In a bold attempt to breathe new life into Germany’s struggling industrial territories, the Manifesta biennale has selected a dozen derelict churches in the Ruhr region as its canvas for artistic renewal. This initiative seeks not only to engage with the region’s rich historical narrative but also to instil a sense of community amid the shadows of deindustrialisation and social division.
A Historical Context: From Ruins to Revival
The Ruhr area, once a thriving hub of industry, has faced significant decline since the end of World War II. Following extensive destruction during the war, the Diocese of the Ruhr constructed numerous “slipper churches” — so named for their proximity to residential areas, allowing congregants to attend services in their slippers. However, these churches now find themselves in a state of disrepair. Reports suggest that around 300 of these places of worship have become disused, with a staggering 100 sold off in the past year alone.
In a bid to reclaim these spaces, Manifesta 16 has turned to the churches, transforming them into venues for art and community engagement until October. This biennale is not an iteration of the prestigious Venice Biennale but rather a grassroots effort to reinvigorate the region, reminiscent of the Capital of Culture events seen in the West Midlands of the UK.
Art as a Catalyst for Change
Manifesta’s choice to repurpose these small churches, rather than more grandiose industrial sites, speaks volumes about its intentions. The event aims to foster a community spirit in areas plagued by economic despair and social fragmentation. As Josep Bohigas, the curator of Manifesta, puts it, “I’ll be honest: I don’t care about churches, I care about neighbourhoods.” His focus is on revitalising the social infrastructure and addressing the disconnect between the past and the future of these communities.
Indeed, the art installations vary dramatically, with some larger churches housing artworks that appear empty and uninspired, while others, like the Kulturkirche Liebfrauen in Duisburg, showcase a vibrant mix of contemporary works against a backdrop of stunning original murals. The juxtaposition of modern art with historical architecture invites viewers to contemplate the region’s complex legacy.
Celebrating Diversity Through Art
The biennale embraces the multicultural fabric of the Ruhr, with projects curated by Gürsoy Doğtaş, whose parents were Turkish “guest workers.” The reinterpretation of St Bonifatius as the Ferdane Satır Tea Garden — named after a victim of a racially motivated attack — and Thomaskirche as a hub for community engagement highlights the ongoing struggles and contributions of immigrant populations.
At Thomaskirche, visitors are greeted by a striking installation featuring a giant printed pigeon by Gülbin Ünlü, alongside films documenting the historical experiences of Turkish workers in Germany. Such works aim to bridge the generational divide, drawing connections between past and present struggles for social justice and recognition.
However, not all installations resonate equally. Some larger empty churches have been filled with artworks that seem to lack the emotional weight necessary to engage the local populace. For example, an inflatable blue bubble installed in Gelsenkirchen’s St Josef church feels disconnected from its surroundings, leaving observers questioning its relevance in the narrative of community revival.
A Surreal Experience of Community Engagement
One of the most engaging installations invites local youth to participate in the bizarre experience of a basketball court set inside a church. Here, missed shots trigger blasts from the church organ, adding a layer of surrealism to the act of play. Such moments encapsulate the spirit of Manifesta — a merging of whimsy and community interaction that challenges traditional notions of art spaces.
As visitors navigate these transformed churches, they encounter not only artworks but also the very essence of community life. The emphasis on local engagement — seen through the integration of play areas and social spaces — reinforces the belief that art can serve as a catalyst for connection and healing in areas that have long been forgotten.
Why it Matters
Manifesta 16 Ruhr is more than just an art exhibition; it is a statement about resilience and the potential for renewal in areas left behind by economic transformation. By repurposing churches into vibrant community hubs, the biennale confronts the challenges posed by deindustrialisation and social fragmentation head-on, inviting local residents and visitors alike to reimagine the future of the Ruhr. In a world where cultural memory often fades, this initiative reminds us that art can foster dialogue, understanding, and ultimately, hope.
