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.

Yang Zhenzhong

° 1968

Lives in Shanghai (CN), born in Hangzhou (CN).

Yang Zhenzhong (°1968) began studying textile and painting in 1995 with photography and video. One of his first mature works was Lucky Family (1995), a series of photos of a rooster, a chicken and a clutch of chicks, illustrating different family standards (and commenting on China's one-child policy).

Yang characterises himself and his praxis as ‘inconsistent,’ which of course can also be formulated as ‘versatile.’ He is an important figure in Shanghai's art scene. He has not only influenced its development as an artist, but also as a curator. He has been organising exhibitions with other influential artists since the end of the nineties. These projects have a positive effect on Shanghai's art scene and help the artist with his international profiling.

One of the recurring themes in Zhenzhong's work is the desire to emphasise the many contradictions and inequalities in society. In addition, he wants to explore the (mis)perception of space and the associated political and psychological appropriation.

In his work, he also investigates the human body and how it could be thought of and depicted on the threshold of the millennium. The Mao regime's disciplinary collectivist ideology was making way for more fluid but no less interesting social practices that responded to China's new role in global capitalism.

Works

>Yang Zhenzhong, On the Pillow, 2000.Photography, b/w photo, aluminium, 115 x 95 cm, 115 x 177 cm, 115 x 185 cm, 115 x 157 cm, 115 x 182 cm, 115 x 185 cm, 115 x 183 cm, 115 x 110.5 cm.

>Yang Zhenzhong, I Will Die, 2000.Video, 00:11:36.

Exhibitions & Ensembles

> Exhibition: EXTRA MUROS: Geel – Middle Gate II – The Story of Dymphna. 15 September 2018 - 04 November 2018.

> Exhibition: Superdemocracy – The Senate of Things. 01 October 2017 - 31 October 2017.

> Exhibition: The collection XXVII – East of 4°24'. 03 March 2011 - 21 August 2011.

> Exhibition: Useful life. .

> Exhibition: Useful Life – Europalia.China. 09 September 2009 - 28 February 2010.

> Ensemble: Collectie Vlaamse Gemeenschap.

> Ensemble: Middle Gate.

> Ensemble: NUCLEUS.

> Ensemble: RADICALISERING / RADICALISATION / RADIKALISIERUNG.

> Ensemble: SUPERDEMOCATIE / SUPERDEMOKRATIE / SUPERDEMOCRACY.

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> Ensemble: Useful Life.

> Ensemble: USEFUL LIFE.

> Ensemble: WAANZIN | MADNESS.