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.


Courtesy of the artist

It seems clear that in the case of Dymphna, the sting – t.i., the violence – is in the tail of her story, in the beheadings and the flickering sword. But actually, as we understand today, it is in the beginning, when the king wants to force his daughter to marry him.

Sometimes, violence is defined as 'a force of more than minor significance that is deliberately exercised by one or more persons on others, whether or not with weapons or other resources'. It concerns every act by which a human being, against the will of the victim, is physically or mentally tortured, wounded or killed, or through which personal integrity is violated in one way or another. Sexual acts against the will of the person, such as rape, undesirable physical abuse or intimidation, are increasingly, and more and more clearly, considered to be violence by the public.

De Halle, is the location of this theme of 'Violence'. In her title image, Els Dietvorst immediately focuses on the main theme, from the perspective of a person who is being subjected to violence. Reality covers us with stigmata: our perception of reality – and our communication with it – hurts us. The immediacy of that experience can be seen in the works by Susana Pilar Delahante Matienzo, Els Dietvorst, Marlene Dumas, Wafae Ahalouch el Keriasti, Michèle Matyn and Liza May Post. Yet none of them are victims: they all have presumptions and act. This is explicitly the case with Vika Begalskaya, who translates the experiences of sex workers – together with them – into a puppet show; Louise Bourgeois, reflecting Goliath's violence; Lili Dujourie, transforming herself from object into subject; Maryam Najd, questioning the pornographic gaze; Hugo Roelandt, transforming himself rather than undergoing violence – and Anne-Mie Van Kerckhoven, remodelling the disintegration into thinking.

The violence that social systems or individuals inflict on others is thematised too. The Indian artist NS Harsha literally makes contemporary urbanity clash with the countryside. Georgian artist Koka Ramishvili documents the civil war from his bedroom window. Danny Devos tries to get through to the motives of serial killers. And with Guillaume Bijl, François Curlet, Nikita Kadan, Bruce Nauman, Artūras Raila, Olga Tobreluts, Wout Vercammen and Barbara Visser, the violence affects the artists and us. It is, rather, the interaction with violence that can open up new pathways.

Violence is intimately connected with power that is not used ethically. In medieval law, violence is the shared property of victim and perpetrator: essentially both parties had to come to an agreement afterwards about what made up the crime. Since the enlightenment, the state has a monopoly on violence and pretends to punish the guilty. But in reality, violence remains a personal matter, initially always undergone by someone, part of a flow of human action, which can and must be countered. Which is exactly what Ivan Kožarić does when he frees the energy of art from the power of its framework, simply by sawing.

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

>Lili Dujourie, Hommage à ... III, 1972.Video, video, 00:37:02.

>Hugo Roelandt, Geprojecteerde gevoelens tegenover iets of iemand [Projected Feelings Toward Something or Somebody], 1974.Photography, dia-projection , 80 x.

>Guillaume Bijl, Behandelingen, 1975-1979.Collage, ink, paper, 6 x (80 x 60 cm).

>Bruce Nauman, Violent Incident-Man/Women Segment, 1986.Installation, vhs, 00:00:28.

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

>Louise Bourgeois, David & Goliath, 1992.Drawing.

>Anne-Mie Van Kerckhoven / AMVK, Traîté du Caractère, 1993.Mixed Media, fabric, paint.

>Anne-Mie Van Kerckhoven / AMVK, Concept of Anxiety, 1993.Mixed Media.

>Danny Devos, Jockel - Bett des Jägers, 1993-1994.Installation, staanlamp en houten bed met getekende landkaart van het ruhrgebied met aanduiding en foto’s van relevante plaatsen in het verhaal van joachim kroll, tekening en kleurfoto’s op gegalvaniseerde plaat, bed: 108x208x48cm; plaat: 100x200cm.

>Danny Devos, Jockel - Bibliografie, 1993.Installation, 400 ingelijste (zwart hout) krantenartikels gekleefd op karton, 31.8 x 23 cm per lijst.

>Louise Bourgeois, Louise, Ilse et Bart, 1994.Drawing.

>Liza May Post, Duwen, 1994.Photography, colour photograph, 125 x 294 cm.

>Marlene Dumas, Sailor's Dream, 1996.Drawing, watercolour, paper, 125 x 70 cm.

>Marlene Dumas, Blind Joy, 1996.Drawing, aquarel on paper, 125 x 70 cm.

>Artūras Raila , Under the Flag , 1999-2015.Video, 2 channel digital video, color, sound, 00:20:00.

>Olga Tobreluts, Modernisation (Part II), 2002-2003.Photography, c-print, 120 x 150 cm.

>Barbara Visser, Le monde appartient à ceux qui se lèvent tôt, 2002.Photography, ink, paper, 5 x (120 x 167 cm).

>Wafae Ahalouch el Keriasti, Some like it Not!, 2003.Painting, acrylic, chalk, canvas, 200 x 250 x 4.5 cm.

>Susana Pilar Delahante Matienzo, Pase. Acceso ilimitado [Come In, Unlimited Access], 2003.Installation, ink, paper, 18 x (40 x 30 cm), 2 x (51 x 40 cm).

>Michèle Matyn , Home Town Story, 2005.Photography, colour photography, plexiglass, 150 x 112,5 cm.

>N S Harsha, Orgasm, 2007.Installation, wood, scythe, suitcase.

>Els Dietvorst, Skull 2, 2008.Installation, metal, wood, loam, pigeons.

>Ivan Kožarić, Pronađena skulptura [Found sculpture], 2009.Installation, wood, variable dimensions.

>François Curlet, Chanter l'enfer [To Sing Hell], 2010.Installation, wood, drapery, perspex, metal, aluminium, 120 x 30 x 40 cm, 40 x 33 x 7 cm, 5 x 5 x 5 cm.

>Ivan Kožarić, Zonder titel, 2011.Painting.

>Vika Begalska, Aphrodite’s Girdle, 2014.Video, video, documentary, color, sound, english subtitle, 00:27:30.

>Maryam Najd , I was raised to be covered III, 2014.Leaflet, oil on canvas, 150 x 110cm.

>Nikita Kadan / Нікіта Кадан, The Chronicle / Хроніка, 2016.Drawing, ink on paper, 18 x (15 x 20 cm)/(20 x 15 cm) .

>Maryam Najd , Mediterranean Blanket II, 2016.Film, oil on canvas, 50 x 40 cm.

>Els Dietvorst, Stigmata, 2018.Drawing, red-black ink on simili japon, 16 x 11.9 cm.

>Louise Bourgeois, Zonder titel.Drawing.