Manifesta purposely strives to keep its distance from what are often seen as the dominant centres of artistic production, instead seeking fresh and fertile terrain for the mapping of a new cultural topography.

Manifesta 13 Marseille was one of the only international biennials to take place during the global pandemic COVID-19, the biennial ended earlier than planned due to the second national lockdown

Arthur Rimbaud, FR

These images testify to Rimbaud’s new existence. Bleached, faded and developed in dirty water, almost half of his seven surviving photographs shot during this 18-month experiment are self-portraits. Two show him on the terrace of his new home and in the banana garden, performing the essence of his new identity in self-imposed exile in Abyssinia (now Ethiopia). They also show his close friend and Greek assistant Constantin Sotiro, the market of Harar and the mausoleum of Cheikh-Ubader. Through these images he comes to see himself as ‘literally an Other, a colonial artefact delivered in altered form back to France.’ ‘I became a skeleton, I’m scary,’ he wrote in a letter from Aden sent on his way to Marseille on the 30th of April 1891.