M HKA gaat digitaal

Met M HKA Ensembles zetten we onze eerste ├ęchte 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: Rage

©image: M HKA


This notion came to mind when pairing Vlassis Caniaris, Jef Geys and Cady Noland.

Rage is often perceived as a blinding feeling, and rightly so, when its cause nor aim are understood. But rage can also become an explosive creative social power, reversing feelings of helplessness. If this hitting power is translated into artistic mediums and practices, it may offer not only a shared focus but also a shared intensity; art as a combustion engine.

Aspects of Racism by Caniaris combines a narrative dimension – colours of skin – with ta shocking line up of feet, that appear to have been cut off, Geys evokes the primary colours and lets the biblical warning of God fall from them, Noland punctures an iconic image of Kennedy murderer Lee Harvey Oswald and stuffs an American flag in the hole made over his mouth.

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>Vlassis Caniaris, Aspects of racism II, 1970.Sculpture, plaster, 15 x 125 x 30 cm.

>Jef Geys, De gevallen verwittiging [The Fallen Warning], 1985.Installation, steel, pigment powder, 400 x 700 x 200 cm.

>Cady Noland, Oozewald, 1989.Sculpture, aluminium, nylon, silver cloth, 180 x 90 x 73 cm.