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at Musée d'Histoire de la Ville de Luxembourg\u003C\u002Fp>\u003Cp>This installation by Estonian artist Eriks Bozis consisted of light boxes with photographs depicting decorative details of the rooms of the Musée d'Histoire de la Ville de Luxembourg. 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The journey, as well as the various problems caused by the technical failures of the vehicles, were filmed for this installation and projected  in an underground car park together with a mannequin of a perpetually rotating priest seated on a motorcycle. \u003C\u002Fp>",[1403],{"id":1404,"name":1405,"alternativeText":66,"caption":1377,"width":1378,"height":1379,"formats":1406,"hash":1417,"ext":700,"mime":703,"size":1418,"url":1419,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1420,"updatedAt":1421,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1422,"documentId":1423,"publishedAt":745},2261,"A.M2.10.ex.1.png",{"xsmall":1407,"thumbnail":1412},{"ext":700,"url":1408,"hash":1409,"mime":703,"name":1410,"path":66,"size":1411,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_10_ex_1_e2502248c2.png","xsmall_A_M2_10_ex_1_e2502248c2","xsmall_A.M2.10.ex.1.png",153.99,{"ext":700,"url":1413,"hash":1414,"mime":703,"name":1415,"path":66,"size":1416,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_10_ex_1_e2502248c2.png","thumbnail_A_M2_10_ex_1_e2502248c2","thumbnail_A.M2.10.ex.1.png",95.47,"A_M2_10_ex_1_e2502248c2",231.82,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_10_ex_1_e2502248c2.png","2023-12-08T10:22:21.896Z","2023-12-08T10:22:30.925Z",{"en-US":1377},"nob5rf7ji8qggho8b623whzx",[1425],{"id":463,"nationality":1426},"BG",[],{"sortKey":1371,"id":427,"documentId":428,"names":429,"collectiveName":66,"annotation":66,"richText":1429,"locale":8,"images":1430,"nationalities":1453,"localizations":1457},"\u003Cp>Sound installation at C.P.C.A.\u003C\u002Fp>\u003Cp>Dutch\u002FSpanish artist Dora Garcia's installation consisted of various elements including a table, a chair and a recorder-amplifier. The artist recorded all the sounds from a previous music performance and combined them with the sounds of the exhibition space. The result became a kind of background music that blended the elements of the artist’s memory with surrounding elements. \u003C\u002Fp>",[1431],{"id":1432,"name":1433,"alternativeText":66,"caption":1434,"width":1378,"height":1379,"formats":1435,"hash":1446,"ext":700,"mime":703,"size":1447,"url":1448,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1449,"updatedAt":1450,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1451,"documentId":1452,"publishedAt":745},2260,"A.M2.09.ex.1.png","Dora García, DJ Los muertos, 1998. Photo © Roman Mensing",{"xsmall":1436,"thumbnail":1441},{"ext":700,"url":1437,"hash":1438,"mime":703,"name":1439,"path":66,"size":1440,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_09_ex_1_c1ac3fafb8.png","xsmall_A_M2_09_ex_1_c1ac3fafb8","xsmall_A.M2.09.ex.1.png",108.49,{"ext":700,"url":1442,"hash":1443,"mime":703,"name":1444,"path":66,"size":1445,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_09_ex_1_c1ac3fafb8.png","thumbnail_A_M2_09_ex_1_c1ac3fafb8","thumbnail_A.M2.09.ex.1.png",67.5,"A_M2_09_ex_1_c1ac3fafb8",199.59,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_09_ex_1_c1ac3fafb8.png","2023-12-08T10:21:25.563Z","2023-12-08T10:21:34.370Z",{"en-US":1434},"qbot88o02z57u9r9mzgpopum",[1454,1455],{"id":778,"nationality":382},{"id":1456,"nationality":288},1470,[],{"sortKey":1371,"id":435,"documentId":436,"names":437,"collectiveName":66,"annotation":66,"richText":1459,"locale":8,"images":1460,"nationalities":1483,"localizations":1486},"\u003Cp>Installation at Casino Luxembourg\u003C\u002Fp>\u003Cp>This installation by French artist Dominique Gonzalez-Foerster represented a space designed for living and watching films, formed by a curtain, a carpet, a television… This space served to question the relationship between fictitious and domestic space. The recreated domestic space became fictitious, while the films on display were largely autobiographical.  \u003C\u002Fp>",[1461],{"id":1462,"name":1463,"alternativeText":66,"caption":1464,"width":1378,"height":1379,"formats":1465,"hash":1476,"ext":700,"mime":703,"size":1477,"url":1478,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1479,"updatedAt":1480,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1481,"documentId":1482,"publishedAt":745},2259,"A.M2.11.ex.1.png","Dominique Gonzalez-Foerster, Home Cinema Lux, 1998. Photo © Roman Mensing",{"xsmall":1466,"thumbnail":1471},{"ext":700,"url":1467,"hash":1468,"mime":703,"name":1469,"path":66,"size":1470,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_11_ex_1_0cfddab6e2.png","xsmall_A_M2_11_ex_1_0cfddab6e2","xsmall_A.M2.11.ex.1.png",125.08,{"ext":700,"url":1472,"hash":1473,"mime":703,"name":1474,"path":66,"size":1475,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_11_ex_1_0cfddab6e2.png","thumbnail_A_M2_11_ex_1_0cfddab6e2","thumbnail_A.M2.11.ex.1.png",76.33,"A_M2_11_ex_1_0cfddab6e2",222.77,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_11_ex_1_0cfddab6e2.png","2023-12-08T10:20:32.721Z","2023-12-08T10:20:43.335Z",{"en-US":1464},"mtwr8p66wz051y8bd0b6tvgf",[1484],{"id":1485,"nationality":233},1487,[],{"sortKey":1488,"id":571,"documentId":572,"names":573,"collectiveName":66,"annotation":66,"richText":1489,"locale":8,"images":1490,"nationalities":1543,"localizations":1546},"h","\u003Cp>Installation at Musée national d'histoire et d'art\u003C\u002Fp>\u003Cp>For the entrance hall of the Musée national d'histoire et d'art, Belgian artist Honoré d'O constructed a voluminous site-specific sculpture consisting of objects and collages made of plastic tubes. Visitors could rearrange the objects by using the mobile elements fixed on the central platform, which served to question the notion of sculpture. \u003C\u002Fp>",[1491,1514],{"id":1492,"name":1493,"alternativeText":66,"caption":1494,"width":1379,"height":880,"formats":1495,"hash":1507,"ext":1133,"mime":1136,"size":1508,"url":1509,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1510,"updatedAt":1511,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1512,"documentId":1513,"publishedAt":745},515,"A.M2.25.ex.1.jpg","Honoré d'O, Script for the treasurer, 1998 © Roman Mensing ",{"xsmall":1496,"thumbnail":1502},{"ext":1133,"url":1497,"hash":1498,"mime":1136,"name":1499,"path":66,"size":1500,"width":1501,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_25_ex_1_6b1fbc8717.jpg","xsmall_A_M2_25_ex_1_6b1fbc8717","xsmall_A.M2.25.ex.1.jpg",18.07,212,{"ext":1133,"url":1503,"hash":1504,"mime":1136,"name":1505,"path":66,"size":1506,"width":212,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_25_ex_1_6b1fbc8717.jpg","thumbnail_A_M2_25_ex_1_6b1fbc8717","thumbnail_A.M2.25.ex.1.jpg",5.88,"A_M2_25_ex_1_6b1fbc8717",74.19,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_25_ex_1_6b1fbc8717.jpg","2023-08-14T20:40:29.681Z","2023-10-03T17:46:40.817Z",{"en-US":1494},"g8xftn8hqd6e1fbs29g2gd0n",{"id":1515,"name":1516,"alternativeText":66,"caption":66,"width":1517,"height":1518,"formats":1519,"hash":1537,"ext":1133,"mime":1136,"size":1538,"url":1539,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1540,"updatedAt":1540,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1541,"documentId":1542,"publishedAt":745},516,"A.M2.25.ex.2.jpg",1780,1164,{"small":1520,"xsmall":1526,"thumbnail":1531},{"ext":1133,"url":1521,"hash":1522,"mime":1136,"name":1523,"path":66,"size":1524,"width":712,"height":1525},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_A_M2_25_ex_2_d078ac91f8.jpg","small_A_M2_25_ex_2_d078ac91f8","small_A.M2.25.ex.2.jpg",87.02,589,{"ext":1133,"url":1527,"hash":1528,"mime":1136,"name":1529,"path":66,"size":1530,"width":730,"height":1163},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_25_ex_2_d078ac91f8.jpg","xsmall_A_M2_25_ex_2_d078ac91f8","xsmall_A.M2.25.ex.2.jpg",14.99,{"ext":1133,"url":1532,"hash":1533,"mime":1136,"name":1534,"path":66,"size":1535,"width":736,"height":1536},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_25_ex_2_d078ac91f8.jpg","thumbnail_A_M2_25_ex_2_d078ac91f8","thumbnail_A.M2.25.ex.2.jpg",150.33,811,"A_M2_25_ex_2_d078ac91f8",288.77,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_25_ex_2_d078ac91f8.jpg","2023-08-14T20:40:31.408Z",{"en-US":66},"sx9lu1tzupz42h2ktmfbsyc8",[1544],{"id":1545,"nationality":288},1497,[],{"sortKey":1488,"id":443,"documentId":444,"names":445,"collectiveName":66,"annotation":66,"richText":1548,"locale":8,"images":1549,"nationalities":1572,"localizations":1575},"\u003Cp>Sculpture at Casino Luxembourg\u003C\u002Fp>\u003Cp>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>",[1550],{"id":1551,"name":1552,"alternativeText":66,"caption":1553,"width":1378,"height":1379,"formats":1554,"hash":1565,"ext":700,"mime":703,"size":1566,"url":1567,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1568,"updatedAt":1569,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1570,"documentId":1571,"publishedAt":745},2263,"A.M2.13.ex.1.png","Carsten Höller, Joining forces, 1998. Photo © Roman Mensing",{"xsmall":1555,"thumbnail":1560},{"ext":700,"url":1556,"hash":1557,"mime":703,"name":1558,"path":66,"size":1559,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_13_ex_1_47cbefff3f.png","xsmall_A_M2_13_ex_1_47cbefff3f","xsmall_A.M2.13.ex.1.png",155.84,{"ext":700,"url":1561,"hash":1562,"mime":703,"name":1563,"path":66,"size":1564,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_13_ex_1_47cbefff3f.png","thumbnail_A_M2_13_ex_1_47cbefff3f","thumbnail_A.M2.13.ex.1.png",95.95,"A_M2_13_ex_1_47cbefff3f",278.98,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_13_ex_1_47cbefff3f.png","2023-12-08T10:25:21.123Z","2023-12-08T10:25:29.846Z",{"en-US":1553},"mk8acregc43dtfh1co9ez2o4",[1573],{"id":1574,"nationality":182},1508,[],{"sortKey":1488,"id":447,"documentId":448,"names":449,"collectiveName":66,"annotation":66,"richText":1577,"locale":8,"images":66,"nationalities":1578,"localizations":1581},"\u003Cp>Pierre Huyghe, \u003Ci>Dialogue avec un produit de consommation\u003C\u002Fi>, 1998 © Roman Mensing\u003C\u002Fp>\u003Cp>Mixed media installation at National Museum of History and Art\u003C\u002Fp>\u003Cp>In \u003Ci>Dialogue avec un produit de consommation\u003C\u002Fi>, French artist Pierre Huyghe filmed a French personality during his sleep for three hours. While the reference to Andy Warhol's famous film Sleep, seemed obvious, the artist was mainly concerned with how cinematographic aesthetics have been engraved in our optical subconscious, critically analysing film image.\u003C\u002Fp>",[1579],{"id":1580,"nationality":233},1515,[],{"sortKey":1583,"id":451,"documentId":452,"names":453,"collectiveName":66,"annotation":66,"richText":1584,"locale":8,"images":1585,"nationalities":1629,"localizations":1633},"i","\u003Cp>Installation at the Musée national d'histoire et d'art and Musée d'Histoire de la Ville de Luxembourg\u003C\u002Fp>\u003Cp>On the glass front of the Musée d'Histoire de la Ville de Luxembourg, Croatian artist Sanja Ivecović marked the names of twenty women who, for the duration of Manifesta 2, had to spend their days in shelters for abused women in Zagreb and Luxembourg. Inside the museum, the artist installed casts of these women’s faces along with their personal life stories. \u003C\u002Fp>",[1586,1608],{"id":1587,"name":1588,"alternativeText":66,"caption":1589,"width":1378,"height":1379,"formats":1590,"hash":1601,"ext":700,"mime":703,"size":1602,"url":1603,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1604,"updatedAt":1605,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1606,"documentId":1607,"publishedAt":745},2264,"A.M2.15.ex.2.png","Sanja Ivecović, Women's Room \u002F Fraënhaus Project, 1998. Photo © Roman Mensing",{"xsmall":1591,"thumbnail":1596},{"ext":700,"url":1592,"hash":1593,"mime":703,"name":1594,"path":66,"size":1595,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_15_ex_2_903c82c76b.png","xsmall_A_M2_15_ex_2_903c82c76b","xsmall_A.M2.15.ex.2.png",125.84,{"ext":700,"url":1597,"hash":1598,"mime":703,"name":1599,"path":66,"size":1600,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_15_ex_2_903c82c76b.png","thumbnail_A_M2_15_ex_2_903c82c76b","thumbnail_A.M2.15.ex.2.png",75.62,"A_M2_15_ex_2_903c82c76b",301.26,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_15_ex_2_903c82c76b.png","2023-12-08T10:28:10.852Z","2023-12-08T10:28:30.642Z",{"en-US":1589},"eb75sg28uo8zcpiggeebqsie",{"id":1609,"name":1610,"alternativeText":66,"caption":1589,"width":1378,"height":1379,"formats":1611,"hash":1622,"ext":700,"mime":703,"size":1623,"url":1624,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1625,"updatedAt":1626,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1627,"documentId":1628,"publishedAt":745},2265,"A.M2.15.ex.1.png",{"xsmall":1612,"thumbnail":1617},{"ext":700,"url":1613,"hash":1614,"mime":703,"name":1615,"path":66,"size":1616,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_15_ex_1_a56f5d2818.png","xsmall_A_M2_15_ex_1_a56f5d2818","xsmall_A.M2.15.ex.1.png",167.84,{"ext":700,"url":1618,"hash":1619,"mime":703,"name":1620,"path":66,"size":1621,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_15_ex_1_a56f5d2818.png","thumbnail_A_M2_15_ex_1_a56f5d2818","thumbnail_A.M2.15.ex.1.png",102.52,"A_M2_15_ex_1_a56f5d2818",293.96,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_15_ex_1_a56f5d2818.png","2023-12-08T10:28:12.257Z","2023-12-08T10:28:35.873Z",{"en-US":1589},"omfmnes9dz142125j89wf8f2",[1630],{"id":1631,"nationality":1632},1541,"HR",[],{"sortKey":1635,"id":455,"documentId":456,"names":457,"collectiveName":66,"annotation":66,"richText":1636,"locale":8,"images":66,"nationalities":1637,"localizations":1641},"j","\u003Cp>Inessa Josing, \u003C\u002Fp>\u003Cp>\u003Ci>Healthy window\u003C\u002Fi>, 1998 © Roman Mensing\u003Cbr>Installation at Café Bella Vita\u003C\u002Fp>\u003Cp>\u003Ci>Sale is uniting people\u003C\u002Fi>, 1998 © Roman Mensing\u003Cbr>Installation at la Bourse\u003C\u002Fp>\u003Cp>\u003Ci>What must I do to be saved?,\u003C\u002Fi> 1998© Roman Mensing\u003Cbr>Installation at l’Epoque\u003C\u002Fp>\u003Cp>Relying on her skills as a window dresser, Estonian artist Inessa Josing staged interventions in store windows throughout Luxembourg city. With the consent of each owner she used merchandise meant for sale and rearranged the mannequins in order to tackle topics such as sexuality, religion and politics. \u003C\u002Fp>",[1638],{"id":1639,"nationality":1640},1576,"EE",[],{"sortKey":1643,"id":463,"documentId":464,"names":465,"collectiveName":66,"annotation":66,"richText":1644,"locale":8,"images":66,"nationalities":1645,"localizations":1649},"k","\u003Cp>Elke Krystufek, \u003Ci>I am your mirror\u003C\u002Fi>, 1997\u002F98 © Roman Mensing\u003C\u002Fp>\u003Cp>Photographs and video installation at Musée national d'histoire et d'art\u003C\u002Fp>\u003Cp>\"I am your mirror\" consisted of a few hundred photographs the Austrian artist took of herself throughout the years. This large body of work faced the Canadian artist Ken Lum's work with mirrors. The third part of this project was a video of a self-portrait of Krystufek's previous stay in Luxembourg. \u003C\u002Fp>",[1646],{"id":1647,"nationality":1648},1584,"AT",[],{"sortKey":1643,"id":459,"documentId":460,"names":461,"collectiveName":66,"annotation":66,"richText":1651,"locale":8,"images":1652,"nationalities":1703,"localizations":1707},"\u003Cp>Installation at Casino Luxembourg \u003C\u002Fp>\u003Cp>While ordinary electronic appliances are designed to enhance the quality and practicality of everyday life, the Czech artist’s animal-like electronic creations fulfilled no particular reason. This contradiction made the viewer concentrate on those characteristics that are not related to tangible usefulness. \u003C\u002Fp>",[1653],{"id":1654,"name":1655,"alternativeText":66,"caption":1656,"width":1657,"height":1658,"formats":1659,"hash":1696,"ext":1133,"mime":1136,"size":1697,"url":1698,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1699,"updatedAt":1700,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1701,"documentId":1702,"publishedAt":745},526,"Spotrebice galerie.jpg","Krištof Kintera, I live with 'it' and 'it' lives with me, 1998 © Roman Mensing",4151,2803,{"large":1660,"small":1666,"medium":1672,"xlarge":1678,"xsmall":1684,"thumbnail":1690},{"ext":1133,"url":1661,"hash":1662,"mime":1136,"name":1663,"path":66,"size":1664,"width":706,"height":1665},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Spotrebice_galerie_41e66a94a0.jpg","large_Spotrebice_galerie_41e66a94a0","large_Spotrebice galerie.jpg",714.97,1634,{"ext":1133,"url":1667,"hash":1668,"mime":1136,"name":1669,"path":66,"size":1670,"width":712,"height":1671},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Spotrebice_galerie_41e66a94a0.jpg","small_Spotrebice_galerie_41e66a94a0","small_Spotrebice galerie.jpg",91.42,608,{"ext":1133,"url":1673,"hash":1674,"mime":1136,"name":1675,"path":66,"size":1676,"width":718,"height":1677},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Spotrebice_galerie_41e66a94a0.jpg","medium_Spotrebice_galerie_41e66a94a0","medium_Spotrebice galerie.jpg",387.99,1242,{"ext":1133,"url":1679,"hash":1680,"mime":1136,"name":1681,"path":66,"size":1682,"width":724,"height":1683},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Spotrebice_galerie_41e66a94a0.jpg","xlarge_Spotrebice_galerie_41e66a94a0","xlarge_Spotrebice galerie.jpg",1348.9,2188,{"ext":1133,"url":1685,"hash":1686,"mime":1136,"name":1687,"path":66,"size":1688,"width":730,"height":1689},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Spotrebice_galerie_41e66a94a0.jpg","xsmall_Spotrebice_galerie_41e66a94a0","xsmall_Spotrebice galerie.jpg",13.5,203,{"ext":1133,"url":1691,"hash":1692,"mime":1136,"name":1693,"path":66,"size":1694,"width":736,"height":1695},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Spotrebice_galerie_41e66a94a0.jpg","thumbnail_Spotrebice_galerie_41e66a94a0","thumbnail_Spotrebice galerie.jpg",168,837,"Spotrebice_galerie_41e66a94a0",2285.8,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FSpotrebice_galerie_41e66a94a0.jpg","2023-08-14T20:44:44.468Z","2023-10-03T17:53:16.777Z",{"en-US":1656},"adl9zdch7b66pfng0dkxeq0m",[1704],{"id":1705,"nationality":1706},1623,"CZ",[],{"sortKey":1709,"id":471,"documentId":472,"names":473,"collectiveName":66,"annotation":66,"richText":1710,"locale":8,"images":1711,"nationalities":1733,"localizations":1737},"l","\u003Cp>Drawings on paper, photographs at Casino Luxembourg\u003C\u002Fp>\u003Cp>The series of drawings that Swedish artist Maria Lindberg exhibited in Manifesta 2 were made between 1997 and 1998. Each of these thirty-one objects represented an independent work in itself; but installed together, they formed a women’s chronicle of everyday’s life in contemporary society. \u003C\u002Fp>",[1712],{"id":1713,"name":1714,"alternativeText":66,"caption":1715,"width":1378,"height":1379,"formats":1716,"hash":1727,"ext":700,"mime":703,"size":1602,"url":1728,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1729,"updatedAt":1730,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1731,"documentId":1732,"publishedAt":745},2125,"A.M2.20.ex.1.png","Maria Lindberg, Trying to get in between to persons, 1997\u002F98. Photo © Manifesta 2 Luxembourg",{"xsmall":1717,"thumbnail":1722},{"ext":700,"url":1718,"hash":1719,"mime":703,"name":1720,"path":66,"size":1721,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_20_ex_1_2dfe2146c6.png","xsmall_A_M2_20_ex_1_2dfe2146c6","xsmall_A.M2.20.ex.1.png",145.39,{"ext":700,"url":1723,"hash":1724,"mime":703,"name":1725,"path":66,"size":1726,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_20_ex_1_2dfe2146c6.png","thumbnail_A_M2_20_ex_1_2dfe2146c6","thumbnail_A.M2.20.ex.1.png",87.68,"A_M2_20_ex_1_2dfe2146c6","https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_20_ex_1_2dfe2146c6.png","2023-12-03T16:18:23.974Z","2023-12-03T16:18:41.247Z",{"en-US":1715},"tvwr78eo5m9qqk2qwy694hxt",[1734],{"id":1735,"nationality":1736},1639,"SE",[],{"sortKey":1709,"id":467,"documentId":468,"names":469,"collectiveName":66,"annotation":66,"richText":1739,"locale":8,"images":1740,"nationalities":1763,"localizations":1767},"\u003Cp>Video installation at C.P.C.A.\u003C\u002Fp>\u003Cp>In the basement of the C.P.C.A. Danish artist Peter Land presented his video installation in two parts. In one part, a film featured a man (the artist himself) who repeatedly falls down stairs. The continuous repetition made the act absurd, meaningless and even sad, as it represented continuous failure. In the other part, a starry sky appears in a seemingly immobile long-term temporality. \u003C\u002Fp>",[1741],{"id":1742,"name":1743,"alternativeText":66,"caption":1744,"width":1378,"height":1379,"formats":1745,"hash":1756,"ext":700,"mime":703,"size":1757,"url":1758,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1759,"updatedAt":1760,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1761,"documentId":1762,"publishedAt":745},2266,"A.M2.19.ex.1.png","Peter Land, The staircase, 1998. Photo © Galleri Nicolai Wallner ",{"xsmall":1746,"thumbnail":1751},{"ext":700,"url":1747,"hash":1748,"mime":703,"name":1749,"path":66,"size":1750,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_19_ex_1_5d060b2dec.png","xsmall_A_M2_19_ex_1_5d060b2dec","xsmall_A.M2.19.ex.1.png",132.82,{"ext":700,"url":1752,"hash":1753,"mime":703,"name":1754,"path":66,"size":1755,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_19_ex_1_5d060b2dec.png","thumbnail_A_M2_19_ex_1_5d060b2dec","thumbnail_A.M2.19.ex.1.png",81.99,"A_M2_19_ex_1_5d060b2dec",266.8,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_19_ex_1_5d060b2dec.png","2023-12-08T10:30:06.154Z","2023-12-08T10:30:20.064Z",{"en-US":1744},"bu4s13nzu1vm8fys6himqg8d",[1764],{"id":1765,"nationality":1766},1657,"DK",[],{"sortKey":1769,"id":479,"documentId":480,"names":481,"collectiveName":66,"annotation":66,"richText":1770,"locale":8,"images":1771,"nationalities":1815,"localizations":1822},"m","\u003Cp>Installation at C.P.C.A. \u003C\u002Fp>\u003Cp>Norwegian\u002FAustralian artist Bjarne Melgaard’s work for Manifesta 2 consisted of a stage prop for \u003Ci>Artist in Search of God \u003C\u002Fi>and reflected on artistic genius and suffering in an actual individual's biography. It was also a mental reconstruction of the moment when Yolanda, Jack Smith’s Penguin, watches Moses applying fake eyelashes on a dead goat.\u003C\u002Fp>",[1772,1794],{"id":1773,"name":1774,"alternativeText":66,"caption":1775,"width":1378,"height":1379,"formats":1776,"hash":1787,"ext":700,"mime":703,"size":1788,"url":1789,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1790,"updatedAt":1791,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1792,"documentId":1793,"publishedAt":745},2131,"A.M2.22.ex.1.png","Bjarne Melgaard, Artist in search of God within his own limitations (an indoor swimming pool for Yolanda the Jack Smith Pinguin), 1997\u002F98. Photo © Roman Mensing \u002F Manifesta 2 ",{"xsmall":1777,"thumbnail":1782},{"ext":700,"url":1778,"hash":1779,"mime":703,"name":1780,"path":66,"size":1781,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_22_ex_1_175a549238.png","xsmall_A_M2_22_ex_1_175a549238","xsmall_A.M2.22.ex.1.png",151.17,{"ext":700,"url":1783,"hash":1784,"mime":703,"name":1785,"path":66,"size":1786,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_22_ex_1_175a549238.png","thumbnail_A_M2_22_ex_1_175a549238","thumbnail_A.M2.22.ex.1.png",92.52,"A_M2_22_ex_1_175a549238",305.76,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_22_ex_1_175a549238.png","2023-12-04T13:29:58.074Z","2023-12-04T13:30:53.589Z",{"en-US":1775},"hpovt5xlwtnlg82munum974n",{"id":1795,"name":1796,"alternativeText":66,"caption":1775,"width":1378,"height":1379,"formats":1797,"hash":1808,"ext":700,"mime":703,"size":1809,"url":1810,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1811,"updatedAt":1812,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1813,"documentId":1814,"publishedAt":745},2132,"A.M2.22.ex.2.png",{"xsmall":1798,"thumbnail":1803},{"ext":700,"url":1799,"hash":1800,"mime":703,"name":1801,"path":66,"size":1802,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_22_ex_2_adfa9cb837.png","xsmall_A_M2_22_ex_2_adfa9cb837","xsmall_A.M2.22.ex.2.png",164.83,{"ext":700,"url":1804,"hash":1805,"mime":703,"name":1806,"path":66,"size":1807,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_22_ex_2_adfa9cb837.png","thumbnail_A_M2_22_ex_2_adfa9cb837","thumbnail_A.M2.22.ex.2.png",100.86,"A_M2_22_ex_2_adfa9cb837",259.63,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_22_ex_2_adfa9cb837.png","2023-12-04T13:30:04.510Z","2023-12-04T13:30:58.335Z",{"en-US":1775},"p5l2jq1ket54kzw9lof18xg8",[1816,1819],{"id":1817,"nationality":1818},1685,"NO",{"id":1820,"nationality":1821},1686,"AU",[],{"sortKey":1769,"id":475,"documentId":476,"names":477,"collectiveName":66,"annotation":66,"richText":1824,"locale":8,"images":1825,"nationalities":1869,"localizations":1871},"\u003Cp>Mural at C.P.C.A. and Cinéma Utopolis\u003C\u002Fp>\u003Cp>On the left wall of the C.P.C.A, a former warehouse and cold-storage depot, Luxembourger\u002FGerman artist Michel Majerus conceived a large pictorial installation, which at the same time acted as an architectural intervention that altered the character of the building and its interior.\u003C\u002Fp>",[1826,1848],{"id":1827,"name":1828,"alternativeText":66,"caption":1829,"width":1378,"height":1379,"formats":1830,"hash":1841,"ext":700,"mime":703,"size":1842,"url":1843,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1844,"updatedAt":1845,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1846,"documentId":1847,"publishedAt":745},2267,"A.M2.21.ex.2.png","Michel Majerus, Yet sometimes what is read successfully stops us with its meaning, 1998. Photo © Roman Mensing ",{"xsmall":1831,"thumbnail":1836},{"ext":700,"url":1832,"hash":1833,"mime":703,"name":1834,"path":66,"size":1835,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_21_ex_2_da2d4a0430.png","xsmall_A_M2_21_ex_2_da2d4a0430","xsmall_A.M2.21.ex.2.png",147.4,{"ext":700,"url":1837,"hash":1838,"mime":703,"name":1839,"path":66,"size":1840,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_21_ex_2_da2d4a0430.png","thumbnail_A_M2_21_ex_2_da2d4a0430","thumbnail_A.M2.21.ex.2.png",90.49,"A_M2_21_ex_2_da2d4a0430",252.01,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_21_ex_2_da2d4a0430.png","2023-12-08T10:31:16.195Z","2023-12-08T10:31:24.895Z",{"en-US":1829},"sxt626wni6pm1qte1sr0v3y2",{"id":1849,"name":1850,"alternativeText":66,"caption":1829,"width":1378,"height":1379,"formats":1851,"hash":1862,"ext":700,"mime":703,"size":1863,"url":1864,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1865,"updatedAt":1866,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1867,"documentId":1868,"publishedAt":745},2268,"A.M2.21.ex.1.png",{"xsmall":1852,"thumbnail":1857},{"ext":700,"url":1853,"hash":1854,"mime":703,"name":1855,"path":66,"size":1856,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_21_ex_1_4163cadbe6.png","xsmall_A_M2_21_ex_1_4163cadbe6","xsmall_A.M2.21.ex.1.png",163.01,{"ext":700,"url":1858,"hash":1859,"mime":703,"name":1860,"path":66,"size":1861,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_21_ex_1_4163cadbe6.png","thumbnail_A_M2_21_ex_1_4163cadbe6","thumbnail_A.M2.21.ex.1.png",99.98,"A_M2_21_ex_1_4163cadbe6",226.88,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_21_ex_1_4163cadbe6.png","2023-12-08T10:31:16.334Z","2023-12-08T10:31:34.589Z",{"en-US":1829},"m83k3jh256gj1puga3nazi7k",[1870],{"id":503,"nationality":182},[],{"sortKey":1873,"id":483,"documentId":484,"names":485,"collectiveName":66,"annotation":66,"richText":1874,"locale":8,"images":1875,"nationalities":1914,"localizations":1918},"n","\u003Cp>Video installation at National Museum of Natural History\u003C\u002Fp>\u003Cp>Lithuanian artist Deimantas Narkevicius’s installation consisted of three films. These films provided a reflection about Lithuania and the Soviet Union, personal and collective history. The material and technology were Soviet while the cinematic style drew inspiration from both the propaganda film of the era of socialist realism, amateur video film and video art.\u003C\u002Fp>",[1876],{"id":1877,"name":1878,"alternativeText":66,"caption":1879,"width":1880,"height":1881,"formats":1882,"hash":1907,"ext":700,"mime":703,"size":1908,"url":1909,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1910,"updatedAt":1911,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1912,"documentId":1913,"publishedAt":745},2134,"A.M2.23.ex.1.png","Deimantas Narkevicius, His-story, Geography, Fate, 1998. Photo © Roman Mensing",1596,2040,{"small":1883,"medium":1889,"xsmall":1895,"thumbnail":1901},{"ext":700,"url":1884,"hash":1885,"mime":703,"name":1886,"path":66,"size":1887,"width":1888,"height":712},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_A_M2_23_ex_1_8ea5c60efe.png","small_A_M2_23_ex_1_8ea5c60efe","small_A.M2.23.ex.1.png",1153.88,704,{"ext":700,"url":1890,"hash":1891,"mime":703,"name":1892,"path":66,"size":1893,"width":1894,"height":718},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_A_M2_23_ex_1_8ea5c60efe.png","medium_A_M2_23_ex_1_8ea5c60efe","medium_A.M2.23.ex.1.png",5078.74,1440,{"ext":700,"url":1896,"hash":1897,"mime":703,"name":1898,"path":66,"size":1899,"width":1900,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_23_ex_1_8ea5c60efe.png","xsmall_A_M2_23_ex_1_8ea5c60efe","xsmall_A.M2.23.ex.1.png",115.71,235,{"ext":700,"url":1902,"hash":1903,"mime":703,"name":1904,"path":66,"size":1905,"width":1906,"height":736},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_23_ex_1_8ea5c60efe.png","thumbnail_A_M2_23_ex_1_8ea5c60efe","thumbnail_A.M2.23.ex.1.png",2271.24,970,"A_M2_23_ex_1_8ea5c60efe",1686.56,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_23_ex_1_8ea5c60efe.png","2023-12-04T13:39:20.461Z","2023-12-04T13:39:47.095Z",{"en-US":1879},"rs5hseci2fgsnw9swke37mpb",[1915],{"id":1916,"nationality":1917},1769,"LT",[],{"sortKey":1873,"id":487,"documentId":488,"names":489,"collectiveName":66,"annotation":66,"richText":1920,"locale":8,"images":66,"nationalities":1921,"localizations":1924},"\u003Cp>Video installation at C.P.C.A. \u003C\u002Fp>\u003Cp>This video by Finnish artist Fanni Niemi-Junkola showed scenes recorded at the Kings Kakadu nightclub in Helsinki, an establishment known for its cabaret and striptease performance. Projected on several screens throughout the exhibition space, it gave the spectator the impression of participating in the show. \u003C\u002Fp>",[1922],{"id":1923,"nationality":749},1845,[],{"sortKey":1926,"id":495,"documentId":496,"names":497,"collectiveName":66,"annotation":66,"richText":1927,"locale":8,"images":66,"nationalities":1928,"localizations":1929},"o","\u003Cp>Tanja Ostojić, \u003Ci>Personal space\u003C\u002Fi>, 1998 © Roman Mensing\u003C\u002Fp>\u003Cp>Performance at Musée d'Histoire de la Ville de Luxembourg\u003C\u002Fp>\u003Cp>Serbian artist Tanja Ostojić staged her performance in the elevator of the museum, during which she covered a square surface as well as her shaved body and head with white marble dust. For one hour she stayed motionless, statue-like, while the elevator carried her up and down. 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It was virtually impossible to interpret and connect the pieces in the room, which provided a reflection on the fragmented presence of reality in the media. \u003C\u002Fp>",[1933],{"id":1934,"name":1935,"alternativeText":66,"caption":1936,"width":1378,"height":1379,"formats":1937,"hash":1948,"ext":700,"mime":703,"size":1949,"url":1950,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1951,"updatedAt":1952,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1953,"documentId":1954,"publishedAt":745},2150,"A.M2.26.ex.1.png","Photo © Manifesta 2 Luxembourg",{"xsmall":1938,"thumbnail":1943},{"ext":700,"url":1939,"hash":1940,"mime":703,"name":1941,"path":66,"size":1942,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_26_ex_1_521a9fb193.png","xsmall_A_M2_26_ex_1_521a9fb193","xsmall_A.M2.26.ex.1.png",150.84,{"ext":700,"url":1944,"hash":1945,"mime":703,"name":1946,"path":66,"size":1947,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_26_ex_1_521a9fb193.png","thumbnail_A_M2_26_ex_1_521a9fb193","thumbnail_A.M2.26.ex.1.png",92.72,"A_M2_26_ex_1_521a9fb193",227.17,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_26_ex_1_521a9fb193.png","2023-12-04T14:42:41.730Z","2023-12-04T14:43:29.666Z",{"en-US":1936},"ztir5lqi47lbkh03yxh7go8i",[1956],{"id":1957,"nationality":1958},1781,"SK",[],{"sortKey":1961,"id":503,"documentId":504,"names":505,"collectiveName":66,"annotation":66,"richText":1962,"locale":8,"images":1963,"nationalities":1986,"localizations":1990},"p","\u003Cp>During Manifesta 2, Romanian artist Dan Perjovschi, worked with two Luxembourg newspapers: the daily tageblatt and the weekly d'Letzebuerger Land. The collection of drawings resulting from this collaboration became the diary for Manifesta 2 and was shown during the exhibition.\u003C\u002Fp>",[1964],{"id":1965,"name":1966,"alternativeText":66,"caption":1967,"width":1378,"height":1379,"formats":1968,"hash":1979,"ext":700,"mime":703,"size":1980,"url":1981,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":1982,"updatedAt":1983,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1984,"documentId":1985,"publishedAt":745},2147,"A.M2.29.ex.1.png","Dan Perjovschi, Newsdrawings, 1998. Photo © Roman Mensing \u002F Manifesta 2 ",{"xsmall":1969,"thumbnail":1974},{"ext":700,"url":1970,"hash":1971,"mime":703,"name":1972,"path":66,"size":1973,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_29_ex_1_e9ff0704aa.png","xsmall_A_M2_29_ex_1_e9ff0704aa","xsmall_A.M2.29.ex.1.png",118.45,{"ext":700,"url":1975,"hash":1976,"mime":703,"name":1977,"path":66,"size":1978,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_29_ex_1_e9ff0704aa.png","thumbnail_A_M2_29_ex_1_e9ff0704aa","thumbnail_A.M2.29.ex.1.png",71.75,"A_M2_29_ex_1_e9ff0704aa",279.93,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_29_ex_1_e9ff0704aa.png","2023-12-04T14:06:08.830Z","2023-12-04T14:31:57.262Z",{"en-US":1967},"f4wts3kiwtri3kr9ivw2m1c0",[1987],{"id":1988,"nationality":1989},1834,"RO",[],{"sortKey":1961,"id":507,"documentId":508,"names":509,"collectiveName":66,"annotation":66,"richText":1992,"locale":8,"images":1993,"nationalities":2016,"localizations":2018},"\u003Cp>Sound installation at C.P.C.A. \u003C\u002Fp>\u003Cp>Austrian artist Franz Pomassl transformed the acoustic, spatial and physical experience of the rooms located in the ground floor of the C.P.C.A. \u003Ci>Trial Error\u003C\u002Fi> consisted of a 76.42 minute musical compact disc, filled with \"feedback\",  system failures and free-moving rhythms and effects produced by the acoustic machine itself, that the human ear cannot detect. Only amplifiers and loudspeakers were visible. \u003C\u002Fp>",[1994],{"id":1995,"name":1996,"alternativeText":66,"caption":1997,"width":1378,"height":1379,"formats":1998,"hash":2009,"ext":700,"mime":703,"size":2010,"url":2011,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2012,"updatedAt":2013,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2014,"documentId":2015,"publishedAt":745},2148,"production.png","Behind the scenes with Franz Pomassl, for his installation titled Trial Error, 1998. Photo © Roman Mensing",{"xsmall":1999,"thumbnail":2004},{"ext":700,"url":2000,"hash":2001,"mime":703,"name":2002,"path":66,"size":2003,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_production_6a739155f9.png","xsmall_production_6a739155f9","xsmall_production.png",161.06,{"ext":700,"url":2005,"hash":2006,"mime":703,"name":2007,"path":66,"size":2008,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_production_6a739155f9.png","thumbnail_production_6a739155f9","thumbnail_production.png",98.14,"production_6a739155f9",284.74,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fproduction_6a739155f9.png","2023-12-04T14:32:56.994Z","2023-12-04T14:33:28.954Z",{"en-US":1997},"fg3bxu3ge6syxuutbc6y7bto",[2017],{"id":535,"nationality":1648},[],{"sortKey":1961,"id":499,"documentId":500,"names":501,"collectiveName":66,"annotation":66,"richText":2020,"locale":8,"images":2021,"nationalities":2064,"localizations":2067},"\u003Cp>Mixed media installation at Luxembourg City History Museum and Wenceslas Trail\u003C\u002Fp>\u003Cp>The history of Luxembourg has been marked by the military use of the fortress. Slovenian artist Peljhan updated this debate by providing information on how to invade Luxembourg today and how to assume Luxembourg's function as the central European flight control station. The installation broadcasted the conversations in the cockpits of planes flying over Luxembourg. \u003C\u002Fp>",[2022,2043],{"id":2023,"name":2024,"alternativeText":66,"caption":1936,"width":1378,"height":1379,"formats":2025,"hash":2036,"ext":700,"mime":703,"size":2037,"url":2038,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2039,"updatedAt":2040,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2041,"documentId":2042,"publishedAt":745},2145,"A.M2.28.ex.2.png",{"xsmall":2026,"thumbnail":2031},{"ext":700,"url":2027,"hash":2028,"mime":703,"name":2029,"path":66,"size":2030,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_28_ex_2_3789dfa78b.png","xsmall_A_M2_28_ex_2_3789dfa78b","xsmall_A.M2.28.ex.2.png",130.81,{"ext":700,"url":2032,"hash":2033,"mime":703,"name":2034,"path":66,"size":2035,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_28_ex_2_3789dfa78b.png","thumbnail_A_M2_28_ex_2_3789dfa78b","thumbnail_A.M2.28.ex.2.png",79.44,"A_M2_28_ex_2_3789dfa78b",291.76,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_28_ex_2_3789dfa78b.png","2023-12-04T13:58:03.420Z","2023-12-04T13:58:15.273Z",{"en-US":1936},"u17pigecxobsf4wetvnilthy",{"id":2044,"name":2045,"alternativeText":66,"caption":1936,"width":1378,"height":1379,"formats":2046,"hash":2057,"ext":700,"mime":703,"size":2058,"url":2059,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2060,"updatedAt":2061,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2062,"documentId":2063,"publishedAt":745},2146,"A.M2.28.ex.1.png",{"xsmall":2047,"thumbnail":2052},{"ext":700,"url":2048,"hash":2049,"mime":703,"name":2050,"path":66,"size":2051,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_28_ex_1_b04f0ab8b1.png","xsmall_A_M2_28_ex_1_b04f0ab8b1","xsmall_A.M2.28.ex.1.png",152.56,{"ext":700,"url":2053,"hash":2054,"mime":703,"name":2055,"path":66,"size":2056,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_28_ex_1_b04f0ab8b1.png","thumbnail_A_M2_28_ex_1_b04f0ab8b1","thumbnail_A.M2.28.ex.1.png",93.7,"A_M2_28_ex_1_b04f0ab8b1",293.99,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_28_ex_1_b04f0ab8b1.png","2023-12-04T13:58:06.144Z","2023-12-04T13:58:21.886Z",{"en-US":1936},"dlispd87cvd185sbkclk5jqm",[2065],{"id":2066,"nationality":358},1851,[],{"sortKey":1961,"id":511,"documentId":512,"names":513,"collectiveName":66,"annotation":66,"richText":2069,"locale":8,"images":2070,"nationalities":2112,"localizations":2115},"\u003Cp>Installation at Villa Vauban and public spaces\u003C\u002Fp>\u003Cp>Luxembourgher artist Antoine Prum reflected on the ignored conflicts of Luxembourg. This work was formed by different projects. Firstly, a sound system made of violent film extracts fill an underground tunnel. Secondly, In the Luxembourg press, the artist launched rumors, unfounded but plausible. Finally, in the basement of Villa Vauban he archived criminal facts, both real and fictitious. \u003C\u002Fp>",[2071,2093],{"id":2072,"name":2073,"alternativeText":66,"caption":2074,"width":1378,"height":1379,"formats":2075,"hash":2086,"ext":700,"mime":703,"size":2087,"url":2088,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2089,"updatedAt":2090,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2091,"documentId":2092,"publishedAt":745},2138,"A.M2.31.ex.1.png","Antoine Prum, The Court of Miracles, 1998. Photo © Manifesta 2 \u002F Roman Mensing",{"xsmall":2076,"thumbnail":2081},{"ext":700,"url":2077,"hash":2078,"mime":703,"name":2079,"path":66,"size":2080,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_31_ex_1_98827b09ae.png","xsmall_A_M2_31_ex_1_98827b09ae","xsmall_A.M2.31.ex.1.png",122.65,{"ext":700,"url":2082,"hash":2083,"mime":703,"name":2084,"path":66,"size":2085,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_31_ex_1_98827b09ae.png","thumbnail_A_M2_31_ex_1_98827b09ae","thumbnail_A.M2.31.ex.1.png",75.27,"A_M2_31_ex_1_98827b09ae",225.14,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_31_ex_1_98827b09ae.png","2023-12-04T13:48:01.022Z","2023-12-04T13:48:40.554Z",{"en-US":2074},"ruhaex8k86fitl3k977c7hm5",{"id":2094,"name":1996,"alternativeText":66,"caption":2095,"width":1378,"height":1379,"formats":2096,"hash":2105,"ext":700,"mime":703,"size":2106,"url":2107,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2108,"updatedAt":2109,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2110,"documentId":2111,"publishedAt":745},2139,"Behind the Scenes of The Court of Miracles, 1998. Photo © Manifesta 2 \u002F Roman Mensing",{"xsmall":2097,"thumbnail":2101},{"ext":700,"url":2098,"hash":2099,"mime":703,"name":2002,"path":66,"size":2100,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_production_0b73d96405.png","xsmall_production_0b73d96405",164.38,{"ext":700,"url":2102,"hash":2103,"mime":703,"name":2007,"path":66,"size":2104,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_production_0b73d96405.png","thumbnail_production_0b73d96405",100.55,"production_0b73d96405",241.06,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fproduction_0b73d96405.png","2023-12-04T13:48:03.643Z","2023-12-04T13:49:13.699Z",{"en-US":2095},"cscr4tbch3rtag33q5q0cab4",[2113],{"id":2114,"nationality":369},1857,[],{"sortKey":2117,"id":515,"documentId":516,"names":517,"collectiveName":66,"annotation":66,"richText":2118,"locale":8,"images":2119,"nationalities":2179,"localizations":2182},"r","\u003Cp>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>",[2120,2142],{"id":2121,"name":2122,"alternativeText":66,"caption":2123,"width":1378,"height":1379,"formats":2124,"hash":2135,"ext":700,"mime":703,"size":2136,"url":2137,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2138,"updatedAt":2139,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2140,"documentId":2141,"publishedAt":745},2140,"A.M2.32.ex.1.png","Tobias Rehberger, Within view of seeing (perspectives and the Prouvé, 1998. Photo © Roman Mensing",{"xsmall":2125,"thumbnail":2130},{"ext":700,"url":2126,"hash":2127,"mime":703,"name":2128,"path":66,"size":2129,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_32_ex_1_20b6161fee.png","xsmall_A_M2_32_ex_1_20b6161fee","xsmall_A.M2.32.ex.1.png",156.14,{"ext":700,"url":2131,"hash":2132,"mime":703,"name":2133,"path":66,"size":2134,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_32_ex_1_20b6161fee.png","thumbnail_A_M2_32_ex_1_20b6161fee","thumbnail_A.M2.32.ex.1.png",95.3,"A_M2_32_ex_1_20b6161fee",278.82,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_32_ex_1_20b6161fee.png","2023-12-04T13:50:11.538Z","2023-12-04T13:50:39.632Z",{"en-US":2123},"c7kxl29y3cqtx6spbfk11i6r",{"id":2143,"name":2144,"alternativeText":66,"caption":2123,"width":2145,"height":2146,"formats":2147,"hash":2172,"ext":1133,"mime":1136,"size":2173,"url":2174,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2175,"updatedAt":2176,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2177,"documentId":2178,"publishedAt":745},540,"A.M2.32.ex.2.jpg",1744,2392,{"small":2148,"medium":2154,"xsmall":2160,"thumbnail":2166},{"ext":1133,"url":2149,"hash":2150,"mime":1136,"name":2151,"path":66,"size":2152,"width":2153,"height":712},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_A_M2_32_ex_2_ce70c215cc.jpg","small_A_M2_32_ex_2_ce70c215cc","small_A.M2.32.ex.2.jpg",168.16,656,{"ext":1133,"url":2155,"hash":2156,"mime":1136,"name":2157,"path":66,"size":2158,"width":2159,"height":718},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_A_M2_32_ex_2_ce70c215cc.jpg","medium_A_M2_32_ex_2_ce70c215cc","medium_A.M2.32.ex.2.jpg",532.34,1342,{"ext":1133,"url":2161,"hash":2162,"mime":1136,"name":2163,"path":66,"size":2164,"width":2165,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_32_ex_2_ce70c215cc.jpg","xsmall_A_M2_32_ex_2_ce70c215cc","xsmall_A.M2.32.ex.2.jpg",24.1,219,{"ext":1133,"url":2167,"hash":2168,"mime":1136,"name":2169,"path":66,"size":2170,"width":2171,"height":736},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_32_ex_2_ce70c215cc.jpg","thumbnail_A_M2_32_ex_2_ce70c215cc","thumbnail_A.M2.32.ex.2.jpg",285.16,904,"A_M2_32_ex_2_ce70c215cc",816.13,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_32_ex_2_ce70c215cc.jpg","2023-08-14T20:49:04.137Z","2023-12-04T13:50:34.862Z",{"en-US":2123},"veighte3ptco7g65o9l1c6vp",[2180],{"id":2181,"nationality":182},1876,[],{"sortKey":2117,"id":423,"documentId":424,"names":425,"collectiveName":66,"annotation":66,"richText":2184,"locale":8,"images":2185,"nationalities":2228,"localizations":2231},"\u003Cp>Video installation at Casino Luxembourg\u003C\u002Fp>\u003Cp>Dutch artists Jeroen de Rijke and Willem de Rooij projected their videos in two rooms of the Casino Luxembourg. These two rooms were adapted in order to create a situation that corresponded to the particular temporal and psychological character of their two films \"I'm Coming Home in Forty Days\" (15 min.) and \"Chun Tian\" (3 min.).\u003C\u002Fp>",[2186],{"id":2187,"name":2188,"alternativeText":66,"caption":2189,"width":2190,"height":1881,"formats":2191,"hash":2221,"ext":1133,"mime":1136,"size":2222,"url":2223,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2224,"updatedAt":2225,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2226,"documentId":2227,"publishedAt":745},517,"A.M2.33.ex.1.jpg","Jeroen de Rijke and Willem de Rooij, I'm Coming Home in Forty Days, 1997 © Roman Mensing Chun Tian, ​​1995",3016,{"large":2192,"small":2198,"medium":2204,"xsmall":2210,"thumbnail":2215},{"ext":1133,"url":2193,"hash":2194,"mime":1136,"name":2195,"path":66,"size":2196,"width":706,"height":2197},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_A_M2_33_ex_1_f1b2541bbf.jpg","large_A_M2_33_ex_1_f1b2541bbf","large_A.M2.33.ex.1.jpg",355.38,1637,{"ext":1133,"url":2199,"hash":2200,"mime":1136,"name":2201,"path":66,"size":2202,"width":712,"height":2203},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_A_M2_33_ex_1_f1b2541bbf.jpg","small_A_M2_33_ex_1_f1b2541bbf","small_A.M2.33.ex.1.jpg",61.57,609,{"ext":1133,"url":2205,"hash":2206,"mime":1136,"name":2207,"path":66,"size":2208,"width":718,"height":2209},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_A_M2_33_ex_1_f1b2541bbf.jpg","medium_A_M2_33_ex_1_f1b2541bbf","medium_A.M2.33.ex.1.jpg",212.53,1245,{"ext":1133,"url":2211,"hash":2212,"mime":1136,"name":2213,"path":66,"size":2214,"width":730,"height":1689},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_33_ex_1_f1b2541bbf.jpg","xsmall_A_M2_33_ex_1_f1b2541bbf","xsmall_A.M2.33.ex.1.jpg",10.71,{"ext":1133,"url":2216,"hash":2217,"mime":1136,"name":2218,"path":66,"size":2219,"width":736,"height":2220},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_33_ex_1_f1b2541bbf.jpg","thumbnail_A_M2_33_ex_1_f1b2541bbf","thumbnail_A.M2.33.ex.1.jpg",106.05,839,"A_M2_33_ex_1_f1b2541bbf",536.99,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_33_ex_1_f1b2541bbf.jpg","2023-08-14T20:40:55.306Z","2023-12-03T16:13:44.982Z",{"en-US":2189},"pifead1eth6jrdz14vjbtybl",[2229],{"id":2230,"nationality":382},1892,[],{"sortKey":2233,"id":519,"documentId":520,"names":521,"collectiveName":66,"annotation":66,"richText":2234,"locale":8,"images":2235,"nationalities":2258,"localizations":2260},"s","\u003Cp>Installation at Musée national d'histoire et d'art\u003C\u002Fp>\u003Cp>French Bosnian artist Bojan Šarčević deliberately chose to work in a room of the museum that was not used as an exhibition space. He introduced several minimal interventions that completely changed the room: a false wall and ceiling and painted walls, which modified the room’s volume and color. He then filled all the cracks of the room with toilet paper, sealing it. \u003C\u002Fp>",[2236],{"id":2237,"name":2238,"alternativeText":66,"caption":2239,"width":1378,"height":1379,"formats":2240,"hash":2251,"ext":700,"mime":703,"size":2252,"url":2253,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2254,"updatedAt":2255,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2256,"documentId":2257,"publishedAt":745},2141,"A.M2.34.ex.2.png","Bojan Šarčević, Untitled, 1998. Photo © Roman Mensing \u002F Manifesta 2 ",{"xsmall":2241,"thumbnail":2246},{"ext":700,"url":2242,"hash":2243,"mime":703,"name":2244,"path":66,"size":2245,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_34_ex_2_f41d9a04f0.png","xsmall_A_M2_34_ex_2_f41d9a04f0","xsmall_A.M2.34.ex.2.png",140.67,{"ext":700,"url":2247,"hash":2248,"mime":703,"name":2249,"path":66,"size":2250,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_34_ex_2_f41d9a04f0.png","thumbnail_A_M2_34_ex_2_f41d9a04f0","thumbnail_A.M2.34.ex.2.png",85.69,"A_M2_34_ex_2_f41d9a04f0",244.47,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_34_ex_2_f41d9a04f0.png","2023-12-04T13:53:51.850Z","2023-12-04T13:54:12.081Z",{"en-US":2239},"l3mby5runfmj7qfhtxlrpy01",[2259],{"id":559,"nationality":233},[],{"sortKey":2233,"id":539,"documentId":540,"names":541,"collectiveName":66,"annotation":66,"richText":2262,"locale":8,"images":66,"nationalities":2263,"localizations":2266},"\u003Cp>Andreas Slominski, The Ladder, 1998 © Roman Mensing\u003Cbr>\u003Cbr>Installation at Casino Luxembourg\u003Cbr>\u003Cbr>German artist Andreas Slominski attempted to enter one room of the Casino Luxembourg with a ladder in a horizontal position. However, as the door was too narrow, outlines of the ladder were cut into the wall. Once the ladder was inside the room, the wall was repaired and a video of this process was projected serving as a reflection on the reception and production of the artistic process. \u003C\u002Fp>",[2264],{"id":2265,"nationality":182},1925,[],{"sortKey":2233,"id":523,"documentId":524,"names":525,"collectiveName":66,"annotation":66,"richText":2268,"locale":8,"images":66,"nationalities":2269,"localizations":2274},"\u003Cp>Eran Schaerf, \u003Ci>Scenario data (War and Peace in the dictionary)\u003C\u002Fi>, 1998 © Roman Mensing\u003C\u002Fp>\u003Cp>Mixed media installation at Musée national d'histoire et d'art\u003C\u002Fp>\u003Cp>For this intervention Israeli\u002FGerman artist Eran Schaerf asked the three curators and coordinator of Manifesta 2 to translate in front of a camera an English text he had specially written for the occasion. The installation referred to the multicultural identities of the artist, the participants and the inhabitants of Luxembourg. \u003C\u002Fp>",[2270,2272],{"id":2271,"nationality":182},1928,{"id":2273,"nationality":288},1929,[],{"sortKey":2233,"id":547,"documentId":548,"names":549,"collectiveName":66,"annotation":66,"richText":2276,"locale":8,"images":2277,"nationalities":2343,"localizations":2348},"\u003Cp>Installation at C.P.C.A \u003C\u002Fp>\u003Cp>Through her installation, Slovenian artist Apolonija Sustersic explored the effects of the C.P.C.A building on the neighbouring area. In this installation there was an emphasis on the changing identity of the building as, throughout its history it has been used as a fruit and vegetable store, a carpentry and eventually as exhibition space. \u003C\u002Fp>",[2278,2322],{"id":2279,"name":2280,"alternativeText":66,"caption":2281,"width":2282,"height":2283,"formats":2284,"hash":2315,"ext":700,"mime":703,"size":2316,"url":2317,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2318,"updatedAt":2319,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2320,"documentId":2321,"publishedAt":745},2127,"M2_Suste_-20ps.png","Apolonija Sustersic, Juice Bar, 1998. Photo © Roman Mensing",2835,1861,{"large":2285,"small":2291,"medium":2297,"xsmall":2303,"thumbnail":2309},{"ext":700,"url":2286,"hash":2287,"mime":703,"name":2288,"path":66,"size":2289,"width":706,"height":2290},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_M2_Suste_20ps_13ee09e855.png","large_M2_Suste_20ps_13ee09e855","large_M2_Suste_-20ps.png",8084.52,1589,{"ext":700,"url":2292,"hash":2293,"mime":703,"name":2294,"path":66,"size":2295,"width":712,"height":2296},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_M2_Suste_20ps_13ee09e855.png","small_M2_Suste_20ps_13ee09e855","small_M2_Suste_-20ps.png",1185.47,591,{"ext":700,"url":2298,"hash":2299,"mime":703,"name":2300,"path":66,"size":2301,"width":718,"height":2302},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_M2_Suste_20ps_13ee09e855.png","medium_M2_Suste_20ps_13ee09e855","medium_M2_Suste_-20ps.png",4809.84,1208,{"ext":700,"url":2304,"hash":2305,"mime":703,"name":2306,"path":66,"size":2307,"width":730,"height":2308},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_M2_Suste_20ps_13ee09e855.png","xsmall_M2_Suste_20ps_13ee09e855","xsmall_M2_Suste_-20ps.png",147.8,197,{"ext":700,"url":2310,"hash":2311,"mime":703,"name":2312,"path":66,"size":2313,"width":736,"height":2314},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_M2_Suste_20ps_13ee09e855.png","thumbnail_M2_Suste_20ps_13ee09e855","thumbnail_M2_Suste_-20ps.png",2219.41,814,"M2_Suste_20ps_13ee09e855",2326.02,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FM2_Suste_20ps_13ee09e855.png","2023-12-03T16:20:17.559Z","2023-12-03T16:21:31.614Z",{"en-US":2281},"tnppa37jj6k37b5w3w86v57l",{"id":2323,"name":2324,"alternativeText":66,"caption":2281,"width":1378,"height":1379,"formats":2325,"hash":2336,"ext":700,"mime":703,"size":2337,"url":2338,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2339,"updatedAt":2340,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2341,"documentId":2342,"publishedAt":745},2126,"A.M2.41.ex.1.png",{"xsmall":2326,"thumbnail":2331},{"ext":700,"url":2327,"hash":2328,"mime":703,"name":2329,"path":66,"size":2330,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_41_ex_1_e7fce4f2a3.png","xsmall_A_M2_41_ex_1_e7fce4f2a3","xsmall_A.M2.41.ex.1.png",152.95,{"ext":700,"url":2332,"hash":2333,"mime":703,"name":2334,"path":66,"size":2335,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_41_ex_1_e7fce4f2a3.png","thumbnail_A_M2_41_ex_1_e7fce4f2a3","thumbnail_A.M2.41.ex.1.png",95.21,"A_M2_41_ex_1_e7fce4f2a3",188.04,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_41_ex_1_e7fce4f2a3.png","2023-12-03T16:19:47.661Z","2023-12-03T16:21:37.059Z",{"en-US":2281},"s0x6moecmgfd6r0o88snu6f8",[2344,2346],{"id":2345,"nationality":358},1930,{"id":2347,"nationality":382},1931,[],{"sortKey":2233,"id":531,"documentId":532,"names":533,"collectiveName":66,"annotation":66,"richText":2350,"locale":8,"images":2351,"nationalities":2392,"localizations":2396},"\u003Cp>Installation at Villa Vauban, Casino Luxembourg and C.P.C.A. \u003C\u002Fp>\u003Cp>This work referred to the history of the Villa Vauban in which the Grand Duke and Duchess resided during the restoration of the ducal palace. In the garden of the Villa stands a leftover prop of a gate. The prop still holds the former safety lock. On both sides of the vanished gate the Bosnian artist installed glass boxes, each containing a gilded key. In the same spirit, he installed a door handle in the C.P.C.A. and a mailbox slot on one of the walls of the Casino.\u003C\u002Fp>",[2352,2372],{"id":2353,"name":2354,"alternativeText":66,"caption":66,"width":1379,"height":1378,"formats":2355,"hash":2366,"ext":700,"mime":703,"size":2367,"url":2368,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2369,"updatedAt":2369,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2370,"documentId":2371,"publishedAt":745},2129,"A.M2.37.ex.1.png",{"xsmall":2356,"thumbnail":2361},{"ext":700,"url":2357,"hash":2358,"mime":703,"name":2359,"path":66,"size":2360,"width":1301,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_37_ex_1_82ededa79a.png","xsmall_A_M2_37_ex_1_82ededa79a","xsmall_A.M2.37.ex.1.png",131.68,{"ext":700,"url":2362,"hash":2363,"mime":703,"name":2364,"path":66,"size":2365,"width":95,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_37_ex_1_82ededa79a.png","thumbnail_A_M2_37_ex_1_82ededa79a","thumbnail_A.M2.37.ex.1.png",36.82,"A_M2_37_ex_1_82ededa79a",296.86,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_37_ex_1_82ededa79a.png","2023-12-03T16:24:25.369Z",{"en-US":66},"p2c3r1123sdg0ufn5hxbpagn",{"id":2373,"name":2374,"alternativeText":66,"caption":66,"width":1379,"height":1378,"formats":2375,"hash":2386,"ext":700,"mime":703,"size":2387,"url":2388,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2389,"updatedAt":2389,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2390,"documentId":2391,"publishedAt":745},2130,"A.M2.37.ex.2.png",{"xsmall":2376,"thumbnail":2381},{"ext":700,"url":2377,"hash":2378,"mime":703,"name":2379,"path":66,"size":2380,"width":1301,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_37_ex_2_06888728da.png","xsmall_A_M2_37_ex_2_06888728da","xsmall_A.M2.37.ex.2.png",143.74,{"ext":700,"url":2382,"hash":2383,"mime":703,"name":2384,"path":66,"size":2385,"width":95,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_37_ex_2_06888728da.png","thumbnail_A_M2_37_ex_2_06888728da","thumbnail_A.M2.37.ex.2.png",39.63,"A_M2_37_ex_2_06888728da",310.79,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_37_ex_2_06888728da.png","2023-12-03T16:24:26.833Z",{"en-US":66},"lob8wl8hsrcx1cjn68s1j2uv",[2393],{"id":2394,"nationality":2395},1959,"BA",[],{"sortKey":2233,"id":543,"documentId":544,"names":545,"collectiveName":66,"annotation":66,"richText":2398,"locale":8,"images":2399,"nationalities":2422,"localizations":2425},"\u003Cp>Video installation at C.P.C.A.\u003C\u002Fp>\u003Cp>Because of the historical importance of its fortress, the City of Luxembourg has been surnamed \"Gibraltar of the North\". Nowadays, both Gibraltar and Luxembourg are renowned for their banks, tourism and tax-free goods. German artist Sean Snyder established links between both cities and countries and during Manifesta 2, he handed out posters that contrasted both cities. \u003C\u002Fp>",[2400],{"id":2401,"name":2402,"alternativeText":66,"caption":2403,"width":1378,"height":1379,"formats":2404,"hash":2415,"ext":1133,"mime":1136,"size":2416,"url":2417,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2418,"updatedAt":2419,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2420,"documentId":2421,"publishedAt":745},548,"A.M2.40.ex.1.jpg","Gibraltar of the North project, 1998 © Roman Mensing Arriving and Transferring Passengers FfM Airport, 1998 © Roman Mensing",{"xsmall":2405,"thumbnail":2410},{"ext":1133,"url":2406,"hash":2407,"mime":1136,"name":2408,"path":66,"size":2409,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_40_ex_1_f99e51fd50.jpg","xsmall_A_M2_40_ex_1_f99e51fd50","xsmall_A.M2.40.ex.1.jpg",7.31,{"ext":1133,"url":2411,"hash":2412,"mime":1136,"name":2413,"path":66,"size":2414,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_40_ex_1_f99e51fd50.jpg","thumbnail_A_M2_40_ex_1_f99e51fd50","thumbnail_A.M2.40.ex.1.jpg",5.17,"A_M2_40_ex_1_f99e51fd50",35.11,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_40_ex_1_f99e51fd50.jpg","2023-08-14T20:53:36.254Z","2023-10-03T18:04:08.908Z",{"en-US":2403},"r391wuhulxzg3sxiv8moijyh",[2423],{"id":2424,"nationality":182},1982,[],{"sortKey":2233,"id":551,"documentId":552,"names":553,"collectiveName":66,"annotation":66,"richText":2427,"locale":8,"images":2428,"nationalities":2451,"localizations":2455},"\u003Cp>Video installation at Musée d'Histoire de la Ville de Luxembourg\u003C\u002Fp>\u003Cp>This installation by American artist Sarah Sze was composed of small herds and heaps of objects as well as a video footage depicting groups of people. These people, performing mundane acts were filmed from above and projected in such a small scale that obliged the viewer to look down on them. \u003C\u002Fp>",[2429],{"id":2430,"name":2431,"alternativeText":66,"caption":2432,"width":1379,"height":1378,"formats":2433,"hash":2444,"ext":700,"mime":703,"size":2445,"url":2446,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2447,"updatedAt":2448,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2449,"documentId":2450,"publishedAt":745},2269,"PRODUCTION.png","Behind the scenes of Sarah Sze installation ",{"xsmall":2434,"thumbnail":2439},{"ext":700,"url":2435,"hash":2436,"mime":703,"name":2437,"path":66,"size":2438,"width":1301,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_PRODUCTION_96bc3487ca.png","xsmall_PRODUCTION_96bc3487ca","xsmall_PRODUCTION.png",160.49,{"ext":700,"url":2440,"hash":2441,"mime":703,"name":2442,"path":66,"size":2443,"width":95,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_PRODUCTION_96bc3487ca.png","thumbnail_PRODUCTION_96bc3487ca","thumbnail_PRODUCTION.png",44.8,"PRODUCTION_96bc3487ca",245.42,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FPRODUCTION_96bc3487ca.png","2023-12-08T10:36:10.427Z","2025-02-27T10:46:36.891Z",{"en-US":2432},"kc7eqj5ef5jesrf0i1opl2qt",[2452],{"id":2453,"nationality":2454},1995,"US",[],{"sortKey":2233,"id":535,"documentId":536,"names":537,"collectiveName":66,"annotation":66,"richText":2457,"locale":8,"images":2458,"nationalities":2481,"localizations":2486},"\u003Cp>Video installation at Casino Luxembourg\u003C\u002Fp>\u003Cp>American Swedish artist Ann-Sofi Sidén filmed a series of performances in a hotel of Luxembourg, a venue in which private and public spheres emerge. By depicting the inner-workings of a hotel on surveillance monitors, human experience was shown as unbiased reality. \u003C\u002Fp>",[2459],{"id":2460,"name":2461,"alternativeText":66,"caption":2462,"width":1378,"height":1379,"formats":2463,"hash":2474,"ext":700,"mime":703,"size":2475,"url":2476,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2477,"updatedAt":2478,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2479,"documentId":2480,"publishedAt":745},2137,"A.M2.38.ex.1.png","Ann-Sofi Sidén, Who Told the Chamber Maid?, 1998. Photo © Manifesta 2 \u002F Roman Mensing",{"xsmall":2464,"thumbnail":2469},{"ext":700,"url":2465,"hash":2466,"mime":703,"name":2467,"path":66,"size":2468,"width":730,"height":1301},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_38_ex_1_21b932942d.png","xsmall_A_M2_38_ex_1_21b932942d","xsmall_A.M2.38.ex.1.png",152.15,{"ext":700,"url":2470,"hash":2471,"mime":703,"name":2472,"path":66,"size":2473,"width":1307,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_38_ex_1_21b932942d.png","thumbnail_A_M2_38_ex_1_21b932942d","thumbnail_A.M2.38.ex.1.png",92.86,"A_M2_38_ex_1_21b932942d",270.06,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_38_ex_1_21b932942d.png","2023-12-04T13:46:24.989Z","2023-12-04T13:46:38.509Z",{"en-US":2462},"afne8287usmxvli95yafmmdh",[2482,2484],{"id":2483,"nationality":2454},2001,{"id":2485,"nationality":1736},2002,[],{"sortKey":2233,"id":527,"documentId":528,"names":529,"collectiveName":66,"annotation":66,"richText":2488,"locale":8,"images":2489,"nationalities":2555,"localizations":2558},"\u003Cp>Installation in public spaces: Ciné Cité, Café Bus Stop, Charly's Gare, Lift Ville Haute\u002FGrun, Place de la Gare and Centre culturel de Bonnevoie et Piscine. \u003C\u002Fp>\u003Cp>Throughout Luxembourg city, German artist Tilo Schulz staged a fragmented discourse employing texts and signs on bus stops, signposts, bars, etc. With their particular graphic design, each established a distinct relationship with its location. \u003C\u002Fp>",[2490,2512,2533],{"id":2491,"name":2492,"alternativeText":66,"caption":2493,"width":1378,"height":1379,"formats":2494,"hash":2505,"ext":700,"mime":703,"size":2506,"url":2507,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2508,"updatedAt":2509,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2510,"documentId":2511,"publishedAt":745},2142,"A.M2.36.ex.2.png","Tilo Schulz, Untitled, 1998. 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The project consisted, on the one hand, of a workshop about Manifesta 2 and art-making. On the other hand, the artist organised the so called \"Dialectical Leap\": a thirty-minute trip on a shuttle bus that took participants to the Karl Marx House in Trier, Germany. \u003C\u002Fp>",[2563],{"id":2564,"nationality":246},2064,[],{"sortKey":2567,"id":559,"documentId":560,"names":561,"collectiveName":66,"annotation":66,"richText":2568,"locale":8,"images":2569,"nationalities":2593,"localizations":2597},"u","\u003Cp>Performance at Casino Luxembourg\u003C\u002Fp>\u003Cp>On the opening day of Manifesta 2 Polish artist Piotr Uklański staged a performance in the entrance of the Casino Luxembourg. For it, a film stuntman hired by Uklanski is set on fire. The performance remained in the exhibition space through the traces it left. Moreover, a video film and photographs documented the event.\u003C\u002Fp>",[2570],{"id":2571,"name":2572,"alternativeText":66,"caption":2573,"width":1379,"height":2574,"formats":2575,"hash":2586,"ext":700,"mime":703,"size":2587,"url":2588,"previewUrl":66,"provider":740,"provider_metadata":66,"createdAt":2589,"updatedAt":2590,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2591,"documentId":2592,"publishedAt":745},2128,"A.M2.44.ex.png","Piotr Uklański, The full burn, 1998. Photo © Roman Mensing",748,{"xsmall":2576,"thumbnail":2581},{"ext":700,"url":2577,"hash":2578,"mime":703,"name":2579,"path":66,"size":2580,"width":1213,"height":730},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M2_44_ex_b506020fed.png","xsmall_A_M2_44_ex_b506020fed","xsmall_A.M2.44.ex.png",152.88,{"ext":700,"url":2582,"hash":2583,"mime":703,"name":2584,"path":66,"size":2585,"width":95,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M2_44_ex_b506020fed.png","thumbnail_A_M2_44_ex_b506020fed","thumbnail_A.M2.44.ex.png",41.84,"A_M2_44_ex_b506020fed",287.36,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M2_44_ex_b506020fed.png","2023-12-03T16:22:26.550Z","2023-12-03T16:22:35.559Z",{"en-US":2573},"xiwp2tzzobshs8h6tkqp45rw",[2594],{"id":2595,"nationality":2596},2090,"PL",[],{"sortKey":2599,"id":563,"documentId":564,"names":565,"collectiveName":66,"annotation":66,"richText":2600,"locale":8,"images":66,"nationalities":2601,"localizations":2604},"v","\u003Cp>Gitte Villesen, \u003Ci>Kathrine makes them and Bent collects them\u003C\u002Fi>, 1998 © Roman Mensing\u003C\u002Fp>\u003Cp>Video installation at Musée national d'histoire et d'art\u003C\u002Fp>\u003Cp>Danish artist Gitte Villesen remembered that, when she was fifteen years old a relative had told her that she would be married, have children and a secure job at the age of 29 and that art would not be more than a hobby. 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