Artist Accuses Manifesta 16 of Plagiarism, Demands Removal of Installation
An ongoing dispute has arisen within the art world, focusing on claims of intellectual property infringement at a major European biennial. Artist Dorothee Bielfeld has publicly accused Manifesta 16 of displaying an installation that allegedly plagiarizes her previous work. The controversy centers on Nasan Tur's piece, "Elevation," which incorporates reclaimed church pews. This incident has sparked a debate about artistic originality, the responsibilities of exhibition organizers, and the challenges artists face in protecting their unique creative expressions.
Artist Calls for Installation Removal Over Plagiarism Allegations
On July 2, 2026, in Essen, Germany, a significant art world controversy erupted when artist Dorothee Bielfeld called for the immediate removal of an installation from Manifesta 16. Bielfeld alleges that Nasan Tur's artwork, titled "Elevation," directly plagiarizes her earlier creation, "Aufrichten (Raising Up)," first exhibited in 2010. Tur's piece, displayed within St. Gertrud Church, features repurposed church pews positioned upright and engraved with public submissions. Bielfeld claims that the core visual concept of meter-high, vertically oriented pews, which transform into tower-like forms, is strikingly similar to her 2010 work, which also utilized upright pews to create a "forest-like" effect in Christ-König-Kirche in Hamburg. Furthermore, both installations share a participatory element, inviting visitors to engage by contributing their thoughts or wishes. Bielfeld expressed profound distress upon encountering images of Tur's work, stating her extensive expertise in the repurposing of decommissioned churches and the evolving nature of worship spaces. Following her complaint, Manifesta 16 issued a statement acknowledging "superficial" visual similarities but defended Tur's work as artistically independent, citing a curatorial assessment by Leonie Herweg and René Block. Tur himself has vehemently denied the allegations, describing them as "false and baseless," and has engaged legal counsel after attempts to resolve the matter directly were unsuccessful. Manifesta 16, a nomadic European biennial, opened on June 21 and is scheduled to run until October 4, utilizing 12 historic churches across Duisburg, Essen, Gelsenkirchen, and Bochum to host site-specific installations, focusing on reactivating these disused spaces for civic and cultural engagement.
This incident underscores the ongoing complexities surrounding artistic originality and attribution in the contemporary art landscape. While some may argue for the independent evolution of similar concepts, the direct parallels cited by Bielfeld raise important questions about research, influence, and the potential for unwitting or intentional appropriation. This case serves as a poignant reminder of the vigilance artists must maintain to protect their intellectual property and the critical role art institutions play in mediating such disputes, balancing artistic freedom with ethical responsibilities.