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This piece of land, where nature would be allowed to take its course, would remain accessible to visitors. \u003C\u002Fp>",[1849],{"id":1850,"documentId":1851},2243,"po5htgn9fxxkl5fclv877q4y",[1853],{"id":1854,"nationality":203},1123,{"sortKey":1825,"collectiveName":66,"names":417,"id":415,"documentId":416,"annotation":66,"richText":66,"images":1856,"nationalities":1860},[1857],{"id":1858,"documentId":1859},1765,"sllup65211q6izizbk5c487f",[1861],{"id":1862,"nationality":288},1131,{"sortKey":1864,"collectiveName":429,"names":66,"id":427,"documentId":428,"annotation":66,"richText":66,"images":66,"nationalities":1865},"b",[1866],{"id":1867,"nationality":1868},1207,"US",{"sortKey":1864,"collectiveName":66,"names":441,"id":439,"documentId":440,"annotation":66,"richText":1870,"images":66,"nationalities":1871},"\u003Cp>Les Registres du Grand-Hornu, 1997\u003C\u002Fp>\u003Cp> \u003C\u002Fp>",[1872],{"id":1873,"nationality":233},1301,{"sortKey":1864,"collectiveName":66,"names":449,"id":447,"documentId":448,"annotation":66,"richText":66,"images":1875,"nationalities":1879},[1876],{"id":1877,"documentId":1878},2237,"nku8f1lg18ooxszd1aqf6jwm",[1880],{"id":1881,"nationality":886},1302,{"sortKey":1864,"collectiveName":66,"names":433,"id":431,"documentId":432,"annotation":66,"richText":66,"images":1883,"nationalities":1887},[1884],{"id":1885,"documentId":1886},2234,"ninzt4p5jpfwwgygoxio2h64",[1888],{"id":1889,"nationality":233},1295,{"sortKey":1864,"collectiveName":66,"names":437,"id":435,"documentId":436,"annotation":66,"richText":1891,"images":1892,"nationalities":1896},"\u003Cp>The installation by Italian artist Rossella Biscotti borrowed its title from the\u003Ci> \u003C\u002Fi>1957 treaty that established the\u003Ci> \u003C\u002Fi>European Atomic Energy Community. 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The work alluded to the widespread concern around nuclear energy in post-Cold War Europe.\u003C\u002Fp>",[1893],{"id":1894,"documentId":1895},1779,"b97emkfg6kst14lqctd5714o",[1897],{"id":1898,"nationality":246},1221,{"sortKey":1900,"collectiveName":66,"names":461,"id":459,"documentId":460,"annotation":66,"richText":66,"images":1901,"nationalities":1908},"c",[1902,1905],{"id":1903,"documentId":1904},2231,"x1rdjdvxp1crheeklplax6w9",{"id":1906,"documentId":1907},2232,"x7qucc363gru61kl2mnvbk6s",[1909],{"id":551,"nationality":1910},"BR",{"sortKey":1900,"collectiveName":66,"names":453,"id":451,"documentId":452,"annotation":66,"richText":1912,"images":1913,"nationalities":1917},"\u003Cp>In this installation British artist Ben Cain evoked the industrial change whereby production would become completely automatised and free from human labour. The former working space of the Waterschei mine was transformed into a “theatre of encounters between objects” featuring purposeless machines and posters with texts inspired by the calligraphy of early modernity.\u003C\u002Fp>",[1914],{"id":1915,"documentId":1916},1780,"g8hgqgneyzqwtqgkovm82nnn",[1918],{"id":1919,"nationality":886},1250,{"sortKey":1900,"collectiveName":66,"names":457,"id":455,"documentId":456,"annotation":66,"richText":66,"images":1921,"nationalities":1925},[1922],{"id":1923,"documentId":1924},1789,"gv659q3wv1jlphfxba98k04i",[1926],{"id":1927,"nationality":1928},1289,"IE",{"sortKey":1900,"collectiveName":66,"names":465,"id":463,"documentId":464,"annotation":66,"richText":66,"images":1930,"nationalities":1934},[1931],{"id":1932,"documentId":1933},2230,"f7oy51wa3h8q5lfvqiyp0of1",[1935],{"id":1936,"nationality":288},1248,{"sortKey":1900,"collectiveName":66,"names":473,"id":471,"documentId":472,"annotation":66,"richText":66,"images":1938,"nationalities":1945},[1939,1942],{"id":1940,"documentId":1941},2228,"zwjbvz04gxoi3tyq1s2a3es1",{"id":1943,"documentId":1944},2229,"w8czemcn5x8jlitvtmj2tpjr",[1946],{"id":1947,"nationality":1948},1251,"HR",{"sortKey":1900,"collectiveName":66,"names":469,"id":467,"documentId":468,"annotation":66,"richText":66,"images":1950,"nationalities":1954},[1951],{"id":1952,"documentId":1953},2227,"q67n6vgqonwbqclhndobxavq",[1955],{"id":1956,"nationality":886},1424,{"sortKey":1900,"collectiveName":66,"names":661,"id":659,"documentId":660,"annotation":66,"richText":66,"images":1958,"nationalities":1962},[1959],{"id":1960,"documentId":1961},2226,"zcxivsyvl82lc5dyf06dzbk5",[1963],{"id":483,"nationality":233},{"sortKey":1965,"collectiveName":66,"names":485,"id":483,"documentId":484,"annotation":66,"richText":66,"images":1966,"nationalities":1970},"d",[1967],{"id":1968,"documentId":1969},2225,"srvk1zbf5z74pkumx6b0r4tr",[1971],{"id":1972,"nationality":1868},1347,{"sortKey":1965,"collectiveName":66,"names":477,"id":475,"documentId":476,"annotation":66,"richText":66,"images":1974,"nationalities":1978},[1975],{"id":1976,"documentId":1977},2224,"hnrngn4159yrbejl4cqa1nmh",[1979],{"id":1980,"nationality":886},1329,{"sortKey":1965,"collectiveName":66,"names":481,"id":479,"documentId":480,"annotation":66,"richText":66,"images":1982,"nationalities":1986},[1983],{"id":1984,"documentId":1985},2223,"zlxxmhh36e2jhr9qlaf04xqn",[1987],{"id":1988,"nationality":886},1341,{"sortKey":1965,"collectiveName":66,"names":489,"id":487,"documentId":488,"annotation":66,"richText":1990,"images":1991,"nationalities":1995},"\u003Cp>Spanish artist Manuel Durán’s interest in the subject of miners arose from having been a miner himself. He created his\u003Ci> Miners’ Heads\u003C\u002Fi> using raw materials such as potatoes. He carved his subjects’ features directly into the raw material, without preparatory sketches, allowing them to be gradually transformed through the natural drying process. \u003C\u002Fp>",[1992],{"id":1993,"documentId":1994},1781,"qp00qotqjj9ax07b1mihexzz",[1996],{"id":1997,"nationality":203},1351,{"sortKey":1999,"collectiveName":66,"names":721,"id":719,"documentId":720,"annotation":66,"richText":2000,"images":2001,"nationalities":2004},"e","\u003Cp>This sculpture by artist Maarten Vanden Eynde was made from melted plastic debris collected from all the five-world ocean’s “gyres”, a system of rotating ocean currents, predominantly caused by significant wind movements. The work constituted a commentary on the issue of plastic pollution in the oceans as well as a reference to the disappearance of coral reefs.\u003C\u002Fp>",[2002],{"id":679,"documentId":2003},"ttaay5j72tcrzjt773b3z9b6",[2005],{"id":2006,"nationality":288},1372,{"sortKey":2008,"collectiveName":497,"names":66,"id":495,"documentId":496,"annotation":66,"richText":66,"images":2009,"nationalities":2016},"g",[2010,2013],{"id":2011,"documentId":2012},2220,"u54pu0okm5ve4n9cjoml4w8o",{"id":2014,"documentId":2015},2221,"l5gnk2uoinuae7t7520nmxrz",[2017],{"id":2018,"nationality":2019},1450,"SE",{"sortKey":2008,"collectiveName":66,"names":505,"id":503,"documentId":504,"annotation":66,"richText":66,"images":2021,"nationalities":2028},[2022,2025],{"id":2023,"documentId":2024},2218,"yj9199x82je4uk8dbxf9zhp1",{"id":2026,"documentId":2027},2219,"ewodo3dd71kmlaxnx8xrlyuk",[2029],{"id":2030,"nationality":182},1455,{"sortKey":2008,"collectiveName":66,"names":509,"id":507,"documentId":508,"annotation":66,"richText":66,"images":2032,"nationalities":2039},[2033,2036],{"id":2034,"documentId":2035},2216,"mhghkbghax0rdacfvirciv8g",{"id":2037,"documentId":2038},2217,"ctj3clct9am44uw55s6ukcel",[2040],{"id":2041,"nationality":1948},1467,{"sortKey":2008,"collectiveName":66,"names":493,"id":491,"documentId":492,"annotation":66,"richText":2043,"images":2044,"nationalities":2048},"\u003Cp>\"Fired Up\" is a monument and warning about the risks of Climate Change. The bronze eternal flame by South African\u002FBelgian artist Kendell Geers was cast from a pile of old and discarded car tyres with an eternal flame burning in protest. It paid homage to the workers in the former coal mines of the Campine region and the Ford factory in Genk, connecting the industrial past of the region with its present. It also drew attention to environmental issues associated with those industries such as the reliance on fossil fuels and the polluting effects of the motor industry with an accumulation of material waste.\u003C\u002Fp>",[2045],{"id":2046,"documentId":2047},1785,"yqvoolew6rvpyez2kyoa6u34",[2049],{"id":2050,"nationality":288},1466,{"sortKey":2008,"collectiveName":66,"names":501,"id":499,"documentId":500,"annotation":66,"richText":2052,"images":2053,"nationalities":2057},"\u003Cp>Archival Installation\u003Cbr>\u003Cbr>Manifesta 9 included an installation dedicated to the Italian-Belgian singer Rocco Granata, part of the exhibition 17 Tons. This singer, who was the son of a miner, became famous by recording and releasing his own records after his song \u003Ci>Marina\u003C\u002Fi> had been rejected by several record labels. He later created his own label, arranging and producing songs for other Belgian artists. \u003C\u002Fp>",[2054],{"id":2055,"documentId":2056},2215,"fbnn1dibsex1gxy73atoyyn9",[2058],{"id":2059,"nationality":288},1452,{"sortKey":2061,"collectiveName":66,"names":521,"id":519,"documentId":520,"annotation":66,"richText":66,"images":2062,"nationalities":2069},"h",[2063,2066],{"id":2064,"documentId":2065},2213,"p068kyo6hm7toinj80tnl6y8",{"id":2067,"documentId":2068},2214,"o3d55fc0ni4sglfr4j7x8em6",[2070],{"id":2071,"nationality":1868},1496,{"sortKey":2061,"collectiveName":66,"names":541,"id":539,"documentId":540,"annotation":66,"richText":2073,"images":2074,"nationalities":2078},"\u003Cp>\u003Ci>A Little Larger Than the Entire Universe \u003C\u002Fi>is a development of the Turkish artist Emre Hüner’s 2011 project Quixotic, which drew on the history of Fordlandia, the prefabricated industrial town founded by Henry Ford in 1928 in the Amazon rainforest to extract rubber for tyres. This enterprise failed as neither the native workers nor the jungle conformed to the principles of Fordism. Hüner, with this installation, questions how we deal with modernity and industry. \u003C\u002Fp>",[2075],{"id":2076,"documentId":2077},1786,"a4jyc7ziibjyvtjar20dm5nq",[2079],{"id":2080,"nationality":2081},1635,"TR",{"sortKey":2061,"collectiveName":66,"names":513,"id":511,"documentId":512,"annotation":66,"richText":66,"images":2083,"nationalities":2087},[2084],{"id":2085,"documentId":2086},2212,"ofg0vin3uq82o9goqdkx6yk0",[2088],{"id":2089,"nationality":288},1637,{"sortKey":2061,"collectiveName":66,"names":533,"id":531,"documentId":532,"annotation":66,"richText":66,"images":2091,"nationalities":2095},[2092],{"id":2093,"documentId":2094},2211,"x2aybl7bgr752mphbl0a9dfj",[2096,2099],{"id":2097,"nationality":2098},1504,"PL",{"id":2100,"nationality":886},1505,{"sortKey":2061,"collectiveName":66,"names":737,"id":735,"documentId":736,"annotation":66,"richText":66,"images":2102,"nationalities":2109},[2103,2106],{"id":2104,"documentId":2105},2209,"y4owzmgyyn9j4vphewd55ql2",{"id":2107,"documentId":2108},2210,"zzb4eep0xn9zycp1y39n1123",[2110],{"id":2111,"nationality":288},1493,{"sortKey":2061,"collectiveName":66,"names":529,"id":527,"documentId":528,"annotation":66,"richText":2113,"images":66,"nationalities":2114},"\u003Cp>Yours in Solidarity, 2009-12, Nicoline van Harskamp\u003C\u002Fp>\u003Cp>Video Installation \u003C\u002Fp>",[2115],{"id":2116,"nationality":382},1538,{"sortKey":2061,"collectiveName":66,"names":537,"id":535,"documentId":536,"annotation":66,"richText":66,"images":66,"nationalities":2118},[2119],{"id":2120,"nationality":886},1539,{"sortKey":2061,"collectiveName":66,"names":517,"id":515,"documentId":516,"annotation":66,"richText":66,"images":2122,"nationalities":2126},[2123],{"id":2124,"documentId":2125},2208,"qftwlhsf13lb9pxa7dey48p9",[2127],{"id":2128,"nationality":886},1634,{"sortKey":2061,"collectiveName":66,"names":525,"id":523,"documentId":524,"annotation":66,"richText":66,"images":2130,"nationalities":2134},[2131],{"id":2132,"documentId":2133},2207,"ng2z6wbmg57apjh7qpsgt5zq",[2135],{"id":2136,"nationality":886},1629,{"sortKey":2138,"collectiveName":545,"names":66,"id":543,"documentId":544,"annotation":66,"richText":2139,"images":66,"nationalities":2140},"i","\u003Cp>Dusan Mandic, Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik.\u003C\u002Fp>",[2141],{"id":1206,"nationality":358},{"sortKey":2138,"collectiveName":66,"names":553,"id":551,"documentId":552,"annotation":66,"richText":2143,"images":2144,"nationalities":2148},"\u003Cp>This project reflected on the economic relationship between Western economies and China. The Spanish artist Jota Izquierdo retraced the flow of mass-produced consumer goods from individual vendors on the streets of Mexico City and Valencia back to their distributors and ultimately to their producers in the Special Economic Zone of Guangzhou, China. In this installation the collection of these objects was combined with a set of audiovisual records documenting the trading 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installation by the Chinese artist Ni Haifeng consisted of several tons of discarded fabric trimmings that originated from Chinese factories in Beijing, all sewn together into a single, massive piece. Visitors could use one of several sewing machines to add a piece of textile to the piece. 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