In an ambitious attempt to breathe life back into Germany’s beleaguered Ruhr region, the Manifesta 16 biennale has transformed a collection of small, neglected churches into vibrant hubs of creativity and community engagement. This innovative initiative seeks to address the deep-seated issues of deindustrialisation and social fragmentation that have plagued the area since the decline of its manufacturing base. With installations ranging from a basketball court that triggers church organ music to art reflecting the immigrant experience, the biennale celebrates the cultural and historical tapestry of a region grappling with its identity.
A Historical Context: From War to Deindustrialisation
The Ruhr area, once a thriving industrial powerhouse, saw its fortunes wane dramatically after the Second World War. Planners responded to vast destruction by constructing numerous Pantoffelkirchen—“slipper churches”—strategically placed within residential communities to ensure accessibility. However, the passage of time has not been kind to these structures, with estimates suggesting that around 300 have fallen into disrepair in recent years. As the region grapples with the fallout from deindustrialisation, the Manifesta biennale arrives as a bold intervention, repurposing twelve of these churches to foster community spirit and creativity amid a backdrop of economic decline.
While the Venice Biennale may garner more international glamour, Manifesta 16 Ruhr opts for a more grassroots approach, spotlighting the struggles of smaller towns like Gelsenkirchen and Duisburg. This biennale is less about flashy exhibitions and more about engaging with the local populace, inviting them to explore the rich narratives embedded within these architectural relics.
Art as a Catalyst for Change
Curator Josep Bohigas has been vocal about his vision for the event, stating, “I’ll be honest: I don’t care about churches, I care about neighbourhoods.” His sentiment underscores the biennale’s commitment to revitalising community connections rather than merely showcasing art. The selected churches, often in disrepair, serve as poignant reminders of a past community that has largely vanished. By utilising these spaces, the biennale seeks to bridge the historical divide between the area’s industrial past and its uncertain future.
Some installations have sparked debate regarding their effectiveness. For instance, the inflatable art piece in Gelsenkirchen’s St Josef Church contrasts sharply with the church’s grand architecture, leading some critics to question the coherence and depth of the artistic dialogue. Nonetheless, the flagship venue, Kulturkirche Liebfrauen in Duisburg, stands out with its captivating mix of modern art and historical context, including a film by Elizabeth Price that juxtaposes memories of wartime destruction with the evolution of post-war church architecture.
A Tapestry of Stories and Experiences
The true strength of Manifesta 16 lies in its ability to weave together diverse narratives, particularly those of the immigrant workforce whose contributions shaped the region. Gelsenkirchen’s St Bonifatius has been reimagined as the Ferdane Satır Tea Garden, named after a Turkish guest worker tragically murdered in a racially motivated attack in 1984. This poignant homage serves as a reminder of the struggles faced by immigrant communities in the Ruhr, while Thomaskirche has been transformed into a centre of textile art, showcasing the legacy of feminised factory labour.
Artists like Abuzer Güler and Hanefi Yeter contribute works that reflect their own experiences as former guest workers, making the exhibitions not just a display of art but a living testament to the region’s complex history. In Bochum, the Gethsemane Church hosts playful yet thought-provoking installations that engage with themes of migration and identity, including a bouncy castle shaped like a church bell—a whimsical yet pointed reminder of the precarious nature of belonging.
A Surreal and Temporary Experience
While the installations at Manifesta 16 are undoubtedly engaging, they are also ephemeral. The basketball court at Bochum’s St Ludgerus church, designed by Catalan artists Cabosanroque, invites visitors to embrace ineptitude, with missed shots triggering an organ blast. This surreal fusion of sport and spirituality exemplifies the biennale’s playful spirit, even as it navigates the serious undercurrents of community dislocation.
The micro-modernist churches of the Ruhr were born out of a collective vision, yet the current social landscape is far more fragmented. The biennale’s diverse artistic expressions—from protest to whimsy—highlight the potential for creativity to forge new connections among disparate communities, provided they receive the investment and support often lacking in such economically challenged areas.
Why it Matters
Manifesta 16 Ruhr represents more than just an art exhibition; it is a bold statement about the power of creativity to transform communities in the face of adversity. By repurposing disused churches into spaces for dialogue and artistic exploration, the biennale confronts the legacies of deindustrialisation and socio-economic inequality head-on. As the Ruhr navigates its uncertain future, initiatives like Manifesta are vital for catalysing change, fostering resilience, and reigniting the spirit of community in a region desperately seeking renewal.
