• Thomas Hirschhorn, ABSCHLAG (Felling) (detail), 2014, mixed media and paintings by Kazimir Malevich, Pavel Filonov, and Olga Rozanova. Installation view. Photo: Egor Rogalev.

    Manifesta 10

    The State Hermitage Museum

    AS A STUDENT OF MODERNISM in the 1980s and ’90s, I was taught that the genre of manifesto literature, rich in declarative sentences and visionary ambitions, had petered out before my time; I was reading great prose in a dead language. Then came 1996, and Manifesta. Cleverly feminized, corporatized, and maybe pluralized, “Manifesta” as a title revived a modernist keyword—an emblem of the collective and rebellious—while acknowledging the institutionalization of a modernist ethos in contemporary times. “You will not find paintings or monumental sculptures. You will not see a traditional

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