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Downey dissects signs in everyday life and the systems of signification in visual art. Everyday signs such as traffic signals are supposed to convey information instantly and clearly, while such visual art works as classical painting resonate with a multiplicity of meanings and ambiguity. 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Photo © Manifesta 8 \u002F Ilya Rabinovich",{"large":1462,"small":1467,"medium":1472,"xlarge":1477,"xsmall":1482,"thumbnail":1487},{"ext":857,"url":1463,"hash":1464,"mime":860,"name":1465,"path":66,"size":1466,"width":863,"height":1112},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_MG_3610_5e4c737c58.jpg","large_MG_3610_5e4c737c58","large__MG_3610.jpg",358,{"ext":857,"url":1468,"hash":1469,"mime":860,"name":1470,"path":66,"size":1471,"width":870,"height":871},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_MG_3610_5e4c737c58.jpg","small_MG_3610_5e4c737c58","small__MG_3610.jpg",42,{"ext":857,"url":1473,"hash":1474,"mime":860,"name":1475,"path":66,"size":1476,"width":877,"height":475},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_MG_3610_5e4c737c58.jpg","medium_MG_3610_5e4c737c58","medium__MG_3610.jpg",179.93,{"ext":857,"url":1478,"hash":1479,"mime":860,"name":1480,"path":66,"size":1481,"width":883,"height":1128},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_MG_3610_5e4c737c58.jpg","xlarge_MG_3610_5e4c737c58","xlarge__MG_3610.jpg",736.7,{"ext":857,"url":1483,"hash":1484,"mime":860,"name":1485,"path":66,"size":1486,"width":890,"height":891},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_MG_3610_5e4c737c58.jpg","xsmall_MG_3610_5e4c737c58","xsmall__MG_3610.jpg",7.04,{"ext":857,"url":1488,"hash":1489,"mime":860,"name":1490,"path":66,"size":1491,"width":897,"height":898},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_MG_3610_5e4c737c58.jpg","thumbnail_MG_3610_5e4c737c58","thumbnail__MG_3610.jpg",76.17,"MG_3610_5e4c737c58",929.12,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FMG_3610_5e4c737c58.jpg","2023-08-16T14:37:55.598Z","2023-11-28T13:41:07.236Z",{"en-US":1460},"brjzydut3rc2knb4rtu14hmi",[1500,1505,1507,1508],{"__type":1236,"id":447,"names":66,"collectiveName":449,"sortKey":1238,"annotation":66,"createdAt":1501,"updatedAt":1502,"publishedAt":1503,"richText":1504,"documentId":448,"locale":8},"2023-07-23T19:37:48.029Z","2023-11-19T21:57:07.875Z","2025-02-27T15:35:14.985Z","\u003Cp>In this video the British collective Common Culture provided a critical reflection on the nature of international art biennials such as Manifesta. They questioned the interventionist impulse at the heart of these events, the commodification at work in the consumption of art, and the efficacy of socially engaged art. Using an episodic narrative, the video explores the theme of national identity within a global context and the efficacy of comedy in mediating social conflict.\u003C\u002Fp>",{"__type":1236,"id":1506,"names":66,"collectiveName":449,"sortKey":1238,"annotation":66,"createdAt":1501,"updatedAt":1502,"publishedAt":66,"richText":1504,"documentId":448,"locale":8},494,{"__type":847,"id":176,"richText":1187},{"__type":847,"id":1186,"richText":1187},{"id":1510,"name":1511,"alternativeText":66,"caption":1512,"width":1193,"height":854,"formats":1513,"hash":1544,"ext":857,"mime":860,"size":1545,"url":1546,"previewUrl":66,"provider":902,"provider_metadata":66,"createdAt":1547,"updatedAt":1548,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1549,"documentId":1550,"publishedAt":906,"related":1551},1045,"_MG_3230.jpg","Crossing Border, Anders Eiebakke, 2010. Photo © Manifesta 8 \u002F Ilya Rabinovich",{"large":1514,"small":1519,"medium":1524,"xlarge":1529,"xsmall":1534,"thumbnail":1539},{"ext":857,"url":1515,"hash":1516,"mime":860,"name":1517,"path":66,"size":1518,"width":863,"height":1112},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_MG_3230_77bb821f02.jpg","large_MG_3230_77bb821f02","large__MG_3230.jpg",317.68,{"ext":857,"url":1520,"hash":1521,"mime":860,"name":1522,"path":66,"size":1523,"width":870,"height":871},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_MG_3230_77bb821f02.jpg","small_MG_3230_77bb821f02","small__MG_3230.jpg",47.79,{"ext":857,"url":1525,"hash":1526,"mime":860,"name":1527,"path":66,"size":1528,"width":877,"height":1078},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_MG_3230_77bb821f02.jpg","medium_MG_3230_77bb821f02","medium__MG_3230.jpg",177.49,{"ext":857,"url":1530,"hash":1531,"mime":860,"name":1532,"path":66,"size":1533,"width":883,"height":1215},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_MG_3230_77bb821f02.jpg","xlarge_MG_3230_77bb821f02","xlarge__MG_3230.jpg",596.86,{"ext":857,"url":1535,"hash":1536,"mime":860,"name":1537,"path":66,"size":1538,"width":890,"height":891},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_MG_3230_77bb821f02.jpg","xsmall_MG_3230_77bb821f02","xsmall__MG_3230.jpg",8.04,{"ext":857,"url":1540,"hash":1541,"mime":860,"name":1542,"path":66,"size":1543,"width":897,"height":1089},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_MG_3230_77bb821f02.jpg","thumbnail_MG_3230_77bb821f02","thumbnail__MG_3230.jpg",83.56,"MG_3230_77bb821f02",737.51,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FMG_3230_77bb821f02.jpg","2023-08-16T14:46:05.792Z","2023-11-28T13:43:05.579Z",{"en-US":1512},"z4mxv0pqykfctad3tnnqtuc1",[1552,1558,1560,1561],{"__type":1236,"id":491,"names":493,"collectiveName":66,"sortKey":1553,"annotation":66,"createdAt":1554,"updatedAt":1555,"publishedAt":1556,"richText":1557,"documentId":492,"locale":8},"e","2023-07-23T19:45:28.022Z","2023-11-19T22:31:21.308Z","2025-02-27T15:35:44.542Z","\u003Cp>The video \u003Ci>Crossing Borders\u003C\u002Fi> is about aerial surveillance drones. It shows how anyone can build and operate a drone similar to those deployed by military and police forces, without any previous knowledge of flying or radio technology. Two radio programs by Eiebakke are based on short texts about Murcia and Melilla, and our understanding of current society, based on our shaky concepts of history.\u003C\u002Fp>",{"__type":1236,"id":1559,"names":493,"collectiveName":66,"sortKey":1553,"annotation":66,"createdAt":1554,"updatedAt":1555,"publishedAt":66,"richText":1557,"documentId":492,"locale":8},506,{"__type":847,"id":176,"richText":1187},{"__type":847,"id":1186,"richText":1187},{"id":1563,"name":1564,"alternativeText":66,"caption":1565,"width":854,"height":1566,"formats":1567,"hash":1588,"ext":857,"mime":860,"size":1589,"url":1590,"previewUrl":66,"provider":902,"provider_metadata":66,"createdAt":1591,"updatedAt":1592,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1593,"documentId":1594,"publishedAt":906,"related":1595},1035,"_MG_3313.jpg","Stephan Dillemuth, El árduo camino hacia el conocimiento, 2010. Photo © Manifesta 8 \u002F Ilya Rabinovich",1574,{"small":1568,"medium":1573,"xsmall":1578,"thumbnail":1583},{"ext":857,"url":1569,"hash":1570,"mime":860,"name":1571,"path":66,"size":1572,"width":870,"height":871},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_MG_3313_cf6ca0a3bc.jpg","small_MG_3313_cf6ca0a3bc","small__MG_3313.jpg",113.08,{"ext":857,"url":1574,"hash":1575,"mime":860,"name":1576,"path":66,"size":1577,"width":877,"height":1078},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_MG_3313_cf6ca0a3bc.jpg","medium_MG_3313_cf6ca0a3bc","medium__MG_3313.jpg",488.57,{"ext":857,"url":1579,"hash":1580,"mime":860,"name":1581,"path":66,"size":1582,"width":890,"height":891},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_MG_3313_cf6ca0a3bc.jpg","xsmall_MG_3313_cf6ca0a3bc","xsmall__MG_3313.jpg",12.22,{"ext":857,"url":1584,"hash":1585,"mime":860,"name":1586,"path":66,"size":1587,"width":897,"height":1089},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_MG_3313_cf6ca0a3bc.jpg","thumbnail_MG_3313_cf6ca0a3bc","thumbnail__MG_3313.jpg",224.13,"MG_3313_cf6ca0a3bc",768.01,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FMG_3313_cf6ca0a3bc.jpg","2023-08-16T14:43:53.969Z","2023-11-28T13:43:22.551Z",{"en-US":1565},"tyjzdgxj5mwzkhtvzpp52t0p",[1596,1601,1603,1604],{"__type":1236,"id":1597,"names":481,"collectiveName":66,"sortKey":1291,"annotation":66,"createdAt":1598,"updatedAt":1599,"publishedAt":66,"richText":1600,"documentId":480,"locale":8},503,"2023-07-23T19:43:48.497Z","2023-11-19T22:17:27.869Z","\u003Cp>For this project German artist Stephan Dillemuth created a cage made from plaster, with the help of students from the art academy in Murcia. A video projected inside the cage showed a conversation between an artist and a prisoner about research, knowledge and the responsibility of artists. The work was a reflection on the refuge of the hermit in his deliberate withdrawal from the world. It also examined the idea of freedom as access to knowledge. \u003C\u002Fp>",{"__type":1236,"id":479,"names":481,"collectiveName":66,"sortKey":1291,"annotation":66,"createdAt":1598,"updatedAt":1599,"publishedAt":1602,"richText":1600,"documentId":480,"locale":8},"2025-02-27T15:35:44.471Z",{"__type":847,"id":1186,"richText":1187},{"__type":847,"id":176,"richText":1187},{"id":1606,"name":1607,"alternativeText":66,"caption":1608,"width":1249,"height":854,"formats":1609,"hash":1640,"ext":857,"mime":860,"size":1641,"url":1642,"previewUrl":66,"provider":902,"provider_metadata":66,"createdAt":1643,"updatedAt":1644,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1645,"documentId":1646,"publishedAt":906,"related":1647},1027,"IMG_3823.jpg","Lou Lou Cherinet, La verdad sobre esta obra, 2010. Photo © Manifesta 8 \u002F Ilya Rabinovich",{"large":1610,"small":1615,"medium":1620,"xlarge":1625,"xsmall":1630,"thumbnail":1635},{"ext":857,"url":1611,"hash":1612,"mime":860,"name":1613,"path":66,"size":1614,"width":863,"height":1112},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IMG_3823_e3d5f068fc.jpg","large_IMG_3823_e3d5f068fc","large_IMG_3823.jpg",439.6,{"ext":857,"url":1616,"hash":1617,"mime":860,"name":1618,"path":66,"size":1619,"width":870,"height":871},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IMG_3823_e3d5f068fc.jpg","small_IMG_3823_e3d5f068fc","small_IMG_3823.jpg",68.91,{"ext":857,"url":1621,"hash":1622,"mime":860,"name":1623,"path":66,"size":1624,"width":877,"height":475},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IMG_3823_e3d5f068fc.jpg","medium_IMG_3823_e3d5f068fc","medium_IMG_3823.jpg",254.23,{"ext":857,"url":1626,"hash":1627,"mime":860,"name":1628,"path":66,"size":1629,"width":883,"height":1128},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IMG_3823_e3d5f068fc.jpg","xlarge_IMG_3823_e3d5f068fc","xlarge_IMG_3823.jpg",768.81,{"ext":857,"url":1631,"hash":1632,"mime":860,"name":1633,"path":66,"size":1634,"width":890,"height":891},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IMG_3823_e3d5f068fc.jpg","xsmall_IMG_3823_e3d5f068fc","xsmall_IMG_3823.jpg",10.85,{"ext":857,"url":1636,"hash":1637,"mime":860,"name":1638,"path":66,"size":1639,"width":897,"height":898},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IMG_3823_e3d5f068fc.jpg","thumbnail_IMG_3823_e3d5f068fc","thumbnail_IMG_3823.jpg",120.88,"IMG_3823_e3d5f068fc",924.89,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIMG_3823_e3d5f068fc.jpg","2023-08-16T14:39:56.906Z","2023-11-28T13:43:36.723Z",{"en-US":1608},"vorxakk1ydyd6ahbmehsrbza",[1648,1655,1656],{"__type":1236,"id":1649,"names":1650,"collectiveName":66,"sortKey":1238,"annotation":66,"createdAt":1651,"updatedAt":1652,"publishedAt":66,"richText":1653,"documentId":1654,"locale":8},499,"Lou Lou Cherinet ","2023-07-23T19:42:21.180Z","2023-11-19T22:04:18.306Z","\u003Cp>La verdad sobra esta obra is a two-channel video installation partly filmed on site in a mise en abym tradition. In this work Swedish-Ethiopian artist Loulou Cherinet explores notions of identity, displacement and the ritual of passage. A narrative unfolds at a slow pace. Aerial footage and landscapes that float past the camera intercut with occasional scenes of animals and human interaction. It evokes reflection about travel, confinement and the hopes and disappointments of migration.\u003C\u002Fp>","slj9ei35kdvc904g5tdndvnq",{"__type":847,"id":176,"richText":1187},{"__type":847,"id":1186,"richText":1187},{"id":1658,"name":1659,"alternativeText":830,"caption":1660,"width":1249,"height":854,"formats":1661,"hash":1692,"ext":857,"mime":860,"size":1693,"url":1694,"previewUrl":66,"provider":902,"provider_metadata":66,"createdAt":1695,"updatedAt":1696,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1697,"documentId":1698,"publishedAt":906,"related":1699},1022,"IMG_3671.jpg","Il n'y a plus Rien (There is Nothing Left), Céline Condorelli, 2010. Photo © Manifesta 8 \u002F Ilya Rabinovich",{"large":1662,"small":1667,"medium":1672,"xlarge":1677,"xsmall":1682,"thumbnail":1687},{"ext":857,"url":1663,"hash":1664,"mime":860,"name":1665,"path":66,"size":1666,"width":863,"height":1112},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_IMG_3671_ae32cba2cc.jpg","large_IMG_3671_ae32cba2cc","large_IMG_3671.jpg",473.66,{"ext":857,"url":1668,"hash":1669,"mime":860,"name":1670,"path":66,"size":1671,"width":870,"height":871},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_IMG_3671_ae32cba2cc.jpg","small_IMG_3671_ae32cba2cc","small_IMG_3671.jpg",47.15,{"ext":857,"url":1673,"hash":1674,"mime":860,"name":1675,"path":66,"size":1676,"width":877,"height":475},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_IMG_3671_ae32cba2cc.jpg","medium_IMG_3671_ae32cba2cc","medium_IMG_3671.jpg",233.5,{"ext":857,"url":1678,"hash":1679,"mime":860,"name":1680,"path":66,"size":1681,"width":883,"height":1128},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_IMG_3671_ae32cba2cc.jpg","xlarge_IMG_3671_ae32cba2cc","xlarge_IMG_3671.jpg",955.34,{"ext":857,"url":1683,"hash":1684,"mime":860,"name":1685,"path":66,"size":1686,"width":890,"height":891},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_IMG_3671_ae32cba2cc.jpg","xsmall_IMG_3671_ae32cba2cc","xsmall_IMG_3671.jpg",7.53,{"ext":857,"url":1688,"hash":1689,"mime":860,"name":1690,"path":66,"size":1691,"width":897,"height":898},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_IMG_3671_ae32cba2cc.jpg","thumbnail_IMG_3671_ae32cba2cc","thumbnail_IMG_3671.jpg",91.37,"IMG_3671_ae32cba2cc",1192.84,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FIMG_3671_ae32cba2cc.jpg","2023-08-16T14:37:06.045Z","2023-11-28T13:44:50.247Z",{"en-US":1660},"vjrhvvrg4ltvhumq5l1674mu",[1700,1705,1707,1708],{"__type":1236,"id":1701,"names":445,"collectiveName":66,"sortKey":1238,"annotation":66,"createdAt":1702,"updatedAt":1703,"publishedAt":66,"richText":1704,"documentId":444,"locale":8},493,"2023-07-23T19:36:49.750Z","2023-11-19T21:58:35.618Z","\u003Cp>A woman describes the city of Alexandria, saying \"Il n'y a plus rien\" (\"there is nothing left\"). The sentence turns into a refrain, addressing the difficulty in exploring the past and seeing the present, in a city built precariously upon shifting strata of erasure, disappearance and forgetting. Two sequences of slides unfold between a curtain and mirrors: the first follows the production of cotton grown in Alexandria in the first half of the century and ending at the now-shut cotton mills in Lancashire, England; the second is an individual story of departure from Egypt, thus forecasting the massive emigration to take place a few decades later. 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