16 Tons
17 Tons: Memory as practice
17 Tons: Memory as practice
2012 Architects & Refunc
Accumulation
Aesthetics of Pollution
Alexandrov, Grigori
Almarcegui, Lara
Amalrik, Leonid, Dmitri Babichenko & ...
Amorales, Carlos
Anthoine, Roger
Apóstol, Alexander
Art Salon | Artist Talk ...
Artwork Entry
Ashington Group, The
Auden, W. H. [Wystan Hugh]
Becher, Bernd & Hilla
Beehive Design Collective
Ben Cain: About his research
Ben Cain: Audience and Interaction
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Bevierre, Olivier
Biscotti, Rossella
Bissill, George
Boltanski, Christian
Boom, Irma & Johan Pijnappel
Brandt, Bill
Britten, Benjamin
Broodthaers, Marcel
Buckle, Janet
Burtynsky, Edward
Cain, Ben
Campbell, Duncan
Carbon
Carboniferous Landscapes
Cinematek Brussels
Claire Fontaine
Claus, Emile
Coal Face, 1935
Coalbrook-dale
Cobb, Francis William
Contemporary Art
Cornish, Norman
Crises of Capitalism
Cuauhtémoc Media (Chief Curator Manifesta ...
Cvijanovic, Nemanja
Cycles of Realism
Dark Matter
Dawn Ades: Coal as a ...
Daykin, Gilbert
de Loutherbourg, Philippe Jacques
Deller, Jeremy
Demuth, Charles
Dirt
Docu-Modernism
Douard, Cécile
Duchamp, Marcel
Durán, Manuel
Edgar Hermans about the Heritage ...
Embroidered Sayings
Epics of Redundancy
Ernst, Max
European Civilisation
Fossils
Furlan, Tomaž
Garden Cities
Geers, Kendell
Geerts, Paul
Goldin+ Senneby
Granata, Rocco
Gronbach, Eva
Grubic, Igor
Guillaumin, Armand
Habex, Jan
Hair, Thomas Harrison
Hammons, David
Hanging the Manifesta 9 Flag
Harrison, Tony
Harskamp, Nicoline van
Hedwig Fijen: The idea behind ...
Herman, Josef
Heslop, Robert
Hüner, Emre
Iguanodon
Industrial Revolution
Interview: Ante Timmermans
IRWIN
Ivens, Joris & Henri Storck
Izquierdo, Jota
Jafri, Maryam
Jitrik, Magdalena
Kaliski, Kevin
Karikis, Mikhail & Uriel Orlow
Kessels, Willy
Kilbourn, Oliver
Klutsis, Gustav
Konijnenberg, Willem Adriaan van
Konrad, Aglaia
Kozakis, Nicolas & Raoul Vaneigem
Kuai Shen
Landscape: From the Picturesque to ...
Landscape: From the Picturesque to ...
Leck, Bart van der
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Linde Hermans: Scenography of Manifesta ...
Livrets des ouvriers mineurs du ...
Long, Richard
Luce, Maximilien
Luque, Manuel
L’Inter-nationale
Maciá, Oswaldo
Manifesta 9
Manifesta Journal 13: Conversation between ...
Martin, John
Masereel, Frans
Mass-Observation movement
Matthys, Michaël
McCullin, Don
McGuinness, Tom
Meunier, Constantin
Michaël Matthys about La Ville ...
Mieke Mels (Curatorial Assistant) about ...
Mies van der Rohe, Ludwig
Miner/Worker
Mining Machine
Modern
Monko, Marge
Moore, Henry
Munby, Arthur
Museum of the Miner’s House, ...
Newcomen Colliery Winding Engine
News from the Graveyard: On ...
Ni, Haifeng
Nostalgia and Its Discontents
Origins of Manifesta
Pabst, Georg Wilhelm
Paleobotany
Paulus de Châtelet, Pierre
Perlee Parker, Henry
Poetics of Restructuring
Portrait of Spyros Roumeliotis and ...
Post-industrialism
Prayer Mats
Preparation of the Building
Production
Promo Video
Putheks
Radioactivity
Raqs Media Collective
Residue
Rittase, William
Robinson, William Heath
Rocco Granata about 'Marina'
Saint Barbara
Schlingelhoff, Bea
Selander, Lina
Sime, Sidney
Smithson, Robert
Smoke, Colours and Loans
Soi, Praneet
Soviet propaganda
Stakhanovism
Stella, Joseph
Sutherland, Graham Vivien
The Age of Coal: An ...
The Legacy of Manifesta
The Mine Depot, Waterschei
Timmermans, Ante
Tomaszewski, Yan
Torfs, Ana
Underground as Hell
Underground, Models of the
Vanden Eynde, Maarten
Vandersteen, Willy
Vega Macotela, José Antonio
Venet, Bernar
Vercheval, Georges
Vermeir, Katleen & Ronny Heiremans
VIDEO: Kuai Shen
Video: manifesta 9 symposium on ...
VIDEO: Marge Monko - Nora's ...
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VIDEO:Oswaldo Maciá - Martinete
Visible Solutions, LLC
Waterschei Planning Archive
Woods, Paolo
Zola, Émile
Zwartberg drama
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EN / nl

Cycles of Realism

Cycles of Realism in this exhibition explores changes in the representation of mining and miners over the last two hundred odd years. Developments in artistic modes and media have brought a greater verisimilitude – not quite the same thing as realism – to the registering of the reality of the experience of the miner. Photography and film are the most obvious technological developments that transformed the way coal mining has been perceived.

It was the use of illustrations in the Report on Coal Mining in 1842 that most vividly brought the terrible working conditions home to the general public and to Parliament. Crude engravings showed women and children harnessed and bent over like beasts of burden dragging tubs of coal along low tunnels. As a result the Coalmines Regulation Act of 1842 prohibited women and all children under the age of ten from working underground. An upsurge of sympathy and interest on the part of the public enhanced the popularity of Henry Perlee Parker’s images of pitmen in the softened academic style characteristic of 19th-century genre painting, which he first exhibited at the Royal Academy in London in 1836. The picturesque scenes of the colliers gaming at the pit mouth, often with their families, as in Pitmen Playing Quoits, ‘The Disputed Shot’, reflect the curiosity of the middle and upper classes about a way of life both awful and colourful.

When cameras were finally permitted down mines towards the end of the 19th century, a more documentary approach developed, as in the photographs taken by the Rev. Cobb, and the mining regions of Europe and their inhabitants are the subjects of an extensive body of photography that has recorded the daily life (Frank, Brandt, Killip), triumphs (Stakhanovism), and decline (Bechers) of the industry.

Both documentary and narrative film took avidly to coal mining, which has been described as “deeply cinematic” (Russell 2008). Nonetheless, modern -painters continued to be fascinated by mining, and artists such as Graham Sutherland, Henry Moore, Keith Vaughan and Josef Herman visited mines to record their impressions first-hand. The spectre of authenticity has always haunted modernist painting, especially in its figurative guises. With the increase in universal education miners brought to the representation of their lives and experiences their own voices and visions, rather than being always the objects of other peoples’. ‘Pitmen Painters’ like Kilbourn, Daykin, McGuinness and Heslop painted straightforward accounts, which are neither naïve nor socialist realist, of what they saw and experienced. DA