Drawing, 18 x (15 x 20 cm)/(20 x 15 cm) .
Materials: ink on paper
Collection: Collection M HKA, Antwerp / Collection Flemish Community (Inv. no. BK2017_18).
The material used while working on 'The Chronicle' series included photographs showing victims of Lviv pogrom of the Jewish community, Polish and Ukrainian victims of the Volhynia massacre, victims of NKVD, and civilians and prisoners of war murdered under Nazi occupation.
The series is a reference to a multiannual phenomenon of photographic manipulation: photographs are distributed with captions altering the order of executioners and their victims. The history of manipulation is nothing but continuity in the history of crime, on a variety of levels and differently motivated. Later, manipulation is detected and all sides proceed with revealing mutual truths. The struggle for memory morphs into competition to generate an ideologised imitation of memory.
'The Chronicle' series reflects contemporary “memory wars”. The artist offers a suggestion that history should always be viewed directly – without exception – and never through the protective looking-glass of an ideologically founded mythology.
Media View all
Events View all
Nikita Kadan – The Posses...
20 January 2018 - 29 April 2018.
The Ukrainian artist Nikita Kadan started on an artistic conquest from his hometown Kiev to bring into view the turbulent and especially viol
EXTRA MUROS: Geel – Middl...
15 September 2018 - 04 November 2018.
Exhibition project Middle Gate II – The Story of Dymphna is a cooperation between M HKA, the Museum of Contemporary Art Antwerp, and cultural
Ensembles View all
GEWELD | VIOLENCE
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 flickerin
The M HKA’s contemporary art collection has grown thanks to a combination of acquisitions, donations and long-term loans from various public
Aanwinsten 2017 [Acquisit...
In 2017, the collection was enriched by the international avant-garde from our region in the 60s and 70s, with an emphasis on performativity