M HKA gaat digitaal

Met M HKA Ensembles zetten we onze eerste échte stappen in het digitale landschap. Ons doel is met behulp van nieuwe media de kunstwerken nog beter te kaderen dan we tot nu toe hebben kunnen doen.

We geven momenteel prioriteit aan smartphones en tablets, m.a.w. de in-museum-ervaring. Maar we zijn evenzeer hard aan het werk aan een veelzijdige desktop-versie. Tot het zover is vind je hier deze tussenversie.

M HKA goes digital

Embracing the possibilities of new media, M HKA is making a particular effort to share its knowledge and give art the framework it deserves.

We are currently focusing on the experience in the museum with this application for smartphones and tablets. In the future this will also lead to a versatile desktop version, which is now still in its construction phase.

Ensemble: Recalibrating the Public's Image

 dsc1119 ©image: M HKA, Antwerp

RECALIBRATING THE PUBLIC'S IMAGE

This notion came to our mind when bringing together the work of the sculptor Theodoros, Wout Vercammen and Goshka Macuga.                                                     

The notion of the public became over the last decade a contested term. It might be seen as a vital and active space of encounter, an ancient Greek agora, or as a passive assembly of an abstract majority, and especially nowadays, as a statistic conclusion. Cultural institutions have always assumed that their public is rather passive: in the past by providing a program based on a dominant narrative, today by offering experiences based upon up to date communication strategies. On the other hand, post-war artistic practices have often advocated critical engagement by viewers, allowing for an individual to become part of a collective subjectivity. When artists address images floating in the public sphere, this can be seen as a complement to that aspiration.

In Test No III, 1970, Theodoros provokes the viewer into a mental act of resistance, foreshadows the Manipulations, a series of works that strongly engage the public through open ended questions cast in a variety of media. When Vercammen remade in 2015 his 1972 pairings of telling images of monsters and monstrosities, they had regained an uncanny sense of contemporaneity. When Macuga publicly reactivated in London the UN owned tapestry of the Guernica of Picasso, she saw another patchwork emerge in front of it, with a prince, architects, organizers and an arts-sponsoring arms producer.

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Giannisvastardis4

> Theodoros, Sculpture for Public Participation – Participation Prohibited, 1970-2005.Print, ink, paper, 2 x (160 x 100 cm).

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>Wout Vercammen, Angola, 1972-2015.Print, screen print op doek, 200 x 200 cm.

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>Wout Vercammen, Oost West, 1972-2015.Print, screen print op doek, 200 x 100 cm.

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>Wout Vercammen, Orgasme-strijder, 1972-2015.Print, screen print op doek, 200 x 100 cm.

Foto m hkaclinckx 4

>Wout Vercammen, Verzetsstrijders en Kolonels 2, 1972-2015.Print, screen print op doek, 200 x 100 cm.

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>Wout Vercammen, Massa's, 1972-2015.Print, screen print op doek, 200 x 100 cm.

Goshka%20macuga,%20on%20the%20nature%20of%20the%20beast,%202009

>Goshka Macuga, On the Nature of the Beast , 2009.Object, jacquard, 290 x 560 cm.