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Curator",{"id":1308,"value":1309,"url":66},2817,"Boštjan Soklič, Education",{"id":1311,"label":1312,"values":1313},1857,"Museum of Modern Art",[1314,1317,1320],{"id":1315,"value":1316,"url":66},2818,"Zdenka Badovinac, Director",{"id":1318,"value":1319,"url":66},2819,"Nives Zalokar, Exhibition Organiser",{"id":1321,"value":1322,"url":66},2820,"Adela Železnik, Education",{"id":559,"label":765,"values":1324},[1325,1328,1331],{"id":1326,"value":1327,"url":66},2821,"Peter Kos, Director",{"id":1329,"value":1330,"url":66},2822,"Miroslav Vute, Deputy Director",{"id":1332,"value":1333,"url":66},2823,"Eva Kocuvan, Education",[1335,1345,1350,1354,1360,1364,1376,1384,1390,1398,1403,1408,1414,1427,1434,1447,1452,1456,1465,1471,1476,1481,1485,1490,1494,1498,1517,1527,1533,1537,1542,1547,1551,1563,1576,1581,1584,1587,1598,1604,1611,1616,1623,1636,1641,1647,1651,1656,1662,1668,1672,1677,1682,1692,1697],{"sortKey":1336,"collectiveName":66,"names":401,"id":399,"documentId":400,"annotation":66,"richText":1337,"images":1338,"nationalities":1342},"a","\u003Cp>This work consisting of ink on paper referred to three figures who changed the world order: Muslim prophet Mohammed, German philosopher Karl Marx and Cambodian dictator Pol Pot, all of whom attempted to purify the structure of human existence. 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>",[1339],{"id":1340,"documentId":1341},2070,"vaypww2t9nmx44t2dxfr303s",[1343],{"id":1344,"nationality":233},1119,{"sortKey":1336,"collectiveName":66,"names":405,"id":403,"documentId":404,"annotation":66,"richText":66,"images":66,"nationalities":1346},[1347],{"id":1348,"nationality":1349},1142,"PL",{"sortKey":1336,"collectiveName":66,"names":409,"id":407,"documentId":408,"annotation":66,"richText":66,"images":66,"nationalities":1351},[1352],{"id":419,"nationality":1353},"DK",{"sortKey":1355,"collectiveName":66,"names":425,"id":423,"documentId":424,"annotation":66,"richText":66,"images":66,"nationalities":1356},"b",[1357],{"id":1358,"nationality":1359},1299,"LV",{"sortKey":1355,"collectiveName":66,"names":421,"id":419,"documentId":420,"annotation":66,"richText":66,"images":66,"nationalities":1361},[1362],{"id":1363,"nationality":182},1219,{"sortKey":1355,"collectiveName":66,"names":413,"id":411,"documentId":412,"annotation":66,"richText":1365,"images":1366,"nationalities":1373},"\u003Cp>In this photograph by Italian artist Simone Berti, the protagonists were placed within the confines of a metal structure, which gave emphasis to the severity of the pose so characteristic of group portraits. The composition was particularly reminiscent of old snapshots for which photographers required their subjects to remain as still as possible for a period long enough to produce an acceptable photograph. \u003C\u002Fp>",[1367,1370],{"id":1368,"documentId":1369},2102,"wyopi6suu2pjee3ehj701yoa",{"id":1371,"documentId":1372},2103,"z020gfq77wotsiv6ph9rv6mn",[1374],{"id":1375,"nationality":246},1160,{"sortKey":1355,"collectiveName":66,"names":417,"id":415,"documentId":416,"annotation":66,"richText":66,"images":1377,"nationalities":1381},[1378],{"id":1379,"documentId":1380},2104,"xfl0340jgswl2peezs6udg0t",[1382],{"id":1383,"nationality":260},1296,{"sortKey":1385,"collectiveName":66,"names":437,"id":435,"documentId":436,"annotation":66,"richText":1386,"images":66,"nationalities":1387},"c","\u003Cp>Joost Conijn, \u003Ci>Airplane\u003C\u002Fi>, 2000 © Joost Conijn\u003C\u002Fp>\u003Cp>Video \u003C\u002Fp>\u003Cp>In 1999 the Dutch artist Joost Conijn built an aircraft. He exhibited it on the roof of De Fabriek in Eindhoven and planned its first flight for late 1999 in the middle of the Sahara desert. The entire process from the aircraft’s design to its installation on the rooftop of De Fabriek as well as the testing of its functions, its transportation and finally the first flight tests, was recorded by the artist on film.\u003C\u002Fp>",[1388],{"id":1389,"nationality":382},1316,{"sortKey":1385,"collectiveName":66,"names":429,"id":427,"documentId":428,"annotation":66,"richText":66,"images":66,"nationalities":1391},[1392,1395],{"id":1393,"nationality":1394},1271,"GB",{"id":1396,"nationality":1397},1272,"US",{"sortKey":1385,"collectiveName":66,"names":433,"id":431,"documentId":432,"annotation":66,"richText":66,"images":66,"nationalities":1399},[1400],{"id":1401,"nationality":1402},1234,"IE",{"sortKey":1404,"collectiveName":66,"names":445,"id":443,"documentId":444,"annotation":66,"richText":66,"images":66,"nationalities":1405},"d",[1406],{"id":1407,"nationality":1402},1330,{"sortKey":1404,"collectiveName":66,"names":441,"id":439,"documentId":440,"annotation":66,"richText":1409,"images":66,"nationalities":1410},"\u003Cp>Josef Dabernig, \u003Ci>Wisla\u003C\u002Fi>, 2000 © Manifesta 3 \u002F Josef Dabernig \u003C\u002Fp>\u003Cp>Video \u003C\u002Fp>\u003Cp>This film by Austrian artist Josef Dabernig had two male actors playing the role of coaches following the progress of a fictional football match. The camera focused on them exclusively, as they sat in the coach’s box at the stadium of Wisla, gesticulating like two men involved in a conflict and from time to time approaching the sideline and trying to interfere in the game. The actors’ gestures became a metaphorical and ambivalent expression of conflict and impotence. \u003C\u002Fp>",[1411],{"id":1412,"nationality":1413},1354,"AT",{"sortKey":1415,"collectiveName":449,"names":66,"id":447,"documentId":448,"annotation":66,"richText":1416,"images":1417,"nationalities":1424},"e","\u003Cp>The Scandinavian artist duo Elmgreen and Dragset created a commercial gallery within the context of the Manifesta 3 biennial programme as an autonomous act. The shows of the gallery were not organised by the curatorial team of the biennial but by a team of young local gallerists. The gallery itself became a sculptural object when it was transferred into the existing exhibition hall of Ljubljana’s Museum of Modern Art. \u003C\u002Fp>",[1418,1421],{"id":1419,"documentId":1420},2105,"q8f8haacaokc7a6fc0ashg16",{"id":1422,"documentId":1423},2106,"nwsl3d1nesohyjmv58d60jyj",[1425],{"id":1426,"nationality":1353},1370,{"sortKey":1428,"collectiveName":66,"names":453,"id":451,"documentId":452,"annotation":66,"richText":66,"images":66,"nationalities":1429},"f",[1430,1432],{"id":1431,"nationality":1394},1441,{"id":1433,"nationality":260},1442,{"sortKey":1435,"collectiveName":617,"names":66,"id":615,"documentId":616,"annotation":66,"richText":1436,"images":1437,"nationalities":1444},"g","\u003Cp>Installation at Šumi Bar\u003C\u002Fp>\u003Cp>The old Šumi Bar was the historical meeting place for artists, actors and political activists in Ljubljana during the 1970s. Closed for years and awaiting demolition, it was made accessible again to the public by Italian architects collective Gruppo A12. All the spaces and the existing furniture were painted white, while the access was through one of the windows. Inside, strobe lights and the sound of a local radio station created an alienating atmosphere. \u003C\u002Fp>",[1438,1441],{"id":1439,"documentId":1440},2108,"jtcxk6m3e5d0eps3w8qtp9gi",{"id":1442,"documentId":1443},2109,"xsavfds3ox4mjhr9wqp6gv73",[1445],{"id":1446,"nationality":246},1463,{"sortKey":1435,"collectiveName":66,"names":461,"id":459,"documentId":460,"annotation":66,"richText":66,"images":66,"nationalities":1448},[1449],{"id":1450,"nationality":1451},1482,"IL",{"sortKey":1435,"collectiveName":66,"names":457,"id":455,"documentId":456,"annotation":66,"richText":66,"images":66,"nationalities":1453},[1454],{"id":1455,"nationality":1413},1451,{"sortKey":1435,"collectiveName":66,"names":465,"id":463,"documentId":464,"annotation":66,"richText":66,"images":1457,"nationalities":1461},[1458],{"id":1459,"documentId":1460},2107,"k4z2apb3t4tgj6bunu4uc5we",[1462],{"id":1463,"nationality":1464},1465,"FI",{"sortKey":1466,"collectiveName":66,"names":469,"id":467,"documentId":468,"annotation":66,"richText":66,"images":66,"nationalities":1467},"i",[1468],{"id":1469,"nationality":1470},1548,"BG",{"sortKey":1472,"collectiveName":66,"names":477,"id":475,"documentId":476,"annotation":66,"richText":66,"images":66,"nationalities":1473},"j",[1474],{"id":1475,"nationality":1402},1573,{"sortKey":1472,"collectiveName":66,"names":473,"id":471,"documentId":472,"annotation":66,"richText":66,"images":66,"nationalities":1477},[1478],{"id":1479,"nationality":1480},1563,"HR",{"sortKey":1472,"collectiveName":66,"names":489,"id":487,"documentId":488,"annotation":66,"richText":66,"images":66,"nationalities":1482},[1483],{"id":1484,"nationality":233},1556,{"sortKey":1486,"collectiveName":66,"names":497,"id":495,"documentId":496,"annotation":66,"richText":66,"images":66,"nationalities":1487},"k",[1488],{"id":1489,"nationality":358},1588,{"sortKey":1486,"collectiveName":66,"names":493,"id":491,"documentId":492,"annotation":66,"richText":66,"images":66,"nationalities":1491},[1492],{"id":1493,"nationality":1349},1596,{"sortKey":1486,"collectiveName":66,"names":485,"id":483,"documentId":484,"annotation":66,"richText":66,"images":66,"nationalities":1495},[1496],{"id":1497,"nationality":1394},1622,{"sortKey":1486,"collectiveName":66,"names":481,"id":479,"documentId":480,"annotation":66,"richText":1499,"images":1500,"nationalities":1513},"\u003Cp>Installation in public space at Tromostovje\u003C\u002Fp>\u003Cp>At the Slovenian border, the Bosnian artist Šejla Kamerić had to use the entrance with a sign saying \"Others''. She chose Tromostovje (the Three Bridges) in the centre of Ljublijana for her installation. She placed signs for the European Union (EU) and for “Others'' on the bridges. In this way, passersby who crossed the bridges were forced into a reproduced reality, recalling the situation of those who cross national borders.  \u003C\u002Fp>",[1501,1504,1507,1510],{"id":1502,"documentId":1503},2110,"d12vg6nlwusz0zmjr1yjqg99",{"id":1505,"documentId":1506},2111,"b200x7f68ggybm3cz7680p8i",{"id":1508,"documentId":1509},2112,"vjve4b7k9b5da4us8w90iseg",{"id":1511,"documentId":1512},2113,"ai17iohcfhicp0wp7v8wkcun",[1514],{"id":1515,"nationality":1516},1600,"BA",{"sortKey":1518,"collectiveName":66,"names":501,"id":499,"documentId":500,"annotation":66,"richText":66,"images":1519,"nationalities":1523},"l",[1520],{"id":1521,"documentId":1522},2114,"t9dqocwgt0ucu0fhjzaz8tyb",[1524],{"id":1525,"nationality":1526},1656,"SK",{"sortKey":1528,"collectiveName":66,"names":505,"id":503,"documentId":504,"annotation":66,"richText":66,"images":66,"nationalities":1529},"m",[1530],{"id":1531,"nationality":1532},1692,"AM",{"sortKey":1528,"collectiveName":66,"names":509,"id":507,"documentId":508,"annotation":66,"richText":66,"images":66,"nationalities":1534},[1535],{"id":1536,"nationality":182},1716,{"sortKey":1538,"collectiveName":66,"names":513,"id":511,"documentId":512,"annotation":66,"richText":66,"images":66,"nationalities":1539},"n",[1540],{"id":1541,"nationality":1394},1756,{"sortKey":1543,"collectiveName":66,"names":525,"id":523,"documentId":524,"annotation":66,"richText":66,"images":66,"nationalities":1544},"o",[1545],{"id":1546,"nationality":274},1784,{"sortKey":1543,"collectiveName":66,"names":517,"id":515,"documentId":516,"annotation":66,"richText":66,"images":66,"nationalities":1548},[1549],{"id":1550,"nationality":274},1791,{"sortKey":1543,"collectiveName":66,"names":521,"id":519,"documentId":520,"annotation":66,"richText":1552,"images":1553,"nationalities":1560},"\u003Cp>The Slovakian artist Roman Ondak realised \u003Ci>Common Trip\u003C\u002Fi> in collaboration with people of a variety of ages and social backgrounds, who had either rarely or never travelled. These people made drawings and sculptures based on the artist’s description of places where he had travelled. Asking them to follow his instructions while also using their own creativity, the result is an act of collective imagination. The project indirectly referred to the contradictions of that transitional era and the still visible post-communist legacy of East-European countries. \u003C\u002Fp>",[1554,1557],{"id":1555,"documentId":1556},2116,"o90tzqfj52crwfxbaq8yty63",{"id":1558,"documentId":1559},2115,"iq0g0o0q1r3bxywjygltqe6m",[1561],{"id":1562,"nationality":1526},1780,{"sortKey":1564,"collectiveName":66,"names":529,"id":527,"documentId":528,"annotation":66,"richText":1565,"images":1566,"nationalities":1570},"p","\u003Cp>The Albanian-Italian artist Adrian Paci worked with so-called \"boat people\" from Albania who had had to flee in panic from the terrors of the 1997 war. Paci described \u003Ci>Albanian Stories \u003C\u002Fi>as a kind of readymade film\u003Ci>, \u003C\u002Fi>a simple recording of his three year old daughter telling a series of improvised fairy tales. In her telling, folkloric characters like a cow, a cat and a rooster, meet soldiers and “international forces”. The half-fictional, half-real worlds conjured by the innocent narrator convey the traumatic experiences of war. \u003C\u002Fp>",[1567],{"id":1568,"documentId":1569},2117,"kw4krxgfosrqhuswsuulc4s4",[1571,1574],{"id":1572,"nationality":1573},1811,"AL",{"id":1575,"nationality":246},1812,{"sortKey":1564,"collectiveName":66,"names":537,"id":535,"documentId":536,"annotation":66,"richText":1577,"images":66,"nationalities":1578},"\u003Cp>Diego Perrone, \u003Ci>As if fascinated by what remains still in the background (Come suggestionati da quello che dietro loro rimane fermo)\u003C\u002Fi>, 2000 © Manifesta 3\u002FCankarjev Dom\u003C\u002Fp>\u003Cp>Photography\u003C\u002Fp>\u003Cp>The Italian artist Diego Perrone photographed elderly residents of Asti in Italy holding large animal horns and antlers. The juxtaposition of ageing flesh and hardened organic material created an existential metaphor and lent a mythical, almost talismanic quality to the images. \u003C\u002Fp>",[1579],{"id":1580,"nationality":246},1798,{"sortKey":1564,"collectiveName":66,"names":533,"id":531,"documentId":532,"annotation":66,"richText":66,"images":66,"nationalities":1582},[1583],{"id":559,"nationality":182},{"sortKey":1564,"collectiveName":66,"names":545,"id":543,"documentId":544,"annotation":66,"richText":66,"images":66,"nationalities":1585},[1586],{"id":1114,"nationality":358},{"sortKey":1564,"collectiveName":66,"names":541,"id":539,"documentId":540,"annotation":66,"richText":1588,"images":1589,"nationalities":1596},"\u003Cp>Sonic installation in public space at Cankarjeva cesta underpass\u003C\u002Fp>\u003Cp>Scottish artist Susan Philipsz installed a loudspeaker in an underpass in a park in Ljubljana which broadcast a recording of herself singing the revolutionary workers’ anthem the Internationale, at ten minute intervals. The song’s interpretation was ambiguous as the singer's voice conveyed neither enthusiasm nor sadness, but rather nuances of both. It could be interpreted as a hymn to a lost era, an anthem that was no longer a call to political action.  \u003C\u002Fp>",[1590,1593],{"id":1591,"documentId":1592},1814,"ppxisoj9coy8v9jgecsryk76",{"id":1594,"documentId":1595},1813,"t1wxtriftcqg3yrz70qd7id7",[1597],{"id":985,"nationality":1402},{"sortKey":1599,"collectiveName":66,"names":549,"id":547,"documentId":548,"annotation":66,"richText":66,"images":66,"nationalities":1600},"r",[1601],{"id":1602,"nationality":1603},1872,"LT",{"sortKey":1605,"collectiveName":581,"names":66,"id":579,"documentId":580,"annotation":66,"richText":1606,"images":66,"nationalities":1607},"s","\u003Cp>Members: Dragan Protia, Mileta Poštia, Tijana Moraea, Peter De Bruyne, Djordje Balmazovia\u003C\u002Fp>",[1608],{"id":1609,"nationality":1610},2031,"RS",{"sortKey":1605,"collectiveName":573,"names":66,"id":571,"documentId":572,"annotation":66,"richText":1612,"images":66,"nationalities":1613},"\u003Cp>Stalker, \u003Ci>Transborderline: Habitable infrastructure to support the free movement of the public\u003C\u002Fi>, 2000 © Manifesta 3\u002FCankarjev Dom\u003C\u002Fp>\u003Cp>Installation \u003C\u002Fp>\u003Cp>The installation by Italian collective Stalker represented an imaginary infrastructure crossing the borders between East and West. They brought thousands of soccer balls to the heart of Ljubljana, on which there were written the names, stories and desires of those who line the borders of Europe. \u003C\u002Fp>",[1614],{"id":1615,"nationality":246},2012,{"sortKey":1605,"collectiveName":66,"names":553,"id":551,"documentId":552,"annotation":66,"richText":1617,"images":66,"nationalities":1618},"\u003Cp>Anri Sala, \u003Ci>Nocturnes\u003C\u002Fi>, 1999 © Manifesta 3\u002FAnri Sala\u003C\u002Fp>\u003Cp>Color video installation\u003C\u002Fp>\u003Cp>This short poetic film was a metaphorical expression of the 1990s Balkan conflict that had profoundly affected Albanian-German artist Anri Sala. The film presented two intertwining stories, one about a man who lives alone among some two thousand pet fish and another about a young former UN soldier who served as a peacekeeper in Bosnia.  \u003C\u002Fp>",[1619,1621],{"id":1620,"nationality":1573},1990,{"id":1622,"nationality":233},1991,{"sortKey":1605,"collectiveName":66,"names":557,"id":555,"documentId":556,"annotation":66,"richText":1624,"images":1625,"nationalities":1632},"\u003Cp>Bülent Sangar is an artist who makes photography-based installations. The works fall into roughly two categories; the first, distanced images and recomposed scenes of the strangely organised megalopolis of Istanbul, and the second, tableaux vivants where he uses himself, his partner, and his family in serial images. The employment of the intimate, the private and the familial is ambiguous. The figures migrate between their roles even within a given series to imply associative meanings; a man, a son, the artist the son, Bülent Sangar the son, and so forth … In subjecting his nearest and dearest to soft fictions of domestic\u002Fpublic and sporadic violence and melodramas, Sangar circumnavigates between brutality and hospitality, victim and perpetrator, force and tenderness, the lie and the truth, the ideal and the actual. The works are based on distillations from sensationalist media; keen observations of local traditions transformed and reinvented in new urban spaces; and the never-ending tension between the private and the public. This tension lies not only between intimate and social spaces, but also in how those are regulated in Muslim and secular traditions that remain radically opposed. The gap between the home and the street, hence the difference between Bülent Sangar's works done in interiors and the city images, is doubled by the fact that the people living in apartments have short histories in the cities, and produce a bizarre urbanism where the street is a no man's land. As for the interiors, the home becomes a radicalised container held together by inherited and internalised tradition.\u003C\u002Fp>",[1626,1629],{"id":1627,"documentId":1628},2118,"gpisyfw0y2es7vbvaxhj3pjm",{"id":1630,"documentId":1631},2119,"rc2zal8lwxsdk78ejh6tkolc",[1633],{"id":1634,"nationality":1635},1992,"TR",{"sortKey":1605,"collectiveName":66,"names":569,"id":567,"documentId":568,"annotation":66,"richText":66,"images":66,"nationalities":1637},[1638],{"id":1639,"nationality":1640},1988,"EE",{"sortKey":1605,"collectiveName":66,"names":585,"id":583,"documentId":584,"annotation":66,"richText":66,"images":66,"nationalities":1642},[1643,1645],{"id":1644,"nationality":358},1955,{"id":1646,"nationality":182},1956,{"sortKey":1605,"collectiveName":66,"names":561,"id":559,"documentId":560,"annotation":66,"richText":66,"images":66,"nationalities":1648},[1649],{"id":1650,"nationality":1464},2018,{"sortKey":1605,"collectiveName":66,"names":577,"id":575,"documentId":576,"annotation":66,"richText":1652,"images":66,"nationalities":1653},"\u003Cp>Simon J. Starling, \u003Ci>Rescued Rhododendrons (Production Stills)\u003C\u002Fi>, 2000; \u003Ci>Sonnenschein, Ljubljana, 2000\u003C\u002Fi>; Plečnik Union, 2000 © Manifesta 3\u002Fxxx\u003C\u002Fp>\u003Cp>Five C-type prints on aluminium\u003C\u002Fp>\u003Cp>\u003Ci>Rescued Rhododendrons (Production Stills) \u003C\u002Fi>consists of five colour photographs which document a journey made by the artist Simon Starling from the north of Scotland to the southernmost tip of Spain. The journey inverted one made in 1763 by a Swedish botanist, Claes Alestroemer, who discovered Rhododendron Ponticum growing in the hills between Gibraltar and Cadiz and was the first to introduce it into cultivation in Britain. Discovering that a number of Ponticum plants were to be destroyed in order to protect the Scottish ecosystem, the artist set out to return these plants to their ancestors. \u003C\u002Fp>\u003Cp>Starling’s work \u003Ci>Sonnenschein, Ljubljana 2000\u003C\u002Fi> was similarly concerned with geographical shifts. It had as its starting point a small man-made hill used by the pioneering aviator Otto Lilienthal to launch his experimental gliders in the 1890s. Starling made regular pilgrimages to this site where he would harness solar power in a battery, then transport the battery by plane to various locations around the globe and use it to illuminate a lightbulb, thus creating a web of connections to the birthplace of aviation.\u003C\u002Fp>",[1654],{"id":1655,"nationality":1394},1918,{"sortKey":1605,"collectiveName":66,"names":565,"id":563,"documentId":564,"annotation":66,"richText":66,"images":66,"nationalities":1657},[1658,1660],{"id":1659,"nationality":382},1998,{"id":1661,"nationality":1480},1999,{"sortKey":1663,"collectiveName":66,"names":597,"id":595,"documentId":596,"annotation":66,"richText":66,"images":66,"nationalities":1664},"t",[1665],{"id":1666,"nationality":1667},2066,"PT",{"sortKey":1663,"collectiveName":66,"names":601,"id":599,"documentId":600,"annotation":66,"richText":66,"images":66,"nationalities":1669},[1670],{"id":1671,"nationality":288},2076,{"sortKey":1663,"collectiveName":66,"names":589,"id":587,"documentId":588,"annotation":66,"richText":1673,"images":66,"nationalities":1674},"\u003Cp>Nasrin Tabatabai,\u003Ci> Old House\u003C\u002Fi>, 1999 ©Manifesta 3\u002F xxx\u003C\u002Fp>\u003Cp>Video\u003C\u002Fp>\u003Cp>This video was made by the Iranian artist Nasrin Tabatabai at the request of Haci Ceyhan, a Turkish shop owner from Rotterdam, who wanted to show the city in which he lived to his family back in Turkey. Ceyhan instructed the artist to record his tour. The video became a topography of the city of Rotterdam through the eyes of a Turkish immigrant. \u003C\u002Fp>",[1675],{"id":1676,"nationality":382},2054,{"sortKey":1663,"collectiveName":66,"names":593,"id":591,"documentId":592,"annotation":66,"richText":1678,"images":66,"nationalities":1679},"\u003Cp>Sarah Tripp, \u003Ci>Anti-Prophet\u003C\u002Fi>, 1999 © Manifesta 3\u002Fxxx\u003C\u002Fp>\u003Cp>Video\u003C\u002Fp>\u003Cp>The British artist Sarah Tripp presented a documentary film that explored the topics of religion, faith and beliefs. The artist embarked on a pilgrimage from one interview to another through various social groups and communities, \u003Cu>asking people to answer the central question of the film: \"What do you believe in?\" \u003C\u002Fu>The film was based on these interviews in which people shared their thoughts about what they passionately believed in, \u003Cu>whether secular or religious\u003C\u002Fu>. \u003C\u002Fp>",[1680],{"id":1681,"nationality":1394},2055,{"sortKey":1683,"collectiveName":66,"names":605,"id":603,"documentId":604,"annotation":66,"richText":1684,"images":1685,"nationalities":1689},"x","\u003Cp>Performance at Železniška postaja Ljubljana and Video installation \u003C\u002Fp>\u003Cp>The Kosovar artist Sislej Xhafa enacted his performance in the railway station of Ljubljana. Looking at the notice-board of departures and arrivals, he announced the information about the trains in the style of a stockbroker on the floor of a busy stock exchange. A video of this performance was shown on the day of the opening of the biennale, together with a new performance. \u003C\u002Fp>",[1686],{"id":1687,"documentId":1688},2270,"ztgi915n5fb1dqj5gdhlk1zq",[1690],{"id":1691,"nationality":246},2141,{"sortKey":1693,"collectiveName":66,"names":609,"id":607,"documentId":608,"annotation":66,"richText":66,"images":66,"nationalities":1694},"z",[1695],{"id":1696,"nationality":1413},2167,{"sortKey":1693,"collectiveName":66,"names":613,"id":611,"documentId":612,"annotation":66,"richText":66,"images":66,"nationalities":1698},[1699],{"id":1700,"nationality":1516},2174,[],{"data":1703,"meta":1704},[],{"pagination":1705},{"page":86,"pageSize":86,"pageCount":1706,"total":1706},0,{"data":1708,"meta":1709},[],{"pagination":1710},{"page":86,"pageSize":86,"pageCount":1706,"total":1706},{"data":1712,"meta":1713},[],{"pagination":1714},{"page":86,"pageSize":86,"pageCount":1706,"total":1706}]