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This work was a contribution to the overall Manifesta 4 debate, providing a first-hand experience of discussion, criticism and debate.\u003C\u002Fp>",[2786],{"id":2787,"name":2788,"alternativeText":66,"caption":2789,"width":2790,"height":2791,"formats":2792,"hash":2815,"ext":522,"mime":525,"size":2816,"url":2817,"previewUrl":66,"provider":568,"provider_metadata":66,"createdAt":2818,"updatedAt":2819,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2820,"documentId":2821,"publishedAt":573},442,"Andujar.jpg","Daniel García Andújar, e-manifesta.org, Trespassing Space, 2002 © Manifesta 4\u002FBernd Bodtländer",2403,1629,{"small":2793,"medium":2798,"xsmall":2804,"thumbnail":2809},{"ext":522,"url":2794,"hash":2795,"mime":525,"name":2796,"path":66,"size":2797,"width":535,"height":1103},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Andujar_6238a46b90.jpg","small_Andujar_6238a46b90","small_Andujar.jpg",87.81,{"ext":522,"url":2799,"hash":2800,"mime":525,"name":2801,"path":66,"size":2802,"width":542,"height":2803},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Andujar_6238a46b90.jpg","medium_Andujar_6238a46b90","medium_Andujar.jpg",308.58,1247,{"ext":522,"url":2805,"hash":2806,"mime":525,"name":2807,"path":66,"size":2808,"width":556,"height":1121},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Andujar_6238a46b90.jpg","xsmall_Andujar_6238a46b90","xsmall_Andujar.jpg",13.78,{"ext":522,"url":2810,"hash":2811,"mime":525,"name":2812,"path":66,"size":2813,"width":563,"height":2814},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Andujar_6238a46b90.jpg","thumbnail_Andujar_6238a46b90","thumbnail_Andujar.jpg",153.88,841,"Andujar_6238a46b90",375.88,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FAndujar_6238a46b90.jpg","2023-08-14T17:10:12.581Z","2023-10-03T18:20:34.673Z",{"en-US":2789},"kbrmz0gx5trwvb75vu2221hc",[2823],{"id":2824,"nationality":203},1151,[],{"id":2827,"documentId":2828,"names":2829,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":2830,"localizations":2833},1034,"jmq3qnzd73xgvbxzyucxt2b9","Nader Ahriman",[2831],{"id":2832,"nationality":182},1121,[],{"id":2835,"documentId":2836,"names":2837,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":2838,"localizations":2841},1029,"ah8ph8rp4f1gn02nl1uwnxjc","Irina Aristarkhova ",[2839],{"id":2840,"nationality":274},1116,[],{"id":2843,"documentId":2844,"names":2845,"collectiveName":66,"annotation":66,"richText":2846,"locale":8,"images":2847,"nationalities":2890,"localizations":2894},1058,"wr8dxh99bubrfpo3dmy1p07c","Mathieu Kleyebe Abonnenc","\u003Cp>The starting point of the film \u003Ci>Sector IX B\u003C\u002Fi> was the discovery of an old family photo album containing a series of pictures of objects as well as a series of pictures of individuals, families, officers and landscapes. All these photographs were shot in Gabon by the artist’s grandfather over a period of three years, from 1931 to 1934. \u003Ci>Secteur IX B\u003C\u002Fi> is a fiction, almost science-fiction, film, which weaves political issues together with scientific and artistic narratives which still inform national and international relations in the former colonial empire today. The project re-reads a personal desire to collect and classify objects in light of a collective history. Among all the collecting campaigns, the Dakar-Djibouti mission and its role in the creation of the Musée de l’Homme is the most significant example available, especially thanks to Michel Leiris’ diary.\u003C\u002Fp>\u003Cp>\u003Ci>Sector IX B\u003C\u002Fi> deals with the policies of cultural appropriation – of places and modes of knowledge production – as well as how we can question this scientific legacy now. On the one hand, the film aims to subvert the homogeneity of scientific adventure narratives in a colonial context; on the other hand, it questions the place each individual occupied – in this specific case the artist’s grandfather – in the processes of cultural appropriation and the accumulation of symbolic and economic wealth. The main character is a young anthropologist trying to redefine the boundaries of her discipline. In order to do this, she redesigns the pharmaceutical prescriptions given to the members of the famous Dakar-Djibouti Mission, then tests the effects of the drugs on herself. She falls slowly in a fantastical world, sinking into a hallucination entirely produced by the synthetic substances.\u003C\u002Fp>",[2848],{"id":2849,"name":2850,"alternativeText":66,"caption":2851,"width":2588,"height":930,"formats":2852,"hash":2883,"ext":522,"mime":525,"size":2884,"url":2885,"previewUrl":66,"provider":568,"provider_metadata":66,"createdAt":2886,"updatedAt":2887,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":2888,"documentId":2889,"publishedAt":573},1492,"HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg","Secteur IX B, 2015 © Mathieu Kleyebe Abonnenc. Photo © Jeanchristophe Lett \u002F Manifesta 13 Marseille",{"large":2853,"small":2858,"medium":2863,"xlarge":2868,"xsmall":2873,"thumbnail":2878},{"ext":522,"url":2854,"hash":2855,"mime":525,"name":2856,"path":66,"size":2857,"width":528,"height":529},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","large_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e","large_HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg",339.65,{"ext":522,"url":2859,"hash":2860,"mime":525,"name":2861,"path":66,"size":2862,"width":535,"height":536},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","small_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e","small_HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg",63.61,{"ext":522,"url":2864,"hash":2865,"mime":525,"name":2866,"path":66,"size":2867,"width":542,"height":543},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","medium_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e","medium_HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg",207.51,{"ext":522,"url":2869,"hash":2870,"mime":525,"name":2871,"path":66,"size":2872,"width":549,"height":550},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","xlarge_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e","xlarge_HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg",599.58,{"ext":522,"url":2874,"hash":2875,"mime":525,"name":2876,"path":66,"size":2877,"width":556,"height":557},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","xsmall_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e","xsmall_HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg",10.91,{"ext":522,"url":2879,"hash":2880,"mime":525,"name":2881,"path":66,"size":2882,"width":563,"height":564},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","thumbnail_Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e","thumbnail_HistoireNaturelle_001_┬®Jeanchristophe_Lett.jpg",106.52,"Histoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e",2526.58,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FHistoire_Naturelle_001_Jeanchristophe_Lett_4b02d7741e.jpg","2023-08-24T13:33:21.622Z","2023-11-15T12:49:28.954Z",{"en-US":2851},"p1ctg60adsiyzr4x09hf1g6c",[2891],{"id":2892,"nationality":2893},1148,"GF",[],{"id":2896,"documentId":2897,"names":2898,"collectiveName":66,"annotation":66,"richText":2899,"locale":8,"images":2900,"nationalities":2943,"localizations":2948},1027,"g50nvtrv8utohj72gy1jaezu","Larry Achiampong ","\u003Cp>Capital-driven labour markets draw many migrants into shadowy parallel realities. Strangely, often painfully suspended between the world they have left and the one in which they are yet to arrive, they clean, maintain and secure the city for others in eerie late-night or early-morning environments. Touching the same things and occupying the same spaces, the two groups coexist, but never meet.\u003C\u002Fp>\u003Cp>In The Expulsion, as in other works, Larry Achiampong probes the potential of imaginary time travel to overcome this displacement and its perpetuation of loss, isolation and inequality. 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At the same time, the documentary character of her films fluidly transitions into forms of theatricality. \u003Ci>Tourneur\u003C\u002Fi> (2018) and \u003Ci>Vidourle\u003C\u002Fi> (2019) both document a kind of bullfight practiced in the South of France; meanwhile, \u003Ci>Centaur\u003C\u002Fi> (2020) portrays the classical dressage of horses. Each of these films capture a strange choreography on screen, which could respectively be described as a ritual, a spectacle, a game or a fight – performative acts translated into filmic abstractions. \u003C\u002Fp>\u003Cp>While the bullfight is a meeting marked by unpredictability, the animals’ movements in dressage are controlled down to the finest detail and seem far removed from the categories of nature, drive or instinct. The insight into how these animals are handled reveals an ambivalence between care and control, physical strength and broken will, instinct and artifice. 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By combining these three figures into one, the Algerian artist Adel Abdessemed invented a trinity where spirituality, materialism and violence coalesced into a unique belief system. \u003C\u002Fp>",[3296],{"id":3297,"name":3298,"alternativeText":66,"caption":3299,"width":3300,"height":3301,"formats":3302,"hash":3315,"ext":769,"mime":772,"size":3316,"url":3317,"previewUrl":66,"provider":568,"provider_metadata":66,"createdAt":3318,"updatedAt":3319,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":3320,"documentId":3321,"publishedAt":573},2070,"A.M3.02.ex.01.png","Adel Abdessemed, La Naissance de MohammedKarlpolpot, 1999. 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The story began when the Belgian artist and his brother first began plotting to drive their Lada Kopelka to the USSR’s border. Their first attempt failed as the car broke down a few kilometres away from the East German border. Thirty years later, in 2014, the brothers were reunited and made another attempt, this time departing from Brussels for St. Petersburg. Upon arriving successfully in the Russian city, Francis Alÿs crashed the Lada Kopelka into a tree in the Winter Palace courtyard. 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In this video by German artist John Bock the hare is alive and runs around a living room filled with minuscule sculptures and intricate structures. 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In this case, the artist wrote the letters of the word RESIST on the six columns of the iconic building of the Art Academy of Frankfurt Portikus. Though it may not have been the artist’s intention, this message might have served political or social causes specific to its context.  \u003C\u002Fp>",[4599],{"id":4600,"name":4601,"alternativeText":66,"caption":4602,"width":4603,"height":4604,"formats":4605,"hash":4629,"ext":522,"mime":525,"size":4630,"url":4631,"previewUrl":66,"provider":568,"provider_metadata":66,"createdAt":4632,"updatedAt":4633,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":4634,"documentId":4635,"publishedAt":573},448,"Bijl.jpg","Marc Bijl, RESIST, 2002 © Manifesta 4\u002FBernd Bodtländer",2100,1689,{"small":4606,"medium":4612,"xsmall":4618,"thumbnail":4623},{"ext":522,"url":4607,"hash":4608,"mime":525,"name":4609,"path":66,"size":4610,"width":535,"height":4611},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Bijl_7195e33bb0.jpg","small_Bijl_7195e33bb0","small_Bijl.jpg",154.28,724,{"ext":522,"url":4613,"hash":4614,"mime":525,"name":4615,"path":66,"size":4616,"width":542,"height":4617},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Bijl_7195e33bb0.jpg","medium_Bijl_7195e33bb0","medium_Bijl.jpg",519.54,1480,{"ext":522,"url":4619,"hash":4620,"mime":525,"name":4621,"path":66,"size":4622,"width":556,"height":3603},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Bijl_7195e33bb0.jpg","xsmall_Bijl_7195e33bb0","xsmall_Bijl.jpg",20.66,{"ext":522,"url":4624,"hash":4625,"mime":525,"name":4626,"path":66,"size":4627,"width":563,"height":4628},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Bijl_7195e33bb0.jpg","thumbnail_Bijl_7195e33bb0","thumbnail_Bijl.jpg",271.75,997,"Bijl_7195e33bb0",432.5,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FBijl_7195e33bb0.jpg","2023-08-14T17:14:10.269Z","2023-10-03T18:19:41.557Z",{"en-US":4602},"os7n4unuefb6u3rssiddlw0h",[4637],{"id":4638,"nationality":382},1228,[],{"id":3288,"documentId":4641,"names":4642,"collectiveName":66,"annotation":66,"richText":4643,"locale":8,"images":66,"nationalities":4644,"localizations":4648},"r3ztqkcw37xc2koj88vucs7t","Guy Ben-Ner","\u003Cp>Guy Ben Ner, \u003Ci>Surplus Leisure\u003C\u002Fi>, 2014 © Manifesta 10 \u002F xxx\u003Cbr>\u003Cbr>Installation at Voronikhin Square Garden\u003Cbr>\u003Cbr>During Manifesta 10 the Israeli artist Guy Ben Ner erected a cabin in Kazanskaya Street to house his installation.  Exercise equipment from a nearby fitness studio generated electricity that powered the projection of a speech by Arnold Schwarzenegger on bodybuilding and the free market economy. The idea was that the installation, drawing on Marx’s concept of surplus labour, behaved like a parasite, deriving power from other people’s “labour time.”\u003C\u002Fp>",[4645],{"id":4646,"nationality":4647},1213,"IL",[],{"id":4650,"documentId":4651,"names":4652,"collectiveName":66,"annotation":66,"richText":4653,"locale":8,"images":4654,"nationalities":4699,"localizations":4702},1090,"w7asx464f4l9k8gajpk5jjcm","Luz Broto","\u003Cp>“Meet a local\u002Fvisitor. Swap a copy of your house key”. With this brief set of instructions, this suggestion, this invitation, Luz Broto continues a series of actions that she has carried out in different cities: Put oneself in the place of the other.\u003C\u002Fp>\u003Cp>The first took place in 2014. Returning to her former high school, the artist made a proposition to seventy school students: that every day, for seventy days, they go home from school to a different person’s life – to someone else’s parents, siblings, pets and pyjamas. 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Transformed and distorted to the point of unintelligibility, the phrases become abstract; they become something else that mixes the aesthetic form of rap with the concept of concrete poetry. A monotonous chant, a bird song that must be understood as an alarm. Given the climate of hypersurveillance that goes along with the violence prevalent in contemporary societies, the artist has reversed the codes here to turn the lookouts’ signals into a symptomatic cry of awareness. Stretched to the extreme, the words become simple, outstandingly minimal sounds. Repeated like a mantra, they produce a trance-like evocation of an ancestral ritual.\u003C\u002Fp>\u003Cp>Mohamed Bourouissa’s sound piece can be understood as the perfect adaptation of Munch’s Scream, whose main figure stares at the viewer in terror. Seemingly shocked, his gaze shakes viewers awake. Bourouissa takes the Norwegian painter’s emblem of tortured expressionism and relates it to the contemporary figure of the whistleblower. The sound waves – laments that have become refrains – echo an expression that fills Marseille’s neighbourhoods, where any number of voices can be heard sounding the alarm. With immeasurable sensitivity, Mohamed Bourouissa invites us to become aware of the world exactly as it is\u003C\u002Fp>",[5591],{"id":5592,"name":5593,"alternativeText":66,"caption":5594,"width":2588,"height":930,"formats":5595,"hash":5626,"ext":522,"mime":525,"size":5627,"url":5628,"previewUrl":66,"provider":568,"provider_metadata":66,"createdAt":5629,"updatedAt":5630,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":5631,"documentId":5632,"publishedAt":573},1661,"HARA!!!!!!hAAARAAAAA!!!!!hHARAAA!!!, 2020, oeuvre sonore © Mohamed Bourouissa. Photo © Jeanchristophe Lett \u002F Manifesta 13 Marseille.jpg","HARA!!!!!!hAAARAAAAA!!!!!hHARAAA!!!, 2020, oeuvre sonore © Mohamed Bourouissa. 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He blends African traditions with indigenous American art, creating a distinctive synthesis. His work has been showcased at the biennials of Venice and São Paulo, as well as at respected institutions like the Museum of Modern Art in New York and the Centre Pompidou in Paris. Bedia's art is housed in several renowned international collections, including those of the Los Angeles County Museum of Art, the Museum of Contemporary Art in Los Angeles, the Museum of Modern Art in New York, the Solomon R. Guggenheim Museum in New York and the Tate Gallery in London. 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This text turned out to be the novel \u003Ci>The 120 Days of Sodom\u003C\u002Fi> by the Marquis de Sade – a scion of the aristocracy whose celebration of perversion ultimately cost him his class. Hannah Black’s \u003Ci>Bastille\u003C\u002Fi> playfully reconstructs this anecdote in brick and paper, evoking both the autonomy of minimalist sculpture (Carl Andre) and the prison cell. Opposite, \u003Ci>Ruin II\u003C\u002Fi> consists of a copy of CLR James’ seminal work \u003Ci>The Black Jacobins\u003C\u002Fi>. James’ book offers a broadly materialist history of the Haitian Revolution, which took place parallel to the revolution in France. 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