From transition to extraction: manifesta’s nomadic exhibitions in the post-socialist Balkans

Abstract

This chapter analyses two editions of Manifesta in the post-war and post-conflict Balkans: Manifesta 3 in Ljubljana (2000) and Manifesta 14 in Pristina (2022). Through a critical examination of the discursive construction of “Balkan Art” in the context of global art production, the chapter interrogates the persistent tensions between global and local frameworks, as well as between centres and peripheries of contemporary art. These two editions in the Balkans are placed in dialogue with Manifesta’s founding purpose as a European Nomadic Biennial, shaped by the geo-political shifts after the Cold War. The chapter examines how Manifesta’s presence in the Balkans activated discourses of borders, identity, and transition, while at the same time reproducing structural hierarchies that position the region as a site to be framed and narrated by external curators and institutions. It argues that, despite increased emphasis on participation and local engagement, the biennial’s format remains extractive, offering visibility without lasting infrastructural change. The chapter concludes by calling for a shift from temporary visibility to sustained capacity building, essential for locally driven impact.

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ORCID for Dimitra Gkitsa: orcid.org/0000-0003-3681-6047

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