Introduction
Manifesta, also known as the European Nomadic Biennial, is a unique pan-regional contemporary art event that changes location every two years, exploring the cultural, social, and political landscape of Europe through the lens of its host cities. Founded in 1994 by Dutch art historian Hedwig Fijen, Manifesta emerged in the aftermath of the Cold War as a response to the changing social and geopolitical realities of a Europe in transformation.
Unlike traditional biennials that maintain a fixed location, Manifesta's nomadic model allows it to engage directly with diverse European contexts, from major capitals to peripheral cities that are experiencing moments of change or transition. This nomadic approach enables Manifesta to continually redefine its format and methodologies, responding to the specific challenges and opportunities presented by each host location.
Through an expansive program of exhibitions, urban interventions, performances, education initiatives, and public discussions, Manifesta acts as a catalyst for social change, a platform for artistic innovation, and a laboratory for reimagining the relationship between art, urban space, and civic society. Each edition creates a unique dialogue between international contemporary art practices and the local cultural ecosystem, forging connections that often continue beyond the biennial's duration.
In the News
Current coverage of Manifesta European Nomadic Biennial
Moving Mountains: How Manifesta's Nomadic Model Redefined Biennial Culture
On a frigid January morning in 1994, Dutch art historian Hedwig Fijen sat in a small Amsterdam cafĂŠ with a simple yet radical idea scribbled in her notebook: what if a major contemporary art biennial had no permanent home? The Berlin Wall had fallen just five years earlier, the European Union was taking shape through the Maastricht Treaty, and the continent was experiencing seismic shifts in identity and borders. In this moment of flux, Fijen envisioned an exhibition that would mirror Europe itselfâmobile, responsive, and perpetually reinventing itself.
Three decades later, what began as a speculative concept has evolved into one of contemporary art's most distinctive and influential institutions. Manifesta's nomadic modelâwhere the biennial relocates to a different European city every two yearsâhas not only survived but thrived, challenging the entrenched Venice-Documenta duopoly and transforming how biennials engage with their social and urban contexts. "When we started, people thought we were crazy," Fijen recalls. "The conventional wisdom was that successful biennials needed institutional continuity and a fixed location. We believed the oppositeâthat mobility could be a strength rather than a weakness."
This peripatetic approach emerged directly from the biennial's founding mission to respond to the geopolitical reorganization of Europe following the Cold War. The 1990s saw the continent grappling with competing impulsesâintegration and fragmentation, inclusion and exclusion, universal values and local identities. By constantly relocating, Manifesta could physically trace these tensions, moving between established cultural centers and peripheral cities, Western and Eastern Europe, the continent's northern and southern edges. Each new location became a lens through which to examine the evolving European project.
What distinguishes Manifesta's nomadic model from the proliferation of biennials worldwide is its deep investment in contextual research and its commitment to structural reinvention. Unlike franchised exhibition formats that simply insert international art into local venues, Manifesta rebuilds its organizational structure and conceptual framework from the ground up with each iteration. "We don't bring a ready-made exhibition to a city," explains Katerina Gregos, who served as chief curator for Manifesta 9. "We spend years understanding the local context, building relationships, and developing projects that couldn't exist anywhere else."
This place-responsive methodology has led to some of the biennial's most significant innovations. When Manifesta 9 took place in Genk, Belgium in 2012, the curatorial team made the unprecedented decision to incorporate industrial heritage alongside contemporary art, creating dialogue between the region's coal mining history and current artistic practices. In Palermo for Manifesta 12 (2018), the curatorial team included architects and urban planners who spent two years developing "The Planetary Garden," an exhibition that reimagined the Sicilian capital as a laboratory for addressing migration, climate change, and cross-cultural exchange.
Perhaps most radically, the 2006 edition planned for the divided city of Nicosia, Cyprus, was ultimately cancelled when political tensions made the original exhibition format untenable. Rather than proceeding with a compromised version, Manifesta transformed the situation into a critical investigation of its own failures and limitations, producing publications and conferences that examined the conditions under which art canâor cannotâfunction in contested territories. This willingness to acknowledge vulnerability and adapt to challenging circumstances became a defining characteristic of the biennial's approach.
Manifesta's influence on the broader biennial landscape has been profound, if sometimes unacknowledged. Its emphasis on urban research, community engagement, and long-term impact has been widely adopted by other recurring exhibitions. The model of embedded curatorial teams conducting extensive pre-biennial research, now common in many international art events, was pioneered by Manifesta. Even its occasional controversiesâsuch as the debate surrounding the 2014 edition in St. Petersburg amid Russia's anti-LGBTQ legislationâhave pushed important conversations about the ethical responsibilities of cultural institutions operating in politically complex environments.
The biennial has also had tangible impacts on its host cities. In Palermo, Manifesta's community gardens and revitalized public spaces continue to function years after the exhibition closed. In the post-industrial region of Limburg, Belgium, the biennial helped catalyze the transformation of former mining sites into cultural centers. Most recently in Pristina, Kosovo, Manifesta 14 focused on reclaiming public space in Europe's youngest capital, converting an abandoned department store into a permanent center for contemporary culture that continues to operate today.
"Manifesta doesn't just pass through a city; it leaves traces," notes urban geographer Maria Rossi, who has studied the biennial's impact across multiple editions. "These aren't always physical structures. Often, the most important legacy is in the connections formed between cultural workers, the capacity built among local institutions, and the reimagining of what's possible in a particular urban context."
As Manifesta approaches its 30th anniversary, the nomadic model faces new challenges. Climate concerns have raised questions about the carbon footprint of constantly relocating exhibitions. The COVID-19 pandemic disrupted international mobility, forcing the 2020 Marseille edition to adapt with extended timeframes and digital components. And the proliferation of biennials globallyânow numbering over 300âhas created competition for resources, audiences, and critical attention.
Yet Manifesta's fundamental insightâthat mobility can be a source of institutional vitality rather than instabilityâremains as relevant as ever. By constantly moving, the biennial avoids the ossification that can afflict established cultural institutions. Each new location brings fresh perspectives, different questions, and unexpected collaborations. As Europe continues to navigate complex transformationsâfrom populist challenges to the EU project to the urgent demands of climate adaptationâManifesta's ability to respond to changing contexts while maintaining its core mission makes it an indispensable cultural laboratory for imagining possible European futures.
"The nomadic model isn't just about changing locations," Fijen reflects. "It's about remaining perpetually open to transformation. That's what keeps Manifesta vitalâand sometimes uncomfortableâafter all these years. We're always beginning again, always learning, always questioning our own assumptions." In an art world often criticized for its resistance to structural change, Manifesta's institutionalized mobility offers a compelling alternativeâa biennial that carries its history with it while continuously reimagining what it might become.
History & Evolution
Manifesta's origins can be traced to the early 1990s, a period of profound change in Europe following the fall of the Berlin Wall and the dissolution of the Soviet Union. Recognizing the need for a new kind of cultural platform that could engage with this shifting landscape, Hedwig Fijen conceived of a nomadic biennial that would move between different European locations, particularly focusing on regions experiencing transition or reinvention.
The inaugural edition of Manifesta took place in Rotterdam in 1996, establishing a framework for future iterations: a collaborative curatorial approach, engagement with local contexts, and an emphasis on emerging artists and experimental practices. This first edition set the tone for Manifesta's commitment to exploring European identity beyond traditional centers of cultural production, and to fostering dialogue across geographical, political, and disciplinary boundaries.
Over the subsequent decades, Manifesta has evolved in response to changing artistic practices, social conditions, and institutional frameworks. What began primarily as a traditional exhibition format has expanded to encompass urban research, community-based projects, long-term educational initiatives, and interdisciplinary collaborations. This evolution reflects Manifesta's commitment to remaining responsive to contemporary challenges while developing more sustainable and impactful approaches to cultural production.
Throughout its history, Manifesta has not shied away from engaging with complex or contentious issues. The planned 2006 edition in Nicosia, Cyprus, was ultimately cancelled due to political tensions surrounding the divided city, while the 2014 edition in St. Petersburg proceeded despite controversy related to Russia's political climate. These moments highlight Manifesta's willingness to navigate difficult terrain in pursuit of meaningful cultural exchange and dialogue.
Manifesta is founded by Dutch art historian Hedwig Fijen in response to the changing European landscape after the Cold War
Inaugural edition of Manifesta takes place in Rotterdam, Netherlands, establishing the biennial's collaborative curatorial model
Planned edition in Nicosia, Cyprus is cancelled due to political tensions surrounding the divided city
Manifesta 9 in Genk, Belgium explores post-industrial transformation through a dialogue between contemporary art, local heritage, and collective memory
Manifesta 12 in Palermo adopts "The Planetary Garden" theme, examining migration, climate change, and cultural hybridization
Manifesta 14 takes place in Pristina, Kosovo, focusing on reclaiming public space and fostering civic engagement in Europe's youngest capital
Manifesta 15 in Barcelona explores urban ecology and metropolitan transformations through a decentralized exhibition model
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Thematic Focus
Manifesta distinguishes itself through its deep engagement with the specific historical, social, and urban conditions of each host location. Rather than imposing predetermined themes, the biennial develops its conceptual framework through extensive research and dialogue with local communities, institutions, and stakeholders. This site-responsive approach allows Manifesta to address issues that are both locally relevant and globally significant.
Recent Themes
Manifesta 15 Barcelona (2024) - Structured around three thematic clusters: "Cure and Care" in the Collserola Mountain Range, "Balancing Conflicts" along the Llobregat Delta, and "Imagining Futures" along the Besòs River. This decentralized approach explores the metropolitan region of Barcelona beyond its tourist center, examining ecological concerns, urban development, and possible futures through site-specific installations across multiple venues and municipalities.
Manifesta 14 Pristina (2022) - Centered on the reclamation of public space in Kosovo's capital city, this edition focused on how art and culture can facilitate civic ownership and engagement in a post-conflict society. Projects explored the transformation of unused or contested spaces, creating new possibilities for community interaction and cultural expression in Europe's youngest capital.
Manifesta 13 Marseille (2020-2021) - Taking place during the COVID-19 pandemic, this edition examined the port city's complex history and contemporary challenges through the lens of "Traits d'union.s" (Hyphenations), exploring connections and separations across cultural, social, and geographical boundaries. Despite pandemic restrictions, the biennial developed innovative formats for community engagement and artistic presentation.
Key Focus Areas
Across its various editions, several recurring concerns have emerged in Manifesta's thematic explorations:
- European Identity & Borders - Questioning the definition of Europe and exploring the dynamics of inclusion and exclusion that shape the continent
- Urban Transformation - Examining how cities evolve in response to economic, social, and political forces, and how art can contribute to equitable urban development
- Post-Industrial Futures - Addressing the legacies of industrial decline and exploring new possibilities for former industrial regions
- Migration & Mobility - Engaging with patterns of human movement across Europe and their impact on communities and cultural practices
- Ecological Sustainability - Investigating the relationship between human activity and natural systems, particularly in urban environments
Through these thematic explorations, Manifesta creates opportunities for critical reflection on the challenges facing contemporary Europe while also imagining alternative futures that are more inclusive, sustainable, and equitable.
Nomadic Model
At the heart of Manifesta's identity is its nomadic approach, which fundamentally distinguishes it from other major art events. This model of mobility is not merely logistical but conceptual, enabling the biennial to respond to Europe's changing realities while avoiding the institutional stasis that can affect fixed-location events. The selection of each host city involves careful consideration of locations that can serve as microcosms for broader European conditions or that are undergoing significant social, political, or economic transitions.
Selection Process
Host cities are typically selected through a competitive bidding process, with interested cities submitting proposals that outline their vision for hosting Manifesta. The selection criteria include:
- The city's position within European geopolitical dynamics
- Local institutional infrastructure and support
- Potential for meaningful engagement with contemporary social issues
- Opportunities for innovative artistic and urban interventions
- Commitment to long-term cultural development beyond the biennial
Once a host city is selected, Manifesta establishes a local team that works in close collaboration with the Amsterdam-based International Foundation Manifesta (IFM) to develop and realize the biennial.
Host Cities
Since its inception, Manifesta has traveled to diverse European locations, each presenting unique contextual challenges and opportunities:
Barcelona, Spain (2024)
Manifesta 15 expands beyond the city center to embrace the metropolitan region, exploring urban ecology, cultural identities, and possible futures through a decentralized exhibition model.
Pristina, Kosovo (2022)
Europe's youngest capital hosted Manifesta 14, which focused on reclaiming public space in a post-conflict society still defining its cultural and political identity.
Palermo, Italy (2018)
Manifesta 12 explored the Mediterranean port city as a crucible for cross-cultural exchange, migration issues, and ecological challenges through "The Planetary Garden" theme.
St. Petersburg, Russia (2014)
The historic Hermitage Museum served as the primary venue for Manifesta 10, creating dialogues between contemporary art and the museum's imperial heritage amid political tensions.
Looking ahead, Manifesta 16 will take place in Germany's Ruhr region in 2026, continuing the biennial's exploration of post-industrial transformation and regional identities in Europe. Each new location builds upon the knowledge and methodologies developed in previous editions while opening new possibilities for artistic and social engagement.
Video Experience
Experience the nomadic journey of Manifesta across its host cities through this visual exploration of the biennial's unique approach to art, urban space, and cultural exchange.
Video: Manifesta European Nomadic Biennial | Watch on YouTube
Manifesta's Journey Across Europe
Since its founding in 1996, Manifesta has traversed Europe, creating a unique geographical narrative through its selection of host cities. This journey reflects the biennial's commitment to engaging with diverse European contexts, from established cultural centers to emerging regions experiencing transformation.
- Manifesta 1 - Rotterdam, Netherlands (1996)
- Manifesta 2 - Luxembourg (1998)
- Manifesta 3 - Ljubljana, Slovenia (2000)
- Manifesta 4 - Frankfurt, Germany (2002)
- Manifesta 5 - San SebastiĂĄn, Spain (2004)
- Manifesta 7 - Trentino-Alto Adige, Italy (2008)
- Manifesta 8 - Murcia & Cartagena, Spain (2010)
- Manifesta 9 - Genk, Belgium (2012)
- Manifesta 10 - St. Petersburg, Russia (2014)
- Manifesta 11 - Zurich, Switzerland (2016)
- Manifesta 12 - Palermo, Italy (2018)
- Manifesta 13 - Marseille, France (2020-21)
- Manifesta 14 - Pristina, Kosovo (2022)
- Manifesta 15 - Barcelona, Spain (2024)
- Manifesta 16 - Ruhr Region, Germany (2026)
Note: Manifesta 6 was planned for Nicosia, Cyprus (2006) but was cancelled due to political complications.
European Cultural Capitals Guide
Navigate Europe's vibrant cultural landscapes with our insider's guide to the cities that have hosted Manifesta, offering insights into creative districts, local art scenes, and cultural highlights beyond the biennial venues.
MACBA & emerging Poblenou district
Palazzo Butera & Kalsa quarter
Le Panier district & MUCEM
C-mine & post-industrial spaces
Art Districts
- đ Barcelona: MACBA, Raval, and Poblenou creative district
- đ Pristina: Pejton neighborhood and National Gallery
- đ Zurich: LĂśwenbräu Art Complex and Kunsthalle ZĂźrich
- đ Palermo: GAM modern art gallery and Kalsa historic quarter
Cultural Insider Tips
Visit during biennial opening weeks for special events, artist talks, and performances. Check each city's contemporary art centers for Manifesta-related legacy projects that continue beyond the biennial timeframe. Local art guides often lead specialized tours exploring the connections between exhibition sites and urban history.