[{"id":124,"title":"Exodus","dimensions":"00:11:00","date_begin":"2009-01-01","material":"video, flatscreen","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp, Donation of the artist, 2010","cached_tag_list":"video-installation","publishing_process_id":1,"annotation":"\u003cp\u003e1 channel video\u003c/p\u003e\r\n","date_end":"2009-01-01","reference":"S0441_11","stream_count_app":43,"permalink":"exodus","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/133/large/459Menlibayeva,%20Almagul,%20%20EXODUS%20,%202009%20video%20still%201.jpg?1297680516","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAlmagul Menlibayeva\u0026#39;s film \u003cem\u003eEXODUS\u003c/em\u003e was shot in Karaganda in the centre of Kazakhstan. The film shows a glimpse of a community of nomads, who, following their gathering, prepare to depart. This departure is interrupted, however, by two women resolutely traversing the lonely steppe. However, the film ends with a departure en masse: a caravan of people, cars, lorries and horses slowly begin trailing their way towards the horizon. Menlibayevas\u0026rsquo; film provides us with a portrait of a culture torn between age-old tradition and an existence in a globalised world. Both poetic and melancholy, the film illustrates the quest for identity and a departure for an uncertain future.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe film \u003cem\u003eEXODUS\u003c/em\u003e van Almagul Menlibayeva werd gedraaid in Karaganda in het centrum van Kazachstan. Het toont een gemeenschap van nomaden, die zich na een samenkomst voorbereiden op hun vertrek. Deze activiteit wordt onderbroken door twee vrouwen die zich met besliste tred door de eenzame steppe bewegen. De film eindigt echter met een groot vertrek: een karavaan van mensen, auto\u0026#39;s, vrachtwagens en paarden begint langzaam naar de horizon te bewegen. Menlibayevas film toont het portret van een cultuur die heen en weer wordt geslingerd tussen oude tradities en een geglobaliseerde aanwezigheid. Op een melancholische en po\u0026euml;tische manier verbeeldt het de zoektocht naar een identiteit en het vertrek naar een onzekere toekomst.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":116,"title":"Forever Umai","dimensions":"96.5 x 127 x 5.5 cm","date_begin":"2010-01-01","material":"cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003elightbox\u003c/p\u003e\r\n\r\n\u003cp\u003eAlmagul Menlibayeva commonly employs references to her own nomadic heritage and the widespread Shamanistic traditions of Central Asia to construct a personal mythological world. In the mythology of the nomads of Kazakhstan, Umai figures as the goddess of fertility and virginity. The traditional garb and dramatic staging of \u003cem\u003eForever Umai\u003c/em\u003e\u0026nbsp;suggest Menlibayeva has created a modern portrait of the goddess. In the setting of the vast steppes, ominously lit by the sun, she looks unruly, if not downright frightening. At her feet lies a man holding a sheep. Is he asleep or is he dead? Did Umai come to deliver the fatal blow or to resurrect him from his slumber? The many ambiguities of \u003cem\u003eForever Umai\u003c/em\u003e\u0026nbsp;hint at questions of gender and femininity and reflect the ambiguities in the conception of a Kazakh national identity - a recurrent theme in Menlibayeva\u0026#39;s work.\u003c/p\u003e\r\n","date_end":"2010-01-01","reference":"S0441_03","stream_count_app":56,"permalink":"forever-umai","description_ru":"","description_de":"\u003cp\u003eDie drei Bilder in den Leuchtk\u0026auml;sten The Observer, Forever Umai und Tengri Boy (2010), sind Standbilder von Schl\u0026uuml;sselmomenten aus dem Film Milk of Lambs (2010), der in Kasachstan geborenen K\u0026uuml;nstlerin Almagul Menlibayeva. In diesem Werk erkundet Menlibayeva den Wiederaufbau der nationalen Identit\u0026auml;t in Kasachstan nach dem Zerfall der Sowjetunion und bezieht sich dabei h\u0026auml;ufig auf religi\u0026ouml;se oder mythologische Szenen und Konzepte, die ihren Ursprung in den schamanistischen Traditionen der kasachischen Nomaden haben.\u0026nbsp;\u003cbr /\u003e\r\nEine junge Frau, die ihre Augen mit toten F\u0026uuml;chsen bedeckt, stellt ein zeitgen\u0026ouml;ssisches Portr\u0026auml;t einer kasachischen Frau dar. Auf dem Bild Forever Umai sieht man die G\u0026ouml;ttin der Fruchtbarkeit und Jungfr\u0026auml;ulichkeit Umai mit einem Mann, der zu ihren F\u0026uuml;\u0026szlig;en liegt und ein Schaf umarmt. Es ist unklar, ob die beiden \u0026mdash; das Schaf und der Mann \u0026mdash; tot oder lebendig sind. Auf dem dritten Standbild, Tengri Boy, stellt die K\u0026uuml;nstlerin eine moderne Verk\u0026ouml;rperung des Sch\u0026ouml;pfergottes Tengri dar, der die Geste wiederholt, in der er ein Schaf h\u0026auml;lt \u0026mdash; ein Symbol f\u0026uuml;r den Schutz seiner eigenen Kultur. Auf den Bildern sind die G\u0026ouml;tter jung, wie das Volk nach der Wiedergeburt.\u0026nbsp;\u003cbr /\u003e\r\nDie Menschen bleiben standhaft im endlosen Land; es ist das Volk, das bestimmt, was das Zentrum der Welt, das Zentrum der Gesellschaft ist.\u0026nbsp;\u003cbr /\u003e\r\nMenlibayeva erforscht die Frage der nationalen Identit\u0026auml;t als eine gegenkoloniale Praxis, die in der ukrainischen Geschichte bis heute aktuell bleibt. In diesen Arbeiten zeigt die K\u0026uuml;nstlerin Verbindungen zwischen dem K\u0026ouml;rper und der einheimischen Landschaft der Steppe in Kasachstan, um die \u0026Auml;hnlichkeit erkennbar zu machen und eine st\u0026auml;rkere Verbindung mit dem Heimatland aufzubauen.\u0026nbsp;\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp\u003eH \u0026Alpha;\u0026lambda;\u0026mu;\u0026alpha;\u0026gamma;\u0026kappa;\u0026omicron;ύ\u0026lambda; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;\u0026epsilon;ί \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta; \u0026nu;\u0026omicron;\u0026mu;\u0026alpha;\u0026delta;\u0026iota;\u0026kappa;ή \u0026epsilon;\u0026theta;\u0026nu;\u0026iota;\u0026kappa;ή \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;ά\u0026delta;\u0026omicron;\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026alpha;\u0026mu;\u0026alpha;\u0026nu;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026delta;ό\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Kappa;\u0026epsilon;\u0026nu;\u0026tau;\u0026rho;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026Alpha;\u0026sigma;ί\u0026alpha;\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;ή\u0026sigma;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026sigma;ύ\u0026mu;\u0026pi;\u0026alpha;\u0026nu; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026omega;\u0026pi;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026mu;\u0026upsilon;\u0026theta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf;. \u0026Sigma;\u0026tau;\u0026eta; \u0026mu;\u0026upsilon;\u0026theta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;ί\u0026alpha; \u0026tau;\u0026omega;\u0026nu; \u0026nu;\u0026omicron;\u0026mu;ά\u0026delta;\u0026omega;\u0026nu; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Kappa;\u0026alpha;\u0026zeta;\u0026alpha;\u0026kappa;\u0026sigma;\u0026tau;ά\u0026nu;, \u0026eta; \u0026Omicron;\u0026upsilon;\u0026mu;ά\u0026iota; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026eta; \u0026theta;\u0026epsilon;ά \u0026tau;\u0026eta;\u0026sigmaf; \u0026gamma;\u0026omicron;\u0026nu;\u0026iota;\u0026mu;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;\u0026theta;\u0026epsilon;\u0026nu;ί\u0026alpha;\u0026sigmaf;. \u0026Eta; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026delta;\u0026omicron;\u0026sigma;\u0026iota;\u0026alpha;\u0026kappa;ή \u0026epsilon;\u0026nu;\u0026delta;\u0026upsilon;\u0026mu;\u0026alpha;\u0026sigma;ί\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026theta;\u0026epsilon;\u0026alpha;\u0026tau;\u0026rho;\u0026iota;\u0026kappa;ό \u0026sigma;\u0026kappa;\u0026eta;\u0026nu;\u0026iota;\u0026kappa;ό \u0026tau;\u0026omicron;\u0026upsilon; \u003cem\u003eForever Umai\u003c/em\u003e [\u0026Omicron;\u0026upsilon;\u0026mu;ά\u0026iota; \u0026gamma;\u0026iota;\u0026alpha; \u0026pi;ά\u0026nu;\u0026tau;\u0026alpha;] \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026epsilon;ί \u0026tau;\u0026eta;\u0026nu; \u0026alpha;ί\u0026sigma;\u0026theta;\u0026eta;\u0026sigma;\u0026eta; ό\u0026tau;\u0026iota; \u0026eta; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;ή\u0026sigma;\u0026epsilon;\u0026iota; έ\u0026nu;\u0026alpha; \u0026sigma;ύ\u0026gamma;\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026omicron; \u0026pi;\u0026omicron;\u0026rho;\u0026tau;\u0026rho;\u0026alpha;ί\u0026tau;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026theta;\u0026epsilon;ά\u0026sigmaf;. \u0026Eta; \u0026theta;\u0026epsilon;ά \u0026pi;\u0026alpha;\u0026rho;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026iota;ά\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026nu;\u0026upsilon;\u0026pi;ό\u0026tau;\u0026alpha;\u0026kappa;\u0026tau;\u0026eta;, \u0026sigma;\u0026chi;\u0026epsilon;\u0026delta;ό\u0026nu; \u0026tau;\u0026rho;\u0026omicron;\u0026mu;\u0026alpha;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ή \u0026mu;έ\u0026sigma;\u0026alpha; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026pi;έ\u0026rho;\u0026alpha;\u0026nu;\u0026tau;\u0026eta; \u0026sigma;\u0026tau;έ\u0026pi;\u0026alpha;, \u0026lambda;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026mu;έ\u0026nu;\u0026eta; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026sigma;\u0026chi;\u0026epsilon;\u0026delta;ό\u0026nu; \u0026alpha;\u0026pi;\u0026epsilon;\u0026iota;\u0026lambda;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ό \u0026phi;\u0026omega;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; ή\u0026lambda;\u0026iota;\u0026omicron;\u0026upsilon;. \u0026Sigma;\u0026tau;\u0026alpha; \u0026pi;ό\u0026delta;\u0026iota;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026xi;\u0026alpha;\u0026pi;\u0026lambda;\u0026omega;\u0026mu;έ\u0026nu;\u0026omicron;\u0026sigmaf; έ\u0026nu;\u0026alpha;\u0026sigmaf; ά\u0026nu;\u0026tau;\u0026rho;\u0026alpha;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026rho;\u0026alpha;\u0026tau;ά\u0026epsilon;\u0026iota; έ\u0026nu;\u0026alpha; \u0026pi;\u0026rho;ό\u0026beta;\u0026alpha;\u0026tau;\u0026omicron;. Ά\u0026rho;\u0026alpha;\u0026gamma;\u0026epsilon; \u0026kappa;\u0026omicron;\u0026iota;\u0026mu;ά\u0026tau;\u0026alpha;\u0026iota; ή \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026nu;\u0026epsilon;\u0026kappa;\u0026rho;ό\u0026sigmaf;; \u0026Eta; \u0026Omicron;\u0026upsilon;\u0026mu;ά\u0026iota; \u0026epsilon;\u0026mu;\u0026phi;\u0026alpha;\u0026nu;ί\u0026sigma;\u0026tau;\u0026eta;\u0026kappa;\u0026epsilon; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026iota;\u0026omega;\u0026tau;\u0026iota;\u0026kappa;ό \u0026chi;\u0026tau;ύ\u0026pi;\u0026eta;\u0026mu;\u0026alpha;, ή \u0026mu;ή\u0026pi;\u0026omega;\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026tau;\u0026omicron;\u0026nu; \u0026xi;\u0026upsilon;\u0026pi;\u0026nu;ή\u0026sigma;\u0026epsilon;\u0026iota; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026nu; \u0026lambda;ή\u0026theta;\u0026alpha;\u0026rho;\u0026gamma;\u0026omicron;; \u0026Eta; \u0026alpha;\u0026mu;\u0026phi;\u0026iota;\u0026sigma;\u0026eta;\u0026mu;ί\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u003cem\u003e\u0026Omicron;\u0026upsilon;\u0026mu;ά\u0026iota; \u0026gamma;\u0026iota;\u0026alpha; \u0026pi;ά\u0026nu;\u0026tau;\u0026alpha;\u003c/em\u003e \u0026delta;\u0026iota;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026upsilon;\u0026nu;ά \u0026tau;\u0026omicron; \u0026phi;ύ\u0026lambda;\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta; \u0026theta;\u0026eta;\u0026lambda;\u0026upsilon;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;, \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;\u0026eta;\u0026chi;\u0026epsilon;ί \u0026tau;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026phi;ά\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026nu;\u0026tau;ί\u0026lambda;\u0026eta;\u0026psi;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026theta;\u0026nu;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omega;\u0026nu; \u0026Kappa;\u0026alpha;\u0026zeta;ά\u0026kappa;\u0026omega;\u0026nu;, \u0026theta;έ\u0026mu;\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026pi;\u0026alpha;\u0026nu;έ\u0026rho;\u0026chi;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026sigma;\u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha;.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/100/large/457Menlibayeva,%20Almagul%20Forever%20Umai,%202010%20photo%20M%20HKAclinckx.jpg?1297433195","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe three images in light boxes The Observer, Forever Umai, and Tengri Boy (2010) are key moments stills, from Kazakhstan-born artist Almagul Menlibayeva\u0026rsquo;s film Milk of Lambs (2010). In this work, Menlibayeva researches the rebuilding of national identity in Kazakhstan after the fall of the Soviet Union, often referencing religious or mythological scenes and concepts that take their beginning from the Shamanistic traditions of Kazakh nomads.\u0026nbsp;\u003cbr /\u003e\r\nA young woman covering her eyes with dead foxes impersonates a contemporary portrait of a Kazakh woman. In Forever Umai, one can see the goddess of fertility and virginity Umai with a man who lies at her feet hugging a sheep. It\u0026rsquo;s unclear if both of them \u0026mdash; the sheep and the man \u0026mdash; are dead or alive. In the third still, Tengri Boy, the artist places a modern impersonation of the god of creation Tengri, who repeats the gesture of holding a sheep \u0026mdash; a symbol for the\u0026nbsp;protection of his own culture. In the images, gods are young, as the nation after the rebirth.\u0026nbsp;\u003cbr /\u003e\r\nPeople stand strong in the endless land, it is the people who determine what is the centre of the world, the centre of society.\u0026nbsp;\u003cbr /\u003e\r\nMenlibayeva researches the question of national identity as a counter-colonial practice which was and remains relevant in Ukrainian history nowadays. In these works, the artist shows connections between the body and the native landscape of the Steppe, in Kazakhstan, to help people see the resemblance and build stronger connections with the native land.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eAlmagul Menlibayeva gebruikt verwijzingen naar haar nomadische achtergrond en de wijdverbreide Sjamanistische tradities van Centraal-Azie voor de constructie van een persoonlijke mythologische wereld. In de mythologie van de nomaden van Kazachstan figureert Umai als de godin van de vruchtbaarheid en maagdelijkheid. De traditionele kledij en dramatische enscenering van \u003cem\u003eForever Umai\u003c/em\u003e\u0026nbsp;doen vermoeden dat Menlibayeva hier een modern portret van de godin heeft gemaakt. In de uitgestrekte steppen, onheilspellend verlicht door de zon, ziet ze er weerbarstig of zelfs angstaanjagend uit. Aan haar voeten ligt een man die een schaap draagt. Slaapt hij, of is hij dood? Is Umai gekomen om hem te doen herleven, of om de mokerslag te geven? De vele dubbelzinnigheden van\u003cem\u003e Forever Umai\u003c/em\u003e\u0026nbsp;verwijzen naar vragen over gender en vrouwelijkheid en weerspiegelen de dubbelzinnigheden bij de totstandkoming van een Kazachse nationale identiteit - een terugkerend thema in het werk van Menlibayeva.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":120,"title":"Dior and Boss","dimensions":"53.5 x 80.2 x 2.3 cm","date_begin":"2010-01-01","material":"lambda print, alu di-bond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"S0441_06","stream_count_app":30,"permalink":"dior-and-boss","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/095/large/470Menlibayeva,%20Almagul,%20Dior%20and%20Boss,%202010%20photo%20the%20artist.jpg?1297432560","poster_credits":"(c)image: Almagul Menlibayeva","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":119,"title":"Dior Salome","dimensions":"53.5 x 80.2 x 2.3 cm","date_begin":"2010-01-01","material":"lambda print, alu di-bond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"S0441_05","stream_count_app":27,"permalink":"dior-salome","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/096/large/471Menlibayeva,%20Almagul,%20Dior%20Salome,%202010%20photo%20the%20artist.jpg?1297432689","poster_credits":"(c)image: Almagul Menlibayeva","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":121,"title":"Portrait of my Daughter I","dimensions":"80.2 x 53.5 x 2.3 cm","date_begin":"2010-01-01","material":"lambda print, alu di-bond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"S0441_08","stream_count_app":52,"permalink":"portrait-of-my-daughter-i","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003e\u0026Tau;\u0026omicron; 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\u0026nu;έ\u0026alpha;\u0026sigmaf; \u0026gamma;\u0026epsilon;\u0026nu;\u0026iota;ά\u0026sigmaf;.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/094/large/476Menlibayeva,%20Almagul,%20Portrait%20of%20my%20Douhter%201%20_2010%20photo%20the%20artist.jpg?1297432314","poster_credits":"(c)image: Almagul Menlibayeva","translations":[{"locale":"en","description":"\u003cp\u003ePart of Menlibayeva\u0026#39;s \u003cem\u003eSmall Brave Girls\u003c/em\u003e\u0026nbsp;series, which shows children living in the periphery of post-soviet Kazakhstan, in a remote village that has not escaped the changes of the soviet and postsoviet eras. The children are surrounded by corpses - corpses of the animals they live with, live from, and consume. They grow up alongside death, and learn to accept it as part of life. Their faces betray a wisdom unknown to city dwellers, who live in separation from nature and from the presence of death. Here, Menlibayeva offers insight in the developments of modern Kazakhstan, the every day life of its people, and the upbringing of its next generation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eOnderdeel van Menlibayeva\u0026#39;s serie \u003cem\u003eSmall Brave Girls\u003c/em\u003e, waarin ze kinderen laat zien die wonen in de periferie van Kazachstan, in een afgelegen dorp dat niet gevrijwaard is gebleven van de veranderingen die het sovjet- en postsovjettijdperk teweeg hebben gebracht. De kinderen worden omringd door lijken - lijken van de dieren waarmee ze leven, waarvan ze leven, en die ze consumeren. Ze groeien op naast de dood, en leren deze te accepteren als deel van het leven. Hun gezichten verraden een wijsheid die stadsbewoners niet kennen, omdat die gescheiden leven van de natuur en van de aanwezigheid van dood. Hier biedt Menlibayeva inzicht in de ontwikkelingen van het moderne Kazachstan, het dagelijkse leven van het volk, en de opvoeding van de volgende generatie.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":115,"title":"Tengri Boy","dimensions":"96.5 x 127 x 5.5 cm","date_begin":"2010-01-01","material":"cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003elightbox\u003c/p\u003e\r\n","date_end":"2010-01-01","reference":"S0441_02","stream_count_app":47,"permalink":"tengri-boy","description_ru":"","description_de":"\u003cp\u003eDie drei Bilder in den Leuchtk\u0026auml;sten The Observer, Forever Umai und Tengri Boy (2010), sind Standbilder von Schl\u0026uuml;sselmomenten aus dem Film Milk of Lambs (2010), der in Kasachstan geborenen K\u0026uuml;nstlerin Almagul Menlibayeva. In diesem Werk erkundet Menlibayeva den Wiederaufbau der nationalen Identit\u0026auml;t in Kasachstan nach dem Zerfall der Sowjetunion und bezieht sich dabei h\u0026auml;ufig auf religi\u0026ouml;se oder mythologische Szenen und Konzepte, die ihren Ursprung in den schamanistischen Traditionen der kasachischen Nomaden haben.\u0026nbsp;\u003cbr /\u003e\r\nEine junge Frau, die ihre Augen mit toten F\u0026uuml;chsen bedeckt, stellt ein zeitgen\u0026ouml;ssisches Portr\u0026auml;t einer kasachischen Frau dar. Auf dem Bild Forever Umai sieht man die G\u0026ouml;ttin der Fruchtbarkeit und Jungfr\u0026auml;ulichkeit Umai mit einem Mann, der zu ihren F\u0026uuml;\u0026szlig;en liegt und ein Schaf umarmt. Es ist unklar, ob die beiden \u0026mdash; das Schaf und der Mann \u0026mdash; tot oder lebendig sind. Auf dem dritten Standbild, Tengri Boy, stellt die K\u0026uuml;nstlerin eine moderne Verk\u0026ouml;rperung des Sch\u0026ouml;pfergottes Tengri dar, der \u0026nbsp;die \u0026nbsp;Geste wiederholt, in der er ein Schaf h\u0026auml;lt \u0026mdash; ein Symbol f\u0026uuml;r den Schutz seiner eigenen Kultur. Auf den Bildern sind die G\u0026ouml;tter jung, wie das Volk nach der Wiedergeburt.\u0026nbsp;\u003cbr /\u003e\r\nDie Menschen bleiben standhaft im endlosen Land; es ist das Volk, das bestimmt, was das Zentrum der Welt, das Zentrum der Gesellschaft ist.\u0026nbsp;\u003cbr /\u003e\r\nMenlibayeva erforscht die Frage der nationalen Identit\u0026auml;t als eine gegenkoloniale Praxis, die in der ukrainischen Geschichte bis heute aktuell bleibt. In diesen Arbeiten zeigt die K\u0026uuml;nstlerin Verbindungen zwischen dem K\u0026ouml;rper und der einheimischen Landschaft der Steppe in Kasachstan, um die \u0026Auml;hnlichkeit erkennbar zu machen und eine st\u0026auml;rkere Verbindung mit dem Heimatland aufzubauen.\u0026nbsp;\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp\u003eH \u0026Alpha;\u0026lambda;\u0026mu;\u0026alpha;\u0026gamma;\u0026kappa;\u0026omicron;ύ\u0026lambda; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;\u0026epsilon;ί \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta; \u0026nu;\u0026omicron;\u0026mu;\u0026alpha;\u0026delta;\u0026iota;\u0026kappa;ή \u0026epsilon;\u0026theta;\u0026nu;\u0026iota;\u0026kappa;ή \u0026tau;\u0026eta;\u0026sigmaf; 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In this work, Menlibayeva researches the rebuilding of national identity in Kazakhstan after the fall of the Soviet Union, often referencing religious or mythological scenes and concepts that take their beginning from the Shamanistic traditions of Kazakh nomads.\u0026nbsp;\u003cbr /\u003e\r\nA young woman covering her eyes with dead foxes impersonates a contemporary portrait of a Kazakh woman. In Forever Umai, one can see the goddess of fertility and virginity Umai with a man who lies at her feet hugging a sheep. It\u0026rsquo;s unclear if both of them \u0026mdash; the sheep and the man \u0026mdash; are dead or alive. In the third still, Tengri Boy, the artist places a modern impersonation of the god of creation Tengri, who repeats the gesture of holding a sheep \u0026mdash; a symbol for the\u0026nbsp;protection of his own culture. In the images, gods are young, as the nation after the rebirth.\u0026nbsp;\u003cbr /\u003e\r\nPeople stand strong in the endless land, it is the people who determine what is the centre of the world, the centre of society.\u0026nbsp;\u003cbr /\u003e\r\nMenlibayeva researches the question of national identity as a counter-colonial practice which was and remains relevant in Ukrainian history nowadays. In these works, the artist shows connections between the body and the native landscape of the Steppe, in Kazakhstan, to help people see the resemblance and build stronger connections with the native land.\u0026nbsp;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eAlmagul Menlibayeva gebruikt verwijzingen naar haar nomadische achtergrond en de wijdverbreide Sjamanistische tradities van Centraal-Azie voor de constructie van een persoonlijke mythologische wereld. In de mythologie van de nomaden van Kazachstan is Tengri de naam van de oppergod, god van de schepping en van de lucht. \u003cem\u003eTengri Boy\u003c/em\u003e\u0026nbsp;portretteert hem als een jongeman, die zorgzaam een schaap vasthoudt. Menlibayeva\u0026#39;s gebruik van nomadische, pre-sovjet verwijzingen geeft haar zoektocht naar een nationale identiteit voor Kazachstan weer. De wedergeboorte van Tengri als een jongen fungeert als een poging om de humanistische waarden van de Kazakse nomadencultuur te beschermen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":122,"title":"Portrait of my Daughter II","dimensions":"80.2 x 53.5 x 2.3 cm","date_begin":"2010-01-01","material":"lambda print, alu di-bond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"S0441_09","stream_count_app":39,"permalink":"portrait-of-my-daughter-2","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003e\u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026alpha;\u0026nu;ή\u0026kappa;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026epsilon;\u0026iota;\u0026rho;ά \u0026tau;\u0026eta;\u0026sigmaf; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha; \u003cem\u003eSmall Brave Girls\u003c/em\u003e\u0026nbsp;[\u0026Mu;\u0026iota;\u0026kappa;\u0026rho;ά \u0026gamma;\u0026epsilon;\u0026nu;\u0026nu;\u0026alpha;ί\u0026alpha; \u0026kappa;\u0026omicron;\u0026rho;ί\u0026tau;\u0026sigma;\u0026iota;\u0026alpha;], \u0026mu;\u0026epsilon; \u0026theta;έ\u0026mu;\u0026alpha; \u0026pi;\u0026alpha;\u0026iota;\u0026delta;\u0026iota;ά \u0026pi;\u0026omicron;\u0026upsilon; \u0026zeta;\u0026omicron;\u0026upsilon;\u0026nu; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;-\u0026sigma;\u0026omicron;\u0026beta;\u0026iota;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026Kappa;\u0026alpha;\u0026zeta;\u0026alpha;\u0026kappa;\u0026sigma;\u0026tau;ά\u0026nu;, \u0026sigma;\u0026epsilon; 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\u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026nu;ά\u0026pi;\u0026tau;\u0026upsilon;\u0026xi;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026sigma;ύ\u0026gamma;\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026omicron;\u0026upsilon; \u0026Kappa;\u0026alpha;\u0026zeta;\u0026alpha;\u0026kappa;\u0026sigma;\u0026tau;ά\u0026nu;, \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026alpha;\u0026theta;\u0026eta;\u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026nu;ή \u0026zeta;\u0026omega;ή \u0026tau;\u0026omega;\u0026nu; \u0026kappa;\u0026alpha;\u0026tau;\u0026omicron;ί\u0026kappa;\u0026omega;\u0026nu; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026nu;\u0026alpha;\u0026tau;\u0026rho;\u0026omicron;\u0026phi;ή \u0026tau;\u0026eta;\u0026sigmaf; \u0026nu;έ\u0026alpha;\u0026sigmaf; \u0026gamma;\u0026epsilon;\u0026nu;\u0026iota;ά\u0026sigmaf;.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/093/large/477Menlibayeva,%20Almagul,%20Portrait%20of%20my%20Douhter%202_2010%20photo%20the%20artist%20.jpg?1297432113","poster_credits":"(c)image: Almagul Menlibayeva","translations":[{"locale":"en","description":"\u003cp\u003ePart of Menlibayeva\u0026#39;s\u0026nbsp;\u003cem\u003eSmall Brave Girls\u003c/em\u003e\u0026nbsp;series, which shows children living in the periphery of post-soviet Kazakhstan, in a remote village that has not escaped the changes of the soviet and postsoviet eras. The children are surrounded by corpses - corpses of the animals they live with, live from, and consume. They grow up alongside death, and learn to accept it as part of life. Their faces betray a wisdom unknown to city dwellers, who live in separation from nature and from the presence of death. Here, Menlibayeva offers insight in the developments of modern Kazakhstan, the every day life of its people, and the upbringing of its next generation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eOnderdeel van Menlibayeva\u0026#39;s serie \u003cem\u003eSmall Brave Girls\u003c/em\u003e, waarin ze kinderen laat zien die wonen in de periferie van Kazachstan, in een afgelegen dorp dat niet gevrijwaard is gebleven van de veranderingen die het sovjet- en postsovjettijdperk teweeg hebben gebracht. De kinderen worden omringd door lijken - lijken van de dieren waarmee ze leven, waarvan ze leven, en die ze consumeren. Ze groeien op naast de dood, en leren deze te accepteren als deel van het leven. Hun gezichten verraden een wijsheid die stadsbewoners niet kennen, omdat die gescheiden leven van de natuur en van de aanwezigheid van dood. Hier biedt Menlibayeva inzicht in de ontwikkelingen van het moderne Kazachstan, het dagelijkse leven van het volk, en de opvoeding van de volgende generatie.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":117,"title":"The Observer","dimensions":"96.5 x 127 x 5.5 cm","date_begin":"2010-01-01","material":"cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003elightbox\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThe Observer\u003c/em\u003e\u0026nbsp;is one of four light boxes featuring stills from Menlibayeva\u0026#39;s movie \u003cem\u003eMilk for Lambs\u003c/em\u003e\u0026nbsp;(2010). This movie portrays life of women on the steppes of Kazakhstan, using a patchwork of references to nomadic mythology and shamanism, as well as to the soviet heritage.\u003c/p\u003e\r\n","date_end":"2010-01-01","reference":"S0441_04","stream_count_app":65,"permalink":"the-observer","description_ru":"","description_de":"\u003cp\u003eDie drei Bilder in den Leuchtk\u0026auml;sten The Observer, Forever Umai und Tengri Boy (2010), sind Standbilder von Schl\u0026uuml;sselmomenten aus dem Film Milk of Lambs (2010), der in Kasachstan geborenen K\u0026uuml;nstlerin Almagul Menlibayeva. In diesem Werk erkundet Menlibayeva den Wiederaufbau der nationalen Identit\u0026auml;t in Kasachstan nach dem Zerfall der Sowjetunion und bezieht sich dabei h\u0026auml;ufig auf religi\u0026ouml;se oder mythologische Szenen und Konzepte, die ihren Ursprung in den schamanistischen Traditionen der kasachischen Nomaden haben.\u0026nbsp;\u003cbr /\u003e\r\nEine junge Frau, die ihre Augen mit toten F\u0026uuml;chsen bedeckt, stellt ein zeitgen\u0026ouml;ssisches Portr\u0026auml;t einer kasachischen Frau dar. Auf dem Bild Forever Umai sieht man die G\u0026ouml;ttin der Fruchtbarkeit und Jungfr\u0026auml;ulichkeit Umai mit einem Mann, der zu ihren F\u0026uuml;\u0026szlig;en liegt und ein Schaf umarmt. Es ist unklar, ob die beiden \u0026mdash; das Schaf und der Mann \u0026mdash; tot oder lebendig sind. Auf dem dritten Standbild, Tengri Boy, stellt die K\u0026uuml;nstlerin eine moderne Verk\u0026ouml;rperung des Sch\u0026ouml;pfergottes Tengri dar, der \u0026nbsp;die \u0026nbsp;Geste wiederholt, in der er ein Schaf h\u0026auml;lt \u0026mdash; ein Symbol f\u0026uuml;r den Schutz seiner eigenen Kultur. Auf den Bildern sind die G\u0026ouml;tter jung, wie das Volk nach der Wiedergeburt.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDie Menschen bleiben standhaft im endlosen Land; es ist das Volk, das bestimmt, was das Zentrum der Welt, das Zentrum der Gesellschaft ist.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMenlibayeva erforscht die Frage der nationalen Identit\u0026auml;t als eine gegenkoloniale Praxis, die in der ukrainischen Geschichte bis heute aktuell bleibt. In diesen Arbeiten zeigt die K\u0026uuml;nstlerin Verbindungen zwischen dem K\u0026ouml;rper und der einheimischen Landschaft der Steppe in Kasachstan, um die \u0026Auml;hnlichkeit erkennbar zu machen und eine st\u0026auml;rkere Verbindung mit dem Heimatland aufzubauen.\u0026nbsp;\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp\u003e\u0026Tau;\u0026omicron; \u003cem\u003eThe Observer \u003c/em\u003e[\u0026Omicron; \u0026Pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026tau;\u0026eta;\u0026rho;\u0026eta;\u0026tau;ή\u0026sigmaf;] \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;έ\u0026sigma;\u0026sigma;\u0026epsilon;\u0026rho;\u0026alpha; light box \u0026mu;\u0026epsilon; \u0026sigma;\u0026tau;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026beta;ί\u0026nu;\u0026tau;\u0026epsilon;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha; \u003cem\u003eMilk for Lambs\u003c/em\u003e\u0026nbsp;[\u0026Gamma;ά\u0026lambda;\u0026alpha; \u0026gamma;\u0026iota;\u0026alpha; \u0026alpha;\u0026rho;\u0026nu;\u0026iota;ά] (2010). \u0026Eta; \u0026tau;\u0026alpha;\u0026iota;\u0026nu;ί\u0026alpha; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026omicron;\u0026lambda;\u0026omicron;\u0026upsilon;\u0026theta;\u0026epsilon;ί \u0026tau;\u0026eta; \u0026zeta;\u0026omega;ή \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;ώ\u0026nu; \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026tau;έ\u0026pi;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Kappa;\u0026alpha;\u0026zeta;\u0026alpha;\u0026kappa;\u0026sigma;\u0026tau;ά\u0026nu;, \u0026mu;έ\u0026sigma;\u0026alpha; \u0026alpha;\u0026pi;ό έ\u0026nu;\u0026alpha; \u0026pi;\u0026omicron;\u0026lambda;ύ\u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026omicron; \u0026upsilon;\u0026phi;ά\u0026delta;\u0026iota; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;ώ\u0026nu; \u0026sigma;\u0026tau;\u0026eta; \u0026nu;\u0026omicron;\u0026mu;\u0026alpha;\u0026delta;\u0026iota;\u0026kappa;ή \u0026mu;\u0026upsilon;\u0026theta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;ί\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026nu; \u0026sigma;\u0026alpha;\u0026mu;\u0026alpha;\u0026nu;\u0026iota;\u0026sigma;\u0026mu;ό, \u0026kappa;\u0026alpha;\u0026theta;ώ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta; \u0026sigma;\u0026omicron;\u0026beta;\u0026iota;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ή \u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή \u0026kappa;\u0026lambda;\u0026eta;\u0026rho;\u0026omicron;\u0026nu;\u0026omicron;\u0026mu;\u0026iota;ά.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/098/medium_500/Menlibayeva,Almagul%20_%20the%20Observer%202010photo%20M%20HKAclinckx.jpg?1302695346","cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/098/large/Menlibayeva,Almagul%20_%20the%20Observer%202010photo%20M%20HKAclinckx.jpg?1302695346","poster_credits":" © Almagul Menlibayeva. Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe three images in light boxes \u003cem\u003eThe Observer, Forever Umai, \u003c/em\u003eand \u003cem\u003eTengri Boy, \u003c/em\u003e2010 are key moments stills, from Kazakhstan-born artist Almagul Menlibayeva\u0026rsquo;s film \u003cem\u003eMilk of Lambs\u003c/em\u003e, 2010. In this work, Menlibayeva researches the rebuilding of national identity in Kazakhstan after the fall of the Soviet Union, often referencing religious or mythological scenes and concepts that take their beginning from the Shamanistic traditions of Kazakh nomads.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cmeta charset=\"utf-8\" /\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eA young woman covering her eyes with dead foxes impersonates a contemporary portrait of a Kazakh woman. In the \u003cem\u003eForever Umai,\u003c/em\u003e one can see the goddess of fertility and virginity Umai with a man who lies at her feet hugging a sheep. It\u0026rsquo;s unclear if both of them \u0026mdash; the sheep and the man \u0026mdash; are dead or alive. In the third still, \u003cem\u003eTengri Boy\u003c/em\u003e, the artist places a modern impersonation of the god of creation Tengri, who repeats a gesture of holding a sheep \u0026mdash; a symbol of the protection of his own culture. In the images, gods are young, as the nation after the rebirth.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePeople stand strong in the endless land, it is the people who determine what is the centre of the world, the centre of society.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eMenlibayeva researches the question of the national identity as a counter-colonial practice which was and remains actual in Ukrainian history nowadays. In these works, the artist shows connections between the body and the native landscape of the Steppe, in Kazakhstan, to see the resemblance and build stronger connections with the native land.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eThe Observer\u003c/em\u003e\u0026nbsp;is \u0026eacute;\u0026eacute;n van de vier lichtdozen met stills van de film \u003cem\u003eMilk for Lambs\u003c/em\u003e\u0026nbsp;(2010). Deze film geeft een beeld van het leven van vrouwen op de steppen van Kazachstan, met een stroom aan verwijzingen naar nomadische mythologie, sjamanisme en het sovjet-erfgoed.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":118,"title":"My Friends","dimensions":"53.5 x 80.2 x 2.3 cm","date_begin":"2010-01-01","material":"lambda print, alu di-bond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"S0441_07","stream_count_app":28,"permalink":"my-friends","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/097/large/475Menlibayeva,%20Almagul,%20My%20friends,%202010%20photo%20the%20artist.jpg?1297432804","poster_credits":"(c)image: Almagul Menlibayeva","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":123,"title":"Headcharge Installation","dimensions":"00:12:00 min","date_begin":"2007-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e3 channel video\u003c/p\u003e\r\n","date_end":"2007-01-01","reference":"S0441_10","stream_count_app":34,"permalink":"headcharge-installation","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/182/large/501Menlibayeva,Almagul%20%20Headcharge%20photo%20M%20HKAclinckx.jpg?1298279536","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThrough her work, Almagul Menlibayeva reflects on Kazakh national identity and on the changes her home country went through in the soviet and postsoviet eras. In the installation \u003cem\u003eHeadcharge\u003c/em\u003e, she symbolically portrays this investigation, using traditional mythological imagery. Four fancily dressed women go out for dinner in the commercial, contemporary Kazakhstan, like modern-day fairies of nomadic myths. In an attempt to understand the political and economic changes the country went through, they order a sheep\u0026#39;s head, a Kazakh delicacy; according to shamanic beliefs, consuming the eyes leads to better sight and understanding. Then, exposed, vulnerable and powerless on the wide steppes, they discover that their traditional role has changed - or has it? In \u003cem\u003eHeadcharge\u003c/em\u003e, Menlibayeva borrows from traditional Kazakh culture to create a new myth.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn haar werk reflecteert Almagul Menlibayeva op de nationale identiteit van Kazakhstan en op de veranderingen die haar land doormaakte tijdens het sovjettijdperk en na de val van de Sovjet-Unie. In de installatie\u003cem\u003e Headcharge\u003c/em\u003e\u0026nbsp;verbeeldt ze dit onderzoek symbolisch, met traditionele beelden uit de mythologie. Vier chic geklede vrouwen gaan uit eten in het commerci\u0026euml;le Kazachstan van nu, als hedendaagse versies van nomadische fee\u0026euml;n. In een poging de politieke en economische veranderingen van Kazachstan te begrijpen, bestellen ze een schapenhoofd, een Kazakse delicatesse; sjamanisten geloven dat het eten van de ogen van het schaap leidt tot inzicht en begrip. Vervolgens ontdekken ze, bloot en kwetsbaar op de uitgestrekte steppen, dat hun traditionele rol veranderd is - of toch niet? Voor \u003cem\u003eHeadcharge\u003c/em\u003e\u0026nbsp;leent Menlibayeva van traditionele Kazakse cultuur om een nieuwe mythe te construeren.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":114,"title":"Steppen Police","dimensions":"127 x 183 x 8.5 cm","date_begin":"2010-01-01","material":"cibachrome","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003elightbox\u003c/p\u003e\r\n","date_end":"2010-01-01","reference":"S0441_01","stream_count_app":72,"permalink":"steppen-police","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSteppen Police\u003c/em\u003e (dt. Steppen Polizei) ist ein Filmfoto aus ihrem Film \u003cem\u003eMilk for Lambs\u003c/em\u003e (dt. \u003cem\u003eMilch f\u0026uuml;r L\u0026auml;mmer\u003c/em\u003e). Dieser Film vermittelt ein Bild von dem Leben von Frauen auf den Steppen von Kasachstan, mit einer Flut von Verweisen auf nomadische Mythologie, Schamanismus, und das Sowjeterbe. Es ist eine romantische, melancholische, und zugleich surrealistische Reflexion auf die br\u0026uuml;ske kulturelle Entwicklung ihrer Heimat.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;Dies sind die Art Bilder, die man oft sehen kann in Kasachstan. Polizisten, die einfach etwas besch\u0026uuml;tzen, weil es auch Privateigent\u0026uuml;mer gibt in der Steppe, wo man bleiben kann, ohne etwas in der N\u0026auml;he. Es sieht vielleicht sehr surrealistisch aus. Aber wenn Sie ihn fragen, dann hat er nat\u0026uuml;rlich eine Geschichte und es wird alles sehr logisch.\u0026rdquo; \u0026ndash; Almagul Menlibayeva\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eGR\u003c/strong\u003e -\u0026nbsp;\u0026laquo;\u003ci\u003e\u0026Tau;έ\u0026tau;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026beta;\u0026lambda;έ\u0026pi;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026lambda;ύ \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026sigma;\u0026tau;\u0026omicron; \u0026Kappa;\u0026alpha;\u0026zeta;\u0026alpha;\u0026kappa;\u0026sigma;\u0026tau;ά\u0026nu;. \u0026Mu;\u0026epsilon;\u0026mu;\u0026omicron;\u0026nu;\u0026omega;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026alpha;\u0026sigma;\u0026tau;\u0026upsilon;\u0026nu;\u0026omicron;\u0026mu;\u0026iota;\u0026kappa;\u0026omicron;ύ\u0026sigmaf; \u0026nu;\u0026alpha; \u0026phi;\u0026rho;\u0026omicron;\u0026upsilon;\u0026rho;\u0026omicron;ύ\u0026nu; \u0026kappa;ά\u0026tau;\u0026iota;, \u0026gamma;\u0026iota;\u0026alpha;\u0026tau;ί \u0026upsilon;\u0026pi;ά\u0026rho;\u0026chi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026omicron;\u0026rho;\u0026iota;\u0026sigma;\u0026mu;έ\u0026nu;\u0026alpha; \u0026iota;\u0026delta;\u0026iota;\u0026omega;\u0026tau;\u0026iota;\u0026kappa;ά \u0026mu;έ\u0026rho;\u0026eta; \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026tau;έ\u0026pi;\u0026alpha; ό\u0026pi;\u0026omicron;\u0026upsilon; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;ί\u0026sigmaf; \u0026nu;\u0026alpha; \u0026mu;\u0026epsilon;ί\u0026nu;\u0026epsilon;\u0026iota;\u0026sigmaf;, \u0026kappa;\u0026alpha;\u0026iota; \u0026delta;\u0026epsilon;\u0026nu; \u0026upsilon;\u0026pi;ά\u0026rho;\u0026chi;\u0026epsilon;\u0026iota; \u0026tau;ί\u0026pi;\u0026omicron;\u0026tau;\u0026alpha; \u0026tau;\u0026rho;\u0026iota;\u0026gamma;ύ\u0026rho;\u0026omega;. \u0026Phi;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026pi;\u0026omicron;\u0026lambda;ύ \u0026sigma;\u0026omicron;\u0026upsilon;\u0026rho;\u0026epsilon;\u0026alpha;\u0026lambda;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ό \u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf;. \u003c/i\u003e\u003ci\u003e\u0026Alpha;\u0026lambda;\u0026lambda;ά ό\u0026tau;\u0026alpha;\u0026nu; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026rho;\u0026omega;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;, \u0026beta;έ\u0026beta;\u0026alpha;\u0026iota;\u0026alpha;, έ\u0026chi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026mu;\u0026iota;\u0026alpha; \u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026rho;ί\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026xi;\u0026eta;\u0026gamma;\u0026epsilon;ί \u0026tau;\u0026alpha; \u0026pi;ά\u0026nu;\u0026tau;\u0026alpha;.\u003c/i\u003e\u0026raquo; \u0026ndash; \u0026Alpha;\u0026lambda;\u0026mu;\u0026alpha;\u0026gamma;\u0026kappa;\u0026omicron;ύ\u0026lambda; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Tau;\u0026omicron; \u003ci\u003eSteppen Police\u003c/i\u003e [\u0026Alpha;\u0026sigma;\u0026tau;\u0026upsilon;\u0026nu;\u0026omicron;\u0026mu;\u0026iota;\u0026kappa;\u0026omicron;ί \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026tau;έ\u0026pi;\u0026alpha;\u0026sigmaf;]\u003ci\u003e \u003c/i\u003e\u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha; \u0026sigma;\u0026tau;\u0026iota;\u0026gamma;\u0026mu;\u0026iota;ό\u0026tau;\u0026upsilon;\u0026pi;\u0026omicron; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta;\u0026nu; \u0026tau;\u0026alpha;\u0026iota;\u0026nu;ί\u0026alpha; \u0026beta;ί\u0026nu;\u0026tau;\u0026epsilon;\u0026omicron; \u003ci\u003eMilk for Lamb \u003c/i\u003e[\u0026Gamma;ά\u0026lambda;\u0026alpha; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron; \u0026alpha;\u0026rho;\u0026nu;ί] \u0026tau;\u0026eta;\u0026sigmaf; \u0026Alpha;\u0026lambda;\u0026mu;\u0026alpha;\u0026gamma;\u0026kappa;\u0026omicron;ύ\u0026lambda; \u0026Mu;\u0026epsilon;\u0026nu;\u0026lambda;\u0026iota;\u0026mu;\u0026pi;ά\u0026gamma;\u0026epsilon;\u0026beta;\u0026alpha;. \u0026Eta; \u0026tau;\u0026alpha;\u0026iota;\u0026nu;ί\u0026alpha; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026omicron;\u0026lambda;\u0026omicron;\u0026upsilon;\u0026theta;\u0026epsilon;ί \u0026tau;\u0026eta; \u0026zeta;\u0026omega;ή \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;ώ\u0026nu; \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026tau;έ\u0026pi;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Kappa;\u0026alpha;\u0026zeta;\u0026alpha;\u0026kappa;\u0026sigma;\u0026tau;ά\u0026nu;, \u0026mu;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026sigma;\u0026epsilon;\u0026iota;\u0026rho;ά \u0026alpha;\u0026pi;ό \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta; \u0026nu;\u0026omicron;\u0026mu;\u0026alpha;\u0026delta;\u0026iota;\u0026kappa;ή \u0026mu;\u0026upsilon;\u0026theta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;ί\u0026alpha;, \u0026tau;\u0026omicron;\u0026nu; \u0026sigma;\u0026alpha;\u0026mu;\u0026alpha;\u0026nu;\u0026iota;\u0026sigma;\u0026mu;ό \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta; \u0026sigma;\u0026omicron;\u0026beta;\u0026iota;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ή \u0026kappa;\u0026lambda;\u0026eta;\u0026rho;\u0026omicron;\u0026nu;\u0026omicron;\u0026mu;\u0026iota;ά. \u0026Epsilon;ί\u0026nu;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha; \u0026rho;\u0026omicron;\u0026mu;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;ό, \u0026mu;\u0026epsilon;\u0026lambda;\u0026alpha;\u0026gamma;\u0026chi;\u0026omicron;\u0026lambda;\u0026iota;\u0026kappa;ό \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026gamma;\u0026chi;\u0026rho;ό\u0026nu;\u0026omega;\u0026sigmaf; \u0026sigma;\u0026omicron;\u0026upsilon;\u0026rho;\u0026epsilon;\u0026alpha;\u0026lambda;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ό \u0026sigma;\u0026chi;ό\u0026lambda;\u0026iota;\u0026omicron; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026tau;\u0026eta; \u0026rho;\u0026alpha;\u0026gamma;\u0026delta;\u0026alpha;ί\u0026alpha; \u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026nu;ά\u0026pi;\u0026tau;\u0026upsilon;\u0026xi;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026tau;\u0026rho;ί\u0026delta;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf;.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/102/medium_500/Menlibayeva__Almagul__Steppen_Police__2010__photo_the_artist.JPG?1615475671","cached_actor_names":"Almagul Menlibayeva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/102/large/Menlibayeva__Almagul__Steppen_Police__2010__photo_the_artist.JPG?1615475671","poster_credits":"image: (c) Almagul Menlibayeva","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSteppen Police \u003c/em\u003eis a still from her film\u003cem\u003e Milk for Lambs. \u003c/em\u003eThis film depicts the lives of women in the steppes of Kazakhstan, with a stream of references to nomadic mythology, shamanism and the Soviet heritage. It\u0026#39;s a romantic, melancholic and at the same time surreal reflection on the brusque cultural development of her homeland.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;These are the kind of images you can very often see in Kazakhstan. Just policemen who are protecting something, because there are some private places in the steppe where you can stay, with nothing around. It might look very surreal. But when you ask him, of course, he has a story and everything becomes very logical.\u0026quot; - \u003c/em\u003eAlmagul Menlibayeva\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSteppen Police \u003c/em\u003eis een still uit haar film\u003cem\u003e Milk for Lambs. \u003c/em\u003eDie film geeft een beeld van het leven van vrouwen op de steppen van Kazachstan, met een stroom aan verwijzingen naar nomadische mythologie, sjamanisme en het sovjet-erfgoed. Het is een romantische, melancholische en tegelijk surrealistische reflectie op de bruuske culturele ontwikkeling van haar thuisland.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dit zijn het soort afbeeldingen die je vaak kan zien in Kazachstan. Gewoon politiemannen die iets beschermen, omdat er ook priv\u0026eacute;-eigendommen in de steppe zijn waar je kan blijven, met niets in de buurt. Het ziet er misschien erg surrealistisch uit. Maar als je het aan hem vraagt, dan heeft hij natuurlijk een verhaal en wordt alles heel logisch.\u0026quot; \u003c/em\u003e- Almagul Menlibayeva\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSteppen Police\u003c/em\u003e est un photogramme de \u003cem\u003eMilk for Lambs\u003c/em\u003e, le film d\u0026rsquo;Almagul Menlibayeva dans lequel elle brosse un tableau de la vie des femmes dans les steppes du Kazakhstan, avec de multiples r\u0026eacute;f\u0026eacute;rences \u0026agrave; la mythologie nomade, au chamanisme et \u0026agrave; l\u0026rsquo;h\u0026eacute;ritage sovi\u0026eacute;tique. Il s\u0026rsquo;agit d\u0026rsquo;une r\u0026eacute;flexion romantique, m\u0026eacute;lancolique et \u0026agrave; la fois surr\u0026eacute;aliste sur le d\u0026eacute;veloppement culturel brusque de son pays d\u0026rsquo;origine.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026laquo;\u0026nbsp;Ce sont des images qu\u0026rsquo;on voit souvent au Kazakhstan. Des policiers ordinaires qui surveillent quelque chose, parce que dans la steppe, il existe aussi des propri\u0026eacute;t\u0026eacute;s priv\u0026eacute;es totalement isol\u0026eacute;es o\u0026ugrave; l\u0026rsquo;on peut s\u0026eacute;journer. Cela peut peut-\u0026ecirc;tre para\u0026icirc;tre tr\u0026egrave;s surr\u0026eacute;aliste, mais si on lui pose des questions, il y a bien s\u0026ucirc;r une histoire \u0026agrave; raconter et tout devient soudain tr\u0026egrave;s logique.\u0026nbsp;\u0026raquo; \u0026ndash; Almagul Menlibayeva\u003c/p\u003e\r\n"}]}]