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: EURASIA − A Landscape of Mutability

EURASIA – A Landscape of Mutability
08 October 2021 - 23 January 2022

Alighiero Boetti, Anatoly Osmolovsky, Babi Badalov, Basir Mahmood, C. K. Rajan, Cevdet Erek, Damian Le Bas, Deimantas Narkevičius, Elena Vorobyeva & Viktor Vorobyev, Etel Adnan, Evgeny Antufiev, Femmy Otten, Goshka Macuga, Gulnara Kasmalieva & Muratbek Djumaliev, Haegue Yang, Hüseyin Bahri Alptekin, Ieva Rojūtė, Ilya & Emilia Kabakov, Ives Maes, Izmail Efimov, Janek Simon, Jimmie Durham, Joseph Beuys, K. P. Krishnakumar, Koka Ramishvili, Lee Bul, Lin May Saeed, Metahaven, Michèle Matyn, Nam June Paik, Oleg Kulik, Pedro G. Romero, Qiu Zhijie, Ria Pacquée, Sara Sejin Chang (Sara van der Heide), Shigeko Kubota, Slavs and Tatars, Suchan Kinoshita, Taus Makhacheva, Thea Gvetadze, Ulay, Vlad Monroe, Yayoi Kusama/Harrie Verstappen, Zheng Mahler, plus items from Stichting Egress Foundation founded by Seth Siegelaub (including textiles, books and film by Rini Hurkmans).

Research projects:

Dina Akhmadeeva with works by Andrius Arutiunian, Bazarbai Jumaniyazov, Farida Kudasheva, Kyzyl Tractor, Camille Norment, Dina Nurpeisova, Natalia Papaeva, Flera Suleymanova, UMPU.


Special project: Grace Tjang (Grace Ellen Barkey) & Needcompany.

Film programme at De Cinema developed in collaboration with Electric Shadows.

Exhibition architecture: Samyra Moumouh.


The concept of Eurasia evokes myriad different ideas across geological, ideological, cultural, racial and artistic paradigms. Housing three quarters of the world’s population (as well as three quarters of the world’s energy resources), the Eurasian supercontinent is also home to a great plurality of cultures. It is a space where historical, contemporary and futuristic visions coexist, interact and mutate. From the ancient world to the cultural horizons to come, Eurasia has hosted the free-flow of exchanges, and possesses more capacity than ever for trans- or rather supranational thinking and cultural transformation superseding artificial distinctions of “Asia” and “Europe”.

Eurasia shows us how our perceptions of the world are in flux. Once the harbinger of globalisation, the Silk Road was the lifeblood of cultural and economic interaction between “East” and “West” for almost two millennia. The conquering of the Americas then made the world and apprehensions of humanity bigger. And now, following the rapid failure of the unipolar world and related ‘new globalism’ after 1989, and with a new balance of power emerging, Eurasia once again becomes a new horizon. In contrast to nation states, Eurasia is ambiguous, home to a growing number of new modernities and spheres of influence. We can become aware of the historical notions of Eurasia, Eurasians and Eurasianism, in all their utopian and dystopian forms, but we should also look to seize their futurity.

The exhibition EURASIA – A Landscape of Mutability seeks to map innovative practices and exchanges that reflect the plurality of cultures, collaborations and conceptions of Eurasia, with all its innovations and frictions. Inspired by the artistic imagination of artists, it will consider Eurasia as a landscape of mutability. EURASIA will explore the transformations and growing mutipolarity of the supercontinent, reflecting the flux of cultural practices, communication and exchanges. It will ask: How has Eurasia inspired artists and thinkers historically, and how has this varied across the supercontinent? What can be its artistic potential, and what spaces for speculation does it offer? What new networks of exchange and mutability can be established? And what creative friction can be found at its parameters? We will look at Eurasia as a cultural and geo-political space in the making. With methodology embodying content, EURASIA will be an exhibition of mutability.

With references ranging from the exchanges between Nam June Paik and Joseph Beuys (whose long-term dialogue was titled EUR-ASIA), to the most famous travelogue of the Medieval era dictated by Marco Polo to Rustichello de Pisa, the lyricism of Marina Tsvetaeva’s poetry, the influence of the artistic and intellectual community of Santiniketan, the epic of Gilgamesh, textile and mercantile histories, and the machinations of George Orwell’s 1984, we look across the contemporary Eurasian landscape. We consider the work of artists who reflect the mutability of culture, and who have developed experimental practices for inventing new forms of communication and circuits of exchange. Alongside exploring the tension between utopian and dystopic visions, EURASIA seeks transdisciplinary, transcultural and dialogical perspectives for considering the wealth of artistic intelligence across the supercontinent.

M HKA’s natural consciousness is that of multipolarity, with Eurasia as its cultural and conceptual space. In fact, Eurasia has been a key part of M HKA’s artistic trajectory and selfimage for more than fifteen years. This landmass of the ‘old world’ that predates constructs of ‘Europe’ and ‘Asia’, has nurtured the exchanges of objects, practices, people and ideas for millennia, leading to great philosophical and cultural advancement. M HKA has engaged with artists from the former-Soviet States, much of Asia and the Middle-East, as well as within its immediate locality in Europe and the ‘Eurocore’ region. Including a selection of works from the M HKA collection, this project looks to consolidate M HKA’s long-term engagement with the plurality of culture to be found in Eurasia.


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>Marina Tsvetaeva, Версты/Versty, Vol. 2, 1927.Periodical.

>K.P. Krishnakumar, Untitled, 1982.Drawing, (x25) variable dimensions.

>Joseph Beuys, Samurai Schwert [Samurai Sword], 1983.Multiple, multiple of felt and steel, 9 x 54 cm.

>Vladislav (Vlad) Mamyshev-Monroe , Pirate TV, 1990.Video, monitor, frame, dvd, 00:32:00 min, 77 x 95 cm.

>Koka Ramishvili, War from My Window, 1991-1992.Installation, b/w photo, 12 x (30 x 40 cm).

>Kerala Radicals, C K Rajan, Untitled, 1992-1996.Collage, collage, paper, 25 x (210 x 290 mm).

>Izmail Efimov, Ethno-Futurist Watercolours, 1993-2014.Painting, watercolour on paper.

>Jimmie Durham, Gilgamesh, 1993.Sculpture, wood, iron, pvc, axe, metal, 355 x 63 cm, 300 x 140 cm.

>Ilya & Emilia Kabakov , 10 Characters - Album 1-10, 1994.Book, paper, 10 x (52.5 x 37 cm).

>Ulay, 7 in a boat, 2000.Other, hand-knotted 100% silk, 400 x 274 cm.

>Suchan Kinoshita, Pijlen [Arrows], 2002.Video.

>Yelena Vorobyeva & Viktor Vorobyev, Kazakhstan. Blue Period, 2002.Installation, 105 x (40 x 60 cm).

>Anatoly Osmolovsky, Dusty Phrases / Пыльные фразы , 2003.Installation, dust.

>Oleg Kulik, Gobi Test. Summer (The Gobi Test, or the Unbearable Charm of Mongolia), 2004.Video, dvd, 00:31:00 min.

>Hüseyin Bahri Alptekin, H-Facts: Horses and Heroes , 2005.Mixed Media, mixed media, polyurethane copies of quadriga, 28 i̇znik tiles, 3 videos, sound, 23.5 x 23.5 cm (each of İznik tiles),00:19:51 (H-Fact: History: Horses & Heroes),00:07:16 (Potemkin Staircases),00:03:55 (Cupolas Istanbul).

>Gulnara Kasmalieva & Muratbek Djumaliev , Trans-Siberian Amazons, 2005.Installation, 150 chinese bags, dvd, 3 monitors, speakers, 3 dvd players, paper, carton, 00:02:03 min, 150 x (80 x 60 x 30 cm).

>Oleg Kulik, Gobi Test. Winter (The Gobi Test, or the Unbearable Charm of Mongolia), 2005.Video, dvd, 00:22:00 min.

>Janek Simon, The Holiday House, 2006.Maquette, balsa model , 44 x 38 x 26 cm.

>Janek Simon, Chinese Calculator, 2006.Other, modified unitra calculator, 14 x 7 x 2.5 cm.

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>Mater Mea, 2007.Audio and visual equipment, video film, sound loop, 00:08:00.

>Goshka Macuga, When was modernism?, 2008.Installation, mixed media, variable dimensions.

>Basir Mahmood, Lunda Bazaar (Secondhand Clothing Market), 2010.Video, video, 00:13:44.

>Ria Pacquée, Hats, 2011-2019.Projection, digital slideshow, 00:04:18.

>Etel Adnan, Freedom of People, Freedom of Plants, Freedom of Nature, 2011.Realized Work, leporello: ink, color and oil pastels, 18.1 x 285.6 cm .

>Slavs and Tatars , Mother Tongues and Father Throats, 2012.Other, wool, yarn, 500 x 300 x 3 cm.

>Etel Adnan, Kassaed Bain Chajer (Poetry between Trees), 2012.Realized Work, leporello: japanese ink, 24.5 x 504 cm .

>Thea Gvetadze, If it takes forever, I will wait for you , 2012.Painting, mixed media on black velvet, 100 x 140 cm.

>Taus Makhacheva, Landscape, 2013.Installation, series of wooden objects, carved by kazbek alikhov.

>Taus Makhacheva, Way of an Object, 2013.Sculpture, theatre with three objects-turned-puppets, a kubachi marriage bracelet, a carved wooden saltbox and a painting by russia’s viktor vasnetsov of a prophet bird.

>Janek Simon, Man with the Head of Dog 1-5, 2015.Sculpture, 3d print, pla polymer, 47 x 17 x 15 cm (each).

>Ives Maes, Soviet Stereographs, 2015.Mixed Media, inkjet prints, lightjet prints, oak frames, stereoscope viewers, 300 x 1060 x 60 cm.

>Lee Bul, Aubade IV, 2015.Installation, stainless-steel structure, acrylic, polycarbonate sheet, glass paint, led lights, electrical wiring, fog machine, Variable dimensions.

>Evgeny Antufiev, Untitled, 2015.Sculpture.

>Evgeny Antufiev, Untitled, 2015.Sculpture, fabric, wolf tooth, 40 x 19 x 11 cm.

>Michèle Matyn , Made Mayrem, 2015.Installation, willow stick, tree trunk, fabric, beeswax, pigment, digital print on baryt , Variable dimensions.

>Babi Badalov, I am Euromental, 2015.Installation, 27 sheets, ink on cotton, variable dimensions.

>Femmy Otten, Untitled, 2016.Other, oil, limewood, 27 x 35 x 18.5 cm.

>Femmy Otten, Ontklede dagen (Days Undressed), 2016.Sculpture, wood, 98 x 33 cm.

>Damian Le Bas, Roma Armee Fraktion Mr Brexit Missed Exit, 2017.Collage, pen, stickers, collage on printed map, 92 x 61 cm.

>HAEGUE YANG , A Chronology of Conflated Dispersion – Duras and Yun, 2018.Artist Novel, subjectively edited biography of two historical figures.

>Qiu Zhijie, Map of China-Arab Relations, 2019.Collage, ink on paper, 370 × 880 cm.

>Janek Simon, Synthetic Folklore v0.1.1, v0.1.2, v0.1.3, 2019.Mixed Media, mosaic, acrylic glass, 3 x (140 x 100 x 2).

> Zheng Mahler , The Master Algorithm, 2019.Installation, hologram installation, 200 x 200 x 40 cm.

>Etel Adnan, Les oliviers III, 2019.Drawing, pencil and ink on booklet, 18 x 12 cm .

>Femmy Otten, Untitled, 2020.Sculpture, plaster, acrylic paint, pencil, 34 x 37 x 4 cm.

>HAEGUE YANG , Sonic Intermediates, 2020.Installation, powder-coated steel frame, powder-coated mesh, powder-coated handles, casters, red brass plated bells, metal rings, plastic twine, broom, Variable dimensions.

>Lin May Saeed, Hawr al-Hammar/Hammar Marshes, 2020.Installation, cardboard, transparent paper, wood, fluorescent lights, 260 x 508 x 50 cm.

>Lin May Saeed, Pangolin, 2020.Installation, styrofoam, steel, plaster, acrylic paint, wood, 134 x 107 x 38 cm.

>Metahaven , DVD Zone 5, 2020.Mixed Media, jacquard weaving, wool and lurex, 245 x 150 x 0.5 cm.

>Sara van der Heide, Four Months, Four Million Light Years, 2020.Installation, film installation, watercolours, paper- and textile banners, Variable dimensions.

>HAEGUE YANG , A Chronology of Conflated Dispersion – Duras and Orwell, 2021.Text, subjectively edited biography of two historical figures.

>Pejvak , Unfortunately, It Is Not Open to Public, 2021.Installation, steel, clothing, screens, short wave radio receiver, wood, wire, Variable dimensions.

>Pedro G. Romero, Las pantallas (Eqqus Ferus Caballus), 2021.Installation, video installation, printed screens and two-channel video, 01:30:00.

>Ieva Rojūtė , Gentle Word (Švelnus Žodelis), 2021.Collage, sticky foil, water based paint, sticky paper, Variable dimensions.

>Femmy Otten, Rainbow Circle III, 2021.Other, burl wood, tempera on the wall, Variable size (250 x 600 cm).

>Metahaven , Eurasia (Questions on Happiness), 2021.Installation, video, video wall, sound, wool, cotton, wood, 275 × 600 × 200 cm; 70'.

>Seth Siegelaub, Items van Stichting Egress Foundation opgericht door Seth Siegelaub.Mixed Media, textiel en boeken.

>Joseph Beuys, The Orwell Leg – Trousers for the 21st Century.Multiple, multiple of denim jeans with holes cut in the knees.

>Deimantas Narkevičius, A Tang of Lomo Film.Installation, transformer, amplifier, two speakers.