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She presented the results on twenty public advertising spaces along with portraits of the artists. These posters made visible the discrepancy between reality and the prejudice regarding artists. \u003C\u002Fp>",[1695],{"id":1696,"documentId":1697},477,"wvmgofnj1k7se3w1mqwigqy9",[],{"sortKey":1692,"collectiveName":66,"names":558,"id":556,"documentId":557,"annotation":66,"richText":66,"images":66,"nationalities":1700},[1701],{"id":1702,"nationality":1414},1604,{"sortKey":1692,"collectiveName":66,"names":554,"id":552,"documentId":553,"annotation":66,"richText":1704,"images":1705,"nationalities":1709},"\u003Cp>Performance and video at Frankensteiner Hof and Info Screens. Courtesy of Loock Galerie, Berlin.\u003C\u002Fp>\u003Cp>This performance by Japanese artist Takehito Koganezawa consisted of 24 clocks hidden in a room that started ringing at different times. As soon as the ringing started, actors wearing identical masks and uniforms looked for the source of the noise. The one who found the clock turned it off and took the place of an immobile person in the foreground. This cyclical performance lasted for so long that emptiness and boredom reached an absurd tension. \u003C\u002Fp>",[1706],{"id":1707,"documentId":1708},476,"dw7lsn5xaawa973nd3xhusx3",[1710],{"id":1711,"nationality":1712},1620,"JP",{"sortKey":1714,"collectiveName":66,"names":566,"id":564,"documentId":565,"annotation":66,"richText":1715,"images":1716,"nationalities":1720},"l","\u003Cp>Urban intervention at Main River\u003C\u002Fp>\u003Cp>For this project, the Hungarian artist Antal Lakner created the Icelandic Army, a fictitious army which fulfilled solely peaceful and observational roles. The project served to explore the division between fiction and reality, and with its absurd military equipment totally unsuited for fighting it questioned the omnipotence of modern military engineering. \u003C\u002Fp>",[1717],{"id":1718,"documentId":1719},478,"kbp1wgrilvk1nhmo1l89guro",[1721],{"id":1722,"nationality":1723},1667,"HU",{"sortKey":1714,"collectiveName":66,"names":574,"id":572,"documentId":573,"annotation":66,"richText":66,"images":1725,"nationalities":1729},[1726],{"id":1727,"documentId":1728},479,"kckdvqueho558ve292iqaew6",[1730],{"id":1731,"nationality":274},1658,{"sortKey":1714,"collectiveName":66,"names":570,"id":568,"documentId":569,"annotation":66,"richText":66,"images":66,"nationalities":1733},[],{"sortKey":1735,"collectiveName":66,"names":594,"id":592,"documentId":593,"annotation":66,"richText":1736,"images":1737,"nationalities":1744},"m","\u003Cp>Urban installation at River Main Banks\u003C\u002Fp>\u003Cp>On an island in the Main River, Italian artist Gianni Motti re-created the prison cell of Abdullah Ocalan, the Kurd leader who had been in prison on the Turkish island of Imrali since 1999. The project not only recalled the Kurd leader and his imprisonment, but also posed general questions concerning human rights and human dignity. \u003C\u002Fp>",[1738,1741],{"id":1739,"documentId":1740},482,"w21htppb15ldett26r3bjfsy",{"id":1742,"documentId":1743},483,"gyt0upwx2ikpkg5heqpaz13a",[1745],{"id":1746,"nationality":246},1723,{"sortKey":1735,"collectiveName":66,"names":578,"id":576,"documentId":577,"annotation":66,"richText":66,"images":66,"nationalities":1748},[1749],{"id":624,"nationality":1750},"LT",{"sortKey":1735,"collectiveName":66,"names":582,"id":580,"documentId":581,"annotation":66,"richText":66,"images":1752,"nationalities":1756},[1753],{"id":1754,"documentId":1755},480,"n3wnpbqj4pmh5dnlba8dwhwm",[1757],{"id":1758,"nationality":1759},1705,"SK",{"sortKey":1735,"collectiveName":66,"names":586,"id":584,"documentId":585,"annotation":66,"richText":1761,"images":1762,"nationalities":1766},"\u003Cp>Archive and light installation at Frankfurter Kunstverein. Courtesy of Gallery Mehdi Chouakri, Berlin.\u003C\u002Fp>\u003Cp>Manifesta curators approached French artist Mathieu Mercier to create a space for the exhibition’s archival material. The result consisted of wooden archival containers called \u003Ci>Archives Modules\u003C\u002Fi>, which could be combined and moved. Several examples of Mercier’s \u003Ci>Folding Lamp\u003C\u002Fi>, an air compressor attached to an adjustable metal structure accompanied the modules.\u003C\u002Fp>",[1763],{"id":1764,"documentId":1765},481,"aqggrn461fxn3f2t66jqgeb1",[1767],{"id":1768,"nationality":233},1721,{"sortKey":1735,"collectiveName":66,"names":598,"id":596,"documentId":597,"annotation":66,"richText":66,"images":1770,"nationalities":1774},[1771],{"id":1772,"documentId":1773},484,"hev8hog6hxkwvhhcg7pjhzch",[1775],{"id":1776,"nationality":1554},1735,{"sortKey":1735,"collectiveName":66,"names":590,"id":588,"documentId":589,"annotation":66,"richText":66,"images":66,"nationalities":1778},[1779],{"id":1780,"nationality":1554},1682,{"sortKey":1782,"collectiveName":66,"names":602,"id":600,"documentId":601,"annotation":66,"richText":66,"images":66,"nationalities":1783},"n",[1784],{"id":636,"nationality":233},{"sortKey":1786,"collectiveName":606,"names":66,"id":604,"documentId":605,"annotation":66,"richText":66,"images":1787,"nationalities":1791},"o",[1788],{"id":1789,"documentId":1790},485,"mxggg0g6fvxlidk790egicqo",[],{"sortKey":1793,"collectiveName":66,"names":614,"id":612,"documentId":613,"annotation":66,"richText":66,"images":1794,"nationalities":1798},"p",[1795],{"id":1796,"documentId":1797},487,"k13kyase4drtwtdv0qxp7po5",[1799],{"id":1800,"nationality":1576},1855,{"sortKey":1793,"collectiveName":66,"names":734,"id":732,"documentId":733,"annotation":66,"richText":1802,"images":1803,"nationalities":1810},"\u003Cp>Installation at Casa Ciriza\u003C\u002Fp>\u003Cp>German artist Kirsten Pieroth explored the persona of Thomas Edison outside of the verifiable biographical facts in order to pursue fictional tangents of his life and discoveries.  The point of departure for the installation was a brick from the original Edison Portland Cement Company, purchased at auction. The artist explored the notion of authenticity by reproducing this brick and constructing a wall of copies that also contained the original.  Other items surrounded this sculpture, including a copy machine and a log book wherein a sailor repeatedly scrawled “working without news.”  \u003C\u002Fp>",[1804,1807],{"id":1805,"documentId":1806},384,"dy9dgrlogxpow0wk44q824ei",{"id":1808,"documentId":1809},385,"wafq2xanusa2l3ca97ape3we",[1811],{"id":1812,"nationality":182},1830,{"sortKey":1793,"collectiveName":66,"names":610,"id":608,"documentId":609,"annotation":66,"richText":1814,"images":1815,"nationalities":1819},"\u003Cp>Video installation at Hauptbahnhof\u003C\u002Fp>\u003Cp>The community-based, public art project TAMA (Temporary Autonomous Museum for All) was conceptualised by the Greek artist Maria Papadimitriou in Avliza, near Athens, which is occupied by Roma and Vlach-Romanian Greeks. For Manifesta 4 in Frankfurt a large screen was installed at the train station, on which the video \u003Ci>T.A.M.A sentimental\u003C\u002Fi> was projected. Positioned in front of the screen were white plastic chairs, also known as “Gypsy’s chairs” in Greece because they are often sold by Romani vendors. The installation referred to the Roma people’s temporary appropriations of any place, while also offering train travellers a place to rest. \u003C\u002Fp>",[1816],{"id":1817,"documentId":1818},486,"bihfdwatr3pkyffhumd3gvsv",[1820],{"id":1821,"nationality":1822},1853,"GR",{"sortKey":1793,"collectiveName":66,"names":618,"id":616,"documentId":617,"annotation":66,"richText":66,"images":66,"nationalities":1824},[1825],{"id":1826,"nationality":358},1852,{"sortKey":1828,"collectiveName":630,"names":66,"id":628,"documentId":629,"annotation":66,"richText":1829,"images":1830,"nationalities":1834},"r","\u003Cp>Archive at Frankfurter Kunstverein\u003C\u002Fp>\u003Cp>The presentation by German independent publisher Revolver Archiv für aktuelle Kunst attempted to provide an overview of the various models of multiplication and distribution of artistic production and to explore the diverse strategies, motivations and programmes of the participating publishers’ projects. Individual artists’ publications were not the main focus, but rather the ways in which publishers and editors work.  \u003C\u002Fp>",[1831],{"id":1832,"documentId":1833},490,"wcilojnr7gmfiyxhlprpeltx",[1835],{"id":1836,"nationality":182},1891,{"sortKey":1828,"collectiveName":638,"names":66,"id":636,"documentId":637,"annotation":66,"richText":1838,"images":1839,"nationalities":1843},"\u003Cp>Installation at Städelsches Kunstinstitut\u003C\u002Fp>\u003Cp>For this installation the Finnish collective ROR treated a variety of symbols and insignias of faith in an irreverent and unorthodox way. On the floor, the collective wove   a (wall) rug and its pattern is a \"TV tuning image\" and on the wall, a \"Bob Marley\" cross stitch work.\u003C\u002Fp>",[1840],{"id":1841,"documentId":1842},491,"zv1x6dfnqp1tkb5lau8hdr31",[1844],{"id":1845,"nationality":1846},1889,"FI",{"sortKey":1828,"collectiveName":642,"names":66,"id":640,"documentId":641,"annotation":66,"richText":66,"images":1848,"nationalities":1852},[1849],{"id":1850,"documentId":1851},492,"jxli68p6b117t03dik6d2qt5",[1853],{"id":1854,"nationality":182},1883,{"sortKey":1828,"collectiveName":66,"names":438,"id":436,"documentId":437,"annotation":66,"richText":66,"images":1856,"nationalities":1860},[1857],{"id":1858,"documentId":1859},450,"j7gy8zex63u1c9oa2ame2qe4",[1861],{"id":1862,"nationality":203},1871,{"sortKey":1828,"collectiveName":66,"names":634,"id":632,"documentId":633,"annotation":66,"richText":66,"images":66,"nationalities":1864},[1865],{"id":1866,"nationality":246},1884,{"sortKey":1828,"collectiveName":66,"names":646,"id":644,"documentId":645,"annotation":66,"richText":66,"images":1868,"nationalities":1872},[1869],{"id":1870,"documentId":1871},493,"do56r04x6nv4aiurrz3oe735",[1873],{"id":1874,"nationality":1683},1902,{"sortKey":1828,"collectiveName":66,"names":626,"id":624,"documentId":625,"annotation":66,"richText":1876,"images":1877,"nationalities":1881},"\u003Cp>Art project at Frankfurter Kunstverein\u003C\u002Fp>\u003Cp>The project was an open-access biennial within Manifesta 4. The American artist Sal Randolph bought her participation in Manifesta 4 for $15,099 in an eBay auction and offered space to any artist who wished to exhibit their work. Over 225 artists and groups reacted to this open call. This art project took place around the city as well as through broadcasting media, telephone and mail systems and critically questioned the closed selection systems of curators and biennials. \u003C\u002Fp>",[1878],{"id":1879,"documentId":1880},489,"vn08ntomq9ope1pnkmcvjffh",[1882],{"id":1883,"nationality":1389},1869,{"sortKey":1885,"collectiveName":66,"names":670,"id":668,"documentId":669,"annotation":66,"richText":66,"images":1886,"nationalities":1890},"s",[1887],{"id":1888,"documentId":1889},497,"k3in8ribed30phrlbbsr8jnf",[1891],{"id":1892,"nationality":233},1954,{"sortKey":1885,"collectiveName":66,"names":738,"id":736,"documentId":737,"annotation":66,"richText":1894,"images":1895,"nationalities":1899},"\u003Cp>Floor sculpture exhibited at Casa Ciriza\u003C\u002Fp>\u003Cp>This sculpture by British artist Conrad Shawcross was made from one continuous spiral of wood that perpetually turned on itself. From a distance it appeared stationary but when the viewers approached the work, they realised that it was moving. With this skeletal structure, which has no coherent interior or exterior, top or bottom, middle or end, the artist denies function while being conscious of the complexities and dimensions of time. \u003C\u002Fp>",[1896],{"id":1897,"documentId":1898},396,"gaaoju97w4j6jngjuso265tq",[1900],{"id":1901,"nationality":1544},2024,{"sortKey":1885,"collectiveName":66,"names":674,"id":672,"documentId":673,"annotation":66,"richText":66,"images":66,"nationalities":1903},[1904],{"id":1905,"nationality":219},1949,{"sortKey":1885,"collectiveName":66,"names":658,"id":656,"documentId":657,"annotation":66,"richText":1907,"images":1908,"nationalities":1912},"\u003Cp>Installation exhibited at Portikus\u003C\u002Fp>\u003Cp>This project by Austrian artist Hans Schabus consisted of a darkened room with an oval opening through which visitors entered. In this room, the artist projected a video of himself sailing the sewers of Vienna, New York and Frankfurt in a small wooden boat called Forlorn.\u003C\u002Fp>",[1909],{"id":1910,"documentId":1911},494,"yhygke27vbabbfdmsns2c3nm",[1913],{"id":1914,"nationality":1576},2014,{"sortKey":1885,"collectiveName":66,"names":654,"id":652,"documentId":653,"annotation":66,"richText":66,"images":66,"nationalities":1916},[1917],{"id":1918,"nationality":1576},2006,{"sortKey":1885,"collectiveName":66,"names":666,"id":664,"documentId":665,"annotation":66,"richText":1920,"images":1921,"nationalities":1925},"\u003Cp>Video installation at Frankfurter Kunstverein\u003C\u002Fp>\u003Cp>In this video, Bulgarian artist Valin Serapionov documented quotidian situations of people waiting at the railway station with his video camera. He did so without being noticed, invading the privacy of his involuntary actors. Visitors to the installation automatically became voyeurs and reproduced Serapionov's secret appropriation of the private moments of strangers. \u003C\u002Fp>",[1922],{"id":1923,"documentId":1924},496,"pdg8pdqsy8owk2pb8fa74mb5",[1926],{"id":1927,"nationality":870},1958,{"sortKey":1885,"collectiveName":66,"names":686,"id":684,"documentId":685,"annotation":66,"richText":66,"images":1929,"nationalities":1933},[1930],{"id":1931,"documentId":1932},500,"ha59iy0hktxb271ikdaxbzdz",[1934],{"id":1935,"nationality":1750},1997,{"sortKey":1885,"collectiveName":66,"names":682,"id":680,"documentId":681,"annotation":66,"richText":1937,"images":1938,"nationalities":1942},"\u003Cp>Installation at Frankensteiner Hof \u003C\u002Fp>\u003Cp>Polish artist Monika Sosnowska installed a labyrinth of built spaces in Frankensteiner Hof in which nine identical rooms were connected through doors. No matter which one of the doors were opened, the same familiar room appeared. Opening a door and entering a room was transformed into a bodily experience that oscillated between disappointed expectations and unease. \u003C\u002Fp>",[1939],{"id":1940,"documentId":1941},499,"gmk1belkk1uh22b0m09k24jz",[1943],{"id":1003,"nationality":1658},{"sortKey":1885,"collectiveName":66,"names":506,"id":504,"documentId":505,"annotation":66,"richText":66,"images":1945,"nationalities":1949},[1946],{"id":1947,"documentId":1948},466,"ns9mwtl6ze21heg8qxb3vvx2",[1950],{"id":1951,"nationality":182},1945,{"sortKey":1885,"collectiveName":66,"names":678,"id":676,"documentId":677,"annotation":66,"richText":66,"images":1953,"nationalities":1957},[1954],{"id":1955,"documentId":1956},498,"e81b0z7snz7dfqhwaijjaee5",[1958],{"id":1959,"nationality":1960},2011,"PT",{"sortKey":1885,"collectiveName":66,"names":662,"id":660,"documentId":661,"annotation":66,"richText":1962,"images":1963,"nationalities":1967},"\u003Cp>Video installation at Frankensteiner Hof and Städelsches Kunstinstitute\u003C\u002Fp>\u003Cp>In this constructed situation a human figure moved slowly on the floor, interpreting positions of the human body copied from the early films and videotapes of Bruce Nauman and Dan Graham. Through this temporary and immaterial artwork, the German artist Tino Sehgal challenged the conventions of museum practice and the concept of the artwork as a commercial object, and explored the ideas of intellectual property and the role of the maker. It was one of the first performances of the artist at an international biennial.\u003C\u002Fp>",[1964],{"id":1965,"documentId":1966},495,"c5bqm31ekp3uoun1vnduhfj9",[1968],{"id":970,"nationality":1544},{"sortKey":1970,"collectiveName":694,"names":66,"id":692,"documentId":693,"annotation":66,"richText":66,"images":66,"nationalities":1971},"t",[1972],{"id":1973,"nationality":382},2087,{"sortKey":1970,"collectiveName":66,"names":690,"id":688,"documentId":689,"annotation":66,"richText":66,"images":1975,"nationalities":1979},[1976],{"id":1977,"documentId":1978},501,"em6nif1g0iisn1mt4ji2ss41",[1980],{"id":1981,"nationality":1846},2056,{"sortKey":1983,"collectiveName":66,"names":698,"id":696,"documentId":697,"annotation":66,"richText":66,"images":1984,"nationalities":1988},"u",[1985],{"id":1986,"documentId":1987},502,"v60gkvbe592c51ftlioeb2u2",[1989],{"id":1990,"nationality":1750},2091,{"sortKey":1992,"collectiveName":710,"names":66,"id":708,"documentId":709,"annotation":66,"richText":1993,"images":1994,"nationalities":1998},"w","\u003Cp>Presentation at Frankensteiner Hof\u003C\u002Fp>\u003Cp>Wemgehoertdiestadt was founded after the violence during “media night” in St. Pauli, Hamburg. Confronted with brutality, artists, disk jockeys and musicians from Poodle Club, Butt Club, Hafenstrasse and Red Flora joined together and in different forums analysed the role ascribed to the artistic and subcultural milieu by business interests whose intention was to drain and dry out run-down areas of the city of Frankfurt as a precursor to gentrifying them. \u003C\u002Fp>",[1995],{"id":1996,"documentId":1997},504,"ffdmbh19eu3vd9hd1j8l5ka7",[1999],{"id":2000,"nationality":182},2139,{"sortKey":1992,"collectiveName":66,"names":714,"id":712,"documentId":713,"annotation":66,"richText":66,"images":2002,"nationalities":2006},[2003],{"id":2004,"documentId":2005},505,"igmycby280f6shy2eft1cw41",[2007],{"id":2008,"nationality":1539},2129,{"sortKey":2010,"collectiveName":66,"names":718,"id":716,"documentId":717,"annotation":66,"richText":66,"images":2011,"nationalities":2015},"y",[2012],{"id":2013,"documentId":2014},506,"c3kucwprmprqgdg7fjxt2h1c",[2016],{"id":2017,"nationality":2018},2150,"KR",{"sortKey":2010,"collectiveName":66,"names":722,"id":720,"documentId":721,"annotation":66,"richText":66,"images":2020,"nationalities":2024},[2021],{"id":2022,"documentId":2023},507,"xxb4k3fmfx8jbixtg6aqgzt4",[2025],{"id":2026,"nationality":2027},2156,"CN",{"sortKey":2029,"collectiveName":726,"names":66,"id":724,"documentId":725,"annotation":66,"richText":66,"images":2030,"nationalities":2034},"z",[2031],{"id":2032,"documentId":2033},508,"yul2gxtp7vace40qwdo5m4xj",[2035],{"id":2036,"nationality":382},2164,{"sortKey":2029,"collectiveName":66,"names":730,"id":728,"documentId":729,"annotation":66,"richText":66,"images":66,"nationalities":2038},[2039],{"id":2040,"nationality":1658},2158,[],{"data":2043,"meta":2044},[],{"pagination":2045},{"page":86,"pageSize":86,"pageCount":2046,"total":2046},0,{"data":2048,"meta":2049},[],{"pagination":2050},{"page":86,"pageSize":86,"pageCount":2046,"total":2046},{"data":2052,"meta":2053},[],{"pagination":2054},{"page":86,"pageSize":86,"pageCount":2046,"total":2046}]