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Antufiev worked in collaboration with pastor Martin Rüsch. \u003Ci>Eternal Garden\u003C\u002Fi> was inspired by a quote in the Bible comparing the transience of human life to the wilting\u2028of a flower. The artist was compelled by the oblique connections formed when species are named after deceased famous figures. He adorned the Wasserkirche with bowls of roses named after literary greats, and paid homage to Vladimir Nabokov with  a giant rendering of a butterfly suspended from the ceiling, a reference to the writer’sother respected career as a lepidopterist.\u003C\u002Fp>",[1694],{"id":1695,"documentId":1696},1270,"qh3g8px78wn05pbnooe3z7ev",[1698],{"id":1699,"nationality":274},1103,{"sortKey":1691,"collectiveName":66,"names":405,"id":403,"documentId":404,"annotation":66,"richText":1701,"images":1702,"nationalities":1706},"\u003Cp>The title of this project played on the words “embassy” and “Imbisse” which are food stands on the streets of Zurich.  Artist John Arnold’s concept was to create a fusion between popular take-away dishes sold on streets of Zurich and recipes from menus of historic state dinners found in the Swiss Office of Protocol and the Federal Archives in Bern. The new versions were created by Michelin-starred chef Fabian Spiquel and prepared and served in the kitchens of Zurich's \u003Ci>Imbisse - \u003C\u002Fi>food stand international embassies\u003Ci>.\u003C\u002Fi>\u003C\u002Fp>",[1703],{"id":1704,"documentId":1705},1271,"c8aui9mq6ojklvib6v9e1b78",[1707],{"id":1708,"nationality":1709},1138,"AT",{"sortKey":1711,"collectiveName":66,"names":409,"id":407,"documentId":408,"annotation":66,"richText":1712,"images":1713,"nationalities":1729},"b","\u003Cp>The Belgian artist Guillaume Bijl transformed a gallery, Grieder Contemporary, into a dog salon together with dog stylist Jacqueline Meier. This work is part of the artist’s\u003Ci>Transformation installations \u003C\u002Fi>series which he began in the 1970s, when he issued a manifesto calling for the abolition of art centres. Since then, he has transformed many galleries into utilitarian spaces such as a casino or a hospital, offering “socially relevant” services.\u003C\u002Fp>",[1714,1717,1720,1723,1726],{"id":1715,"documentId":1716},1272,"z86mgw51iwawrbbi2fkwr39v",{"id":1718,"documentId":1719},1273,"v791hcdrwygd2vvg9czpe4kp",{"id":1721,"documentId":1722},1274,"oqjgt1heyntvblcdv1d0mvs5",{"id":1724,"documentId":1725},1275,"k87l5ghlr88l97q9cu5s2wsz",{"id":1727,"documentId":1728},1276,"u0ae17ykutb6qfcdauogz76q",[1730],{"id":1731,"nationality":288},1307,{"sortKey":1711,"collectiveName":66,"names":413,"id":411,"documentId":412,"annotation":66,"richText":1733,"images":1734,"nationalities":1753},"\u003Cp>\u003Ci>80,000 kg human sludge, wood, acrylic paint, exhibited at Migros Museum of Contemporary Art\u003C\u002Fi>\u003C\u002Fp>\u003Cp>The city of Zurich has a population of 400,000 people, and on average produces 80 tons of human sludge per day. For his contribution to Manifesta 11, Artist Mike Bouchet collaborated with the city’s sewage treatment facility to make a sculpture out of one day’s worth of citizens’ feacal waste. The final sculpture, titled The Zurich Load, was composed of 252 hand pressed blocks, and measured 8 meters wide and over 30 meters long. The particular dimensions and scale were specific to the site, as the shape and form was in relation to the museums load capacity of 500 kilograms per square meter. The work even had its own ventilation system.\u003C\u002Fp>",[1735,1738,1741,1744,1747,1750],{"id":1736,"documentId":1737},1277,"wr8vk6t5p8yhdvvfx6sx2d8x",{"id":1739,"documentId":1740},1278,"kwchof1zw0urckfbyejxr34x",{"id":1742,"documentId":1743},1279,"cusny6lhgvp31wcsgx9wlm8b",{"id":1745,"documentId":1746},1280,"u9i90szmb8mic045a9ou9ca4",{"id":1748,"documentId":1749},1281,"g4hldfrsaklev44hk9kgrfn5",{"id":1751,"documentId":1752},1282,"jyn1bxd7k2pg3hh54ojktq0b",[1754],{"id":1755,"nationality":1756},1309,"US",{"sortKey":1758,"collectiveName":66,"names":421,"id":419,"documentId":420,"annotation":66,"richText":1759,"images":1760,"nationalities":1773},"c","\u003Cp>This project by the Turkish artist Asli Çavuşoğlu explored the link between landscape and nationalist narratives by amassing a collection of utopian paintings of Swiss landscapes from antique stores and flea markets. The paintings were examined and X-rayed by art conservator Evren Kıvançer who then used restoration techniques to remove layers of varnish, revealing what lay beneath the surface.\u003C\u002Fp>",[1761,1764,1767,1770],{"id":1762,"documentId":1763},1289,"q8f3zk3o86lnvmau543k28s8",{"id":1765,"documentId":1766},1286,"qi7obosq4pg105j30fjjzs0t",{"id":1768,"documentId":1769},1287,"hp5spwlzd5uqh6c6dd0gw9b1",{"id":1771,"documentId":1772},1290,"tonef53yeuarezfkj7scnoxx",[1774],{"id":1742,"nationality":1775},"TR",{"sortKey":1758,"collectiveName":66,"names":429,"id":427,"documentId":428,"annotation":66,"richText":66,"images":1777,"nationalities":1793},[1778,1781,1784,1787,1790],{"id":1779,"documentId":1780},1294,"mznqr2uypx740j6limybowol",{"id":1782,"documentId":1783},1295,"yvwrls4b1vi0r7udp92hyj14",{"id":1785,"documentId":1786},1296,"uonxcb8sl15wzn18pdhdi9v9",{"id":1788,"documentId":1789},1297,"ao4fcjdnnpt1enetnw02q8no",{"id":1791,"documentId":1792},1298,"pdzn4y198zrdrvt88ipjs5ef",[1794],{"id":1795,"nationality":203},1322,{"sortKey":1758,"collectiveName":66,"names":425,"id":423,"documentId":424,"annotation":66,"richText":1797,"images":1798,"nationalities":1808},"\u003Cp>The Czech artist Matyáš Chochola worked with the Thai boxing champion Azem Maksutaj at his gym in Winterthur, near Zurich. “It is hard to imagine an artist and a fighter getting on, but we were drawn to each other in a strange way, like magnets. Sport is at the edge of performance; the psychological aspects are the same,” the artist says. Azem Maksutaj’s fourteen wins as Muay Thai world champion reflect years of spiritual training as well as perfecting punches and kicks. In this work Matyáš Chochola detects a quality of devotion that is intrinsic to both martial and visual arts practice, and trace the stories latent in sports equipment and punching bags into sculptural intervention marked with the efforts and experiences of the people who have used them.\u003C\u002Fp>",[1799,1802,1805],{"id":1800,"documentId":1801},1291,"uae72vdi8raqgr520vuu570n",{"id":1803,"documentId":1804},1292,"qg3re8bxiatune42u9us101d",{"id":1806,"documentId":1807},1293,"t4zgsqtnu21udfsatdw4h0vt",[1809],{"id":1810,"nationality":1811},1243,"CZ",{"sortKey":1758,"collectiveName":66,"names":417,"id":415,"documentId":416,"annotation":66,"richText":1813,"images":1814,"nationalities":1821},"\u003Cp>\u003Ci>Performance on  Lake Zürich, collaboration with paralympic sporter Edit Wolf-Hunkeler\u003C\u002Fi>\u003C\u002Fp>\u003Cp>Italian artist Maurizio Cattelan made a magic wheelchair glide across the surface of Lake Zurich, bringing to mind the iconography of Jesus walking on water. In the hot seat was the renowned Paralympian, Edith Wolf-Hunkeler, who made an unannounced appearance throughout the duration of Manifesta 11.\u003C\u002Fp>",[1815,1818],{"id":1816,"documentId":1817},1580,"ivio7ico2yt0qfwkajl3mzx0",{"id":1819,"documentId":1820},1581,"iynqolimpdfkol7oju93sgze",[1822],{"id":1823,"nationality":246},1244,{"sortKey":1825,"collectiveName":66,"names":433,"id":431,"documentId":432,"annotation":66,"richText":66,"images":1826,"nationalities":1830},"f",[1827],{"id":1828,"documentId":1829},1299,"etk8nyqh072hnq4kp5azfaxr",[1831],{"id":1832,"nationality":182},1430,{"sortKey":1834,"collectiveName":66,"names":441,"id":439,"documentId":440,"annotation":66,"richText":1835,"images":1836,"nationalities":1849},"g","\u003Cp>The relationship between female orgasm and the fantasies behind masturbation are the focus of this project by artist Hungarian Andrea Éva Győri. The artist took part in a practical course run by sexologist Dr Dania Schiftan, which dealt with both the physical and psychological levels of achieving orgasm. In private sessions in her subjects’ homes in Zurich, the artist invited women to masturbate while she drew them or illustrated their fantasies.\u003C\u002Fp>",[1837,1840,1843,1846],{"id":1838,"documentId":1839},1301,"pxn03ns1gam0nx1j92kygpqp",{"id":1841,"documentId":1842},1304,"vtg9qzm04lzc2wmfj5z35hpu",{"id":1844,"documentId":1845},1305,"bj2uyfcstyuw2ehx53t9k9od",{"id":1847,"documentId":1848},1306,"mk46144v629ztpe1srwvsf77",[1850],{"id":1259,"nationality":1851},"HU",{"sortKey":1853,"collectiveName":66,"names":449,"id":447,"documentId":448,"annotation":66,"richText":66,"images":1854,"nationalities":1863},"h",[1855,1858,1861],{"id":1856,"documentId":1857},1313,"kvfxsqithg7s7onqj5glrmew",{"id":1859,"documentId":1860},1314,"ehuy35u2chkya7zktq93ojqm",{"id":431,"documentId":1862},"mig0802wax7we62ti53lmpn9",[1864],{"id":1865,"nationality":233},1506,{"sortKey":1853,"collectiveName":66,"names":445,"id":443,"documentId":444,"annotation":66,"richText":1867,"images":1868,"nationalities":1871},"\u003Cp>For Manifesta 11 Mexican artist Pablo Helguera created a satirical criticism of the art world through his \u003Ci>Artoons\u003C\u002Fi>, comic illustrations that were presented as a mural in the corridors of Löwenbräukunst. The \u003Ci>Artoons\u003C\u002Fi> were also printed in the weekly supplement Das Magazin.\u003C\u002Fp>",[1869],{"id":1755,"documentId":1870},"sc70cppowcnj6wj62zeo353c",[1872],{"id":1873,"nationality":1874},1630,"MX",{"sortKey":1876,"collectiveName":66,"names":457,"id":455,"documentId":456,"annotation":66,"richText":1877,"images":1878,"nationalities":1890},"k","\u003Cp>This complex kinetic sculpture resulted from a collaboration between  American artist Jon Kessler and Officine Panerai’s master watchmaker Adriano Toninelli. It was driven by the tiny tourbillon mechanism  inside a watch that was specially designed by Toninelli.  The miniature movement of the tourbillon was transferred through cylindrical zoetropes up to a neon sign that read “the world is a cuckoo clock”.\u003C\u002Fp>",[1879,1882,1885,1887],{"id":1880,"documentId":1881},1320,"yjs1gd2jekfjl1b6bpghckgl",{"id":1883,"documentId":1884},1321,"x9v4eixnzas0ovdgbwctk9do",{"id":1795,"documentId":1886},"zain80yveo0hogmhl9a5wbck",{"id":1888,"documentId":1889},1323,"ppff47w8if14tp6k71d0ygfw",[1891],{"id":1892,"nationality":1756},1585,{"sortKey":1894,"collectiveName":66,"names":453,"id":451,"documentId":452,"annotation":66,"richText":66,"images":1895,"nationalities":1908},"l",[1896,1899,1902,1905],{"id":1897,"documentId":1898},1316,"vfbw1kdzxm2ut856d19n5ae1",{"id":1900,"documentId":1901},1317,"ja23uxmp7w4glh999xmmj3qq",{"id":1903,"documentId":1904},1318,"dfneuzg8lcn3ozdaya2m9l76",{"id":1906,"documentId":1907},1319,"a458v93e1eq4f8dtagv0ipmb",[1909],{"id":1910,"nationality":203},1648,{"sortKey":1894,"collectiveName":66,"names":461,"id":459,"documentId":460,"annotation":66,"richText":66,"images":1912,"nationalities":1922},[1913,1916,1919],{"id":1914,"documentId":1915},1324,"usrb1psl03gis1n2h6exepjm",{"id":1917,"documentId":1918},1325,"jlm0viv2s0pl7fpnromm4kw1",{"id":1920,"documentId":1921},1326,"jt8cdmrvf1f9zozqjxtlivqf",[1923],{"id":1924,"nationality":1756},1640,{"sortKey":1926,"collectiveName":66,"names":465,"id":463,"documentId":464,"annotation":66,"richText":1927,"images":1928,"nationalities":1938},"m","\u003Cp>Video installation at Hotel Rothaus\u003C\u002Fp>\u003Cp>Mexican artist Teresa Margolles’s initial plan was to stage a poker game between Sonja Victoria Vera Bohórquez, a sex worker from Zurich, and transgender sex workers from Mexico. However, after one of her Mexican collaborators was murdered in December 2015 and another was imprisoned, Margolles filmed the poker game in Ciudad Juarez instead.  The video was shown in the space in Zurich which remained empty in commemoration.\u003C\u002Fp>",[1929,1932,1935],{"id":1930,"documentId":1931},1327,"qivz2ucs6mfz13m303pnkr36",{"id":1933,"documentId":1934},1328,"a20s727mm2esdcxer26blnbp",{"id":1936,"documentId":1937},1329,"vm6qxoj1340erqikztvxx3a5",[1939],{"id":1940,"nationality":1874},1701,{"sortKey":1942,"collectiveName":66,"names":469,"id":467,"documentId":468,"annotation":66,"richText":1943,"images":1944,"nationalities":1950},"n","\u003Cp>Audio visual installation at Helmhaus and Literargymnasium Rämibühl\u003C\u002Fp>\u003Cp>The starting point for this project was the Israeli artist Shelly Nadashi’s translation of a poem taken from Ovid’s \u003Ci>Amores\u003C\u002Fi>, selected and translated in collaboration with high school teacher Margaretha Debrunner. The selected poem is a eulogy to a pet parrot, and in homage Nadashi created an immersive installation of papier-mâché birds, eggs and a nest that provided the setting for an audio play set to automated lights.\u003C\u002Fp>",[1945,1947],{"id":439,"documentId":1946},"oymv9vvui9l2ux14z8qb0gzi",{"id":1948,"documentId":1949},1331,"i62qdvy8sv5w7ytfja5x06ep",[1951],{"id":483,"nationality":1952},"IL",{"sortKey":1954,"collectiveName":66,"names":473,"id":471,"documentId":472,"annotation":66,"richText":66,"images":1955,"nationalities":1962},"r",[1956,1959],{"id":1957,"documentId":1958},1332,"wnvif6dybat2qoades18fv97",{"id":1960,"documentId":1961},1333,"d0xnrstktqe270aphqkjqgb0",[1963],{"id":499,"nationality":1964},"CA",{"sortKey":1954,"collectiveName":66,"names":477,"id":475,"documentId":476,"annotation":66,"richText":1966,"images":1967,"nationalities":1971},"\u003Cp>Norwegian artist Torbjørn Rødland was hosted by dentist Danielle Heller Fontana, who gave him permission to photograph her at work. While Zurich’s highly regarded dental surgeon aspired to create perfect smiles through precision and technical expertise, this project was occupied with less practical associations, exploring the subject of teeth as a symbol for intuitive fears and irrational anxieties.\u003C\u002Fp>",[1968],{"id":1969,"documentId":1970},1334,"okd31mp83nijum05itw6w5l1",[1972],{"id":1973,"nationality":1974},1879,"NO",{"sortKey":1976,"collectiveName":66,"names":481,"id":479,"documentId":480,"annotation":66,"richText":1977,"images":1978,"nationalities":1982},"s","\u003Cp>This video by Greek artist served as a reflection on the relationship between the artist and a banker working in international finance. The artist engaged the banker Josephin Varnholt in a couple of dance routines based on the “efforts\" developed by the choreographer Rudolf von Laban, who created a system for understanding the more subtle characteristics of movement with respect to inner intention. The video was exhibited inside a structure made of concrete, pictures, texts, and several presentations inside the Bank Julius Baer, where bankers and employees were invited to participate.\u003C\u002Fp>",[1979],{"id":1980,"documentId":1981},1335,"cy0vryrt4trxy2etqd74suxj",[1983],{"id":712,"nationality":1984},"GR",{"sortKey":1976,"collectiveName":66,"names":485,"id":483,"documentId":484,"annotation":66,"richText":1986,"images":1987,"nationalities":1994},"\u003Cp>In this installation German artist Marco Schmitt explored the conflict between freedom and security. He recreated Luis Buñuel’s surreal masterpiece \u003Ci>El ángel exterminador\u003C\u002Fi> substituting all the characters with police officers. Though law enforcement is perhaps the last thing some people would associate with absurdism, the film reveals how symbolic the rules of law and order truly are.\u003C\u002Fp>",[1988,1991],{"id":1989,"documentId":1990},1338,"w7ijnaecg5y80pmlbwqpo1ef",{"id":1992,"documentId":1993},1339,"vnmz3uxl0tmtb66922uwu8fy",[1995],{"id":705,"nationality":182},{"sortKey":1976,"collectiveName":66,"names":489,"id":487,"documentId":488,"annotation":66,"richText":1997,"images":1998,"nationalities":2008},"\u003Cp>Visitors to the Helmhaus found the museum surrounded by sandbags, that universally recognisable feature of an emergency. The windows and entrances are sealed off, leaving only two controlled access points, while the riverside bristled with barbed wire. Santiago Sierra worked with a private security company to assess the building’s vulnerabilities and to ensure it is physically safe. “Imagine this building was not in Zurich, but in Syria or Iraq,” suggests the artist. A time-lapse video installation at Sierra’s satellite showed the transformation of the Helmhaus into a protected building.\u003C\u002Fp>",[1999,2002,2005],{"id":2000,"documentId":2001},1340,"fyxkydz3n3l4c75a3z918mjl",{"id":2003,"documentId":2004},1341,"xo1921n8qpzyp2hxkw0pi4gr",{"id":2006,"documentId":2007},1342,"sbdun454daj677d45ez2lijq",[2009],{"id":2010,"nationality":203},1950,{"sortKey":1976,"collectiveName":66,"names":493,"id":491,"documentId":492,"annotation":66,"richText":2012,"images":2013,"nationalities":2020},"\u003Cp>Swiss artist Una Szeemann undertook hypnotherapy to analyse her intentions which she envisaged in the form of a seed. She then created objects inspired from that image.  In the video, a psychotherapist talked about the process and a psychoanalyst discussed the objects. By integrating different states of consciousness into the creative process, this project explored alternative sources of inspiration.\u003C\u002Fp>",[2014,2017],{"id":2015,"documentId":2016},1343,"vvk8l4af4ncqm6s9uuxcuj56",{"id":2018,"documentId":2019},1344,"ooeoldfxyrl14mogjbnn79w7",[2021],{"id":2022,"nationality":260},1976,{"sortKey":2024,"collectiveName":66,"names":497,"id":495,"documentId":496,"annotation":66,"richText":2025,"images":2026,"nationalities":2033},"t","\u003Cp>The Dutch artist Jennifer Tee chose to work with an undertaker in creating this installation in a room at Enzenbühl cemetery. The work explored the relationship between mind and matter, body and soul and the transition between the physical materiality of a corpse and disembodied memory. It included sculptures, photographs and ethnographic objects from different cultures used in rituals surrounding death and burial.\u003C\u002Fp>",[2027,2030],{"id":2028,"documentId":2029},1345,"jr6h11mmyetpdyeqovffvx30",{"id":2031,"documentId":2032},1347,"pjrew5nm94y83417xwg84y4o",[2034],{"id":2035,"nationality":382},2057,{"sortKey":2024,"collectiveName":66,"names":501,"id":499,"documentId":500,"annotation":66,"richText":66,"images":2037,"nationalities":2047},[2038,2041,2044],{"id":2039,"documentId":2040},1349,"l0vl2n1ibugjedewb4n1q8pt",{"id":2042,"documentId":2043},1348,"whdkcp4vcrdk6e3lhggws5p2",{"id":2045,"documentId":2046},1350,"m2xglcph6onfpf3khyjdwkha",[2048],{"id":2049,"nationality":1851},2067,{"sortKey":2024,"collectiveName":66,"names":437,"id":435,"documentId":436,"annotation":66,"richText":66,"images":2051,"nationalities":2055},[2052],{"id":2053,"documentId":2054},1300,"cyk6igo56jusqnfpi3urnzwr",[2056],{"id":2057,"nationality":1874},2088,{"sortKey":2059,"collectiveName":66,"names":505,"id":503,"documentId":504,"annotation":66,"richText":2060,"images":2061,"nationalities":2068},"v","\u003Cp>For this project German artist Jorinde Voight was inspired by Jean-Jacques Rousseau’s description of drifting in a rowing boat on a lake as a condition of total freedom. She reflected on this vision in a drawing inspired by a 1920s racing boat. The boat itself and the drawing, similar in dimension, were included in her installation.  Studies for the drawing could be found at the boat-building house where the boat was constructed.\u003C\u002Fp>",[2062,2065],{"id":2063,"documentId":2064},1351,"h5oyyclo1ibvllo49j2az0ez",{"id":2066,"documentId":2067},1353,"abm3wmcjqcfolr97pfn2bdwh",[2069],{"id":2070,"nationality":182},2092,{"sortKey":2072,"collectiveName":66,"names":509,"id":507,"documentId":508,"annotation":66,"richText":2073,"images":2074,"nationalities":2084},"w","\u003Cp>\u003Ci>Costume design at Park Hyatt Hotel & Löwenbräukunst\u003C\u002Fi>\u003C\u002Fp>\u003Cp>For Manifesta 11, German artist Franz Erhard Walther collaborated with a Zurich textile developer to create a garment out of the dense, robust cotton fabric called \u003Ci>Deutschleder\u003C\u002Fi>. The orange half-vests he designed appeared exotic in everyday life, though they were not eccentrically costume-like. Employees of the Park Hyatt Hotel wore this design on top of their normal uniforms for the duration of the biennale, framing them as part of a sculptural project, while going about their work at the same time.\u003C\u002Fp>",[2075,2078,2081],{"id":2076,"documentId":2077},1357,"nj5lkeck0y8yh4sizrytfr3a",{"id":2079,"documentId":2080},1356,"bjgkwn2ouebxsz5zxwupdvwb",{"id":2082,"documentId":2083},1355,"vrr22bh6kkhjdgx8qtfd1pi6",[2085],{"id":2086,"nationality":182},2127,{"sortKey":2088,"collectiveName":66,"names":513,"id":511,"documentId":512,"annotation":66,"richText":66,"images":2089,"nationalities":2099},"x",[2090,2093,2096],{"id":2091,"documentId":2092},1360,"r7hd8zgqqnu1k4wu9vgj09vc",{"id":2094,"documentId":2095},1358,"blbocpwil4rvje1jdyy9222d",{"id":2097,"documentId":2098},1359,"guernbbof5w01mh84u4ns6f1",[2100],{"id":2101,"nationality":2102},2142,"CN",[],{"data":2105,"meta":2106},[],{"pagination":2107},{"page":86,"pageSize":86,"pageCount":2108,"total":2108},0,{"data":2110,"meta":2119},[2111],{"id":206,"documentId":2112,"title":2113,"locale":8,"publicationCategory":2114,"localizations":2118},"fkqprq1eafgrrs5i2u2in1s6","Manifesta 11 Final Report",{"id":119,"documentId":2115,"title":2116,"titlePlural":2117},"xjouupyct4po9ve8nwfj8v9n","Final Report","Final Reports",[],{"pagination":2120},{"page":86,"pageSize":86,"pageCount":58,"total":58},{"data":2122,"meta":2123},[],{"pagination":2124},{"page":86,"pageSize":86,"pageCount":2108,"total":2108}]