Pictorial view of Manifesta 9

Starting at C-mine in Genk (C-Mine and Manifesta 9), I took my amateur photo’s with my small Casio ExilimEx-S600 for my second viewing of Manifest 9:

Next step: Waterschei, main exhibition building. (Winterslag nu als Creatief Centrum)

That we are part of “mens-dom” ‘human-stupidity” can be seen in Waterschei  as the red thread in Menifesta 9

May we speak of a a sense of doom? All forgotten faces? Hard work for whom to profit?


Exhaustion, Hopeless, dimnessDeathblow, dead tired, Worn out, Perilous, Kiss of death,Working themselves literally into the ground,Bite through,Futureless into a Blind-alley.

Igor Grubic’s Angels with Dirty Faces is an homage to the Kolubara miners’ strike that eventually brought down the Miloševi´c regime, and sparked the end of socialism in Yugoslavia. At the time, the Kolubara mine was the largest supplier of lignite coal in Serbia, producing almost half of the country’s electricity. The workers are portrayed against the backdrop of decommissioned factories or industrial sites.

The Plastic Reef:

Very up-to date with the recent findings of plastics in our food (last weeks plastic findings in fish and mussels)

The most impressing contemporary work: Manifesta’s most massive installation first.

Ni Haifeng’s “Para-Production” is made up of quite literally a mountain of discarded black fabric direct from mass-manufacturing in China. The Chinese artist, who lives in Amsterdam, has been adding to this mountain, which also consists of a giant quilt of pieces of fabric sewn together, for several years. The black, which indeed resembles a mountain of coal, brings the sheer amount of fabric waste by-product into sharp focus, while the motley quilt is Ni’s suggestion that “useful” is subjective.

Leaving the site:

For my additional comments, please do read:

Winterslag nu als Creatief Centrum

C-Mine and Manifesta 9

A second look at Manifesta 9


Find also:

Manifest destiny; Europe’s only roving arts biennial opens in Genk


  • Manifesta 9 – The Age of Coal (we-make-money-not-art.com)
    The art deco architecture of the ex-headquarters of the André Dumont mine is so stunningly dilapidated, it silences any flaw in the show.Instead of showcasing exclusively the latest and the very best in contemporary art, the exhibition, titled The Deep of the Modern, is articulated as a triptych. The first floor pays homage to the cultural and social heritage of Limburg mining industry. It had its surprises and joys but maybe my enthusiasm comes from the fact that I grew up in an ex-coal mining region and other visitors will probably have a very different experience of this section of the show.Age of Coal_Coal Sack Ceiling Hommage to Marcel Duchamp 02b9283.jpg
    Age of Coal, Coal Sack Ceiling – Hommage to Marcel Duchamp. Photo by Kristof Vrancken {Clearly Vrancken (from the Guardian) had a better camera than me to take the risk putting it on a two dimensional picture.}
  • Mining the past: art takes on the coal industry – in pictures (guardian.co.uk)
    Featuring work from Deller and Duchamp, The Deep of the Modern – its subtitle – explores the general history of coal-mining, pays tribute to its local legacy, and features contemporary artists attempting to connect it to global environmental issues. Here’s a selection of images from the event.
    Among the figures of mining history are the Ashington group of pitman painters – immortalised in Lee Hall’s play
  • Manifesta 9: a rich seam of art in a disused mine (guardian.co.uk)
    The coal mines that dotted this corner of eastern Belgium, Holland and the northern Ruhr were once photographed in all their melancholy grandeur, un-peopled and under flat skies, by Bernd and Hilla Becher.
    Like many of the works here, Martinete (Maciá’s “audio olfactory composition”) is a kind of elegy. The legacies of the industrial revolution, the migration of labour and the geopolitics of Europe and beyond are Manifesta’s theme: the world as it was and what it is becoming.
  • Mining the past: art takes on the coal industry – in pictures (bfreenews.com)
  • Manifesta 9 – Poetics of Restructuring (we-make-money-not-art.com)
    While floor one and two were focusing on the history of the exploitation of coal in the Limburg region and in the rest of the “western world”, the top floor of the crumbling art deco industrial building is filled with contemporary artworks that address de-industrialization and post-industrialization. As you can expect, many of the works come with a sense of doom similar to the one experienced by local communities when the mine closed in 1987.
  • A Space for Those who Live at the Office (meccinteriors.wordpress.com)
    For those who live, eat, sleep, breathe their work, London- and Berlin-based architects Nilsson Pflugfelder have introduced Verbandkammer, a spaceship-like, customizable workspace / artist’s residence.
    Though Verbandkammer was built for display in Manifesta 9, as presented by FLACC Workplace For Visual Artists, there are plans in place for the unit’s future.
  • Verbandkammer Flexible, Multifunctional Workspace by Nilsson Pflugfelder (design-milk.com)
    it may look like a black spaceship or bunker but it will allow artists to produce their work all in one place without ever having to leave the structure.

    The structure is all about multitasking in that each part must perform multiple functions.Verbandkammer Flexible, Multifunctional Workspace by Nilsson Pflugfelder

  • Portable Verbandkammer container offers a modular space for creative artists (ecochunk.com)
    Combining living and workspace into a single unit, the Verbandkammer provides enough space to let designers create and manuscript their projects in an inspiring environment. Featuring the structure finished with 11 different frames, 10 types of cladding and 40 separate modules, the bulky yet mobile container includes a number of shelves to display files and drawings to access the information of previous projects and exhibitions held at the arts institution.
  • Only human (flanderstoday.eu)
    Newtopia: The State of Human Rights, a city-wide exhibition in Mechelen, approaches its vast subject from a wide variety of angles while remaining remarkably cohesive and riveting. It’s a triumph for Brussels curator Katerina Gregos, fresh off her stint at Manifesta
    While each event has in some way examined the discourse between art and society, the final instalment is perhaps the most emphatic. In venues across Mechelen, Newtopia: The State of Human Rights explores various artistic responses to the subject. Taking the 1948 Universal Declaration of Human Rights (UDHR) as its starting point, Newtopia features the work of more than 70 international artists, ranging from big names like Andy Warhol and Pablo Picasso to emerging stars such as Egyptian Arab Spring iconographer Ganzeer to forgotten heroes like the Flemish anarchist Wilchar.

About Marcus Ampe

Retired dancer, choreographer, choreologist Founder of the Dance impresario office and archive: Danscontact-Dansarchief plus the Association for Bible scholars, the Lifestyle magazines "Stepping Toes" and "From Guestwriters" and creator of the site "Messiah for all". - Gepensioneerd danser, choreograaf, choreoloog. Stichter van Danscontact-Dansarchief plus van de Vereniging voor Bijbelvorsers, de Lifestyle magazines "Stepping Toes" en "From Guestwriters" en maker van de site "Messiah for all".
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1 Response to Pictorial view of Manifesta 9

  1. Pingback: Beyond Manifesta 9 | Marcus' s Space

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