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: The Space of Grounded Imagination

THE SPACE OF GROUNDED IMAGINATION

This description came to our mind when discussing the possible proximity of artists such as Jan Fabre, Maria Papadimitriou and Almagul Menlibayeva.

In daily life we tend to put imagination aside, as a luxury, or as something that is empty and unrelated to reality. But isn’t imagination one of the basic fields of art, perhaps the most important one in its capacity to help us? Art offers an imagination that remains grounded in our experiences and endows art objects with sense. While we have a tendency to group artists thematically, it may be good to pull together seemingly diverse positions in order to discover that works depicting the horror of our world, dreaming mankind or reflecting on one’s position in between future and past horizons, may in art actually imply one another. Imagination encircles the world, as Albert Einstein once stated.

Fabre here sculpts out of jewel-beetles the ultimate form: the anthropomorphic. Papadimitriou evokes collective horror, therefore implies humanity just as well. Menlibayeva powerfully depicts the position of her people; with Tengri, the ‘eternal blue sky’, but with a horizon punctuated with power pylons . Her native Kazakhstan is the location of both Tengrism and of the Soviet Gulags.

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Works

>Jan Fabre, Mur de la montée des anges, 1993.Installation, chicken wire, jewel beetles, 142 x 53 cm.

>Almagul Menlibayeva, Portrait of my Daughter II, 2010.Photography, lambda print, alu di-bond, 80.2 x 53.5 x 2.3 cm.

>Almagul Menlibayeva, Portrait of my Daughter I, 2010.Photography, lambda print, alu di-bond, 80.2 x 53.5 x 2.3 cm.

>Almagul Menlibayeva, Dior and Boss, 2010.Photography, lambda print, alu di-bond, 53.5 x 80.2 x 2.3 cm.

>Almagul Menlibayeva, Dior Salome, 2010.Photography, lambda print, alu di-bond, 53.5 x 80.2 x 2.3 cm.

>Almagul Menlibayeva, My Friends, 2010.Photography, lambda print, alu di-bond, 53.5 x 80.2 x 2.3 cm.

>Almagul Menlibayeva, The Observer, 2010.Photography, cibachrome, 96.5 x 127 x 5.5 cm.

>Almagul Menlibayeva, Forever Umai, 2010.Photography, cibachrome, 96.5 x 127 x 5.5 cm.

>Almagul Menlibayeva, Tengri Boy, 2010.Photography, cibachrome, 96.5 x 127 x 5.5 cm.

>Maria Papadimitriou, News from Nowhere, 2016.Collage, postcards , variable dimensions .