reviews

View of “What People Do for Money,” 2016, dental office of Danielle Heller Fontana, Zurich. From left: Torbjørn Rødland, Crossed Confections, 2015–16; Torbjørn Rødland, Portrait, 2015–16.

Manifesta 11

Various Venues

View of “What People Do for Money,” 2016, dental office of Danielle Heller Fontana, Zurich. From left: Torbjørn Rødland, Crossed Confections, 2015–16; Torbjørn Rødland, Portrait, 2015–16.

I REMEMBER WANDERING DOWN Zurich’s Bahnhofstraße late at night some years ago and thinking that if this was one of the most secure streets I’d ever been on, it was also possibly the most sinister. The flagship private banks interspersed among the avenue’s luxury boutiques looked like Olympian mausoleums. They were groomed, still, and fortified, better rooted into the foundations of neoliberal society than the governments that purportedly regulated them.

Zurich, the site of this year’s Manifesta, is something of a departure from the exhibition’s previous farther-flung host cities, whose hybridity and geopolitical marginality evinced the diversity and experimentalism within Europe. This archetypically neutral location serves as a counterpoint to Manifesta’s edgy provenance to date. The tongue-in-cheek conservatism of selecting a city that plays a key role in Europe’s economy, yet is

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