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In his installation the artist brought together hundreds of photographs of human skin culled from pornographic magazines over the past few years. Almost all the distinguishable bodily features had been left out, and only the provocative and sensual aspects were discernible. \u003C\u002Fp>",[1144,1147],{"id":1145,"documentId":1146},1977,"zdml84n79z4zovc3ylutdj33",{"id":1148,"documentId":1149},1978,"epwqg72cwffdeg1qyir34u1h",[1151],{"id":1152,"nationality":288},1247,{"sortKey":1133,"collectiveName":66,"names":509,"id":507,"documentId":508,"annotation":66,"richText":1154,"images":1155,"nationalities":1162},"\u003Cp>Posters at the Maritime Museum Rotterdam\u003C\u002Fp>\u003Cp>The Spanish artist Rogelio López Cuenca manipulated the format of traditional tourism advertisements to depict “boat people,” refugees fleeing by boat, creating a critical statement about the unequal impact of globalization and the “biennialisation” of contemporary art. These posters were exhibited in an iconic place dealing with maritime history, Rotterdam’s Maritime Museum.\u003C\u002Fp>",[1156,1159],{"id":1157,"documentId":1158},2018,"kmvisc80zacqssd3speoxyon",{"id":1160,"documentId":1161},1983,"ug1umnwdccndp6rrh2di7jsm",[1163],{"id":1164,"nationality":203},1261,{"sortKey":1166,"collectiveName":405,"names":66,"id":403,"documentId":404,"annotation":66,"richText":66,"images":1167,"nationalities":1171},"e",[1168],{"id":1169,"documentId":1170},1980,"zvjvj5w3ynt4jh6qrw6vxm2k",[1172],{"id":1173,"nationality":1174},1417,"PT",{"sortKey":1166,"collectiveName":66,"names":433,"id":431,"documentId":432,"annotation":66,"richText":1176,"images":1177,"nationalities":1181},"\u003Cp>Installation at Huis Boevé, Villa Museumpark 9\u003C\u002Fp>\u003Cp>This site-specific installation by Turkish artist Ayse Erkmen consisted of the text \"Oh, what a nicehouse! I wonder who lives there? I must go in and see!\", written onto the outer wall of a 1930smodernist villa designed by Van der Vlugt and owned by Joop van Caldenborgh, one ofRotterdam’s most important art patrons and Chair of Manifesta 1. The text is a quotation takenfrom the fairy taleGoldilocks.It created an ironic undertone referring to the building's modernistarchitecture and its hybrid function as an exhibition space and as a private home.\u003C\u002Fp>",[1178],{"id":1179,"documentId":1180},1840,"kt8l7x6usipnmvtrjyyg4522",[1182],{"id":1183,"nationality":1184},1388,"TR",{"sortKey":1166,"collectiveName":66,"names":425,"id":423,"documentId":424,"annotation":66,"richText":66,"images":1186,"nationalities":1190},[1187],{"id":1188,"documentId":1189},1984,"ztc6f1vtoycdljujxebbbrom",[1191],{"id":1192,"nationality":182},1366,{"sortKey":1166,"collectiveName":66,"names":429,"id":427,"documentId":428,"annotation":66,"richText":1194,"images":1195,"nationalities":1201},"\u003Cp>Working with architect Einar Thorsteinn, the Icelandic artist Olafur Eliasson produced a ready-made dome made of white pentagonal and hexagonal fibreglass panels, originally designed for the exploitation of geothermal energy in Iceland. Inside the dome a fountain pumping jets of water was rhythmically lit by a stroboscope from the former German Democratic Republic, so that the bursts of water appeared to freeze in ever-changing formations.  \u003C\u002Fp>",[1196,1198],{"id":639,"documentId":1197},"d66i9pcink28u9sd5yzubdwu",{"id":1199,"documentId":1200},1987,"ip569ukmbyy75bxix3p7l9p8",[1202],{"id":1203,"nationality":1204},1377,"IS",{"sortKey":1166,"collectiveName":66,"names":461,"id":459,"documentId":460,"annotation":66,"richText":66,"images":1206,"nationalities":1210},[1207],{"id":1208,"documentId":1209},1985,"td4lgkgpdke5cbdp6h87zpo2",[1211],{"id":1212,"nationality":789},1386,{"sortKey":1214,"collectiveName":66,"names":437,"id":435,"documentId":436,"annotation":66,"richText":66,"images":66,"nationalities":1215},"f",[1216],{"id":1217,"nationality":260},1439,{"sortKey":1214,"collectiveName":66,"names":657,"id":655,"documentId":656,"annotation":66,"richText":1219,"images":1220,"nationalities":1227},"\u003Cp>In this installation the heartbeat of the Russian artist Vadim Fishkin was transmitted, in real time, to a streetlight on an outside wall of the museum. A pulsing bulb translated the artist’s heartbeat into a visible message that communicated the artist’s reactions, such as when he became excited, through the pulsing of the light. This installation was a perfect example of a transdisciplinary commissioned project combining art, science and technology.\u003C\u002Fp>",[1221,1224],{"id":1222,"documentId":1223},1988,"goxlnobw90bviojahwt45bah",{"id":1225,"documentId":1226},1989,"o97waztwb1cetshwb8pl6tn1",[1228],{"id":1229,"nationality":274},1411,{"sortKey":1231,"collectiveName":66,"names":453,"id":451,"documentId":452,"annotation":66,"richText":66,"images":1232,"nationalities":1236},"g",[1233],{"id":1234,"documentId":1235},1995,"gbh0ukbm0r0uj87rfht3uoe5",[1237],{"id":1238,"nationality":274},1474,{"sortKey":1231,"collectiveName":66,"names":449,"id":447,"documentId":448,"annotation":66,"richText":1240,"images":1241,"nationalities":1245},"\u003Cp>Installation at Centrum Beeldende Kunst Rotterdam \u002F Villa Ackermann\u003Cbr>\u003Cbr>This collaboration between Scottish artist Douglas Gordon and Thai artist Rirkrit Tiravanija was implemented in a squatted hotel in Witte de Withstraat. Tiravanija’s furniture design was linked to a series of film presentations by Gordon, composed of films censored by the Dutch authorities in the 1920s and 1930s. Visitors were invited to watch these films sitting on beanbags and enjoying drinks in a bar designed by Tiravanija.\u003C\u002Fp>",[1242],{"id":1243,"documentId":1244},1841,"sbgheku0jzcg9penvu39zd6z",[1246],{"id":1247,"nationality":797},1461,{"sortKey":1231,"collectiveName":66,"names":445,"id":443,"documentId":444,"annotation":66,"richText":1249,"images":1250,"nationalities":1263},"\u003Cp>Performance at Centrum Beeldende Kunst Rotterdam\u002FVilla Ackermann\u003Cbr>\u003Cbr>Deaf since the age of ten, the American artist Joseph Grigely created a performance piece based on exchanges with visitors to the gallery. He sat in one of the rooms, ready to engage in conversation with anyone passing by. Using various pens and pencils and papers passed back and forth in these conversations with strangers, he created an archive of writings and scribbles that explored the limits of language\u003C\u002Fp>",[1251,1254,1257,1260],{"id":1252,"documentId":1253},1991,"yfoj1fao0xx29zoafl4h5am6",{"id":1255,"documentId":1256},1992,"lw4j44vovx5162synn0wpd3i",{"id":1258,"documentId":1259},1993,"d85rvfkxqr1ca4a7wicn5oxa",{"id":1261,"documentId":1262},1994,"ufnujofo3x2yc84v7szg8kmw",[1264],{"id":1265,"nationality":1131},1486,{"sortKey":1231,"collectiveName":66,"names":441,"id":439,"documentId":440,"annotation":66,"richText":1267,"images":1268,"nationalities":1272},"\u003Cp>In this installation the German artist Tamara Grcic explored the tension between nature and culture. Suspended from the ceiling in the entrance of the Natural History Museum were four huge pallets packed with hundreds of empty wooden crates, a loading construction typically used in Rotterdam’s cargo harbour. After the biennial, the crates were burned in a large bonfire at Maasvlakte, a massive human-made extension of the Port of Rotterdam.\u003C\u002Fp>",[1269],{"id":1270,"documentId":1271},417,"a9clhtsmzx4x53g95op1vbtm",[1273],{"id":1274,"nationality":182},1483,{"sortKey":1276,"collectiveName":66,"names":457,"id":455,"documentId":456,"annotation":66,"richText":66,"images":1277,"nationalities":1281},"h",[1278],{"id":1279,"documentId":1280},1981,"ipm2rlq3h2s50z53qndcurcd",[1282],{"id":1283,"nationality":182},1502,{"sortKey":1285,"collectiveName":469,"names":66,"id":467,"documentId":468,"annotation":66,"richText":1286,"images":1287,"nationalities":1299},"i","\u003Cp>Mobile sculpture at Museum Boijmans Van Beuningen\u003C\u002Fp>\u003Cp>The migration of ideas is the core subject of this project by Slovenian artist collective IRWIN. In a little car, furnished with four seats and a monitor, visitors could drive to other exhibitions in the museum. At the same time, they could become acquainted with the IRWIN members and with other travelling companions who had sent video-letters from the USA during Manifesta 1. \u003C\u002Fp>",[1288,1291,1294,1297],{"id":1289,"documentId":1290},2001,"dl0nuxblwf5zl0tqb5iil10g",{"id":1292,"documentId":1293},2002,"kjveszqmydh7if66b08nhgci",{"id":1295,"documentId":1296},2003,"agfo9g5atmqhl0u9hppe7wl8",{"id":627,"documentId":1298},"qcai1lj2fonasv1mczoaat2n",[1300],{"id":1301,"nationality":358},1551,{"sortKey":1285,"collectiveName":66,"names":473,"id":471,"documentId":472,"annotation":66,"richText":66,"images":1303,"nationalities":1306},[1304],{"id":631,"documentId":1305},"a0g8ez6sscb5ip4gaudghomq",[1307],{"id":1308,"nationality":797},1550,{"sortKey":1285,"collectiveName":66,"names":549,"id":547,"documentId":548,"annotation":66,"richText":1310,"images":1311,"nationalities":1315},"\u003Cp>Installation shot, Valeri Podoroga and Alexander Izaev. Photo © Manifesta 1 Rotterdam\u003C\u002Fp>",[1312],{"id":1313,"documentId":1314},2033,"cjqhutcgrjsgqalpdnvtwd8m",[1316],{"id":1317,"nationality":274},1546,{"sortKey":1319,"collectiveName":66,"names":477,"id":475,"documentId":476,"annotation":66,"richText":1320,"images":1321,"nationalities":1325},"j","\u003Cp>Wall painting at Kunstinstituut Melly - FKA Witte de With Center for Contemporary Art\u003C\u002Fp>\u003Cp>The Danish artist Henrik Plenge Jakobsen made a wall painting in the shape of a target, painted with primary colours. The statement “Everything is wrong” was placed across the circular target, a quotation from the album of the same name by American musician Moby. This wall painting provided a critical reflection on the political climate of the 1990s. In tandem, a small plane with a banner saying \"No future” flew above Rotterdam during the opening days of the exhibition, a quote from the chorus chant of the Sex Pistols' \u003Ci>God Save the Queen\u003C\u002Fi>.  \u003C\u002Fp>",[1322],{"id":1323,"documentId":1324},2030,"fkx70jgz3gb6ijevuj4eh5vd",[1326],{"id":1327,"nationality":1328},1566,"DK",{"sortKey":1319,"collectiveName":66,"names":653,"id":651,"documentId":652,"annotation":66,"richText":1330,"images":1331,"nationalities":1338},"\u003Cp>Sculptures at Museumpark 9\u003Cbr>\u003Cbr>Inside the modernist villa opposite Boijmans van Beuningen, Korean-French artist Koo Jeong-a made a series of small modelled copies of the same villa from sugar cubes and wooden cigar boxes. Subject to decay due to the use of these fragile materials, the slow melting of the sugar cube sculptures became a metaphor for the historical neglect of modernist architecture.\u003C\u002Fp>",[1332,1335],{"id":1333,"documentId":1334},2008,"rz7r3nqknfz11034a6kbn14w",{"id":1336,"documentId":1337},2009,"xcuacr729xu1st8zo751cjqp",[1339],{"id":1340,"nationality":233},1559,{"sortKey":1319,"collectiveName":66,"names":481,"id":479,"documentId":480,"annotation":66,"richText":1342,"images":1343,"nationalities":1347},"\u003Cp>Photographs at the Kunsthal Rotterdam\u003Cbr>\u003Cbr>The larger-than-life black and white photographs in Polish artist Piotr Jaros’ series \u003Ci>Embracing\u003C\u002Fi> showed people at once ordinary and extraordinary, in a tender relationship with each other, their sexual identity and position undefined. Their staged poses indicated a certain ceremonial purpose though this purpose was not explicit. \u003C\u002Fp>",[1344],{"id":1345,"documentId":1346},2006,"d1esd3fwrp2ua2nop6njd6c2",[1348],{"id":1349,"nationality":1350},1575,"PL",{"sortKey":1319,"collectiveName":66,"names":645,"id":643,"documentId":644,"annotation":66,"richText":66,"images":66,"nationalities":1352},[1353],{"id":1354,"nationality":1355},1570,"MK",{"sortKey":1357,"collectiveName":66,"names":485,"id":483,"documentId":484,"annotation":66,"richText":774,"images":1358,"nationalities":1362},"k",[1359],{"id":1360,"documentId":1361},2007,"j7sd8fyonf6clbhiqhd8lrge",[1363],{"id":1364,"nationality":1365},1615,"HR",{"sortKey":1357,"collectiveName":66,"names":501,"id":499,"documentId":500,"annotation":66,"richText":66,"images":1367,"nationalities":1374},[1368,1371],{"id":1369,"documentId":1370},2014,"l0vsbeqv3xy6yfq3irc0bwrd",{"id":1372,"documentId":1373},2015,"iihx4vjmpm0fqky1xgr0mdy0",[1375],{"id":1376,"nationality":1377},1598,"CZ",{"sortKey":1357,"collectiveName":66,"names":497,"id":495,"documentId":496,"annotation":66,"richText":774,"images":1379,"nationalities":1392},[1380,1383,1386,1389],{"id":1381,"documentId":1382},2011,"eeu04tao6sonqxc3mly82h58",{"id":1384,"documentId":1385},2012,"ev49xmm0wt7jpqltyd8vnxwy",{"id":1387,"documentId":1388},2010,"yef7lyzwpdfo7pnxpuxp2x78",{"id":1390,"documentId":1391},2013,"fplegdsfbjt3dfkl1vazj0au",[1393],{"id":1394,"nationality":382},1599,{"sortKey":1357,"collectiveName":66,"names":489,"id":487,"documentId":488,"annotation":66,"richText":1396,"images":1397,"nationalities":1404},"\u003Cp>Multimedia installation at the café of Museum Boijmans Van Beuningen. Courtesy of Raffaella Cortese Gallery, Milan.\u003C\u002Fp>\u003Cp>South Korean artist Kimsooja used colourful Korean bed coverings which were traditionally given to newly married couples as a promise of long life and happiness. For Manifesta 1, she placed these textiles in a new context, using them to dress all the tables of the restaurant of the Museum Boijmans van Beuningen, where she served homemade traditional Korean food, accompanied by music. \u003C\u002Fp>",[1398,1401],{"id":1399,"documentId":1400},2039,"po4hegxzlqgtisd52nuhwkji",{"id":1402,"documentId":1403},2040,"ktrk4ydr8dgwe53br708a58t",[1405],{"id":1406,"nationality":1407},1594,"KR",{"sortKey":1357,"collectiveName":66,"names":493,"id":491,"documentId":492,"annotation":66,"richText":66,"images":66,"nationalities":1409},[1410],{"id":1411,"nationality":382},1581,{"sortKey":1413,"collectiveName":66,"names":505,"id":503,"documentId":504,"annotation":66,"richText":66,"images":1414,"nationalities":1421},"l",[1415,1418],{"id":1416,"documentId":1417},2016,"bulmfl1m9daj9rpndbcilgx3",{"id":1419,"documentId":1420},2017,"emcnbsn4snladku13s2ydn6x",[1422],{"id":543,"nationality":274},{"sortKey":1424,"collectiveName":66,"names":517,"id":515,"documentId":516,"annotation":66,"richText":774,"images":1425,"nationalities":1432},"m",[1426,1429],{"id":1427,"documentId":1428},2026,"ppu34zye9kzlbjg6que8jpy8",{"id":1430,"documentId":1431},2025,"no7juzdyqlbonaykv8e1jz6z",[1433],{"id":1434,"nationality":1435},1693,"FI",{"sortKey":1424,"collectiveName":66,"names":521,"id":519,"documentId":520,"annotation":66,"richText":66,"images":66,"nationalities":1437},[1438],{"id":1439,"nationality":246},1715,{"sortKey":1424,"collectiveName":66,"names":525,"id":523,"documentId":524,"annotation":66,"richText":1441,"images":1442,"nationalities":1446},"\u003Cp>Installation at Kunstinstituut Melly - FKA Witte de With Center for Contemporary Art\u003C\u002Fp>\u003Cp>Greek artist Jenny Marketou’s work was dominated by the themes of movement and being nomadic. She was concerned with the way in which one’s identity changes according to the landscape, and the degree to which identity is restricted to a particular place. She placed her tent in the gallery and opened it to the public as a visual materialisation of her mobile identity.\u003C\u002Fp>",[1443],{"id":1444,"documentId":1445},2027,"xtonkrxatx7qq8tuqugg93d4",[1447],{"id":1448,"nationality":1449},1725,"GR",{"sortKey":1424,"collectiveName":66,"names":533,"id":531,"documentId":532,"annotation":66,"richText":66,"images":1451,"nationalities":1455},[1452],{"id":1453,"documentId":1454},1973,"u5btu2c7092lxc7drpvdfvj6",[1456],{"id":1457,"nationality":182},1733,{"sortKey":1424,"collectiveName":66,"names":529,"id":527,"documentId":528,"annotation":66,"richText":66,"images":1459,"nationalities":1463},[1460],{"id":1461,"documentId":1462},2028,"v43wj8sucxjbha8sbqzu3m63",[1464],{"id":1465,"nationality":1174},1727,{"sortKey":1424,"collectiveName":66,"names":513,"id":511,"documentId":512,"annotation":66,"richText":1467,"images":1468,"nationalities":1478},"\u003Cp>Project at Centrum Beeldende Kunst Rotterdam and Villa Ackermann\u003C\u002Fp>\u003Cp>The British artist Tracey Mackenna created a participatory “public diary” based on conversations with the public which were recorded on tape and then reproduced as diagrams on the wall. Finally, during the biennale, several excerpts of these conversations were sewn onto blankets. These blankets were later given to shelters for the homeless. \u003C\u002Fp>",[1469,1472,1475],{"id":1470,"documentId":1471},2022,"l6ijn73ziz6x0linqwjn7ray",{"id":1473,"documentId":1474},2023,"x5066c6nrn4kromq1rrj4u09",{"id":1476,"documentId":1477},2024,"hln6nkr7fpqe7xsnucyh6ni7",[1479],{"id":1480,"nationality":797},1703,{"sortKey":1482,"collectiveName":537,"names":66,"id":535,"documentId":536,"annotation":66,"richText":1483,"images":1484,"nationalities":1494},"n","\u003Cp>Programme at Zaal de Unie and Centrum Beeldende Kunst\u003C\u002Fp>\u003Cp>This temporary Rotterdam-based group NEsTWORK, formed for Manifesta, consisted of several artists, a philosopher and a journalist. Their work was an investigation into “the local, the belonging somewhere”, and their intention was to supply practical information and resources to visitors to the city and to create a link between international and local communities. For the period of the biennial they hosted a daily programme in Zaal de Unie and in the documentation centre at Centrum Beeldende Kunst Rotterdam, as well as other events. The name NEsTWORK referred to the networking which linked the nested narratives of people from Rotterdam with the stories of guests from abroad.\u003C\u002Fp>",[1485,1488,1491],{"id":1486,"documentId":1487},2019,"k7p3lc3qxgiqiy5m70p6wyiw",{"id":1489,"documentId":1490},2020,"lte3m3lg17ov3r9w44xh3gtr",{"id":1492,"documentId":1493},2021,"y23qvsamcze5muate505d5wn",[1495],{"id":1496,"nationality":382},1764,{"sortKey":1482,"collectiveName":66,"names":409,"id":407,"documentId":408,"annotation":66,"richText":1498,"images":66,"nationalities":1499},"\u003Cp>Tommi Grönlund and Petteri Nisunen, \u003Ci>Ultrasound Installation\u003C\u002Fi>, 1996 © Petteri Nisunen\u003Cbr>\u003Cbr>Sonic installation at Kunsthal Rotterdam\u003Cbr>\u003Cbr>This large ultrasound installation by the Finnish artist duo Tommi Grönlund and Petteri Nisunen was shown for the first time at Manifesta in the recently opened Rotterdam Kunsthal, designed by Rem Koolhaas. In this work, characterised by high frequency tones which came together between two parabolic reflectors, a powerful sonic environment was generated in order to immerse the visitor in both light waves and sound waves that are otherwise imperceptible. \u003C\u002Fp>",[1500],{"id":1501,"nationality":1435},1846,{"sortKey":1503,"collectiveName":66,"names":421,"id":419,"documentId":420,"annotation":66,"richText":66,"images":66,"nationalities":1504},"o",[1505],{"id":1506,"nationality":1507},1788,"IE",{"sortKey":1503,"collectiveName":66,"names":541,"id":539,"documentId":540,"annotation":66,"richText":774,"images":1509,"nationalities":1513},[1510],{"id":1511,"documentId":1512},1975,"xem2hm37h8eqx6h3a3rntiq6",[1514],{"id":1515,"nationality":1516},1783,"SK",{"sortKey":1503,"collectiveName":66,"names":569,"id":567,"documentId":568,"annotation":66,"richText":1518,"images":66,"nationalities":1519},"\u003Cp>Tobias Rehberger, \u003Ci>Within view of seeing (perspectives and the Prouvé\u003C\u002Fi>, 1998 © Roman Mensing\u003Cbr>\u003Cbr>Boulevard Roosevelt\u003Cbr>\u003Cbr>Opposite the Luxembourg Casino, German artist Tobias Rehberger transformed a prominent platform into a flower garden. The rigid planting structure strongly contrasted the ephemeral character of the arrangements. Seen from above, the flower beds conveyed the idea of a painting and, by placing a bench in the arrangement, it offered visitors a place to rest. \u003C\u002Fp>",[1520],{"id":1521,"nationality":182},1847,{"sortKey":1523,"collectiveName":66,"names":545,"id":543,"documentId":544,"annotation":66,"richText":1524,"images":1525,"nationalities":1532},"p","\u003Cp>Sculpture at Rotterdam’s Natural History Museum  \u003C\u002Fp>\u003Cp>This sculpture by French Vietnamese artist Huang Yong Ping consisted of a model of Schiphol Airport which was to include live insects and other animals. However, animal protection organisations did not agree to this use of live creatures and the model, representing global mobility, had to remain empty at the biennale. The artist decided to include the ‘insect rights’ discussion in printed form, showing the correspondence between the animal rights groups, himself and Manifesta 1.  \u003C\u002Fp>",[1526,1529],{"id":1527,"documentId":1528},1999,"ykf3011voyt2pv9q5kljowu2",{"id":1530,"documentId":1531},2000,"mj3ez10jf8hw3m4c6rda3wco",[1533],{"id":1534,"nationality":233},1803,{"sortKey":1523,"collectiveName":66,"names":561,"id":559,"documentId":560,"annotation":66,"richText":774,"images":1536,"nationalities":1543},[1537,1540],{"id":1538,"documentId":1539},2035,"rbbgz1m8oe8pa7ndqrnqodw4",{"id":1541,"documentId":1542},2034,"bgnbtszwpd8lye1ax4uhmyvc",[1544],{"id":1545,"nationality":382},1839,{"sortKey":1523,"collectiveName":66,"names":557,"id":555,"documentId":556,"annotation":66,"richText":66,"images":66,"nationalities":1547},[1548],{"id":1549,"nationality":1550},1805,"AT",{"sortKey":1523,"collectiveName":66,"names":553,"id":551,"documentId":552,"annotation":66,"richText":66,"images":66,"nationalities":1552},[1553],{"id":1554,"nationality":358},1799,{"sortKey":1556,"collectiveName":66,"names":565,"id":563,"documentId":564,"annotation":66,"richText":66,"images":66,"nationalities":1557},"q",[1558],{"id":575,"nationality":246},{"sortKey":1560,"collectiveName":66,"names":573,"id":571,"documentId":572,"annotation":66,"richText":66,"images":66,"nationalities":1561},"r",[1562],{"id":1563,"nationality":1550},1908,{"sortKey":1565,"collectiveName":585,"names":66,"id":583,"documentId":584,"annotation":66,"richText":1566,"images":1567,"nationalities":1574},"s","\u003Cp>Installation at Kunsthal Rotterdam\u003C\u002Fp>\u003Cp>This Romanian group of artists subREAL constructed an ever-expanding “Art History Archive”, based on the history of Romania under communist dictator Nicolae Ceaușescu. \u003Ci>Datacorridor\u003C\u002Fi> was inspired by the architecture of the new Kunsthal building; the decline and incline of hallways were, from this perspective, analogous to the movements of the world in history. The visitor walking through the corridor was literally surrounded by representations of history in sound and image. \u003C\u002Fp>",[1568,1571],{"id":1569,"documentId":1570},2041,"e6j69bdfr8vr20v539604l6i",{"id":1572,"documentId":1573},2042,"dxpi3t3lfc1d4ntpelr68rj1",[1575],{"id":1576,"nationality":1577},1970,"RO",{"sortKey":1565,"collectiveName":66,"names":581,"id":579,"documentId":580,"annotation":66,"richText":66,"images":1579,"nationalities":1583},[1580],{"id":1581,"documentId":1582},2036,"l4hsod1eu91cx62fxeguqfpi",[1584],{"id":1295,"nationality":1585},"UA",{"sortKey":1565,"collectiveName":66,"names":593,"id":591,"documentId":592,"annotation":66,"richText":66,"images":1587,"nationalities":1591},[1588],{"id":1589,"documentId":1590},2043,"mahl8jousx1723o8lxg2azfd",[1592],{"id":1593,"nationality":789},1962,{"sortKey":1565,"collectiveName":66,"names":589,"id":587,"documentId":588,"annotation":66,"richText":1595,"images":1596,"nationalities":1600},"\u003Cp>Installation at Rotterdam’s Natural History Museum. In the collection of De Vleeshal Middelburg, on a long-term loan to M HKA, Antwerp\u003C\u002Fp>\u003Cp>With the interdisciplinary installation, the Bulgarian artist imagined what would happen if he were to start to live as an ammonite, as a stuffed duck, as a rock crystal, as a snowflake, as the colour spectrum, as the material that the very floor (on which the visitor was standing) is covered with. He observed how “normally, everybody dreams to be “somebody else”,” and proposed that, who knows, with him as an ammonite, a stuffed duck, or a snowflake, he could establish a more suitable relationship with the society around him.\u003C\u002Fp>",[1597],{"id":1598,"documentId":1599},2038,"p48glp2ut65xtrcu26wuctyw",[1601],{"id":1148,"nationality":1602},"BG",{"sortKey":1565,"collectiveName":66,"names":577,"id":575,"documentId":576,"annotation":66,"richText":66,"images":1604,"nationalities":1608},[1605],{"id":1606,"documentId":1607},2037,"grs4nulnwh7w4pa6orbnoy4s",[1609],{"id":1430,"nationality":182},{"sortKey":1611,"collectiveName":66,"names":465,"id":463,"documentId":464,"annotation":66,"richText":1612,"images":1613,"nationalities":1617},"t","\u003Cp>Sculpture at Casino Luxembourg\u003Cbr>\u003Cbr>German artist Carsten Höller’s sculpture consisted of a structure on wheels formed by numerous light bulbs that read the word “Manifesta”. This sculpture was at once a coat rack, a portal and a signpost that could be moved through the exhibition space. Many functions that reflected on the polysemy of contemporary artistic concepts. \u003C\u002Fp>",[1614],{"id":1615,"documentId":1616},2052,"qmy3mir4tp3m7u1wiuloxrs0",[1618],{"id":1619,"nationality":182},2080,{"sortKey":1611,"collectiveName":66,"names":609,"id":607,"documentId":608,"annotation":66,"richText":1621,"images":1622,"nationalities":1626},"\u003Cp>Installation at Museum Boijmans Van Beuningen\u003C\u002Fp>\u003Cp>French artist Didier Trenet created this installation in the patio of the museum.  A decorative model garden was planted around a garden hose that had been carefully positioned in the space. Eventually, when the hose was taken away, an embroidery of grass beds reminiscent of French Baroque gardens appeared. \u003C\u002Fp>",[1623],{"id":1624,"documentId":1625},418,"ydcnwgqqkszzokh600zbv0db",[1627],{"id":1628,"nationality":233},2075,{"sortKey":1611,"collectiveName":66,"names":601,"id":599,"documentId":600,"annotation":66,"richText":66,"images":1630,"nationalities":1634},[1631],{"id":1632,"documentId":1633},2047,"lmj9y66d25d1tg103xhls07l",[1635],{"id":1636,"nationality":1184},2059,{"sortKey":1611,"collectiveName":66,"names":605,"id":603,"documentId":604,"annotation":66,"richText":1638,"images":1639,"nationalities":1646},"\u003Cp>Video at Kunsthal Rotterdam \u003C\u002Fp>\u003Cp>This video by Estonian artist Jaan Toomik reflects on the artist’s personal nomadic experiences. The video depicted the artist on the back deck of the ferry between Tallinn, Estonia and Helsinki, Finland. The artist moved at the rhythm of the engines from the former Eastern Bloc to the free Western world.\u003C\u002Fp>",[1640,1643],{"id":1641,"documentId":1642},2050,"gd78v6wap1s0t1zeewvzkz4y",{"id":1644,"documentId":1645},2051,"akq968effsc3bchn2omjnjb2",[1647],{"id":1648,"nationality":1649},2074,"EE",{"sortKey":1611,"collectiveName":66,"names":597,"id":595,"documentId":596,"annotation":66,"richText":1651,"images":1652,"nationalities":1659},"\u003Cp>Installation at Villa Museumpark 9 \u003C\u002Fp>\u003Cp>Modernist architecture is often meant to express ideas about how people should live or how architecture can improve their lives. The Australian artist Kathy Temin applied these ideas to the design of homes for animals. She showed an \"ideal home\" as an animal shelter and asked the visitors to consider the difference between a “house” and a “home”. \u003C\u002Fp>",[1653,1656],{"id":1654,"documentId":1655},2045,"z2qfz7i7rz6nh8ix0mp10vzn",{"id":1657,"documentId":1658},2046,"zq4u4fonn5botlytp9lgfcpx",[1660],{"id":1661,"nationality":1128},2070,{"sortKey":1611,"collectiveName":66,"names":613,"id":611,"documentId":612,"annotation":66,"richText":66,"images":1663,"nationalities":1670},[1664,1667],{"id":1665,"documentId":1666},2053,"ol03av384yker44gzoiuu54j",{"id":1668,"documentId":1669},2054,"zqez4tosnmuwfw6nyd0q1qqg",[1671],{"id":1606,"nationality":1435},{"sortKey":1611,"collectiveName":66,"names":649,"id":647,"documentId":648,"annotation":66,"richText":1240,"images":1673,"nationalities":1681},[1674,1675,1678],{"id":1243,"documentId":1244},{"id":1676,"documentId":1677},2048,"gw7hjicr0eq1w58kncmajjaf",{"id":1679,"documentId":1680},2049,"cdubjpgovoifv0ma70gbxn0w",[1682],{"id":1683,"nationality":1131},2062,{"sortKey":1611,"collectiveName":66,"names":637,"id":635,"documentId":636,"annotation":66,"richText":66,"images":1685,"nationalities":1689},[1686],{"id":1687,"documentId":1688},2044,"mcna2drlq6d7bqnievujykmu",[1690],{"id":1402,"nationality":797},{"sortKey":1611,"collectiveName":66,"names":617,"id":615,"documentId":616,"annotation":66,"richText":66,"images":1692,"nationalities":1702},[1693,1696,1699],{"id":1694,"documentId":1695},2056,"vf8yvdga7e68v44beeyju2rw",{"id":1697,"documentId":1698},2055,"end4o6zn5g5q1kj1sn619xxj",{"id":1700,"documentId":1701},2057,"m5s4u7nmstt66r3iyra8tizp",[1703],{"id":1615,"nationality":1704},"IL",{"sortKey":1706,"collectiveName":66,"names":625,"id":623,"documentId":624,"annotation":66,"richText":1707,"images":1708,"nationalities":1711},"v","\u003Cp>Installation at the Kunsthal Rotterdam\u003C\u002Fp>\u003Cp>In her installation, the Spanish artist Eulàlia Valldosera investigated the narrative power of everyday objects and daily actions such as eating, sleeping, cleaning and talking. She used dynamic light projections to create cohesion between objects of a different nature. In this way she hoped to reveal a hidden symbolic order of the everyday. \u003C\u002Fp>",[1709],{"id":1636,"documentId":1710},"fy5eo6pfvs5bsppwz84nk03v",[1712],{"id":1713,"nationality":203},2094,{"sortKey":1706,"collectiveName":66,"names":629,"id":627,"documentId":628,"annotation":66,"richText":66,"images":66,"nationalities":1715},[1716],{"id":1717,"nationality":1449},2175,{"sortKey":1706,"collectiveName":66,"names":621,"id":619,"documentId":620,"annotation":66,"richText":66,"images":1719,"nationalities":1723},[1720],{"id":1721,"documentId":1722},2058,"k4bmwtlu7vrt1s3u3r3v27nt",[1724],{"id":1725,"nationality":203},2103,{"sortKey":1727,"collectiveName":66,"names":633,"id":631,"documentId":632,"annotation":66,"richText":1728,"images":1729,"nationalities":1735},"w","\u003Cp>Susann Walder, \u003Ci>Zombie Transit,\u003C\u002Fi> 1992 - 1996 © Manifesta 1\u002FJannes Linders \u003C\u002Fp>\u003Cp>Installation at Kunstinstituut Melly - FKA Witte de With Center for Contemporary Art\u003C\u002Fp>\u003Cp>The Swiss artist Susann Walder filled a space with an overwhelming assortment of brightly-coloured found objects. The room was a reconstruction of the artist’s memories of the underground scene of the City of Zurich as it was in the 1990s, in the run-down area around the city’s train station, before gentrification and redevelopment washed away that community's history and culture. \u003C\u002Fp>",[1730,1733],{"id":1731,"documentId":1732},1845,"gvxbwmwrck748osmxu6a7434",{"id":579,"documentId":1734},"phnne7rpedk10t98x1to0btz",[1736],{"id":1737,"nationality":260},2176,{"sortKey":1739,"collectiveName":66,"names":641,"id":639,"documentId":640,"annotation":66,"richText":66,"images":1740,"nationalities":1746},"y",[1741,1743],{"id":1683,"documentId":1742},"jfedf1enoyznh1nd293ij4lu",{"id":1744,"documentId":1745},2061,"zjjqqo8rz8ngeywaghz96izz",[1747],{"id":1748,"nationality":797},2155,[],{"data":1751,"meta":1752},[],{"pagination":1753},{"page":86,"pageSize":86,"pageCount":1754,"total":1754},0,{"data":1756,"meta":1757},[],{"pagination":1758},{"page":86,"pageSize":86,"pageCount":1754,"total":1754},{"data":1760,"meta":1761},[],{"pagination":1762},{"page":86,"pageSize":86,"pageCount":1754,"total":1754}]