Amidst the backdrop of Germany’s Ruhr area, where industrial decline has left scars on both the landscape and community spirit, the Manifesta biennale is making a bold statement. This travelling art festival has taken over twelve neglected churches, transforming them into spaces of creativity, play, and community engagement. As the region grapples with the aftermath of deindustrialisation, the event seeks to reconnect fractured communities through art and innovative public programming.
The Legacy of the Ruhr: From Industry to Art
The Ruhr, once a thriving industrial powerhouse, suffered heavily during World War II, resulting in vast destruction. In the post-war era, the Diocese of the Ruhr sought to rejuvenate the area by constructing a network of Pantoffelkirchen, or “slipper churches,” to serve the community. These churches were conveniently located within walking distance of residential areas, allowing congregants to attend services in their slippers. Today, however, many of these churches face abandonment, with estimates suggesting that around 300 are now disused, including a staggering 100 sold off in just the past year.
Manifesta 16 Ruhr, which runs until October, aims to repurpose these once-vibrant spaces. Rather than opting for grand industrial venues, the biennale has chosen to focus on these smaller, often derelict churches, which stand as poignant reminders of a community ravaged not by war, but by economic hardship and social fragmentation. Catalan architect and curator Josep Bohigas voices a sentiment that resonates throughout the festival: “I’ll be honest: I don’t care about churches, I care about neighbourhoods.”
Reimagining Community Spaces
The installations at Manifesta 16 Ruhr are as eclectic as the communities they inhabit. From inflatable structures to interactive artworks, the biennale attempts to forge connections between the past and an uncertain future. One notable installation is a surreal basketball court located within one of the churches, where missed shots trigger a blast from the organ, creating a bizarre yet engaging atmosphere. Such installations challenge the viewer to reconsider the purpose of these spaces, transforming them from places of worship into venues for community interaction and creativity.
However, the execution is not without its flaws. Some larger churches feature art installations that fall short of engaging the viewer, leaving them feeling empty and disconnected from the community they are meant to serve. In Gelsenkirchen, for instance, the grand St Josef church houses an inflatable beach bubble, a striking visual that lacks deeper resonance with the local populace.
A Tapestry of Voices
Many installations reflect the rich tapestry of the Ruhr’s multicultural history, particularly the experiences of Turkish guest workers who played a pivotal role in the region’s industrial resurgence. In Gelsenkirchen, the repurposed St Bonifatius has been transformed into the Ferdane Satır Tea Garden, named after a Turkish worker tragically murdered in an act of racism in 1984. This poignant renaming serves as a memorial and a reminder of the struggles faced by migrant communities.
At Thomaskirche, the exhibition delves into the complex history of the German-engineered Baghdad Railway and its implications for workers. The church, once a centre for textiles and feminised labour, now hosts workshops that empower the community, reflecting the biennale’s commitment to inclusivity and engagement. The artworks displayed here resonate deeply with the local population, as many of the artists are themselves former guest workers, capturing the essence of their lived experiences.
The Challenge of Transformation
Despite the innovative spirit of Manifesta 16, the event also highlights the socio-economic challenges facing the Ruhr. The region has seen a continued rise in poverty, with some areas exhibiting higher unemployment rates than East Germany. The far-right AfD party has garnered significant support in Gelsenkirchen, underscoring the political tensions manifesting in the wake of economic decline.
Manifesta’s decision to focus on the area’s micro-modernist churches speaks volumes about its intent. These structures were not only architectural feats but also symbols of hope in a post-war society seeking renewal. The festival’s blend of art, community engagement, and a critical examination of the past demonstrates how cultural initiatives can play a role in revitalising struggling areas.
Why it Matters
The Manifesta 16 Ruhr is more than just an art festival; it is a vital attempt to stitch together the frayed fabric of a community in crisis. By repurposing neglected spaces and fostering dialogue through art, the biennale seeks to transform not only the physical landscape but also the social dynamics of the Ruhr region. In a time when economic disparities are widening and communities feel increasingly isolated, the festival serves as a beacon of hope, illustrating that creativity and collaboration can pave the way for a more inclusive and vibrant future.