Manifesta 16 Ruhr Opens to the Public: Polish Art in the Abandoned Churches of the Ruhr Region

On 21 June, the 16th edition of Manifesta opened to the public. As many as nine artists from Poland are featured in the programme of one of Europe’s most important contemporary art exhibitions, marking the strongest Polish representation at Manifesta in years. The artists were invited by an international curatorial team, which this year included Anda Rottenberg and Krzysztof Kościuczuk. The biennial runs until 4 October 2026, taking place across twelve abandoned churches in Germany’s industrial Ruhr region. Under the theme “This Is Not a Church”, the organisers ask how, in a world marked by crises, disinformation and division, former places of worship can once again become spaces for encounter and everyday community life.

Icons of Polish Contemporary Art and a New Generation of Artists

Invited Polish participants include Mirosław Bałka, Zuza Golińska, Nicolas Grospierre, Jarosław Kozłowski, Katarzyna Kozyra, Małgorzata Mirga-Tas, Anka Sasnal, Wilhelm Sasnal and Mikołaj Sobczak. Together, they represent different generations, artistic languages and approaches to contemporary art – from internationally renowned figures to emerging voices. Some are presenting existing works at Manifesta, while others are unveiling new commissions created specifically for the selected church spaces.

Manifesta is one of the world’s leading international contemporary art events, taking place every two years in a different European location. Unlike most biennials, it does not simply present artworks; instead, each edition begins with a close engagement with a particular place, its history, social tensions and future challenges. Its aim is not only to stage exhibitions, but also to foster tangible social change through projects rooted in local contexts and developed in collaboration with local communities.

The artistic programme of Manifesta 16 Ruhr is curated by an international, intergenerational team that includes Anda Rottenberg and Krzysztof Kościuczuk.

– For me, this edition of Manifesta is, in a sense, the closing of a circle that began in May 1991 with the exhibition “Unknown Europe”, which I organised in Kraków. It was the first exhibition in post-war Europe to bring together young artists from across the continent on equal terms. After several years of discussion, it became a model for Manifesta, first established as a foundation in Amsterdam and later realised as an exhibition in Rotterdam in 1996. Now, thirty years later, I have been invited to co-curate the sixteenth edition together with two colleagues who helped found the organisation: René Block and Henry Meyric Hughes. It is a meaningful reunion, but it also prompts reflection on the years that have passed. That is why Krzysztof Kościuczuk and I decided to create a dialogue between younger artists and today’s established masters, many of whom had been overlooked in the curatorial selections of previous editions of Manifesta – says Anda Rottenberg, member of the Manifesta 16 Ruhr curatorial team.

– Such a strong presence of Polish artists and curators at Manifesta demonstrates that Polish art is now an important part of the international conversation about Europe – its memory, its societies and its public spaces. I am delighted that Polish voices are being heard within Manifesta, an event that for many years has shown that art can be a genuine tool for social change – says Olga Wysocka, Director of the Adam Mickiewicz Institute, which supports the participation of Polish artists in the Biennial.

Exhibitions in Empty Churches

This year’s edition of Manifesta takes place in Bochum, Essen, Duisburg and Gelsenkirchen – four cities in Germany’s Ruhr region. The exhibitions occupy twelve former and now-abandoned church buildings, transforming them into sites for artistic projects and community-based initiatives.

The choice of venue is no coincidence. For decades, churches built after World War II were important centres of social life and symbols of rebuilding community. Today, as social structures change and the role of organised religion declines, many of these buildings stand empty.

Under the deliberately provocative title “This Is Not a Church”, organisers and artists reveal the potential embedded within these spaces and ask what lessons from the past might help us imagine a better future. Manifesta 16 Ruhr proposes viewing former churches not only as buildings of historical significance but also as places that can be given new social functions. In this sense, the biennial asks how communities can rebuild social bonds and create accessible spaces for gathering in a world shaped by crises, division and weakening social connections.

Art, Migration and Memory

The programme for this year’s edition was developed through field research, local consultations and collaboration between an interdisciplinary curatorial team and a group of creative mediators – professionals working at the intersection of art, architecture, migration history and social engagement.

At the heart of Manifesta 16 Ruhr are themes such as migration, disinformation, polarisation, collective memory and quality of urban life. The history of the Ruhr region itself is also a key reference point. The area has been shaped not only by industry but also by decades of migration and cultural diversity.

As the organisers note, narratives surrounding the Ruhr have traditionally focused on industrial heritage and workers’ solidarity, while much less attention has been given to the experiences of migrant communities. This year’s biennial seeks to broaden that perspective.

More Than 100 Participants from 33 Countries

The programme of Manifesta 16 Ruhr brings together more than 100 participants from 33 countries and includes over 50 newly commissioned works created specifically for this edition. Germany (25% of participants), Turkey (21%) and Poland (9%) are the most strongly represented countries. According to the organisers, this reflects both the European character of the biennial and the social and cultural history of the Ruhr region itself.

The full list of participating artists is available online.

A Free and Open Event

Manifesta 16 Ruhr is entirely free of charge and open to all visitors. In addition to the exhibition programme, the biennial will feature a range of educational and mediation projects developed in collaboration with residents and local initiatives.

Mikołaj Sobczak Exhibition at the Polish Institute in Düsseldorf

Alongside the main programme of Manifesta 16 Ruhr, a solo exhibition by Mikołaj Sobczak is on view at the Polish Institute in Düsseldorf. Titled “Teilen und herrschen” (“Divide and conquer”) and curated by Krzysztof Kościuczuk, it is Sobczak’s first institutional presentation in the city and brings together key works from different stages of his artistic practice.

Using painting, video, performance and sculptural objects, Sobczak challenges established historical narratives and creates alternative accounts of the past. His work places particular emphasis on queer perspectives and the experiences of marginalised communities. The exhibition in Düsseldorf runs from 12 June to 9 October 2026.

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Klaudia Gniady
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The Adam Mickiewicz Institute (IAM) brings Polish culture to people around the world. Being a state institution, it creates lasting interest in Polish culture and art through strengthening the presence of Polish artists on the global stage. It initiates innovative projects, supports international cooperation and cultural exchanges. It promotes the work of both established and promising artists, showing the diversity and richness of our culture. The Adam Mickiewicz Institute is also responsible for the Culture.pl website, a comprehensive source of knowledge about Polish culture. More information: https://iam.pl/en