) • Michael Elmgreen & Ingar Dragset (Denmark) • FAT: S. GriffithsC. HollandS. Jacob (Great Britain) • Urs Fischer (Great Britain / Switzerland) • Marcus Geiger (Austria) • Amit Goren (Israel) • Veli Granö (Finland) • Pravdoliub Ivanov (Bulgaria) • Ivana Jelavic (Croatia) • Daniel Jewesbury (Northern Ireland) • Selja Kameric (Bosnia) • Ian Kiaer (Great Britain) • Koo Jeong-a (France) • Edward Krasinski (Poland) • Darij Kreuh (Slovenia) • Denisa Lehocká (Slovakia) • Alexander Melkonyan (Armenia) • Matthias Müller (Germany) • Paul Noble (Great Britain) • Anton Olshvang (Russia) • Roman Ondák (Slovakia) • Anatoly Osmolovsky (Russia) • Adrian Paci (Albania / Italy) • Manfred Pernice (Germany) • Diego Perrone (Italy) • Susan Philipsz (Northern Ireland) • Marjetica Potrc (Slovenia) • Arturas Raila (Lithuania) • Anri Sala (Albania / France) • Bülent Sangar (Turkey) • Sanna Sarva (Finland) • Tomo Savic-Gecan (Netherlands / Croatia) • Schie 2.0: J.KoningsT.MattonL.Verweij (Netherlands) • Ene-Liis Semper (Estonia) • Stalker (Italy) • Simon J. Starling (Scotland) • Skart:D. ProsticM.PosticT.MoracaP. de BruyneD. Balmazovic (Jugoslavia) • Nika Span (Slovenia / Germany) • Nasrin Tabatabai (Netherlands) • Sarah Tripp (Scotland) • Francisco Tropa (Portugal) • Joëlle Tuerlinckx (Belgium) • Sisley Xhafa (Italy) • Gregor Zivic (Austria) • Jasmila Zbanic (Bosnia)

Manifesta 4, Frankfurtmarker, Germanymarker, 2002

Manifesta 4 took place in more than 15 venues and urban sites in the city of Frankfurt/Main and more than a dozentheoreticians played a major role in site-related workshops, discussions and programmes. The three female curatorsIara Boubnova, Nuria Enguita Mayo and Stephanie Moisdon Trembley created an extensive digital and physicalManifesta archive that resulted from their extensive travel, a library called ‘Trespassing Space’ and a Manifesta onlineproject called e-manifesta.org. On this occasion, Manifesta 4 incorporated the support of more than 16 sponsors andnon-profit organisations, as well as the direct support through artist’s projects by more than 40 national artsorganisations.

Artists Manifesta 40100101110101101.orgHalil Altindere (Turkey) • Daniel García Andújar (Spain) • Apsolutno (Yugoslavia) • Ibon Aranberri (Spain) • Olivier Bardin (France) • Yael Bartana (Israel) • Massimo Bartolini (Italy) •Marc Bijl (Netherlands) • Pierre Bismuth (France) • Bleda y Rosa (Spain) • Elisabetta Benassi (Italy)• BLESSLionel BovierLuchezar Boyadjiev (Bulgaria) • Fernando Bryce (Peru) • Gerard Byrne (Ireland) • Roberto Cuoghi (Italy) • Jonas Dahlberg (Sweden) • Kathy DeepwellDagmar DemmingBranislav DimitrijevicEsra ErsenJon Mikel Euba (Spain) • Jeanne Faust (Germany) • João FernandesZlatan Filipovic (Sarajevo, Bosnia and Hercegovina) • Finger (Berlin) • Christoph Fink (Belgium) • Nina Fischer & Maroan El Sani (Germany/Germany) • Dirk Fleischmann (Germany) •Andreas Fogarasi (Austria) • Luke Fowler (Great Britain) • Andrea Geyer (Germany) • Alonso GilGudmundsdottir (Iceland) • Alban Hajdinaj (Albania) • Lise Harlev (Denmark) • Institut für Kulturanthropologie und Europäische Ethnologie (Germany) • Jens Hoffmann (in collaboration with Natascha Sadr Haghighian & Tino SehgalTakehito Koganezawa (Japan) • Erden KosovaAndreja Kuluncic (Yugoslavia) • Antal Lakner (Hungary) • Franck LarcadeAnton Litvin (Russia) • Gintaras MakareviciusJán Mancuska (Slovakia) • Mathieu Mercier (France) • Suzana MilevskaGianni Motti (Italy) • Ivan MoudovOliver Musovik (Macedonia) • Nina Fischer & Maroan el Sani (Germany/Germany) • Olivier NottelletOHIO PhotomagazineMaria Papadimitriou (Greece) • Florian Pumhösl (Austria) • Tobias Putrih (Slovenia) • Radek GroupSal Randolph (USA) • Revolver Archiv für aktuelle Kunst (Germany) • Gianni RomanoROR Revolutions on Request (Finland) • rraum-rraum02-ideoblast (Germany) • Pia Rönicke (Denmark) Natascha Sadr HaghighianHedwig SaxenhuberHans Schabus (Austria) • Tino SeghalKalin Serapionov (Bulgaria) • Bruno Serralongue (France) • Erzen ShkololliSancho Silva (Portugal) • Monika Sosnowska (Poland) • Laura Stasíulytë (Lithuania) • Mika Taanila (Finland) • The Construction & Deconstruction Institute (Netherlands) • Nomeda & Gediminas Urbonas (Lithuania) • Jasper van den Brink (The Netherlands) • Edin Vejselovic Edo (Macedonia) •wemgehoertdiestadtMåns Wrange (Sweden) • Haegue Yang (Korea)• Jun Yang (China) • Zapp (The Netherlands) • Artur Zmijewski

Manifesta 5, Donostia-San Sebastianmarker, Spainmarker, 2004

The Basque region – one of a specific dynamic historical and socio-political background – has a strong sense ofcultural and political identity and a determination to develop coherent cultural policies. This attitude together with itsgeographical position in Southern Europe made Donostia-San Sebastianmarker a perfect location for the 5th edition ofManifesta, as curated by Massimiliano Gioni and Marta Kuzma. At the time of M5, one of Manifesta's long-termstrategic aims was to achieve a stronger North-South balance, in addition to the already existing East-West balance inall aspects of its activities, including location, board members, curatorial teams and artistic representation. Oneparticularly innovative program within the Biennale was Manifesta 5’s long-lasting partnership with the post-graduate Berlage Institute Rotterdam in The Netherlands, functioning as an urban mediator at the biennale and as a collaboration between architects and artists, exploring how contemporary art practices is extending in the reality of architecture andurban planning. TOOAUP

Artists Manifesta 5Bas Jan Ader (Netherlands) • Victor Alimpiev and Sergey Vishnevsky (Russia) • Huseyin Alptekin (Turkey) Micol Assaël (Italy) • Sven Augustijnen (Belgium) • Zbynûk Baladrán (Czech Republic) • John Bock (Germany) • Michaël Borremans (Belgium) • Sergey Bratkov (Russia) Carlos Bunga (Portugal) • Duncan Campbell (Great Britain) • Cengis Çekil (Turkey) • Illya Chichkan and Kyrill Protsenko (Ukraine) • D.A.E. (Peio Aguirre and Leire Vergara) • Jan de Cock (Belgium) • Angela de la Cruz (Spain) • Jeremy Deller (Great Britain) • Andrea Faciu (Romania) • Iñaki Garmendia (Spain) • Geert Goiris (Belgium) • Kim Hiorthøy (Norway) • Laura Horelli (Finland) • Külli Kaats (Estonia) • Johannes Kahrs (Germany) • Leopold Kessler (Austria) • Mark Leckey (Great Britain) • Maria Lusitano (Portugal) • Mark Manders (Netherlands) • Asier Mendizabal (Spain) • Boris Mikhailov (Ukraine) • Oksana PasaikoAnu Pennanen (Finland) • Garrett Phelan (Ireland) • Kirsten Pieroth (Germany) • Paola Pivi (Italy) • Office of Alternative Urban Planning (Verónica Arcos, José Arnaud, Sannah Belzer, Sebastián Khourian, Claudia Strahl, Mónica Villate, Constanze Zehi) • Marc Quer (France) • Daniel Roth (Germany) • Michael Sailstorfer (Austria) • Silke Schatz (Germany) • Markus Schinwald (Austria) • Conrad Shawcross (Great Britain) • Eyal Sivan and Michel Khleifi (Israel/ Palestine) • Hito Steyerl (Germany) • Misha Stroj (Slovenia) • Patrick Tuttofuoco (Italy) • Vangelis Vlahos (Greece) • Gillian Wearing (Great Britain) • Amelie von Wulffen (Germany) • Cathy Wilkes (Scotland) • Yevgeniy Yufit (Russia) • Olivier Zabat (France) • David Zink Yi (Peru) • Darius Ziura (Lithuania)

Manifesta 6, Nicosiamarker, Cyprusmarker, 2006.

As their project for Manifesta 6, the curatorial team of Mai Abu ElDahab, Anton Vidokle and Florian Waldvogel intended to use the capital, network and infrastructure of Manifestaalong with the local resources to start an experimental art school. The school, bi-communal and international incomposition, was to be formed around a site-specific exhibition materialized through short and long-term residencyprograms resulting in a production of a number of new works and events in Nicosiamarker, and might have gone on tobecome a permanent institution. Manifesta 6 was cancelled three months before the opening.

Manifesta 7, Trentino-Alto Adige/Südtirol, Italymarker, 2008



In 2008 for the first time Manifesta will take place not in a city but in a whole region: Trentino-Alto Adige/Südtirol, Italy. The area has been selected for its historical heritage, its artistic and cultural facilities and especially for its striking examples of industrial archaeology buildings, which are linked to the work history and the progressive industrialisation of the territory.

Locations Manifesta 7
Ex-Alumix, Via Volta 11, Bolzanomarker, ItalyThe Rest of Now'The extraction of value from any material, place, thing or person, involves a process of refinement. During this process, the object in question will undergo a change in state, separating into at least two substances: an extract and a residue. With respect to residue: it maybe said it is that which never finds its way into the manifest narrative of how something (an object, a person, a state, or a state of being) is produced, or comes into existence. It is the accumulation of all that is left behind, when value is extracted... There are no histories of residue, no atlases of abandonment, no memoirs of what a person was but could not be. (Raqs: With Respect to Residue, 2005)Raqs Media Collective

Artists at the exhibition or featured in the accompanying print publication:

David Adjaye, Stefano Bernardi, Kristina Braein, Yane Calovski, Candida TV, contemporary culture index, Neil Cummings and Marysia Lewandowska, Harold de Bree, Latifa Echakhch, Marcos Chaves , etoy.CORPORATION , Anna Faroqhi, Ivana Franke, Matthew Fuller, Francesco Gennari, Ranu Ghosh, Rupali Gupte and Prasad Shetty, Anawana Haloba in collaboration with Francesca Grilli, Graham Harwood, Nikolaus Hirsch & Michel Müller, Hiwa K, Emre Hüner, Helen Jilavu, Sanjay Kak, Zilvinas Kempinas, Reinhard Kropf and Siv Helene Stangeland, Anders Krueger, Lawrence Liang, Charles Lim Yi Yong, m-city, Teresa Margolles, Walter Niedermayr, Jorge Otero-Pailos, Martin Pichlmair, Piratbyrån, Jaime Pitarch, Prof. Bad Trip, Katerina Šedá, Dayanita Singh, TEUFELSgroup, Meg Stuart, Melati Suryodarmo , Jörgen Svensson, Hansa Thapliyal, Alexander Vaindorf, Judi Werthein, Graham Harwood Richard Wright, Matsuko Yokokoji, Darius Ziura, Irina Aristarkhova, Ursula Biemann, Ingrid Book and Carina Hedén, Espen Sommer Eide, Lakhmi Chand Kohli, Anders Kreuger, Ove Kvavik, J Robert Lennon, Lawrence Liang, Daniel Magnusson, Christien Meindertsma, Naeem Mohaiemen, Jeffrey Schnapp, Ravi Sundaram, Jeet Thayil, Cédric Vincent, and others.

Franzensfestemarker, Fortezza, Italy"Projected Scenarios"The project entitled Projected Scenarios aims to transform the spectacular backdrop of Franzensfestemarker/Fortezza into a scripted space with voice recordings, text, light and landscape in order to alter our idea of how imaginary scenarios shape our understanding of past and future, circumstance and possibility. Projected Scenarios will be an ‘immaterial’ exhibition, that attempts to shift the site of the exhibition to the imagination of the listening visitor. Writers from all over the world contribute texts to “Projected Scenarios”, especially developed for this context. These texts reflect the processes of scenario production and imaginative possibility itself. As voice recordings, the texts are individually installed as sound works in the repetitive interior spaces of the fortress, in an architectural setting characterised by the absence of its historical users and the scenarios they were once part of.Adam Budak, Anselm Franke/Hila Peleg, Raqs Media Collective

"Contributors"Shahid AminHélène BinetBrave New AlpsAdriana CavareroMladen DolarHarun FarockiMartino GamperKarø GoldtLarry GottheimRenée GreenAnt HamptonHannes HoelzlTimo KahlenKarl KelsThomas MeineckeGlen NeathMargareth ObexerPhilippe RahmArundhati RoySaskia SassenMichael SnowSaadi Youssef

Rovereto, Ex-Peterlini, Mannifatturi Tabacchi,“Principle Hope”The exhibition (and beyond) project developed by Adam Budak’s Manifesta 7 curatorial unit is focused on mapping and analysing the (cultural and political) ecology of space and its public-ness. As such it aims at elaborating provisional (exhibition) strategies and critical (discursive) services that would be leading towards ANOTHER (gentle manifesto for) public space.The notion of “critical regionalism” (as introduced by architectural theorist, Kenneth Frampton) functions as a blackboard where the reconsideration of the vernacular takes place and a renewed vocabulary of trans-locality is articulated. Such idea which identifies a public space as an area of multiple values exchange focuses on investigating (public) discourse’s “proper” place, between a plurality of definitions and precarious temporariness of public matters. A variety of qualities and economies will be at stake: from the “proper” space (property) via “legal” space (ownership and legality) down to autonomous space (emancipation) towards the precise mapping of the “peculiarities of a particular place”.Adam Budak

Alterazioni Video, Michelangelo Antonioni, Knut Åsdam, Bernadette Corporation, Margrét H. Blöndal, Michal Budny, BURGHARD, Nina Canell, Libia Castro & Ólafur Ólafsson, Claire Fontaine, Oskar Dawicki, Evelina Deicmane, Rä di Martino, Miklós Erhardt and Little Warsaw, Igor Eskinja, Tim Etchells, fabrics interseason, Famed, Didier Fiuza Faustino, João Maria Gusmão + Pedro Paiva, Heide Hinrichs, Heidrun Holzfeind, Runa Islam, Ricardo Jacinto, Ragnar Kjartansson, Barbora Klímová, Daniel Knorr, Adam Leech, Deborah Ligorio, Miks Mitrevics, Christian Philipp Müller, Ewa Partum, Gianni Pettena, Riccardo Previdi, Philippe Rahm, Pamela Rosenkranz, Janek Simon, Luca Trevisani, Tatiana Trouvé, Uqbar Foundation, Guido van der Werve, Nico Vascellari, Danh Vo, Johannes Vogl, Stephen Willats, ZimmerFrei

Trento, Palazzo delle Poste, ItalyThe Soul (or, Much Trouble in the Transportation of Souls)This project proposes to examine today’s Europe not as an expanding geopolitical entity but in regard to the engineering of its psyche or soul. Trento, the city of the historic Council of Trent and of this part of Manifesta 7, provides the immediate background for the project. As an archeology of reversals between inside and outside, self and other, individual and collective, “The Soul” follows the historical turning-inwards of the expansionist boundaries of European modernity and suggests that the production, mobilization, and representationof the inner self is a final frontier, a last outside. Here the soul is not understood or treated as fact but as a cultural object, an allegory for social relations shaped by ideas and techniques of power. Much like the “discovery” of a continent, these techniques have produced and invented an entity they declared to map objectively. And yet this entity, the psyche—if only as the difference between material and immaterial, body and mind, object and subject—has never been entirely contained by positivist science. Its properties (emotion, memory, imagination, fantasy, self-consciousness) remain haunted by its own otherness, a minefield of displacements.Anselm Franke / Hila Peleg

ArtistsNader AhrimanMaria Thereza AlvesJimmie DurhamMichael TaussigTamy Ben-TorBeth CampbellFabio CampolongoMarcus CoatesPeter CoffinKeren CytterJos De GruyterHarald ThysMassimiliano & Gianluca De SerioBrigid DohertyOmer FastPeter FriedlStefano GrazianiTom HolertClaudia HoneckerKarl HolmqvistHannah HurtzigJoachim KoesterAndree KorpysMarkus LöfflerKuehnMalvezziDaria MartinAngela MelitopoulosXisco MensuaValérie MréjenRabih MrouéAndreas MüllerSina Najafi Rosalind NashashibiLuigi OntaniRia PacquéeBernd RibbeckPietro RoccasalvaRoee RosenChristoph RuckhäberleNatascha Sadr HaghighianFlorian SchneiderEyal SivanJosef StrauJavier TellezAlthea ThaubergerAnn-Mie Van KerckhovenBarbara VisserKlaus WeberEyal Weizman.

Manifesta 8, Murciamarker, Spainmarker, 2010

In a press-release, the International Foundation Manifesta announced that "the next biennial would be held as a "dialogue" with North African countries. By including North Africa in the European festival, Manifesta is making a comment on migration and the increasing porousness of boundaries in an age of shortage."

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