The Ruhr region of Germany, once the epicentre of industry and innovation, is experiencing a renaissance of artistic expression as the Manifesta biennale takes root in its historic but neglected churches. This fusion of contemporary art and community spirit aims to breathe vitality into areas long overshadowed by economic decline and social fragmentation. As the region grapples with its identity in the wake of deindustrialisation, the biennale offers a provocative reimagining of these sacred spaces, utilising them as canvases for creativity and dialogue.
A Cultural Resurrection
Following the devastation of World War II, the Ruhr conurbation, which includes cities such as Essen and Duisburg, saw the construction of numerous “Pantoffelkirchen” or slipper churches—so named for their proximity to residential areas, allowing parishioners to attend services in comfort. However, as the population dwindled and industries faltered, these churches fell into disrepair, with estimates suggesting that as many as 300 are now disused. Twelve of these structures now serve as venues for Manifesta 16 Ruhr, transforming them into focal points of artistic engagement in a landscape marred by economic hardship and social fragmentation.
Manifesta 16 is not merely a replication of the renowned Venice Biennale; it is more akin to a grassroots cultural initiative, drawing parallels with the Capital of Culture events in the West Midlands of the UK. Each of the participating churches, scattered across the Ruhr, encapsulates the region’s struggles and triumphs, offering a vivid backdrop for a diverse array of art installations and activities.
Art as Community Catalyst
The biennale deliberately eschews grandiose industrial venues in favour of intimate church settings, fostering a sense of community engagement. This choice underscores the urgency of addressing the social infrastructure in a region that has witnessed the erosion of its communal fabric. Josep Bohigas, the Catalan architect and curator of Manifesta, articulates this philosophy succinctly: “I’ll be honest: I don’t care about churches, I care about neighbourhoods.” The intention is to repurpose these once-vibrant spaces for the people who have been forsaken, inviting them to reclaim their narrative.
Throughout the exhibition, visitors encounter a mix of installations that range from the thought-provoking to the absurd. In the Kulturkirche Liebfrauen in Duisburg, a striking modernist structure, art installations grapple with the region’s complex history, juxtaposing memories of wartime devastation with visions of a potential future. However, the challenge remains: can contemporary art truly resonate within spaces designed for religious worship?
One particularly striking installation is the basketball court at Bochum’s St Ludgerus church, where missed shots trigger a dramatic blast from the church organ. This interactive element serves as a metaphor for the unexpected joy and community bonding that can arise from shared experiences, even in spaces once reserved for solemn reflection.
Bridging the Past and Future
The historical significance of these churches cannot be overstated. Many were built in the wake of the Second World War, funded by industrial magnates keen to cultivate a pious workforce. Yet today, they stand as poignant reminders of a bygone era, now repurposed to reflect the stories of diverse communities, particularly those of Turkish “guest workers” who shaped the region’s recovery. The transformation of St Bonifatius into the Ferdane Satır Tea Garden, named after a victim of a racially motivated attack, exemplifies how art can memorialise and elevate these narratives.
In contrast, other installations provoke a sense of ambiguity. While some artworks succeed in sparking dialogue, others, such as an inflatable beach housed in a grand neo-Gothic church, seem to struggle against their surroundings. This juxtaposition raises questions about the efficacy of art in addressing the profound issues facing the local populace.
Why it Matters
The Manifesta biennale is more than an artistic showcase; it is a rallying call for the revitalisation of a region grappling with its identity amid decline. By repurposing neglected churches into vibrant spaces of creativity and community engagement, the biennale not only sheds light on the historical significance of these structures but also invites local residents to partake in a shared cultural rebirth. In a time when many communities face the challenges of fragmentation and neglect, initiatives like Manifesta remind us of the power of art to unite, inspire, and transcend the boundaries of socioeconomic disparities. The future of the Ruhr may still be uncertain, but through art, a new narrative is being forged—one that celebrates resilience and the potential for renewal.
