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
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Ashington Group, The
Auden, W. H. [Wystan Hugh]
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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
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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
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Kilbourn, Oliver
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Konrad, Aglaia
Kozakis, Nicolas & Raoul Vaneigem
Kuai Shen
Landscape: From the Picturesque to ...
Landscape: From the Picturesque to ...
Leck, Bart van der
Lieshout, Erik van
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
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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
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VIDEO:Oswaldo Maciá - Martinete
Visible Solutions, LLC
Waterschei Planning Archive
Woods, Paolo
Zola, Émile
Zwartberg drama
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Miner/Worker

Of all the workers since the advent of the industrial revolution, perhaps none has captured the popular imagination as much as the coal miner. In his book The Road to Wigan Pier (1937), George Orwell elegantly sums up both the plight of the miner and his social role: “in the metabolism of the Western world the coal-miner is second in importance only to the man who ploughs the soil. He is a sort of caryatid upon whose shoulders nearly everything that is not grimy is supported” (1958: 21). Orwell also wrote of the “splendour” of the coal miner and the fact that, “more than anyone else, perhaps, the miner can stand as the type of the manual worker, not only because his work is so exaggeratedly awful, but also because it is so vitally necessary and yet so remote from our experience, so invisible, as it were, that we are capable of forgetting it as we forget the blood in our veins” (ibid 34). The coal miner has been portrayed in countless visual and literary representations, more often than not as a heroic, super-human figure or alternatively as a pitiful, downtrodden plebeian. Figures of the worker-hero have abounded in the Soviet industrial mythology as well as the Western proletariat and socialist narratives. Stereotypes of the miner abound: from the modern Vulcan to the dirty, primitive human workhorse; from the victim of capitalism to the enemy of ‘progress’ in the eyes of the neo-liberal ruling classes. Typecasting aside, miners have always been a resilient, tightly knit community, sharing a particular sense of solidarity and professional pride, quite distinct from other industries because of the hazardous environment they work in. In the mine, there is a highly developed sense of group cohesion: everyone is in it together and everyone looks out for each other. With the history of coal mining has also come a plethora of powerful narratives – visual as well as literary - many of which are contingent on that very fine line between life and death, and the anxiety of waiting. The history of coal mining is rife with extraordinary drama and stories of heroic tenacity, a recent example being that of the remarkable rescue of the thirty-three Chilean miners trapped underground for sixty-nine days. In Western Europe today, the job of the coal miner has become all but obsolete. Such is not the case in Asia, Africa, and the Americas where coal mining is booming and extraction is on the rise. Despite advances in technology, coal mining is still one of the most dangerous occupations in the world. But the perception of the coal miner has changed as the image of the heroic figure of the miner is no longer necessary to power the ‘post-industrial’ West, where labour is now understood as something predominantly immaterial or ‘clean’, and the identity of the working class has been broken. Yet the miners continue to toil, often in places where where workers rights and safety are interpreted in very elastic ways. KG