Manifesta 8 press, 2010

Three articles on Manifesta 8

by Kaelen Wilson-Goldie, Sam Steverlynck, Louise O’Hare, 2010

The full PDF contains copies of three of the more interesting and informative reviews of Manifesta 8, the 2010 edition of the European Biennial of Contemporary Art held in Murcia, Spain. . . two in English, and one in Dutch with English translation. . . two with mentions of O’Grady’s work and one without. The three are:

a. Kaelen Wilson-Goldie, “Manifesta 8: off-topic but riveting exhibitions.” In The National, Arts & Culture, Oct 22, 2010. A long review by an art writer based in Lebanon, written for Abu Dhabi’s primary English-language daily aimed at the UAE and Middle East. Article has only one illustration, “Sisters III” from the Miscegenated Family Album installation. Calls O’Grady’s work “a revelation.” Online at: http://www.thenational.ae/arts-culture/art/manifesta-8-off-topic-but-riveting-exhibitions

b. Sam Steverlynck, “Bericht uit Murcia en Cartagena: Manifesta 8.” Nieuws, Festivals, kunstbeeld.nl. Sharply critical review, profusely illustrated, for a Dutch internet magazine.

Includes O’Grady in a group of four artists “[whose beautiful work does] not succeed in saving Manifesta 8.” Online at: http://www.kunstbeeld.nl/nl/nieuws/14527/Bericht_uit_Murcia_en_Cartagena:_Manifesta.html

c. Louise O’Hare, “Manifesta 8 and the Problems of Sincerity,” Afterall / Online, November 24, 2010. Extended theoretical response to the biennial for Afterall: Art, Context and Enquiry, a journal based at Central Saint Martins College of Art and Design, University of the Arts London. Best overall summary to date of the exhibition’s problematics, with numerous illustrations. Online at: http://www.afterall.org/online/manifesta8-and-the-problems-of-sincerity/#.VlYDpHv0C3A

The subtitle of Manifesta 8 was: “Region of Murcia (Spain) in dialogue with North Africa.” Whereas Wilson-Goldie concludes that Manifesta  8 in some ways succeeded by largely ignoring this political brief, Steverlynck and O’Hare point to various degrees of cynicism and/or expediency in the way the exhibit’s mandate was (not) executed and analyze the exhibit as a failure.

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