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Chris Straetling","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5502,"title":"Untitled","dimensions":"framed: 38.5 x 47.5 cm, drawing: 27 x 36 cm","date_begin":"1994-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community 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","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7526","stream_count_app":16,"permalink":"untitled--78","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/985/large/Kerckhoven__Anne-Mie___Van__Untitled__1974.jpg?1342531286","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5487,"title":"Principieel afscheid","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1993-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community 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Kerckhoven / AMVK","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/000/010/981/large/Kerckhoven__Anne-Mie__Principieel_afscheid__1993.jpg?1342530992","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5482,"title":"Astronaut","dimensions":"Geheel: 51,8 x 45,1 cm, Tekening: 25,2 x 20,1 cm","date_begin":"2002-01-01","material":"east-indian ink, paper, pencil","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7549","stream_count_app":30,"permalink":"untitled--77","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/975/medium_500/Kerckhoven__Anne-Mie__Untitled__2002.jpg?1342529380","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/975/large/Kerckhoven__Anne-Mie__Untitled__2002.jpg?1342529380","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet werk van Anne-Mie van Kerckhoven (of AMVK)\u0026nbsp;ontstaat uit grafische notities, tekeningen waarin ze haar gedachtestromen vastlegt. Voor haar is het tekenen een vorm van verstaan, het zorgt ervoor dat men waarnemingen kan vereenvoudigen en beheersbaar kan maken. De tekeningen zijn sierlijk en dynamisch. Ze getuigen van kwetsbaarheid, lijden en angstige visioenen.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe kunstenares spreekt in de eerste plaats met beelden, sterk gecondenseerde beelden, die hun betekenis niet onmiddellijk prijsgeven. Vaak combineert ze haar tekeningen met tekst, in bijschriften of in titels. De taal-beeldassociaties dwingen de kijker zich te bezinnen over de bestaande conventies. Het onderuithalen en bevragen van conventies is een leidmotief in het werk van AMVK.\u0026nbsp; Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en artifici\u0026euml;le intelligentie.\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK brengt de meest uiteenlopende elementen tot nieuwe betekenisgehelen. Ze gebruikt beelden uit haar persoonlijke levenssfeer, beelden uit haar geheugen en beelden uit de ons omringende beeldcultuur. Deze combineert ze met verwijzingen naar archetypische elementen uit de getallen- of kleurensymboliek en de godenwereld maar evengoed ontleent ze aspecten uit het meest recente wetenschappelijke onderzoek, onder andere naar artifici\u0026euml;le intelligentie. Uit deze zeer verscheiden elementen cre\u0026euml;ert AMVK haar hoogst persoonlijke taal, waarin ze de opgedane kennis over wetenschap combineert met kritische bevindingen over rolpatronen en andere machtsmechanismen in de samenleving.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe kunstenares legt zich in haar werk vooral toe op een verkenning van het vrouwelijke. Beelden van en teksten over vrouwen zijn de meest dominante in haar werk.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet vrouwelijke lichaam is een constante. Zelf formuleert ze het als volgt: \u003cem\u003e\u0026lsquo;Ik gebruik de vrouwelijke figuur specifiek als metafoor voor wat de wereld de mensen aandoet, voor onze cultuur, voor ons zijn.\u0026rsquo; \u003c/em\u003eMet haar krachtige, zelfbewuste vrouwenbeelden biedt AMVK een alternatieve visie op de traditionele benadering van het vrouwelijk, verleidelijk naakt. Alle negatieve connotaties, verbonden met het vrouwelijk naakt, worden omgebogen naar hun positieve tegenpool.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026nbsp;\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5489,"title":"Te veel van het goede","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 17 x 10.2 cm","date_begin":"1974-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7527","stream_count_app":25,"permalink":"te-veel-van-het-goede","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":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/989/large/Kerckhoven__Anne-Mie__Te_veel_van_het_goede__1974.jpg?1342531708","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5498,"title":"Wie niet gelooft heeft natuurlijk ook eeuwig leven","dimensions":"framed: 38.5 x 47.5 cm, drawing: 27 x 36 cm","date_begin":"1994-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7541","stream_count_app":25,"permalink":"wie-niet-gelooft-heeft-natuurlijk-ook-eeuwig-leven","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/999/medium_500/Kerckhoven__Anne-Mie__Wie_niet_geloofd_heeft_natuurlijk_ook_eeuwig_leven___1994.jpg?1342593753","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/999/large/Kerckhoven__Anne-Mie__Wie_niet_geloofd_heeft_natuurlijk_ook_eeuwig_leven___1994.jpg?1342593753","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5485,"title":"Aangenomen dat de waarheid een vrouw is - (Nietzsche)","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1991-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7538","stream_count_app":27,"permalink":"aangenomen-dat-de-waaheid-een-vrouw-is-nietzsche","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/979/medium_500/Kerckhoven__Anne-Mie__Aangenomen_dat_de_waarheid_een_vrouw_is_%28Nietsche%29__1991.jpg?1342530339","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/979/large/Kerckhoven__Anne-Mie__Aangenomen_dat_de_waarheid_een_vrouw_is_%28Nietsche%29__1991.jpg?1342530339","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e“The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e“De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema’s zijn de verhouding tussen mens en dier, tussen intelligentie en intuïtie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e«\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps à devenir ce qu’il est. Autour de lui, des possibilités, la chair de la pensée. La couleur indique l’utilité, ce à quoi les idées et la science peuvent servir. Dessiner est une forme de compréhension, cela permet de simplifier ses perceptions et de mieux les maîtriser. Des thèmes récurrents sont les rapports entre les hommes et les animaux, entre l’intelligence et l’intuition, entre la créativité humaine et la technologie, entre l’image de soi et l’environnement créé par l’être humain. Cette collection de dessins se compose d’une combinaison d’images de la sphère de vie personnelle, de la mémoire et de l’imagination ainsi que de fragments de la culture environnante de l’image et de la parole.\u0026nbsp;»\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"}]},{"id":5493,"title":"Metamorfose van haar fatum","dimensions":"framed: 38.5 x 47.5 cm, drawing: 27 x 36 cm","date_begin":"1976-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7531","stream_count_app":28,"permalink":"metamorfose-van-haar-fatum","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/994/medium_500/Kerckhoven__Anne-Mie__Metamorfose_van_haar_fatum__1976.jpg?1342533089","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/994/large/Kerckhoven__Anne-Mie__Metamorfose_van_haar_fatum__1976.jpg?1342533089","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e“The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e“De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema’s zijn de verhouding tussen mens en dier, tussen intelligentie en intuïtie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e«\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps à devenir ce qu’il est. Autour de lui, des possibilités, la chair de la pensée. La couleur indique l’utilité, ce à quoi les idées et la science peuvent servir. Dessiner est une forme de compréhension, cela permet de simplifier ses perceptions et de mieux les maîtriser. Des thèmes récurrents sont les rapports entre les hommes et les animaux, entre l’intelligence et l’intuition, entre la créativité humaine et la technologie, entre l’image de soi et l’environnement créé par l’être humain. Cette collection de dessins se compose d’une combinaison d’images de la sphère de vie personnelle, de la mémoire et de l’imagination ainsi que de fragments de la culture environnante de l’image et de la parole.\u0026nbsp;»\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"}]},{"id":5479,"title":"Untitled","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1995-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7546","stream_count_app":16,"permalink":"untitled--75","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/968/large/Kerckhoven__Anne-Mie__Untitled___1995.jpg?1342528325","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5492,"title":"Erosie als semantiek","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1976-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7530","stream_count_app":20,"permalink":"erosie-als-semantiek","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/993/medium_500/Kerckhoven___Anne-Mie__Erosie_als_semantiek1976.jpg?1342532726","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/993/large/Kerckhoven___Anne-Mie__Erosie_als_semantiek1976.jpg?1342532726","poster_credits":"Collectie M HKA, image:  (c) AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5476,"title":"Attributen en substantie","dimensions":"150 x 99.5 x 6.5 cm","date_begin":"1993-01-01","material":"acrylic paint, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collectie M HKA, Antwerp / Collectie Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006894","stream_count_app":56,"permalink":"attributen-en-substantie","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":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/953/large/Kerckhove__Anne_Mie_Van__Atributen_en_substantie_.jpg?1342527141","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eAttributes and Substance\u003c/i\u003e\u0026nbsp;was first exhibited as part of the installation \u003ci\u003e“Attributes and Substance”\u003c/i\u003e in Amsterdam in 1995. However, the work – as presented here – stands alone, and independently carries this title. The engraving in fluorescing plexi plate is the enlargement of a drawing made by Anne-Mie Van Kerckhoven during an afternoon break while teaching drawing at the Academy for Fine Arts in Ghent. It is a rendering of the ramshackle scaffold upon which the nude model had to take up position during the life drawing class. The yellow plexiglas shard shows an interior containing a plus and a minus. It represents the ambiguous impact that a space has on what happens inside it. Interiors are a recurrent motif in the works of AMVK. The interior – in the sense of the insides of a building – can be a prison for women, one that’s only seen as a ‘decorative element’. Equally, the interior refers to a person’s insides and the inherent potentiality for self-development and fulfillment. The blue pieces of plexi separately show the upper- and lower portions of a masked female figure. With the upper piece is the text “shape and control”, with the lower “barriers and openings”. Both pieces were first smashed to bits, then glued and pasted.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eIn her work, AMVK underscores the erotic charge of the female body. Aside from the female figure on the blue plexi, the scaffold also refers to a naked female figure: the model. AMVK wants to directly confront viewers with that which the established culture represses or dismisses as taboo. Against these negative associations of ‘femininity’, AMVK places powerful women, conscious of their sexuality and their sensuality. The complex work of AMVK has no single, unequivocal meaning. It is an expression of streams of thought; different experiences, ideas and memories of the artist are laid upon each other like transparencies. With the combination of strong images and words lifted from their everyday context, she invites the viewer to share in creating new meanings.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003e\"Engraving/collage in and with Plexiglass mounted on a painted wooden box: the enlargement of the drawing is the improvised scaffold on which the life model in my drawing class at KASK Ghent had to pose. On top of that I glued 2 bourgeois interiors and the distorted image of female figures in 2 pieces: the upper part says \u0026nbsp;\"shape and \u003c/i\u003econtrol\", the lower part: \"barriers and openings\".\"\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e− AMVK\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eAttributen en Substantie\u003c/i\u003e\u0026nbsp;werd voor het eerst getoond als deel van de installatie \u003ci\u003e“Attributen en Substantie”\u003c/i\u003e in Amsterdam in 1995. Het werk –zoals het hier te zien is- staat echter op zich en draagt zelfstandig deze titel. De gravure in fluorescerende plexiplaat is de vergroting van een tekening die Anne-Mie Van Kerckhoven tijdens een middagpauze maakte als tekenleraar in de Academie voor Schone Kunsten in Gent. Het is een weergave van het krakkemikkig schavot waarop het naaktmodel tijdens de lessen moest plaatsnemen. Op de gele scherf plexiglas staat een interieur met een plus en een min erin. Het verbeeldt de ambiguë impact die een ruimte heeft op wat erin gebeurt. Interieurs zijn een terugkerend element in de werken van AMVK. Het interieur – in de betekenis van de binnenkant van een gebouw - kan een gevangenis zijn voor vrouwen, die enkel als ‘decoratief element’ worden gezien. Tegelijk verwijst het interieur ook naar de binnenkant van een mens en de inherente mogelijkheden tot zelfontplooiing en ontwikkeling. De blauwe stukken plexi tonen apart de boven- en onderkant van een gemaskerde vrouwelijke figuur. Bij het bovenstuk staat de tekst “shape and control” (vorm en controle), bij het onderstuk “barriers and openings” (begrenzingen en openingen). Beide stukken werden eerst kapotgeslagen, daarna gelijmd en opgeplakt.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eIn haar werk benadrukt AMVK de erotische geladenheid van het vrouwelijke lichaam. Naast de vrouwelijke figuur op de blauwe plexi verwijst ook het schavot naar een naakte vrouwelijke figuur: het model. AMVK wil haar kijkers rechtstreeks confronteren met datgene wat in de gevestigde cultuur wordt onderdrukt of afgedaan als taboe. Tegenover deze negatieve associaties met ‘vrouwelijkheid’, plaatst AMVK krachtige vrouwen, die zich bewust zijn van hun seksualiteit en hun sensualiteit. Het complexe werk van AMVK heeft geen éénduidige betekenis. Het is een uitdrukking van gedachtestromen; verschillende ervaringen, ideeën en herinneringen van de kunstenares worden als transparanten op elkaar gelegd. Met de combinatie van sterke beelden en woorden die uit hun dagdagelijkse context worden gelicht, nodigt ze de toeschouwer uit om mee nieuwe betekenissen te creëren.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003e\"Gravure/collage in en met Plexiglas gemonteerd op een geverfde houten doos: de vergroting van de tekening is de geïmproviseerde stelling waarop het model moest poseren tijdens mijn tekenles in het KASK in Gent. Daarbovenop lijmde 2 bourgeois interieurs en een gehavende (bewerkte?) afbeelding van vrouwelijke figuren in 2 delen: het bovenste deel zegt “shape and control” (vorm en controle) het onderste deel: “barriers and openings” (barrières en openingen).\"\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e− AMVK\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":5497,"title":"Nergens","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1989-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":null,"reference":"BK7535","stream_count_app":22,"permalink":"nergens","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/998/medium_500/Kerckhoven__Anne-Mie__Nergens__1989.jpg?1342593469","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/998/large/Kerckhoven__Anne-Mie__Nergens__1989.jpg?1342593469","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5484,"title":"1 - 10 ","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1990-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7537","stream_count_app":22,"permalink":"1-10--2","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":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/978/large/Kerckhoven__Anne-Mie__1_-10__1990.jpg?1342530076","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e“The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e“De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema’s zijn de verhouding tussen mens en dier, tussen intelligentie en intuïtie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e«\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps à devenir ce qu’il est. Autour de lui, des possibilités, la chair de la pensée. La couleur indique l’utilité, ce à quoi les idées et la science peuvent servir. Dessiner est une forme de compréhension, cela permet de simplifier ses perceptions et de mieux les maîtriser. Des thèmes récurrents sont les rapports entre les hommes et les animaux, entre l’intelligence et l’intuition, entre la créativité humaine et la technologie, entre l’image de soi et l’environnement créé par l’être humain. Cette collection de dessins se compose d’une combinaison d’images de la sphère de vie personnelle, de la mémoire et de l’imagination ainsi que de fragments de la culture environnante de l’image et de la parole.\u0026nbsp;»\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"}]},{"id":5490,"title":"FFFF","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1976-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7528","stream_count_app":26,"permalink":"ffff","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/991/medium_500/Kerckhoven__Anne-Mie__FFFF__1976.jpg?1342531999","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/991/large/Kerckhoven__Anne-Mie__FFFF__1976.jpg?1342531999","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e“The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e“De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema’s zijn de verhouding tussen mens en dier, tussen intelligentie en intuïtie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e«\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps à devenir ce qu’il est. Autour de lui, des possibilités, la chair de la pensée. La couleur indique l’utilité, ce à quoi les idées et la science peuvent servir. Dessiner est une forme de compréhension, cela permet de simplifier ses perceptions et de mieux les maîtriser. Des thèmes récurrents sont les rapports entre les hommes et les animaux, entre l’intelligence et l’intuition, entre la créativité humaine et la technologie, entre l’image de soi et l’environnement créé par l’être humain. Cette collection de dessins se compose d’une combinaison d’images de la sphère de vie personnelle, de la mémoire et de l’imagination ainsi que de fragments de la culture environnante de l’image et de la parole.\u0026nbsp;»\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"}]},{"id":5486,"title":"Printing + publishing - Personal contact (1-5)","dimensions":"Geheel: 38.5 x 47.5 cm, Tekening: 27 x 36 cm","date_begin":"1992-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7539","stream_count_app":21,"permalink":"printing-publishing-personal-contast-1-5","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/980/medium_500/Kerckhoven__Anne-Mie__Printing___Publishing-personal_contact__%281-5%29__1992.jpg?1342530704","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/980/large/Kerckhoven__Anne-Mie__Printing___Publishing-personal_contact__%281-5%29__1992.jpg?1342530704","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026nbsp;\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":7067,"title":"Untitled (Drawings)","dimensions":"","date_begin":"1974-01-01","material":"mixed media on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":24,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1994-01-01","reference":"","stream_count_app":69,"permalink":"untitled-drawings","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/530/large/AMVK1974_01.jpg?1366289530","poster_credits":"(c)image: Zeno X Gallery, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eThe work of Anne-Mie van Kerckhoven (AMVK)\u0026nbsp;originates from graphic notes, drawings where she lays down her streams of thought. For her, drawing is a form of intelligence, it helps simplify perceptions and make them more governable. The drawings are elegant and dynamic. They testify to vulnerability, suffering and fearful visions. The artist speaks primarily with images, strong condensed images, which do not reveal their meaning at first sight. She often combines her drawings with text, in captions or in titles. The language-image associations oblige the viewer to reflect upon current conventions. The tripping up and questioning of conventions is a leitmotif in the work of AMVK.\u003c/p\u003e\r\n\r\n\u003cp\u003eRecurring themes are the relationship between humans and animals, between intelligence and intuition, between human creativity and artificial intelligence. AMVK brings the most wide-ranging of disparate elements to meaningful wholes. She uses images drawn from her personal life, from her imagination and the visual culture surrounding us all. These she combines with references to archetypical elements from number- and color symbolism and the world of the gods, while also borrowing from aspects of cutting-edge scientific research like artificial intelligence. From out of this great diversity of elements, AMVK creates her own highly personal language, where she combines acquired scientific knowledge with critical findings concerning role patterns and other societal power mechanisms.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe artist primarily focuses on an exploration of women\u0026rsquo;s issues. Images and texts related to this subject area are the most dominant in her work. The female body is a constant. She puts it as follows: \u0026lsquo;\u003cem\u003eI use the female figure specifically as metaphor for what the world does to people, to our culture, to our being.\u0026rsquo;\u003c/em\u003e\u0026nbsp;With her powerful, assertive images of women, AMVK presents an alternative vision to the traditional approach featuring the seductive female nude. All negative connotations, bound to the female nude, are redirected towards their positive polar opposite.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet werk van Anne-Mie van Kerckhoven (of AMVK)\u0026nbsp;ontstaat uit grafische notities, tekeningen waarin ze haar gedachtestromen vastlegt. Voor haar is het tekenen een vorm van verstaan, het zorgt ervoor dat men waarnemingen kan vereenvoudigen en beheersbaar kan maken. De tekeningen zijn sierlijk en dynamisch. Ze getuigen van kwetsbaarheid, lijden en angstige visioenen. De kunstenares spreekt in de eerste plaats met beelden, sterk gecondenseerde beelden, die hun betekenis niet onmiddellijk prijsgeven. Vaak combineert ze haar tekeningen met tekst, in bijschriften of in titels. De taal-beeldassociaties dwingen de kijker zich te bezinnen over de bestaande conventies. Het onderuithalen en bevragen van conventies is een leidmotief in het werk van AMVK.\u003c/p\u003e\r\n\r\n\u003cp\u003eTerugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en artifici\u0026euml;le intelligentie. AMVK brengt de meest uiteenlopende elementen tot nieuwe betekenisgehelen. Ze gebruikt beelden uit haar persoonlijke levenssfeer, beelden uit haar geheugen en beelden uit de ons omringende beeldcultuur. Deze combineert ze met verwijzingen naar archetypische elementen uit de getallen- of kleurensymboliek en de godenwereld maar evengoed ontleent ze aspecten uit het meest recente wetenschappelijke onderzoek, onder andere naar artifici\u0026euml;le intelligentie. Uit deze zeer verscheiden elementen cre\u0026euml;ert AMVK haar hoogst persoonlijke taal, waarin ze de opgedane kennis over wetenschap combineert met kritische bevindingen over rolpatronen en andere machtsmechanismen in de samenleving.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe kunstenares legt zich in haar werk vooral toe op een verkenning van het vrouwelijke. Beelden van en teksten over vrouwen zijn de meest dominante in haar werk. Het vrouwelijke lichaam is een constante. Zelf formuleert ze het als volgt: \u003cem\u003e\u0026lsquo;Ik gebruik de vrouwelijke figuur specifiek als metafoor voor wat de wereld de mensen aandoet, voor onze cultuur, voor ons zijn.\u0026rsquo;\u003c/em\u003e\u0026nbsp;Met haar krachtige, zelfbewuste vrouwenbeelden biedt AMVK een alternatieve visie op de traditionele benadering van het vrouwelijk, verleidelijk naakt. Alle negatieve connotaties, verbonden met het vrouwelijk naakt, worden omgebogen naar hun positieve tegenpool.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;Anne-Mie van Kerckhoven (ou AMVK) trouve son origine dans les notes graphiques et les dessins dans lesquels elle reprend ses pens\u0026eacute;es. Pour elle, dessiner est une forme de compr\u0026eacute;hension, le fait de dessiner fait en sorte que l\u0026rsquo;on puisse simplifier et ma\u0026icirc;triser des perceptions. Les dessins sont \u0026eacute;l\u0026eacute;gants et dynamiques. Ils t\u0026eacute;moignent de vuln\u0026eacute;rabilit\u0026eacute;, de souffrance et de visions angoiss\u0026eacute;es. En premier lieu, l\u0026rsquo;artiste parle par le biais d\u0026rsquo;images, fortement condens\u0026eacute;es, qui ne r\u0026eacute;v\u0026egrave;lent pas tout de suite leur signification. Souvent, elle combine ses dessins avec du texte, dans des annotations ou dans des titres.\u0026nbsp; Les associations de langue et d\u0026rsquo;images obligent le spectateur \u0026agrave; s\u0026rsquo;interroger sur les conventions existantes.\u0026nbsp; Vider les conventions de leur substance et les questionner est un leitmotiv dans l\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;AMVK.\u003c/p\u003e\r\n\r\n\u003cp\u003eDes th\u0026egrave;mes r\u0026eacute;currents sont le rapport entre l\u0026rsquo;\u0026ecirc;tre humain et l\u0026rsquo;animal, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et l\u0026rsquo;intelligence artificielle. AMVK transforme les \u0026eacute;l\u0026eacute;ments les plus divergents en de nouveaux ensembles de signification. Elle utilise des images de sa vie priv\u0026eacute;e, des images de sa m\u0026eacute;moire et des images de notre culture visuelle environnante. Elle les combine avec des renvois \u0026agrave; des \u0026eacute;l\u0026eacute;ments arch\u0026eacute;typiques issus de la symbolique de chiffres ou de couleurs et du monde des dieux, mais en m\u0026ecirc;me temps, elle emprunte des aspects provenant de la recherche scientifique la plus r\u0026eacute;cente, entre autres sur l\u0026rsquo;intelligence artificielle. Sur base de ces \u0026eacute;l\u0026eacute;ments tr\u0026egrave;s divers, AMVK cr\u0026eacute;e son langage ultrapersonnel, dans lequel elle combine les connaissances acquises sur la science avec des conclusions critiques sur les r\u0026ocirc;les et les autres m\u0026eacute;canismes de pouvoir dans la soci\u0026eacute;t\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eDans son \u0026oelig;uvre, l\u0026rsquo;artiste s\u0026rsquo;att\u0026egrave;le surtout \u0026agrave; l\u0026rsquo;exploration du f\u0026eacute;minin. Les images et les textes relatifs aux femmes sont les plus dominants de son \u0026oelig;uvre. Le corps f\u0026eacute;minin est une constante. Elle le formule elle-m\u0026ecirc;me comme suit\u0026nbsp;: \u003ci\u003e\u0026lsquo;J\u0026rsquo;utilise la figure f\u0026eacute;minine sp\u0026eacute;cifiquement comme m\u0026eacute;taphore pour d\u0026eacute;signer ce que le monde fait aux gens, pour d\u0026eacute;signer notre culture et notre mani\u0026egrave;re d\u0026rsquo;\u0026ecirc;tre.\u0026rsquo;\u003c/i\u003e Gr\u0026acirc;ce \u0026agrave; ses images de femmes fortes et assur\u0026eacute;es, AMVK offre une vision alternative sur l\u0026rsquo;approche traditionnelle du nu f\u0026eacute;minin et s\u0026eacute;duisant. Toutes les connotations n\u0026eacute;gatives, li\u0026eacute;es au nu f\u0026eacute;minin, sont orient\u0026eacute;es vers leur c\u0026ocirc;t\u0026eacute; positif.\u003c/p\u003e\r\n"}]},{"id":13062,"title":"Carrel 5 (Coromandel, Disturbed 2)","dimensions":"202 x 240 x 60 cm","date_begin":"2015-01-01","material":"wooden cabinet on wheels: meranti plywood, casein paint and mixed media","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 of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eThe exotic-sounding word\u0026nbsp;\u003cem\u003eCoromandel\u0026nbsp;\u003c/em\u003eappears in the titles for two recent works. It refers to the coast of southeast India and also, by association, to the carved and lacquered Ming Dynasty screens that were much exported to Europe beginning in the seventeenth century, through Madras or Pondicherry. (They were later collected by people like Coco Chanel.) A carrel is another kind of room divider, a sheltered desk on wheels typi-cally found in research libraries. AMVK keeps carrels in her studio to collect and consult specialist literature. Recently, she started extending them with images or mirrors.Het exotisch klinkende woord \u0026lsquo;coromandel\u0026rsquo; verschijnt in de titels van twee nieuwe werken. Het verwijst naar de kust van Zuidoost-India en ook, op associatieve wijze, naar de gesculpteerde en gelakte schermen uit de Ming-dynastie die naar Europa werden ge\u0026euml;xporteerd via Madras of Pondicherry (en later verzameld door mensen zoals Coco Chanel). Een carrel is een ander soort scheidingswand, een beschut bureel op wielen gebruikt in wetenschappelijke bibliotheken. AMVK verzamelt carrels in haar atelier om er vakliteratuur op te verzamelen en te raadplegen. Meer recent is ze ze gaan uitbreiden met beelden of spiegels.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":17,"permalink":"coromandel-disturbed-2","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/048/large/Enigma_DSC1417.jpg?1432822728","poster_credits":"(c)Anne-Mie Van Kerckhoven","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A carrel is a kind of separated cupboard that also serves as a database \u0026ndash; it\u0026rsquo;s a moving study table. In the Middle Ages, carrels were found in monastic libraries, where monks used them to isolate themselves from the environment\u0026#39;s noise.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe first carrel I made for a crematorium, the next three were for an exhibition at Zeno X Gallery. They were shown together with large PVC collages, based on quotations from the mystic Marguerite Porete and on Karol Szymanowski\u0026rsquo;s composing manner. Each of the carrels stands for a step in the development of data processing machines: they are computers, in other words.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTheir titles are: Enigma, Colossus, Connection Machine and Coromandel Disturbed 1 and 2. The first was an encoding machine, the second a decoding machine, and the third was launched as a revolutionary idea to put the processing system (the processor) precisely where the information is stored: in the memory. This way, the memory becomes the processor in the computer. I drew a parallel to the stages of a human life.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een carrel is een soort opzichzelfstaande kast die ook dienst doet als een databank, het is een rijdende studeertafel. In de middeleeuwen vond men carrels in de kloosterbibliotheken, monniken gebruikten ze om zich van het lawaai van de omgeving te kunnen afzonderen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe eerste carrel maakte ik voor een crematorium, de volgende 3 waren voor een tentoonstelling bij Zeno X Gallery. Ze werden getoond samen met grote pvc-collages, gebaseerd op citaten van de mystica Marguerite Porete en de componeerwijze van Karol Szymanowski. Elk van de carrels staat voor een stap in de ontwikkeling van dataverwerkingsmachines. Computers, met andere woorden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHun namen zijn Enigma, Colossus, Connection Machine, Coromandel, Disturbed 1 en 2. De eerste was een coderingsmachine, de tweede decoderingsmachine, en met de derde werd als revolutionair idee gelanceerd om het verwerkingssysteem (de processor) te stoppen waar de informatie wordt opgeslagen, in het geheugen. Zo wordt het geheugen in de computer de processor. Ik trok een parallel naar de stadia in een mensenleven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un Carrel (ou box ou cubicule) est une sorte d\u0026rsquo;armoire autonome, de box qui fait aussi office de banque de donn\u0026eacute;es\u0026nbsp;; il s\u0026rsquo;agit de tables d\u0026rsquo;\u0026eacute;tude sur roulette. Au Moyen-\u0026acirc;ge, on les trouvait dans les biblioth\u0026egrave;ques de monast\u0026egrave;res afin de pouvoir s\u0026rsquo;isoler du bruit environnant.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLe premier carrel que j\u0026rsquo;ai cr\u0026eacute;\u0026eacute; \u0026eacute;tait destin\u0026eacute; \u0026agrave; un cr\u0026eacute;matorium, les trois suivants ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;s pour une exposition \u0026agrave; la galerie Zeno X. Ils ont \u0026eacute;t\u0026eacute; expos\u0026eacute;s avec de grands collages sur PVC, inspir\u0026eacute;s de citations de la mystique Marguerite Porete et du mode de composition de Karol Szymanowski. Chacun des carrels symbolise une \u0026eacute;tape de l\u0026rsquo;\u0026eacute;volution des machines de traitement de donn\u0026eacute;es, en d\u0026rsquo;autres mots, des ordinateurs.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLeurs noms sont Enigma, Colossus, The Connection Machine, Coromandel Disturbed\u0026nbsp;1 et 2. La premi\u0026egrave;re \u0026eacute;tait un cryptographe, la deuxi\u0026egrave;me un d\u0026eacute;codeur et avec la troisi\u0026egrave;me, on a lanc\u0026eacute; l\u0026rsquo;id\u0026eacute;e r\u0026eacute;volutionnaire d\u0026rsquo;introduire le syst\u0026egrave;me de traitement de l\u0026rsquo;information (le processeur) l\u0026agrave; o\u0026ugrave; celle-ci est sauvegard\u0026eacute;e, \u0026agrave; savoir dans la m\u0026eacute;moire. Ainsi, la m\u0026eacute;moire devient le processeur de l\u0026rsquo;ordinateur. J\u0026rsquo;ai \u0026eacute;tabli un parall\u0026egrave;le avec les phases d\u0026rsquo;une vie humaine.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":13071,"title":"Why It's Better at Databank","dimensions":"44.5 x 40 x 0.4 cm","date_begin":"1979-01-01","material":"monoprint and acrylic on two layers of Plexiglas with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"why-it-s-better-at-databank","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/053/large/19790000P.JPG?1478255960","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A collage of a text that I wrote in New York in 1980, and on top of it a self-portrait. Different materials and techniques glued to a piece of Plexiglas waste. A work about the individual\u0026rsquo;s relationship to the database. Green is the colour of peace and comfort. It\u0026rsquo;s a tribute to the database. It\u0026rsquo;s so calming to be in the database.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een collage van een tekst die ik schreef in New York in 1980 en een zelfportret daaroverheen. Verschillende materialen en technieken geplakt op een stuk afval van plexiglas. Een werk over de verhouding van het individu tegenover de databank. Groen is de kleur van de rust en het comfort. Het is een eerbetoon aan de databank. Het geeft zo\u0026rsquo;n rust om in de databank te zitten.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Pourquoi c\u0026rsquo;est mieux \u0026agrave; la banque de donn\u0026eacute;es)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un collage d\u0026rsquo;un texte que j\u0026rsquo;ai \u0026eacute;crit \u0026agrave; New York en 1980 et un autoportrait ant\u0026eacute;rieur. Diff\u0026eacute;rents mat\u0026eacute;riaux et techniques coll\u0026eacute;s sur un d\u0026eacute;bris de plexiglas. Une \u0026oelig;uvre sur le rapport entre l\u0026rsquo;individu et la banque de donn\u0026eacute;es. Le vert est la couleur de la s\u0026eacute;r\u0026eacute;nit\u0026eacute; et du confort. C\u0026rsquo;est un hommage \u0026agrave; la banque de donn\u0026eacute;es. C\u0026rsquo;est tellement apaisant d\u0026rsquo;\u0026ecirc;tre incorpor\u0026eacute; dans une banque de donn\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":13059,"title":"Prada","dimensions":"2 x (70 x 138 cm)","date_begin":"2000-01-01","material":"digital print on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":37,"permalink":"prada","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/037/large/1998_Prada_x_4_20_6x29_kl_kopie.jpg?1478865206","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026mdash; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":13057,"title":"Atman/Wombman","dimensions":"370 x 244 x 0.3 cm","date_begin":"1988-01-01","material":"silkscreen paint and plastic foil on Trovicel with iron hinges","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection of Ella, Aedan en Darya","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"atman-wombman","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/028/989/medium_500/Anne-Mie_Van_Kerckhoven_1988.jpg?1432728097","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/028/989/large/Anne-Mie_Van_Kerckhoven_1988.jpg?1432728097","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This is a painted collage on PVC of which I connected the three parts with an iron hinge: here, the woman manifests herself as an elementary force. Two books were an inspiration for this work: Pure Lust: Elemental Feminist Philosophy by Mary Daly from 1984 and a recruitment booklet of The Order of the Great Companions, in which I discovered the Sanskrit word Ātman (self, soul).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dit is een beschilderde collage op pvc waarvan ik de drie delen met een ijzeren scharnier verbond: de vrouw manifesteert zich hier als elementaire kracht. Twee boeken inspireerden me voor dit werk: Pure Lust: Elemental Feminist Philosophy van Mary Daly uit 1984, en een wervingsboekje van de The Order of the Great Companions, waarin ik het Sanskriet woord Ātman (zelf, ziel) ontdekte.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Ātman/Homme ut\u0026eacute;rus)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ceci est un collage peint sur PVC dont j\u0026rsquo;ai reli\u0026eacute; les trois parties par une charni\u0026egrave;re en fer\u0026nbsp;: ici, la femme se manifeste comme une force \u0026eacute;l\u0026eacute;mentaire. Deux livres m\u0026rsquo;ont inspir\u0026eacute; cette \u0026oelig;uvre\u0026nbsp;: Pure Lust\u0026nbsp;: Elemental Feminist Philosophy (1984) de Mary Daly et un prospectus de The Order of the Great Companions dans lequel j\u0026rsquo;ai d\u0026eacute;couvert le mot sanscrit Ātman.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":13061,"title":"Carrel 4 (Coromandel, Disturbed 1)","dimensions":"202 x 240 x 62 cm","date_begin":"2013-01-01","material":"wooden cabinet on wheels: meranti plywood, digital print, casein paint","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":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003eFor\u0026nbsp;\u003cem\u003eCoromandel, disturbed 1\u0026nbsp;\u003c/em\u003e(2013\u0026ndash;15) AMVK fused two images in her data bank: \u0026lsquo;Coromandel\u0026rsquo; (based on a\u0026nbsp;\u003cem\u003eVogue\u0026nbsp;\u003c/em\u003ephotograph of a Parisian interior) and \u0026lsquo;New Red Panty Brunette\u0026rsquo; (based on the \u0026lsquo;scandal page\u0026rsquo; in an American \u0026lsquo;gentleman\u0026rsquo;s ma-gazine\u0026rsquo; from the 1950s). The piece is a follow-up to AMVK\u0026rsquo;s first carrel, built to hold her study materials on the mystic Marguerite Porete, who was burnt at the stake as a heretic in Paris in 1310. Porete\u0026rsquo;s subversive take on official ideology is reflected in the title of her famous book:\u0026nbsp;\u003cem\u003eThe Mirror of the Simple Souls Who Are Annihilated and Remain Only in Will and Desire of Love\u003c/em\u003e. AMVK has similar concerns about mortality, morality and authority. She thinks, in fact, that she might be a reincarnation of Porete. The first carrel was originally shown with a quotation from Porete\u0026rsquo;s book as its subtitle:\u0026nbsp;\u003cem\u003eThe Soul Is Stunned When She Thinks of the Gifts of the Goodness of God\u003c/em\u003e.Voor \u003cem\u003eCoromandel, disturbed 1 \u003c/em\u003e(2013\u0026ndash;15) versmolt AMVK twee beelden uit haar databank: \u0026lsquo;Coromandel\u0026rsquo; (op basis van een foto uit \u003cem\u003eVogue \u003c/em\u003evan een Parijs interieur) en \u0026lsquo;New Red Panty Brunette\u0026rsquo; (op basis van een \u0026lsquo;schandaalpagina\u0026rsquo; uit een Amerikaans herenmagazine uit de jaren 1950). Het stuk volgt op AMVK\u0026rsquo;s eerste carrel, gebouwd om haar studiemateriaal over de mystica Marguerite Porete, die als een ketter op de brandstapel werd verbrand in Parijs in 1310, bij te houden. De titel van het beroemde boek van Porete, \u003cem\u003eLe Miroir des \u0026acirc;mes simples an\u0026eacute;anties et qui seulement demeurent en vouloir et d\u0026eacute;sir d\u0026rsquo;amour\u003c/em\u003e, weerspiegelt haar subversieve kijk op de offici\u0026euml;le ideologie. AMVK heeft een soortgelijke interesse voor mortaliteit, moraal en gezag. Ze denkt dat ze een re\u0026iuml;ncarnatie van Porete zou kunnen zijn.\u003c/p\u003e\r\n","date_end":"2015-01-01","reference":"","stream_count_app":17,"permalink":"coromandel-disturbed-1","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/047/large/Enigma_DSC1417.jpg?1432822656","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A carrel is a kind of separated cupboard that also serves as a database \u0026ndash; it\u0026rsquo;s a moving study table. In the Middle Ages, carrels were found in monastic libraries, where monks used them to isolate themselves from the environment\u0026#39;s noise.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe first carrel I made for a crematorium, the next three were for an exhibition at Zeno X Gallery. They were shown together with large PVC collages, based on quotations from the mystic Marguerite Porete and on Karol Szymanowski\u0026rsquo;s composing manner. Each of the carrels stands for a step in the development of data processing machines: they are computers, in other words.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTheir titles are: Enigma, Colossus, Connection Machine and Coromandel Disturbed 1 and 2. The first was an encoding machine, the second a decoding machine, and the third was launched as a revolutionary idea to put the processing system (the processor) precisely where the information is stored: in the memory. This way, the memory becomes the processor in the computer. I drew a parallel to the stages of a human life.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een carrel is een soort opzichzelfstaande kast die ook dienst doet als een databank, het is een rijdende studeertafel. In de middeleeuwen vond men carrels in de kloosterbibliotheken, monniken gebruikten ze om zich van het lawaai van de omgeving te kunnen afzonderen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe eerste carrel maakte ik voor een crematorium, de volgende 3 waren voor een tentoonstelling bij Zeno X Gallery. Ze werden getoond samen met grote pvc-collages, gebaseerd op citaten van de mystica Marguerite Porete en de componeerwijze van Karol Szymanowski. Elk van de carrels staat voor een stap in de ontwikkeling van dataverwerkingsmachines. Computers, met andere woorden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHun namen zijn Enigma, Colossus, Connection Machine, Coromandel, Disturbed 1 en 2. De eerste was een coderingsmachine, de tweede decoderingsmachine, en met de derde werd als revolutionair idee gelanceerd om het verwerkingssysteem (de processor) te stoppen waar de informatie wordt opgeslagen, in het geheugen. Zo wordt het geheugen in de computer de processor. Ik trok een parallel naar de stadia in een mensenleven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un Carrel (ou box ou cubicule) est une sorte d\u0026rsquo;armoire autonome, de box qui fait aussi office de banque de donn\u0026eacute;es\u0026nbsp;; il s\u0026rsquo;agit de tables d\u0026rsquo;\u0026eacute;tude sur roulette. Au Moyen-\u0026acirc;ge, on les trouvait dans les biblioth\u0026egrave;ques de monast\u0026egrave;res afin de pouvoir s\u0026rsquo;isoler du bruit environnant.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLe premier carrel que j\u0026rsquo;ai cr\u0026eacute;\u0026eacute; \u0026eacute;tait destin\u0026eacute; \u0026agrave; un cr\u0026eacute;matorium, les trois suivants ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;s pour une exposition \u0026agrave; la galerie Zeno X. Ils ont \u0026eacute;t\u0026eacute; expos\u0026eacute;s avec de grands collages sur PVC, inspir\u0026eacute;s de citations de la mystique Marguerite Porete et du mode de composition de Karol Szymanowski. Chacun des carrels symbolise une \u0026eacute;tape de l\u0026rsquo;\u0026eacute;volution des machines de traitement de donn\u0026eacute;es, en d\u0026rsquo;autres mots, des ordinateurs.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLeurs noms sont Enigma, Colossus, The Connection Machine, Coromandel Disturbed\u0026nbsp;1 et 2. La premi\u0026egrave;re \u0026eacute;tait un cryptographe, la deuxi\u0026egrave;me un d\u0026eacute;codeur et avec la troisi\u0026egrave;me, on a lanc\u0026eacute; l\u0026rsquo;id\u0026eacute;e r\u0026eacute;volutionnaire d\u0026rsquo;introduire le syst\u0026egrave;me de traitement de l\u0026rsquo;information (le processeur) l\u0026agrave; o\u0026ugrave; celle-ci est sauvegard\u0026eacute;e, \u0026agrave; savoir dans la m\u0026eacute;moire. Ainsi, la m\u0026eacute;moire devient le processeur de l\u0026rsquo;ordinateur. J\u0026rsquo;ai \u0026eacute;tabli un parall\u0026egrave;le avec les phases d\u0026rsquo;une vie humaine.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":13058,"title":"Welfare State: Unic Borgerhout","dimensions":"165.5 x 100 cm","date_begin":"1995-01-01","material":"acrylic and felt tip pen on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19950000Q","stream_count_app":23,"permalink":"unic","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/015/large/Anne-Mie_Van_Kerckhoven__Unic__1992_photo_M_HKAcc.jpg?1432751712","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAlthough they are made twenty years apart,\u0026nbsp;\u003cem\u003eUnic\u0026nbsp;\u003c/em\u003e(1995) and\u0026nbsp;\u003cem\u003eCarrefour\u0026nbsp;\u003c/em\u003e(2015) form a diptych of sorts. On 4 September 1995, AMVK bought some basic produce from her local supermarket, blew up the receipt and turned it into a painting. Now she repeats the same act, making visible the changed state of welfare: a new chain, a new currency, a new ratio of nature to mortality (the food) and to freedom (its price).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHoewel er twintig jaar tussen beide werken ligt, vormen \u003cem\u003eUnic \u003c/em\u003e(1995) en \u003cem\u003eCarrefour \u003c/em\u003e(2015) een soort tweeluik. In 1995 kocht AMVK een aantal basisingredi\u0026euml;nten in haar plaatselijke supermarkt, vergrootte het kassaticket en maakte er een schilderij van. Nu herhaalt ze die handeling, waarbij ze de gewijzigde toestand van welvaart zichtbaar maakt: een nieuwe keten, een nieuwe munt, een nieuwe verhouding tussen natuur en mortaliteit (het voedsel) en natuur en vrijheid (de prijs van het voedsel).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(L\u0026rsquo;\u0026Eacute;tat providence: Unic Borgerhout)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUn diptyque de peintures sur PVC\u0026nbsp;: tickets de caisse du supermarch\u0026eacute; pour l\u0026rsquo;achat de denr\u0026eacute;es alimentaires. L\u0026rsquo;un date de 1995, l\u0026rsquo;autre de 2015, du m\u0026ecirc;me lieu pour les m\u0026ecirc;mes denr\u0026eacute;es. Tous les prix ont augment\u0026eacute;, sauf celui de la viande.\u003c/p\u003e\r\n"}]},{"id":9443,"title":"Respecting the Eternal Balance: Contorted Myself Four Times, James, New York","dimensions":"151 x 101 x 15 cm","date_begin":"2013-01-01","material":"lightbox piece, acrylic and collage on plexiglass in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"lightworks","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"contorted-myself-four-times-james","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/418/large/Anne_Mie_Van_Kerkhoven_photo_M_HKAcc2.jpg?1390491840","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;This series is about urbanism, rhythm and inner nature. All these works started from the \u0026lsquo;soul\u0026rsquo; that I experience in a certain city or place where I have been or wanted to be in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;...The common theme under which these lightworks are made is Respecting the \u003cstrong\u003eEternal Balance\u003c/strong\u003e. The works deal with urbanity, rhythm and interiority and start from the soul felt by me in a certain place. These works shouldn\u0026rsquo;t give themselves away immediately, therefor the 3-dimensionality, visible layers and the possibility to look in. These works are going from the outside to the inside. On the one hand they deal with solidarity and universalism, with collectivity. On the other hand with urbanization and appropriation. Also with the pressure by the environment becomes this big on a living body that a language appears. It is the city and the place in general as a living organism, with a specific soul, that inspires. That soul can be linked with personal emotions but pulls as much its identity out of the variety of measurements, divisions, rhythms in buildings and streets, in urbanization, that define the character of a given city. It is the contemporary impact of the place on collective consciousness that I transform into transcendence.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze reeks gaat over urbanisme, ritme en innerlijkheid. Al deze werken begonnen vanuit de \u0026rdquo;ziel\u0026rdquo; die ik ervaar in een bepaalde stad of plaats waar ik de afgelopen 20 jaar geweest ben of wilde zijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De gezamenlijke noemer van deze lichtwerken is \u0026quot;Eeuwig Evenwicht Respecteren\u0026quot;. De werken hebben met stedelijkheid, ritme en het innerlijke te maken en vertrekken vanuit de ziel die ik voel in een bepaalde plaats of stad. Deze werken kan men niet in \u0026eacute;\u0026eacute;n oogopslag duiden en interpreteren, vandaar de 3-dimensionaliteit, zichtbare gelaagdheid en mogelijkheid tot inkijken. Het zijn werken die via de buitenkant naar de binnenkant gaan. Ze hebben enerzijds met samenhorigheid, universalisme en met collectiviteit te maken. Anderzijds met stedelijkheid en beheersing. Wanneer de druk, uitgeoefend door de aanwezige omgeving op een menselijk lichaam zo groot wordt kan een taal ontstaat. Het is de stad en de plaats als levend organisme, met een specifieke ziel die inspireert. Die ziel is te vereenzelvigen met persoonlijke emoties maar haalt evenzeer haar identiteit uit de verzameling indelingen, onderverdelingen en ritmes in de gebouwen, straten; in de urbanisatie, die het karakter bepalen van de bewuste stad. Het is de hedendaagse impact van de plaats op het gemeenschappelijk bewuste die ik verwerk tot transcendentie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Respectant l\u0026rsquo;\u0026eacute;quilibre \u0026eacute;ternel: Je me suis contorsionn\u0026eacute;(e) quatre fois, James \u0026ndash; New York)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Cette s\u0026eacute;rie traite d\u0026rsquo;urbanisme, de rythme et d\u0026rsquo;int\u0026eacute;riorit\u0026eacute;. Toutes ces \u0026oelig;uvres sont parties de \u0026laquo;\u0026nbsp;l\u0026rsquo;\u0026acirc;me\u0026nbsp;\u0026raquo; que j\u0026rsquo;ai ressentie dans certaines villes ou certains lieux o\u0026ugrave; je suis all\u0026eacute;e, ou aurais voulu aller, au cours des vingt derni\u0026egrave;res ann\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":9451,"title":"Flash Back/ Yéyé /Locus Solis","dimensions":"","date_begin":"2013-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":22,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"flash-back-yeye-locus-solis","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/415/large/Anne_Mie_Van_Kerkhoven_photo_M_HKAcc19.jpg?1390490633","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"Through this animation Anne-Mie van Kerckhoven is trying to recreate the atmosphere at the beginning of the Sixties as she felt as a teenager. An atmosphere that is self-described as a dark period that was suffering under the strain of eroticism and violence. She does this by sampling images which we can see from the clip [*Chez Les YeYe*](http://www.youtube.com/watch?v=2a2rrdti8XM) (1962) by Serge Gainsbourg, and the house interior that the modernist architect Marcel Breuer built for himself in the U.S. When the Frenchman Serge Gainsbourg is using American influences in the tradition of the \"chanson\" the Hungarian Marcel Breuer brings a European aesthetic to America.\r\n"},{"locale":"nl","description":"Via deze animatie probeert Anne-Mie van Kerckhoven de sfeer die zij als tiener ervoer in het begin van de Jaren zestig op te roepen. Een sfeer die ze zelf omschrijft als een sombere periode die gebukt ging onder de spanning van erotiek en geweld. Dit doet ze via het ‘samplen’ van afbeeldingen waarin we beelden kunnen zien uit de clip [*Chez Les YeYe*](http://www.youtube.com/watch?v=2a2rrdti8XM) ( 1962 ) van Serge Gainsbourg, en het huisinterieur dat de modernistische architect Marcel Breuer voor zichzelf bouwde in de VS. Wanneer de fransman Serge Gainsbourg de Amerikaanse invloeden verwerkt in de traditie van de ‘chanson’ brengt de Hongaar Marcel Breuer een Europese esthetiek naar Amerika.\r\n"},{"locale":"fr","description":""}]},{"id":13060,"title":"Ward, disturbed. Ward, quiet","dimensions":"124.5 x 3000 cm","date_begin":"2013-01-01","material":"digital print and mixed media on plexiglass, mounted on wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2015-01-01","reference":"","stream_count_app":7,"permalink":"ward-disturbed-ward-quiet","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/039/large/2015_the_walfare_state_vexhibition_view_photo_M_HKAclinckx7.jpg?1432819817","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ca href=\"http://www.clubmoral.com/amvk/navigation.html\"\u003eHeadNurse\u003c/a\u003e, figure of thought as well as an alter ego, recurs throughout AMVK\u0026rsquo;s more recent work and references both hierarchical social institutions and the need to cure our inner demons and heal the world. She is an explicit presence in the textual elements of the work\u0026nbsp;\u003cem\u003eWard, disturbed. Ward, quiet\u0026nbsp;\u003c/em\u003e(2013\u0026ndash;15), which also features some digitally modified samples from AMVK\u0026rsquo;s collection of pre-sexual revolution erotic photographs.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ca href=\"http://www.clubmoral.com/amvk/navigation.html\"\u003eHeadNurse\u003c/a\u003e verschijnt, als denk-figuur en als \u003cem\u003ealter ego\u003c/em\u003e, herhaaldelijk doorheen het meer recente werk van AMVK en verwijst zowel naar hi\u0026euml;rarchische maatschappelijke instellingen en onze behoefte om ons van onze innerlijke demonen te genezen, en daarmee ook de wereld te helen. Ze is een uitdrukkelijke aanwezigheid in het tekstgedeelte van het werk \u003cem\u003eWard, disturbed. Ward, quiet \u003c/em\u003e(2013\u0026ndash;15), waarin ook een aantal digitaal bewerkte voorbeelden uit AMVK\u0026rsquo;s collectie van erotische foto\u0026rsquo;s van voor de seksuele revolutie opgenomen zijn.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9442,"title":"Respecting the Eternal Balance: Place= (Intelligence + Color):(Consciousness:Time), Shanghai","dimensions":"101 x 115 x 15 cm","date_begin":"2012-01-01","material":"lightbox piece, acrylic and collage on plexiglass in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"lightworks","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"place-intelligence-color-consciousness-time","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/417/large/Anne_Mie_Van_Kerkhoven_photo_M_HKAcc3.jpg?1390491724","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This series is about urbanism, rhythm and inner nature. All these works started from the \u0026lsquo;soul\u0026rsquo; that I experience in a certain city or place where I have been or wanted to be in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;...The common theme under which these lightworks are made is Respecting the \u003cstrong\u003eEternal Balance\u003c/strong\u003e. The works deal with urbanity, rhythm and interiority and start from the soul felt by me in a certain place. These works shouldn\u0026rsquo;t give themselves away immediately, therefor the 3-dimensionality, visible layers and the possibility to look in. These works are going from the outside to the inside. On the one hand they deal with solidarity and universalism, with collectivity. On the other hand with urbanization and appropriation. Also with the pressure by the environment becomes this big on a living body that a language appears. It is the city and the place in general as a living organism, with a specific soul, that inspires. That soul can be linked with personal emotions but pulls as much its identity out of the variety of measurements, divisions, rhythms in buildings and streets, in urbanization, that define the character of a given city. It is the contemporary impact of the place on collective consciousness that I transform into transcendence.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze reeks gaat over urbanisme, ritme en innerlijkheid. Al deze werken begonnen vanuit de \u0026rdquo;ziel\u0026rdquo; die ik ervaar in een bepaalde stad of plaats waar ik de afgelopen 20 jaar geweest ben of wilde zijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De gezamenlijke noemer van deze lichtwerken is \u0026quot;Eeuwig Evenwicht Respecteren\u0026quot;. De werken hebben met stedelijkheid, ritme en het innerlijke te maken en vertrekken vanuit de ziel die ik voel in een bepaalde plaats of stad. Deze werken kan men niet in \u0026eacute;\u0026eacute;n oogopslag duiden en interpreteren, vandaar de 3-dimensionaliteit, zichtbare gelaagdheid en mogelijkheid tot inkijken. Het zijn werken die via de buitenkant naar de binnenkant gaan. Ze hebben enerzijds met samenhorigheid, universalisme en met collectiviteit te maken. Anderzijds met stedelijkheid en beheersing. Wanneer de druk, uitgeoefend door de aanwezige omgeving op een menselijk lichaam zo groot wordt kan een taal ontstaat. Het is de stad en de plaats als levend organisme, met een specifieke ziel die inspireert. Die ziel is te vereenzelvigen met persoonlijke emoties maar haalt evenzeer haar identiteit uit de verzameling indelingen, onderverdelingen en ritmes in de gebouwen, straten; in de urbanisatie, die het karakter bepalen van de bewuste stad. Het is de hedendaagse impact van de plaats op het gemeenschappelijk bewuste die ik verwerk tot transcendentie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Respectant l\u0026rsquo;\u0026eacute;quilibre \u0026eacute;ternel:\u0026nbsp;Lieu = (Intelligence + couleur)\u0026nbsp;: (Conscience + temps) \u0026ndash; Shanghai)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Cette s\u0026eacute;rie traite d\u0026rsquo;urbanisme, de rythme et d\u0026rsquo;int\u0026eacute;riorit\u0026eacute;. Toutes ces \u0026oelig;uvres sont parties de \u0026laquo;\u0026nbsp;l\u0026rsquo;\u0026acirc;me\u0026nbsp;\u0026raquo; que j\u0026rsquo;ai ressentie dans certaines villes ou certains lieux o\u0026ugrave; je suis all\u0026eacute;e, ou aurais voulu aller, au cours des vingt derni\u0026egrave;res ann\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":9450,"title":"Hier Woont Mijn Huis","dimensions":"00:24:29","date_begin":"1986-01-01","material":"video (U-Matic), digitalized, sound","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"personal history memory color sound","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e24/09/1986\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Op.Cit. festival, Beursschouwburg, Brussel\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:87.0pt;\"\u003eMermaid Birmingham, UK\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:87.0pt;\"\u003eBar Europa Shaffy Theater Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e30/11/1986\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ave-festival, de Gele Rijder, Arnhem, NL\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:87.0pt;\"\u003eMermaid Birmingham, UK\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:87.0pt;\"\u003eBar Europa Shaffy Theater Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e19/03/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; College of Advanced Education, Newcastle, Aus\u003c/p\u003e\r\n\r\n\u003cp\u003e25/03/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; The Globe, Sydney, Aus\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:87.0pt;\"\u003eAmalthea Limelight, Kortrijk, B\u003c/p\u003e\r\n\r\n\u003cp\u003e11/04/1987\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; V2, Den Bosch, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e12/04/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Kijkhuis, Den Haag, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e22/05/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Matadero, Zaragoza, E\u003c/p\u003e\r\n\r\n\u003cp\u003e12/06/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Doornroosje, Nijmegen, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e09/10/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videoart by Anne-Mie Van Kerckhoven , Rabo video club di\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eRuangrupa, Jakarta, I.\u003c/p\u003e\r\n\r\n\u003cp\u003e16/06-23/11/2008\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nothing More Natural, Luzern, CH\u003c/p\u003e\r\n","date_end":null,"reference":"011","stream_count_app":27,"permalink":"hier-woont-mijn-huis-here-lives-my-house","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/387/large/AMVK_still_Hierwoontmijnhuis.jpg?1390213772","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Here Lives My House)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A tribute to my parental house where my family organized feasts for other people during 50 years. It becomes now property of an Antwerp theatre. This film is my impotence to undergo changes over which I have no control. I exorcize hereby nostalgia and grief by sharing it with you. The film was mostly shown with live music performance of Club Moral.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK/ Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera:\u0026nbsp; AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK/ Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: Lu-Group Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Beursschouwburg Brussels and Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een eerbetoon aan het huis uit mijn kindertijd, een herenhuis in Antwerpen waar mijn familie gedurende 50 jaar banketten en feesten organiseerde. Ondertussen is het een theater geworden. Een film over mijn onvermogen om verandering waarover ik geen controle heb, te ondergaan. Ik drijf mijn nostalgie en verdriet uit door het me je te delen. Deze film werd vooral getoond in Club Moral, in combinatie met muziekperformances.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK/ Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera:\u0026nbsp; AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK/ Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: Lu-Group Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Beursschouwburg Brussels and Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9459,"title":"Interieurtekeningen, Manasota Key Road, Florida, Februari 2013","dimensions":"","date_begin":"2013-01-01","material":"serie of 7 drawings","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"interieurtekeningen-manasota-key-road-florida-februari-2013","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/414/large/Anne_Mie_Van_Kerkhoven_photo_M_HKAcc20.jpg?1390489703","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e7 drawings made in the \u0026ldquo;Hermitage\u0026rdquo;, artist residency in Florida, Sarasota, at 20 meter from the Carribean, Gulf of Mexico.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003e\u0026quot;The vintage fisherman house serving as the main building, is completely constructed out of wood. This wooden inner structure is very present and the interplay with the contemporary bourgeois furniture quotes, dominant. On the spot I was reading the book \u0026#39;Rhythmanalysis, Space, Time and everyday Life\u0026#39; (1992) van Henri Lefebvre and at a given moment I started drawing fragments of the house. Hereafter I added to each drawing a reflection out of Lefebvres book, from its first chapter: \u0026#39;The Critique of The Thing\u0026#39;.\u0026quot;\u0026nbsp; \u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e7 tekeningen gemaakt in de \u0026ldquo;Hermitage\u0026rdquo;, kunstenaarsresidentie in Florida, Sarasota, op 20 meter van de Carribean, Golf van Mexico.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003e\u0026quot;De geklasseerde visserswoning, het voornaamste gebouw op de site, is helemaal in hout gemaakt. De binnenstructuur van het huis is erg aanwezig waardoor het samenspel met het hedendaags burgerlijk meubilair tamelijk dwingend is. Ter plaatse was ik het boek \u0026#39;Rhythmanalysis, Space, Time and everyday Life\u0026#39; (1992) van Henri Lefebvre aan het lezen en op een gegeven moment ben ik fragmenten van het huis beginnen aftekenen. Waarna ik er een reflectie uit Lefebvres boek bijgeschreven heb, van het eerste hoofdstuk:\u0026#39;the Critique of The Thing\u0026#39;.\u0026quot; \u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":13063,"title":"Welfare State: Carrefour Market","dimensions":"165 x 100 cm","date_begin":"2015-01-01","material":"acrylic and felt tip pen on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20150500B","stream_count_app":20,"permalink":"carrefour","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/026/large/2015_the_walfare_state_vexhibition_view_photo_M_HKAclinckx27.jpg?1432812640","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAlthough they are made twenty years apart,\u0026nbsp;\u003cem\u003eUnic\u0026nbsp;\u003c/em\u003e(1995) and\u0026nbsp;\u003cem\u003eCarrefour\u0026nbsp;\u003c/em\u003e(2015) form a diptych of sorts. On 4 September 1995, AMVK bought some basic produce from her local supermarket, blew up the receipt and turned it into a painting. Now she repeats the same act, making visible the changed state of welfare: a new chain, a new currency, a new ratio of nature to mortality (the food) and to freedom (its price).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHoewel er twintig jaar tussen beide werken ligt, vormen \u003cem\u003eUnic \u003c/em\u003e(1995) en \u003cem\u003eCarrefour \u003c/em\u003e(2015) een soort tweeluik. In 1995 kocht AMVK een aantal basisingredi\u0026euml;nten in haar plaatselijke supermarkt, vergrootte het kassaticket en maakte er een schilderij van. Nu herhaalt ze die handeling, waarbij ze de gewijzigde toestand van welvaart zichtbaar maakt: een nieuwe keten, een nieuwe munt, een nieuwe verhouding tussen natuur en mortaliteit (het voedsel) en natuur en vrijheid (de prijs van het voedsel).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(L\u0026rsquo;\u0026Eacute;tat providence: Carrefour Market)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUn diptyque de peintures sur PVC\u0026nbsp;: tickets de caisse du supermarch\u0026eacute; pour l\u0026rsquo;achat de denr\u0026eacute;es alimentaires. L\u0026rsquo;un date de 1995, l\u0026rsquo;autre de 2015, du m\u0026ecirc;me lieu pour les m\u0026ecirc;mes denr\u0026eacute;es. Tous les prix ont augment\u0026eacute;, sauf celui de la viande.\u003c/p\u003e\r\n"}]},{"id":13260,"title":"Annemie Van Kerckhoven : Kunst-zicht (De goddelijke 3-1heid/Sex/De kunstgeschiedenis van 1900-'45)","dimensions":"29.7 x 21.5 cm, language : Dutch, English, author : Anne-Mie Van Kerckhoven, publisher : Anne-Mie Van Kerckhoven, Borgerhout","date_begin":"1989-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist book","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/936","stream_count_app":6,"permalink":"annemie-van-kerckhoven-kunst-zicht-de-goddelijke-3-1heid-sex-de-kunstgeschiedenis-van-1900-45","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/236/large/artistbooks_7_36_23.jpg?1453193789","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13259,"title":"Annemie Van Kerckhoven 'Hersens met Horens' 1976-83","dimensions":"28.3 x 20.8 cm, language : Dutch, English, author : Anne-Mie Van Kerckhoven, numbered (nr. 44) and signed (AMVK) by the artist, publisher, Anne-Mie Van Kerckhoven, Borgerhout","date_begin":"1983-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist book","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/935","stream_count_app":8,"permalink":"annemie-van-kerckhoven-hersens-met-horens-1976-83","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/234/large/artistbooks_7_36_21.jpg?1453193518","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5811,"title":"Beauty, therapeutic use of","dimensions":"29 x 24 cm, 128p., language : Dutch, English, publisher : Museum van Hedendaagse Kunst Antwerpen","date_begin":"1999-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition catalogue AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/611","stream_count_app":14,"permalink":"anne-mie-van-kerckhoven-beauty-therapeutic-use-of","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/361/large/__Photo_M_HKA__41.jpg?1458565096","poster_credits":"(c)scan: M HKA, cover: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eEditor: Ronald Van de Sompel, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts: Ronald Van de Sompel, Filip Luyckx \u0026amp; Koen Raes.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditor: Ronald Van de Sompel, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTeksten: Ronald Van de Sompel, Filip Luyckx \u0026amp; Koen Raes.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditor : Ronald Van de Sompel, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ronald Van de Sompel, Filip Luyckx \u0026amp; Koen Raes.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":13385,"title":"Club Moral v.z.w. (Anne-Mie Van Kerckhoven \u0026 Danny Devos ) - Van drang tot dwang nr. 1 (Claude Yande, Etat Brut, La drôlesse, Trudo Engels, AMVK + DDV) / Van drang tot dwang nr. 2 (Erik Vloeberghs, V-Side, Waving Ondulata, Werner Pans, DDV + AMVK)","dimensions":"29.7 x 21 cm, language : Dutch, publisher : Club Moral vzw (Anne-Mie Van Kerckhoven \u0026 Danny Devos), Borgerhout (B)","date_begin":"1983-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist catalogue ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2013/959","stream_count_app":11,"permalink":"club-moral-v-z-w-anne-mie-van-kerckhoven-danny-devos-van-drang-tot-dwang-nr-1-claude-yande-etat-brut-la-drolesse-trudo-engels-amvk-ddv-van-drang-tot-dwang-nr-2-erik-vloeberghs-v-side-waving-ondulata-werner-pans-ddv-amvk","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":"Danny Devos, Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/251/large/artistbooks_7_36_25_13.jpg?1453197348","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003ePublished on the occasion of two exhibitions, organised by Club Moral vzw.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14119,"title":"Indépendance","dimensions":"200 x 147.5 x 5 cm ","date_begin":"1981-01-01","material":"house paint, acrylic and polyester on Plexiglas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"Club Moral AMVK Anne-Mie Van Kerckhoven Indépendance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810001C","stream_count_app":17,"permalink":"independance","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/234/medium_500/19810001C_kl.jpg?1515745233","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/234/large/19810001C_kl.jpg?1515745233","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;After the decolonisation of Belgian Congo in 1960, many Congolese men thought that the word ind\u0026eacute;pendence meant \u0026lsquo;a beautiful blonde woman\u0026rsquo;. That was what they had fought for. What is knowledge? In this work, I started using figurative elements, whereas before, there were only texts, signs and symbols in my paintings.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Na de dekolonisatie van Belgisch Congo in 1960 dachten veel Congolese mannen dat het woord ind\u0026eacute;pendence \u0026ldquo;een mooie blonde vrouw\u0026rdquo; betekende. Dat was waar ze voor gevochten hadden. Wat is kennis? In dit werk ben ik begonnen met figuratieve elementen te gebruiken, waar er daarvoor in mijn schilderijen enkel tekst, tekens en symbolen te zien waren.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Apr\u0026egrave;s la d\u0026eacute;colonisation du Congo belge en 1960, bon nombre d\u0026rsquo;hommes congolais ont pens\u0026eacute; que le mot ind\u0026eacute;pendance signifie \u0026laquo;\u0026nbsp;une belle femme blonde\u0026nbsp;\u0026raquo;. C\u0026rsquo;est pour cela qu\u0026rsquo;ils avaient combattu. Qu\u0026rsquo;est-ce que la connaissance\u0026nbsp;? C\u0026rsquo;est avec cette \u0026oelig;uvre que j\u0026rsquo;ai commenc\u0026eacute; \u0026agrave; utiliser des \u0026eacute;l\u0026eacute;ments figuratifs, alors qu\u0026rsquo;avant cela, il n\u0026rsquo;y avait que du texte, des signes et des symboles dans mes \u0026oelig;uvres.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14381,"title":"Komfort Über Alles!","dimensions":"00:16:09","date_begin":"1980-01-01","material":"video (U-Matic), digitalized, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSOURCE 1:\u003c/p\u003e\r\n\r\n\u003cp\u003ehttp://www.amvk.be/films/komfort-uber-alles/\u003c/p\u003e\r\n\r\n\u003cp\u003eVideo\u003cbr /\u003e\r\nDuration: 16:19\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK, DDV\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Willy Tielemans\u003c/li\u003e\r\n\t\u003cli\u003eActors: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: AMVK, Club Moral, De Warande\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"003","stream_count_app":31,"permalink":"komfort-uber-alles","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/751/large/03_komfort_uber_alles_screenshot_1.jpg?1470310052","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The installation Komfort \u0026Uuml;ber Alles\u0026nbsp;was about problems and their solution. It consisted of 5 core works, surrounded by smaller acolytes as support. Each larger work acted as a machine, as a step towards the solution of the problem. There was a clear pathway within the installation and one was helped by an additional, matching brochure. The works had titles like Braintester, Precision Analyser, Problem Detector, Structure Apparatus and Evolution Monitor.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In the 17\u003csup\u003eth\u003c/sup\u003e Century there was the Intellectual Revolution, in the 19\u003csup\u003eth\u003c/sup\u003e Century: the Industrial Revolution and in the 20\u003csup\u003eth\u003c/sup\u003e: the Sexual Revolution. Now we are living in the digital revolution. One and Zero. Yes or No. A lot of pain is caused by moralism, duality. Black and white, The art lover is attracted to the abstract, while the abstract will never be sexually stimulating.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Willy Tielemans\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral, De Warande\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eEen \u0026lsquo;gegidste rondleiding\u0026rsquo; van de installatie \u003cem\u003eKomfurt \u0026uuml;ber alles!\u003c/em\u003e in De Warande in Turnhout in 1980. De installatie, bestaande uit vijf kernwerken met satellieten, hebben geen vastgelegd pad. Er is een brochure met de hoofdthema\u0026rsquo;s in beschreven: hersen-tester, precisie-analysator, probleemdetector, structuurapparaat, evolutiemonitors.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De installatie Komfort \u0026Uuml;ber Alles\u0026nbsp;ging over problemen en hun oplossing. Ze bestond uit 5 kernwerken, omringd door kleinere akolieten, ter ondersteuning. Elk groot werk fungeerde als een machine , als stap naar de oplossing van het probleem. Er bestond een duidelijk parcours binnen de installatie en men werd geholpen door een bijpassende brochure.\u0026nbsp;De werken hadden namen als Hersentester, Precisieanalysator, Probleemdetector, Structuurtoestel en Evolutiemonitor.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In de 17\u003csup\u003ee\u003c/sup\u003e eeuw was er de Intellectuele Revolutie, in de 19\u003csup\u003ee\u003c/sup\u003e eeuw: de Industri\u0026euml;le Revolutie en in de 20\u003csup\u003ee\u003c/sup\u003e de Seksuele Revolutie. Nu leven we in de digitale revolutie. Een of Nul. Ja of Nee. Veel pijn wordt veroorzaakt door moralisme, dualiteit. Zwart en wit. De kunstliefhebber wordt aangetrokken tot het abstracte, terwijl het abstracte nooit seksueel stimulerend zal zijn.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Willy Tielemans\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral, De Warande\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14382,"title":"Place is where the Mind is ","dimensions":"00:09:00","date_begin":"1982-01-01","material":"super8 film","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":"Courtesy of the artist  ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSource:\u0026nbsp;http://www.amvk.be/films/place-is-where-the-mind-is/\u003c/p\u003e\r\n\r\n\u003cp\u003eSuper8 film\u003cbr /\u003e\r\nDuration: 09:00\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eActors: AMVK, DDV, Willy Tielemans, M.Bryo and casual visitors\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: AMVK, Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"004","stream_count_app":15,"permalink":"place-is-where-the-mind-is","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/752/large/place_is_where.jpg?1470311407","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;An atmospherical typecast of the life in and around the artist initiative \u0026ldquo;Club Moral\u0026rdquo;, an association that focused on extreme forms of art for about seven years. The movie is based on portraits of people in and around the club.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: AMVK, DDV, Willy Tielemans, M.Bryo and casual visitors\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Sfeerbeeld van het leven in en rond het underground\u0026nbsp;kunstenaarsinitiatief \u0026ldquo;Club Moral\u0026rdquo;, een vereniging die zich gedurende zeven jaar zou toespitsen op extreme kunstuitingen. De film bestaat vooral uit portretten van mensen in en rond de club.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: AMVK, DDV, Willy Tielemans, M.Bryo and casual visitors\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: AMVK, DDV, Willy Tielemans, M.Bryo and casual visitors\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"}]},{"id":14383,"title":"The 39 Steps vs. The 19 Keys","dimensions":"00:24:12","date_begin":"1983-01-01","material":"super 8 film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSource:\u0026nbsp;http://www.amvk.be/films/39-steps-vs-19-keys/\u003c/p\u003e\r\n\r\n\u003cp\u003eSuper8 film\u003cbr /\u003e\r\nDuration: 24:12\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Club Moral\u003c/li\u003e\r\n\t\u003cli\u003eActors: DDV, Dirk Paesmans, Koen Theys, AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e19/06-25/06/1983\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 19 Enochian Keys versus 39 steps of a Hitchcock, Produktion Hair, London, UK\u003c/p\u003e\r\n\r\n\u003cp\u003e05/08/1983\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Stalker, Brussel, B\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e28/09/1983\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Van Drang tot Dwang, Club Moral, Borgerhout, B\u003c/p\u003e\r\n\r\n\u003cp\u003e15/01/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Bassin, Maastricht, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e22/01/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Kapel, Den Haag, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e25/02/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Propagandum, NL-Centrum, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Den Uil, Zwijdrecht, B\u003c/p\u003e\r\n\r\n\u003cp\u003e24/05/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Club Moral, Borgerhout, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eAanlegsteiger, Gorichem, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e21/11/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Warande, Turnhout, B\u003c/p\u003e\r\n\r\n\u003cp\u003e19/04/1986\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; XPlane, Leguit 13, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e23/03/1987\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; City Arts Institute, Sydney, Aus\u003c/p\u003e\r\n\r\n\u003cp\u003e12/06/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Doornroosje, Nijmegen, NL\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e09/10/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videoart by Anne-Mie Van Kerckhoven , Rabo video club di Ruangrupa, Jakarta, I\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1983\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: Super8film\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 23min.\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Danny Devos, Dirk Paesmans, Koen Theys, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera AMVK, DDV (Danny Devos)\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"006","stream_count_app":25,"permalink":"39-steps-vs-19-keys-12308019-196f-44af-84bd-9c7ae3cb36ea","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/753/large/19_keys_final_dv.jpg?1470311899","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Confrontation of the devilish mechanisms of film-making with the 19 satanic\u0026nbsp;rituals to evoke the devil\u0026rsquo;s help. The structure of the movie was built on 19\u0026nbsp;stills of Alfred Hitchcock\u0026rsquo;s film The 39 Steps. The movie was mostly\u0026nbsp;accompanied by a live music mix of Arnold Schoenberg\u0026rsquo;s Erkl\u0026auml;rte Nacht\u0026nbsp;and Danny Devos chanting the enochian version of the ritual texts to be\u0026nbsp;performed during the original rituals, found in the notorious book of Anton\u0026nbsp;Szandor Lavey.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe story is about 3 friends, a fight and a murder.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHuman perception must be complex. Insight in the evolution of visual perception shows that the evolution of the art forms is entangled with human patterns of behaviour. In every cultural period the same sort of changesoccured all over the globe during long period of evolution. The process of \u0026quot;looking\u0026quot; probably stayed the same, what changed was the interpretation and reproduction of the chosen visual. Each civilization developed its own artistic concepts, that influenced all persons who lived in the given historical period.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: DDV, Dirk Paesmans, Koen Theys, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een confrontatie van duivelse mecanismes van filmmaken met de 19 Satanische Rituelen om de hulp van de duivel in te roepen. De structuur van de film is gebaseerd op 19 beelden uit Alfred Hitchcock\u0026rsquo;s film \u0026ldquo;The 39 Steps\u0026rdquo;. De film werd bij vertoningen meestal vergezeld van een live mix van Arnold Schoenberg\u0026rsquo;s \u0026ldquo;Erkl\u0026auml;rte Nacht\u0026rdquo; en Danny Devos die de Enochiaanse versie van de rituele teksten voordroeg, die gebruikt werden in de originele rituelen zoals beschreven in het beruchte boek \u0026ldquo;The Satanic Bible\u0026rdquo; van Anton Szandor Lavey.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet verhaal gaat over drie vrienden, een gevecht en een moord.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMenselijke perceptie moet complex zijn. Inzicht in de evolutie van visuele perceptie toont aan dat de evolutie van de kunstvormen verweven is met menselijke gedragspatronen. In iedere culturele periode hebben dezelfde soort veranderingen plaatsgevonden over de hele wereld, gespreid over een lange periode in de evolutie. Het proces van \u0026ldquo;kijken\u0026rdquo; is waarschijnlijk hetzelfde gebleven, maar wat veranderde was de interpretatie en reproductie van het gekozen beeld. Elke samenleving ontwikkelde haar eigen artistieke concepten, die alle personen die in de gegeven historische periode geleefd hebben be\u0026iuml;nvloedden.\u0026quot; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: DDV, Dirk Paesmans, Koen Theys, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14390,"title":"Hoeren en Profeten","dimensions":"00:30:00","date_begin":"1983-01-01","material":"VHS, videoregistration","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eMarch 1983\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 30 min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eMaker: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"007","stream_count_app":16,"permalink":"hoeren-en-profeten","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/818/large/07_hoeren_en_profeten_screenshot.jpg?1470730917","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026quot;\u003cem\u003eVideoregistration of installation Whores and Prophets in De Nieuwe Workshop in Brussels\u0026nbsp;(24.02- 03.03.83).\u0026quot; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eMaker: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/Club Moral\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Videoregistratie van de installatie Hoeren en profeten in De Nieuwe Workshop te Brussel\u0026nbsp;(24.02- 03.03.83).\u0026quot; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eGeluid: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eMaker: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducent: AMVK/Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14391,"title":"Excitatie / Inhibitie","dimensions":"00:00:46 / loop","date_begin":"1983-01-01","material":"super 8 film","short_description":"\u003cp\u003e(Excitation / Inhibition)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film","publishing_process_id":1,"annotation":"\u003cp\u003eSuper8 loop\u003cbr /\u003e\r\nDuration: 00:46 / loop\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"007b","stream_count_app":16,"permalink":"excitatie-inhibitie","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/819/large/07b_excitatie_inhibitie_screenshot.jpg?1470731334","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003ePart of the installation\u003cem\u003e\u0026nbsp;\u0026lsquo;Whores and Prophets\u0026rsquo;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeel van de installatie\u003cem\u003e\u0026nbsp;\u0026lsquo;Hoeren en Profeten\u0026rsquo;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimatie: AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14392,"title":"De 4 Uitersten","dimensions":"00:05:57","date_begin":"1984-01-01","material":"16 mm film","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":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"film","publishing_process_id":1,"annotation":"\u003cp\u003e16mm film\u003cbr /\u003e\r\nDuration: 05:57\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK, Danny Hiele\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Guy Cassiers, DDV, Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK / Club Moral / Akademie Merksem\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e04/05-05/06/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; The 4 Extremities, Zeno-X Gallery, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e20/06/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Geminox-Festival, Frankfurt, D\u003c/p\u003e\r\n\r\n\u003cp\u003e10/1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Donuts festival, Brussel, B (First prize)\u003c/p\u003e\r\n\r\n\u003cp\u003e17/02/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Berlin Atonal, Berlijn, D\u003c/p\u003e\r\n\r\n\u003cp\u003e16/03/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; College of Advanced Education, Newcastle, Aus\u003c/p\u003e\r\n\r\n\u003cp\u003e19/12/1993-13/02/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Vierkant, MHKG Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e2004\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Bern, Zwitserland\u003c/p\u003e\r\n\r\n\u003cp\u003e2007\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Muhkamedia, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e16/08-23/11/2008\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nothing More Natural, Luzern, CH\u003c/p\u003e\r\n","date_end":null,"reference":"008","stream_count_app":24,"permalink":"de-4-uitersten","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/820/large/08_4uitersten_screenshot.jpg?1470731607","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(The Four Extremes)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Death, Judgment, Heaven and Hell are the Jesuits\u0026rsquo; Four Extremes. These are the stages that must be followed to reach that state of grace in which sin, Evil, is constrained. I made my own extremes in which, through banality and repetition, sacrifice and devotion, I come to the conclusion that Evil only exists by the grace of Good, and vice versa.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCollage, montage, manipulation, indoctrination, information \u0026ndash; these five words are for me the twentieth century in a nutshell. They are concepts that formed me as a person born in 1951. Brainwashing, information, education... I have always experienced them as the same thing. As a human being, I feel obliged to undergo all of this with my eyes wide open, to use it, to transcend it, to live with it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, Danny Hiele\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Guy Cassiers, DDV, Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK / Club Moral / Akademie Merksem\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De Dood, het Oordeel, de Hel en de Hemelse Glorie zijn de vier uitersten van de Jezu\u0026iuml;eten. Het zijn de stadia die men doorlopen moet om die staat van genade te bereiken waarin de zonde, het Kwaad, bedwongen wordt. Ik maakte mijn eigen uitersten waarbij ik via de banaliteit en de herhaling, de opoffering en de devotie, tot de conclusie kom dat het Kwade slechts bestaat bij de gratie van het Goede, en omgekeerd.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCollage, montage, manipulatie, indoctrinatie, informatie \u0026ndash; deze vijf woorden zijn voor mij de 20e eeuw in een notendop. Het zijn concepten die me als persoon geboren in 1951 vormden. Hersenspoeling, informatie, opvoeding\u0026hellip; Ik heb dat altijd als hetzelfde ervaren. Als mens voel ik me verplicht om dit allemaal met de ogen wijd open te ondergaan, om het te gebruiken, te overstijgen, ermee te leven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, Danny Hiele\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Guy Cassiers, DDV, Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK / Club Moral / Akademie Merksem\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Les quatre fins)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;La Mort, le Jugement, l\u0026rsquo;Enfer et la Gloire c\u0026eacute;leste sont les Quatre Fins des J\u0026eacute;suites, ou les \u0026eacute;tapes qu\u0026rsquo;un \u0026ecirc;tre humain doit traverser pour atteindre cet \u0026eacute;tat de gr\u0026acirc;ce dans lequel le p\u0026eacute;ch\u0026eacute;, le Mal est domin\u0026eacute;. J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; mes propres fins qui me m\u0026egrave;nent, par le biais de la banalit\u0026eacute; et de la r\u0026eacute;p\u0026eacute;tition, du sacrifice et de la d\u0026eacute;votion, \u0026agrave; la conclusion que le Mal n\u0026rsquo;existe que par la gr\u0026acirc;ce du Bien, et inversement.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eCollage, montage, manipulation, endoctrinement, information \u0026ndash; ces cinq mots r\u0026eacute;sument selon moi le XXe\u0026nbsp;si\u0026egrave;cle. Pour quelqu\u0026rsquo;un comme moi, n\u0026eacute;e en 1951, ce sont des concepts qui m\u0026rsquo;ont fa\u0026ccedil;onn\u0026eacute;e. Lavage de cerveau, information, \u0026eacute;ducation\u0026hellip; Je les ai toujours ressentis comme \u0026eacute;tant du m\u0026ecirc;me acabit. En tant qu\u0026rsquo;\u0026ecirc;tre humain, je me sens oblig\u0026eacute;e de subir tout cela les yeux grands ouverts, pour l\u0026rsquo;utiliser, pour m\u0026rsquo;y faire et pour le transcender.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14393,"title":"The Lips of Osiris Ani","dimensions":"00:19:15 / 00:17:50","date_begin":"1984-01-01","material":"super 8 film","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":"Courtesy of the Artist  ","cached_tag_list":"film","publishing_process_id":1,"annotation":"\u003cp\u003eSuper8 film\u003cbr /\u003e\r\nDuration: 19:15\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK, DDV\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Club Moral\u003c/li\u003e\r\n\t\u003cli\u003eActors: Different animals, Club Moral and friends\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; CCB (Cultureel Centrum Berchem), B\u003c/p\u003e\r\n\r\n\u003cp\u003e1984\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; V2, Den Bosch, Nl\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e11/10/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Atelier 340, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e26/10/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Media, Eeklo, B\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Entrepot La\u0026icirc;n\u0026eacute;, Bordeaux, F\u003c/p\u003e\r\n\r\n\u003cp\u003e24/04/1986\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Batschkapp, Frankfurt, D\u003c/p\u003e\r\n\r\n\u003cp\u003e23/03/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; City Arts Institute, Sydney, Aus\u003c/p\u003e\r\n\r\n\u003cp\u003e2000\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Bierkelder, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e09.10.02\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videoart by Anne-Mie Van Kerckhoven, Rabo video club,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:36.0pt;\"\u003eRuangrupa, Jakarta, I\u003c/p\u003e\r\n","date_end":null,"reference":"009","stream_count_app":17,"permalink":"the-lips-of-osiris-ani","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/821/large/lips_02.jpg?1470734128","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A film about love, identity and re-incarnation. Trapped in the cycle of\u0026nbsp;evolution. The film was made to accompany a live performance by Club\u0026nbsp;Moral in which Danny Devos shouts, his head under water, the sound\u0026nbsp;amplified by a hydrophone. This while AMVK recites the text: \u0026ldquo;The Lips\u0026nbsp;of Osiris Ani, a fragment of the Egyptian Book of the\u0026nbsp;Dead\u0026nbsp;in which the\u0026nbsp;gods are asked to re-open the mouth of the beloved one.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Different animals, Club Moral and friends\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEen film over liefde, identiteit en re\u0026iuml;ncarnatie. Gevangen in de cyclus van de evolutie. De film werd gemaakt om een live performance van Club Moral te begeleiden, waarin Danny Devos met zijn hoofd onder water roept, het geluid versterkt door een hydrofoon. Dit terwijl AMVK deze tekst declameert: \u0026ldquo;The Lips of Osiris Ani, a fragment of the Egyptian Book of the Death in which the gods are asked to re-open the mouth of the beloved one\u0026rdquo;.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Different animals, Club Moral and friends\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Different animals, Club Moral and friends\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"}]},{"id":14397,"title":"Torens","dimensions":"00:05: 25 / loop","date_begin":"1988-01-01","material":"super 8 film","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":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eSuper8 loop\u003cbr /\u003e\r\nDuration: 05: 25 / loop\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK, DDV\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli value=\"1987\"\u003eThe O-option or the number 8, Montevideo, Antwerpen, B\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp\u003e2005\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Bern, CH\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1988\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: Super 8 film\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 5min15sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor. No sound\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"014","stream_count_app":13,"permalink":"torens","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/825/large/14_torens_screenshot_1.jpg?1470735646","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e(Towers)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A super 8 film about people, towers and monoliths, signs. Shown as a vhs-videoloop during the exposition\u0026#39;The O-option and the number 8\u0026#39;\u0026nbsp;in Montevideo gallery in Antwerp.\u0026quot; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een super 8 film over mensen, torens en monolieten, tekens. Vertoond als een vhs-videoloop tijdens de tentoonstelling\u0026nbsp;\u0026#39;The 0-option and the number 8\u0026#39;\u0026nbsp;in Montevideo galerij te Antwerpen.\u0026quot; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14399,"title":"Victoria","dimensions":"00:05:00","date_begin":"1989-01-01","material":"BVU, super8 film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eSuper8 film\u003cbr /\u003e\r\nDuration: 05:00\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK, AV Dienst Leuven\u003c/li\u003e\r\n\t\u003cli\u003eActors: Marc Vanrunxt\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: VTI Brussels\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e15/04/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videofest Berlin, Berlijn, B\u003c/p\u003e\r\n\r\n\u003cp\u003e19/05/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Beweeging, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e09/02/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videofest Berlin, Berlin, D\u003c/p\u003e\r\n\r\n\u003cp\u003e18/01/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Stuk Kunstencentrum, Leuven, B\u003c/p\u003e\r\n","date_end":null,"reference":"017","stream_count_app":10,"permalink":"victoria","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/827/large/17_victoria_screenshot_1.jpg?1470736066","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis is a video-interpretation of the choreography\u0026nbsp;\u0026#39;Victoria\u0026#39;\u0026nbsp;of Marc Vanrunxt, commissioned by the VTI. For the project\u0026nbsp;\u0026#39;Pas de Danse\u0026#39;\u0026nbsp;five choreographers and videofilmers were brought together. AMVK filmed Marc on the roof and in a space of De Singel in Antwerpen.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, AV Dienst Leuven\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: VTI Brussels\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe kracht van de aantrekking die Anne-Mie Van Kerckhoven ondervindt als het lichaam van Marc Vanrunxt beweegt in de dans is verantwoordelijk voor de nood die ze voelt om haar interpretatie van die momenten te tonen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;Een dansend onderwerp filmen verhoogt de visuele toegankelijkheid. Tegenovergesteld aan de opgelegde statische positie van de zittende toeschouwer wordt het mogelijk om accurate details te observeren vanop het punt van waarop de danser gezien wordt. De stilte en technische mogelijkheden, vooral wat betreft licht, van de videocamera beperken mijn impact op wat gaande is, hetgeen een pure opname van de intimiteit die bestaat tussen de lichaamskunstenaar in kwestie en zijn menselijke bewonderaar oplevert.\u0026rdquo;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, AV Dienst Leuven\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: VTI Brussels\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14400,"title":"Maybe this Time I Win","dimensions":"00:06:25","date_begin":"1989-01-01","material":"Betacam / U-matic / VHS, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 06:25\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Distorted Lisa Minelli song of movie \u0026ldquo;Cabaret\u0026rdquo;\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: ICC Antwerpen, Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e16/11-22/121989\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Verdeel \u0026amp; Heers, ICC, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e1990\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Die 5te Kraft/The 5th Force, Galerie Lydia Megert, Bern, CH\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06-29/08/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Retrospectieve van de Belgische Videokunst, MuHKa,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eAntwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/03-17/04/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Beeld/Beeld, MHKG, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Aangekocht door MHKG, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e16/02-05/03/1995\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; Art \u0026amp; Electronic media in Europe , Pao Galleries, Arts\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eCentre, Hong Kong\u003c/p\u003e\r\n\r\n\u003cp\u003e2007\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Muhkamedia, Antwerpen, B\u003c/p\u003e\r\n","date_end":null,"reference":"019","stream_count_app":13,"permalink":"maybe-this-time-i-win","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/828/large/19_de_5de_kracht_screenshot_1.jpg?1470736247","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A\u0026nbsp;15 minute animation in which keywords of an expos\u0026eacute; on knowledge representation in the field of Artificial Intelligence\u0026nbsp; are combined with the faces of 15 heartdisease patients. The colors on the patients faces indicate which kind of disease the person suffers of. The film is part of a visual investigation in the intrinsic connection between abstract and concrete cult-places as surviving mechanisms on one hand and on the other hand\u0026nbsp; progress and civilization diseases.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;My installations deal with topical problems of contemporary artistic\u0026nbsp;survival related to the restoration of impaired functions of the central nervous system. The fundamental principles underlying the work of the brain, which enabled it to function for many years without interruption, today command the interest of experts\u0026nbsp; not only in medicine,\u0026nbsp;biology and science, but in art as well. This is because these principles can be utilized to make survival mechanisms more reliable.\u0026quot;\u0026nbsp;\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Distorted Lisa Minelli song of movie \u0026ldquo;Cabaret\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: ICC Antwerpen, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Een 15 minuten durende animatie waarin sleutelwoorden van een uiteenzetting over kennisrepresentatie in het veld van de Artifici\u0026euml;le Intelligentie gecombineerd worden met de gezichten van 15 hartpatienten. De kleuren op de gezichten van de patienten vertellen aan welk soort ziekte de persoon lijdt. De film is deel van een visueel onderzoek naar de intrinsieke verbanden tussen abstracte en concrete cultplaatsen als overlevingsmechanismen aan de ene kant, en aan de andere kant vooruitgang en beschavingsziektes.\u0026quot;\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;Mijn installaties gaan over actuele problemen van het hedendaagse artistiek overleven gerelateerd tot de restauratie van verzwakte functies van het centrale\u0026nbsp;zenuwstelsel. De fundamentele principes onderliggend aan het werk van het brein, die het\u0026nbsp;ertoe in staat stelden vele jaren te werken zonder onderbreking, worden vandaag gestuurd door\u0026nbsp;de belangen van experts, niet alleen in medicatie, biologie en wetenschap maar ook in de kunst. Dat komt doordat deze principes gebruikt kunnen\u0026nbsp;worden om overlevingsmechanismen meer betrouwbaar te maken.\u0026quot;\u0026nbsp;\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Distorted Lisa Minelli song of movie \u0026ldquo;Cabaret\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: ICC Antwerpen, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Distorted Lisa Minelli song of movie \u0026ldquo;Cabaret\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: ICC Antwerpen, Club Moral\u003c/p\u003e\r\n"}]},{"id":14403,"title":"Terezin","dimensions":"00:01:49","date_begin":"1995-01-01","material":"computer animation, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eDuration: 01:49\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Johannes Sebastian Bach \u0026ldquo;Wer nur den lieben Gott l\u0026auml;szt walten\u0026rdquo; by In\u0026egrave;s Verhoye\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e18/05-30/06/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Anne- Mie Van Kerckhoven; Zeno-X galerie,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003eAntwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e24/11/1995-0701/1996 \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Tegen de Keer 3x, De Brakke Grond, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e23/09/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Champ Libre, Montreal, Canada\u003c/p\u003e\r\n\r\n\u003cp\u003e12/11/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Film and Arch. Graz/ Art image, Graz, Os\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Exground on Film, Wiesbaden, D\u003c/p\u003e\r\n\r\n\u003cp\u003e25/09/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;immagine Leggera, Palermo, IT\u003c/p\u003e\r\n\r\n\u003cp\u003e19/11/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Kasseler Dokumentarfilm-und Videofest, Kassel, D\u003c/p\u003e\r\n\r\n\u003cp\u003e14/03-30/05/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; In Memory of the Future, Kunsthalle Lophem, Brugge,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:144.0pt;\"\u003eB\u003c/p\u003e\r\n\r\n\u003cp\u003e20/12/1998-05/01/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Shopping the Stars, Zeno X Gallery, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e06/10/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Trattenendosi, Venice Biennale, IT\u003c/p\u003e\r\n\r\n\u003cp\u003e2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Laatste expo Jan Hoet,\u0026nbsp; SMAK, Gent, B\u003c/p\u003e\r\n","date_end":null,"reference":"030","stream_count_app":15,"permalink":"terezin","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/831/large/30_terezin_screenshot_1.jpg?1470737008","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The beginning of my project Sex and Technology, based on the reuse of images of women in the nude press. Here I have used images of women covering their sex while looking at the viewer, and connected them with two photographs I took in the former concentration camp at Terezin/Theresienstadt in the Czech Republic. The aestheticising of terror from the past is a very widespread phenomenon, which apparently answers to some kind of need\u0026hellip; I asked a friend to sing the second voice of a Bach cantata three times, and then I layered these three versions on top of each other.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Johannes Sebastian Bach \u0026ldquo;Wer nur den lieben Gott l\u0026auml;szt walten\u0026rdquo; by In\u0026egrave;s Verhoye\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Het begin van mijn project Sex and Technology, gebaseerd op het hergebruiken van beelden van vrouwen uit naaktbladen. Hier heb ik beelden gebruikt van vrouwen die hun geslacht bedekken terwijl ze de lezer aankijken, en verbonden met twee foto\u0026rsquo;s die ik maakte in het voormalige concentratiekamp in Terezin/Theresienstadt in Tsjechi\u0026euml;. Het esthetiseren van terreur uit het verleden is en wijdverspreid fenomeen, wat blijkbaar een bepaalde behoefte beantwoordt. Ik vroeg een vriend de tweede stem van een Bachcantate drie keer te zingen, daarna heb ik de drie versies over elkaar geplakt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Johannes Sebastian Bach \u0026ldquo;Wer nur den lieben Gott l\u0026auml;szt walten\u0026rdquo; by In\u0026egrave;s Verhoye\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14404,"title":"Eclips (Eclipse)","dimensions":"00:03:37","date_begin":"1996-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 03:37\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eInstallation:\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e01/03-24/03/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Vice, Bourdon Arcade, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e23/05-30/07/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e20/10-30/10/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; City of Women, Ljubljana, Slo\u003c/p\u003e\r\n\r\n\u003cp\u003e18/09-31/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Galeria dels Angels, Barcelona, Sp\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:144.0pt;\"\u003e26/06-12/09/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nursing care, in melancholy stupor, MuHKa, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eGetoond als film door Argos in:\u003c/p\u003e\r\n\r\n\u003cp\u003e10/04/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Surprise international short film festival, Taichung-city, TW\u003c/p\u003e\r\n\r\n\u003cp\u003e06/03/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Heures Exquises, Mons en Barceul, FR\u003c/p\u003e\r\n\r\n\u003cp\u003e31/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Semaine international de video, Gen\u0026egrave;ve, CH\u003c/p\u003e\r\n\r\n\u003cp\u003e29/09/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Champ Libre, Montr\u0026eacute;al, Canada\u003c/p\u003e\r\n\r\n\u003cp\u003e03/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Limelight, Kortrijk, B\u003c/p\u003e\r\n\r\n\u003cp\u003e08/01/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Wand 5 e, V., Stuttgart, D\u003c/p\u003e\r\n\r\n\u003cp\u003e19/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; City of Woman, Ljubljana, Slo\u003c/p\u003e\r\n\r\n\u003cp\u003e03/01/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Limelight, Kortrijk, B\u003c/p\u003e\r\n\r\n\u003cp\u003e08/01/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Wand 5\u003csup\u003ee\u003c/sup\u003e, V.Stuttgart, D\u003c/p\u003e\r\n\r\n\u003cp\u003e01/01/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; BTV Television, Barcelona, Sp\u003c/p\u003e\r\n\r\n\u003cp\u003e24/03/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dasart, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e19/05/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Viper, Basel, D\u003c/p\u003e\r\n\r\n\u003cp\u003e29/05/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Cinema Rex, Beograd, Czech Republic\u003c/p\u003e\r\n\r\n\u003cp\u003e27/05/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Transat Video, Caen, FR\u003c/p\u003e\r\n\r\n\u003cp\u003e01/06/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; International Animation festival Cardiff, London, GB\u003c/p\u003e\r\n\r\n\u003cp\u003e15/06/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chambre de s\u0026eacute;jour avec vue, Saignon en Luberon, FR\u003c/p\u003e\r\n\r\n\u003cp\u003e23/06/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Animation Festival, London, GB\u003c/p\u003e\r\n\r\n\u003cp\u003e14/08/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Filmverband Sachsen, Dresden, D\u003c/p\u003e\r\n\r\n\u003cp\u003e30/08/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Otok, Dubrovnik, Kr\u003c/p\u003e\r\n\r\n\u003cp\u003e15/09/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Video XHX, Marseille, FR\u003c/p\u003e\r\n\r\n\u003cp\u003e06/10/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Flanders Image, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e26/02/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; AV Station Tilburg, Tilburg, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e14/12/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Centrum voor Beeldcultuur/ filmmuseum, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e01/04/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Charleroi/Danses, Charleroi, B\u003c/p\u003e\r\n\r\n\u003cp\u003e02/05/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Internationale Kurzfilmtage, Oberhausen, D\u003c/p\u003e\r\n","date_end":null,"reference":"035","stream_count_app":18,"permalink":"eclips","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":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/833/large/35_eclips_screenshot1.jpg?1470737291","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The film uses a distorted fragment from Michelangelo Antonioni\u0026rsquo;s classic film L\u0026rsquo;Eclisse, 1962, in which the actress Monica Vitti turns her back t the camera. The contrast in the images is exaggerated, which appears to exorcise the protagonists. Vitti\u0026rsquo;s opponent in the film, Alain Delon, becomes an almost unrecognisable shadow in a layered sequence in which close-ups of a fish is the most impressive footage. Now and then, there are moments of obstruction, in which a void occurs.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De film maakt gebruik van een vertekend fragment van Michelangelo Antonioni\u0026rsquo;s filmklassieker L\u0026rsquo;Eclisse uit 1962, waarin de actrice Monica Vitti haar rug naar de camera keert. Het contrast in de beelden is overdreven, waardoor de protagonist bezworen lijkt. Vitti\u0026rsquo;s tegenspeler in de film, Alain Delon, wordt een haast onbekende schim in een gelaagde sequentie waarin close-ups van een vis het meest indrukwekkende beeldmateriaal is. Af en toe zijn er momenten van obstructie, waarin een leegte voorkomt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14405,"title":"Morele Herbewapening ","dimensions":"00:12:00","date_begin":"1996-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/morele-herbewapening/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 12:00\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e15/12/1996- 15/03/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Kunsthalle Lophem, Center for Contemporary Art,\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Brugge, B\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDoor Argos getoond:\u003c/p\u003e\r\n\r\n\u003cp\u003e10/04/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Surprise International Short Film Festival, Taichung-City, J\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e17/06/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Constant, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e18/06-17/08/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Selected Memories, Paleis voor Schone Kunsten, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e06/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; International Festival of New Film Split, Split, Slo\u003c/p\u003e\r\n\r\n\u003cp\u003e30/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos information Days, Argos, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e01/06/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; International Animation Festival Cardiff, Londen, UK\u003c/p\u003e\r\n\r\n\u003cp\u003e15/06/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chambre de s\u0026eacute;jour avec vue, Saignon en Luberon, FR\u003c/p\u003e\r\n\r\n\u003cp\u003e17/06/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; New York Video Festival, New York, USA\u003c/p\u003e\r\n","date_end":null,"reference":"036","stream_count_app":28,"permalink":"morele-herbewapening","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/834/large/36_moreleherbewapening_screenshot.jpg?1470737659","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003e\u0026quot;The animation that animation that formed the start of the project \u0026#39;Morele Herbewapening\u0026#39; that lasted 10 years.\u0026quot;\u003c/i\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;\u003cem\u003eThe movie is a computer animation in 5 steps. By means of a systematic use/re-use of images of women from the nude-press until the Sexual Revolution, an alchemistic process is activated. 5 probers around one subject depict an important dichotomy in the mass media:\u0026nbsp; the contemporary aesthetics of fascination for evil and negative information versus the commercialization, thus abstraction, of desire. The movie was the starting point of my extensive 10-year long Sex and Technology project called Moral Rearmament. Therefore I re-named myself HeadNurse, answering to Big Brother, being the assistant of doctor Nietzsche. \u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003eOn the use of woman images: keeping records on images of women and on wordlists from particular fields made me at a certain point combine them. The same way as car-dealers present their newest products with scarcely dressed females.\u0026nbsp;As an example I sampled words related to particular problems of elasticity, knowledge representation and symmetry in space to connect with files of 1. naked women dressed only with a belt, 2. women showing their breasts while fixating the spectator, 3. women busy taking of their blouses over their heads.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nOne particular word connects to one image. The word and the image come together in a streched black and white figure. In the next step the concept disappears and the image gets its new meaning thanks to colour. The image re-given to the nature of perception. From there on we can a build a new world. Thanks to serendipity, synchronicity. This happens with trial and error, as evolution works. \u0026nbsp;I try things out, I see how they work, if they work. I use my computer to store images and knowledge. This collection creates systems for revealing things while working. The information becomes the tool, the canvas to work on. The data are the paint, a mixed storage of past, present and future intelligence.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De animatie die het begin vormde voor mijn 10-jaar-durende project Morele Herbewapening.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;De film bestaat uit een computeranimatie in 5 stappen. Door middel van een systematisch gebruik en hergebruik van afbeeldingen van vrouwen, vanaf de eerste naakt-pers tot aan de Seksuele revolutie, werd een alchemistisch proces geactiveerd. 5 onderzoeken rond \u0026eacute;\u0026eacute;n onderwerp beelden een belangrijke dichotomie in de massamedia af: de hedendaagse esthetiek van de fascinatie voor onheil en negatieve informatie versus de commercialisatie, oftewel abstractie, van verlangen. De film was een startpunt van mijn uitgebreide 10-jaar durende Seks en Technologie-project dat \u0026lsquo;Moral Rearmament\u0026rsquo; heette. Daarvoor gaf ik mezelf de (nieuwe) naam \u0026lsquo;HeadNurse\u0026rsquo;, om te beantwoorden aan Big Brother, die de assistent van Dokter Nietzsche was.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nWat betreft het gebruik van de vrouwelijke afbeeldingen: het bijhouden van afbeeldingen van vrouwen en woordlijsten over bepaalde pistes heeft ervoor gezorgd dat ik ze op een gegeven moment ging combineren. Op dezelfde manier als autoverkopers, die hun nieuwste producten presenteren met schaars geklede vrouwen. Bij wijze van voorbeeld deed ik een steekproef bij woorden die gerelateerd zijn aan bepaalde problemen als elasticiteit, het presenteren van kennis en symmetrie in een ruimte, om ze te verbinden met bestanden van 1. Naakte vrouwen die enkel een riem dragen, 2. Vrouwen die hun borsten tonen terwijl ze zich fixeren op de toeschouwer, 3. Vrouwen die bezig zijn met hun blouse over hun hoofd te trekken.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nEen bepaald woord houdt verband met een bepaalde afbeelding. Het woord en de afbeelding komen samen in een uitgerekte zwart-witte figuur. In de volgende stap verdwijnt het concept en de afbeelding krijgt een nieuwe betekenis dankzij kleurgebruik. De afbeelding teruggegeven aan de natuur van de perceptie. Van hieruit kunnen we een nieuwe wereld bouwen. Met dank aan het toeval en het synchrone. Dit gebeurt doormiddel van vallen en opstaan, zo werkt de evolutie. Ik probeer dingen, bekijk hoe ze werken, of ze werken. Ik gebruik mijn computer om afbeeldingen en kennis op te slaan. Deze collectie cre\u0026euml;ert systemen om zaken naar buiten te laten komen terwijl ik werk. De informatie wordt het middel, het doek om op de werken. De data zijn de verf, een gemengde opslagplaats voor verleden, hedendaagse en toekomstige intelligentie. \u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14407,"title":"Achterover/Backwards","dimensions":"00:05:00","date_begin":"2000-01-01","material":"computer animation","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":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/achterover/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 05:00\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Distorted Webern by AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: AMVK / Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e05/04-16/04/2000\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Feniks/Borgerhart, Borgerhout (Antwerpen), B\u003c/p\u003e\r\n\r\n\u003cp\u003e09/09-21/10/2000\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Prober 5; Galerie Barbara Thumm, Berlin, D\u003c/p\u003e\r\n\r\n\u003cp\u003e21/10/2000-07/01/2001\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Epifanie, Parkabdij Heverlee, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/10-12/10/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos festival, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:144.0pt;\"\u003e08/10/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Music into Image- Q-02 and videasts, Cinema Nova, Brussels, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:144.0pt;\"\u003e09/10/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videoart (by Anne- Mie Van Kerckhoven), Rabo video club\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:144.0pt;\"\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ruangrupa, Jakarta, I.\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:144.0pt;\"\u003e14/11/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Merging Online, Culture Club, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e29/01/2005\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; EZFK Kunsthalle Bern, CH\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch2\u003eData\u003c/h2\u003e\r\n\r\n\u003cp\u003eMei 2000\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS of DVD\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 5min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor/stereo\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: \u0026ldquo;distorted Webern\u0026rdquo;, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: AMVK/ Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"051","stream_count_app":12,"permalink":"achterover","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/837/large/51_achterover_screenshot_1.jpg?1470738080","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Woman leaning back changes colors slowly, which gives the image an aspect of certain periods of time in art history. Abstract forms come and go like thoughts. The motionless figure relates to the abstract, like colours relate to the giving of a meaning of the image.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe sound is \u0026quot;distorted Webern\u0026quot;, a soundimpression of Webern\u0026#39;s music on a worn out tape-recorder in my painting studio.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Distorted Webern by AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK / Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een achteroverleunende vrouw verandert traag van kleur, waardoor de\u0026nbsp;afbeelding het aspect krijgt van bepaalde periodes uit de\u0026nbsp;kunstgeschiedenis. Abstracte vormen komen en gaan zoals gedachten. De bewegingloze figuur verhoudt zich tot het abstracte, zoals de kleuren zich tot de betekenisgeving van de afbeelding verhouden.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet geluid is \u0026quot;distorted Webern\u0026quot;, een geluidsimpressie van muziek van\u0026nbsp;Webern op een versleten taperecorder in mijn schildersatelier.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet geheel roept een sfeer op van overgave en transcendentie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Distorted Webern by AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK / Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14408,"title":"The Abstract isn’t Sexually Stimulating","dimensions":"00:02:59","date_begin":"2000-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/the-abstract-isnt-sexually-stimulating/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 02:59\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: AMVK, Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e14/02-31/03/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; St-Lucas galerij, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/10-12/10/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos festival, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Merging Online, Culture Club, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e25/04-03/05/2000\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; International Filmfestival Rotterdam, Rotterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e15/05-17/05/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Courtisane, Shortfilmfestival, Victoria, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;(first prize Motorik)\u003c/p\u003e\r\n","date_end":"2001-01-01","reference":"053","stream_count_app":23,"permalink":"the-abstract-isn-t-sexually-stimulating","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/838/large/53_the_abstract_isnt_screenshot_1.jpg?1470738233","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Animation of a drawing from my subconscious. In movement, the abstract fantasy gradually yields to nature and mythology \u0026ndash; only to disappear at the end, like a though folding itself up. Between the inside and the outside, between good and evil thoughts, there is a place where the body, the mind and other forms of matter play their games.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Statement: Between the inside and the outside, between good and evil thoughts, there is a place where a game is being played by the body, the mind and other forms of matter.\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;In opposition to the arbitrarity, the origin of every written and spoken language, I put the unspoken, the mystic. From disgust to ecstasy, that is what the mystic\u0026nbsp;in general is about. Urewut. The all-devouring lust for life and love. Unification, not feeling separated from the rest. No ego, no boundaries. Creation becomes one with its creator. I call it the analog. The analog versus the arbitrarity. The analog means ritual, evil, mystery, desire, yearning, lust, while the digital is control, technology, sublimation, dependence, cleanliness,\u0026nbsp;transparencies. The analog plus the digital is what we are about: perspective.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Animatie van een tekening uit mijn onderbewuste. Wanneer in beweging, neigt de abstracte fantasie geleidelijk naar natuur en mythologie \u0026ndash; alleen om op het einde te verdwijnen, als een gedachte die in zichzelf oplost. Tussen de binnenkant en de buitenkant, tussen goede en slechte gedachten, is er een plaats waar het lichaam, de geest en andere vormen van materie hun spel spelen.\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;In tegenstelling tot willekeur plaats ik het ontstaan van iedere geschreven en gesproken taal, het mystieke. Van walging tot extase, dat is waar het mystieke over het algemeen om gaat. Urewut. De alles verslindende lust naar het leven en de liefde. Unificatie, zich niet afgezonderd voelen van de rest. Geen ego, geen grenzen. Creatie wordt een met zijn schepper. Ik noem het het analoge. Het analoge versus de willekeur. Het analoge dat ritueel, duivels, mysterie, verlangen, smachtend verlangen, lust omvat, terwijl het digitale controle, technologie, sublimatie, afhankelijkheid, netheid, transparantie omvat.\u0026nbsp;Het analoge plus het digitale is waar de mens om gaat: perspectief.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"}]},{"id":14409,"title":"My Heart of My Coming into Being","dimensions":"00:05:43","date_begin":"2002-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/my-heart-of-my-coming-into-being/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 05:43\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: \u0026lsquo;Mutation\u0026rsquo; (1969) by Jean Claude Risset\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: PHA, UIA Antwerp, Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e23/01/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nieuwjaarsreceptie, 10 jaar PHA, UIA, Wilrijk, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/10-12/10/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos festival, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Merging Online, Culture Club, Gent, B\u003c/p\u003e\r\n","date_end":null,"reference":"055","stream_count_app":10,"permalink":"my-heart-of-my-coming-into-being","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/839/large/55_my_heart_of_coming_screenshot_1.jpg?1470738656","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A figure is sitting down and staring at the sun, while its thoughts mingle\u0026nbsp;with the horizon. The figure simplifies itself to abstract shapes, colors, then\u0026nbsp;nothing. After which the person exists again as an idea to live forever.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThis computer animation was made at the request of the UIA, the\u0026nbsp;University of Antwerp, department of palliative care (PHA).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: \u0026lsquo;Mutation\u0026rsquo; (1969) by Jean Claude Risset\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: PHA, UIA Antwerp, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een zittende figuur kijkt naar de zon, terwijl diens gedachten zich verbinden met de horizont. De figuur vereenvoudigt zich tot abstracte vormen , kleur en daarna niets meer. Waarna de persoon als gedachte terug bestaat om eeuwig voort te leven.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDeze computeranimatie werd gemaakt in opdracht van de Universitaire Inrichting Antwerpen, naar aanleiding van het 10-jarig bestaan van de afdeling Palliatieve Hulpverlening (PHA).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: \u0026lsquo;Mutation\u0026rsquo; (1969) by Jean Claude Risset\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: PHA, UIA Antwerp, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: \u0026lsquo;Mutation\u0026rsquo; (1969) by Jean Claude Risset\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: PHA, UIA Antwerp, Club Moral\u003c/p\u003e\r\n"}]},{"id":14416,"title":"Adam of Eva in het Paradijs - B","dimensions":"00:08:53","date_begin":"2004-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/adam-of-eva-in-het-paradijs-b/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 08:53\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK/ DDV/ Chris Van Camp \u0026amp; assistant\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Mauro Pawlowski\u003c/li\u003e\r\n\t\u003cli\u003eActors: Dennis Denijs, Mauro Pawlowski, friends and guests\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: MOMU Antwerpen\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"063b","stream_count_app":10,"permalink":"adam-of-eva-in-het-paradijs-b","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/850/large/63b_adam_en_eva_screenshot.jpg?1470747036","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e(Adam or Eve in Paradise - B)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;On the incestuous gesture of the hero as an androgynous larva, craving a return to our mum by sad penetration, a casual Dance of Death performed in a twilit room, a calm plain alike, the worship kept silent, drowned out by masked gossipers, ashamed of the song of the caressing black, old electric carnival which once provoked silence, until the tourist pleases himself into a skin of hiss, in mono.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven en Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eActing: Mauro Pawwlowski, Dennis Denijs and many friends.\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: Anne-Mie Van Kerckhoven, Danny Devos, Chris Van Camp and assistant.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and montage: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: MOMU, Antwerpen/Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Over het incestueuze gebaar van de held als androgyne larf, verlangend naar terugkeer door droeve penetratie van ons moeder, een terloopse Danse Macabre uigevoerd in een avondlijke kamer als windstille vlakte, de eredienst verzwegen en overstemd door gemaskerde roddelaars, beschaamd om de zang van het strelend zwart, oud elektrisch karnaval dat eens opruide tot stilte, totdat de toerist zich vermaakt tot een huid van ruis, in mono.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven en Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eActing: Mauro Pawwlowski, Dennis Denijs and many friends.\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: Anne-Mie Van Kerckhoven, Danny Devos, Chris Van Camp and assistant.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and montage: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: MOMU, Antwerpen/Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eOver het incestueuze gebaar van de held als androgyne larf, verlangend naar terugkeer door droeve penetratie van ons moeder,een terloopse Danse Macabre uigevoerd in een avondlijke kamer als windstille vlakte, de eredienst verzwegen en overstemd door gemaskerde roddelaars, beschaamd om de zang van het strelend zwart, oud elektrisch karnaval dat eens opruide tot stilte, totdat de toerist zich vermaakt tot een huid van ruis, in mono.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven en Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eActing: Mauro Pawwlowski, Dennis Denijs and many friends.\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: Anne-Mie Van Kerckhoven, Danny Devos, Chris Van Camp and assistant.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and montage: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: MOMU, Antwerpen/Club Moral\u003c/p\u003e\r\n"}]},{"id":14447,"title":"The Populace","dimensions":"00:06:02","date_begin":"2004-01-01","material":"computer animation, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 06:02\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"064","stream_count_app":19,"permalink":"the-populace","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/927/large/64_the_populace_screenshot_1.jpg?1473251097","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Animation of a drawing of Paris bourgeois interior around 1900. The pieces of furniture reach\u0026nbsp;out for each other like growing plants. The animation evolves like a fungus, in imitation of human thought. The drawing bears a quote from Sigmund Freud\u0026rsquo;s Civilisation and Its Discontents, 1908, from the chapter titled \u0026#39;The Cultural Sexual Moral and Modern Nervosity\u0026rsquo;.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Animatie van een tekening van een burgerlijk interieur in Parijs rond 1900. De meubelstukken reiken naar elkaar zoals groeiende planten. De animatie evolueert als een schimmel, zoals de menselijke gedachte. De tekening draagt een citaat uit Sigmund Freud\u0026rsquo;s Civilisation and Its Discontents (1908), uit het hoofdstuk The Cultural Sexual Moral and Modern Nervosity.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"}]},{"id":14448,"title":"Wat Magnetisme is","dimensions":"00:12:00","date_begin":"2005-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 12:00\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Mauro Pawlowski, AMVK\u003c/li\u003e\r\n\t\u003cli\u003eActors: German Scalona\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"065","stream_count_app":8,"permalink":"wat-magnetisme-is","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/928/large/liebestod_screenshot.jpg?1473251438","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In October 2003 I gave a workshop in Mar Del Plata in Argentina for 21\u0026nbsp;days, in french which was simultaneously translated in spanish by German\u0026nbsp;Scalona, a poet and drawing artist from that town. By these circumstances a\u0026nbsp;remarkable bond grew between us after a couple of days and by the end\u0026nbsp;German was completely possessed by my ideas as an artist. For him is was\u0026nbsp;a great revelation he said. It changed his life. Mine as well.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThrough these weeks our inner resemblance grew stronger and stronger, and\u0026nbsp;we were more than once mentally one, which also led to serious discomforts.\u0026nbsp;We decided to seal our encounter with a ritual travel to a magnetic wood at\u0026nbsp;100kms from Mar Del Plata. We would have breakfast together first, take\u0026nbsp;a taxi to the busstation, take the bus, and then a taxi to the remote forest,\u0026nbsp;where the crowns of the trees grew into each other. We went into the wood\u0026nbsp;and slept for a while. We decided that I would film anything that happened\u0026nbsp;and that anything that came out of it would be an artwork by both of us.\u0026nbsp;German was an AIDS patient and had a very weak health. He survives on\u0026nbsp;medication and says that the alchemistic is the true materialism.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Mauro Pawlowski, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: German Scalona\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In oktober 2003 heb ik gedurende 21 dagen in Mar Del Plata in Argentina een workshop gegeven in het frans die simultaan werd vertaald in het spaans door German Scalona, dichter-tekenaar uit die kuststad. Door deze omstandigheden groeide er na enkele dagen een merkwaardige band tussen ons en was German op het einde compleet bezeten geraakt door mijn gedachtengoed als kunstenaar. Wat naar zijn zeggen voor hem een grote openbaring was. Zijn leven is er door veranderd. Het mijne ook.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn de loop van de weken werd onze innerlijke gelijkenis duidelijker en duidelijker, werden we meer dan eens mentaal \u0026eacute;\u0026eacute;n, wat ook tot serieuze ongemakken leidde. We besloten onze ontmoeting te bezegelen en te bezweren met een rituele reis naar een magnetisch bos op 100km van Mar Del Plata. We zouden eerst samen ontbijten, een taxi nemen naar het busstation, de bus nemen, en dan een taxi naar het afgelegen bos, waarvan de kruinen in elkaar groeien. We gingen in het bos eten en een beetje slapen. We besloten dat ik alles wat gebeurde zou filmen en dat het werk dat er zou uit voortkomen een kunstwerk van ons beide zou worden. German was een aidspatient en heeft een zeer zwakke gezondheid. Hij overleeft door geneesmiddelen en zegt dat het alchemistische het ware materialisme is.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTijdens de filmopnamen in het bos verdwenen de kleuren in mijn camera vanwege de hoge magnetische lading in de lucht. Er zijn ook geen vogels in het bos en het is er muisstil terwijl het altijd waait. Vanwege de magnetische spanning kan men gekleurde schichten zien tussen de stammen van de bomen. De kleur van die schichten openbaart een waarheid en voorspelt de toekomst voor wie hem ziet. In een veldje in de buurt van het bos zit een man die papieren verkoopt waarop de betekenis van de kleuren staat.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNa ons bezoek aan het bos zijn we tot aan de zee gegaan. Terwijl ik in het water was schreef German de volgende tekst op zijn T-shirt:\u0026quot;2003: Gesammtkunstwerk. Es imposible hablar de politica sin hablar de soledad.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Mauro Pawlowski, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: German Scalona\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14449,"title":"Chapter of Opening the Mouth of Time ","dimensions":"00:27:07","date_begin":"2007-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 27:07\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003cbr /\u003e\r\n\t381 views\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"068","stream_count_app":12,"permalink":"chapter-of-opening-the-mouth-of-time","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/929/large/68_chapter_of_opening_screenshot_1.jpg?1473251733","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A non-stop digital vortex for which I intercut images of my \u0026ldquo;AntiSade Press calendar for 2007\u0026rdquo; with 365 snapshots, more images, notes, words and things from my 2006/2007 DAAD-residence in Berlin.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026minus; AMVK\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Rond mijn 40ste heb ik een boek, een soort agenda, gemaakt dat ik \u0026quot;Belgisch Spleen\u0026quot; noemde. Daarin verzameld alle gedachten en notities van de laatste 15 jaar opschreef, hier en daar. Ik heb die schrijfsels gekatalogiseerd op de dagen van het jaar waarop ze bij me opkwamen. Om zo te zien of bepaalde gedachten seizoensgebonden weerkomen en evolueren. Om meer inzicht te\u0026nbsp; krijgen in de chaos van mijn innerlijk, waarin gedachten hormonaal gestuurd worden, en dat is geen vrouwelijke realiteit alleen. Ik weet dat gedachten materie zijn, in een andere bestaansvorm. Die transformeren en morfen zich met wat er aan dagdagelijkse informatie binnenkomt, tesamen met wat nazindert in geheugen en onderbewustzijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDat is ook de reden waarom ik de woorden elke maand exact op dezelfde dag laat terugkomen. Om de arbitrariteit van taal en naamgeving te gebruiken als voedend element. Als levend element weliswaar, want elke keer wanneer je een woord ziet terugkomen in een ander context, op een gelijkaardig tijdstip, evolueert er iets in de hersenen. Die hersenen\u0026nbsp;proberen een verhaal en een dimensie te onderscheppen die intrigeert. dat verhaal en die dimensie doen de toeschouwer evolueren. Op dat moment word ik zelf trouwens ook toeschouwer. Al werkende zie ik dat deze manier van werken elke moralistische vooringenomenheid pareert, wat meteen het creatieve van de onderneming is.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14450,"title":"Genezen Worden van de Realiteit","dimensions":"00:07:57","date_begin":"2007-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":22,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003e\u0026nbsp;Computer animation\u003cbr /\u003e\r\nDuration: 07:57\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: \u0026lsquo;Time is reallly good\u0026rsquo; AMVK (2006)\u003cbr /\u003e\r\n\t376 views\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"069","stream_count_app":8,"permalink":"genezen-worden-van-de-realiteit","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/930/large/69_genezen_worden_screenshot_1.jpg?1473252016","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 2001 I spontaneously started preparing an animation film dedicated to \u0026ldquo;Kom op Tegen Kanker\u0026rdquo;. I never sent it anywhere because I didn\u0026rsquo;t know where I could send it to, because I suddenly thought that this organisation wasn\u0026rsquo;t really waiting for this kind of support. So I stopped the final processing.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAs a starting point, I had used a drawing that I made a couple of years before, in 1994, at the Belgian seaside. The basis is a castle-villa, drawn from the beach. Three large staircases lead towards it, clouds are driven behind it. In one way or another this inspired me to have two flying figures evolving in front of and next to this house. With thin sound in the background.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFor me this house represents a feeling of happiness which is difficult to reach, but which has the potential to fulfill a promise in all its variations and possibilities.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: \u0026ldquo;Time is reallly good\u0026rdquo; by AMVK, 2006\u003c/p\u003e\r\n\r\n\u003cp\u003ePost-productie: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 2001 ben ik spontaan begonnen met de voorbereiding van een animatiefilm, opgedragen aan Kom op Tegen Kanker. Ik heb dat nooit opgestuurd omdat ik niet wist waar ik dit naartoe moest sturen, omdat ik ineens bedacht dat men daar bij de organisatie waarschijnlijk niet echt zat te wachten op steun in deze zin. Ik ben toen dan ook gestopt met de verdere afwerking.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIk had als uitgangspunt een tekening genomen die ik enkele jaren tevoren, in 1994, aan de Belgische kust maakte. De basis is een kasteel-villa vanop het strand getekend. 3 grote trappen leiden ernaartoe, wolken drijven achterdoor. Op de 1 of andere manier inspireerde me dit om 2 vliegende figuren voor en naast dat huis te laten evolueren. Met ijle klank erachteraan.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDit huis vertegenwoordigt voor mij een geluksgevoel dat moeilijk te bereiken is, maar dat de potentie heeft, om in al zijn variaties en mogelijkheden een belofte na te komen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: \u0026ldquo;Time is reallly good\u0026rdquo; by AMVK, 2006\u003c/p\u003e\r\n\r\n\u003cp\u003ePost-productie: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14451,"title":"Let's Try to Find Out what Goes on in the Male Barracks","dimensions":"00:15:10","date_begin":"2007-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 15:10\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK, Mauro Pawlowski, Rapha\u0026euml;lle Jamet, Paul Mennes, Bum Collar\u003c/li\u003e\r\n\t\u003cli\u003eActors: Danny Devos, Guy Schraenen, Louis Wuytack, Mauro Pawlowski, Rapha\u0026euml;lle Jamet\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: DAAD-Berlin / Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"070","stream_count_app":15,"permalink":"let-s-try-to-find-out-what-goes-on-in-the-male-barracks","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/931/large/70_male_barracks_screenshot_1.jpg?1473252391","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Symbolism is the bridge between nineteenth-century Romanticism and twentieth-century Modernism. Work on this film began in the summer of 2004 in Antwerp. There I filmed the Symbolist, personified by painter and fortune teller Mauro Pawlowski. In December that year I filmed body artist Danny Devos, as a personification of Modrnism, in the Paris flat of the curator and editor Guy Schranen. There is also additional footage from Berlin, Xiamen (China) and Vladivostok (Russia). The 16-year-old artist Rapha\u0026euml;lle Jamet completed the picture with her sparkle of young enthusiasm. My presence in the city of Berlin, during my one-year residency at DAAD, turned out to be decisive for this film.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK, Mauro Pawlowski, Rapha\u0026euml;lle Jamet, Paul Mennes, Bum Collar\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Danny Devos, Guy Schraenen, Louis Wuytack, Mauro Pawlowski, Rapha\u0026euml;lle Jamet\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: DAAD-Berlin / Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Symbolisme is een brug tussen de 19e-eeuwse Romantiek en het 20e-eeuwe Modernisme. Ik begon aan deze film te werken in Antwerpen in de zomer van 2004. Daar filmde ik de Symbolist, verpersoonlijkt door schilder en waarzegger Mauro Pawlowski. In december van dat jaar filmde ik lichaamskunstenaar Danny Devos, als een verpersoonlijking van het Modernisme, in het appartement van curator en editor Guy Schraenen in Parijs. Er is extra beeldmateriaal uit Berlijn (Duitsland), Xiamen (China) en Vladivostok (Rusland). De 16-jarige kunstenaar Rapha\u0026euml;lle Jamet finaliseerde het beeld met haar sprankeling en jonge enthousiasme. Mijn aanwezigheid in Berlijn, tijdens mijn \u0026eacute;\u0026eacute;n-jarige residentie bij DAAD, bleek beslissend voor deze film.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK, Mauro Pawlowski, Rapha\u0026euml;lle Jamet, Paul Mennes, Bum Collar\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Danny Devos, Guy Schraenen, Louis Wuytack, Mauro Pawlowski, Rapha\u0026euml;lle Jamet\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: DAAD-Berlin / Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK, Mauro Pawlowski, Rapha\u0026euml;lle Jamet, Paul Mennes, Bum Collar\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Danny Devos, Guy Schraenen, Louis Wuytack, Mauro Pawlowski, Rapha\u0026euml;lle Jamet\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: DAAD-Berlin / Club Moral\u003c/p\u003e\r\n"}]},{"id":14452,"title":"Interior with Tree","dimensions":"00:06:00","date_begin":"2007-01-01","material":"computer animation","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 of the Artist","cached_tag_list":"film video movie","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 06:00\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: 1918 Artspace, Club Moral\u003cbr /\u003e\r\n\t359 views\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"071","stream_count_app":17,"permalink":"interior-with-tree","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/932/large/071_interior_with_tree_screenshot.jpg?1473252550","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eConcept: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera and editing: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: 1918 Artspace en Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eConcept: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera and editing: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: 1918 Artspace en Club Moral\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003c/ul\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eConcept: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera and editing: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: 1918 Artspace en Club Moral\u003c/p\u003e\r\n"}]},{"id":14453,"title":"Overhandig dat Geweer","dimensions":"00:06:46","date_begin":"2008-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":22,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 06:46\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Club Moral\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003cbr /\u003e\r\n\t394 views\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"075","stream_count_app":8,"permalink":"overhandig-dat-geweer","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/933/large/75_overhandig_dat_geweer_screenshot_1.jpg?1473252870","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Lust and death, perplexity and disarmament. A way to juxtapose found images against each other. On the one hand a photograph of a hunter in civil clothes, 1940s, the gun at the horizon line, aimed at the frame of the photograph. On the other hand women with bare breasts in impertinent attitudes, 1960s. Doubling, simplification, neutralisation, confronting, situating. The soundtrack reduces the confrontation to a positive abstraction.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Lust en dood, vertwijfeling en ontwapening. Een manier om gevonden beelden tegen elkaar uit te spelen. Aan de ene kant een foto van een schutter in burger, jaren 40, het geweer op de horizontlijn, gericht op de kader van de foto. Aan de andere kant vrouwen met ontblote borsten\u0026nbsp; in vrijpostige houding, jaren \u0026lsquo;60. Verdubbeling, vereenvoudiging, neutraliseren, confronteren, situeren. De soundtrack herleidt de confrontatie tot een positieve abstractie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14456,"title":"Flashback","dimensions":"00:02:49","date_begin":"2013-01-01","material":"computer animation, sound","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 of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 02:49\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"084","stream_count_app":22,"permalink":"flashback","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/936/large/flashback_screenshot_1.jpg?1473253351","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I tried to evoke the withdrawn but upbeat atmosphere of the early 1960s, when I was becoming a teenager: one of latent aggressiveness, threat and imminent change. I made a collage with the video clip for Serge Gainsbourg\u0026rsquo;s song Les Y\u0026eacute;Y\u0026eacute;, 1962, and the interior of the house that the exiled Hungarian architect Marcel Brauer built for himself in the US. Where the Frenchman sings about Lolita and Sing Sing, Brauer adapted central European aesthetics to American high society. The overall relationship between consciousness and place has been schismatic since the Second World War.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik probeerde de sfeer van mijn tienertijd, van de teruggetrokken maar geestdriftige Jaren 60 op te roepen: een sfeer van latente agressie en dreigende verandering. Ik maakte een collage met de videoclip van Serge Gainsbourg\u0026rsquo;s lied Les Y\u0026eacute;Y\u0026eacute; uit 1962, met het interieur van het huis dat de verbannen Hongaarse architect Marcel Brauer voor zichzelf bouwde in de VS. De Fransman zingt over Lolita en Sing Sing, Brauer paste de Centraal-Europese esthetiek aan de Amerikaanse high society aan. De algehele relatie tussen bewustzijn en plaats werd verscheurd sinds de Tweede Wereldoorlog.\u0026quot; \u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eConcept: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"}]},{"id":14457,"title":"Une Fontaine d'Aréthuse ","dimensions":"00:05:06","date_begin":"2014-01-01","material":"computer animation, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of the Artist","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 05:06\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"085","stream_count_app":15,"permalink":"une-fontaine-d-arethuse","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/938/large/arethuse_screenshot_3.jpg?1473253586","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eBased on a film from 1936 by Dimitri Kirsanoff, with Karol Szymanowski\u0026rsquo;s music: \u003cem\u003eLa Fontaine d\u0026rsquo;Arethuse\u003c/em\u003e, 1910.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eGebaseerd op een film uit 1936 van Dimitri Kirsanoff, met Karel Szymanowski\u0026rsquo;s muziek: \u003cem\u003eLa Fontaine d\u0026rsquo;Arethuse\u003c/em\u003e uit 1910.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003chr /\u003e\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n"}]},{"id":14461,"title":"= Basic","dimensions":"variable dimensions","date_begin":"1980-01-01","material":"Installation with various painted elements, plastic curtain, plastic flooring, fluorescent water, dimensions variable","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":46,"permalink":"basic","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/660/large/D_80_II_4_001.jpg?1478247480","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This is an installation made of pieces of PVC and Plexiglas that I found in the waste container of the factory where I worked from the late 1970s to the mid 1980s. I painted abstract symbols and idioms on them, fragments of science and human signs. The painted things hung in a plastic spiral in the middle of the room. The texts on the wall that I connected to each other in a criss-cross fashion by means of electricity wire seemed to float in space because I used black light. My first computer animation I made a few years earlier, in BASIC, which was one of the first consumer computer languages. So I chose = Basic as a title.\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026#39;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003e\u0026quot;I lay thin plastic on the floor and pour yellow-fluorescent water on it, it is slightly radio-active (not harmless). I hang 21 texts on the wall on different heights, fluorescent on transparent plexi, clear in what they stand for. The texts are combined by the use of thin, black electricity- wires. The combinations are made on the spot (my thoughts and interests of that very moment).\u0026nbsp;There hangs a spiral for formed by a large thick sheet of plastic, in there 17 plexi-works of irregular shapes, and new as well as older images on them. It is quite possible to walk in but not out. It is necessary to walk through the water, and difficult to see a thing through the thick plastic.\u0026nbsp;The lights are 4 black lights and 1 TL under the plastic.\u0026nbsp;On the opening-night disturbing but aesthetically acceptable music is played.\u0026nbsp;The whole has a feeling of walking into a power-field.\u0026nbsp;To enter an idea.\u0026quot;\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003e\u0026quot;A new manner of perceiving can only perceive the new. Therefore I use signs who\u003cbr /\u003e\r\n- \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; have the future as content\u003cbr /\u003e\r\n-\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; present new ways of thinking\u003cbr /\u003e\r\n-\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; stand on their own\u003cbr /\u003e\r\n-\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; replace the terms form and colour as separate units.\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003eThis is the start of an investigation towards information.\u0026nbsp;In how far science has influenced our future -- and in the future?\u0026nbsp;In how far logics will play a role in this.\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; future\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; art\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; =\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; logics\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;science\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cem\u003ePractical use of \u0026ldquo;logics\u0026rdquo; leads to gain of time through passing over predictable processes.\u0026nbsp;It is very positive to say things which one never could have thought. This means that the evolution of your way of thinking - goes on outside you without consciousness or personal intervention - certain circumstances become defining for immediate train of thought.\u0026nbsp;An image only calls 1x certain thought\u0026nbsp; -- sometimes an image calls the memory to that thought.\u0026nbsp;Associations on 1 bit of time -- in relation to an image are unique.\u0026nbsp;Everything has to be made so that the continuance is in it -- and so that it is never finished.\u0026quot;\u003c/em\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dit is een installatie bestaande uit stukken pvc en plexiglas die ik vond in de afvalcontainer van de fabriek waar ik werkte van de late jaren 70 tot midden jaren 80. Die beschilderde ik met abstracte symbolen en uitdrukkingen, flarden wetenschap en menselijke tekens. De geschilderde dingen hingen in een plastic spiraal midden in de ruimte. De teksten aan de muur die ik door middel van elektriciteitsdraad kriskras met elkaar verbond leken, omdat ik blacklight gebruikte, te zweven in de ruimte. Mijn eerste computeranimatie maakte ik een paar jaar eerder, in BASIC, dat was een van de eerste computertalen voor de gewone consument. Dus koos ik = Basic als titel.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik leg dun plastic op een vloer en giet er geelfluorescerend water op, het is licht radioactief (niet ongevaarlijk).\u0026nbsp;Ik hang 21 teksten op de muren op verschillende hoogten, fluorescerend op transparante plexi, duidelijk in hetgeen ze bedoelen. De teksten worden verbonden door dunne, zwarte elektriciteitsdraden. De combinaties worden gemaakt ter plaatse (mijn gedachten en interesses van dat moment.)\u0026nbsp;Er hangt een spiraal, gevormd door een groot dik plastic, daarin 17 plexi-werken met onregelmatige grootte en zowel nieuwe als oudere vormen erop. Het is mogelijk de spiraal binnen te wandelen, maar niet eruit.\u0026nbsp;Het is noodzakelijk om door het water te lopen, en moeilijk om iets te zien doorheen de dikke plastic.\u0026nbsp;De verlichting gebeurd door 4 black lights en 1 TL onder het plastic. Op de opening wordt verstorende, doch esthetisch aanvaardbare muziek gedraaid. \u0026nbsp;Het geheel geeft het gevoel binnen een krachtveld te lopen, de spanning is ondraaglijk.\u0026nbsp;Een idee binnengaan.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nEen nieuwe manier van waarnemen kan slechts het nieuwe waarnemen. Hiervoor gebruik ik tekens die\u0026nbsp;\u003cbr /\u003e\r\n- de toekomst als inhoud hebben\u003cbr /\u003e\r\n- op zichzelf staan\u003cbr /\u003e\r\n- de termen vorm en kleur als afzonderlijke eenheden vervangen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDit is het begin van een onderzoek naar informatie.\u0026nbsp;In hoeverre wetenschap onze toekomst heeft be\u0026iuml;nvloed -- en in de toekomst?\u0026nbsp;In hoeverre logica hierin een rol gaat spelen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003etoekomst \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;kunst\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; =\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003elogica \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; wetenschap\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003ePraktische aanwendingen van \u0026ldquo;logica\u0026rdquo; leidt tot tijdwinning door overslaan van voorspelbare processen.\u0026nbsp;Het is zeer positief dingen te zeggen die men nooit gedacht zou kunnen hebben d.w.z. dat de evolutie van uw gedachtegang - buiten u om verder gaat zonder bewustzijn of persoonlijke interventie - bepaalde omstandigheden worden bepalend voor onmiddellijke gedachtegang.\u0026nbsp;Een beeld roept slechts 1x een bepaalde gedachte op -- soms roept een beeld de herinnering aan die gedachten op.\u0026nbsp;Associaties op 1 tijdstip -- in verband met een beeld zijn \u0026eacute;\u0026eacute;nmalig. \u0026nbsp;Alles moet zo gemaakt worden dat het vervolg erin zit -- en wel zo dat het nooit af is.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Cette installation se compose de morceaux de PVC et de plexiglas que j\u0026rsquo;ai trouv\u0026eacute;s dans un conteneur \u0026agrave; d\u0026eacute;chets \u0026agrave; l\u0026rsquo;usine o\u0026ugrave; j\u0026rsquo;ai travaill\u0026eacute; de la fin des ann\u0026eacute;es\u0026nbsp;70 au milieu des ann\u0026eacute;es\u0026nbsp;80 et sur lesquels j\u0026rsquo;ai peint des symboles abstraits et des expressions, des bribes de science et des signes humains. Les objets peints, rassembl\u0026eacute;s dans une spirale en plastique, \u0026eacute;taient suspendus au milieu de l\u0026rsquo;espace. Les textes au mur, que j\u0026rsquo;avais reli\u0026eacute;s p\u0026ecirc;le-m\u0026ecirc;le entre eux \u0026agrave; l\u0026rsquo;aide de c\u0026acirc;ble \u0026eacute;lectrique, semblaient flotter dans l\u0026rsquo;espace parce que j\u0026rsquo;utilisais de la lumi\u0026egrave;re UV. J\u0026rsquo;avais cr\u0026eacute;\u0026eacute; ma premi\u0026egrave;re animation par ordinateur quelques ann\u0026eacute;es auparavant en BASIC, un des premiers langages informatiques pour le grand public. J\u0026rsquo;ai donc choisi =BASIC comme titre de l\u0026rsquo;installation.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14463,"title":"Komfort Über Alles!","dimensions":"dimensions variable","date_begin":"1981-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"komfort-uber-alles-164eb2ed-b503-4ec2-b116-ad9f971df24f","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/874/large/komfort_uber_alles_1.jpg?1509021676","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In some kind of modern caf\u0026eacute; I hung up my 5 steps to solving a promblem. The visitors did have some problems.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In een soort modern caf\u0026eacute; heb ik mijn 5 stappen tot het oplossen van een probleem opgehangen.\u0026nbsp;De bezoekers hadden wel enige problemen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14465,"title":"Industriële Typen","dimensions":"","date_begin":"1982-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":15,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"industriele-typen","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/881/medium_500/industriele_typen_5.jpg?1509022394","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/881/large/industriele_typen_5.jpg?1509022394","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I made an attempt to the forming of ideas, through he abstract feeling around words and images, their outward forms, their meanings, their sound.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSubtle disorientation. The stream of ideas, images and associations an entertainment for the spectator. No truth, but an on the spot confirmed short remaining conclusion. Without pretensions, logical undisentanglable, but correct. On the floor lay 5 sheets of brown mousse (unstability/porous), and 5 plexi mirrors (narcism/own-importance). On calf-height a steel cable is stretched, it divides the room in 5 equal fields (boobytraps/primary importance of the individual/loss of hold).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe upper body is made out of 5 half-perished and folded pieces of grey mousse and plastic nailed in the walls each with 5 big steel nails. Each combination carries the numbering and pr\u0026eacute;cising of the elements of the number for which they stand (introspection/ groping/ summing up). Above head-height hang 5 combinations of 5 plexi-works in different colours, form and thickness. They each stand as a symbol for the word to which they refer. A+ B + C each time give a new a butt that leads to an (although short) order. (touchable proofs/reach over).\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe whole is a result of a study of information through all well or not specialised magazines of the last 50 years.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cem\u003e1. whale oil -\u0026gt; source light -\u0026gt; kerosene - special skills - industry\u003cbr /\u003e\r\n2. development. expansion. services - research organisation\u003cbr /\u003e\r\n3. substitutes. industrial location affected - economy\u003cbr /\u003e\r\n4. tax variations. regional. national - intervention\u003cbr /\u003e\r\n5. capacity. location. socio-economic - challenge\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAs much superfluous, but relatively correct as the psychological types of Jung, I could establish 5 leading entities in our surrounding:\u003cbr /\u003e\r\n1. Man or the male factor in all acts.\u003cbr /\u003e\r\n2. Woman or the female factor in all acts.\u003cbr /\u003e\r\n3. Pronouncements the dissecting, associative, connecting factor.\u003cbr /\u003e\r\n4. Purpose which seems to be only a means.\u003cbr /\u003e\r\n5. Order from where the cycle starts again, always changed and refilled.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe whole always has to lead to the feeling \u0026lsquo;Away All Ground Under the Feet\u0026rsquo; so that predictableness makes room for pure evolution.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAs a sound-supply I made with DDV a loop-cassette on which pinched words \u0026lsquo;I like it in here\u0026rsquo; and irregular tones absorbing the individual in the space.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFor this exhibition a cassette + poster + plexi-multiple was edited.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte een poging tot idee\u0026euml;nvorming, via het abstracte gevoel rond woorden en beelden, hun uiterlijke vormen, hun betekenis, hun klank. Subtiele desori\u0026euml;ntatie.\u0026nbsp; De idee\u0026euml;n -, beelden- en associatiestroom een entertainment voor de geest van de toeschouwer. Geen waarheid, maar een ter plaatse gestaafde kortstondige conclusie. Pretentieloos, logisch onontwarbaar, doch correct.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nOp de grond liggen 5 stukken bruine mousse (onstabiliteit/ poreus), en 5 plexi spiegels (narcisme/eigenbelang).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nOp kuithoogte is een stalen kabel gespannen, hij verdeelt de lage ruimte in 5 evenwaardige velden (boobytraps/ primair belang van het individu/ houvast - verlies).\u003cbr /\u003e\r\nHet bovenlichaam bestaat uit 5 halfvergane en geplooide stukken mousse en plastic in de muur genageld met telkens 5 grote stalen nagels. Elke combinatie draagt de nummering en precisering van de elementen van het nummer waarvoor ze staan (introspectie/aftasten/opsomming). \u0026nbsp;Boven hoofdhoogte hangen 5 combinaties van 5 plexi-werken in verschillende kleuren, vormen en dikte. Ze dienen telkens als symbool voor het woord waarnaar ze refereren. A + B + C geven telkens opnieuw een doel aan dat tot (weliswaar korte) orde leidt (tastbare bewijzen/ uitstijgen).\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet geheel is een gevolg van studie van informatie via alle soorten al dan niet gespecialiseerde tijdschriften van de laatste 50 jaar.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe op associatie berustende, beluste \u0026lsquo;idee\u0026euml;nvorming\u0026rdquo;, leidt lijnrecht in de richting van een algemeen veld, waar waarheden en zekerheden geen (tijdelijke) dooddoeners meer uitmaken, maar door hun afwezigheid een leegte van voldoening cre\u0026euml;ren/ bij het besef van elk moment dat losse en compromisloze ervaring is.\u003cbr /\u003e\r\nm.a.w.\u003cbr /\u003e\r\nSlechts de associatie zelf blijft over, daar waar het ontbreken van een vooraf ingenomen idee een wellustig gevoel van macht over de realiteit schept.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEven overbodig, doch relatief correct, als de psychologische typen van Jung, kon ik 5 leidende entiteiten in onze omgeving vaststellen:\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. Man of de mannelijke factor in alle handelingen.\u003cbr /\u003e\r\n2. Vrouw of de vrouwelijke factor in alle handelingen.\u003cbr /\u003e\r\n3. Uitspraken de ontledende, associatieve, verbindende factor.\u003cbr /\u003e\r\n4. Doel wat slechts een middel blijkt te zijn.\u003cbr /\u003e\r\n5. Orde van waaruit de cyclus opnieuw begint, steeds veranderd en aangevuld.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet geheel dient telkens weer te leiden tot het gevoel \u0026lsquo;Alle Grond Weg Onder de Voeten\u0026rsquo; opdat voorspelbaarheid plaats maakt voor zuivere evolutie.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls geluidstoevoer maakte ik met DDV een loopcassette waarop benepen woorden \u0026lsquo;I like it in here\u0026rsquo; en onregelmatige tonen het individu opgeslorpt wordt in de ruimte.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nNaar aanleiding van deze tentoonstelling werd een cassette + affiche + plexi-multiple uitgegeven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14396,"title":"L'Age d'Or Nr 2","dimensions":"00:01:00","date_begin":"1987-01-01","material":"U-Matic, videoclock","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film video installation","publishing_process_id":1,"annotation":"\u003cp\u003eVideo installation\u003cbr /\u003e\r\nDuration: 05:50\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK, DDV\u003c/li\u003e\r\n\t\u003cli\u003eActors: DDV\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"013","stream_count_app":13,"permalink":"l-age-d-or-nr-2","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/824/large/videoklok.jpg?1470735480","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;An installation that gives every 15 minutes an image of the relative power-unfolding during the struggle between now, its past and the future. It is a video-clock that ticks on the rhythm of eternity, examining the powers of cycles and numbers through contact of exact time-measurement with the hidden values that procure evolution and devolution. It is a cyclic rotation, founded on the\u0026nbsp; 4 fundamental symbols which are the circle, the cross, the square and the center.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: DDV\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze installatie ontketent via 4 draaiende monitoren elke 10 minuten, en dit gedurende 5 minuten, De relatieve strijd tussen het nu , haar verleden en de toekomst.\u0026nbsp; 2 bij 2 draaien de monitoren in tegengestelde richting, als 4 swastikas, een aktie die te zien is in een schuin overhangende spiegelwaarop de wijzers uit taken de re\u0026euml;le tijd tonen.\u0026nbsp; Op de monitoren, die 2 bij 2 dezelfde beelden tonen, ziet men enerzijds DDV die op een draaiende wijzersschijf, wringend tegen de richting in \u0026ldquo;I wanna Be Injured\u0026rdquo; roept, anderzijds animatie en komputeranimatie van zijn handeling in 12 verdeeld.\u0026nbsp; Dit is mijn adoptie van de mythe van Prometheus.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: DDV\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK, DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: DDV\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e1987\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: (U-Matic) transported 16mm animation\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 1min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, stereo\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Club Moral + distorted sounds of L\u0026rsquo;age D\u0026rsquo;Or of Bunuel\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003ePerformance: DDV\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK/ Lu-Group Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: FEVECC, Brussels\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e22/11/1987-28/05/1988\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 4 x 25/sec, Culturele Centra Strombeek-Bever, Turnhout, Bornem, Hasselt, Knokke en Antwerpen-Berchem, Vlaanderen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e01/09-11/09/1988\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; European Media Art festival, Osnabr\u0026uuml;ck, D\u003c/p\u003e\r\n\r\n\u003cp\u003e05/11-12/11/1988\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Festival van de Instabiele Media,\u0026nbsp; V2, Den Bosch, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e14/06-17/06/1990\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Audio Art, Gemeentemuseum, Den Haag, NL\u003c/p\u003e\r\n"}]},{"id":14411,"title":"Pre-5","dimensions":"00:01:34","date_begin":"2002-01-01","material":"computer animation","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":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/pre-5/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 01:34\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: AMVK, Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"057","stream_count_app":10,"permalink":"pre-5","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/841/large/57_pre_5_screenshot_1.jpg?1470739340","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eAction five in the \u0026ldquo;Rorty-HeadRoom\u0026rdquo; animation-room: Failure of the relativity machine. \u0026hellip; There is not such a thing as an invisible world, only degrees of perfection in the organs. \u0026hellip; Placement of traditional priest- and sjamanhood on the earth. \u0026hellip; An amount of\u0026nbsp; infinite small and rapid elements. \u0026hellip; No resistance, very fast. \u0026hellip; Mass=energy. \u0026hellip; Jazz \u0026amp; Blues.\u0026nbsp;\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eVijfde actie in de \u0026ldquo;Rorty-HeadRoom\u0026rdquo; animatiekamer: Falen van de relativiteitsmachine. \u0026hellip; Er is niet zoiets als een onzichtbare wereld, enkel graden van perfectie in de organen. \u0026hellip; Plaatsing van traditioneel priesterschap en sjamanisme op aarde. \u0026hellip; Een aantal oneindig kleine en snelle elementen. \u0026hellip; Geen weerstand, zeer snel. \u0026hellip; Massa=energie. \u0026hellip; Jazz \u0026amp; Blues.\u003c/em\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003cem\u003e\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: AMVK, Club Moral\u003c/p\u003e\r\n"}]},{"id":14412,"title":"In Dreams","dimensions":"00:06:16","date_begin":"2002-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/in-dreams/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 06:16\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: \u0026lsquo;Therapist Fears\u0026rsquo; by Club Moral\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"060","stream_count_app":11,"permalink":"in-dreams","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/843/large/in_dreams.jpg?1470739690","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Statement: Nowadays the elusive hermeticism of the monochrome comforts\u0026nbsp;only temporarily.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The film starts with an image of people judging an art-piece together. There\u0026nbsp;is a wood than, with an abandoned dream house on which the I-person\u0026nbsp;loosens her fantasy. The abstraction through art of two complex stills,\u0026nbsp;expressing the father-daughter-relation, flows into a simple diagram: The\u0026nbsp;Origin of Structure. Therapist fears...\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: \u0026lsquo;Therapist Fears\u0026rsquo; by Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Statement: Tegenwoordig troost het ontwijkende hermeticisme van het effenkleurvlak nog slechts tijdelijk.\u0026#39;\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De film begint met een beeld van mensen die tesamen kunst beoordelen. Dan is er een bos , met een verlaten droomhuis, waarop de ik-persoon haar fantasi\u0026euml;n loslaat. De abstractie door kunst van twee complexe\u0026nbsp; stilstaande\u0026nbsp; vader-beelden monden tenslotte uit in een simpel schema: The Origin of Structure. Therapist fears...\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: \u0026lsquo;Therapist Fears\u0026rsquo; by Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14413,"title":"Dieper","dimensions":"00:44:04","date_begin":"2002-01-01","material":"computer animated film and installation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/dieper/\u003c/p\u003e\r\n\r\n\u003cp\u003eVideo\u003cbr /\u003e\r\nDuration: 44:04\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eActors: Marc Vanrunxt\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral, Kunst/Werk\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e25/04-17/06/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dieper, Kunsthalle Lophem, Brugge, B\u003c/p\u003e\r\n\r\n\u003cp\u003e06/09-18/11/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Anti-Sade, Zeno X Storage, Borgerhout, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e16/11-07/1/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Anne-Mie Van Kerckhoven, Het Kunstlicht, Cultuurcentrum De Spil, Roeselare, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e21/03/2004\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Galerie Krinzinger, Wien, \u0026Ouml;st\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e29/01/2005\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; EZFK, Kunsthalle Bern, CH\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e01/09/2007\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Muhkamedia, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003eMar del Plata, Argentini\u0026euml;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003eApril 2003\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: Dvd\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 44.4\u0026rsquo; min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor/stereo\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK and Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eConcept:\u0026nbsp; Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eExecution: AMVK en Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eDance and choreography:\u0026nbsp; Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eMasks: Danai Anesiadou\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAssistance: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducers: Club Moral and Kunst/Werk\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":"2003-01-01","reference":"061","stream_count_app":27,"permalink":"dieper","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/844/large/61_dieper_screenshot_1.jpg?1470740240","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deeper is a video work of about forty minutes, in which AMVK tries to treat\u0026nbsp;obvious, banal pictures in such a way that a new, anything except banal\u0026nbsp;and even alarming reality arises. The character of the movement artist\u0026nbsp;Marc Vanrunxt figures as human presence on a bridge across the motorway,\u0026nbsp;in a room, a garden, an artist workshop etc.. Those pictures are cut\u0026nbsp;through by other pictures, doubled and divided, discolored and\u0026nbsp;solarised.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ndash; Marc Ruyters\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deeper: The anti-strategy of every modernist reduction rule loses its power in the inevitable confrontation with the abstract systems of radical negation and refusal. Deeper uses that modernist reduction rule as a style element to get down to the essence of matter by means of a kind of anti-evil. Thus also getting down into thought, searching for the immoral, the anti-matter. Deeper in the matter, further away from hell, along with symbolism, into the abysses of humankind, that is the purpose.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u0026nbsp;\u003cem\u003e(03/03/03)\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003e\u0026quot;The subtitle of the 44-minute movie is: \u0026quot;deeper into matter, further away from hell\u0026quot;. What philosophers did before is now being done by particles-scientists: to investigate the essence of matter... Deeper is an anti-sade work. Deeper reads as much as a book than as it does as a film.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash;\u0026nbsp;\u003cem\u003eAMVK\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003e\u0026#39;\u0026#39;Deeper\u0026#39; is a video work of about forty minutes, in which AMVK tries to treat\u0026nbsp;obvious, banal pictures in such a way that a new, anything except banal\u0026nbsp;and even alarming reality arises. The character of the movement artist\u0026nbsp;Marc Vanrunxt figures as human presence on a bridge across the motorway,\u0026nbsp;in a room, a garden, an artist workshop etc.. Those pictures are cut\u0026nbsp;through by other pictures, doubled and divided, discolored and\u0026nbsp;solarised.\u0026quot; ... \u0026quot;In this case, the one of AMVK thus, art is no funny\u0026nbsp;moment of aesthetic pleasure, but a confrontation with the underworld in\u0026nbsp;one\u0026#39;s own brain.\u0026quot;\u0026nbsp;\u003c/em\u003e\u0026mdash;\u0026nbsp;\u003cem\u003eMarc Ruyters -\u0026nbsp;Tijd Cultuur, 14 mai 2003\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral, Kunst/Werk\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;Dieper is een videowerk dat ongeveer 40 minuten duurt, waarin AMVK voor de hand liggende, banale beelden tracht te behandelen zodat er een nieuwe, alles behalve banale en zelf alarmerende realiteit ontstaat. Het personage van de bewegingskunstenaar Marc Vanrunxt figureert als menselijke aanwezigheid op een brug over de snelweg, in een kamer, een ruimt, een kunstenaarsatelier, enzovoort. Die beelden worden afgewisseld met andere beelden, gedubbeld en verdeeld, verkleurd en gepolariseerd.\u0026rdquo;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026ndash; Marc Ruyters\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dieper: De anti-strategie van elke modernistische reductieregel verliest haar kracht in de onvermijdelijke confrontatie met de abstracte systemen van radicale negatie en weigering. Dieper gebruikt die modernistische reductieregel als stijl-element om via een soort anti-kwaad, in de essentie van de materie af te dalen. Dus ook af te dalen in het denken, op zoek naar het immorele, de anti-materie. Dieper in de stof, verder uit de hel, met het symbolisme mee, de afgronden in van het menselijke, dat is de bedoeling.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De ondertitel van de 44 minuten durende film is \u0026nbsp;\u0026ldquo;deeper into matter, further away from hell\u0026rdquo;. Wat filosofen voorheen deden wordt nu door deeltjes-wetenschappers gedaan: de essentie van de materie onderzoeken\u0026hellip; Dieper is een anti-sade werk. Dieper leest evenveel als een boek dan als een film.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003cem\u003e \u003c/em\u003e(03/03/03)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral, Kunst/Werk\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral, Kunst/Werk\u003c/p\u003e\r\n"}]},{"id":14415,"title":"Adam of Eva in het Paradijs - A","dimensions":"00:25:35","date_begin":"2004-01-01","material":"computer animation","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":"Courtesy of the Artist  ","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/adam-of-eva-in-het-paradijs-a/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 25:35\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK, DDV, Chris Van Camp \u0026amp; assistant\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: Mauro Pawlowski\u003c/li\u003e\r\n\t\u003cli\u003eActors: Dennis Denijs, Mauro Pawlowski, friends and guests\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: MOMU Antwerpen\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"063a","stream_count_app":11,"permalink":"adam-of-eva-in-het-paradijs-a","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/848/large/adam_of_eva_rechts_screenshot.jpg?1470746808","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e(Adam or Eve in Paradise - A)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In the incestuous gesture of the hero as an androgynous larva, craving a return to our mum by sad penetration, a casual Dance of Death performed in a twilit room, a calm plain alike, the worship kept silent, drowned out by masked gossipers, ashamed of the song of the caressing black, old electric carnival which once provoked silence, until the tourist pleases himself into a skin of hiss, in mono.\u0026quot;\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven en Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eActing: Mauro Pawwlowski, Dennis Denijs and many friends.\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: Anne-Mie Van Kerckhoven, Danny Devos, Chris Van Camp and assistant.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and montage: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: MOMU, Antwerpen/Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Over het incestueuze gebaar van de held als androgyne larf, verlangend naar terugkeer door droeve penetratie van ons moeder, een terloopse Danse Macabre uigevoerd in een avondlijke kamer als windstille vlakte, de eredienst verzwegen en overstemd door gemaskerde roddelaars, beschaamd om de zang van het strelend zwart, oud elektrisch karnaval dat eens opruide tot stilte, totdat de toerist zich vermaakt tot een huid van ruis, in mono.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven en Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Mauro Pawlowski\u003c/p\u003e\r\n\r\n\u003cp\u003eActing: Mauro Pawwlowski, Dennis Denijs and many friends.\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: Anne-Mie Van Kerckhoven, Danny Devos, Chris Van Camp and assistant.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and montage: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: MOMU, Antwerpen/Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14414,"title":"Morele herbewapening: Cumulator","dimensions":"00:55:22","date_begin":"2004-01-01","material":"computer animation, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"film video","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/cumulator/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 55:22\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"062b","stream_count_app":17,"permalink":"cumulator","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/847/large/62bis_cumulator_screenshot.jpg?1470746499","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"}]},{"id":14394,"title":"De Mens in het Dier","dimensions":"00:16:04","date_begin":"1985-01-01","material":"video (U-Matic), digitised, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"film","publishing_process_id":1,"annotation":"\u003cp\u003eVideo\u003cbr /\u003e\r\nDuration: 16:04\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK, Paul Willems\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK, Lu-Group\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eActors: Wouter De Rijck, DDV, Marc Vanrunxt, AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: ICC Antwerpen, Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e16/1-03/02/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De mens in het dier, I.C.C., Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e17/02/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Berlin Atonal, Berlijn, D\u003c/p\u003e\r\n\r\n\u003cp\u003emei 85\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Mens in het dier, een kwestie van hormonen; Time based Arts, Amsterdam NL\u003c/p\u003e\r\n\r\n\u003cp\u003e17/10-27/10/1985\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 14ieme Festival du nouveau cinema et de la video, Montreal, Can\u003c/p\u003e\r\n\r\n\u003cp\u003e10/01-15/02/1986\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Mens in het dier, een kwestie van hormonen, Vereniging voor het\u0026nbsp; Museum van Hedendaagse Kunst, Gent, B\u003c/p\u003e\r\n","date_end":null,"reference":"010","stream_count_app":28,"permalink":"de-mens-in-het-dier","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/822/large/10_de_mens_in_het_dier_screenshot.jpg?1470734341","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;On interpretation and reinterpretation. The laws of thought, moral strength, the power of the image\u0026hellip; In the original installation, a central screen shows a personal visual interpretation of Aristotle\u0026rsquo;s laws on being and non-being. On each side was a smaller monitor with surveillance footage of people viewing three double-sided paintings in another room.\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;Every installation, every piece of work is a survival mechanism, is the result of a mechanism\u0026nbsp;that plays in a certain period of my time. Every period in my life is outlined by a series of entities that automatically evolve into a specific theme. This mechanism consists\u0026nbsp;of entities such as feelings, concepts and impressions, pointing towards a theme.\u0026nbsp;By using these themes, I\u0026rsquo;m able to control them, I can give them a logical position in my life. You can say that I translate or canalize my inner process into an exterior three-dimensional structure. The process puts itself into an \u0026quot;artefakt\u0026quot;.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, Paul Willems\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, Lu-Group\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Wouter De Rijck, DDV, Marc Vanrunxt, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: ICC Antwerpen, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Over interpretatie en herinterpretatie. De wetten van het denken, morele kracht, de kracht van het beeld. In de originele installatie toont een centraal scherm een persoonlijke visuele interpretatie van Aristoteles\u0026rsquo; wet over zijn en niet-zijn. Aan elke kant staat een kleinere monitor met beelden van een bewakingscamera waarop mensen drie dubbelzijdige schilderijen in een andere ruimte bekijken.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Elke installatie, elk kunstwerk is een overlevingsmechanisme, is het resultaat van een\u0026nbsp;mechanisme dat een rol speelt in een bepaalde periode in mijn leven. Elke periode in mijn leven is afgelijnd door een serie van entiteiten die zich automatisch ontwikkelen tot een specifiek thema. Dit mechanisme bestaat uit entiteiten als gevoelens, concepten en indrukken, die leiden naar een thema.\u0026nbsp;Door deze thema\u0026rsquo;s te gebruiken, ben ik in staat ze te controleren.\u0026nbsp;Ik kan ze een logische plaats in mijn leven geven. Je zou kunnen zeggen dat ik \u0026nbsp;mijn innerlijk proces vertaal of kanaliseer naar een externe, driedimensionale structuur. Het proces stopt zichzelf in de vorm van een \u0026ldquo;artefakt\u0026rdquo;.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK, Paul Willems\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, Lu-Group\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Wouter De Rijck, DDV, Marc Vanrunxt, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: ICC Antwerpen, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCamera: AMVK, Paul Willems\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, Lu-Group\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Wouter De Rijck, DDV, Marc Vanrunxt, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: ICC Antwerpen, Club Moral\u003c/p\u003e\r\n"}]},{"id":14406,"title":"Re-Pain","dimensions":"00:10:02","date_begin":"1999-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"film video AMVK","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://www.amvk.be/films/re-pain/\u003c/p\u003e\r\n\r\n\u003cp\u003eComputer animation\u003cbr /\u003e\r\nDuration: 10:02\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eCamera: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eEditing: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eAnimation: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eSoundtrack: AMVK\u003c/li\u003e\r\n\t\u003cli\u003eProduced by: Club Moral\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e22/05/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Group show, Galerie Barbara Thumm, Berlin, D\u003c/p\u003e\r\n\r\n\u003cp\u003e12/12-15/12/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Manifestation \u0026ldquo;Coup de grace, la po\u0026eacute;sie comme connaissance\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eobjective\u0026rdquo;,\u0026nbsp; l\u0026rsquo;ecole super\u0026eacute;rieure d\u0026rsquo;art de Grenoble, FR\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e09/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Trattenendosi, Zitelle - Antichi Granai, Venice, IT\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e26/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nursing Care in Melancholy Stupor, MuHKa, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Merging Online, Culture Club, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e28/06/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Gelijk het leven is; SMAK, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1-6 1999\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 10 min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"047","stream_count_app":23,"permalink":"re-pain","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":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/836/large/47_repain_screenshot_1.jpg?1470737924","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Colors, shapes and numbers slowly change, transform, according to a fixed pattern. While the sound gets slower and slower, more abstract. The discrepancy between the two movements, the movement of the images and the movement of the sound, creates tranquility and detachment. The experience is an anti-pole of negativeness in melancholy.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe here and now only gets filled up with the sole existence of being, creative lust gradually changing into the cosmic nothing. No more craving, no more nostalgia, no more ego. Just being, harmony: an erotic blend with reality.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe soundscape is a collage between the first tones of a science-fiction-film and noises from autonomous intelligent robots, bumping into each other and the walls, to become even more intelligent.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Kleuren, vormen en cijfers veranderen langzaam volgens een vast patroon, terwijl de klankband trager en trager, abstracter en abstracter wordt. De discrepantie tussen de beide bewegingen geeft een rust en losmaking die als de antipode van negatieve melancholie ervaren wordt.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet hier en nu wordt enkel opgevuld met het zijn zelf, de creatieve lust verandert langzaam in een cosmisch niets. Geen verlangen meer, geen heimwee, geen ego, alleen bestaan, harmonie, een erotische versmelting met de werkelijkheid, dus.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe klankband bestaat uit een collage van de eerste tonen van een science -fiction-film-icoon met geluiden van autonome verstandige robots die tegen muren aanbotsen en zo n\u0026oacute;g verstandiger worden.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSoundtrack: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduced by: Club Moral\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14466,"title":"Le Mal, la Morale et Sentimental","dimensions":"","date_begin":"1982-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"amvk","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"le-mal-la-morale-et-sentimental","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/886/large/lemal_1.jpg?1509023687","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In alignment with the outcome \u0026lsquo;INDUSTRIELE TYPEN\u0026rsquo; and the investigation throughout the written and illustrated press this installation, on request, in the worn out cafeteria of the ICC in Antwerp.\u003cbr /\u003e\r\nThis disgusting place seemed afterwards the ideal spot to present my travel through the dirty inside of the common norms, that lead to most human acts. Here I distilled the movement of the human motives behind each action that has not to do with propagation and maintaining of the species.\u003cbr /\u003e\r\nThese motives always include a starting point\u003cbr /\u003e\r\n(1), an elaboration (2), and a conclusion, as well as the fact that in the elaboration (2) of things always the sum of the starting-point (1) includes the starting-point plus the conclusion (1 + 3) and the elaboration itself.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThus:\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. Le mal \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;- \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; vertical movement - stand\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eTemper \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; 1\u0026rsquo;. We want power\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eFit \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 2\u0026rsquo;. We want knowledge\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eDream \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 3\u0026rsquo;. We want followers\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2. La morale \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;- \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; oblique movement - sit\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eLust \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 1\u0026rsquo;. Big power\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eDespise \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; 2\u0026rsquo;. Challenge\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eThe soul \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 3\u0026rsquo;. Fertile.\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e3. Sentimental \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;-\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; horizontal movement - lay\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eFamily-embargo \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 1\u0026rsquo;. Movement\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eStructure of \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 2\u0026rsquo;. Attitude\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eIdentity\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 3\u0026rsquo;. Direction.\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNote:\u003cbr /\u003e\r\nI have made sure by means of the pictural illustrations to make clear that each number 2 is equal to 1 + (1 + 3) + 2. This goes as far as the spectator adults. At the opening CLUB MORAL took care of an accompying hypnotic effect by the use of sounds and reciting texts on trance.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. Aggressivity\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; by stiffness\u003cbr /\u003e\r\n2. Weakness \u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; by love of ease\u003cbr /\u003e\r\n3. Power \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; by bottomlessness\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe under-development zone of misthoughts forms the right coordinates to - definitions as occasionable tables and false ceiling to - in brief, intuition is the perfect timing concerning tourism, folklore + politics of the mind!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In aansluiting op de uitkomst \u0026lsquo;INDUSTRIELE TYPEN\u0026rsquo; en het onderzoek doorheen de geschreven en ge\u0026iuml;llustreerde pers deze installatie, op aanvraag, in de afgedankte cafetaria van het ICC te Antwerpen.\u003cbr /\u003e\r\nDeze afschuwelijke ruimte bleek achteraf de ideale plaats om mijn reis doorheen het vuile binnenste van de algemeen geldende normen, die leiden tot de meeste menselijke handelingen, in voor te stellen. Hier distilleerde ik de beweging van de menselijke drijfveren achter elke actie die niet te maken heeft met het voortplanten en tot stand houden van de soort.\u003cbr /\u003e\r\nDeze drijfveren houden telkens een uitgangspunt (1), een uitwerking (2), en een conclusie in, alsook het feit dat in de uitwerking (2) der dingen steeds de som van het uitgangspunt (1), het uitgangspunt plus de conclusie (1 + 3) en de uitwerking zelf (2) begrepen zijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDus:\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eLe mal\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; -\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; verticale beweging - staan\u003cbr /\u003e\r\n\t\u003cbr /\u003e\r\n\t1. Drift\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; 1\u0026rsquo;. Wij willen macht\u003cbr /\u003e\r\n\t2. Droom\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; 2\u0026rsquo;. Wij willen weten\u003cbr /\u003e\r\n\t3. Droom\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; 3\u0026rsquo;. Wij willen aanhangers.\u003c/em\u003e\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eLa morale\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp; - \u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; schuine beweging - zitten\u003cbr /\u003e\r\n\t\u003cbr /\u003e\r\n\t1. Wellust\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; 1\u0026rsquo;. Grote kracht\u003cbr /\u003e\r\n\t2. Verachting\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 2\u0026rsquo;. Uitdaging\u003cbr /\u003e\r\n\t3. De ziel\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 3\u0026rsquo;. Vruchtbaar.\u003c/em\u003e\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eSentimental\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; -\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; horizontale beweging - liggen\u003cbr /\u003e\r\n\t\u003cbr /\u003e\r\n\t1. Familie-embargo\u0026nbsp; 1\u0026rsquo;. Beweging\u003cbr /\u003e\r\n\t2. Structuur der\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 2\u0026rsquo;. Houding\u003cbr /\u003e\r\n\t\u0026nbsp;\u0026nbsp;\u0026nbsp; systemen\u003cbr /\u003e\r\n\t3. Identiteit\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 3\u0026rsquo;. Richting\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNota:\u003cbr /\u003e\r\nIk heb ervoor gezorgd d.m.v. de picturale illustraties te verduidelijken dat elk nummer 2 gelijk is aan 1 + (1 + 3) + 2. Dit gaat zover als de toeschouwer toelaat. Bij de opening heeft CLUB MORAL d.m.v. klanken en reciteren van teksten over trance voor een bijkomend hypnotisch effect gezorgd.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. Agressiviteit \u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; door strakheid\u003cbr /\u003e\r\n2. Weekheid \u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; door gemakzucht\u003cbr /\u003e\r\n3. Kracht \u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp; door bodemloosheid\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe onderontwikkelde zone van wangedachten vormt de juiste co\u0026ouml;rdinaten tot - definities als bijzettafeltjes en vals plafond om - kortom, intu\u0026iuml;tie is de perfecte timing voor conflicten wat betreft toerisme, folklore + politiek van de geest!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14477,"title":"Verdeel en Heers","dimensions":"","date_begin":"1989-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"video installatie video-installation AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e16/11-22/12/1989\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Verdeel \u0026amp; Heers, ICC, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e03/06-02/07/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Wunschmaschinen, WUK, Wien, Os\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06-29/08/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Retrospectieve van de Belgische Videokunst, MuHKa,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eAntwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/03-17/04/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Beeld/Beeld, MHKG, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e16/02-05/03/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Art \u0026amp; Electronic Media in Europe, Pao Galleries, Arts Centre,\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp; Hong Kong\u003c/p\u003e\r\n","date_end":null,"reference":"018","stream_count_app":19,"permalink":"de-5de-kracht-verdeel-en-heers","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/810/large/AMVK_VIDEOSHEET_18.jpg?1478684056","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;My starting-point for the installation \u0026ldquo;The 5th Force\u0026rdquo; was the making of a cult-room in which various and supplementary moral survival systems exist simultaneously. The presence is continuous and complete, so that anytime one enters the space, an ethical overall picture is impressed, a picture of what defines us Westerners, wittingly or unwittingly, in most of our behavior and rational development. The information-currents happen in certain rhythms and contain atheist as well as religious ideologies, rosicrucians, black magic, freemasons, information-cults, evolutionary cults, pagan incantations, popular culture, artificial intelligence. I call it a mystic work because my main motive is the liquidation of adversary, the re-unification of what was torn apart in the beginning of mankind. 2 eyes, 2 ears, 2 halves of the brain, 2 hands, 2 feet. One always needs 2 to experience depth, to enter anything profoundly, including consciousness. The pain which removes the Self from oneself is called consciousness. By showing all this together I try to liquidate these divisions which refrain us to exceed certain limits. More specific the limits which refrain us from feeling the unity with all that\u0026rsquo;s been created. This is a work in progress, in other words, this work evolves every time it is shown, it is refined, replenished and amplified, it becomes clearer and completer.\u0026nbsp; I see this work as a melting pot of all elements I\u0026rsquo;ve been working with in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Mijn uitgangspunt voor de installatie \u0026ldquo;De 5de Kracht\u0026rdquo; was het maken van een cult-ruimte waarin verschillende en aanvullende morele overlevingssystemen simultaan, naast elkaar aanwezig zijn. Waarvan de aanwezigheid in die zin continu en volledig is dat, op eender welk tijdstip dat men de ruimte betreedt, men een ethisch totaalbeeld ontvangt van dat wat ons als westerlingen, bewust en onbewust, bepaalt in de meeste van onze gedragingen en gedachtensontwikkelingen. De informatiestromen gebeuren volgens bepaalde ritmen en beslaan zowel de athe\u0026iuml;stische als godsdienstige ideologi\u0026euml;n, rozekruisers, zwarte magie, vrijmetselaars, informatieculus, vooruitgangscultus,\u0026nbsp; heidense natuurbezwering, populaire cultuur, artific\u0026iuml;ele intelligentie. Ik noem het een mystiek werk omdat mijn drijfveer vooral het opheffen van tegenstellingen is, het herenigen van dat wat van in het begin van de mensheid uiteen werd gehaald. 2 ogen,2 oren, 2 hersenhelften, 2 handen, 2 voeten. Altijd zijn er 2 nodig om de diepte te ervaren, in de diepte te treden, ook\u0026nbsp; van het bewustzijn. De pijn die het Ik van zichzelf verwijdert heet het bewustzijn. \u003c/em\u003e\u0026nbsp;Door dit alles\u0026nbsp; tesamen te tonen probeer ik die onderverdelingen op te heffen die ons ervan weerhouden bepaalde grenzen te overschrijden. Meer bepaald de grenzen die ons ervan weerhouden de eenheid met al wat geschapen is te voelen.\u0026nbsp;\u003cem\u003eDit is een work in progress, m.a.w. dit werk evolueert elke keer wanneer ik het toon, verfijnt zich, wordt aangevuld en duidelijker. \u0026nbsp;Ik beschouw dit werk als de smeltkroes van alle elementen waar ik in de afgelopen 20 jaar mee gewerkt heb.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14474,"title":"Bloem van Smarten","dimensions":"3 x (112 x 224 x 3 cm)","date_begin":"1990-01-01","material":"paint and plastic foil on trovicel on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"","stream_count_app":34,"permalink":"principia-cybernetica","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;3 Gem\u0026auml;lde-Collagen auf Trovicel\u2028In Reaktion auf die unaufhaltsam wachsende Pr\u0026auml;senz von Computern und den ihnen zugeschriebenen Leistungskr\u0026auml;ften beginnt die akademische Welt nachzudenken \u0026uuml;ber Grundlagen der Kybernetik, analog zu den Grundlagen der Mathematik (Principia Mathematica, Bertrand Russell). An der Freien Universit\u0026auml;t in Br\u0026uuml;ssel besch\u0026auml;ftigt sich eine Gruppe von Forschern mit der Entwicklung eines Systems kybernetischer Philosophie, das sich auf Epistemologie (1), Metaphysik (2) und Ethik (3) bezieht \u0026ndash; in Sorge um diese h\u0026ouml;chsten mensch- lichen Werte. Alekto, Megeara und Tisiphone sind Erinnyen (Schicksalsg\u0026ouml;ttinnen). Wie Furien und Gorgonen sind sie Werkzeuge g\u0026ouml;ttlicher Rache und bestrafen Fehler der Men- schen. Sie verk\u0026ouml;rpern das menschliche Gewissen, das sich zun\u0026auml;chst sch\u0026uuml;tzt und verteidigt, dann urteilt und zerst\u0026ouml;rt. Wenn Racheg\u0026ouml;ttinnen zu Schicksalsg\u0026ouml;ttinnen werden, beeinflussen sie das menschliche \u0026bdquo;Fatum\u0026ldquo;.\u2028\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026mdash; AMVK\u003c/p\u003e\r\n","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/875/large/Schermafbeelding_2017-09-27_om_16.27.01.png?1506522457","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;As a result of the unstoppable, ever growing presence of computers and the powers that are attributed to them, the academic world starts to think about a Principia Cybernetica, analog to the Principia Mathematica. At the V.U.B. in Brussels a team of researchers tried to built a system of cybernetic philosophy related to epistemology (1), metaphysics (2) and ethics (3), concerned about the highest human values. Alecto, Megaera and Tisiphone are Erinyen (Moirai), like furies and Gorgons they are instruments of divine revenge for human mistakes. They impersonate human conscience that at first defends and prevents, then judges and destroys. When revenge goddesses become Moirai they more specifically deal with \u0026quot;fate\u0026quot;.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Als resultaat van de ontstopbare, eeuwig groeiende aanwezigheid van computers en de krachten die aan hen worden toegeschreven, begint de academische wereld na te denken over een Principia Cybernetica, analoog naar de Principia Mathematica. Aan de V.U.B. in Brussel heeft een team onderzoekers geprobeerd een systeem van cybernetische filosofie, met verband tot epistemologie (1), meta-fysica (2), ethiek (3), te ontwikkelen, rekening houdend met de belangrijkste menselijke waarden.\u0026nbsp;Alecto, Megaera en Tisiphone zijn Erinyen (Moirai), als furies en Gorgonen zijn zij instrumenten van goddelijke wraak op menselijke fouten. Ze verpersoonlijken het menselijke geweten dat in eerste instantie beschermt en voorkomt, daarna oordeelt en verwoest. Wanneer wraakgodinnen Moirai worden, handelen ze meestal rond het \u0026lsquo;lot\u0026rsquo;.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14643,"title":"Belgisch Spleen: Et Dieu créa la femme","dimensions":"18.5 x 37.5 x 2.5 cm","date_begin":"1992-01-01","material":"silkscreen on two layers of Plexiglas with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection, Belgium","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"1992000T","stream_count_app":18,"permalink":"et-dieu-crea-la-femme","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/383/large/19920000T_kl.jpg?1483346520","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Belgian Spleen: And God Created Woman)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992, I collected all the ideas and reflections that I wrote down from 1974 up till then in a Brepols bookkeeping agenda for income and expenditure. I classified all the notes per day in the month, to find out whether the occurrence of certain spontaneous thoughts is subject to the specific moments in a year. I hoped to discover an evolution or system in the seemingly chaotic storm of thoughts and inspiration. The overwriting and listing inspired me to work on a series of works about the struggle between concept, language and image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992 verzamelde ik in een Brepols-boekhoudersagenda voor inkomsten en uitgaven al de idee\u0026euml;n en reflecties die ik opschreef vanaf 1974 tot dan. Ik classificeerde al de notities per dag in de maand, om uit te vinden of het ontstaan van bepaalde spontane gedachten onderhevig is aan de specifieke momenten in een jaar. Ik hoopte zo een evolutie of systeem te ontdekken in de schijnbaar chaotische storm van gedachten en ingevingen. Het overschrijven en oplijsten inspireerde me tot een reeks werken over de strijd tussen concept, taal en beeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Spleen Belge: Et Dieu Cr\u0026eacute;a la Femme)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1992, j\u0026rsquo;ai r\u0026eacute;uni dans un agenda perp\u0026eacute;tuel Recettes et D\u0026eacute;penses de Brepols toutes les id\u0026eacute;es et r\u0026eacute;flexions que j\u0026rsquo;avais consign\u0026eacute;es de 1974 \u0026agrave; cette date. J\u0026rsquo;ai classifi\u0026eacute; toutes les notes par jour du mois pour d\u0026eacute;couvrir si l\u0026rsquo;\u0026eacute;mergence de certaines pens\u0026eacute;es spontan\u0026eacute;es est sujette \u0026agrave; des moments sp\u0026eacute;cifiques dans l\u0026rsquo;ann\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;esp\u0026eacute;rais ainsi d\u0026eacute;couvrir une \u0026eacute;volution ou un syst\u0026egrave;me dans la temp\u0026ecirc;te apparemment chaotique des id\u0026eacute;es et des inspirations. La transcription et le listage m\u0026rsquo;ont inspir\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres sur la pol\u0026eacute;mique entre concept, langue et image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14602,"title":"(kunst/wetenschap) = (logica/toekomst): Blauw abstract","dimensions":"43 x 33 x 0.25 cm","date_begin":"1980-01-01","material":"acrylpaint and acryl felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19801200A","stream_count_app":34,"permalink":"blauw-abstract","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/217/large/1980_1200_blauw_abstract_.JPG?1478191944","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): Blue Abstract)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;Bleu abstrait)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas. Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides. Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes. Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14603,"title":"Zonder titel","dimensions":"47.5 x 28 cm","date_begin":"1981-01-01","material":"paint and felt tip on Plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810000H","stream_count_app":24,"permalink":"z-t-acf314c1-f9fd-4c79-90fd-002d57c33282","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/218/large/19810000H.JPG?1478257425","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gekleurde werken op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14604,"title":"Normaliseren","dimensions":"42.5 x 27.5 cm","date_begin":"1981-01-01","material":"Paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810000N","stream_count_app":20,"permalink":"normaliseren","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/219/large/19810000N_kl.JPG?1478192501","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gekleurd\u0026nbsp;werk\u0026nbsp;op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14605,"title":"Numbers","dimensions":"32 x 27 cm","date_begin":"1981-01-01","material":"Paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810000Z","stream_count_app":21,"permalink":"numbers-91dee88e-a303-4e80-9224-98271fb89aba","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/220/large/19810000Z_kl.jpg?1478192993","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gekleurd\u0026nbsp;werk\u0026nbsp;op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14606,"title":"Duplicata","dimensions":"27 x 24 cm","date_begin":"1981-01-01","material":"Paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810001A","stream_count_app":16,"permalink":"duplicata","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/221/large/19810001a__duplicata_kopie.jpg?1478258999","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gekleurde werken op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14608,"title":"Zelfportret","dimensions":"30.5 x 30.5 x 0.4 cm","date_begin":"1981-01-01","material":"Paint and felt tip on Plexiglass mirror","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810200E","stream_count_app":10,"permalink":"zelfportret-99c2e157-96b1-49d3-aea2-482a882f80ce","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/223/large/19810200E_kl.jpg?1483351988","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Gekleurde werken op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14611,"title":"1 + 3 Elementen","dimensions":"32.3 x 32 cm","date_begin":"1981-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810300E","stream_count_app":29,"permalink":"1-3-elementen","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/228/large/19810300E_kl.JPG?1478247006","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14613,"title":"Mind, Antimatter and Mine","dimensions":"40.5 x 29.5 x 0.4 cm","date_begin":"1981-01-01","material":"paint and felt tip on plexi mirror","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810600A","stream_count_app":24,"permalink":"mind-anitmatter-and-mine","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/230/large/19810600A.JPG?1478247155","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026minus; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gekleurde werken op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14617,"title":"Girl Illustrated","dimensions":"40 x 38 cm","date_begin":"1981-01-01","material":"Paint, felt tip and tape on Plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810800A","stream_count_app":19,"permalink":"girl-illustrated","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/235/large/5_bis_Girl_Illustrated19810800A_.JPG?1478267072","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Painting\u0026nbsp;on Plexiglass that was part of the installation \u0026quot;39 Steps vs. 19 Keys\u0026quot; in Produktion Hair, Londen, 1983\u0026quot;\u003c/em\u003e\u0026nbsp;\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Schilderij op Plexiglas dat deel uitmaakte van de installatie \u0026ldquo;39 steps vs. 19 Keys\u0026rdquo; in Produktion Hair, Londen, 1983.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14618,"title":"Woman with Green Hair","dimensions":"40.5 x 42.5","date_begin":"1982-01-01","material":"Paint on Plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19820400A","stream_count_app":26,"permalink":"z-t-58a1bcce-b966-46fb-9d03-946d20a47748","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/236/large/5_bis_19820400A.jpg?1478267271","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I made images of female figures at the installation 19 Enochian Keys vs. 39 Steps of A. Hitchcock: in a hardcore haidressers\u0026rsquo; salon in London, I hung ten transparent plastic folders on rubber wires. The folders represent the 19 Enochian Keys. These keys are each represented on one side of a map by an image combination of myself, buildings, hypnosis and trance.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe film 39 Steps/19 Keys is part of this. In it, I make a comparison between the demonic directing manners of filmmaker Alfred Hitchcock on the one hand, and the 19 ways to call the devil on the other hand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte beelden van vrouwenfiguren voor bij de installatie 19 Enochian Keys vs. 39 Steps of A. Hitchcock, waar ik in een hardcore coiffeursalon in London tien doorzichtige plastic mappen aan rubberen draden hing. De mappen stellen de 19 Enochiaanse sleutels voor.\u0026nbsp; Deze sleutels zijn elk op \u0026eacute;\u0026eacute;n kant van een map voorgesteld door een beeldencombinatie van mezelf, gebouwen, hypnose en trance.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHierbij hoort de film 39 Steps/19 Keys, waarin ik een vergelijking maak tussen de demonische regie-manieren van filmmaker Alfred Hitchcock enerzijds, en de 19 manieren om de duivel op de roepen anderzijds.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Femme aux cheveux verts)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; des images de personnages f\u0026eacute;minins pour l\u0026rsquo;installation 19\u0026nbsp;Enochian Keys vs 39\u0026nbsp;Steps of A. Hitchcock, dans laquelle j\u0026rsquo;ai suspendu dans un salon de coiffure hardcore \u0026agrave; Londres dix pochettes en plastique transparent \u0026agrave; des fils de caoutchouc. Les chemises repr\u0026eacute;sentent les 19\u0026nbsp;Cl\u0026eacute;s \u0026eacute;nochiennes. Celles-ci sont toutes pr\u0026eacute;sentes d\u0026rsquo;un c\u0026ocirc;t\u0026eacute; des chemises par une combinaison d\u0026rsquo;images de moi-m\u0026ecirc;me, de b\u0026acirc;timents, d\u0026rsquo;hypnose et de transe.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;installation est pr\u0026eacute;sent\u0026eacute;e avec le film 39\u0026nbsp;Steps/19 Keys dans lequel j\u0026rsquo;\u0026eacute;tablis une comparaison entre les mises en sc\u0026egrave;ne d\u0026eacute;moniaques du cin\u0026eacute;aste Alfred Hitchcock d\u0026rsquo;une part et les 19\u0026nbsp;mani\u0026egrave;res d\u0026rsquo;invoquer le diable d\u0026rsquo;autre part.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14619,"title":"39 Steps vs 19 Keys","dimensions":"(10 x) 30 x 44 cm","date_begin":"1983-01-01","material":"Mixed media on transparent foil in plastic holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19830620A","stream_count_app":27,"permalink":"39-steps-vs-19-keys-e8599874-fc79-46fd-9ffe-f162c410b3e6","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/238/large/5_1983_0620_19_keys_9_x_A3_zie_foto.jpg?1478266067","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Installation\u0026nbsp;with 20 transparant xerox prints in 10 plastic holders hung on rubber wires like laundry...\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Installatie met 20 transparante Xerox-prints in 10 plastieken houders opgehangen aan rubberen draden, net was.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14624,"title":"De Profundis","dimensions":"250 x 200 cm","date_begin":"1987-01-01","material":"Paint and foil on pvc with iron hinged joints","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19870000P","stream_count_app":10,"permalink":"de-profundis-8a730f28-8cd3-4571-bd26-2c269084b61a","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/246/large/11_1987_0000P_de_profundis_200x250.jpg?1478625640","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Painting/collage on PVC with iron hinges: dancing is a ritual coming from the deep.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Schilderij/collage op PVC met ijzeren scharnieren: Dansen is een ritueel dat uit de diepte komt.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14627,"title":"Interieur I: Locus Solis","dimensions":"200 x 150 x 6 cm","date_begin":"1989-01-01","material":"silkscreen paint and plastic foil on Forex on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000J","stream_count_app":17,"permalink":"interieur-i-locus-solis","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/249/large/14_1989_0000J_Locus_Solis_200x150.jpg?1478626924","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Locus solis is an enlargement of a drawing from my subconscious. It\u0026rsquo;s the first of two that I will make. It could have been the beginning of a large series, but it stopped at two. It\u0026rsquo;s about the artist\u0026rsquo;s skill. When a schizophrenic person experiences a state of incoherence, he remains in it. Artists convert that state into a creative moment. Yellow is the colour of madness.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs an artist, I started from my subconscious and made drawings of incoherent elements, one after the other, on one plane. Like in an animated film, they evolved in time towards the moment where I stopped. We might call them mandalas.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe use of the same paper has a regulating effect; all events taking place within the rectangle of the paper are scraps of life that, drawn in a context where they interact with each other, come to a standstill. This creates an amorphous setting of different elements, and here they become elements in an interior. To some of these drawings I later added colour, using them for my interactive work Pluriform, 2010.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Locus solis is een uitvergroting van een tekening uit mijn onderbewuste. Het is het eerste van de twee die ik zal maken. Het zou het begin geweest kunnen zijn van een grote serie, maar het bleef bij twee. Het gaat over de kunde van de kunstenaar. Als een schizofreen een toestand van onsamenhangendheid ervaart, blijft hij daarin hangen. Kunstenaars zetten die toestand om in een creatief moment. Geel is de kleur van de waanzin.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls kunstenaar ben ik begonnen vanuit mijn onderbewuste en tekende ik \u0026eacute;\u0026eacute;n voor \u0026eacute;\u0026eacute;n onsamenhangende elementen in een vlak. Als in een animatiefilm evolueerden die in de tijd naar het moment waar ik ophield. Men zou dat mandala\u0026rsquo;s kunnen noemen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet gebruik van hetzelfde papier werkt regulerend, alles wat binnen de rechthoek van het blad gebeurt zijn scherven van leven die, getekend in een onderlinge context, tot stilstand komen. Hierdoor ontstaat een amorfe setting van verschillende elementen die hier dus elementen worden in een interieur. Enkele van die tekeningen heb ik later ingekleurd en gebruikt voor mijn interactief werk Pluriform, 2010.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Locus solis est un agrandissement d\u0026rsquo;un dessin de mon inconscient. C\u0026rsquo;est le premier des deux que je ferai. Cela aurait pu \u0026ecirc;tre le d\u0026eacute;but d\u0026rsquo;une grande s\u0026eacute;rie, mais il n\u0026rsquo;y en a que deux. Il traite de l\u0026rsquo;aptitude de l\u0026rsquo;artiste.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Quand un schizophr\u0026egrave;ne vit une situation d\u0026rsquo;incoh\u0026eacute;rence, il a du mal \u0026agrave; s\u0026rsquo;en sortir. Les artistes transforment cette situation en un moment cr\u0026eacute;atif. Le jaune est la couleur de la folie.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En tant qu\u0026rsquo;artiste, j\u0026rsquo;ai commenc\u0026eacute; \u0026agrave; travailler \u0026agrave; partir de mon inconscient et j\u0026rsquo;ai dessin\u0026eacute; un \u0026agrave; un des \u0026eacute;l\u0026eacute;ments incoh\u0026eacute;rents sur une surface. Comme dans un film d\u0026rsquo;animation, ces \u0026eacute;l\u0026eacute;ments ont \u0026eacute;volu\u0026eacute; dans le temps jusqu\u0026rsquo;au moment o\u0026ugrave; j\u0026rsquo;ai arr\u0026ecirc;t\u0026eacute;. On pourrait les qualifier de mandalas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;utilisation du m\u0026ecirc;me papier a un effet r\u0026eacute;gulateur, tout ce qui se d\u0026eacute;roule dans le rectangle de la feuille sont des bribes de vie qui, dessin\u0026eacute;es dans un contexte connexe, s\u0026rsquo;immobilisent. Cela donne lieu \u0026agrave; une composition amorphe de diff\u0026eacute;rents \u0026eacute;l\u0026eacute;ments qui deviennent ici des \u0026eacute;l\u0026eacute;ments d\u0026rsquo;un int\u0026eacute;rieur.\u0026nbsp;Par la suite, j\u0026rsquo;ai colori\u0026eacute; certains de ces dessins et m\u0026rsquo;en suis servi pour mon \u0026oelig;uvre interactive Pluriform (Pluriforme).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":14629,"title":"In Dreams. Wanneer tijd zijn macht verliest","dimensions":"48 x 50 cm","date_begin":"1992-01-01","material":"Monoprint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920000B","stream_count_app":11,"permalink":"in-dreams-wanneer-tijd-zijn-macht-verliest","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/251/large/n_Dreams._Wanneer_tijd_zijn_macht_verliest_AMVK1992_33.jpg?1478628912","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;This work is part of\u0026nbsp;series of 8 mono prints on PVC, self-portraits with the 5 elements of a mandala I made in the AI-lab in Brussels. As a woman one is a moon surrounded by men, castles, horses and trees.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u003cem\u003e\u0026mdash;\u003c/em\u003e AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Dit werk maakt deel uit van een serie van 8 mono-prints op PVC, zelfportretten met de 5 elementen van een mandala die ik maakte in het Al-lab in Brussel. Als vrouw ben je een maan omringd door mannen, kastelen, paarden en bomen.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14626,"title":"De Goddelijke 3-1heid / Sex /De Kunstgeschiedenis van 1990-'45 [The Devine Tri-unity / Sex / Art History 1900-'45]","dimensions":"244 x 122 x 0.3 cm","date_begin":"1989-01-01","material":"Paint and plastic foil on forex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"1989000I","stream_count_app":21,"permalink":"de-goddelijke-3-1heid-sex-de-kunstgeschiedenis-van-1990-45","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/248/large/13_1989_0000I_de_kusntgeschiedenis_244x122.jpg?1478625870","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Painting/collage on Trovicel:\u0026nbsp; 3 main characters of the London SM scene, tied together with their nose-piercings, moddeled for me for the male-protecting art world,\u0026nbsp; presenting itself as a sex-obsessed, self-contained pseudo-religion.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Schilderij/collage op Trovicel: drie hoofdrolspelers uit de Londense SM-sc\u0026egrave;ne, aan elkaar vastgebonden met hun neus-piercings, stonden voor mij model voor de man-beschermende kunstwereld, zichzelf presenterend als een door seks geobsedeerde, zelfingenomen pseudoreligie.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14645,"title":"Belgisch Spleen: Aanbid eerst mij","dimensions":"37 x 27 x 0.4 cm","date_begin":"1992-01-01","material":"monoprint and acrylic on two layers of Plexiglas with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920900B","stream_count_app":17,"permalink":"aanbid-eerst-mij","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/385/large/19920900B_kl.jpg?1517470931","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Belgian Spleen: Worship Me First)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992, I collected all the ideas and reflections that I wrote down from 1974 up till then in a Brepols bookkeeping agenda for income and expenditure. I classified all the notes per day in the month, to find out whether the occurrence of certain spontaneous thoughts is subject to the specific moments in a year. I hoped to discover an evolution or system in the seemingly chaotic storm of thoughts and inspiration. The overwriting and listing inspired me to work on a series of works about the struggle between concept, language and image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992 verzamelde ik in een Brepols-boekhoudersagenda voor inkomsten en uitgaven al de idee\u0026euml;n en reflecties die ik opschreef vanaf 1974 tot dan. Ik classificeerde al de notities per dag in de maand, om uit te vinden of het ontstaan van bepaalde spontane gedachten onderhevig is aan de specifieke momenten in een jaar. Ik hoopte zo een evolutie of systeem te ontdekken in de schijnbaar chaotische storm van gedachten en ingevingen. Het overschrijven en oplijsten inspireerde me tot een reeks werken over de strijd tussen concept, taal en beeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Spleen Belge:\u0026nbsp;V\u0026eacute;n\u0026egrave;re-moi d\u0026rsquo;abord)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1992, j\u0026rsquo;ai r\u0026eacute;uni dans un agenda perp\u0026eacute;tuel Recettes et D\u0026eacute;penses de Brepols toutes les id\u0026eacute;es et r\u0026eacute;flexions que j\u0026rsquo;avais consign\u0026eacute;es de 1974 \u0026agrave; cette date. J\u0026rsquo;ai classifi\u0026eacute; toutes les notes par jour du mois pour d\u0026eacute;couvrir si l\u0026rsquo;\u0026eacute;mergence de certaines pens\u0026eacute;es spontan\u0026eacute;es est sujette \u0026agrave; des moments sp\u0026eacute;cifiques dans l\u0026rsquo;ann\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;esp\u0026eacute;rais ainsi d\u0026eacute;couvrir une \u0026eacute;volution ou un syst\u0026egrave;me dans la temp\u0026ecirc;te apparemment chaotique des id\u0026eacute;es et des inspirations. La transcription et le listage m\u0026rsquo;ont inspir\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres sur la pol\u0026eacute;mique entre concept, langue et image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14641,"title":"Belgisch Spleen: Petit Mal","dimensions":"47 x 35 x 0.4 cm","date_begin":"1992-01-01","material":"Paint, monoprint on plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Belgium","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920000R","stream_count_app":25,"permalink":"petit-mal","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/381/medium_500/19920000R_kl.jpg?1483346305","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/381/large/19920000R_kl.jpg?1483346305","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992, I collected all the ideas and reflections that I wrote down from 1974 up till then in a Brepols bookkeeping agenda for income and expenditure. I classified all the notes per day in the month, to find out whether the occurrence of certain spontaneous thoughts is subject to the specific moments in a year. I hoped to discover an evolution or system in the seemingly chaotic storm of thoughts and inspiration. The overwriting and listing inspired me to work on a series of works about the struggle between concept, language and image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992 verzamelde ik in een Brepols-boekhoudersagenda voor inkomsten en uitgaven al de idee\u0026euml;n en reflecties die ik opschreef vanaf 1974 tot dan. Ik classificeerde al de notities per dag in de maand, om uit te vinden of het ontstaan van bepaalde spontane gedachten onderhevig is aan de specifieke momenten in een jaar. Ik hoopte zo een evolutie of systeem te ontdekken in de schijnbaar chaotische storm van gedachten en ingevingen. Het overschrijven en oplijsten inspireerde me tot een reeks werken over de strijd tussen concept, taal en beeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1992, j\u0026rsquo;ai r\u0026eacute;uni dans un agenda perp\u0026eacute;tuel Recettes et D\u0026eacute;penses de Brepols toutes les id\u0026eacute;es et r\u0026eacute;flexions que j\u0026rsquo;avais consign\u0026eacute;es de 1974 \u0026agrave; cette date. J\u0026rsquo;ai classifi\u0026eacute; toutes les notes par jour du mois pour d\u0026eacute;couvrir si l\u0026rsquo;\u0026eacute;mergence de certaines pens\u0026eacute;es spontan\u0026eacute;es est sujette \u0026agrave; des moments sp\u0026eacute;cifiques dans l\u0026rsquo;ann\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;esp\u0026eacute;rais ainsi d\u0026eacute;couvrir une \u0026eacute;volution ou un syst\u0026egrave;me dans la temp\u0026ecirc;te apparemment chaotique des id\u0026eacute;es et des inspirations. La transcription et le listage m\u0026rsquo;ont inspir\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres sur la pol\u0026eacute;mique entre concept, langue et image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14647,"title":"Meesteres, ik dorst [Mistress, I'm Thursty]","dimensions":"43 x 31 x 0.4 cm","date_begin":"1992-01-01","material":"paint, print and plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920903A","stream_count_app":12,"permalink":"meesteres-ik-dorst","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/387/large/19920903A_kl.jpg?1483365764","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14652,"title":"Belgisch Spleen: Santo/Santa","dimensions":"21 x 29 x 2.5 cm","date_begin":"1992-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19930001B","stream_count_app":22,"permalink":"santo-santa-a28d885e-cfed-4b1f-9c84-31431d6ed362","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":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/391/large/21_1993_santo_santa.jpg?1478694965","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Belgian Spleen: Santo/Santa)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992, I collected all the ideas and reflections that I wrote down from 1974 up till then in a Brepols bookkeeping agenda for income and expenditure. I classified all the notes per day in the month, to find out whether the occurrence of certain spontaneous thoughts is subject to the specific moments in a year. I hoped to discover an evolution or system in the seemingly chaotic storm of thoughts and inspiration. The overwriting and listing inspired me to work on a series of works about the struggle between concept, language and image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992 verzamelde ik in een Brepols-boekhoudersagenda voor inkomsten en uitgaven al de idee\u0026euml;n en reflecties die ik opschreef vanaf 1974 tot dan. Ik classificeerde al de notities per dag in de maand, om uit te vinden of het ontstaan van bepaalde spontane gedachten onderhevig is aan de specifieke momenten in een jaar. Ik hoopte zo een evolutie of systeem te ontdekken in de schijnbaar chaotische storm van gedachten en ingevingen. Het overschrijven en oplijsten inspireerde me tot een reeks werken over de strijd tussen concept, taal en beeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Spleen Belge: Santo/Santa)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1992, j\u0026rsquo;ai r\u0026eacute;uni dans un agenda perp\u0026eacute;tuel Recettes et D\u0026eacute;penses de Brepols toutes les id\u0026eacute;es et r\u0026eacute;flexions que j\u0026rsquo;avais consign\u0026eacute;es de 1974 \u0026agrave; cette date. J\u0026rsquo;ai classifi\u0026eacute; toutes les notes par jour du mois pour d\u0026eacute;couvrir si l\u0026rsquo;\u0026eacute;mergence de certaines pens\u0026eacute;es spontan\u0026eacute;es est sujette \u0026agrave; des moments sp\u0026eacute;cifiques dans l\u0026rsquo;ann\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;esp\u0026eacute;rais ainsi d\u0026eacute;couvrir une \u0026eacute;volution ou un syst\u0026egrave;me dans la temp\u0026ecirc;te apparemment chaotique des id\u0026eacute;es et des inspirations. La transcription et le listage m\u0026rsquo;ont inspir\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres sur la pol\u0026eacute;mique entre concept, langue et image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14658,"title":"Instinct, Etc...","dimensions":"60 x 60 x 2.5 cm","date_begin":"1994-01-01","material":"paint and plexi on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19940700A","stream_count_app":14,"permalink":"instinct-etc","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/397/large/24_1994_Instinct_60_x_60_kopie.jpg?1478696311","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Painting on blue Plexiglass plate and scraps of Plexiglass, mounted on a wooden black square. Written on the scraps, nailed to the painted interior and giving a choice to complete the work, are the words: Instinct, Insult, Intelligence.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Schilderij op een blauw Plexiglas paneel en stukken Plexiglas, vastgemaakt op een zwart, houten vierkant. Geschreven op de stukken, genageld aan het geschilderde decor en een keuze biedend om het werk te vervolledigen, staan de woorden: instinct, insult, intelligence.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14659,"title":"Agnost Repetition Compulsion","dimensions":"13 x 22 x 0.7 cm","date_begin":"1995-01-01","material":"acrylic paint on 3 pieces of Plexiglas, doublesided","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19950000Z","stream_count_app":15,"permalink":"agnost-repetition-compulsion","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/398/large/23_4_copy.jpg?1478696179","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Double-sided paintings on leftovers of thick, pink Plexiglas that I broke into three pieces. They hang together by a little metal chain. The three words on the front have a black square at the back, the last of which ends up in nothing. Intended as intellectual toys for the adult moralist.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dubbelzijdige schilderijen op overschot van dik, roze plexiglas dat ik in drie stukken brak. Ze hangen aan elkaar met een metalen kettinkje. De 3 woorden op de voorkant hebben achteraan een zwart vierkant, waarvan de laatste in het niets uitmondt. Bedoeld als intellectueel speelgoed voor de volwassen moralist.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Agnostique/R\u0026eacute;p\u0026eacute;tition/Contrainte)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Peintures recto verso sur des r\u0026eacute;sidus d\u0026rsquo;\u0026eacute;pais plexiglas rose que j\u0026rsquo;ai cass\u0026eacute;s en trois morceaux, attach\u0026eacute;s les uns aux autres par une cha\u0026icirc;nette m\u0026eacute;tallique. Les trois mots \u0026agrave; l\u0026rsquo;avant ont un carr\u0026eacute; noir \u0026agrave; l\u0026rsquo;arri\u0026egrave;re, dont le dernier d\u0026eacute;bouche dans le vide. Destin\u0026eacute; comme jouet intellectuel pour le moraliste adulte.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14622,"title":"Stress = (proviand+politik) x (jugend+poison)","dimensions":"250 x 60 cm","date_begin":"1981-01-01","material":"15 x paint on plexi, 5 x marker on leatherette, 5 x blueprints on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"AMVK, Frans Stubbe, Ludo De Schutter","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810000B","stream_count_app":50,"permalink":"stress-proviand-politik-x-jugend-poison-8a69ef50-3636-4d0b-b4d4-e27ec20f51c0","description_ru":"","description_de":"\u003cp\u003e\u003cem\u003e\u0026quot;15 x Farbe auf Plexiglas, 5 x Marker auf Kunstleder, 5 x Blaupause auf Papier\u2028. Die Installation thematisiert Sex, Zahlen, Zeichen, Texte und neuerliche Entwicklungen in Politik, Landwirtschaft und \u0026Ouml;konomie. Ich schuf sie f\u0026uuml;r eine Gruppenausstellung im Kleinen Ausstellungs- raum im K\u0026uuml;nstlerhaus Hamburg.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026mdash; AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/878/medium_500/stress3_9x6x300dpi.jpg?1509022010","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/878/large/stress3_9x6x300dpi.jpg?1509022010","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Stress = (Provisions + Politics) \u0026times; (Jugend + Poison)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The paintings are installed as an equation, with images of women representing five different concepts. The concepts are linked to signs for everyday situations, with the Esperanto words denoting them joining in.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe installation is about sex, numbers, signs, text and recent developments in politics, agriculture and economy. By placing ideas side by side, I try to create clarity \u0026ndash; for others, but also for myself. To understand why I make things. The intention is to conjure up a brainstorming intervention, to visually conjure up a field of information and association, to disconnect reality from the place where consciousness is not present. Raising awareness, it is in itself awareness of the now, and this by causing overstimulation, relying on the personal inhibition limit of each spectator separately. By using signs, words, languages, colours, materials: a mutual relationship of elements.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eAbout the installation at Paleis voor Schone Kunsten, Brussels (BE), September 1981, \u0026#39;Prijs Perspectieven 81\u0026#39;:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u003cstrong\u003eA. \u003c/strong\u003eFrom\u0026nbsp;the ceiling, off the wall, I presented 5 relations between notions:\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eOn plexi-plates (13,5 x 28 cm), sex, numbers. (acryl, marker)-transparent.\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003ePaintings on plexi-plates (pin-ups) completed with one of the notions stress, proviand, ... -the sum came in big on the wall. (tape, acryl, marker).\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003e5 plexi-plates (black) and 5 florescent pieces of plastic with the most elementary parts of \u0026lsquo;life\u0026rsquo;, in form of signs and text in German and Esperanto.\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eOn the floor 5 sheets of blueprint, printed from light to dark (100 x 150 cm) with each 5 identical establishments about development of polities, agriculture, economy.\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eOn the floor also 5 white cards each with one combination of stress, proviand, ...\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eB.\u003c/strong\u003e\u0026nbsp;As well horizontal as vertical these elements were to be seen in series.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eC.\u003c/strong\u003e\u0026nbsp;With black electricity-wire 1 connected the vertical series each different, so that the space was completely divided in a problematic way.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eD.\u003c/strong\u003e\u0026nbsp;On the other side on the wall I wrote explaining texts, which were although not in direct relation with the series but maintaining the same train of thought.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eE.\u003c/strong\u003e\u0026nbsp;For the audience an information-sheet was available.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De schilderijen worden als een vergelijking ge\u0026iuml;nstalleerd, met beelden van vrouwen die vijf verschillende concepten vertegenwoordigen. De concepten worden aan tekens voor toestanden van alledag gekoppeld, waarbij de woorden ervoor in Esperanto erbij komen te staan.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie gaat over seks, nummers, tekens, tekst en recente ontwikkelingen in politiek, agricultuur en economie. Door idee\u0026euml;n naast elkaar te plaatsen probeer ik duidelijkheid te scheppen, voor anderen, maar ook voor mezelf. Om te begrijpen waarom ik dingen maak. De intentie is een brainstormende ingreep, visueel een veld van informatie en associatie op te roepen, om de realiteit los te koppelen van de plaats waar het bewustzijn niet aanwezig is. Sensibilisering is het, van het nu, en dit door overprikkeling teweeg gebracht, vertrouwend op de persoonlijke inhibitiegrens van elke toeschouwer apart. Door gebruik van tekens, woorden, talen, kleuren, materialen, onderlinge relatie van elementen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eOver de installatie in het Paleis voor Schone Kunsten, Brussel (BE), september 1981, \u0026#39;Prijs Perspectieven 81\u0026#39;:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u003cstrong\u003eA. \u003c/strong\u003e\u003cbr /\u003e\r\nVan het plafond, langs de muur, stelde ik 5 verhoudingen tussen begrippen voor:\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003eOp plexi-plaatjes (13,5 x 28 cm), sex, nummers. (acryl, stift) -transparant.\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eSchilderijen op plexi-platen (pin-ups) aangevuld met \u0026eacute;\u0026eacute;n van de begrippen stress, proviand, ... -de rekensom kwam in het groot op de muur. (tape, acryl, stift).\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003e5 plexi-plaatjes (zwart) en 5 fluorescerende lapjes plastic met de meest elementaire onderdelen van \u0026lsquo;leven\u0026rsquo;, onder de vorm van tekens en tekst in Duits en Esperanto.\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eOp de grond 5 vellen blauwdruk, afgedrukt van zeer licht naar zeer donker (100 x 150 cm) met elk dezelfde 5 vaststellingen omtrent ontwikkeling van politiek, landbouw, economie.\u0026nbsp;\u003c/em\u003e\u003c/li\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eOp de grond ook 5 witte kaartjes met elk 1 combinatie van stress, proviand, ...\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eB.\u003c/strong\u003e\u003cbr /\u003e\r\nZowel vertikaal als horizontaal waren deze elementen in serie te bekijken.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eC.\u003c/strong\u003e\u003cbr /\u003e\r\nMet zwarte elektrische draad verbond ik de verticale series elk verschillend, op zo\u0026rsquo;n manier dat de hele ruimte problematisch werd ingedeeld.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eD.\u003c/strong\u003e\u003cbr /\u003e\r\nAan de andere zijde op de muur schreef ik verklarende teksten, die echter niet rechtstreeks in verband stonden met de series, maar dezelfde gedachtegang inhouden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u003cstrong\u003eE.\u003c/strong\u003e\u003cbr /\u003e\r\nVoor het publiek was er een informatieblad beschikbaar.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De intentie is een brainstormende\u0026nbsp; ingreep te maken, visueel, een veld van informatie en associatie om de realiteit los te koppelen van de plaats waar het bewustzijn niet aanwezig is.\u0026nbsp;Sensibilisering van het nu, door overprikkeling teweeg gebracht, vertrouwend op de persoonlijke inhibitie grens van elke toeschouwer apart.\u0026nbsp;Dit door gebruik van tekens, woorden, talen, kleuren, materialen, onderlinge relatie van elementen.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Stress = [provisions + politique] \u0026times; [jeunesse + poison])\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Les tableaux \u0026ndash; install\u0026eacute;s comme s\u0026rsquo;il s\u0026rsquo;agissait d\u0026rsquo;une comparaison \u0026ndash; repr\u0026eacute;sentent des femmes incarnant cinq concepts diff\u0026eacute;rents, chacun coupl\u0026eacute; \u0026agrave; des signes qui r\u0026eacute;f\u0026egrave;rent \u0026agrave; des situations de la vie quotidienne et dont les mots qui les d\u0026eacute;signent sont \u0026eacute;crits en esperanto.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;installation aborde le sexe, les num\u0026eacute;ros, les signes, le texte et les r\u0026eacute;centes \u0026eacute;volutions politiques, agricoles et \u0026eacute;conomiques.\u003cbr /\u003e\r\nEn juxtaposant ces id\u0026eacute;es, je tente de cr\u0026eacute;er davantage de clart\u0026eacute;, pour les autres, mais aussi pour moi. Pour comprendre pourquoi je fais des choses.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;intention est d\u0026rsquo;\u0026eacute;voquer une intervention qui remue les m\u0026eacute;ninges, qui constitue un champ visuel d\u0026rsquo;informations et d\u0026rsquo;associations, de dissocier la r\u0026eacute;alit\u0026eacute; du lieu o\u0026ugrave; la conscience est absente.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Une sensibilisation \u0026agrave; l\u0026rsquo;instant pr\u0026eacute;sent g\u0026eacute;n\u0026eacute;r\u0026eacute;e par un exc\u0026egrave;s de stimulants et qui repose sur la limite inhibitrice personnelle de chaque spectateur ou spectatrice individuel(le), et ce, par l\u0026rsquo;utilisation de signes, de mots, de langues, de couleurs, de mat\u0026eacute;riaux, et par la relation entre ces divers \u0026eacute;l\u0026eacute;ments.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14679,"title":"Theory of Elasticity","dimensions":"45.5 x 49.5 cm","date_begin":"1995-01-01","material":"Paint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19950000P","stream_count_app":18,"permalink":"theory-of-elasticity","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/418/large/19950000P_theory_of_elasticity_.jpg?1478862155","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004 I made numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14693,"title":"Accepteren/Assimileren/Absorberen","dimensions":"13.5 x 25 cm","date_begin":"1997-01-01","material":"paint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000U","stream_count_app":20,"permalink":"accepteren-assimileren-absorberen","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/428/large/1997__Accepteren__absorberen__assimileren.JPG?1478862321","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004 I made numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14682,"title":"Morele herbewapening: Bureau","dimensions":"48.5 x 50 cm","date_begin":"1997-01-01","material":"monoprint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000K","stream_count_app":24,"permalink":"bureau","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/422/large/19770000K_Bureau_copy.jpg?1478863035","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearmament: Desk)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;96 images of women underlie Moral Rearmament. I linked these to terms from books about the capacity for internal self-organisation within systems, about thermodynamics and knowledge representation, about methods of organisation within systems in a state of imbalance, about connectionist networks and about the possibilities to represent concepts and associations. In the margins of that big project, I have made many separate works that have ended up magnetically, and therefore rearrangeably, on the frameworks of my HeadNurse structures.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Aan Morele herbewapening liggen 96 vrouwenafbeeldingen ten grondslag. Die koppelde ik aan termen uit boeken over het vermogen tot interne zelforganisatie binnen systemen, over thermodynamica en kennisrepresentatie, over manieren van ordening binnen systemen in een toestand van onevenwicht, over connectionistische netwerken en over de mogelijkheden tot representatie van concepten en associaties. In de marge van dat grote project heb ik veel verschillende losse werken gemaakt die magnetisch, dus herschikbaar, terecht zijn gekomen op de raamwerken van mijn HeadNurse-structuren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVoor de eerste installatie van deze voortdurende reeks, in 1996, heb ik twee ingangen voorzien: \u0026eacute;\u0026eacute;n donker, \u0026eacute;\u0026eacute;n licht. Bezoekers kunnen zelf beslissen waar ze wensen toe te treden. De installatie bestaat uit de 96 ge\u0026euml;rotiseerde concepten, getoond op een 30-meter-lange muur gemaakt uit 12 verschillende platen, en deze computergeanimeerde film geprojecteerd op een groot scherm.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie is opgedragen aan Baubo, obscene godin uit het verleden, die door haar tepels kijkt en door haar vagina spreekt, op zulk een vuile manier danst dat alle melancholische en depressieve vrouwen terug van plezier vervuld worden.\u003cbr /\u003e\r\nIk dacht: Laten we een installatie maken die iedereen, man en vrouw, terug met plezier vervult. Dit door een hele hoop zwaar op de hand liggende woorden te herdefini\u0026euml;ren, mensen een aangename mentale massage te geven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral: Bureau)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;origine du R\u0026eacute;armement moral, il y a 96\u0026nbsp;images de femmes que j\u0026rsquo;ai coupl\u0026eacute;es \u0026agrave; des termes provenant de livres \u0026agrave; propos de la facult\u0026eacute; d\u0026rsquo;auto-organisation interne de syst\u0026egrave;mes, de thermodynamique et de repr\u0026eacute;sentation du savoir, de mani\u0026egrave;res d\u0026rsquo;ordonnancer des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, de r\u0026eacute;seaux connectiques et de possibilit\u0026eacute; de repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En marge de ce grand projet, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; bon nombre d\u0026rsquo;\u0026oelig;uvres autonomes, magn\u0026eacute;tiques donc ajustables, qui ont abouti sur les ch\u0026acirc;ssis de mes structures HeadNurse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour la premi\u0026egrave;re installation de cette s\u0026eacute;rie permanente, en 1996, j\u0026rsquo;ai pr\u0026eacute;vu deux entr\u0026eacute;es\u0026nbsp;: une entr\u0026eacute;e sombre, une entr\u0026eacute;e claire. Les visiteurs peuvent d\u0026eacute;cider eux-m\u0026ecirc;mes par o\u0026ugrave; ils veulent entrer. L\u0026rsquo;installation consiste en 96\u0026nbsp;concepts \u0026eacute;rotis\u0026eacute;s, pr\u0026eacute;sent\u0026eacute;s sur un mur d\u0026rsquo;une longueur de 30\u0026nbsp;m\u0026egrave;tres et compos\u0026eacute; de 12\u0026nbsp;plaques diff\u0026eacute;rentes. Le film est projet\u0026eacute; sur un grand \u0026eacute;cran.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026rsquo;installation est d\u0026eacute;di\u0026eacute;e \u0026agrave; Baubo \u0026ndash; la vulve mythique qui incarne la facult\u0026eacute; de l\u0026rsquo;humour paillard \u0026agrave; briser le deuil \u0026ndash; qui regarde avec ses mamelons et parle avec son vagin, et qui danse d\u0026rsquo;une mani\u0026egrave;re salace pour r\u0026eacute;conforter et d\u0026eacute;rider toutes les femmes m\u0026eacute;lancoliques et d\u0026eacute;prim\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14694,"title":"I-Q","dimensions":"14 x 25 cm","date_begin":"1997-01-01","material":"paint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000V","stream_count_app":19,"permalink":"i-q","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/429/large/1998__gezicht._1_13_5_x_25_5_cm_kopie.jpg?1478862831","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14680,"title":"Ongeloof en Geloof/Disbelief and Belief","dimensions":"181 x 135 x 8.2 cm","date_begin":"1995-01-01","material":"Paint and plexi on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Flemish Parliament, Brussels","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19950000U","stream_count_app":10,"permalink":"ongeloof-en-geloof","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/420/large/25_1995_God_en_Geweld._0000U_kl_181x135.jpg?1478956099","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Engraving/collage in and with Plexiglass mounted on a painted wooden box: part of the cycle \u0026quot;God and Violence\u0026quot;, for which I asked a friend to pose while magnetizing a skeleton. Before each session we read a part of \u0026quot;the Sermon on the Mount\u0026quot; in the Gospel of Matthew together.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Gravure/collage in en met Plexiglas, vastgemaakt op houten geschilderde doos: een deel van de cyclus \u0026ldquo;God en Geweld\u0026rdquo;, hiervoor vroeg ik een vriend om te poseren terwijl hij een skelet magnetiseert. Voor elke sessie lazen we samen een deel uit \u0026lsquo;the Sermon on the Mount\u0026rsquo; in \u0026lsquo;the Gospel of Matthew\u0026rsquo;.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14697,"title":"Morele herbewapening: De geest/de spoken","dimensions":"25 x 21 cm (x 2)","date_begin":"1998-01-01","material":"paint on plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19980003H","stream_count_app":23,"permalink":"de-geest-de-spoken","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/432/large/1998----_De_Geest_24_x21_cm_copy_kopie.jpg?1478863784","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearment: The Ghost/The Phantoms)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;96 images of women underlie Moral Rearmament. I linked these to terms from books about the capacity for internal self-organisation within systems, about thermodynamics and knowledge representation, about methods of organisation within systems in a state of imbalance, about connectionist networks and about the possibilities to represent concepts and associations. In the margins of that big project, I have made many separate works that have ended up magnetically, and therefore rearrangeably, on the frameworks of my HeadNurse structures.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Aan Morele herbewapening liggen 96 vrouwenafbeeldingen ten grondslag. Die koppelde ik aan termen uit boeken over het vermogen tot interne zelforganisatie binnen systemen, over thermodynamica en kennisrepresentatie, over manieren van ordening binnen systemen in een toestand van onevenwicht, over connectionistische netwerken en over de mogelijkheden tot representatie van concepten en associaties. In de marge van dat grote project heb ik veel verschillende losse werken gemaakt die magnetisch, dus herschikbaar, terecht zijn gekomen op de raamwerken van mijn HeadNurse-structuren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVoor de eerste installatie van deze voortdurende reeks, in 1996, heb ik twee ingangen voorzien: \u0026eacute;\u0026eacute;n donker, \u0026eacute;\u0026eacute;n licht. Bezoekers kunnen zelf beslissen waar ze wensen toe te treden. De installatie bestaat uit de 96 ge\u0026euml;rotiseerde concepten, getoond op een 30-meter-lange muur gemaakt uit 12 verschillende platen, en deze computergeanimeerde film geprojecteerd op een groot scherm.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie is opgedragen aan Baubo, obscene godin uit het verleden, die door haar tepels kijkt en door haar vagina spreekt, op zulk een vuile manier danst dat alle melancholische en depressieve vrouwen terug van plezier vervuld worden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk dacht: Laten we een installatie maken die iedereen, man en vrouw, terug met plezier vervult. Dit door een hele hoop zwaar op de hand liggende woorden te herdefini\u0026euml;ren, mensen een aangename mentale massage te geven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral:\u0026nbsp;Les Esprits/les Fant\u0026ocirc;mes)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;origine du R\u0026eacute;armement moral, il y a 96\u0026nbsp;images de femmes que j\u0026rsquo;ai coupl\u0026eacute;es \u0026agrave; des termes provenant de livres \u0026agrave; propos de la facult\u0026eacute; d\u0026rsquo;auto-organisation interne de syst\u0026egrave;mes, de thermodynamique et de repr\u0026eacute;sentation du savoir, de mani\u0026egrave;res d\u0026rsquo;ordonnancer des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, de r\u0026eacute;seaux connectiques et de possibilit\u0026eacute; de repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En marge de ce grand projet, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; bon nombre d\u0026rsquo;\u0026oelig;uvres autonomes, magn\u0026eacute;tiques donc ajustables, qui ont abouti sur les ch\u0026acirc;ssis de mes structures HeadNurse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour la premi\u0026egrave;re installation de cette s\u0026eacute;rie permanente, en 1996, j\u0026rsquo;ai pr\u0026eacute;vu deux entr\u0026eacute;es\u0026nbsp;: une entr\u0026eacute;e sombre, une entr\u0026eacute;e claire. Les visiteurs peuvent d\u0026eacute;cider eux-m\u0026ecirc;mes par o\u0026ugrave; ils veulent entrer. L\u0026rsquo;installation consiste en 96\u0026nbsp;concepts \u0026eacute;rotis\u0026eacute;s, pr\u0026eacute;sent\u0026eacute;s sur un mur d\u0026rsquo;une longueur de 30\u0026nbsp;m\u0026egrave;tres et compos\u0026eacute; de 12\u0026nbsp;plaques diff\u0026eacute;rentes. Le film est projet\u0026eacute; sur un grand \u0026eacute;cran.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026rsquo;installation est d\u0026eacute;di\u0026eacute;e \u0026agrave; Baubo \u0026ndash; la vulve mythique qui incarne la facult\u0026eacute; de l\u0026rsquo;humour paillard \u0026agrave; briser le deuil \u0026ndash; qui regarde avec ses mamelons et parle avec son vagin, et qui danse d\u0026rsquo;une mani\u0026egrave;re salace pour r\u0026eacute;conforter et d\u0026eacute;rider toutes les femmes m\u0026eacute;lancoliques et d\u0026eacute;prim\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14681,"title":"The Required Particular","dimensions":"44.5 x 51 cm","date_begin":"1995-01-01","material":"paint on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19951100A","stream_count_app":16,"permalink":"the-required-particular","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/421/large/19951100A_the_required_particular.jpg?1478862241","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14685,"title":"Sacoche","dimensions":"13.2 x 25 cm","date_begin":"1997-01-01","material":"paint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000M","stream_count_app":16,"permalink":"sacoche-f08fb90a-1e0c-4d16-8155-66681904fd73","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/423/large/19970000M_%2825x13_2%29.jpg?1478862426","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004 I made numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14689,"title":"Chromo-Q","dimensions":"13.2 x 19 cm","date_begin":"1997-01-01","material":"paint on plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000N","stream_count_app":17,"permalink":"chromo-q","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/424/large/19970000N_alert_%2825x13_2%29.jpg?1478862538","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14702,"title":"Morele herbewapening: 3 Weegschalen","dimensions":"3 x (26 x 18.5 cm)","date_begin":"1998-01-01","material":"paint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19980100G","stream_count_app":24,"permalink":"3-weegschalen-werkdocument","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/437/large/1998_weegschaal1_26_x_18_5_cm_kopie.jpg?1478863232","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearmament:\u0026nbsp;3 Pairs of Scales)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;96 images of women underlie Moral Rearmament. I linked these to terms from books about the capacity for internal self-organisation within systems, about thermodynamics and knowledge representation, about methods of organisation within systems in a state of imbalance, about connectionist networks and about the possibilities to represent concepts and associations. In the margins of that big project, I have made many separate works that have ended up magnetically, and therefore rearrangeably, on the frameworks of my HeadNurse structures.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Aan Morele herbewapening liggen 96 vrouwenafbeeldingen ten grondslag. Die koppelde ik aan termen uit boeken over het vermogen tot interne zelforganisatie binnen systemen, over thermodynamica en kennisrepresentatie, over manieren van ordening binnen systemen in een toestand van onevenwicht, over connectionistische netwerken en over de mogelijkheden tot representatie van concepten en associaties. In de marge van dat grote project heb ik veel verschillende losse werken gemaakt die magnetisch, dus herschikbaar, terecht zijn gekomen op de raamwerken van mijn HeadNurse-structuren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVoor de eerste installatie van deze voortdurende reeks, in 1996, heb ik twee ingangen voorzien: \u0026eacute;\u0026eacute;n donker, \u0026eacute;\u0026eacute;n licht. Bezoekers kunnen zelf beslissen waar ze wensen toe te treden. De installatie bestaat uit de 96 ge\u0026euml;rotiseerde concepten, getoond op een 30-meter-lange muur gemaakt uit 12 verschillende platen, en deze computergeanimeerde film geprojecteerd op een groot scherm.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie is opgedragen aan Baubo, obscene godin uit het verleden, die door haar tepels kijkt en door haar vagina spreekt, op zulk een vuile manier danst dat alle melancholische en depressieve vrouwen terug van plezier vervuld worden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk dacht: Laten we een installatie maken die iedereen, man en vrouw, terug met plezier vervult. Dit door een hele hoop zwaar op de hand liggende woorden te herdefini\u0026euml;ren, mensen een aangename mentale massage te geven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral:\u0026nbsp;Trois balances)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;origine du R\u0026eacute;armement moral, il y a 96\u0026nbsp;images de femmes que j\u0026rsquo;ai coupl\u0026eacute;es \u0026agrave; des termes provenant de livres \u0026agrave; propos de la facult\u0026eacute; d\u0026rsquo;auto-organisation interne de syst\u0026egrave;mes, de thermodynamique et de repr\u0026eacute;sentation du savoir, de mani\u0026egrave;res d\u0026rsquo;ordonnancer des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, de r\u0026eacute;seaux connectiques et de possibilit\u0026eacute; de repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En marge de ce grand projet, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; bon nombre d\u0026rsquo;\u0026oelig;uvres autonomes, magn\u0026eacute;tiques donc ajustables, qui ont abouti sur les ch\u0026acirc;ssis de mes structures HeadNurse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour la premi\u0026egrave;re installation de cette s\u0026eacute;rie permanente, en 1996, j\u0026rsquo;ai pr\u0026eacute;vu deux entr\u0026eacute;es\u0026nbsp;: une entr\u0026eacute;e sombre, une entr\u0026eacute;e claire. Les visiteurs peuvent d\u0026eacute;cider eux-m\u0026ecirc;mes par o\u0026ugrave; ils veulent entrer. L\u0026rsquo;installation consiste en 96\u0026nbsp;concepts \u0026eacute;rotis\u0026eacute;s, pr\u0026eacute;sent\u0026eacute;s sur un mur d\u0026rsquo;une longueur de 30\u0026nbsp;m\u0026egrave;tres et compos\u0026eacute; de 12\u0026nbsp;plaques diff\u0026eacute;rentes. Le film est projet\u0026eacute; sur un grand \u0026eacute;cran.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026rsquo;installation est d\u0026eacute;di\u0026eacute;e \u0026agrave; Baubo \u0026ndash; la vulve mythique qui incarne la facult\u0026eacute; de l\u0026rsquo;humour paillard \u0026agrave; briser le deuil \u0026ndash; qui regarde avec ses mamelons et parle avec son vagin, et qui danse d\u0026rsquo;une mani\u0026egrave;re salace pour r\u0026eacute;conforter et d\u0026eacute;rider toutes les femmes m\u0026eacute;lancoliques et d\u0026eacute;prim\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14690,"title":"Erect","dimensions":"13.2 x 25 cm","date_begin":"1997-01-01","material":"paint on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000O","stream_count_app":16,"permalink":"erect","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/425/large/19970000O_erect_%2825x13_2%29.jpg?1478862640","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14695,"title":"Morele herbewapening: Perplex","dimensions":"20 x 19.5 cm","date_begin":"1998-01-01","material":"acryilic and silkscreen paint on plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19980000C","stream_count_app":21,"permalink":"perplex","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/430/large/20030000G__perplex_%2819_5x20%29.jpg?1478864041","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearmament: Perplex)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;96 images of women underlie Moral Rearmament. I linked these to terms from books about the capacity for internal self-organisation within systems, about thermodynamics and knowledge representation, about methods of organisation within systems in a state of imbalance, about connectionist networks and about the possibilities to represent concepts and associations. In the margins of that big project, I have made many separate works that have ended up magnetically, and therefore rearrangeably, on the frameworks of my HeadNurse structures.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026quot;Aan \u003ci\u003eMorele herbewapening\u003c/i\u003e liggen 96 vrouwenafbeeldingen ten grondslag. Die koppelde ik aan termen uit boeken over het vermogen tot interne zelforganisatie binnen systemen, over thermodynamica en kennisrepresentatie, over manieren van ordening binnen systemen in een toestand van onevenwicht, over connectionistische netwerken en over de mogelijkheden tot representatie van concepten en associaties. In de marge van dat grote project heb ik veel verschillende losse werken gemaakt die magnetisch, dus herschikbaar, terecht zijn gekomen op de raamwerken van mijn \u003ci\u003eHeadNurse\u003c/i\u003e-structuren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVoor de eerste installatie van deze voortdurende reeks, in 1996, heb ik twee ingangen voorzien: \u0026eacute;\u0026eacute;n donker, \u0026eacute;\u0026eacute;n licht. Bezoekers kunnen zelf beslissen waar ze wensen toe te treden. De installatie bestaat uit de \u003ci\u003e96 ge\u0026euml;rotiseerde concepten\u003c/i\u003e, getoond op een 30-meter-lange muur gemaakt uit 12 verschillende platen, en deze computergeanimeerde film geprojecteerd op een groot scherm.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie is opgedragen aan Baubo, obscene godin uit het verleden, die door haar tepels kijkt en door haar vagina spreekt, op zulk een vuile manier danst dat alle melancholische en depressieve vrouwen terug van plezier vervuld worden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk dacht: Laten we een installatie maken die iedereen, man en vrouw, terug met plezier vervult. Dit door een hele hoop zwaar op de hand liggende woorden te herdefini\u0026euml;ren, mensen een aangename mentale massage te geven.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral: Perplexe)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;origine du R\u0026eacute;armement moral, il y a 96\u0026nbsp;images de femmes que j\u0026rsquo;ai coupl\u0026eacute;es \u0026agrave; des termes provenant de livres \u0026agrave; propos de la facult\u0026eacute; d\u0026rsquo;auto-organisation interne de syst\u0026egrave;mes, de thermodynamique et de repr\u0026eacute;sentation du savoir, de mani\u0026egrave;res d\u0026rsquo;ordonnancer des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, de r\u0026eacute;seaux connectiques et de possibilit\u0026eacute; de repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En marge de ce grand projet, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; bon nombre d\u0026rsquo;\u0026oelig;uvres autonomes, magn\u0026eacute;tiques donc ajustables, qui ont abouti sur les ch\u0026acirc;ssis de mes structures HeadNurse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour la premi\u0026egrave;re installation de cette s\u0026eacute;rie permanente, en 1996, j\u0026rsquo;ai pr\u0026eacute;vu deux entr\u0026eacute;es\u0026nbsp;: une entr\u0026eacute;e sombre, une entr\u0026eacute;e claire. Les visiteurs peuvent d\u0026eacute;cider eux-m\u0026ecirc;mes par o\u0026ugrave; ils veulent entrer. L\u0026rsquo;installation consiste en 96\u0026nbsp;concepts \u0026eacute;rotis\u0026eacute;s, pr\u0026eacute;sent\u0026eacute;s sur un mur d\u0026rsquo;une longueur de 30\u0026nbsp;m\u0026egrave;tres et compos\u0026eacute; de 12\u0026nbsp;plaques diff\u0026eacute;rentes. Le film est projet\u0026eacute; sur un grand \u0026eacute;cran.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026rsquo;installation est d\u0026eacute;di\u0026eacute;e \u0026agrave; Baubo \u0026ndash; la vulve mythique qui incarne la facult\u0026eacute; de l\u0026rsquo;humour paillard \u0026agrave; briser le deuil \u0026ndash; qui regarde avec ses mamelons et parle avec son vagin, et qui danse d\u0026rsquo;une mani\u0026egrave;re salace pour r\u0026eacute;conforter et d\u0026eacute;rider toutes les femmes m\u0026eacute;lancoliques et d\u0026eacute;prim\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14692,"title":"Hallo","dimensions":"17.5 x 25.5 cm","date_begin":"1997-01-01","material":"paint and plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000P","stream_count_app":16,"permalink":"hallo","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/427/large/19970000P_hallo_%2825_5x17_5%29.jpg?1478862932","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14712,"title":"Floating","dimensions":"38.5 x 50 x 0.2 cm","date_begin":"1999-01-01","material":"mixed techniques on pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19990911A","stream_count_app":16,"permalink":"floating","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/446/large/1999_0911A_floating_paint_on_PVC__38_5_x_50_cm__magnetic_back_kopie.jpg?1478865433","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14717,"title":"Heathcliff","dimensions":"45 x 26 cm","date_begin":"2000-01-01","material":"Diasec, computerprint, plexi and PVC, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20000000N","stream_count_app":22,"permalink":"heathcliffe","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/451/large/2000-heathcliffe_45_x_26_cm.jpg?1478865917","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14718,"title":"Rorty the Headroom","dimensions":"240 x 150 cm","date_begin":"2002-01-01","material":"Computerprint on 3M on plexi with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20010001A","stream_count_app":16,"permalink":"rorty-the-headroom","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/452/large/26_2002_rorty_240_x_150_kopie.jpg?1478859503","poster_credits":"(c)image: AMVK ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A computer-print for Richard Rorty on Plexiglass. \u0026nbsp;Rorty is one of my 18 \u0026quot;Philosophical Rooms\u0026quot;. Charles Baudelaire shouts the 2nd half of the 19th century: \u0026quot;Le Satanisme a gagn\u0026eacute;!\u0026rdquo; and opens dead-tired the gates for Modernism as we know it. Simultaneously in North America Pragmatism is born, a materialistic philosophy of the New World of which Richard Rorty will become, in 1979, the most extreme beholder. The interior is occupied by Telstar, the first communication satellite, and me sitting in 1979 in a bedroom of the Chelsea hotel in New York.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEach \u0026quot;Philosophical Room\u0026quot; is a computer-interpretation of an existing interior of which I redefine the visual aspect, according to the mental impact of the philosopher. The name as a word becomes a presence in the room. My first philosophical room dates from 1998: Descartes. Than came Spinoza and Leibniz. Each space is given its outlook under the influence of the philosopher\u0026rsquo;s theory. It is me, the avatar,\u0026nbsp; greeting the specific theory, in an interior suited for the circumstance. I take the freedom to relate each philosopher very precisely with my personal evolution as a thinker.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een computerprint voor Richard Rorty op Plexiglas. Rorty is \u0026eacute;\u0026eacute;n van mijn 18 \u0026lsquo;Filosofische Ruimten\u0026rsquo;. Charles Baudelaire schreeuwt in de tweede helft van de 19\u003csup\u003ee\u003c/sup\u003e eeuw: \u0026ldquo;Le Satanisme a gang\u0026eacute;!\u0026rdquo; en opent doodmoe de poorten naar het Modernisme zoals we het nu kennen. Op hetzelfde moment wordt in Noord-Amerika het Pragmatisme geboren, een materialistische filosofie van de Nieuwe Wereld waarvan Richard Rorty in 1979 de meest extreme aanschouwer zal worden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet interieur wordt bezet door Telstar, de eerste communicatiesatelliet, en ikzelf die in 1979 in een kamer zit in het Chelsea Hotel in New York. Elke \u0026lsquo;Filosofische Ruimte\u0026rsquo; is een computer-interpretatie van een bestaand interieur waarvan ik het visuele aspect herdefinieer, overeenkomstig met de mentale impact van de filosoof. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eMijn eerste \u0026lsquo;Filosofische Ruimte\u0026rsquo; dateert van 1998: Descartes. Daarna kwamen Spinoza en Leibniz. Elke Ruimte geeft zijn vooruitzicht onder de invloed van de theorie van de filosoof. Daarin ben ik het, de avatar, die een specifieke theorie groet, in een interieur dat past bij de omstandigheden. Ik neem de vrijheid om heel precies de relatie tussen iedere filosoof en mijn persoonlijke evolutie als een denker te verkennen.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14719,"title":"Maeterlinck","dimensions":"237 x 160 cm","date_begin":"2003-01-01","material":"carpet, tufted","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20030000A","stream_count_app":21,"permalink":"maeterlinck","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/453/large/28_2003_mat_Maeterlinck.jpg?1478866515","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The design is the computer print Maeterlinck, one of my 19 Filosofische ruimtes (Philosophical Rooms). This work was executed as a \u0026lsquo;tufted\u0026rsquo; carpet. The interior is one of the salons in my parental home that served for decades as a banquet hall for the Antwerp well-to-do bourgeoisie. We could hear and smell the parties, it was part of our daily existence. We lived as a family above this specific part of the banquet halls. I\u0026rsquo;m hanging from the ceiling, together with two friends from a later stage in my life.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Het ontwerp is de computerprint Maeterlinck, \u0026eacute;\u0026eacute;n van mijn 19 Filosofische ruimtes. Dit werk werd als een \u0026ldquo;getuft\u0026rdquo; tapijt uitgevoerd. Het interieur is een van de salons in mijn ouderlijke huis dat decennialang dienst deed als feestzaal voor de gegoede burgerij van Antwerpen. We konden de feesten horen en ruiken, dat maakte deel uit van ons dagelijks bestaan. Wij leefden als gezin boven dit specifieke deel van de feestzalen. Ik hang aan het plafond, samen met twee vriendinnen uit een later stadium in mijn leven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;L\u0026rsquo;\u0026eacute;bauche est l\u0026rsquo;impression num\u0026eacute;rique Maeterlinck, l\u0026rsquo;un de mes 19\u0026nbsp;Espaces philosophiques.\u0026nbsp;Cette \u0026oelig;uvre a \u0026eacute;t\u0026eacute; produite comme un tapis touffet\u0026eacute;. L\u0026rsquo;int\u0026eacute;rieur repr\u0026eacute;sente un des salons de ma maison familiale qui a fait office pendant des d\u0026eacute;cennies de salle de f\u0026ecirc;te pour la bourgeoisie nantie anversoise. Nous entendions les f\u0026ecirc;tes et en sentions les odeurs, cela faisait partie de notre quotidien. Nous habitions en famille au-dessus de cette partie sp\u0026eacute;cifique des salles de f\u0026ecirc;te. Je suis suspendue au plafond, avec deux amies d\u0026rsquo;une \u0026eacute;poque ult\u0026eacute;rieure de ma vie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14722,"title":"Patiënt","dimensions":"283 x 120 x 0.3 cm","date_begin":"1992-01-01","material":"Paint and foil on trovicel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Greet Van Kerckhoven","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920000P","stream_count_app":19,"permalink":"patient","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/456/large/30_1992_0000P_Patie%CC%88nt_283x120.jpg?1478866977","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Painting/collage on Trovicel. Enlargement of drawing of the Club Moral interior with telephone. With text: Patient, someone who has to show patience.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Schilderij/collage op Trivocel. Vergroting van een tekening van het Club Moral-interieur met telefoon. Met tekst: Patient, someone who has to show patience.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14723,"title":"Den Haan","dimensions":"283 x 120 x 0.3 cm","date_begin":"1992-01-01","material":"Paint and foil on trovicel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920000Q","stream_count_app":17,"permalink":"den-haan","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/457/large/31_1992_0000Q_Den_Haan_283x120.jpg?1478867050","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Painting/collage on Trovicel. Enlargement of drawing of a room in a friend\u0026#39;s house at the Belgian coast.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Schilderij/collage op Trovicel. Vergroting van een\u0026nbsp;tekening van een kamer in het huis van een vriend aan de Belgische kust.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14724,"title":"Bedstorie Bed","dimensions":"151 x 89 x 14 cm","date_begin":"2006-01-01","material":"lambda print mounted in plexiglass lightbox","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Ella, Aedan en Darya","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20060000I","stream_count_app":24,"permalink":"bedstorie-bed","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/458/large/32_2006_0000I_bedstorie_bed_lichtbak_151x89_kopie.jpg?1478959483","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Bedstorie Bed is a light box with a computer-image based on a 17th century French gravure and with the text: 1. Mann 2. Frau 2.Traum 3. Abgrund 4. Abstract 5. Construct. I made the work during my DAAD residency in Berlin.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Bedstorie Bed is een lichtdoos met een computerafbeelding gebaseerd op een\u0026nbsp;17\u003csup\u003ee\u003c/sup\u003e eeuwse, Franse gravure, met de tekst: 1. Mann 2. Frau 2. Traum 3. Abgrund 4. Abstract 5. Construct. Ik maakte het werk tijdens mijn residentie in DAAD, Berlijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14726,"title":"Sisyphus, gelukkig","dimensions":"31 x 30 x 0.1 cm","date_begin":"2010-01-01","material":"Oil, pastel, markers and pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Peter Franke ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20100416A","stream_count_app":30,"permalink":"sisyphus-gelukkig","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/460/medium_500/1-Sisyphus__gelukkig_20100416A_kl.jpg?1478867486","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/460/large/1-Sisyphus__gelukkig_20100416A_kl.jpg?1478867486","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14737,"title":"We Mikken op Elegantie [Setting the Elegance]","dimensions":"109 x 125.5 cm","date_begin":"2016-01-01","material":"Acrylic, pastel, spray paint, letters on PVC mounted on wooden board with steel screws","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20160400N","stream_count_app":13,"permalink":"we-mikken-op-elegantie","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/471/large/20160400N_kl.jpg?1483350041","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14776,"title":"Frozen Equipoise (Groys meets Obrist)","dimensions":"123 x 100 x 0.3 cm","date_begin":"2006-01-01","material":"acrylpaint and silkscreen paint on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20060000M","stream_count_app":17,"permalink":"frozen-equipoise","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/510/large/39_2006_0000M_frozen_equipoise_150_x_120_cm.jpg?1478871916","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In Berlijn was ik in eenzelfde week aanwezig op een lezing van Boris Groys en een lezing door Hans J\u0026uuml;rgen Obrist. Ik gebruikte woorden uit hun speeches en draaide ze rond 24 imperfecte zwarte ballen. Schilderij op transparant Plexiglas.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14782,"title":"Defluff","dimensions":"520 x 200 cm","date_begin":"2016-01-01","material":"Jacquard tapestry","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20160800A","stream_count_app":20,"permalink":"defluff","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/516/large/172.Defluff.JPG?1476796502","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This jacquard carpet shows a hanging model in the mirrored image of a Parisian artist\u0026rsquo;s studio from the late 1950s. This way, a black entrance was created in the middle. In this context I am thinking of Kazimir Malevich\u0026rsquo;s Black Square and his fixation on the Cosmos, on the one hand. And on the other hand, of the vagina dentata (the all-devouring vagina) and the prima materia. And on top of that, Nietzsches concept of \u0026lsquo;eternal return\u0026rsquo;.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dit jacquardtapijt toont een hangend model in de gespiegelde afbeelding van een Parijse kunstenaarsstudio uit de late jaren 50. Op deze manier ontstond in het midden een zwarte ingang. Ik denk daarbij aan het Zwarte vierkant en de fixatie op de kosmos van Kazimir Malevitsj. Anderzijds aan de vagina dentata (de allesverslindende vagina) en de prima materia. Daarbovenop Nietzsches concept van de \u0026ldquo;eeuwige terugkeer\u0026rdquo;.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ce tapis jacquard montre un mod\u0026egrave;le suspendu dans une image r\u0026eacute;fl\u0026eacute;chie d\u0026rsquo;un atelier d\u0026rsquo;artiste parisien des ann\u0026eacute;es\u0026nbsp;50. Ainsi un couloir noir est apparu au centre, ce qui m\u0026rsquo;a fait penser au Carr\u0026eacute; noir et \u0026agrave; la fixation sur le Cosmos de Kasimir Malevitch, au \u0026laquo;\u0026nbsp;vagin dent\u0026eacute;\u0026nbsp;\u0026raquo; (vagina dentata), \u0026agrave; la mati\u0026egrave;re premi\u0026egrave;re alchimique (prima Materia) et \u0026agrave; \u0026laquo;\u0026nbsp;l\u0026rsquo;\u0026eacute;ternel retour\u0026nbsp;\u0026raquo; de Nietzsche.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14783,"title":"Vacant","dimensions":"16 x 24.5 x 0.8 cm","date_begin":"1989-01-01","material":"paint on 2 layers of plexi, doublesided","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890602A","stream_count_app":17,"permalink":"vacant","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/517/large/1989_Vacant_dubbelzijdig_beide_kanten_kopie.jpg?1478962706","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A double-sided painting on Plexiglas, with on one side a golden empty chair for a privileged person and on the other side some meaningless furniture, an interior whose identity has become so blurred that it has become art.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een dubbelzijdig schilderij op plexiglas, met op de ene kant een gouden lege stoel voor een bevoorrecht persoon en op de andere kant betekenisloos meubilair, een interieur waarvan de identiteit zo is vervaagd dat het kunst is geworden.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Libre)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un tableau recto verso sur plexiglas, avec d\u0026rsquo;un c\u0026ocirc;t\u0026eacute; une chaise dor\u0026eacute;e vide pour une personne privil\u0026eacute;gi\u0026eacute;e et de l\u0026rsquo;autre c\u0026ocirc;t\u0026eacute;, du mobilier sans valeur, un int\u0026eacute;rieur dont l\u0026rsquo;identit\u0026eacute; s\u0026rsquo;est tellement estomp\u0026eacute;e qu\u0026rsquo;il en est devenu de l\u0026rsquo;art.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14784,"title":"Savoir, Oser, Vouloir, Se taire","dimensions":"4 x (19.5 x 30.5 x 5 cm)","date_begin":"1992-01-01","material":"felt tip and acryl paint on 4 plastic dishes","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920000I","stream_count_app":23,"permalink":"savoir-oser-vouloir-se-taire","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/518/large/19920000I_kl.jpg?1478873484","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(To Know, To Dare, To Want, To Be Silent)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A series of four paintings on plastic trays for game p\u0026acirc;t\u0026eacute;. These are the steps that a wise person must remember if he wants to get to the elaboration of an important insight. The point is that, after one has formulated an intention for oneself, it is best to remain silent, and to execute it. These four normally hang in my studio as a warning to myself.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een reeks van vier schilderingen op plastic schalen voor wildp\u0026acirc;t\u0026eacute;. Dit zijn de stappen die een wijze mens moet onthouden om tot de uitwerking van een belangrijk inzicht te komen. Het gaat erom dat, nadat men een voornemen voor zichzelf geformuleerd heeft, men er best over zwijgt, en het uitvoert. Deze vier hangen normaal gezien in mijn atelier als waarschuwing voor mezelf.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une s\u0026eacute;rie de quatre peintures sur des terrines \u0026agrave; p\u0026acirc;t\u0026eacute; en plastique. Ceci repr\u0026eacute;sente les \u0026eacute;tapes qu\u0026rsquo;une personne sage doit retenir pour parvenir \u0026agrave; l\u0026rsquo;\u0026eacute;laboration d\u0026rsquo;une pens\u0026eacute;e approfondie. Cela revient en somme au fait qu\u0026rsquo;apr\u0026egrave;s avoir pris une r\u0026eacute;solution dans son for int\u0026eacute;rieur, il vaut mieux se taire et la mettre en \u0026oelig;uvre. Normalement, ces quatre peintures sont accroch\u0026eacute;es dans mon atelier comme un rappel \u0026agrave; moi-m\u0026ecirc;me.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14785,"title":"Theory of Stress","dimensions":"26.9 x 33.5 cm","date_begin":"1993-01-01","material":"acrylpaint, felt tip on fabric (45 terrycloths of sample book)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":45,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19930001E","stream_count_app":63,"permalink":"theory-of-stress","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/519/large/badstoffen001_kl.jpg?1478873928","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A combination of text and image on terrycloth. The words come from a book on elastic capacities of materials in general. This is about love and how difficult relationships sometimes are.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een combinatie van tekst en beeld op badstof. De woorden komen uit een boek over elastische vermogens van materialen in het algemeen. Dit gaat over liefde en hoe moeilijk relaties soms zijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Th\u0026eacute;orie du stress)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026quot;Une combinaison de texte et d\u0026rsquo;image sur du tissu \u0026eacute;ponge. Les mots proviennent d\u0026rsquo;un livre sur l\u0026rsquo;\u0026eacute;lasticit\u0026eacute; des mat\u0026eacute;riaux en g\u0026eacute;n\u0026eacute;ral. Il s\u0026rsquo;agit en somme d\u0026rsquo;amour et du degr\u0026eacute; de difficult\u0026eacute; que peuvent parfois atteindre les relations amoureuses.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14793,"title":"Plexi bakjes: Gezicht en Straat","dimensions":"21 x 25 x 3.5 cm","date_begin":"1993-01-01","material":"5 paintings on plexi in a plexi holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19930606C","stream_count_app":13,"permalink":"gezicht-en-straat","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/527/large/19930606C_kl.jpg?1517577524","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Plexi holders: Face and Street)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparent Plexiglas holders filled with painted semi-transparent plates without a fixed order. Each tray is a work in which the visual image is random, of which the internal structure remains loose, in which all elements form one work, but never in a definite stage. Made for my installation in the group exhibition Vierkant (Square) in 1993, inspired by Ren\u0026eacute; Descartes\u0026rsquo;s scribbles and shown at the S.M.A.K. in Ghent.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparante plexiglazen houders gevuld met beschilderde semitransparante plaatjes zonder vaste volgorde. Elk bakje is een werk waarin het visuele beeld willekeurig is, waarvan de interne structuur los blijft, waarin alle elementen \u0026eacute;\u0026eacute;n werk vormen, maar nooit in een definitief stadium. Gemaakt voor mijn installatie in de groepstentoonstelling Vierkant in 1993, ge\u0026iuml;nspireerd door de schrijfsels van Ren\u0026eacute; Descartes en getoond in het S.M.A.K. in Gent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Caissons en plexiglas: Visage et Rue)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Des caissons en plexi transparent remplis de petits panneaux peints, semi-transparents, sans ordre pr\u0026eacute;cis. Chaque caisson est une \u0026oelig;uvre dans laquelle l\u0026rsquo;image est arbitraire et dont la structure interne reste libre, dans laquelle tous les \u0026eacute;l\u0026eacute;ments constituent une seule \u0026oelig;uvre, mais jamais dans un stade d\u0026eacute;finitif. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre pour mon installation dans l\u0026rsquo;exposition de groupe Vierkant (Carr\u0026eacute;) en 1993, qui s\u0026rsquo;inspire des gribouillis de Ren\u0026eacute; Descartes et a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e au S.M.A.K. \u0026agrave; Gand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14796,"title":"Plexi bakjes: Control Values","dimensions":"21 x 25 x 3.5 cm","date_begin":"1993-01-01","material":"6 paintings on plexi in a plexi holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19931110E","stream_count_app":16,"permalink":"control-values","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/530/large/19931110E_kl.jpg?1517577974","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Plexi Holders: Control Values)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparent Plexiglas holders filled with painted semi-transparent plates without a fixed order. Each tray is a work in which the visual image is random, of which the internal structure remains loose, in which all elements form one work, but never in a definite stage. Made for my installation in the group exhibition Vierkant (Square) in 1993, inspired by Ren\u0026eacute; Descartes\u0026rsquo;s scribbles and shown at the S.M.A.K. in Ghent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparante plexiglazen houders gevuld met beschilderde semitransparante plaatjes zonder vaste volgorde. Elk bakje is een werk waarin het visuele beeld willekeurig is, waarvan de interne structuur los blijft, waarin alle elementen \u0026eacute;\u0026eacute;n werk vormen, maar nooit in een definitief stadium. Gemaakt voor mijn installatie in de groepstentoonstelling Vierkant in 1993, ge\u0026iuml;nspireerd door de schrijfsels van Ren\u0026eacute; Descartes en getoond in het S.M.A.K. in Gent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Caissons en plexiglas)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Des caissons en plexi transparent remplis de petits panneaux peints, semi-transparents, sans ordre pr\u0026eacute;cis. Chaque caisson est une \u0026oelig;uvre dans laquelle l\u0026rsquo;image est arbitraire et dont la structure interne reste libre, dans laquelle tous les \u0026eacute;l\u0026eacute;ments constituent une seule \u0026oelig;uvre, mais jamais dans un stade d\u0026eacute;finitif. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre pour mon installation dans l\u0026rsquo;exposition de groupe Vierkant (Carr\u0026eacute;) en 1993, qui s\u0026rsquo;inspire des gribouillis de Ren\u0026eacute; Descartes et a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e au S.M.A.K. \u0026agrave; Gand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14799,"title":"Free Association / Intellectual Intimidation","dimensions":"39.6 x 41.4 cm","date_begin":"1994-01-01","material":"Paint on plexi, double sided","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19940400A","stream_count_app":9,"permalink":"free-association-intellectual-intimidation","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/533/large/1994__FREE_ASSOCIATION_dubbelzijdig_39_6_x_41_4_cm_.jpg?1478964387","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A double-sided painting on Plexiglass:\u0026nbsp; inspired by the film \u0026quot;Diary of a Chambermaid\u0026quot;(1964) of Luis Bunuel.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een dubbelzijdig schilderij op Plexiglas: ge\u0026iuml;nspireerd door de film \u0026ldquo;Diary of a Chambermaid\u0026rdquo; (1964) door Luis Bunuel.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14801,"title":"Society=Selforganising","dimensions":"2 x (138 x 70 cm)","date_begin":"2000-01-01","material":"Computerprint on forex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20000001O","stream_count_app":17,"permalink":"society-selforganising","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/535/large/_P1050476.jpg?1478876639","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A set of 2 computer prints on Trovicel. Computer-created drawings based on Vogue images of a Prada-fashion show.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een set van 2 computerprints op Trovicel. Op een computer gecre\u0026euml;erde tekeningen gebaseerd op afbeeldingen in Vogue van de Prada-modeshow.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14774,"title":"L'âme ne peut rien d'elle-même","dimensions":"150 x 100 cm","date_begin":"2014-01-01","material":"Casein paint, acryl paint and spray paint on digital prints, mounted on wooden board with glue and metal screws","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000L","stream_count_app":11,"permalink":"l-ame-ne-peut-rien-d-elle-meme","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/508/large/37_2013_12_L'a%CC%82me_ne_peut_rien_d'elle-_me%CC%82me_%28Chap.34%29_100_x_150_cm_kopie_2.jpg?1478960806","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026ldquo;One of the PVC collages \u0026ldquo;PLAYGIRLS\u0026rdquo; inspired by \u0026lsquo;La Fontaine d\u0026#39;Ar\u0026eacute;thuse\u0026rsquo; (1910) by composer K. Szymanowski. Pages of the nude magazine Playgirl (Baltimore, 1958) served as a starting point. The works have texts of the book \u0026lsquo;Rhythmanalysis\u0026rsquo; of Marxist L.Lefebvre (Parijs, 1992) and bits of the first text i ever wrote on a computer, in 1980. The titles and content of the works have to do with specific chapters of \u0026laquo;\u0026nbsp;Le Miroir des \u0026Acirc;mes Simples et An\u0026eacute;anties et qui seulement demeurent en Vouloir et D\u0026eacute;sir d\u0026#39;Amour\u0026nbsp;\u0026raquo; (Paris, 1300) of the mystic Marguerite Porete. I feel very close to her individuality and passion. The Playgirls were made for my \u0026nbsp;Zeno X exhibition, \u0026lsquo;3 Carrels (Degenerate Customized Solutions)\u0026rsquo;.\u0026rdquo;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;E\u0026eacute;n van de PVC-collages \u0026lsquo;PLAYGIRLS\u0026rsquo;, ge\u0026iuml;nspireerd door \u0026lsquo;La Fontaine d\u0026rsquo;Ar\u0026eacute;thuse (1910)\u0026rsquo; van componist K. Szymanowski. Pagina\u0026rsquo;s van het naaktmagazine Playgirl (Baltimore, 1958) dienden als startpunt. De werken bevatten teksten uit het boek \u0026lsquo;Rhythmanalysis\u0026rsquo; van Marxist L.Lefebvre (Parijs, 1992) en stukken van de eerste tekst die ik ooit schreef op een computer, in 1980. De titels en inhoud van de werken hebben te maken met de verschillende hoofdstukken van \u0026ldquo;Le Miroir des \u0026Acirc;mes Simples et An\u0026eacute;anties et que seulement demeurent en vouloir et D\u0026eacute;sir d\u0026rsquo;Amour\u0026rdquo; (Parijs, 1300) van de mystieke Marguerite Porete. Ik voel me zeer verbonden met haar individualiteit en passie. De Playgirls werden gemaakt voor mijn Zeno X-tentoonstelling \u0026#39;3 Carrels (Degenerate Customized Solutions)\u0026#39;.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14775,"title":"Carrel 1 (Enigma)","dimensions":"240 x 201 x 62 cm","date_begin":"2014-01-01","material":"cabinet and mirror","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":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000N","stream_count_app":25,"permalink":"carrel-1-enigma","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/509/large/AMVK2014_15b.jpg?1478868966","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A carrel is a kind of separated cupboard that also serves as a database \u0026ndash; it\u0026rsquo;s a moving study table. In the Middle Ages, carrels were found in monastic libraries, where monks used them to isolate themselves from the environment\u0026#39;s noise.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe first carrel I made for a crematorium, the next three were for an exhibition at Zeno X Gallery. They were shown together with large PVC collages, based on quotations from the mystic Marguerite Porete and on Karol Szymanowski\u0026rsquo;s composing manner. Each of the carrels stands for a step in the development of data processing machines: they are computers, in other words.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTheir titles are: Enigma, Colossus, Connection Machine and Coromandel Disturbed 1 and 2. The first was an encoding machine, the second a decoding machine, and the third was launched as a revolutionary idea to put the processing system (the processor) precisely where the information is stored: in the memory. This way, the memory becomes the processor in the computer. I drew a parallel to the stages of a human life.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een carrel is een soort opzichzelfstaande kast die ook dienst doet als een databank, het is een rijdende studeertafel. In de middeleeuwen vond men carrels in de kloosterbibliotheken, monniken gebruikten ze om zich van het lawaai van de omgeving te kunnen afzonderen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe eerste carrel maakte ik voor een crematorium, de volgende 3 waren voor een tentoonstelling bij Zeno X Gallery. Ze werden getoond samen met grote pvc-collages, gebaseerd op citaten van de mystica Marguerite Porete en de componeerwijze van Karol Szymanowski. Elk van de carrels staat voor een stap in de ontwikkeling van dataverwerkingsmachines. Computers, met andere woorden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHun namen zijn Enigma, Colossus, Connection Machine, Coromandel, Disturbed 1 en 2. De eerste was een coderingsmachine, de tweede decoderingsmachine, en met de derde werd als revolutionair idee gelanceerd om het verwerkingssysteem (de processor) te stoppen waar de informatie wordt opgeslagen, in het geheugen. Zo wordt het geheugen in de computer de processor. Ik trok een parallel naar de stadia in een mensenleven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un Carrel (ou box ou cubicule) est une sorte d\u0026rsquo;armoire autonome, de box qui fait aussi office de banque de donn\u0026eacute;es\u0026nbsp;; il s\u0026rsquo;agit de tables d\u0026rsquo;\u0026eacute;tude sur roulette. Au Moyen-\u0026acirc;ge, on les trouvait dans les biblioth\u0026egrave;ques de monast\u0026egrave;res afin de pouvoir s\u0026rsquo;isoler du bruit environnant.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le premier carrel que j\u0026rsquo;ai cr\u0026eacute;\u0026eacute; \u0026eacute;tait destin\u0026eacute; \u0026agrave; un cr\u0026eacute;matorium, les trois suivants ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;s pour une exposition \u0026agrave; la galerie Zeno X. Ils ont \u0026eacute;t\u0026eacute; expos\u0026eacute;s avec de grands collages sur PVC, inspir\u0026eacute;s de citations de la mystique Marguerite Porete et du mode de composition de Karol Szymanowski.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chacun des carrels symbolise une \u0026eacute;tape de l\u0026rsquo;\u0026eacute;volution des machines de traitement de donn\u0026eacute;es, en d\u0026rsquo;autres mots, des ordinateurs.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Leurs noms sont Enigma, Colossus, The Connection Machine, Coromandel Disturbed\u0026nbsp;1 et 2. La premi\u0026egrave;re \u0026eacute;tait un cryptographe, la deuxi\u0026egrave;me un d\u0026eacute;codeur et avec la troisi\u0026egrave;me, on a lanc\u0026eacute; l\u0026rsquo;id\u0026eacute;e r\u0026eacute;volutionnaire d\u0026rsquo;introduire le syst\u0026egrave;me de traitement de l\u0026rsquo;information (le processeur) l\u0026agrave; o\u0026ugrave; celle-ci est sauvegard\u0026eacute;e, \u0026agrave; savoir dans la m\u0026eacute;moire. Ainsi, la m\u0026eacute;moire devient le processeur de l\u0026rsquo;ordinateur. J\u0026rsquo;ai \u0026eacute;tabli un parall\u0026egrave;le avec les phases d\u0026rsquo;une vie humaine.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14802,"title":"The Avant-Will Twin Human","dimensions":"248 x 200 cm","date_begin":"2013-01-01","material":"mixed media, collage on plexi mirror","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20130500F","stream_count_app":12,"permalink":"the-avant-will-twin-human","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/536/large/2013_2ie%CC%80me_Sexe_Noisy_Le_Sec__248_x_200.jpg?1478876848","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Collage and painting on Plexiglass mirror: on generalities and abstractions.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Collage en schilderij op Plexiglas spiegel: over algemeenheden en abstracties.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14814,"title":"Grensgebieden","dimensions":"32 p.","date_begin":"1990-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"grensgebieden-annemie-van-kerckhoven-danny-devos-eric-brandts-philippe-tonnard","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/952/large/1990_grensgebieden_kaft_catalogus_kopie.jpg?1478938712","poster_credits":"(c)scan: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eThe catalogue \u0026#39;Grensgebieden: Annemie van Kerckhoven, Danny Devos, Eric Brandts, Philippe Tonnard\u0026#39; was published to accompany the exhibition \u003cem\u003eWatertoren,\u0026nbsp;\u003c/em\u003eVlissingen, NL\u0026nbsp;(1.07.1990 - 7.10.1990).\u003c/p\u003e\r\n\r\n\u003cp\u003eText: Leon Riekwel, Wim Van Mulders\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026#39;Grensgebieden:\u0026nbsp;: Annemie van Kerckhoven, Danny Devos, Eric Brandts, Philippe Tonnard\u0026#39; werd gepubliceerd\u0026nbsp;bij de tentoonstelling\u0026nbsp;\u003cem\u003eWatertoren,\u0026nbsp;\u003c/em\u003eVlissingen, NL\u0026nbsp;(1.07.1990 - 7.10.1990).\u003c/p\u003e\r\n\r\n\u003cp\u003eTekst: Leon Riekwel, Wim Van Mulders\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14815,"title":" Een Bloem van Smarten was haar Mond","dimensions":"32.4 x 32.1 cm","date_begin":"1991-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/933","stream_count_app":13,"permalink":"een-bloem-van-smarten-was-haar-mond","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/550/large/3.EenBloemVanSmarten.JPG?1476883151","poster_credits":"(c)scan: M HKA, cover: AMVK","translations":[{"locale":"en","description":"\u003cp\u003ePublished for the exhibition of Anne-Mie Van Kerckhoven and Danny Devos in Galerie Transit, Leuven, BE (25.10.1991 - 1.12.1991).\u003c/p\u003e\r\n\r\n\u003cp\u003ePrint: Nijs, Herent (kaft); Kollektief de Wrikker, Antwerpen\u003cbr /\u003e\r\nEdition: 300 copies, numbered\u003cbr /\u003e\r\n(c)Club Moral \u0026amp; Transit, 1991\u003cbr /\u003e\r\nGalerie TRANSIT, Tiensevest 39, B-3010 Leuven\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eUitgegeven ter gelegenheid van de tentoonstelling van Anne-Mie VAN KERCKHOVEN en Danny DEVOS in Galerie Transit te Leuven van 25 okt. ot 1 dec. 1991.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDruk: Nijs, Herent (kaft); Kollektief de Wrikker, Antwerpen\u003cbr /\u003e\r\nOplage: 300 exemplaren, genummerd (Exemplaar collectie M HKA: 00191)\u003cbr /\u003e\r\n(c)Club Moral \u0026amp; Transit, 1991\u003cbr /\u003e\r\nGalerie TRANSIT, Tiensevest 39, B-3010 Leuven\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14816,"title":"Tegen de keer 3x ","dimensions":"26 p.","date_begin":"1995-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Vlaams Cultureel Centrum de Brakke Grond, Amsterdam","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"tegen-de-keer-3x","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/948/large/1995_tegen_de_keer_3X_catalogus_cover.jpg?1478937745","poster_credits":"(c)scan: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eExhibition catalogue for\u003cem\u003e Tegen de keer 3x\u003c/em\u003e\u0026nbsp;at Vlaams Cultureel Centrum De Brakke Grond, Amsterdam, NL (24.11.1995 to 7.01.1996).\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts: Anne-Mie Van Kerckhoven, D\u0026eacute;sir\u0026eacute;e Dolron, Henk Oosterling\u003cbr /\u003e\r\nPublisher: Vlaams Cultureel Centrum De Brakke Grond, Amsterdam, NL\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eTentoonstellingscatalogus bij \u003cem\u003eTegen de keer 3x\u003c/em\u003e in het Vlaams Cultureel Centrum De Brakke Grond, Amsterdam, NL (24.11.1995 tot 7.01.1996).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTeksten: Anne-Mie Van Kerckhoven, D\u0026eacute;sir\u0026eacute;e Dolron, Henk Oosterling\u003cbr /\u003e\r\nUitgeverij: Vlaams Cultureel Centrum De Brakke Grond, Amsterdam, NL\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14817,"title":"The HeadNurse-files (AMVK 1995-2005)","dimensions":"174 p., 31.7 x 23.5 cm","date_begin":"2004-01-01","material":"Ink, paper","short_description":"\u003cp\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/932","stream_count_app":9,"permalink":"the-headnurse-files","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/947/large/download.jpg?1478879807","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eThe publication is the result of a cooperation between: Anne-Mie Van Kerckhoven, NAK Neuer Aachener Kunstverein, Kunsthalle Bern, objectif_Exhibitions, Antwerpen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe HeadNurse-files are published in conjunction with the exhibitions: Anne-Mie Van Kerckhoven - How Reliable is the Brain? (NAK Neuer Aachener Kunstverein, 16.05-11.06.2004) and AMVK-EZFK (Kunsthalle Bern, 28.01-26.03.2005).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nResearch: Patrick van Rossem\u003cbr /\u003e\r\nConcept: Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nEditor: Patrick van Rossem (associate curator objectif_exhibitions, Antwerpen)\u003cbr /\u003e\r\nAdvisary board: Suzanne Titz (Director NAK Neuer Aachener Kunstverein), Philippe Pirotte (Director Kunsthalle Bern)\u003cbr /\u003e\r\nGraphic Design: Anne-Mie Van Kerckhoven in collaboration with Kim Beirnaert\u003cbr /\u003e\r\nResearch assistance: Annelies Vantyghem\u003cbr /\u003e\r\nAuthors: Filip Luyckx, Corinne Melin, Dorothea Olkowski, Philippe Pirotte, Renate Puvogel, Suzanne Titz, Ronald Van De Sompel, Anne-Mie Van Kerckhoven, Wim Van Mulders, Patrick Van Rossem\u003cbr /\u003e\r\nTranslations: Gregory Ball, Pauline Cumbers, Anne D\u0026#39;Hondt, Danny Devos, Christopher Griffin, Audrey Van Tuyckom, Stefan Barmann\u003cbr /\u003e\r\nText Editing: NAK Neuer Aachener Kunstverein, Kunsthalle Bern, Objectif_Exhibitions Antwerp\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCo\u0026ouml;rdination: Objectif_Exhibitions, Qoquilhatstraat 14, 2000 Antwerpen, BE\u003cbr /\u003e\r\nPrinted and bound by: Imschoot Printers (Gent, BE)\u003cbr /\u003e\r\nEdition: 1000 copies\u003cbr /\u003e\r\nISBN: 9080849332\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze publicatie is het resultaat van een samenwerking tussen Anne-Mie Van Kerckhoven, NAK Neuer Aachener Kunstverein, Kunsthalle Bern en objectif_Exhibitions,\u0026nbsp;Antwerpen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe HeadNurse-files werden gepubliceerd naar aanleiding van de tentoonstellingen:\u0026nbsp;Anne-Mie Van Kerckhoven - How Reliable is the Brain? (NAK Neuer Aachener Kunstverein, 16.05-11.06.2004) and AMVK-EZFK (Kunsthalle Bern, 28.01-26.03.2005).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nOnderzoek: Patrick van Rossem\u003cbr /\u003e\r\nConcept: Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nEditor: Patrick van Rossem (associate curator objectif_exhibitions, Antwerpen)\u003cbr /\u003e\r\nAdvisary board: Suzanne Titz (Director NAK Neuer Aachener Kunstverein), Philippe Pirotte (Director Kunsthalle Bern)\u003cbr /\u003e\r\nGrafisch ontwerp: Anne-Mie Van Kerckhoven in collaboration with Kim Beirnaert\u003cbr /\u003e\r\nAssistentie onderzoek: Annelies Vantyghem\u003cbr /\u003e\r\nAuteurs: Filip Luyckx, Corinne Melin, Dorothea Olkowski, Philippe Pirotte, Renate Puvogel, Suzanne Titz, Ronald Van De Sompel, Anne-Mie Van Kerckhoven, Wim Van Mulders, Patrick Van Rossem\u003cbr /\u003e\r\nVertalingen: Gregory Ball, Pauline Cumbers, Anne D\u0026#39;Hondt, Danny Devos, Christopher Griffin, Audrey Van Tuyckom, Stefan Barmann\u003cbr /\u003e\r\nTekst editing: NAK Neuer Aachener Kunstverein, Kunsthalle Bern, Objectif_Exhibitions Antwerp\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCo\u0026ouml;rdinatie: Objectif_Exhibitions, Qoquilhatstraat 14, 2000 Antwerpen, BE\u003cbr /\u003e\r\nGedrukt en gebonden door: Imschoot Printers (Gent, BE)\u003cbr /\u003e\r\nEditie: 1000 copies\u003cbr /\u003e\r\nISBN: 9080849332\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14818,"title":"Anne-Mie Van Kerckhoven – Nothing More Natural","dimensions":"272 p., 23.7 x 30 cm","date_begin":"2009-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2004/382","stream_count_app":11,"permalink":"anne-mie-van-kerckhoven-nothing-more-natural","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/551/large/8.NothingMoreNatural.JPG?1476891218","poster_credits":"(c)scan: M HKA, cover: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eEditors: Susanne Neubauer (Kunstmuseum Luzern, Museum of Art Lucerne, Luzern), Dirk Snauwaert (Wiels Contemporary Art Centre, Brussels)\u003cbr /\u003e\r\nTexts: Suzanne Neubauer, Gertrud Sandqvist, Dirk Snauwaert\u003cbr /\u003e\r\nTranslations: Emma Aulanco, Fran\u0026ccedil;ois Grundbacher, Kevin Halliwell, Sina Lebert, Helga Marx, Home Office, Delphine Pont/Stoquart SA, Dirk Verbiest, Shaun Whiteside\u003cbr /\u003e\r\nProofreading: Martina Fuchs, Solange de Boer, Sophie Rocca, Joris Vermeir, Wendy Vogel\u003cbr /\u003e\r\nArchiving: Cleo Cafmeyer, Danny Devos, Christophe Engels, Lief Meeus, Sofie Pepermans, Melanie Sacr\u0026eacute;, Koen Van den Brande, Valerie Van Haute, Annelies Vantyghem\u003cbr /\u003e\r\nPhotography: Achim Kululies, Wim van Nueten, Dirk Pauwels\u003cbr /\u003e\r\nScanning: Ira Vander Borght, Steurs nv graphic solutions\u003cbr /\u003e\r\nCourtesy photo\u0026#39;s lenders: Jan Fabre, Karen Geurts, Godelieve Kenes-De Belser, Beatrijs Lauwaert, Luc and\u0026nbsp;Bernadette Merckx, Kitty Segers, Jan Van Kerckhoven, Ritt Van Kerckhoven, Jet Van Kerckhoven-De Belser, Minoesj Van Hoezen, Ines Verhoye, Peter St\u0026auml;mpfli, Michael Krethlow, Klaus Kocher\u003cbr /\u003e\r\nGraphic Design: Sara De Bondt with assistance of Gr\u0026eacute;gory Ambos and Jisuk Kim. Typeface Wiels Light designed by Jo De Baerdemaeker\u003cbr /\u003e\r\nPrinting: Die Keure, Bruges\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eEditors: Susanne Neubauer (Kunstmuseum Luzern, Museum of Art Lucerne, Luzern), Dirk Snauwaert (Wiels Contemporary Art Centre, Brussels)\u003c/em\u003e\u003cbr /\u003e\r\nTeksten: Suzanne Neubauer, Gertrud Sandqvist, Dirk Snauwaert\u003cbr /\u003e\r\nVertalingen: Emma Aulanco, Fran\u0026ccedil;ois Grundbacher, Kevin Halliwell, Sina Lebert, Helga Marx, Home Office, Delphine Pont/Stoquart SA, Dirk Verbiest, Shaun Whiteside\u003cbr /\u003e\r\nNalezen: Martina Fuchs, Solange de Boer, Sophie Rocca, Joris Vermeir, Wendy Vogel\u003cbr /\u003e\r\nArchivering: Cleo Cafmeyer, Danny Devos, Christophe Engels, Lief Meeus, Sofie Pepermans, Melanie Sacr\u0026eacute;, Koen Van den Brande, Valerie Van Haute, Annelies Vantyghem\u003cbr /\u003e\r\nFotografie: Achim Kululies, Wim van Nueten, Dirk Pauwels\u003cbr /\u003e\r\nScannen: Ira Vander Borght, Steurs nv graphic solutions\u003cbr /\u003e\r\nCourtesy foto\u0026#39;s\u0026nbsp;bruiklenen: Jan Fabre, Karen Geurts, Godelieve Kenes-De Belser, Beatrijs Lauwaert, Luc and\u0026nbsp;Bernadette Merckx, Kitty Segers, Jan Van Kerckhoven, Ritt Van Kerckhoven, Jet Van Kerckhoven-De Belser, Minoesj Van Hoezen, Ines Verhoye, Peter St\u0026auml;mpfli, Michael Krethlow, Klaus Kocher\u003cbr /\u003e\r\nGrafisch ontwerp: Sara De Bondt with assistance of Gr\u0026eacute;gory Ambos and Jisuk Kim. Typeface Wiels Light designed by Jo De Baerdemaeker\u003cbr /\u003e\r\nDruk: Die Keure, Bruges\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14819,"title":"Anne-Mie Van Kerckhoven – Über Das Ich","dimensions":"79 p., 19.5 x 13 cm","date_begin":"2009-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2013/600","stream_count_app":10,"permalink":"anne-mie-van-kerckhoven-uber-das-ich","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/552/large/9.UberdasIch.JPG?1476948230","poster_credits":"(c)scan: M HKA, cover: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eThis book is published as a documentation of the exhibition Anne-Mie Van Kerckhoven\u0026nbsp;\u0026ndash; \u0026Uuml;ber das Ich (Willk\u0026uuml;r und Tranzendenz) [and a lot of fun] at daadgalerie from March 16th to April 29th 2007.\u003c/p\u003e\r\n\r\n\u003cp\u003ePublished by: Berliner K\u0026uuml;ntslerprogramm/DAAD, Ariane Beyn, Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nText: Ludwig Seyfarth\u003cbr /\u003e\r\nShort texts: Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nTranslation: April Lamm and Franz v. Stauffenberg\u003cbr /\u003e\r\nText Editing: Katharina Garrelt\u003cbr /\u003e\r\nPhoto\u0026#39;s: Danny Devos, Barbara Thumm, Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nDesign: Dor\u0026eacute;n + Koster, Berlin\u003cbr /\u003e\r\nPrinted by: H. Heeneman, Berlin\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit boek werd gepubliceerd als documentatie bij de tentoonstelling Anne-Mie Van Kerckhoven\u0026nbsp;\u0026ndash; \u0026Uuml;ber das Ich (Willk\u0026uuml;r und Tranzendenz) [and a lot of fun] in DAADgalerie van 16 maart tot 29 april 2007.\u003c/p\u003e\r\n\r\n\u003cp\u003eTekst: Ludwig Seyfarth\u003cbr /\u003e\r\nKorte teksten:\u0026nbsp;Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nVertaling: April Lamm and Franz v. Stauffenberg\u003cbr /\u003e\r\nEditing: Katharina Garrelt\u003cbr /\u003e\r\nFoto\u0026#39;s: Danny Devos, Barbara Thumm, Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nDesign: Dor\u0026eacute;n + Koster, Berlin\u003cbr /\u003e\r\nDruk: H. Heeneman, Berlin\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14820,"title":"Anne-Mie Van Kerckhoven – The Mistress of the Horizon","dimensions":"215 p., 29.7 x 29.5 cm","date_begin":"2001-01-01","material":"Ink, paper","short_description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cem\u003eAnne-Mie Van Kerckhoven (\u0026deg;1951, Antwerp) explores the relationship between art, science and social reality. She has been prolific sins the early 1980s in her output of drawings, collages on paper and synthetic material, as well as short films and animations.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAMVK observes the abhorrent and the obscene in society from a female point of view and often flirts with the boundaries of the permissible. An unequivocally feminist tone pervades all her work, in which the erotic meets machine fetishism. Interior, or even domestic spaces, serve as settings for her drawings and collages, in which dream-like, futuristic enactments between human and machine-like forms unfold. In the 1990\u0026#39;s, hand-made paper works gave way to computer graphics and multimedia installations. Since then, her creative focus has been on images in which the female figure plays a prominent role, in an ongoing examination of the essence of pornographic pleasure.\u0026nbsp;\u003cbr /\u003e\r\nHer forceful visual language tends towards nihilism and avoids moralistic undertones. Text has always featured alongside image, giving poetic expressiont ot the message of the proud, sometimes exhibitionistic, female figures that inhabit her work, much like song lyrics. In parallel to her visual output, music is important in her creative universe. Performing with Danny Deovs under the band name Club Moral, she has stood firmly on Antwerp\u0026#39;s experimental music scene since 1981.\u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"B 2024/228","stream_count_app":12,"permalink":"anne-mie-van-kerckhoven-the-mistress-of-the-horizon","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/553/large/10.MistressoftheHorizon.JPG?1476950352","poster_credits":"(c)scan: M HKA, cover: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eThis book was published on the occasion of Anne-Mie Van Kerckhoven\u0026#39;s exhibition \u0026quot;In a Saturnian World\u0026quot; at the Renaissance Society in Chicago, 25 September 2011 - 18 December 2011 and at Mu.ZEE in Ostend, 18 February 2012 - 27 May 2012.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eConcept \u0026amp; Image Selection: Anne-Mie Van Kerckhoven, Zeno X Gallery\u003cbr /\u003e\r\nTexts: Ludwig Seyfarth, Dirk Snauwaert, Philip Van den Bossche, Anne-Mie Van Kerckhoven, Hamza Walker\u003cbr /\u003e\r\nGraphic Design: Jean-Jaques Stiefenhofer\u003cbr /\u003e\r\nTranslations: Dutch translations by Christelle Bogaert, English translations by Gregory Ball\u003cbr /\u003e\r\nTexts by Anne-Mie Van Kerckhoven originally published in Paradogma, Maldoror, \u0026#39;s-Gravenhage, 1993\u003cbr /\u003e\r\nText by Ludwig Seyfarth: originally published in \u0026Uuml;ber das Ich. Anne-Mie Van Kerkchoven, ed. Berliner K\u0026uuml;nstlerprogramm/DAAD(Berlin), 2009\u003cbr /\u003e\r\nTranslated from German into English by April Lamm and Franz v. Stauffenberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit boek werd uitgegeven naar aanleiding van AMVK\u0026#39;s tentoonstelling \u0026quot;In a Saturnian World\u0026quot; in the Renaissance Society in Chicago (25.09.2011 - 18.12.2011) en in Mu.ZEE in Oostende (18.02.1012 - 27.05.2012).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nConcept \u0026amp; Selectie afbeeldingen: Anne-Mie Van Kerckhoven, Zeno X Gallery\u003cbr /\u003e\r\nTeksten: Ludwig Seyfarth, Dirk Snauwaert, Philip Van den Bossche, Anne-Mie Van Kerckhoven, Hamza Walker\u003cbr /\u003e\r\nDesign: Jean-Jaques Stiefenhofer\u003cbr /\u003e\r\nVertaling: Dutch translations by Christelle Bogaert, English translations by Gregory Ball\u003cbr /\u003e\r\nTeksten door\u0026nbsp;Anne-Mie Van Kerckhoven, origineel gepubliceerd\u0026nbsp;in Paradogma, Maldoror, \u0026#39;s-Gravenhage, 1993\u003cbr /\u003e\r\nTeksten door Ludwig Seyfarth: origineel gepubliceerd\u0026nbsp;in \u0026Uuml;ber das Ich. Anne-Mie Van Kerkchoven, ed. Berliner K\u0026uuml;nstlerprogramm/DAAD(Berlin), 2009. Vertaald van het Duits naar het Engels door\u0026nbsp;April Lamm and Franz v. Stauffenberg.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14821,"title":"Anne-Mie Van Kerckhoven – Inzichten en Vergezichten, Een ommegang/Insights and Panoramic Views","dimensions":"63 p., 29.1 x 21.8 cm","date_begin":"2011-01-01","material":"Paper, ink","short_description":"\u003cp\u003eInzichten en vergezichten verschijnt naar aanleiding van de tentoonstelling van werk van Anne-Mie Van Kerckhoven in het MAS (mei 2011 tot eind 2012).\u003cbr /\u003e\r\nUitgegeven door BAI (Schoten) voor het MAS / Museum aan de Stroom, Antwerpen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTexts: Marc Holthof, Marc Ruyters en Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nCopy editing: Marianne Thys\u003cbr /\u003e\r\nEnglish Translation: Guy Shipton\u003cbr /\u003e\r\nVormgeving, design: Kim Beirnaert, Pierre Stubbe\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2026/680","stream_count_app":10,"permalink":"anne-mie-van-kerckhoven-inzichten-en-vergezichten-een-ommegang-insights-and-panoramic-views","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/554/large/11.Vergezichten.JPG?1477035014","poster_credits":"(c)scan: M HKA, cover: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eInzichten en vergezichten appears following the exhibition with works of Anne-Mie Van Kerckhoven in MAS (May 2011 until late 2012).\u003cbr /\u003e\r\nPublished by BAI (Schoten, BE) for MAS/Museum aan de Stroom, Antwerp, BE.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTexts: Marc Holthof, Marc Ruyters en Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nCopy editing: Marianne Thys\u003cbr /\u003e\r\nEnglish Translation: Guy Shipton\u003cbr /\u003e\r\nDesign: Kim Beirnaert, Pierre Stubbe\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eInzichten en vergezichten verschijnt naar aanleiding van de tentoonstelling van werk van Anne-Mie Van Kerckhoven in het MAS (mei 2011 tot eind 2012).\u003cbr /\u003e\r\nUitgegeven door BAI (Schoten) voor het MAS / Museum aan de Stroom, Antwerpen\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eTeksten: Marc Holthof, Marc Ruyters en Anne-Mie Van Kerckhoven\u003cbr /\u003e\r\nCopy editing: Marianne Thys\u003cbr /\u003e\r\nEngelse vertaling: Guy Shipton\u003cbr /\u003e\r\nDesign: Kim Beirnaert, Pierre Stubbe\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14823,"title":"7 Stripverhalen (7 Cartoons)","dimensions":"20 x 26 cm each","date_begin":"1976-01-01","material":"silkscreen on paper, edition of 100","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"AMVK \u0026 Panter Pers, BE","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"stripverhalen","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/679/large/7_Stripverhalen_hersens.jpg?1478272429","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAndermans ongeluk laaft\u003c/em\u003e (\u003cem\u003eSchadenfreude\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eDe vrijheid wenkt in de lucht\u003c/em\u003e (\u003cem\u003eFreedom Beckons in the Air\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eEen nieuwe; slechts als er 1 afvalt\u0026hellip;\u003c/em\u003e (\u003cem\u003eA New One; Only if 1 Falls off...\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eHet leger waakt\u003c/em\u003e (\u003cem\u003eThe Army Wakes\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eLeve de non-konformisten!\u003c/em\u003e (\u003cem\u003eLong Live the Non-Conformists!\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eUit de lucht komt het geluk\u003c/em\u003e (\u003cem\u003eFrom the Air Comes Happiness\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eWaarom nog mannen?\u003c/em\u003e (\u003cem\u003eWhy Still Men?\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;This was my first act as a conscious artist. Every comic strip shows a position I take. About overpopulation, craving for the good that might fall from heaven, friendship, the utopia of emigrating to space, regret, betrayal and deception, and recuperation of someone else\u0026#39;s misfortune.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAndermans ongeluk laaft\u003c/em\u003e\u003cem\u003e;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eDe vrijheid wenkt in de lucht\u003c/em\u003e\u003cem\u003e;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eEen nieuwe; slechts als er 1 afvalt\u0026hellip;\u003c/em\u003e\u003cem\u003e;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eHet leger waakt\u003c/em\u003e\u003cem\u003e;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eLeve de non-konformisten!\u003c/em\u003e\u003cem\u003e;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eUit de lucht komt het geluk\u003c/em\u003e\u003cem\u003e;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eWaarom nog mannen?\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dit is mijn eerste daad als bewuste kunstenaar. Elk stripverhaal zet een standpunt van mij neer. Over overbevolking, hunker naar het goede dat uit de hemel kan vallen, vriendschap, de utopie van uitwijken naar de ruimte, spijt, verraad en misleiding en recuperatie van andermans ongeluk.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(7 Bandes dessin\u0026eacute;es)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAndermans Ongeluk Laaft\u003c/em\u003e (\u003cem\u003eLe malheur d\u0026rsquo;autrui est r\u0026eacute;jouissant\u003c/em\u003e)\u0026nbsp;;\u003cbr /\u003e\r\n\u003cem\u003eDe Vrijheid Wenkt in de Lucht\u003c/em\u003e (\u003cem\u003eLa Libert\u0026eacute; fait signe dans l\u0026rsquo;air\u003c/em\u003e)\u0026nbsp;;\u003cbr /\u003e\r\n\u003cem\u003eEen Nieuwe; Slechts Als er 1 Afvalt\u0026hellip;\u003c/em\u003e (\u003cem\u003eUn nouveau\u0026nbsp;; uniquement s\u0026rsquo;il y en a un(e) qui est \u0026eacute;limin\u0026eacute;(e)\u0026hellip;\u003c/em\u003e)\u0026nbsp;;\u003cbr /\u003e\r\n\u003cem\u003eHet Leger Waakt\u003c/em\u003e (\u003cem\u003eL\u0026rsquo;arm\u0026eacute;e veille\u003c/em\u003e)\u0026nbsp;;\u003cbr /\u003e\r\n\u003cem\u003eLeve de Non-Konformisten!\u003c/em\u003e (\u003cem\u003eVive les non-conformistes\u0026nbsp;!\u003c/em\u003e)\u0026nbsp;;\u003cbr /\u003e\r\n\u003cem\u003eUit de Lucht Komt het Geluk\u003c/em\u003e (\u003cem\u003eLe bonheur tombe du ciel\u003c/em\u003e);\u003cbr /\u003e\r\n\u003cem\u003eWaarom nog Mannen?\u003c/em\u003e (\u003cem\u003ePourquoi encore des hommes\u0026nbsp;?\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mon premier acte d\u0026eacute;lib\u0026eacute;r\u0026eacute; d\u0026rsquo;artiste consciente de l\u0026rsquo;\u0026ecirc;tre. Chaque bande dessin\u0026eacute;e refl\u0026egrave;te un point de vue personnel. \u0026Agrave; propos de surpopulation, de l\u0026rsquo;aspiration au bien qui peut tomber du ciel, d\u0026rsquo;amiti\u0026eacute;, de l\u0026rsquo;utopie d\u0026rsquo;\u0026eacute;migrer dans l\u0026rsquo;espace, du chagrin, de trahison, de mensonge et de la r\u0026eacute;cup\u0026eacute;ration du bonheur d\u0026rsquo;autrui.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14824,"title":"Future : Logic = Art : Science","dimensions":"","date_begin":"1978-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"AMVK","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"future-logic-art-science","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/682/large/future-logic_art-science_1-9.jpg?1478273210","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14825,"title":"A woman looks at a Man's World","dimensions":"","date_begin":"1980-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"a-woman-looks-at-a-man-s-world","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/692/large/1.jpg?1478278954","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14833,"title":"Untitled","dimensions":"38.5 x 47.5 cm ","date_begin":"1974-01-01","material":"mixed media, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":24,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2002-01-01","reference":"","stream_count_app":43,"permalink":"untitled-f44cb4fa-34a3-400a-8e17-953b243b28a2","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas Werk Anne-Mie van Kerckhoven (AMVK) besteht aus grafischen Notizen bzw. Zeichnungen, worin sie ihren Gedankenstrom festlegt. Sie betrachtet zeichnen als eine Art des Verstehens, es sorgt daf\u0026uuml;r, dass man Wahrnehmungen vereinfachen und beherrschbar machen kann. Die Zeichnungen sind elegant und dynamisch. Sie zeugen von Verletzlichkeit, Leiden und \u0026auml;ngstlichen Visionen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAn erster Stelle spricht die K\u0026uuml;nstlerin durch stark konzentrierte Bilder, die ihre Bedeutung nicht sofort preisgeben. Oft kombiniert sie ihre Zeichnungen mit Texten, z.B. in Bildunterschriften oder Titeln. Die Assoziationen zwischen Sprache und Bild zwingen die Zuschauer, \u0026uuml;ber die bestehenden Konventionen nachzudenken. Das Auseinandernehmen und infrage stellen von Konventionen ist ein Leitmotiv im Gesamtwerk AMVK. Wiederkehrende Themen sind die Beziehung zwischen Mensch und Tier, zwischen Intelligenz und Intuition, zwischen menschlicher Kreativit\u0026auml;t und artifizieller Intelligenz.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAMVK bringt sehr verschiedene Elemente auf so eine Art zusammen, dass sie ganz neue Bedeutungen tragen. Sie benutzt pers\u0026ouml;nliche Bilder, Bilder aus ihrem Ged\u0026auml;chtnis und Bilder aus der uns umgebenden Bildkultur, die sie kombiniert mit Verweisen auf archetypische Elemente aus der Zahlen- oder Farbensymbolik und der Welt der G\u0026ouml;tter. Sie entlehnt aber auch Aspekte aus den j\u0026uuml;ngsten wissenschaftlichen Forschungen, unter anderem zu k\u0026uuml;nstlicher Intelligenz. Aus diesen sehr verschiedenen Elementen kreiert AMVK ihre h\u0026ouml;chst pers\u0026ouml;nliche Sprache, in der sie die gesammelte Kenntnis \u0026uuml;ber die Wissenschaft mit kritischen Befunden \u0026uuml;ber Rollpatronen und anderen Machtmechanismen in der Gesellschaft kombiniert.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie K\u0026uuml;nstlerin legt den Schwerpunkt ihrer Arbeit vor allem auf eine Untersuchung der Weiblichkeit. Bilder von und Texte \u0026uuml;ber Frauen dominieren ihr Gesamtwerk.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDer weibliche K\u0026ouml;rper ist eine Konstante. Selbst formuliert sie es so: \u0026lsquo;Ich benutze die weibliche Figur als Metapher f\u0026uuml;r das, was die Welt den Menschen antut, f\u0026uuml;r unsere Kultur, f\u0026uuml;r unser Sein.\u0026rsquo; Mit ihren kr\u0026auml;ftigen, selbstbewussten Frauenbildern bietet AMVK eine alternative Vision f\u0026uuml;r die traditionelle Auffassung von dem weiblichen, verf\u0026uuml;hrerischen Ackt. Alle negativen Konnotationen, die verbunden werden mit dem weiblichen Nacktsein, werden zu ihrem positiven Gegenpol verwandelt.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp\u003e\u0026Eta; \u0026delta;\u0026omicron;\u0026upsilon;\u0026lambda;\u0026epsilon;\u0026iota;ά \u0026tau;\u0026eta;\u0026sigmaf; Ά\u0026nu;\u0026nu;\u0026epsilon;-\u0026Mu;\u0026iota; \u0026Beta;\u0026alpha;\u0026nu; \u0026Kappa;έ\u0026rho;\u0026epsilon;\u0026kappa;\u0026omicron;\u0026beta;\u0026epsilon;\u0026nu; (\u0026gamma;\u0026nu;\u0026omega;\u0026sigma;\u0026tau;ή\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026omega;\u0026sigmaf; AMVK) \u0026alpha;\u0026nu;\u0026alpha;\u0026delta;ύ\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026mu;έ\u0026sigma;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026sigma;\u0026eta;\u0026mu;\u0026epsilon;\u0026iota;ώ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;, \u0026sigma;\u0026chi;έ\u0026delta;\u0026iota;\u0026alpha; \u0026sigma;\u0026tau;\u0026alpha; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; \u0026sigma;\u0026upsilon;\u0026lambda;\u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta; \u0026rho;\u0026omicron;ή \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026kappa;έ\u0026psi;\u0026eta;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf;. \u0026Gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026iota;\u0026delta;\u0026alpha;, \u0026tau;\u0026omicron; \u0026sigma;\u0026chi;έ\u0026delta;\u0026iota;\u0026omicron; \u0026delta;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026sigma;\u0026tau;\u0026omicron; \u0026nu;ό\u0026eta;\u0026mu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026xi;\u0026alpha;\u0026sigma;\u0026phi;\u0026alpha;\u0026lambda;ί\u0026zeta;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026pi;\u0026lambda;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta; \u0026delta;\u0026iota;\u0026alpha;\u0026chi;\u0026epsilon;ί\u0026rho;\u0026iota;\u0026sigma;\u0026eta; \u0026tau;\u0026omega;\u0026nu; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026tau;\u0026eta;\u0026rho;ή\u0026sigma;\u0026epsilon;\u0026omega;\u0026nu;. \u0026Tau;\u0026alpha; \u0026sigma;\u0026chi;έ\u0026delta;\u0026iota;ά \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026kappa;\u0026omicron;\u0026mu;\u0026psi;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026mu;\u0026iota;\u0026kappa;ά. \u0026Mu;\u0026alpha;\u0026rho;\u0026tau;\u0026upsilon;\u0026rho;\u0026omicron;ύ\u0026nu; \u0026epsilon;\u0026upsilon;\u0026pi;ά\u0026theta;\u0026epsilon;\u0026iota;\u0026alpha;, \u0026pi;ό\u0026nu;\u0026omicron;, \u0026tau;\u0026rho;\u0026omicron;\u0026mu;\u0026alpha;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ά \u0026omicron;\u0026rho;ά\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Eta; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026iota;\u0026delta;\u0026alpha; \u0026mu;\u0026iota;\u0026lambda;ά\u0026epsilon;\u0026iota; \u0026pi;\u0026rho;\u0026omega;\u0026tau;\u0026alpha;\u0026rho;\u0026chi;\u0026iota;\u0026kappa;ά \u0026mu;έ\u0026sigma;\u0026omega; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026omega;\u0026nu; \u0026iota;\u0026delta;\u0026iota;\u0026alpha;ί\u0026tau;\u0026epsilon;\u0026rho;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026mu;\u0026pi;\u0026upsilon;\u0026kappa;\u0026nu;\u0026omega;\u0026mu;έ\u0026nu;\u0026omega;\u0026nu;, \u0026pi;\u0026omicron;\u0026upsilon; \u0026delta;\u0026epsilon;\u0026nu; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;ύ\u0026pi;\u0026tau;\u0026omicron;\u0026upsilon;\u0026nu; \u0026alpha;\u0026mu;έ\u0026sigma;\u0026omega;\u0026sigmaf; \u0026tau;\u0026eta; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026sigma;ί\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf;. \u0026Sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026tau;\u0026alpha; \u0026sigma;\u0026chi;έ\u0026delta;\u0026iota;ά \u0026tau;\u0026eta;\u0026sigmaf; \u0026mu;\u0026epsilon; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026sigma;\u0026epsilon; \u0026lambda;\u0026epsilon;\u0026zeta;ά\u0026nu;\u0026tau;\u0026epsilon;\u0026sigmaf; ή \u0026tau;ί\u0026tau;\u0026lambda;\u0026omicron;\u0026upsilon;\u0026sigmaf;. \u0026Omicron;\u0026iota; \u0026gamma;\u0026lambda;\u0026omega;\u0026sigma;\u0026sigma;\u0026iota;\u0026kappa;\u0026omicron;ί-\u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ί \u0026alpha;\u0026upsilon;\u0026tau;\u0026omicron;ί \u0026sigma;\u0026upsilon;\u0026nu;\u0026epsilon;\u0026iota;\u0026rho;\u0026mu;\u0026omicron;ί \u0026omega;\u0026theta;\u0026omicron;ύ\u0026nu; \u0026tau;\u0026omicron;\u0026nu; \u0026theta;\u0026epsilon;\u0026alpha;\u0026tau;ή \u0026nu;\u0026alpha; \u0026alpha;\u0026nu;\u0026alpha;\u0026theta;\u0026epsilon;\u0026omega;\u0026rho;ή\u0026sigma;\u0026epsilon;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026kappa;\u0026rho;\u0026alpha;\u0026tau;\u0026omicron;ύ\u0026sigma;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026mu;\u0026beta;ά\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Eta; \u0026alpha;\u0026mu;\u0026phi;\u0026iota;\u0026sigma;\u0026beta;ή\u0026tau;\u0026eta;\u0026sigma;\u0026eta; \u0026tau;\u0026omega;\u0026nu; \u0026sigma;\u0026upsilon;\u0026mu;\u0026beta;ά\u0026sigma;\u0026epsilon;\u0026omega;\u0026nu; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026alpha;\u0026theta;\u0026epsilon;\u0026rho;ό \u0026mu;\u0026omicron;\u0026tau;ί\u0026beta;\u0026omicron; \u0026sigma;\u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; AMVK. \u0026Theta;έ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026pi;\u0026alpha;\u0026nu;έ\u0026rho;\u0026chi;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026epsilon;\u0026pi;ί\u0026sigma;\u0026eta;\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026eta; \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026alpha;\u0026nu;\u0026theta;\u0026rho;ώ\u0026pi;\u0026iota;\u0026nu;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026iota; \u0026zeta;\u0026omega;\u0026iota;\u0026kappa;\u0026omicron;ύ, \u0026epsilon;\u0026upsilon;\u0026phi;\u0026upsilon;ί\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026nu;ό\u0026rho;\u0026alpha;\u0026sigma;\u0026eta;\u0026sigmaf;, \u0026alpha;\u0026nu;\u0026theta;\u0026rho;ώ\u0026pi;\u0026iota;\u0026nu;\u0026eta;\u0026sigmaf; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026eta;\u0026tau;ή\u0026sigmaf; \u0026nu;\u0026omicron;\u0026eta;\u0026mu;\u0026omicron;\u0026sigma;ύ\u0026nu;\u0026eta;\u0026sigmaf;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Eta; AMVK \u0026delta;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026nu;\u0026tau;\u0026epsilon;\u0026lambda;ώ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota;\u0026nu;\u0026omicron;ύ\u0026rho;\u0026gamma;\u0026iota;\u0026omicron; \u0026nu;ό\u0026eta;\u0026mu;\u0026alpha; \u0026sigma;\u0026tau;\u0026alpha; \u0026pi;\u0026iota;\u0026omicron; \u0026epsilon;\u0026tau;\u0026epsilon;\u0026rho;ό\u0026kappa;\u0026lambda;\u0026eta;\u0026tau;\u0026alpha; \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026alpha;. \u0026Tau;\u0026alpha; \u0026sigma;\u0026chi;έ\u0026delta;\u0026iota;ά \u0026tau;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026gamma;\u0026rho;ά\u0026phi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026iota;\u0026delta;\u0026iota;\u0026omega;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026sigma;\u0026tau;\u0026iota;\u0026gamma;\u0026mu;έ\u0026sigmaf;, \u0026alpha;\u0026nu;\u0026alpha;\u0026mu;\u0026nu;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;, \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ό \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026beta;ά\u0026lambda;\u0026lambda;\u0026omicron;\u0026nu;. \u0026Tau;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026mu;\u0026epsilon; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026alpha;\u0026rho;\u0026chi;\u0026epsilon;\u0026tau;\u0026upsilon;\u0026pi;\u0026iota;\u0026kappa;ό \u0026sigma;\u0026upsilon;\u0026mu;\u0026beta;\u0026omicron;\u0026lambda;\u0026iota;\u0026sigma;\u0026mu;ό \u0026tau;\u0026omega;\u0026nu; \u0026alpha;\u0026rho;\u0026iota;\u0026theta;\u0026mu;ώ\u0026nu; ή \u0026tau;\u0026omega;\u0026nu; \u0026chi;\u0026rho;\u0026omega;\u0026mu;ά\u0026tau;\u0026omega;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron; \u0026tau;\u0026omega;\u0026nu; \u0026theta;\u0026epsilon;ώ\u0026nu;, \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026delta;\u0026alpha;\u0026nu;\u0026epsilon;ί\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota;, \u0026epsilon;\u0026pi;\u0026iota;\u0026pi;\u0026lambda;έ\u0026omicron;\u0026nu;, \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026rho;ό\u0026sigma;\u0026phi;\u0026alpha;\u0026tau;\u0026eta; \u0026epsilon;\u0026pi;\u0026iota;\u0026sigma;\u0026tau;\u0026eta;\u0026mu;\u0026omicron;\u0026nu;\u0026iota;\u0026kappa;ή έ\u0026rho;\u0026epsilon;\u0026upsilon;\u0026nu;\u0026alpha;, \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ ά\u0026lambda;\u0026lambda;\u0026omega;\u0026nu; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026eta;\u0026tau;ή \u0026nu;\u0026omicron;\u0026eta;\u0026mu;\u0026omicron;\u0026sigma;ύ\u0026nu;\u0026eta;. \u0026Alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026epsilon;\u0026upsilon;\u0026rho;ύ\u0026tau;\u0026alpha;\u0026tau;\u0026omicron; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026pi;\u0026epsilon;\u0026delta;ί\u0026omicron; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;ά\u0026sigmaf;, \u0026eta; AMVK \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026epsilon;ί έ\u0026nu;\u0026alpha; \u0026epsilon;\u0026xi;\u0026alpha;\u0026iota;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ά \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026omega;\u0026pi;\u0026iota;\u0026kappa;ό \u0026iota;\u0026delta;ί\u0026omega;\u0026mu;\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026pi;\u0026iota;\u0026sigma;\u0026tau;\u0026eta;\u0026mu;\u0026omicron;\u0026nu;\u0026iota;\u0026kappa;ή \u0026gamma;\u0026nu;ώ\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026alpha; \u0026kappa;\u0026rho;\u0026iota;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026rho;ό\u0026lambda;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026omega;\u0026nu; \u0026kappa;\u0026omicron;\u0026iota;\u0026nu;\u0026omega;\u0026nu;\u0026iota;\u0026kappa;ώ\u0026nu; \u0026phi;ύ\u0026lambda;\u0026omega;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; ά\u0026lambda;\u0026lambda;\u0026omega;\u0026nu; \u0026kappa;\u0026omicron;\u0026iota;\u0026nu;\u0026omega;\u0026nu;\u0026iota;\u0026kappa;ώ\u0026nu; \u0026mu;\u0026eta;\u0026chi;\u0026alpha;\u0026nu;\u0026iota;\u0026sigma;\u0026mu;ώ\u0026nu; \u0026epsilon;\u0026xi;\u0026omicron;\u0026upsilon;\u0026sigma;ί\u0026alpha;\u0026sigmaf;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Eta; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026iota;\u0026delta;\u0026alpha; \u0026epsilon;\u0026sigma;\u0026tau;\u0026iota;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026kappa;\u0026upsilon;\u0026rho;ί\u0026omega;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta; \u0026delta;\u0026iota;\u0026epsilon;\u0026rho;\u0026epsilon;ύ\u0026nu;\u0026eta;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026omicron;\u0026upsilon; \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026omicron;\u0026upsilon;. \u0026Epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026iota;\u0026sigmaf; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;ί\u0026kappa;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026upsilon;\u0026rho;\u0026iota;\u0026alpha;\u0026rho;\u0026chi;\u0026omicron;ύ\u0026nu; \u0026sigma;\u0026tau;\u0026eta; \u0026delta;\u0026omicron;\u0026upsilon;\u0026lambda;\u0026epsilon;\u0026iota;ά \u0026tau;\u0026eta;\u0026sigmaf;. \u0026Tau;\u0026omicron; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026omicron; \u0026sigma;ώ\u0026mu;\u0026alpha; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026pi;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026chi;\u0026omicron;ύ \u0026pi;\u0026alpha;\u0026rho;ό\u0026nu;. \u0026Eta; ί\u0026delta;\u0026iota;\u0026alpha; \u0026epsilon;\u0026xi;\u0026eta;\u0026gamma;\u0026epsilon;ί: \u0026laquo;\u003cem\u003e\u0026Chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;ώ \u0026tau;\u0026eta; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026alpha; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026sigma;\u0026upsilon;\u0026gamma;\u0026kappa;\u0026epsilon;\u0026kappa;\u0026rho;\u0026iota;\u0026mu;έ\u0026nu;\u0026alpha; \u0026omega;\u0026sigmaf; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;ά \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron; \u0026tau;\u0026iota; \u0026kappa;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026omicron; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026theta;\u0026rho;ώ\u0026pi;\u0026omicron;\u0026upsilon;\u0026sigmaf;, \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026nu; \u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026sigma;\u0026mu;ό \u0026mu;\u0026alpha;\u0026sigmaf;, \u0026gamma;\u0026iota;\u0026alpha; \u0026mu;\u0026alpha;\u0026sigmaf;.\u003c/em\u003e\u0026raquo; \u0026Mu;\u0026epsilon; \u0026tau;\u0026iota;\u0026sigmaf; \u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026tau;έ\u0026sigmaf;, \u0026gamma;\u0026epsilon;\u0026mu;ά\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026upsilon;\u0026tau;\u0026omicron;\u0026pi;\u0026epsilon;\u0026pi;\u0026omicron;ί\u0026theta;\u0026eta;\u0026sigma;\u0026eta; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf;, \u0026eta; AMVK \u0026pi;\u0026rho;\u0026omicron;\u0026tau;\u0026epsilon;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026epsilon;\u0026nu;\u0026alpha;\u0026lambda;\u0026lambda;\u0026alpha;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ή \u0026mu;\u0026alpha;\u0026tau;\u0026iota;ά \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026delta;\u0026omicron;\u0026sigma;\u0026iota;\u0026alpha;\u0026kappa;ή \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;έ\u0026gamma;\u0026gamma;\u0026iota;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026theta;\u0026epsilon;\u0026lambda;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026omicron;\u0026upsilon; \u0026gamma;\u0026upsilon;\u0026mu;\u0026nu;\u0026omicron;ύ. Ό\u0026lambda;\u0026omicron;\u0026iota; \u0026omicron;\u0026iota; \u0026alpha;\u0026rho;\u0026nu;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ί \u0026sigma;\u0026upsilon;\u0026nu;\u0026epsilon;\u0026iota;\u0026rho;\u0026mu;\u0026omicron;ί \u0026tau;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026nu;\u0026alpha;\u0026kappa;\u0026alpha;\u0026tau;\u0026epsilon;\u0026upsilon;\u0026theta;ύ\u0026nu;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026pi;\u0026rho;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026omicron; \u0026theta;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ό \u0026alpha;\u0026nu;\u0026tau;ί\u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;ό \u0026tau;\u0026omicron;\u0026upsilon;\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":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/649/large/Kerckhoven__Anne-Mie__Untitled__2002.jpg?1477998451","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe work of Anne-Mie van Kerckhoven (AMVK)\u0026nbsp;arises from graphical notes, drawings, in which she captures her streams of thought. For her, drawing shapes meaning and it ensures that one can simplify observations and make them manageable. The drawings are elegant and dynamic. They testify to frailty, suffering and fearful visions.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe artist speaks primarily with images, highly condensed images that do not immediately reveal their meaning. She often combines her drawings with text in captions or titles. The language-image associations force the viewer to reflect on the existing conventions. The trip up and questioning conventions is a leitmotif in the work of AMVK. Recurring themes are the relationship between man and animal, between intelligence and intuition, between human creativity and artificial intelligence.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAMVK brings the most diverse elements into new wholes meaning. They used images from her privacy, images from her memory and images from the surrounding culture. This combines them with references to archetypal elements of numerical or color symbolism and the world of gods, but even so she borrows aspects of the latest scientific research, including into artificial intelligence. From these very diverse elements AMVK creates her highly personal language, in which she combines the knowledge of science with critical findings about gender roles and other mechanisms of power in society.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe artist focuses her work mainly on an exploration of the feminine. Images and texts about women are the most dominant in her work.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe female body is a constant. She herself puts it this way:\u003cem\u003e \u0026quot;I use the female figure specifically as a metaphor for what the world does to the people, for our culture, for us.\u0026quot;\u003c/em\u003e With her strong, confident woman images AMVK offers an alternative view to the traditional approach feminine, seductive nude. All the negative connotations associated with the female nude, be redirected towards their positive opposites.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet werk van Anne-Mie van Kerckhoven (AMVK)\u0026nbsp;ontstaat uit grafische notities, tekeningen waarin ze haar gedachtestromen vastlegt. Voor haar is het tekenen een vorm van verstaan, het zorgt ervoor dat men waarnemingen kan vereenvoudigen en beheersbaar kan maken. De tekeningen zijn sierlijk en dynamisch. Ze getuigen van kwetsbaarheid, lijden en angstige visioenen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe kunstenares spreekt in de eerste plaats met beelden, sterk gecondenseerde beelden, die hun betekenis niet onmiddellijk prijsgeven. Vaak combineert ze haar tekeningen met tekst, in bijschriften of in titels. De taal-beeldassociaties dwingen de kijker zich te bezinnen over de bestaande conventies. Het onderuithalen en bevragen van conventies is een leidmotief in het werk van AMVK.\u0026nbsp; Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en artifici\u0026euml;le intelligentie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAMVK brengt de meest uiteenlopende elementen tot nieuwe betekenisgehelen. Ze gebruikt beelden uit haar persoonlijke levenssfeer, beelden uit haar geheugen en beelden uit de ons omringende beeldcultuur. Deze combineert ze met verwijzingen naar archetypische elementen uit de getallen- of kleurensymboliek en de godenwereld maar evengoed ontleent ze aspecten uit het meest recente wetenschappelijke onderzoek, onder andere naar artifici\u0026euml;le intelligentie. Uit deze zeer verscheiden elementen cre\u0026euml;ert AMVK haar hoogst persoonlijke taal, waarin ze de opgedane kennis over wetenschap combineert met kritische bevindingen over rolpatronen en andere machtsmechanismen in de samenleving.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe kunstenares legt zich in haar werk vooral toe op een verkenning van het vrouwelijke. Beelden van en teksten over vrouwen zijn de meest dominante in haar werk.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet vrouwelijke lichaam is een constante. Zelf formuleert ze het als volgt: \u003cem\u003e\u0026lsquo;Ik gebruik de vrouwelijke figuur specifiek als metafoor voor wat de wereld de mensen aandoet, voor onze cultuur, voor ons zijn.\u0026rsquo; \u003c/em\u003eMet haar krachtige, zelfbewuste vrouwenbeelden biedt AMVK een alternatieve visie op de traditionele benadering van het vrouwelijk, verleidelijk naakt. Alle negatieve connotaties, verbonden met het vrouwelijk naakt, worden omgebogen naar hun positieve tegenpool.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;oeuvre d\u0026#39;Anne-Mie van Kerckhoven (AMVK)\u0026nbsp;na\u0026icirc;t de notes graphiques, de dessins dans lesquels elle couche le flot de ses pens\u0026eacute;es. Pour elle, le dessin est une forme d\u0026#39;existence qui permet de simplifier les observation et de les rendre g\u0026eacute;rables. Les dessins sont \u0026eacute;l\u0026eacute;gants et dynamiques. Ils t\u0026eacute;moignent d\u0026#39;une vuln\u0026eacute;rabilit\u0026eacute;, d\u0026#39;une souffrance et de visions angoiss\u0026eacute;es.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;artiste parle en premier lieu avec des images. Des images fortement condens\u0026eacute;es qui ne livrent pas imm\u0026eacute;diatement leur signification. Souvent, elle combine ses dessins \u0026agrave; du texte, dans les l\u0026eacute;gendes ou dans les titres. Les associations de langage et d\u0026#39;images contraignent le spectateur \u0026agrave; s\u0026#39;interroger sur les conventions existantes. Tacler et remettre en question les conventions est un leitmotiv dans l\u0026#39;oeuvre d\u0026#39;AMVK.\u0026nbsp; Les th\u0026egrave;mes r\u0026eacute;currents sont le rapport entre l\u0026#39;homme et l\u0026#39;animal, entre l\u0026#39;intelligence et l\u0026#39;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et l\u0026#39;intelligence artificielle.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAMVK am\u0026egrave;ne les \u0026eacute;l\u0026eacute;ments les plus vari\u0026eacute;s \u0026agrave; de nouveaux ensembles de signification. Elle utilise des images de son entourage personnel, des images de sa m\u0026eacute;moire et des images de la culture de l\u0026#39;image qui nous entoure. Elle les combine \u0026agrave; des r\u0026eacute;f\u0026eacute;rences \u0026agrave; des \u0026eacute;l\u0026eacute;ments arch\u0026eacute;typaux issus de la symbolique des chiffres ou des couleurs et du monde des divinit\u0026eacute;s mais elle emprunte tout aussi bien des aspects de la recherche scientifique la plus r\u0026eacute;cente, entre autres concernant l\u0026#39;intelligence artificielle. A partir de ces \u0026eacute;l\u0026eacute;ments vari\u0026eacute;s, AMVK cr\u0026eacute;e son langage extr\u0026ecirc;mement personnel dans lequel elle combine les connaissances acquises dans le domaine des sciences et les constats critiques concernant les sch\u0026eacute;mas de comportement dict\u0026eacute;s par le r\u0026ocirc;le social et les autres m\u0026eacute;canismes du pouvoir au sein de la soci\u0026eacute;t\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDans son oeuvre, l\u0026#39;artiste se concentre surtout sur une exploration du f\u0026eacute;minin. Les images et les textes \u0026agrave; propos des femmes sont les plus dominants dans son oeuvre.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe corps f\u0026eacute;minin est une constante. Elle le formule elle-m\u0026ecirc;me comme suit : \u0026#39;J\u0026#39;utilise la silhouette f\u0026eacute;minine sp\u0026eacute;cifiquement en tant que m\u0026eacute;taphore de ce que le monde fait aux hommes, de notre culture, de notre \u0026ecirc;tre.\u0026#39; Avec ses repr\u0026eacute;sentations f\u0026eacute;minines puissantes, pleines d\u0026#39;assurance, AMVK offre une vision alternative de l\u0026#39;approche traditionnelle du nu f\u0026eacute;minin, s\u0026eacute;duisant. Toutes les connotations n\u0026eacute;gatives, li\u0026eacute;es au nu f\u0026eacute;minin, sont ramen\u0026eacute;es \u0026agrave; leur oppos\u0026eacute; positif.\u003c/p\u003e\r\n"}]},{"id":14838,"title":"Zonder titel","dimensions":"28 x 42 cm","date_begin":"1979-01-01","material":"Paint and felt tip on darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790000R","stream_count_app":9,"permalink":"zonder-titel-0a90c585-7961-4698-9bf9-a8df9f1ec221","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/669/large/19790000R.JPG?1478254347","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Gekleurde werken op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14839,"title":"(kunst/wetenschap) = (logica/toekomst): Arts Imitate Science","dimensions":"79 x 60 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790700B","stream_count_app":21,"permalink":"arts-imitate-science","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/670/large/19790700B.JPG?1478255174","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): Arts Imitate Science)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;Les arts imitent la science)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14840,"title":"(kunst/wetenschap) = (logica/toekomst): De leegte","dimensions":"102 x 56.5 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790700D","stream_count_app":21,"permalink":"de-leegte","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/671/large/19790700D.JPG?1478255510","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future):\u0026nbsp;Emptiness)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;Le Vide)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14841,"title":"Le Temps Viendra","dimensions":"73.5 x 52 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19791000A","stream_count_app":12,"permalink":"le-temps-viendra","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/672/large/19791000A.JPG?1478255701","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Colored work\u0026nbsp;on PVC and Plexiglass\u0026nbsp;out of the waste container at the factory where I worked in the late \u0026#39;70s\u0026nbsp;until mid \u0026#39;80s.\u0026nbsp;With abstract symbols and expressions, scraps of knowledge and human signs.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Gekleurde werken op PVC en Plexiglas, uit de afvalcontainer van de fabriek waar ik werkte tussen de late jaren \u0026rsquo;70 en het midden van de jaren \u0026rsquo;80. Met abstracte symbolen en expressies, restjes van kennis en menselijke tekens.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14842,"title":"(kunst/wetenschap) = (logica/toekomst): Mechanochemistry","dimensions":"73.6 x 52 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19791000B","stream_count_app":21,"permalink":"mechanochemistry","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/673/large/19791000B.JPG?1478256366","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): Mechanochemistry)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;M\u0026eacute;canochimie)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14843,"title":"Decor voor Ballet in Wit van Marc Vanrunxt: Zwarte zon/Wit vierkant \u0026 Witte zon/Zwart vierkant","dimensions":"400 x 400 cm, 800 x 400 cm","date_begin":"1988-01-01","material":"paint on pvc with iron hinged joints","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":30,"permalink":"black-sun-white-sun","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/675/large/1988-1995_ballet_in_wit-400_x_4__.jpg?1478264646","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Decor for Ballet in White: Black Sun/White Square \u0026amp; White Sun/Black Square)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;These are elements from the sliding decor for Ballet in wit (Ballet in White), choreographer Marc Vanrunxt\u0026rsquo;s 1988 production in which five dancers perform cosmic rituals. The hand-painted mandalas on PVC express notions such as melancholy, God and time. The alternation between day and night, the subdivision of a day in 24 hours, the duality of dark and light: those were the themes.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nI designed the images in the laboratory for Artificial Intelligence at the Free University of Brussels (VUB), with a symbolics-programme on a Lisp machine, the first commercial workstation. I have greatly increased the computer output, which makes the pixelation almost friendly, and then hand-painted it on PVC with screen printing ink.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMy work at VUB inspired me to follow an evening course in animated film at the Academy of Merksem, in 1983, which then led to the film De 4 uitersten (The 4 Extremes), based on Marc Vanrunxt\u0026rsquo;s four short dances.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dit zijn elementen van het verschuifbaar decor voor Ballet in Wit, de productie van choreograaf Marc Vanrunxt uit 1988, waarin vijf dansers onder andere kosmische rituelen uitvoeren. De handgeschilderde mandala\u0026rsquo;s op pvc drukken begrippen als melancholie, God en tijd uit. De afwisseling tussen dag en nacht, de onderverdeling van de 24 uren in een dag, de dualiteit van donker en licht waren de thema\u0026rsquo;s.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe beelden heb ik in het Laboratorium voor artifici\u0026euml;le intelligentie aan de VUB ontworpen, in een symbolics-programma op een Lisp-machine, het eerste commerci\u0026euml;le \u003ca href=\"https://en.wikipedia.org/wiki/Computer_workstation\" title=\"Computer workstation\"\u003ewerkstation\u003c/a\u003e. Ik heb de computer-output dan heel erg vergroot, waardoor de pixelatie bijna vriendelijk wordt, en met de hand met zeefdrukverf dus op pvc geschilderd.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMijn werk bij de VUB inspireerde me om een avondcursus animatiefilm te volgen in de Academie van Merkstem, in 1983, wat geleid heeft tot de film De 4 uitersten, gebaseerd op de vier korte dansen van Marc Vanrunxt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e(Decor de Ballet en blanc: Soleil blanc/Carr\u0026eacute; noir \u0026amp; Soleil noir/Carr\u0026eacute; blanc)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Des \u0026eacute;l\u0026eacute;ments du d\u0026eacute;cor coulissant de Ballet in Wit (1988) [Ballet en blanc], une production du chor\u0026eacute;graphe Marc Vanrunxt dans laquelle cinq danseurs ex\u0026eacute;cutent, entre autres, des rituels cosmiques.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Les mandalas peints \u0026agrave; la main sur PVC expriment des concepts comme la m\u0026eacute;lancolie, Dieu et le temps. Les th\u0026egrave;mes \u0026eacute;taient l\u0026rsquo;alternance entre jour et nuit, la subdivision d\u0026rsquo;un jour en 24\u0026nbsp;heures, la dualit\u0026eacute; entre le clair et l\u0026rsquo;obscur.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai con\u0026ccedil;u les images au laboratoire d\u0026rsquo;intelligence artificielle de la VUB, sur une machine Lisp de l\u0026rsquo;entreprise Symbolics, la premi\u0026egrave;re station de travail commerciale.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai tr\u0026egrave;s fort agrandi les donn\u0026eacute;es de sortie, ce qui a rendu la pixellisation presque aimable, et j\u0026rsquo;ai peint \u0026agrave; la main sur PVC avec de la peinture pour s\u0026eacute;rigraphie.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Mon travail \u0026agrave; la VUB m\u0026rsquo;a incit\u0026eacute; \u0026agrave; suivre un cours du soir d\u0026rsquo;animation de film \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie de Merksem, en 1983. Cette formation a men\u0026eacute; \u0026agrave; son tour au film Les 4\u0026nbsp;Fins, inspir\u0026eacute; de quatre danses br\u0026egrave;ves de Marc Vanrunxt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14846,"title":"Drawings","dimensions":"variable dimensions ","date_begin":"1978-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":24,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2008-01-01","reference":"","stream_count_app":93,"permalink":"24-drawings-on-paper-from-1976-until-2008","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/597/large/20030700A_kl.jpg?1484038705","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;From 1975 onwards\u0026nbsp;I started to exhibit my drawings. These drawings were made in cycles, as a result of too much experience with the world. This experience transformed itself into images in my subconscious. Kind of seismographic reproductions of an accumulation of inner life. Later on I began to make cycles of drawings in a more directed way. I need to create reason and meaning while connecting, in a systematic way, my actual fascinations and obsessions with what the world offers me at that moment.\u0026quot;\u0026nbsp;\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;24 tekeningen op papier gemaakt tussen 1976 en 2008. Vanaf 1975 begon ik met het tentoonstellen van mijn tekeningen. Deze tekeningen werden gemaakt in cycli, als resultaat van teveel ervaring met de wereld. Deze ervaring heeft zichzelf in mijn onderbewustzijn getransformeerd tot afbeeldingen. Een soort seismografische reproducties van een opeenstapeling van innerlijk leven. Later begon ik cycli van tekeningen te maken op een veel gerichtere manier. Ik moet reden cre\u0026euml;ren en ondertussen mijn eigenlijke fascinaties en obsessies met wat de wereld mij op dat moment biedt, op een systematische manier verbinden.\u0026quot;\u0026nbsp;\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14847,"title":"Public Annemy nr. 1: = Basic","dimensions":"","date_begin":"1980-01-01","material":"Paper, ink","short_description":"\u003cp\u003e\u003cstrong\u003ePublic Annemy nr. 1: = Basic,\u003c/strong\u003e 1980, Offset-catalogus, Museum of Art, L.A.\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"AMVK \u0026 Museum of Art, L.A.","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"public-annemy-nr-1-basic","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/696/large/PublicAnnemy_Front.JPG?1478595754","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003ePublic Annemy nr. 1: = Basic,\u003c/strong\u003e 1980, Offset-catalogue, Museum of Art, L.A.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003ePublic Annemy nr. 1: = Basic,\u003c/strong\u003e 1980, Offset-catalogus, Museum of Art, L.A.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14848,"title":"Public Annemy nr. 2: Komfort Über Alles!","dimensions":"","date_begin":"1980-01-01","material":"Paper, ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"AMVK \u0026 De Warande, Turnhout","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"public-annemy-nr-2-komfort-uber-alles","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/704/large/Komfort_front.JPG?1478595867","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003ePublic Annemy nr. 2: Komfort \u0026Uuml;ber Alles!\u003c/em\u003e, 1980, Offset-catalogue, De Warande, Turnhout, BE\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003ePublic Annemy nr. 2: Komfort \u0026Uuml;ber Alles!\u003c/em\u003e, 1980, Offset-catalogus, De Warande, Turnhout, BE\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14849,"title":"Public Annemy nr. 3: Industriële Typen","dimensions":"","date_begin":"1982-01-01","material":"Paper, ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"AMVK \u0026 Zeno X Gallery, Antwerpen","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"public-annemy-nr-3-industriele-typen","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/714/large/industriele_typen_front.jpg?1478544817","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003ePublic Annemy nr. 3: Industri\u0026euml;le Typen\u003c/em\u003e, 1982, Poster-catalogue for Zeno X Gallery, Antwerp, BE.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003ePublic Annemy nr. 3: Industri\u0026euml;le Typen\u003c/em\u003e, 1982, Poster-catalogos\u0026nbsp;voor\u0026nbsp;Zeno X Gallery, Antwerpen, BE.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14850,"title":"Public Annemy nr. 4: Hoeren en Profeten","dimensions":"","date_begin":"1983-01-01","material":"Paper, ink","short_description":"\u003cp\u003eAnne-Mie Van Kerckhoven,\u0026nbsp;\u003cem\u003ePublic Annemy nr. 4: Hoeren en Profeten\u003c/em\u003e, 1983, poster-catalogue for De Nieuwe Workshop, Brussels, BE\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"AMVK \u0026 De Nieuwe Workshop, Brussel","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"public-annemy-nr-4-hoeren-en-profeten","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/716/large/hoeren_en_profeten_front.jpg?1478545305","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven,\u0026nbsp;\u003cem\u003ePublic Annemy nr. 4: Hoeren en Profeten\u003c/em\u003e, 1983, poster-catalogue for De Nieuwe Workshop, Brussels, BE\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven,\u0026nbsp;\u003cem\u003ePublic Annemy nr. 4: Hoeren en Profeten\u003c/em\u003e, 1983, poster-catalogus\u0026nbsp;voor\u0026nbsp;De Nieuwe Workshop, Brussel, BE\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14853,"title":"Foto-Rama","dimensions":"14.8 x 21 cm","date_begin":null,"material":"Paper, ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Imschoot Uitgevers, Gent","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003eAnne-Mie Van Kerckhoven\u003cbr /\u003e\r\nFoto-Rama\u003cbr /\u003e\r\n2002\u003cbr /\u003e\r\n14,8 x 21 cm - softcover\u003cbr /\u003e\r\npublished by Imschoot Uitgevers\u003cbr /\u003e\r\nISBN: 90-80-6774-5-0\u003c/p\u003e\r\n","date_end":null,"reference":"ISBN: 90-80-6774-5-0","stream_count_app":5,"permalink":"foto-rama","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/719/large/foto-rama_kopie.jpg?1478547517","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eFoto-Rama\u003c/em\u003e, 2002, book, Imschoot Uitgevers, Ghent, BE\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eFoto-Rama\u003c/em\u003e, 2002, boek, Imschoot Uitgevers, Gent, BE\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14854,"title":"Rorty, the HeadRoom","dimensions":"","date_begin":"2004-01-01","material":"Paper, ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"AMVK","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"rorty-the-headroom-76f310a4-132b-4a39-aeff-abedff7061ab","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/720/large/Rorty_Front.JPG?1478595356","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eRorty, the HeadRoom\u003c/em\u003e, 2004, flyer, Antwerp, BE\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eRorty, the HeadRoom\u003c/em\u003e, 2004, flyer, Antwerpen, BE\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14855,"title":"Computer Simulation of Parser","dimensions":"00:06:00","date_begin":"1978-01-01","material":"b/w, color, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003ch1\u003eSpeeldata/Playlist\u003c/h1\u003e\r\n\r\n\u003cp\u003eMei 1978\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Universitaire instelling, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003eApril-mei 1978\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: video\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 6min\u003c/p\u003e\r\n\r\n\u003cp\u003eBlack \u0026amp;white \u0026amp; color\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: \u0026ldquo;Walking on the moon\u0026rdquo; van Mishalle- Geladi- Steels\u003c/p\u003e\r\n\r\n\u003cp\u003eTekeningen en animatie Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: UIA Antwerpen\u003c/p\u003e\r\n","date_end":null,"reference":"001","stream_count_app":9,"permalink":"computer-simulation-of-parser","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/729/large/AMVK_VIDEOSHEET_1.jpg?1478553464","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;On the occasion of his doctoral thesis Luc Steels asked me to draw a simulation of the dissection program he designed as proposal. He explained the functioning of his machine to me, and I drew it. The film was recorded in the AI-LAB of the UIA (Antwerp University). The film was presented to the doctoral jury as a support of Steels\u0026rsquo; presentation.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: \u0026ldquo;Walking on the moon\u0026rdquo; van Mishalle- Geladi- Steels\u003c/p\u003e\r\n\r\n\u003cp\u003eDrawings \u0026amp; Animation: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: UIA Antwerpen\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Naar aanleiding van zijn doctoraatsthesis vroeg Luc Steels mij om een simulatie te tekenen van het ontleedprogramma dat hij als werk voordroeg. Hij legde mij de werking uit van zijn machine en ik tekende ze. De film werd in het AI-LAB van de UIA opgenomen.De film werd aan de doctoraatsjury getoond ter ondersteuning van Steels zijn presentatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eGeluid: \u0026ldquo;Walking on the moon\u0026rdquo; van Mishalle- Geladi- Steels\u003c/p\u003e\r\n\r\n\u003cp\u003eTekeningen en Animatie: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eProducent: UIA Antwerpen\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14856,"title":"Art : Science = Future: Logics ","dimensions":"","date_begin":"1979-01-01","material":"super 8 film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"002","stream_count_app":10,"permalink":"art-science-future-logics","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/730/large/AMVK_VIDEOSHEET_2A.jpg?1478553720","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In the space of Art Something in Amsterdam I recorded a movie in my exhibition/installation. There were about forty large and small pieces of perspex hanging at chest height, with texts about art, science, future and logics, combined with abstract signs, points, lines and smudges in phlorescent colours. One had to squeeze through the works in order to see anything. Art Something was an alternative bookshop that mainly catered for artist books and editions.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In de ruimte van Art Something te Amsterdam heb ik een film opgenomen van mijn tentoonstelling/installatie. Er hingen een veertigtal grote en kleine stukken plexiglas op romphoogte waarop teksten over kunst, wetenschap, toekomst en logica, tesamen met abstracte tekens, punten, lijnen en vegen in fluorescerende kleuren. Men moest zich tussen de werken wringen om iets te zien. Art Something was een alternatieve boekhandel die zich voornamelijk met kunstenaarsedities bezig hield.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14857,"title":"Industriële Typen","dimensions":"00:20:00","date_begin":"1982-01-01","material":"VHS, videoregistration","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eNooit gespeeld\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003e1982\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 20min.\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/ Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"005","stream_count_app":18,"permalink":"industriele-typen-993478da-617d-41e2-a323-6311415a69de","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/735/large/AMVK_VIDEOSHEET_5.jpg?1478554296","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Video-registration of installation Industrial Types\u0026nbsp; in Zeno-X Gallery Antwerp (25.02-25.03.82).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/ Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Videoregistratie van de installatie Industri\u0026euml;le Typen in galerij Zeno-X in Antwerpen (25.02-25.03.82).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/ Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14858,"title":"Message","dimensions":"00:00:60","date_begin":"1984-01-01","material":"16 mm film, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003ch2\u003eData\u003c/h2\u003e\r\n\r\n\u003cp\u003e1984\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: 16 mm\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 60 sec\u003c/p\u003e\r\n\r\n\u003cp\u003ezw\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: geen\u003c/p\u003e\r\n\r\n\u003cp\u003eComputertekeningen: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAssistance: Stef Viaene\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/ Club Moral\u0026nbsp; en Akademie Merksem\u003c/p\u003e\r\n","date_end":null,"reference":"008bis","stream_count_app":9,"permalink":"message","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/877/large/F_Message_8bis.jpg?1478863505","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eDrawings: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAssistance: Stef Viaene\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/ Club Moral\u0026nbsp; en Akademie Merksem\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eComputertekeningen: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimatie: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAssistentie: Stef Viaene\u003c/p\u003e\r\n\r\n\u003cp\u003eProducent: AMVK/ Club Moral\u0026nbsp; en Akademie Merksem\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14859,"title":"A'dieu","dimensions":"00:35:00","date_begin":"1986-01-01","material":"U-Matic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1986\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: U-Matic\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 35min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, stereo\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera:\u0026nbsp; AMVK, Ben Mangelschots\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Thierry Genicot\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK/ Lu-Group Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: F\u0026rsquo;act. Rotterdam\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e26/10-28/10/1987\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dance Umbrella \u0026lsquo;87; ICA Theatre, London, UK\u003c/p\u003e\r\n\r\n\u003cp\u003e21/02-22/02/1986\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Video- en Filmmanifestatie; Shaffy Theater, Amsterdam, NL\u003c/p\u003e\r\n","date_end":null,"reference":"012","stream_count_app":10,"permalink":"a-dieu","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/745/large/AMVK_VIDEOSHEET_12.jpg?1478555571","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFilm of the danceproduction\u003cem\u003e A\u0026rsquo;dieu\u003c/em\u003e, made by Marc Vanrunxt.\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera:\u0026nbsp; AMVK, Ben Mangelschots\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Thierry Genicot\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK/ Lu-Group Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: F\u0026rsquo;act. Rotterdam\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eFilm van de gelijknamige dansproductie van Marc Vanrunxt.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera:\u0026nbsp; AMVK, Ben Mangelschots\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Thierry Genicot\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK/ Lu-Group Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: F\u0026rsquo;act. Rotterdam\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14861,"title":"Urewut","dimensions":"14.5 x 20 cm","date_begin":"2007-01-01","material":"Paper, ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"AMVK \u0026 Anti-Sade Press","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"ISBN: 978-90811-4226-25","stream_count_app":14,"permalink":"urewut","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/779/large/AMVK2007_07.jpg?1478601390","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eUrewut, a mystic all-devouring rage.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;These images counter bottomless depths of alienation and unreality. In 2002, in the middle of summer, I took a series of photographs in a sunny French seaside resort at the Atlantic. The loud and outraged beach fun passed me by completely since I was there all by myself, just passing through. I added pictorial elements to 5 of the photographs, did this in a rage of anger and frustration in December 2005, at home, sitting in front of the TV, shortly after I took a look at the most recent overview of contemporary Flemish painting. Then some scraps of text ended up on each of the images: sex-related reflections I wrote years ago. Living and suffering create a contradictory set of images that in its course is trying to iron out a vital problem of an unextinguished yearning for love.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash; Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eUrewut, een mystieke allesverterende razernij.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Deze beelden bieden weerwerk aan bodemloze diepten van ali\u0026euml;natie en irrealiteit. Ik nam in 2002 een reeks foto\u0026#39;s in het midden van de zomer in een zonnige Franse badplaats aan de Atlantische oceaan. De uitgelaten strandvreugde ging volledig aan mij voorbij, want ik was daar helemaal alleen en enkel op doortocht. De picturale elementen heb ik in een vlaag van woede en frustratie, in december 2005, thuis voor de tv, aan 5 van de foto\u0026#39;s toegevoegd. Dit na inzage van een recent overzicht van hedendaagse Vlaamse schilderkunst. Naderhand is er op elk van de foto\u0026#39;s een stuk tekst van mij gekomen: seks-gerelateerde overpeinzingen die ik jaren geleden schreef. Leven en lijden vormen een tegenstrijdige set van beelden die in hun verloop een vitaal probleem van ongebluste hunker naar liefde probeert glad te strijken.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash; Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14862,"title":"Een Leeg","dimensions":"16 p., 26 x 20 cm","date_begin":"2014-01-01","material":"Paper, ink","short_description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eEen Leeg\u003c/em\u003e, 2014, MER. Paper Kunsthalle, Ghent, BE\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"MER. Paper Kunsthalle, Gent, BE","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"ISBN: 978 94 9177 543 7\t","stream_count_app":19,"permalink":"een-leeg","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/786/large/een_leeg_cover_kopie.jpg?1478602402","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eEen Leeg\u003c/em\u003e, 2014, MER. Paper Kunsthalle, Ghent, BE\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSeven selected poems by Antwerp-based artist Anne-Mie Van Kerckhoven (\u0026deg;1951), illustrated with some of the artist\u0026#39;s original black and white pen drawings. Limited edition of 300 copies.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven, \u003cem\u003eEen Leeg\u003c/em\u003e, 2014, MER. Paper Kunsthalle, Gent, BE\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eZeven geselecteerde gedichten door Antwerpse kunstenares Anne-Mie Van Kerckhoven (\u0026deg;1951), ge\u0026iuml;llustreerd met enkele originele zwart-wit pentekeningen door de kunstenares. Beperkte oplage van 300 kopies.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14478,"title":"De 5de Kracht","dimensions":"variable dimensions","date_begin":"1989-01-01","material":"video installation, 1 projection, 5 monitors","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"the-5th-force","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/821/large/15_1989_De_Vijfde_Kracht_installatie___film__kopie.jpg?1478686372","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(The 5th Force)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;By making the installation De 5de kracht, I wanted to create a space of cult in which various moral survival systems could exist at the same time, in order to get a picture of what determines us as westerners in our behaviour and rational development. Atheistic but also religious ideas, Rosicrucians, practitioners of black magic, freemasons, evolution and information sects, pagan incantations, pop culture...\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIt\u0026rsquo;s all there. It\u0026rsquo;s an attempt to reunite what is torn by civilisation and consciousness. To do this, I used knowledge representation, more specifically artificial intelligence, and combined it with medical colour indications on photos of the faces of heart patients. At the back of my mind, I thought of intelligence as a disease of civilisation, a kind of mould that has invaded our minds.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Door het maken van de installatie De 5de kracht wilde ik een cultusruimte cre\u0026euml;ren waarin verschillende morele overlevingssystemen tegelijkertijd konden bestaan, om een beeld te krijgen van wat ons als westerlingen bepaalt in ons gedrag en rationele ontwikkeling. Athe\u0026iuml;stische maar ook religieuze idee\u0026euml;n, Rozenkruisers, beoefenaars van zwarte magie, vrijmetselaars, sektes over evolutie en informatie, heidense bezweringen, popcultuur\u0026hellip;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet zit er allemaal in. Het is een poging om wat verscheurd is door beschaving en bewustzijn te herenigen. Ik gebruikte hiervoor kennisrepresentatie, meer bepaald artifici\u0026euml;le intelligentie, en combineerde die met medische kleurindicaties op foto\u0026rsquo;s van de gezichten van hartpati\u0026euml;nten. In mijn achterhoofd dacht ik aan intelligentie als een beschavingsziekte, een soort schimmel die onze geest heeft binnengedrongen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(La 5e force)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En cr\u0026eacute;ant cette installation, j\u0026rsquo;ai voulu cr\u0026eacute;er un espace cultuel dans lequel diff\u0026eacute;rents syst\u0026egrave;mes de survie morale peuvent coexister, afin de se forger une id\u0026eacute;e de ce qui d\u0026eacute;termine, chez nous Occidentaux, notre comportement et notre d\u0026eacute;veloppement rationnel. Pens\u0026eacute;es ath\u0026eacute;es, mais aussi religieuses, rose-croix, praticiens de magie noire, francs-ma\u0026ccedil;ons, sectes, \u0026eacute;volution et information, incantations pa\u0026iuml;ennes, culture pop\u0026hellip;\u0026nbsp;Tout y est. Il s\u0026rsquo;agit d\u0026rsquo;une tentative de r\u0026eacute;concilier ce que la civilisation et la conscience ont d\u0026eacute;sagr\u0026eacute;g\u0026eacute;. Pour ce faire, j\u0026rsquo;ai utilis\u0026eacute; une repr\u0026eacute;sentation de la connaissance, plus sp\u0026eacute;cifiquement d\u0026rsquo;intelligence artificielle, que j\u0026rsquo;ai combin\u0026eacute;e avec des indications de couleur sur des photographies m\u0026eacute;dicales de visages de cardiaques. Dans mon for int\u0026eacute;rieur, j\u0026rsquo;envisageais l\u0026rsquo;intelligence comme une maladie de la civilisation, une sorte de moisissure qui a p\u0026eacute;n\u0026eacute;tr\u0026eacute; notre esprit.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14864,"title":"Self-portraits on PVC","dimensions":"80 x (50 x 50 cm)","date_begin":"1992-01-01","material":"Monoprint on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":27,"permalink":"self-portraits","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/826/large/1992_8_zelfprortetten_in_een_cluster_215_x_105_cm.jpg?1478686759","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;A series of 8 mono prints on PVC, self-portraits with the 5 elements of a mandala I made in the AI-lab in Brussels. As a woman one is a moon surrounded by men, castles, horses and trees.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Een serie van 8 mono-prints op PVC, zelfportretten met de 5 elementen van een mandala die ik maakte in het Al-lab in Brussel. Als vrouw ben je een maan omringd door mannen, kastelen, paarden en bomen.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14866,"title":"Solo uit Hyena","dimensions":"00:03:00","date_begin":"1989-01-01","material":"super 8 film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eNo sound, no editing\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: vzw Hyena en Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"016","stream_count_app":8,"permalink":"hyena","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/809/large/AMVK_VIDEOSHEET_16.jpg?1478683013","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFragment (solo) of the Marc Vanrunxt dance-production, filmed in one take in the first space of De Beweeging in Antwerpen-Zuid, B. The camera moves alongside the dancer. The result is an intuitive, superconcentrated, immediate reaction of one artist on the expression of another artist.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;The power of attraction Anne-Mie Van Kerckhoven experiences when Marc Vanrunxt\u0026rsquo;s body moves in dance is responsible for the need she feels to show her interpretation of those moments. AMVK: \u0026rdquo;Filming a dancing subject heightens its visual accessibility.\u0026nbsp; Opposite to the enforced static position of the seated spectator, the point from which the dancer is viewed becomes possible to observe details accurately.\u0026nbsp; The silence and technical capabilities, in particular with respect to light, of the video camera minimize my impact on what\u0026rsquo;s going on, allowing me to achieve a pure recording of the intimacy which exists between the bodily artist concerned and his hungry admirer.\u0026rdquo;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eNo sound, no editing\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: vzw Hyena en Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFragment (solo) uit de productie Hyena van Marc Vanrunxt, in 1 take gefilmd in de ruimte van De Beweeging in Antwerpen-Zuid. De camera beweegt mee met danser Vanrunxt. Het resultaat is een intu\u0026iuml;tieve, supergeconcentreerde, onmiddellijke reactie van de ene kunstenaar op de uitdrukking van de andere kunstenaar\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;De kracht van de aantrekking die Anne-Mie Van Kerckhoven ondervindt als het lichaam van Marc Vanrunxt beweegt in de dans is verantwoordelijk voor de nood die ze voelt om haar interpretatie van die momenten te tonen. AMVK: \u0026ldquo;Een dansend onderwerp filmen verhoogt de visuele toegankelijkheid. Tegenovergesteld aan de opgelegde statische positie van de zittende toeschouwer wordt het mogelijk om accurate details te observeren vanop het punt van waarop de danser gezien wordt. De stilte en technische mogelijkheden, vooral wat betreft licht, van de videocamera beperken mijn impact op wat gaande is, hetgeen een pure opname van de intimiteit die bestaat tussen de lichaamskunstenaar in kwestie en zijn menselijke bewonderaar oplevert.\u0026rdquo;\u003c/em\u003e\u003cstrong\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eNo sound, no editing\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: vzw Hyena en Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14867,"title":"Schetsboek Kasteel ","dimensions":"00:04:50","date_begin":"1989-01-01","material":"16 mm animation, VHS","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e22/12/1989\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Verdeel \u0026amp; Heers, ICC, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e03/06-02/07/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Wunschmaschinen, WUK, Schloss Wolkersdorf, Wien, Os\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06-29/08/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Retrospectieve van de Belgische Videokunst, MuHKa,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eAntwerpen B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/03-17/04/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Beeld/Beeld MHKG, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e16/02-05/03/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; Art\u0026amp;Electronic media in Europe , Pao Galleries, Arts Centre,\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Hong Kong\u003c/p\u003e\r\n\r\n\u003cp\u003e07/10/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Discours-M\u0026egrave;tis, Gallery VUB (De Kriekelaar), Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e15/03/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Morele Herbewapening, Kunsthalle Lophem, Lophem, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1989\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: 16mm animation, VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 4min50sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor. No sound.\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: Georges Terryn, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eDancer: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"020","stream_count_app":11,"permalink":"schetsboek-kasteel","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/879/large/E_bis_20_schetsboek_kasteel.jpg?1478863683","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The two screens up, mirrored, is called an altar and is a perpetual sediment\u0026nbsp; of\u0026nbsp; bipartition, perspective, computer-drawings and exorcised rituals. The drawings show the hotelcastle of my grandparents, a black sun, a female breast, time-measurement and colors. The castle is personal history and the dancer is Marc Vanrunxt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: Georges Terryn, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eDancer: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De twee schermen, gespiegeld, zijn een altaar en een oneindig sediment van tweedeligheid, perspectief, computertekeningen en uitdrijvingsrituelen. De tekeningen tonen het hotelkasteel van mijn grootouders, een zwarte zon, een vrouwelijke borst, tijdsregelingen en kleuren. Het kasteel is persoonlijke geschiedenis en de danser is Marc Vanrunxt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera: Georges Terryn, AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eDancer: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14868,"title":"Rosi Altaar","dimensions":"00:04:24","date_begin":"1989-01-01","material":"VHS","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":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e-As part of the 5th Force:\u003c/p\u003e\r\n\r\n\u003cp\u003e16/11-22/12/1989\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Verdeel \u0026amp; Heers, ICC, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e03/06-02/07/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Wunschmaschinen, WUK, Wien, Os\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06-29/08/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Retrospectieve van de Belgische Videokunst, MuHKa,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003eAntwerpen B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/03-17/04/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Beeld/Beeld, MHKG, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e16/02-05/03/1995\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Art\u0026amp; Electronic media in Europe , Pao Galleries, Arts Centre,\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Hong Kong.\u003c/p\u003e\r\n\r\n\u003cp\u003e-Exhibited separately in:\u003c/p\u003e\r\n\r\n\u003cp\u003e1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Der Neger/ Verteringsproces, Oceaan Arnhem, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1989\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 4min24sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound\u003c/p\u003e\r\n\r\n\u003cp\u003eActor: Rosi Kasseckert\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: ICC Antwerp / Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"021","stream_count_app":12,"permalink":"rosi-altaar-d074744c-a341-430b-8da6-259b5869d824","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/812/large/AMVK_VIDEOSHEET_21A.jpg?1478684771","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In a satanic ritual the altar is a naked woman; my altar is a German woman on her knees, dressed in black leather. For five minutes she sits motionless until the music stops, she turns to the audience and speaks the final words of the ritual called \u0026ldquo;Tierdrama\u0026rdquo; in which at the end all the participants leave on all fours.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eActor: Rosi Kasseckert\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: ICC Antwerp / Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In een satanisch ritueel is het altaar een naakte vrouw; mijn altaar is een Duitse vrouw op haar knie\u0026euml;n, gekleed in zwart leer. Gedurende vijf minuten zit ze stil tot de muziek stopt, ze draait zich naar de toeschouwer en zegt de laatste woorden van het ritueel genaamd \u0026ldquo;Tierdrama\u0026rdquo; waarin op het eind alle deelnemenden weggaan op handen en voeten.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eActor: Rosi Kasseckert\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: ICC Antwerp / Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14869,"title":"Tafel links","dimensions":"00:12:40","date_begin":"1989-01-01","material":"VHS","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":"Courtesy of the Artist  ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"022","stream_count_app":9,"permalink":"tafel-links","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/814/large/AMVK_VIDEOSHEET_22B.jpg?1478685342","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003e\u0026quot;Two monitors are placed each at the end of a seven meter long wooden dinner table, that served the banquet business of my family for 50 years. Left you see straight recordings of the sun in windstroken pine trees. The colored oscillation is the result of an automatic, mechanic interference between the sun and the recording equipment. This is altered with a recording of the moon moving towards and from the tower of the church where my parents got married.\u0026quot;\u003c/i\u003e\u003cstrong\u003e\u003ci\u003e\u0026nbsp;\u003c/i\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: ICC Antwerp / Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Twee monitoren staan elk op het eind van een zeven meter lange eettafel, die gedurende 50 jaar gediend heeft in de feestaannemerszaak van mijn familie. Links ziet men onbewerkte opnames van de zon tussen waaiende dennebomen. De gekleurde oscillatie is het resultaat van een automatische, mechanische interferentie tussen de zon en de opnameapparatuur. Dit wordt afgewisseld met een opname van de maan die beweegt naar de toren van de kerk waar mijn grootouders trouwden.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: ICC Antwerp / Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14870,"title":"Tafel rechts","dimensions":"00:05:30","date_begin":"1989-01-01","material":"VHS / powerPC, loop","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1989\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: vhs / powerPC\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 5min30sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: ICC Antwerp / Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eTechnical data\u003c/u\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"023","stream_count_app":8,"permalink":"tafel-rechts","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/817/large/AMVK_VIDEOSHEET_23A.jpg?1478685820","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;At the right side of the table you see images of the decaying hotelcastle of my grandparents where I spent most of my childhood.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: ICC Antwerp / Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Aan de rechterkant van de tafel ziet men beelden van het vervallen hotelkasteel van mijn grootouders waar ik het grootste gedeelte van mijn jeugd doorbracht.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eCamera and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: ICC Antwerp / Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14871,"title":"Omtrent de 5e kracht","dimensions":"00:60:00","date_begin":"1990-01-01","material":"videoloop","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"024","stream_count_app":7,"permalink":"omtrent-de-5e-kracht","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/612/large/24_omtrent_de_5de_kracht_screenshot_1.jpg?1504864506","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Video compilation of existing material around my \u0026ldquo;5th Force\u0026rdquo; project to show in my installation in Maastricht.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Videocompilatie van bestaand materiaal rond mijn \u0026ldquo;5de Kracht\u0026rdquo; project om in mijn installatie in Maastricht te tonen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14872,"title":"Open Monumentendag","dimensions":"variable dimensions ","date_begin":"1990-01-01","material":"VHS, 5 video installations - 5 videoloops","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp style=\"margin-left:72.0pt;\"\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003e1990\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Open Monumentendag, Museum Stelingwerff-Waerdenhof, Hasselt, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e1 videoinstallatie, nl Ridder werd getoond in:\u003c/p\u003e\r\n\r\n\u003cp\u003e1990 \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dubbelbeelden, stichting Amazone, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1990\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: variable\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Koning Boudewijn Stichting Brussels\u003c/p\u003e\r\n","date_end":null,"reference":"025","stream_count_app":7,"permalink":"open-monumentendag","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/819/large/AMVK_VIDEOSHEET_25.jpg?1478686378","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The Koning Boudewijn Stichting asked me to\u0026nbsp;make five different re-interpretations of\u0026nbsp; exerpts of an existing broadcast-publicity for the National Open Monumentsday.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Koning Boudewijn Stichting Brussels\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De Koning Boudewijn Stichting vroeg me vijf verschillende herinterpretaties te maken van uittreksels uit hun bestaande TV publiciteit voor de Nationale Open Monumentendag.\u0026quot;\u003c/em\u003e\u003cstrong\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Koning Boudewijn Stichting Brussels\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14873,"title":"Dance of the 7 veils","dimensions":"00:06:36","date_begin":"1991-01-01","material":"VHS, videoclip","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSur sc\u0026egrave;ne, a fragment of the 7 veils, was shown by Argos in:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e12/05/1991\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Grand prix international video dance, Paris, Fr\u003c/p\u003e\r\n\r\n\u003cp\u003e06/03/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Beweeging, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e12/03/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Kolner Tanztage- Deutsches Tanzararchiv, K\u0026ouml;ln, D\u003c/p\u003e\r\n\r\n\u003cp\u003e17/06/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; IMZ- dance screen, Wien, Au\u003c/p\u003e\r\n\r\n\u003cp\u003e01/08/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Talk show 1, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/10/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Petofi Hall, Budapest, H\u003c/p\u003e\r\n\r\n\u003cp\u003e10/10/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; CVA, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e30/04/1993\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; VTI (Vlaams Theater Instituut), Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e19/05/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De beweeging, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e18/01/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Stuk,\u0026nbsp; kunstencentrum, Leuven, B\u003c/p\u003e\r\n\r\n\u003cp\u003e20/10/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; City of Woman, Ljubljana, Sl\u003c/p\u003e\r\n\r\n\u003cp\u003e15/03/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Deutsches Tanzarchiv K\u0026ouml;ln, SK Stiftung Kultur, K\u0026ouml;ln, D\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData:\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1991\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 6 min 36 sec\u003c/p\u003e\r\n\r\n\u003cp\u003eDancer/ performer: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Richard Strauss/AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, Lu - group\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"026","stream_count_app":10,"permalink":"fragments","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/825/large/AMVK_VIDEOSHEET_26A.jpg?1478686717","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In \u0026ldquo;Dance of the7 Veils\u0026rdquo;, a fragment of Vanrunxt\u0026rsquo;s play \u0026ldquo;Sur sc\u0026egrave;ne\u0026rdquo;, Marc dances his solo in a park in Schilde. Van Kerckhoven films the six minutes choreography in one take. For three successive days, at six in the morning, at noon and at six in the evening, this scenario is repeated.\u0026nbsp; These three takes are superimposed.\u0026nbsp; The images are recast in unreal colors. The lyrical soundtrack is composed by the outdoor lowkey camerarecording of Strauss, injected with the nervous sound of the camera manipulation and the natural sound of birds chirping on three different moments on a summer day\u003c/em\u003e.\u003cem\u003e\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eDancer/ performer: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Richard Strauss/AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, Lu - grou\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In \u0026ldquo;Dance of the 7 Veils\u0026rdquo;, een fragment van het stuk \u0026ldquo;Sur Sc\u0026egrave;ne\u0026rdquo; van Marc Vanrunxt, danst Marc zijn solo in een park in Schilde. Van Kerckhoven filmt de zes minuten choreografie in \u0026eacute;\u0026eacute;n take. Gedurende drie opeenvolgende dagen, om zes uur \u0026lsquo;s morgens en zes uur \u0026lsquo;s avonds werd dit scenario herhaald. Deze drie opnames worden over elkaar gemonteerd. De beelden worden bewerkt met onrealistische kleuren. De lyrische soundtrack is samengesteld uit de buitenopname van Strauss met behulp van de camera, ge\u0026iuml;njecteerd met de nerveuze geluiden van de cameramanipulatie en de natuurlijke geluiden van tsjirpende vogels op drie verschillende momenten van een zomerdag.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eDancer/ performer: Marc Vanrunxt\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Richard Strauss/AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK, Lu - group\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14874,"title":"Alle Grond Weg Onder De Voeten","dimensions":"00:22:18","date_begin":"1992-01-01","material":"VHS","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e12/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; in programma \u0026ldquo;To the beach\u0026rdquo;, Kunstkabel, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e01/04-24/04/1993\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; Belgisch Spleen, Parbleu, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e08/01-29/01/1994\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Invasions, W\u0026amp;P, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06-12/09/1999\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp; Nursing care, in melancholy stupor, MuHKa, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"027","stream_count_app":8,"permalink":"alle-grond-weg-onder-de-voeten","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/827/large/AMVK_VIDEOSHEET_27.jpg?1478687056","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026#39;Imploration of a movingdepression. By ritually filming of the Club Moral space where we lived and worked for 13 years, I finish an important part of my life. Initiative of Kunstkabel, Amsterdam (NL) to make a video for the program \u0026ldquo;To the beach\u0026rdquo;.\u0026#39;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Bezwering van een verhuisdepressie. Door het ritueel filmen van de Club Moral ruimte waar we 13 jaar woonden en werkten, sluit ik mentaal een belangrijk deel van mijn leven af. De film werd gemaakt op initiatief en met het materiaal van Kunstkabel, Amsterdam (NL) om dan ge\u0026iuml;ntegreerd te worden in het programma \u0026ldquo;To the beach\u0026rdquo;.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14875,"title":"Belgisch Spleen","dimensions":"Dimensions variable","date_begin":"1992-01-01","material":"Monoprints and paintings on transparent Plexiglass and PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":42,"permalink":"9-self-portraits-belgisch-spleen","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/908/large/losse_foto_72dpi_1_%281%29.jpg?1509104618","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Combinations mono-print and paintings on transparent Plexiglass and PVC: self-portraits made for my installation \u0026ldquo;Belgisch Spleen\u0026rdquo; in Parbleu, Antwerpen. At first \u0026ldquo;Belgian Spleen\u0026rdquo; (in accordance to \u0026ldquo;Spleen de Paris\u0026rdquo; by Charles Baudelaire) was a Brepols agenda for cash income and expenditures, that I filled with my handwritten thoughts and reflections from 1974 until 1992. I classified the notes by the day of the year to find out whether subjects and thoughts returned at certain periods within the year, hoping to find a system and evolution in this chaos of swirling and storming thoughts. The self, confronted continually with its own image, tends to become alienated and poetic, a living hybrid of languages.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Combinaties van mono-print en schilderijen op transparant Plexiglas en PVC: zelfportretten gemaakt voor mijn installatie \u0026lsquo;Belgisch spleen\u0026rsquo; in Parbleu, Antwerpen. \u0026ldquo;Belgisch spleen\u0026rdquo; (een antwoord op \u0026ldquo;Spleen de Paris\u0026rdquo; door Charles Baudelaire) was in eerste instantie een Brepols-agenda voor financi\u0026euml;le inkomsten en uitgaven dat ik met handgeschreven gedachten en reflecties invulde van 1974 tot 1992. Ik klasseerde de notities per dag van het jaar, om te ontdekken of bepaalde onderwerpen en gedachten terugkeerden in bepaalde periodes in het jaar, hopend dat ik een systeem en een evolutie in deze chaos van wervelende en stormende gedachten zou vinden. Het zelf dat voortdurend wordt geconfronteerd met zijn eigen beeld heeft de neiging om vervreemd en po\u0026euml;tisch, een levende hybride van talen te worden.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14876,"title":"Heilig Graf","dimensions":"","date_begin":"1992-01-01","material":"VHS","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK video installation","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e10/06-30/08/1992\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Kunst en maatschappij, Warande, Turnhout, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1992\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: 2 xVHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration:\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Warande, Turnhout\u003c/p\u003e\r\n","date_end":null,"reference":"028","stream_count_app":6,"permalink":"heilig-graf","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/828/large/AMVK_VIDEOSHEET_28.jpg?1478687382","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;During the summer of 1992 I was invited with 18 other artists from Europe and America by the cultural centre \u0026ldquo;De Warande\u0026rdquo; in Turnhout (B). It was an exhibition project took art and culture in a provincial town as a departing point. The idea was to work in situ with anything the town had to offer from people, culture, the view of the streets, highlights, etc. Afterwards the realized works were to be exhibitted. We could use all the equipment from \u0026ldquo;De Warande\u0026rdquo;, we ate and slept for 10 days on location.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBecause I had been at boarding school at the Heilig Graf Institute in Turnhout from when I was 15 until 18 it was fairly obvious I was going to do something about that. I decided to ask if I could make video recordings inside. It was school holiday anyway and who knows, maybe I could walk again with my camera alone through the old classes and hallways.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAfter waiting for a long time I could finally meet the main prioress who allowed me to film. I was also invited for a tour of the closed section of the cloister, of which the school was part of. This surprised me, because at the time this was strictly forbidden; that part was only accessible for the nuns and priests, nobody knew what was to be found behind the doors mentioned LOCK. Now I could see that, mirrored on the right side of the building with the school, to the left side there was an identical, until then for me secret part, existed. With very long, quiet hallways, beautiful gardens and artworks and a wonderful, old library.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI decided to make two different videotapes, one each for every part of the cloister: right for the school and left for the rooms of the real cloister.\u0026nbsp;I turned my camera on quarter so I could put the screens on their sides against each other, in a mirror way, like the structure of the building.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Warande, Turnhout\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Tijdens de zomer van 1992 werd ik tesamen met 18 andere kunstenaars uit Europa en Amerika uitgenodigd door het cultuur en ontmoetingscentrum \u0026ldquo;De Warande\u0026rdquo; in Turnhout. Het ging om een tentoonstellingsproject met als vertrekpunt kunst en cultuur in een provinciestad. Het was de bedoeling om met dat wat de stad ons te bieden had aan mensen, cultuur, het uitzicht van de straten , bezienswaardigheden enz., ter plaatse te komen werken. Om naderhand de gemaakte dingen tentoon te stellen. We mochten al het materiaal van \u0026ldquo;De Warande\u0026rdquo; gebruiken, we aten en sliepen 10 dagen ter plaatse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOmdat ik van mijn 15 tot mijn 18 jaar op kostschool had gezeten in het Heilig Graf Instituut van Turnhout vond ik het bijna normaal dat ik daarover iets ging doen. Ik besloot te vragen of ik ter plaatse video-opnamen mocht maken. Het was toen toch grote vakantie en wie weet\u0026nbsp; kon ik met mijn camera nog eens alleen door de klassen en\u0026nbsp; gangen van vroeger lopen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNa lang wachten kon ik uiteindelijk met de hoofdzuster afspreken die me toestemming gaf om te filmen. Ook werd ik uitgenodigd tot een rondgang in het slot-gedeelte van het klooster, waartoe de school behoort. Dit tot mijn grote verbazing,\u0026nbsp; want vroeger was dat volstrekt verboden; d\u0026agrave;t gedeelte was namelijk enkel toegankelijk voor geestelijken, niemand wist wat er zich achter de deuren met SLOT bevond. Nu kon ik zien dat,\u0026nbsp; gespiegeld aan de rechterkant van het gebouw met de school, aan de linkerkant een identiek, tot dan toe voor mij geheim gedeelte, leefde. Met heel lange, stille gangen, mooie tuinen en kunstwerken en een prachtige, oude bibliotheek.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIk besloot twee verschillende videotapes te maken, elk\u0026nbsp; voor een gedeelte van het klooster: rechts voor de school en links voor de vertrekken van het \u0026eacute;chte klooster. Ik heb mijn camera een kwart gedraaid zodat ik de TV-schermen op hun kant tegenover elkaar kon zetten, in spiegel, zoals de structuur van het gebouw.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eEditing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Warande, Turnhout\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14878,"title":"Balloon","dimensions":"00:06:00","date_begin":"1995-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1995\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 6 min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: distorted easy-listening\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"031","stream_count_app":5,"permalink":"balloon","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/610/large/31_balloon_screenshot_1.jpg?1504863266","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Sliding in a balloon over the \u0026ldquo;Kempen\u0026rdquo; in Belgium.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: distorted easy-listening\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Een ballonvaart over de \u0026ldquo;Kempen\u0026rdquo; in Belgi\u0026euml;.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: distorted easy-listening\u003c/p\u003e\r\n\r\n\u003cp\u003eCamera: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14879,"title":"Killing Joke","dimensions":"00:01:50","date_begin":"1995-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1995\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: 1min50sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003ePictures: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"032","stream_count_app":6,"permalink":"killing-joke","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/608/large/32_killing_joke_screenshot_1.jpg?1504863143","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Still-animation with interior, friends, trees, mountains, and near the house of Count d\u0026rsquo;Annunzio.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003ePictures: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Een beeld-animatie met interieur, vrienden, bomen, bergen en bij het huis van Graaf d\u0026rsquo;Annunzio.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003ePictures: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14880,"title":"Veerkracht thuis / Bebopje","dimensions":"00:02:35","date_begin":"1995-01-01","material":"U-Matic, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e28/05/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 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Fertile Ground, Elzenveld, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e03/01/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; SK Stiftung Kultur, K\u0026ouml;ln, D\u003c/p\u003e\r\n\r\n\u003cp\u003e12/06-16/06/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Neue Liste, Zeno-X galerie, Basel, CH\u003c/p\u003e\r\n\r\n\u003cp\u003e10/04/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Surprise Int. Short Film Festival, Taichung, China\u003c/p\u003e\r\n\r\n\u003cp\u003eJuni 1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Museum voor Schone Kunsten, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e12/09/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; World Wide Video Festival, Amsterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e23/09/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Champ Libre, Montreal, Canada\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e30/10/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos Information Days, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e08/01/1998 \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Stuttgarter Filmwinter, Stuttgart, D\u003c/p\u003e\r\n\r\n\u003cp\u003e20/05/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Centre d\u0026rsquo;Art Contemporain de Basse-Normandie,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003eHerouville Saint-clair, FR\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003e1996\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: DVD or VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 14min30sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound, images and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"034","stream_count_app":15,"permalink":"die-loreley","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/831/large/AMVK_VIDEOSHEET_34.jpg?1478688645","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In this computer-animation Van Kerckhoven links together portrait paintings she made between 1987 and 1990 of 54 people that visited her unexpectedly. These people are acquaintances, friends and relatives.\u0026nbsp; She linked each person chronologically to some words of the poem \u0026ldquo;Die Loreley\u0026rdquo; of Heinrich Heine (1797-1856). Melancholy, fate and inevitability of seduction and doom. Sailors, attracted by the enchanting singing of the wind through the Loreley, a riff in the Rhine, reck their ships in trance against it. The Loreley-movie is a morphing of 54 faces, divided in 6 strophes.\u0026nbsp; The soundtrack evokes a barge bobbing up and down, in the water.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;\u003ci\u003eAt the centre of a social universe, the abstract, which manifests itself as a symbol, tends to manifest itself in the shape of a figure. This happens in a complex way, fragmented. Look at the ancient gods.\u0026quot;\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound, images and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De Loreley is een film gemaakt met 54 verschillende portretten van kennissen, vrienden en familie die mij gedurende de periode tussen 1987 en 1990 thuis bezochten. Ik nodigde ze niet uit, ik heb het toeval laten beslissen. Het enige wat ik ze vroeg was me twee uren van hun tijd te geven, de tijd die ik gemiddeld nodig had om hen te schilderen.\u0026nbsp; De ondergrond is plexiglas; ik zocht de kleur uit welke de persoon bij me opriep en begon met het wit van de ogen. Daarna vormde zich de rest van het gelaat. Gedurende het schilderen moesten de mensen mij recht in de ogen kijken.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;Die Loreley\u0026rdquo; van Heinrich Heine (1797-1856) is een gedicht van melancholie en onontkoombaarheid, het noodlot in zijn meest fatale vorm.\u0026nbsp; Aan elk van de geportretteerden gaf ik een deel van het gedicht, in de volgorde waarop ze mij bezochten. Per strofe zijn er 9 mensen. Het gedicht telt 6 strofen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDeze structuur bood me de kans een hedendaagse conclusie aan het gedicht te verbinden: noodlot en dood zijn slechts verschijningsvormen van liefde, wat maakt dat het de verbondenheid telkens weer is, die wint. Liefde en Dood kan men niet in dezelfde waardenschaal, op hetzelfde niveau ervaren. Dood of wat wij ervaren als \u0026ldquo; dood \u0026rdquo;, is een onderdeel, een fragment van de liefde, die haar bestaan in stand houdt doch die men niet tegenover haar kan plaatsen. Omdat Liefde het geheel is en dood \u0026eacute;\u0026eacute;n van haar bestaansvormen, waardoor zij zichtbaar wordt aan ons.\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;In het centrum van een sociaal universum, het abstracte, dat zich manifesteert als een symbool, heeft de neiging zich te manifesteren in de vorm van een figuur. Dit gebeurt op een complexe manier, gefragmenteerd. Kijk naar de oude Goden.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound, images and editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14882,"title":"Morele Herbewapening/Moral Rearmament","dimensions":"variable dimensions","date_begin":"1996-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"morele-herbewapening-moral-rearmament-the-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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/915/large/mh2_kl.jpg?1509110336","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The entrance door of the exhibition space is divided in dark and bright: up to you to make the choice.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eMy concept was:\u0026nbsp; the Kunsthalle Lophem is a giant head divided in 2, the subconscious and the conscious. Behind the middle, on the floor, 12 plexiglass mirrors of 1 by 2 meters, lying there as an ego, special self-reflection.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe installation consisted of a computer animated large screen projection in opposite to the bright side which was partly occupied by a 30 meter iron strip on which 96 magnetic plexiglass and polystyrene plates.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe 30 meter iron strip is made of 12 separate iron plates.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI show 96 women images that are items out of my databank; I connected them with words of texts on the capacity of internal self-organization,\u0026nbsp; on thermodynamics,\u0026nbsp; on order in systems in a state of non-equilibrium, on connectionistic networks and on representation of concepts and associations in general.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe women associated were 1. showing their breasts while looking in the spectator\u0026rsquo;s eyes (36), 2. completely nude except for a belt (29), 3. about to take of their knickers (15), 4. touching breast and sex simultaneously (4), 5. in various states of undress (9), 6. with dress wide open like a butterfly (3).\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBehind the mirror, on a black and white stapled floor ( freemasonry), 3 monitors, the dissection of a man\u0026rsquo;s conversation on easy making money. Title: \u0026ldquo;Il faut convaincre les investisseurs \u0026ldquo;, the first sentence of the actual discussion.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe installation is dedicated to Baubo, obscene goddess of the past, looking through her nipples, talking with the vulva, dancing in such a dirty way that all melancholic and depressed women were filled with joy again.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI thought: let\u0026rsquo;s make an installation to fill everybody, men and women, with joy again, and this by redefining a lot of heavy-duty words, giving people an agreable mental massage.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eWhen leaving the space you come across a small TV-clock with a black and white reminder, an after-image of what\u0026rsquo;s been shown in the dark.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14883,"title":"Il faut convaincre les investisseurs","dimensions":"00:07:30","date_begin":"1996-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e15/12/1996-15/03/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Morele Herbewapening, Kunsthalle Lophem, Brugge, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: 3 X VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 7min30 sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: conversation\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Danny Devos, Luc Steels, Yves Bernard\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"037","stream_count_app":5,"permalink":"il-faut-convaincre-les-investisseurs","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/607/large/37_il_faut_convaincre_screenshot_1.jpg?1504863005","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBehind the mirror, on a black and white stapled floor (freemasonry), three monitors, the dissection of a conversation under men on easy moneymaking. Title: \u0026ldquo;Il faut convaincre les investisseurs\u0026ldquo; (\u0026ldquo;You have to persuade the investors\u0026rdquo;), which actually was the first sentence of the discussion.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Conversation\u003c/p\u003e\r\n\r\n\u003cp\u003eActors: Danny Devos, Luc Steels, Yves Bernard\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAchter de spiegel, op een zwart en wit gestapelde sokkel (vrijmetselarij), drie monitoren, een dissectie van een conversatie onder mannen over gemakkelijk geld maken. Titel: \u0026ldquo;Il faut convaincre les investisseurs\u0026rdquo;, welke de eerste zin van de opgenomen discussie was. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eActors: Danny Devos, Luc Steels, Yves Bernard\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14884,"title":"Theme for Thalys","dimensions":"00:03:50","date_begin":"1996-01-01","material":"VHS, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e12/12/1996\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; On line Media, Capitol/Urbis, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003eMonth 1996\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 3min50sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Mo Becha \u0026amp; AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK /Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"038","stream_count_app":6,"permalink":"theme-for-thalys","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/606/large/38_theme_for_thalys_screenshot_1.jpg?1504862867","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven filmed \u0026ldquo;steady hand\u0026rdquo; with a small camcorder whilst travelling in the Thalys. She focused the colour in the three middle lines of the seat across her, until the tape ran out. She sat motionless and held the image fixed. The least vibration makes the image blur, but it corrects itself in the camera. This machine-correction brings movement anyhow.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHer work with colour is painting with new media. In video she feels a lot of relationship with drawing. The drawing as seismograph of the overload of information, impressions, words and notions from outside. While in language we can cope with things larger than ourselves, in drawing she handles things that are smaller. Lines merge unconnected matters together so we can control life anew. By drawing lines we keep the form together, in an attempt to gain control over impressions for which words are not enough. A theme is territory in chaos. (Ph. Luyckx)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Mo Becha \u0026amp; AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK /Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven filmde \u0026ldquo;steadyhand\u0026rdquo; met een kleine camcorder terwijl ze met de Thalys reisde. Ze focuste de kleur in de drie middenste lijnen van de zetel tegenover haar, tot de tape op het einde liep. Ze zat bewegingsloos en hield het beeld gefixeerd. De minste beweging maakt het beeld onscherp, maar de filmcamera herstelt dit ogenblikkelijk. Deze machinale herstelling brengt hoedanook beweging met zich mee.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHaar werk met kleur is schilderen met nieuwe media. In video voelt ze heel wat verwantschappen met tekenen. De tekening als seismograaf van de overdaad aan informatie, impressies, woorden en begrippen van buitenaf. Terwijl we in taal kunnen omgaan met dingen die groter zijn dan onszelf, behandelt zij in haar tekenen dingen die kleiner zijn. Lijnen weven onverbonden zaken in elkaar zodat we het leven opnieuw kunnen controleren. Door lijnen te tekenen houden we de vorm bij elkaar, in een poging om controle te krijgen over impressies waarvoor woorden niet volstaan. Een thema is een territorium in chaos. (Ph. Luyckx)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Mo Becha \u0026amp; AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK /Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14885,"title":"Persona","dimensions":"00:07:00","date_begin":"1997-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e19/05/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De Beweeging, festival, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003e1997\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat:\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 7min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Dutch spoken\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: De Beweeging /AMVK\u003c/p\u003e\r\n","date_end":null,"reference":"039","stream_count_app":5,"permalink":"persona","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/605/large/39_persona_screenshot_1.jpg?1504862768","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eBased on fragments of the danceproduction \u0026ldquo;Antwerpse Angst\u0026rdquo; by Marc Vanrunxt.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Dutch spoken\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: De Beweeging /AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eGebaseerd op fragmenten van de dansproductie \u0026ldquo;Antwerpse Angst\u0026rdquo; van Marc Vanrunxt.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Dutch spoken\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: De Beweeging /AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14886,"title":"Meursault","dimensions":"00:30:00","date_begin":"1997-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06-28/09/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Beeld in Park Felix Happart, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e01/01-31/12/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Tweede Incubatiegolf, Kunsthalle Lophem, Brugge, B\u003c/p\u003e\r\n\r\n\u003cp\u003e20/12/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; LopLop, Museum Boymans Van Bueningen,\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003eRotterdam, NL\u003c/p\u003e\r\n\r\n\u003cp\u003e09/10/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; LoplopCentrum voor Kunst \u0026amp; Cultuur\u003c/p\u003e\r\n\r\n\u003cp\u003eSint-Pietersabdij, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJuni 1997\u003c/p\u003e\r\n\r\n\u003cp\u003ecomputer-animation\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 30 min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: conference Michel Meyer\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: AMVK/ Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"040","stream_count_app":5,"permalink":"meursault","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/604/large/40_Meursault.JPG?1504862694","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFree association in combinations of images of interiors, brainscan testers and a person suffering from Tourette\u0026rsquo;s Syndrome, inspired by my recording of the lecture of prof. Michel Meyer (ULB, Brussels) about time and language. (30.05.1997; The Changing Conceptions of time; Fondazione Carlo Erba; Milaan, It.)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVrije associatie in beeldencombinatie van interieurs, hersenscantesters en een persoon met het syndroom van Tourette, ge\u0026iuml;nspireerd op mijn opname van de voordracht van prof. Michel Meyer (ULB, Brussel) over tijd en taal. (30.05.1997; The Changing Conceptions of time; Fondazione Carlo Erba; Milaan, It.)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14887,"title":"On the Nature of Beauty, and the Constitution of the Intellects","dimensions":"350 x 65 cm","date_begin":"1993-01-01","material":"acrylic, spray paint, silkscreen paint and maker on Plexiglas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"on-the-nature-of-beauty-and-the-constitution-of-the-intellects","description_ru":"","description_de":"\u003cp\u003e\u003cem\u003e\u0026quot;\u0026Uuml;ber Eliminierung, \u0026uuml;ber Reduktion, \u0026uuml;ber verschiedene Methoden der Abbreviation, \u0026uuml;ber Interpretation, \u0026uuml;ber die Bedingungen einer bestimmten L\u0026ouml;sung.\u20285 Bilder auf Plexiglas mit Frauendarstellungen zur Pr\u0026auml;sentation von Konzepten, die dem Buch \u0026bdquo;An Investigation of the Laws of Thought\u0026ldquo; (1854) des Philosophen und Mathematikers George Boole entnommen wurden. Die 5 Werke dienten als Struktur meiner Installation \u0026bdquo;Moses und Aaron\u0026ldquo;, die auf einer Oper von Arnold Sch\u0026ouml;nberg basiert und in der Ausstellung \u0026bdquo;Wunschmaschinen\u0026ldquo; in der Fotogalerie WUK in Wien gezeigt wurde.\u2028\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash; AMVK\u003c/p\u003e\r\n","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/876/large/Schermafbeelding_2017-09-27_om_16.50.59.png?1506523904","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This work is about elimination, reduction, certain methods of abbreviation, interpretation and the conditions for a modified solution. Five paintings on Plexiglas with images of women for concepts that I borrowed from the book An Investigation of the Laws of Thought by the philosopher-mathematician George Boole from 1884.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026quot;Deze reeks gaat over eliminatie, reductie, bepaalde methoden van afkorting, interpretatie en de voorwaarden voor een bepalende oplossing. Vijf schilderijen op plexiglas met beelden van vrouwen voor concepten die ik leende uit het boek \u003cem\u003eAn Investigation of the Laws of Thought\u003c/em\u003e van filosoof-wiskundige George Boole uit 1884.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(De la nature de la beaut\u0026eacute;\u0026hellip;)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une \u0026oelig;uvre \u0026agrave; propos d\u0026rsquo;\u0026eacute;limination, de r\u0026eacute;duction, de certaines m\u0026eacute;thodes d\u0026rsquo;abr\u0026eacute;viation, d\u0026rsquo;interpr\u0026eacute;tation et de conditions pour une solution d\u0026eacute;terminante.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Cinq repr\u0026eacute;sentations de femmes peintes sur plexiglas pour des concepts emprunt\u0026eacute;s au livre An Investigation of the Laws of Thought (Les Lois de la pens\u0026eacute;e) (1884) du math\u0026eacute;maticien philosophe George Boole.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14891,"title":"Distort","dimensions":"00:03:24","date_begin":"1997-01-01","material":"computer animation / loop","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e12/03-18/04/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; HeadNurse, Zeno X gallery, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 3min24sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"042","stream_count_app":6,"permalink":"distort","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/602/large/42_distort_screenshot_1.jpg?1504862524","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eWindow-animation for the \u0026ldquo;HeadNurse\u0026rdquo; exhibition in Zeno X Gallery, Antwerp.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eEen vensteranimatie voor de \u0026ldquo;HeadNurse\u0026rdquo; tentoonstelling in Zeno X Gallery te Antwerpen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14892,"title":"Branca Donnassy","dimensions":"00:03:23","date_begin":"1997-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e30/11/1997\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Beurs Cebit, Hanover, D\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 3min23sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eMusic: Contemporary Croatian music.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eImages: Donassy, AMVK.\u003c/p\u003e\r\n\r\n\u003cp\u003eProducers: Donna/Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"043","stream_count_app":5,"permalink":"branca-donnassy","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/601/large/43_branca_donassy_screenshot_1.jpg?1504862284","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eComputer-portrait of Croatian fashion designer Branca Donassy for the website of Donna Project, Bonn (D).\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eMusic: Contemporary Croatian music.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eImages: Donassy, AMVK.\u003c/p\u003e\r\n\r\n\u003cp\u003eProducers: Donna/Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eEen computerportret van de Croatische modeontwerpster Branca Donassy voor de website van Donna Project, Bonn (D).\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eMusic: Contemporary Croatian music.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eImages: Donassy, AMVK.\u003c/p\u003e\r\n\r\n\u003cp\u003eProducers: Donna/Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14893,"title":"De sexuele revolutie","dimensions":"","date_begin":"1997-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e31/01/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Formule 2, NieuwMetropolis, NL\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e12/03-18/04/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Anne-Mie Van Kerckhoven, HeadNurse, Zeno X Gallery, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e09/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Trattenendosi, Zitelle-Antichi Granai, Venice, IT\u003c/p\u003e\r\n\r\n\u003cp\u003e22/01/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Formule 2.1, K\u0026uuml;nstlerhaus Bethani\u0026euml;n, Berlin, D\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: interactive\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eImages, animation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"044","stream_count_app":6,"permalink":"de-sexuele-revolutie","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/600/large/44_de_sexuele_revolutie_screenshot_1.jpg?1504861728","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The interactive projection \u0026ldquo;The sexual revolution\u0026rdquo; happens straight from a computer. It cuts the exhibition in two, happens on a fluorescent sheet of 2 by 3 meters and is divided in three. One can see three independent running animations, each with their own sound. The films can be stopped each one separately, and then activated again. When the mouse, that controls all these actions, is left alone for more than three minutes, the projection starts anew from the beginning. The image was first cut in the middle horizontally, then the top part was divided again. By this I try to act out a personal image of the human brain; top left is the conscious, top right the unconscious and underneath the subconscious. The subconscious is as large as the sum of both others.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI defined the Conscious as that what I order my material biotope to do, the SELF, 2 or 3000 years old, the Unconscious as that what the social biotope whispers to me, the instinct, the Knowledge, and the Subconscious as that what the genetic biotope offers me, the robot, the unconscious agens, science, intuition.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eImages, animation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De interactieve projectie \u0026ldquo;De sexuele revolutie\u0026rdquo; gebeurt rechtstreeks vanuit een computer. Zij snijdt de tentoonstelling in twee, gebeurt op een fluorescerende plaat van 2 op 3 meter, en wordt in drie opgedeeld. Men ziet drie onafhankelijk van elkaar lopende animaties, elk met eigen klank. De films kunnen elk afzonderlijk stil worden gezet , en daarna weer geactiveerd. Wanneer de muis, die deze dingen bestuurt, gedurende meer dan drie minuten gerust wordt gelaten begint de projectie weer van voren af aan. Het beeld werd eerst overlangs in het midden doorgesneden, daarna werd het bovenste deel nog eens in twee verdeeld. Ik probeer hiermee een persoonlijk beeld van het menselijk brein uit: linksboven is het bewuste, rechtsboven het onbewuste en onderaan het onderbewuste. Het onderbewuste is even groot als de som van de andere twee.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIk definieerde het Bewuste als dat wat ik mijn materi\u0026euml;le biotoop opleg, het IK, 2 \u0026agrave; 3000 jaren oud, het Onbewuste als dat wat de sociale biotoop mij influistert, het instinct, de Kennis, en het Onderbewuste als dat wat de genetische biotoop mij aanreikt, de robot, de onbewuste agens, de wetenschap, intuitie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eImages, animation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14895,"title":"Lust Control","dimensions":"variable dimensions ","date_begin":"1998-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp style=\"margin-left:108.0pt;\"\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e20/09-11/1998\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Kritische elegantie, Museum Dhondt- Dhaenens, Deurle, B.\u003c/p\u003e\r\n\r\n\u003cp\u003e22/05/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Group show, Galerie Barbara Thumm, Berlin, D\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e09/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Trattenendosi, Zitelle - Antichi Granai, Venice, IT\u003c/p\u003e\r\n\r\n\u003cp\u003e28/06/2003 \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Gelijk het leven is, SMAK, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e01/09/2007\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Muhkamedia, MuHKa, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSeptember 1998\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: interactive\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound\u003c/p\u003e\r\n\r\n\u003cp\u003eConcept/ Images/ Editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity and postproduction: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"046","stream_count_app":9,"permalink":"lust-control","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/832/large/AMVK_VIDEOSHEET_46A.jpg?1478778945","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The screen is divided in two halves.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAt the top five different images of the roof of the buildings of the Ministry at the Koolstraat in Brussels. Every image refers to a working day, each working day with a word. By clicking on one of the words, one enters the corresponding day. The words are for Monday: subset, Tuesday: subtend, Wednesday: syntex, Thursday: flux and Friday: inter. Every day is available in 10 variations of the same theme that change at random. If you click another word, another day will appear. If you click in the day, then five eroticized concepts will appear after each other, thus every day five women images, re-used in function of core words from a lecture about thermodynamics.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEvery day also has its own sound, a slow wave, a deformed oscillation, very elemental, simple, absurd in its infinity.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe bottom part of the screen is an animation of a still of four people having a conversation in an art gallery. This film is three minutes long and needs to be activated each time by the spectator. A matter or reinforcing the social aspect of the lower half also by real intervention of the spectator. The beginning and ending is a white screen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAnd all this while the roof of the ministry is evoluating undisturbed, at random.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept / Images / Editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity and postproduction: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026#39;Het scherm is in twee gedeeld. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBovenaan vijf verschillende beelden van het dak van de gebouwen van het Kabinet aan de Koolstraat te Brussel. Elk beeld komt overeen met een werkdag, elke werkdag met een woord. Door op \u0026eacute;\u0026eacute;n van de woorden te klikken komt men terecht op de overeenkomstige dag. De woorden zijn voor maandag: subset, dinsdag: subtend , woensdag: syntex, donderdag: flux en vrijdag: inter. Elke dag is aanwezig in 10\u0026nbsp; variaties\u0026nbsp; van hetzelfde thema die elkaar at random afwisselen. Klikt men op een ander woord dan komt er een andere dag. Klikt men in de dag dan verschijnen er na elkaar vijf ge\u0026euml;rotiseerde concepten, per dag vijf vrouwenbeelden dus, hergebruikt in functie van kernwoorden uit een expos\u0026eacute; over thermodynamica.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eElke dag heeft ook zijn eigen geluid, een trage golf, een vervormde oscillatie, zeer elementair, simpel, absurd in zijn oneindigheid.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet onderste deel van het scherm, de onderkant dus, is een animatie\u0026nbsp; van een still van vier personen in een gesprek in een kunstgalerij. Deze film duurt drie minuten en dient telkens door de gebruiker geactiveerd te worden. Kwestie van het sociale aspect van de onderkant ook via de daadwerkelijke interventie van de toeschouwer te versterken. Het eind- en beginbeeld is een wit vlak. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEn dit terwijl het dak van het kabinet onverstoord voort evolueert, at random.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept / Images / Editing: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity and postproduction: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14863,"title":"Serving Compressed Energy with Vacuum","dimensions":"21 x 27 cm","date_begin":"2015-01-01","material":"Paper, ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"AMVK \u0026 Kunstverein München","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"ISBN: 9789491843334","stream_count_app":7,"permalink":"serving-compressed-energy-with-vaccuum","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/789/large/Knipsel.JPG?1478612505","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven,\u0026nbsp;\u003cem\u003eServing Compressed Energy with Vaccuum\u003c/em\u003e, 2015, exhibition catalogue, Kunstverein M\u0026uuml;nchen, DE\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;The catalogue is an integral part of the show, augmenting it, yet an identity of its own. Only to a small extent will it offer an explanation or documentation to the show. Its major part will be devoted to the presentation of subjects, aspects and themes which are either better suited for the printed medium, too expensive to show otherwise, or demand another kind of involvement.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003e\u0026ndash; Hans Hollein\u0026nbsp;\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven,\u0026nbsp;\u003cem\u003eServing Compressed Energy with Vaccuum\u003c/em\u003e, 2015, tentoonstellingscatalogus, Kunstverein M\u0026uuml;nchen, DE\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14804,"title":"Carrel 2 (Collosus)","dimensions":"240 x 201 x 62 cm","date_begin":"2014-01-01","material":"wooden cabinet on wheels","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":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000O","stream_count_app":15,"permalink":"carrel-2-collosus","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/540/large/AMVK2014_16b.jpg?1478876950","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A carrel is a kind of separated cupboard that also serves as a database \u0026ndash; it\u0026rsquo;s a moving study table. In the Middle Ages, carrels were found in monastic libraries, where monks used them to isolate themselves from the environment\u0026#39;s noise.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe first carrel I made for a crematorium, the next three were for an exhibition at Zeno X Gallery. They were shown together with large PVC collages, based on quotations from the mystic Marguerite Porete and on Karol Szymanowski\u0026rsquo;s composing manner. Each of the carrels stands for a step in the development of data processing machines: they are computers, in other words.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTheir titles are: Enigma, Colossus, Connection Machine and Coromandel Disturbed 1 and 2. The first was an encoding machine, the second a decoding machine, and the third was launched as a revolutionary idea to put the processing system (the processor) precisely where the information is stored: in the memory. This way, the memory becomes the processor in the computer. I drew a parallel to the stages of a human life.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026quot;Een carrel is een soort opzichzelfstaande kast die ook dienst doet als een databank, het is een rijdende studeertafel. In de middeleeuwen vond men carrels in de kloosterbibliotheken, monniken gebruikten ze om zich van het lawaai van de omgeving te kunnen afzonderen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe eerste carrel maakte ik voor een crematorium, de volgende 3 waren voor een tentoonstelling bij Zeno X Gallery. Ze werden getoond samen met grote pvc-collages, gebaseerd op citaten van de mystica Marguerite Porete en de componeerwijze van Karol Szymanowski. Elk van de carrels staat voor een stap in de ontwikkeling van dataverwerkingsmachines. Computers, met andere woorden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHun namen zijn \u003cem\u003eEnigma\u003c/em\u003e, \u003cem\u003eColossus,\u003c/em\u003e \u003cem\u003eConnection Machine\u003c/em\u003e, \u003cem\u003eCoromandel, Disturbed \u003c/em\u003e1 en 2. De eerste was een coderingsmachine, de tweede decoderingsmachine, en met de derde werd als revolutionair idee gelanceerd om het verwerkingssysteem (de processor) te stoppen waar de informatie wordt opgeslagen, in het geheugen. Zo wordt het geheugen in de computer de processor. Ik trok een parallel naar de stadia in een mensenleven.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un Carrel (ou box ou cubicule) est une sorte d\u0026rsquo;armoire autonome, de box qui fait aussi office de banque de donn\u0026eacute;es\u0026nbsp;; il s\u0026rsquo;agit de tables d\u0026rsquo;\u0026eacute;tude sur roulette. Au Moyen-\u0026acirc;ge, on les trouvait dans les biblioth\u0026egrave;ques de monast\u0026egrave;res afin de pouvoir s\u0026rsquo;isoler du bruit environnant.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le premier carrel que j\u0026rsquo;ai cr\u0026eacute;\u0026eacute; \u0026eacute;tait destin\u0026eacute; \u0026agrave; un cr\u0026eacute;matorium, les trois suivants ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;s pour une exposition \u0026agrave; la galerie Zeno X. Ils ont \u0026eacute;t\u0026eacute; expos\u0026eacute;s avec de grands collages sur PVC, inspir\u0026eacute;s de citations de la mystique Marguerite Porete et du mode de composition de Karol Szymanowski.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chacun des carrels symbolise une \u0026eacute;tape de l\u0026rsquo;\u0026eacute;volution des machines de traitement de donn\u0026eacute;es, en d\u0026rsquo;autres mots, des ordinateurs.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Leurs noms sont Enigma, Colossus, The Connection Machine, Coromandel Disturbed\u0026nbsp;1 et 2. La premi\u0026egrave;re \u0026eacute;tait un cryptographe, la deuxi\u0026egrave;me un d\u0026eacute;codeur et avec la troisi\u0026egrave;me, on a lanc\u0026eacute; l\u0026rsquo;id\u0026eacute;e r\u0026eacute;volutionnaire d\u0026rsquo;introduire le syst\u0026egrave;me de traitement de l\u0026rsquo;information (le processeur) l\u0026agrave; o\u0026ugrave; celle-ci est sauvegard\u0026eacute;e, \u0026agrave; savoir dans la m\u0026eacute;moire. Ainsi, la m\u0026eacute;moire devient le processeur de l\u0026rsquo;ordinateur. J\u0026rsquo;ai \u0026eacute;tabli un parall\u0026egrave;le avec les phases d\u0026rsquo;une vie humaine.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14851,"title":"Hersens met Horens","dimensions":"variable dimensions","date_begin":"1984-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":78,"stream_count":0,"collection":"Club Moral \u0026 AMVK","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2016-01-01","reference":"","stream_count_app":110,"permalink":"hersens-met-horens","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/648/large/20160900A_kl.jpg?1484056852","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e(Brains with Horns)\u003c/p\u003e\r\n\r\n\u003cp\u003eAn anthology of pages from \u003cem\u003eHersens met Horens\u003c/em\u003e, a personal publication from 1984 that bundles the first seven years of my work as AMVK.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen bloemlezing van bladzijden uit \u003ci\u003eHersens met horens\u003c/i\u003e uit 1984, een persoonlijke publicatie die de eerste zeven jaar van mijn werk als AMVK bundelt.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e(Cerveau avec cornes)\u003c/p\u003e\r\n\r\n\u003cp\u003eDes morceaux choisis de \u003cem\u003eHersens met horens\u003c/em\u003e (\u003cem\u003eCerveau avec cornes\u003c/em\u003e) (1984), une publication personnelle qui compile sept ans de mon travail en tant qu\u0026rsquo;AMVK.\u003c/p\u003e\r\n"}]},{"id":14812,"title":"De mens in het dier, van Annemie Van Kerckhoven (een installatie met video en 3-dimensionale beelden)","dimensions":"20.9 x 26.9 cm, language : English, Dutch, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1985-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;254.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor \u0026amp; Author : Greta Van Broeckhoven.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (16.1. - 3.2.1985).\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/934","stream_count_app":20,"permalink":"de-mens-in-het-dier-van-annemie-van-kerckhoven-een-installatie-met-video-en-3-dimensionale-beelden","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/548/large/1.DeMensinhetDier.JPG?1476870521","poster_credits":"(c)scan: M HKA, design: Gemma van Dijk","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eRedactie catalogus: Greta van Broeckhoven\u003cbr /\u003e\r\nVertaling: Nadine Malfait\u003cbr /\u003e\r\nFoto\u0026#39;s: Luc Wauman, Antwerpen\u003cbr /\u003e\r\nDruk: Van In, Lier\u003cbr /\u003e\r\nVormgeving: Gemma van Dijk, Berchem\u003cbr /\u003e\r\nMontage en post-productie film: Lu-group, Deurne\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nUitgave door:\u0026nbsp;\u003cbr /\u003e\r\nInternatinaal Cultureel Centrum, Antwerpen\u003cbr /\u003e\r\nMinisterie van de Vlaamse Gemeenschap\u003cbr /\u003e\r\nWettelijk depot D/1985/1540/2\u003cbr /\u003e\r\nKatalogusnummer 254\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14813,"title":"Annemie Van Kerckhoven 'Verdeel en heers' (een multimedia installatie)","dimensions":"28.5 x 20 cm, language : Dutch, French, English, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1989-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;296.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Greta Van Broeckhoven.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Frank Heirman \u0026amp; Greta Van Broeckhoven.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (17.11.- 22.12.1989)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1995/230","stream_count_app":11,"permalink":"verdeel-en-heers","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/549/large/2.VerdeelenHeers.JPG?1476875551","poster_credits":"(c)scan: M HKA, design: Frans Pans","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eSamenstelling tentoonstelling en redactie catalogus: Greta Van Broeckhoven\u003cbr /\u003e\r\nTeksten: Frank Heirman en Greta Van Broeckhoven\u003cbr /\u003e\r\nVertalingen: Georges Ade (Frans), Ted Alkins (Engels)\u003cbr /\u003e\r\nLay-out: Frans Pans\u003cbr /\u003e\r\nFoto\u0026#39;s: Frans Pans\u003cbr /\u003e\r\nDruk: Carto, Brussel\u003cbr /\u003e\r\nTechnische coordinatie: Paul Willems\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nUitgave door:\u003cbr /\u003e\r\nMinisterie van de Vlaamse Gemeenschap\u003cbr /\u003e\r\nICC/Internationaal Cultureel Centrum\u003cbr /\u003e\r\nWettelijk depot: D/1989/1540/6\u003cbr /\u003e\r\nCatalogusnummer: 296\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14896,"title":"Nursing Care, in Melancholy Stupor","dimensions":"variable dimensions, interactive","date_begin":"1999-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e26/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nursing Care, in melancholy stupor, MuHKa, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003e1999\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: computer animation\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: interactive\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: samples of soundtrack of Bladerunner + environemental sound\u003c/p\u003e\r\n\r\n\u003cp\u003eContributors: Marc Vanrunxt and Tom Barman\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"048","stream_count_app":7,"permalink":"nursing-care-in-melancholy-stupor","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/834/large/AMVK_VIDEOSHEET_48.png?1478779503","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Theme: melancholy and how to make it a positive force. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe animation was the main theme of \u0026ldquo;Nursing Care, in Melancholy Stupor\u0026rdquo;, the fourth show of the HeadNurse cycle, which started in 1995. The HeadNurse cycle is a \u0026ldquo;Sex \u0026amp; Technology\u0026rdquo; project, using the therapeutic strength in beauty and has as subtitle: \u0026ldquo;Elasticity at Home\u0026rdquo;. It is an alchemistic attempt to undisclose the corrupted alliance in massmedia between the commercialization of lust and the banalisation of violence. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eUsing the structure of Baroque music and philosophy, the movies of \u0026ldquo;Nursing Care, in Melancholy Stupor\u0026rdquo; are impregnated by the essence of Leibnizer philosophy: the criterium of substance is its activity, its power.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe alchemist state of this work is situated in the phase of \u0026lsquo;glowing out\u0026rsquo;: the battle between dark and light, the diagonale. Mixing virtuosity, calculation and emotion.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: samples of soundtrack of Bladerunner + environemental sound\u003c/p\u003e\r\n\r\n\u003cp\u003eContributors: Marc Vanrunxt and Tom Barman\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Thema: melancholie en hoe het tot een positieve kracht te maken.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe animatie was het hoofdthema van \u0026ldquo;Nursing Care, in Melancholy Stupor\u0026rdquo;, de vierde tentoonstelling van de HeadNurse cyclus die in 1995 begon. De HeadNurse cyclus is een \u0026ldquo;Sex \u0026amp; Technologie\u0026rdquo; project, dat de therapeutische kracht in schoonheid gebruikt en een ondertitel heeft: \u0026ldquo;Veerkracht Thuis\u0026rdquo;. Het is een alchemistische poging om de corrupte alliantie in de massamedia tussen de commercialisering van lust en de banalisering van geweld te openbaren.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGebruik makend van de structuur van Barok muziek en filosofie worden de films van \u0026ldquo;Nursing Care, in Melancholy Stupor\u0026rdquo; doordrenkt van de essentie van de filosofie van Leibniz: het criterium van de substantie is haar activiteit, haar kracht.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe alchemistische staat van dit werk bevindt zich in de fase van \u0026lsquo;uitdovend\u0026rsquo;: het gevecht tussen donker en licht, de diagonaal. Een mengeling van virtuositeit, berekening en emotie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: samples of soundtrack of Bladerunner + environemental sound\u003c/p\u003e\r\n\r\n\u003cp\u003eContributors: Marc Vanrunxt and Tom Barman\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eSound: samples of soundtrack of Bladerunner + environemental sound\u003c/p\u003e\r\n\r\n\u003cp\u003eContributors: Marc Vanrunxt and Tom Barman\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity: Danny Devos\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"}]},{"id":14902,"title":"Exdtrum","dimensions":"00:02:00","date_begin":"2002-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e23/08/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Live at m.s. Stubnitz, harbour of Bruges, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003e2002\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 2min\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"058","stream_count_app":7,"permalink":"exdtrum","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/842/large/AMVK_VIDEOSHEET_58.jpg?1478781582","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Computeranimation made for the live performance by Club Moral at the Stubnitz (boat in the harbour of Brugge, Cultural Capital of Europe).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Computeranimatie gemaakt voor de live performance van Club Moral op de Stubnitz (een boot in de haven van Brugge, Culturele Hoofdstad van Europa).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14897,"title":"Barman, Tom","dimensions":"00:01:42","date_begin":"1999-01-01","material":"computer animation / loop ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e26/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nursing Care, in melancholy stupor, MuHKa, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:108.0pt;\"\u003e11/01-30/03/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Synesthetics,Pop \u0026amp; art in Belgium, Cultureel Centrum, Mechelen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 1min 42sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, mono\u003c/p\u003e\r\n\r\n\u003cp\u003eAnimation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"049","stream_count_app":8,"permalink":"tom-barman","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/835/large/AMVK_VIDEOSHEET_49.jpg?1478779747","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The criterium of substance is its activity: impression of young man on roof, march 1999. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEquation: Art/Architecture = Cinema/Truth. Using the structure of Baroque music and philosophy, the Barman film was attached to the essence of Leibnizer philosophy: the criterium of substance is its activity, its power.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe alchemist state of this work is situated in the phase of glowing out: \u0026nbsp;the battle between dark and light, the diagonale. Mixing virtuosity, calculation and emotion.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAnimation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Het criterium van substantie is haar activiteit: impressie van een jonge man op een dak, maart 1999.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVergelijking: Kunst/Architectuur = Film/Waarheid.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGebruik makend van de structuur van Barok muziek en filosofie werd de Barman film verbonden met de essentie van Leibniz filosofie: het criterium van substantie is haar activiteit, haar kracht.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe alchemistische staat van dit werk bevindt zich in de fase van \u0026lsquo;uitdovend\u0026rsquo;: het gevecht tussen donker en licht, de diagonaal. Een mengeling van virtuositeit, berekening en emotie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAnimation and sound: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14898,"title":"Patrice","dimensions":"variable dimensions, interactive","date_begin":"1999-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:72.0pt;\"\u003e26/06/1999\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nursing Care, in Melancholy Stupor, Muhka, Antwerpen, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003eFormat: interactive\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: interactive\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eNo sound\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"050","stream_count_app":6,"permalink":"patrice","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/836/large/AMVK_VIDEOSHEET_50.jpg?1478779947","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This is a digital portrait of a friend. 120 colour variations of one face were archived in the memory, one van call any of them by touching the computer screen. The variations appear at random.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nWhen one touches the eyes, the colours become more bright, when one touches the mouth the computer speaks to you. More interactions are planned, depending on forthcoming contact with Patrice herself. Patrice Toye makes movies.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dit is een digitaal portret van een bevriende persoon. 120 kleurvariaties van \u0026eacute;\u0026eacute;n gezicht werden in het geheugen opgeslagen, men kan ze oproepen door het computerscherm aan te raken. De variaties komen at random te voorschijn. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eWanneer men de ogen aanraakt worden de kleuren feller, wanneer men de mond aanraakt spreekt de computer u toe. Er worden nog volgende interacties voorzien, hangt af van komend contact met Patrice zelf. Patrice Toye maakt films.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14899,"title":"Le Paon","dimensions":"00:04:32","date_begin":"2000-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e13/02/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le Paon, Sint-Lucas galerij, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e05/10-12/10/2001\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argos festival, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/02\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Merging Online, Culture Club, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e17/10/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Argosfestival, Kaaitheaterstudio\u0026rsquo;s, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003cp\u003e2001\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: VHS\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 4min 32sec\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: song Le Paon, composed by Debussy\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":"2001-01-01","reference":"052","stream_count_app":6,"permalink":"le-paon","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/838/large/AMVK_VIDEOSHEET_52.png?1478780364","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Le Paon consists of a collage and the animation of a short musical transmission by France 3 in 1992. A female singer renders the song of \u0026ldquo;Le Paon\u0026rdquo; by Debussy.\u0026nbsp; The piece is about a proud peacock, a man who stands by the church every day, waiting in vain for his bride, without ever losing his courage.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: song Le Paon, composed by Debussy\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Collage en animatie van een korte muziekuitzending van France 3 uit 1992. Een zangeres zingt het lied \u0026ldquo;Le Paon\u0026rdquo; van Debussy. Dat gaat over een fiere pauw, een man, die elke dag opnieuw vergeefs aan de kerk op zijn bruid wacht, en nooit de moed verliest.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eSound: song Le Paon, composed by Debussy\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14900,"title":"Amsterdam-Antwerpen-Parijs, Nieuwe spoortunnel Centraal Station Antwerpen","dimensions":"variable dimensions, interactive","date_begin":"2001-01-01","material":"computer installation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"054","stream_count_app":8,"permalink":"amsterdam-parijs","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/839/large/AMVK_VIDEOSHEET_54.jpg?1478780730","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A multimedia project realized in the railway tunnel of the Central Station in Antwerp, on the occasion of the 75\u003csup\u003eth\u003c/sup\u003e anniversary of the Belgian Railway Company. \u0026ldquo;Amsterdam-Paris\u0026rdquo; is a computer controlled videoanimation with images that were captured during the excavation of the tunnel. With the previously recorded sounds of the activity in the tunnel, two teams of musicians and dj\u0026rsquo;s composed live music on site.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAnimation: Stijn Slabbinck, Danny Devos, Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Jelle Jespers, Rudy Trouv\u0026eacute;, Zander Fabrice en Dylan Van Looy\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: NMBS, Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Multimediaproject gerealiseerd in de spoorwegtunnel van het Centraal Station in Antwerpen, naar aanleiding van de 75ste verjaardag van de NMBS. \u0026ldquo;Amsterdam-Parijs\u0026rdquo; is een computer gestuurde videoanimatie met beelden die werden opgenomen bij de aanleg van de tunnel. Met de vooraf opgenomen geluiden van de activiteiten in de tunnel componeerden twee ploegen muzikanten en dj\u0026rsquo;s live muziek.\u0026quot;\u0026nbsp;\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAnimation: Stijn Slabbinck, Danny Devos, Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Jelle Jespers, Rudy Trouv\u0026eacute;, Zander Fabrice en Dylan Van Looy\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: NMBS, Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14901,"title":"Voorspelling voor eeuwig (Prediction Forever)","dimensions":"00:01:06","date_begin":"2002-01-01","material":"computer animation / loop","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":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e14/11/2002\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Merging Online, Culture Club, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Presentatie van Janus, nr , Brussel, B\u003c/p\u003e\r\n\r\n\u003ch1\u003eData\u003c/h1\u003e\r\n\r\n\u003ch1\u003e2002\u003c/h1\u003e\r\n\r\n\u003ch1\u003eFormat: DVD\u003c/h1\u003e\r\n\r\n\u003cp\u003eDuration: 1min 6sec\u0026nbsp; (loop)\u003c/p\u003e\r\n\r\n\u003cp\u003eColor\u003c/p\u003e\r\n\r\n\u003cp\u003eDrawing and animation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: DJ Dylan\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"056","stream_count_app":9,"permalink":"prediction-forever","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/840/large/AMVK_VIDEOSHEET_56A.jpg?1478781250","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Animation of a drawing from my subconscious. I made the drawing in 1993, on the day of the first full moon of august, which has the most powerful influence of all full moons of the year. I didn\u0026rsquo;t know that when I made the drawing, it was told to me afterwards. This drawing is the despair about an impossible love, I rest with the impossibility of unification.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eDrawing and animation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: DJ Dylan\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Animatie van een tekening uit mijn onderbewuste. Ik maakte de tekening in 1993, op de dag van de eerste volle maan van augustus die de krachtigste invloed heeft van alle volle manen van het jaar. Dat wist ik nog niet toen ik de tekening maakte, is me achteraf gezegd. Deze tekening is de vertwijfeling van een onmogelijke liefde, ik berust in de onmogelijkheid tot vereniging.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eDrawing and animation: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: DJ Dylan\u003c/p\u003e\r\n\r\n\u003cp\u003eProduction: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14903,"title":"Description d’un object (inexistent qu’on manipule quand-même)","dimensions":"00:02:44","date_begin":"2002-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e29/08-30/08/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Nadine/Plateau, Kunstencentrum, Brussel, B\u003c/p\u003e\r\n\r\n\u003cp\u003e01/04/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Filmfabriek, Bierbeek, B\u003c/p\u003e\r\n\r\n\u003cp\u003e25/09/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videoconcert: Festival de Arte Visual, Morelia, Mexico\u003c/p\u003e\r\n\r\n\u003cp\u003e25/09-17/10/2003\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Videoinstallation: Festival de Arte Visual, Morelia, Mexico\u003c/p\u003e\r\n\r\n\u003cp\u003emaart 2008\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Canvas, VRT, B\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDuration: 2min 44sec\u003c/p\u003e\r\n","date_end":null,"reference":"059","stream_count_app":12,"permalink":"description-d-un-object-inexistent-qu-on-manipule-quand-meme","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/843/large/AMVK_VIDEOSHEET_59A.jpg?1478781969","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThis video is part of the total project \u0026ldquo;Title Safe\u0026rdquo;, originated by Walter Verdin.\u0026nbsp; Walter Verdin asked some collegues-videomakers (BAdrienne Altenhaus, Christel Coppens, Ma\u0026iuml;der Fortun\u0026eacute;, Jo Huybrechts, Octavio Iturbe, Frank Theys, Anne-Mie Van Kerckhoven \u0026amp; Francis Vranckx ) to make a short video for the creation of TITLE SAFE. There is no fixed theme; the artists can work autonomously according to some simple rythmic and technical editing rules. The videos are shown one after the other as strophes of a long musical composition and interchanged with a musical theme (chorus) which Verdin composes and plays with various live musicians. The beat is fixed and is the only reference: 125 BPM, or 12 frames per beat.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDeze video maakt deel uit van het totaalproject \u0026ldquo;Title Safe\u0026rdquo;, gestuurd door Walter Verdin.\u0026nbsp; Walter Verdin vroeg aan een aantal collega\u0026rsquo;s-videomakers (BAdrienne Altenhaus, Christel Coppens, Ma\u0026iuml;der Fortun\u0026eacute;, Jo Huybrechts, Octavio Iturbe, Frank Theys, Anne-Mie Van Kerckhoven \u0026amp; Francis Vranckx ) om voor de creatie van TITLE SAFE elk een korte video te maken. Er is geen opgelegd thema; de kunstenaars werken autonoom aan de hand van enkele simpele ritmische en technische montage-regels. De video\u0026#39;s worden achter mekaar getoond als strofes van een lange muzikale compositie en afgewisseld met een muzikaal thema (refrein) dat Verdin componeert en uitvoert met verschillende live muzikanten. De beat staat vast en is het enige kader: 125 BPM, of 12 frames per beat.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14904,"title":"Rorty, The Headroom","dimensions":"variable dimensions, interactive","date_begin":"2004-01-01","material":"DV-pal, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK video installation computer animation","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cu\u003eSpeeldata/Playlist\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e17/01-21/03/2004\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dream Extensions, SMAK, Gent, B\u003c/p\u003e\r\n\r\n\u003cp\u003e28/01-26/03/2005\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; EZFK- Kunsthalle Bern, CH\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003eData\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJanuari 2004\u003c/p\u003e\r\n\r\n\u003cp\u003eFormat: DV- pal\u003c/p\u003e\r\n\r\n\u003cp\u003eColor, sound stereo, DV-pal\u003c/p\u003e\r\n\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractive architecture: Thys \u0026amp;Van Wijck\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Bo \u0026amp; Dylan\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n","date_end":null,"reference":"062","stream_count_app":5,"permalink":"rorty-the-headroom-dde144f4-4ae1-45d4-93ce-59fe631cd14d","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/847/large/AMVK_VIDEOSHEET_62.jpg?1478859487","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Statement: \u003c/em\u003e\u003cem\u003eThe room is an activated space\u0026nbsp; in which the intrinsic logic must develop an instant dialogue with the cognitive possibilities of the willing artconceiver. I adress the artconceiver who is willing to open to another kind of relation with given and not given information on the spot.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAccepting also the frustration of not being able to recieve all the answers , accepting the coincidentical optical events, completing it with the personal knowledge of what the work contains in image as in theoretical content.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe initial idea was to build a virtual projected room whereof the aspect changes when certain areas of the real space in front of the image are being touched by the physical presence of a visitor. I related the idea to the philosophical theories of pragmatism, in particular with those of Richard Rorty. I got inspired some years ago by the content and the title of a book bundling 3 of his philosophical essays. The book is called: \u0026quot; Solidarity or objectivity. \u0026quot; (1990)\u0026nbsp; Rorty states that the modern westerner has 2 possibilities to deal with the world today: or you stay an observer, relativating what happens around you, staying aloof, or you become inexorable solidair with everything that is alive, a solidarity, not inspired by religious or moral standards, but by an overall feeling of commitment. (In general Richard Rorty is convinced that knowledge isn\u0026#39;t a mirror but an instrument with which we give form and content to our reality. He works about meaning and game, he says that to have a meaning is the same as to have a place in a language game. To Rorty philosophy is a neurotic activity. )\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe image of the installation is an adapted modernistic american interior with the word Rorty; a woman in an armchair looks at you. The woman is I, AMVK, in the New York Chelsea Hotel anno 1979, which is the year when Richard Rorty released his controversial book \u0026quot; Philosophy and the mirror of nature \u0026quot; . At that time I was a baby-artist looking for connections between art, science, philosophy and logic. I just became convinced that future stands to logic, as art stands to science. When I digested Wittgenstein and Sade, I started to swallow every information related to cosmology, space travel, moral idiomomoly and modes of arthistory.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe final building of the installation is inspired by a\u0026nbsp; ritual called \u0026quot; The law of the trapezoid\u0026quot; ( found in the book: The satanic rituals, A.S. Lavey, Los Angeles, 1966 ) in which a room is activated electrically with intent to execute a ritual for enhancing the willpower of the attendants.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eBasic principle of HeadRoom-installation \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e=\u0026nbsp; evolution in numbers from 1 till 19. 19\u0026nbsp; = number of the philosophical stone\u0026nbsp; = place where subtile becomes solid. = spot in time where\u0026nbsp; idea becomes art, where\u0026nbsp; lead becomes gold, where negative emotion can transform in light + understanding.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIn concrete: 1st layer = 19 different versions of one same basic image. Image-transformations of colors + deformation in accordance to intrinsic meanings of specific numbers. Next layer = virtual room, 19 times occupied by different person/friend. Each of them = linked to certain philosopher/thinker + quote of Argentine poet German Scalona on pragmatism vs.alchemy.\u0026nbsp; Next layer = 19 times philosophical image overpowered by rhythm in battle with colors. Every time again the anti-strategies of modernistic rule-reduction loose powers in inevitable confrontation with abstract systems of radical negation + refusal. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHeadRoom-installation = alchemist voyage from pragmatism over colorfield into enigmatic black square of suprematism. =\u0026nbsp; confrontation of human brain with enormity of selfevidence in numbers. = Power of being one, or two, or tree, ... + why this is so + how we can use it, to fight looseness we experience when we confront Big Arbitrarity, called life.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHeadRoom-strategy = loose use of philosophico-religious dogmaticism in confrontation with geometrical interpretation of laws of matter. My question became: how big was influence of American pragmatism on art-evolution from black square of Russian suprematism into American colorfieldpainting. + Is it possible to give life to given question by making artpiece in 19 different parts, every part being equal to each other, in value, and - entertainmentwise- on intellectual = pictorial level? \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOuter structure of Headroom = image projected through 2 computerrelateddataprojectors in halfdark space on white loosestanding wall ... visitor\u0026rsquo;s position in room decodes information coming to front = animations, new persons, text and philosophical rooms. Neurological structure of human brain inspires attitude, logic and interactivity of HeadRoom ... installation\u0026rsquo;s complexity should grow with any visitor\u0026rsquo;s encounter. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eProcedure = to activate installation-room in such a way that user can withdraw energy from it while adding her/his own strength of will.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBy the way... Charles Baudelaire shouts the 2nd half of the 19th century: \u0026quot;Le Satanisme a gagn\u0026eacute;!\u0026rdquo; and opens dead-tired the gates for first Modernism. Simulteneously in North America Pragmatism is born, the philosophical doctrine of the New World of which Richard Rorty will become, in 1979, the most extreme beholder. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e1915: in Moskow starts Suprematism with The Black Square of Casimir Malewitsch. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e1966: in New York Barnett Newman shows: Who\u0026#39;s afraid of Red, Yellow and Blue. Abstract Expressionism.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eJanuary 2OO4: in Gent the interactive work Rorty The Headroom deals with all these -isms, in particular with all the fearful esteems for symptotic spiritual creatures which mainly reflect wrong balanced organic structures. Where Descartes spoke about suprematism of reason over feelings, Rorty had his view on suprematism of reality over perception. And what about suprematism of ... ?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026mdash;\u0026nbsp;AMVK\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractive architecture: Thys \u0026amp;Van Wijck\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Bo \u0026amp; Dylan\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Statement: Te zien is een geanimeerd beeld dat tot stilstand komt wanneer er iemand doorloopt. Een net van sensoren maakt een onzichtbare grid in de ruimte: men loopt er als toeschouwer door en activeert bepaalde hyperlinks die de tot stilstand gekome beelden langzaam doen imploderen, zowel naar uitzicht als naar betekenis. Het proces dat in gang werd gezet is onomkeerbaar , duurt een minuut of zo, waarna de algehele chaos een nieuwe aanvang neemt. De processen van vernietiging en vereenvoudiging veranderen met de frekwentie van het gebruik ervan. Maw elke keer wanneer er een stilstand plaatsvond beinvloedt die stilstand de mate van vervorming van de volgendde beelden bij stilstand. Op deze manier veranderen de stilstaande\u0026nbsp; beelden volgens patronen die aan mijn controle ontsnappen, hun evolutie hangt af van de bezoekers.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe bezoeker kan ook het bewegend schouwspel aankijken zonder in te grijpen. Dat is haar/zijn keuze.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet beginbeeld is een modernistisch interieur met het woord Rorty in, een vrouw zit in een zetel en kijkt de kijker aan. Die vrouw ben ik in het Chelsea Hotel in New York anno 1979,\u0026nbsp; het jaar waarin het boek \u0026ldquo; Philosophy and the mirror of nature \u0026ldquo; van Richard Rorty uitkwam. Op dat moment was ik een beginnende kunstenares, op zoek naar verbanden tussen kunst, wetenschap en filosofie. Ik was er toen van overtuigd dat de toekomst zich tot de logica verhoudt zoals de kunst tot de wetenschap.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet beeld wordt via de computer geprojecteerd in een halfduistere ruimte op een witte muur.\u0026nbsp; Wat men ziet is een film waarop veel tegelijkertijd gebeurt. Het interieur verandert, mensen komen en gaan, teksten versschijnen, andere omstandigheden duiken op. Als bezoeker beinvloedt men het element in de kamer waar zij/hij voor staat.\u0026nbsp; De neurologiosche structuur van ons brein moet tot de aanpak, de logica van de interactiviteit inspireren.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept: Anne-Mie Van Kerckhoven\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractive architecture: Thys \u0026amp;Van Wijck\u003c/p\u003e\r\n\r\n\u003cp\u003eSound: Bo \u0026amp; Dylan\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14905,"title":"Roze Borsten","dimensions":"17 x (29.7 x 20.7 cm)","date_begin":"1993-01-01","material":"Computerprint on paper in diasec with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":18,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":39,"permalink":"roze-borsten","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/877/large/Schermafbeelding_2017-09-27_om_17.16.43.png?1506525499","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14906,"title":"Metabolism First","dimensions":"variable dimensions, interactive","date_begin":"2005-01-01","material":"computer animation","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":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"066","stream_count_app":17,"permalink":"metabolism","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/861/large/AMVK_VIDEOSHEET_66.jpg?1478860567","poster_credits":"(c)video still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Metabolism first\u0026quot; is an interactive work based on a series of drawings called:\u0026quot; I\u0026#39;ll rob you\u0026quot;.\u0026nbsp; I made the drawings from May till August 2005 in the Stadshalle in Bruges, Belgium. I worked 12 consecutive weeks in the exposition \u0026ldquo; Tussen Huid en Orgasme\u0026rdquo;, curated by Kunsthalle Lophem.\u0026quot; I\u0026#39;ll rob you\u0026quot; consists of 37 drawings on colored paper, they unite the writings of :\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eA/ Marguerite Porete (burnt in Paris), mystic, 1300 (Miroir des \u0026acirc;mes simples et an\u0026eacute;anties et qui seulement demeurent en vouloir et d\u0026eacute;sir d\u0026rsquo;amour)- B/ Giordano Bruno (burnt in Rome), hermetic, 1600 (different sources) - C/ Herbert Marcuse (theoretician for the sexual revolution), filosopher, 1955 (Eros \u0026amp; Civilisation). \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eWhile reading and using their 3 books through the process of drawing, I found out that each of them, from their specific time and place in history, deal with the same philosophical questions/problems. From the bottom of their jargon they cannot hide their common concern of how to deal with reality. Or: \u0026quot; What happens to me when heart and brain become separate?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTogether with assistant Christophe Engels, I conceived 5 different digital, interactive, approaches to deconstruct and reconstruct the drawings. We were guided by the classic alchemical steps, present in every creative process: 1. pulverise, 2.dissolve, 3.distill, 4.glow out, 5.sediment. We showed the installations in the Jenever Museum in Hasselt as part of the \u0026ldquo;Super!\u0026rdquo; event. The invention and production of jenever haits roots in the old alchemist tradition.\u0026quot; \u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eConcept and drawings: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity and postproduction: Christophe Engels\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Stad Hasselt/Club Moral\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eConcept and drawings: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eInteractivity and postproduction: Christophe Engels\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Stad Hasselt/Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14907,"title":"Visuals Bum Collar","dimensions":"","date_begin":"2006-01-01","material":"DV-pal, computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"AMVK video installation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"067","stream_count_app":11,"permalink":"visuals-bum-collar","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/595/large/67_bum_collar_screenshot_1.jpg?1504860837","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eFive computer animated films to accompany noise-improvisations of the band \u0026ldquo;Bum Collar\u0026rdquo;. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;Bum Collar\u0026rdquo; are Danny Devos, Mauro Pawlowski, Pol Mennes en Anne-Mie Van Kerckhoven.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eVisuals: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eMusic: DDV/Mauro Pawlowski/Pol Mennes/AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003ehttp://www.myspace.com/bumcollarsound\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVijf computeranimatie films om de noise-improvisaties van de groep \u0026ldquo;Bum Collar\u0026rdquo; te begeleiden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;Bum Collar\u0026rdquo; zijn Danny Devos, Mauro Pawlowski, Pol Mennes en Anne-Mie Van Kerckhoven\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eVisuals: AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003eMusic: DDV/Mauro Pawlowski/Pol Mennes/AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003ehttp://www.myspace.com/bumcollarsound\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Club Moral\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14913,"title":"Pluriform 2","dimensions":"variable dimensions, interactive","date_begin":"2011-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"film video AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"081","stream_count_app":6,"permalink":"pluriform-2","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/590/large/081_2011_pluriform2_screenshot.jpg?1504860288","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp\u003eInteractive computer-animation\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eInteractieve computeranimatie\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14910,"title":"Stranger Than Life","dimensions":"","date_begin":"2010-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"film video AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"078","stream_count_app":12,"permalink":"stranger-than-life-f0660c0f-3be8-4566-af36-491a54ee62b1","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/593/large/78_stranger_than_life_screenshot.jpg?1504860598","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14911,"title":"Pluriform","dimensions":"","date_begin":"2010-01-01","material":"computer animation","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"film video AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"079","stream_count_app":10,"permalink":"pluriform-1","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/592/large/079_pluriform1_detail_screenshot.jpg?1504860541","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A maze of magnified elements from drawn interiors. I see enlargements of my unconsciously created drawings almost as a form of pornography, as something obscene: you get to see something that is normally not meant for the naked eye.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een doolhof van vergrote elementen uit getekende interieurs. Ik zie vergrotingen van mijn onbewust ontstane tekeningen haast als een vorm van pornografie, als iets obsceen: je krijgt iets te zien wat normaal niet voor het blote oog is bedoeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Pluriforme)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un labyrinthe d\u0026rsquo;\u0026eacute;l\u0026eacute;ments agrandis provenant d\u0026rsquo;int\u0026eacute;rieurs dessin\u0026eacute;s. Je vois les agrandissements de dessins \u0026eacute;mergeant de mon inconscient presque comme une forme de pornographie, comme quelque chose d\u0026rsquo;obsc\u0026egrave;ne\u0026nbsp;: je donne \u0026agrave; voir quelque chose qui n\u0026rsquo;est normalement pas destin\u0026eacute; \u0026agrave; l\u0026rsquo;\u0026oelig;il nu.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":14912,"title":"Bodies","dimensions":"","date_begin":"2011-01-01","material":"computer animation, visual concert club moral ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"film video AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"080","stream_count_app":5,"permalink":"bodies","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/591/large/080_2011_bodies-1_screenshot.jpg?1504860396","poster_credits":"(c)still: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14917,"title":"Rorty 5 (Bataille)","dimensions":"40 x 30 x 3 cm","date_begin":"2003-01-01","material":"Computerprint, plexi and forex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20030000J","stream_count_app":16,"permalink":"rorty-5-bataille","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/882/large/Rorty_5_bataille.jpg?1478866111","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14918,"title":"Rorty (Deleuze)","dimensions":"36 x 27 x 2.5 cm","date_begin":"2002-01-01","material":"diasec and computerprint between plexi and forex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20020001A","stream_count_app":19,"permalink":"rorty-deleuze","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/883/large/Rorty_Deleuze__R1124.jpg?1478866243","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From 1995 until 2004\u003c/em\u003e I m\u003cem\u003eade numerous HeadNurse exhibitions on a structure that was adaptable to every space given to show my work in. The two or more layered wooden facility made it possible to show works in layers, such as meta-data. All works made on Plexiglass or PVC had magnetic backs and were fixed on iron plates, so that it was very easy to re-position everything.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van 1995 tot 2004 maakte ik verschillende HeadNurse tentoonstellingen met een structuur die aanpasbaar was op iedere plek waar ik mijn werk toonde. De twee- of meer gelaagde houten voorziening maakte het mogelijk om werk te tonen in lagen, net als meta-data. Alle werken gemaakt op Plexiglas of PVC hadden magnetische achterkanten en werden vastgemaakt op ijzeren platen, zodat het gemakkelijk was om alles te re-positioneren.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14919,"title":"Chairs with HeadNurse motive","dimensions":"Dimensions variable","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"chairs-with-headnurse-motive","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/884/large/2005_stoel_1_van_de_6__met_armleuning.jpg?1478866701","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;I re-upholstered 2 armchairs and 4 plain chairs of my grandmother in fabric with HeadNurse imagery.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eCharles Baudelaire shouts the 2nd half of the 19th century: \u0026quot;Le Satanisme a gagn\u0026eacute;!\u0026rdquo; and opens dead-tired the gates for Modernism as we know it. Simulteneously in North America Pragmatism is born, a materialistic philosophy of the New World of which Richard Rorty will become, in 1979, the most extreme beholder.\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e1915: in Moscow Suprematism started with The Black Square of Kazimir Malevitsj. At the same time in France-USA there is The Big Glass of Duchamp, transparent, double-sided, never finished. Broken, it became an icon.\u003cbr /\u003e\r\n1966: in New York\u0026nbsp; Barnett Newman shows: Who\u0026#39;s afraid of Red, Yellow and Blue. Abstract Expressionism.\u003cbr /\u003e\r\nJanuary 2004: in Ghent my interactive work Rorty The Headroom the last work of my HeadNurse-cycle, dealt with all these -isms, in particular with all the fearful esteems for symptotic spiritual creatures which mainly reflect wrong balanced organic structures.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nWhere Descartes spoke about Suprematism of reason over feelings, Rorty had his view on Suprematism of reality over perception. And what about the digital?\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Ik heb twee armstoelen en vier gewone stoelen van mijn grootmoeder opnieuw gestoffeerd met stof met beeldmateriaal van \u0026lsquo;HeadNurse\u0026rsquo;. Charles Baudelaire schreeuwt in de tweede helft van de 19\u003csup\u003ee\u003c/sup\u003e eeuw: \u0026ldquo;Le Satanisme a gang\u0026eacute;!\u0026rdquo; en opent doodmoe de poorten naar het Modernisme zoals we het nu kennen. Op hetzelfde moment wordt in Noord-Amerika het Pragmatisme geboren, een materialistische filosofie van de Nieuwe Wereld waarvan Richard Rorty in 1979 de meest extreme aanschouwer zal worden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e1915: in Moskou begint Suprematisme met \u0026lsquo;The Black Square\u0026rsquo; van Kazimir Malevitsj. Op hetzelfde moment in Frans-Amerika is er \u0026lsquo;The Big Glass\u0026rsquo; van Duchamp, doorzichtig, tweezijdig, nooit afgemaakt. Gebroken, werd het een icoon.\u003cbr /\u003e\r\n1966: In New York toont Barnett Newman \u0026lsquo;Who\u0026rsquo;s afraid of Red, Yellow and Blue\u0026rsquo;, abstract expressionisme.\u003cbr /\u003e\r\nJanuari 2004: In Gent handelt mijn interactief werk \u0026lsquo;Rorty The Headroom\u0026rsquo; het laatste werk van mijn HeadNurse-cyclus over alle \u0026ndash;ismes, in het bijzonder over alle angstige waarderingen voor ?symptomatische? spirituele wezens die vooral effect hebben op verkeerd gebalanceerde organische structuren.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWaar Descartes het had over het Suprematisme van reden over gevoelens, had Rorty zijn kijk op het Suprematisme van de realiteit over perceptie. En wat dan met het digitale?\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14920,"title":"Setting The Elegance","dimensions":"125.5 x 109 cm","date_begin":"2016-01-01","material":"Painting on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"setting-the-elegance","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/896/large/35_2016_Setting_The_Elegance_125_5_x_109.jpg?1478868337","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14921,"title":"Still have to wait for","dimensions":"180 x 123 cm","date_begin":"2012-01-01","material":"Plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"still-have-to-wait-for","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/897/large/41_02_30g_6-Still_have_to_wait_for_180x123_kl_copy.jpg?1478872278","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;One of the series \u0026ldquo;Nonzero/Pastime\u0026rdquo;: two-layered Plexiglass work that mixes certain pages of a 50-ties softporn magazine with the text ECFK that I made in 2003. ECFK is based on a 2002 article on antimatter, found in a Belgian financial newspaper (De Financieel-Economische Tijd).\u0026nbsp; I systematically replaced the word \u0026quot;antimatter\u0026quot; by \u0026quot; antisade\u0026quot; and turned the rest of the content of this scientific text into a critical expos\u0026eacute; on art production after World War II.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Een werk uit de serie \u0026ldquo;Nonzero/Pastime\u0026rdquo;: een dubbel gelaagd Plexiglas werk dat bepaalde pagina\u0026rsquo;s uit een jaren \u0026rsquo;50 softporn-magazine mixt met de tekst \u0026ldquo;ECFK\u0026rdquo; die ik maakte in 2003. ECFK is gebaseerd op een artikel over antimatter uit 2002, dat ik vond in een Belgische financi\u0026euml;le krant (De Financieel-Economische Tijd). Ik verving systematisch het woord \u0026ldquo;antimatter\u0026rdquo; door \u0026ldquo;antisade\u0026rdquo; en veranderde de context van deze wetenschappelijke tekst in een kritisch expos\u0026eacute; over kunstproductie na Wereldoorlog II.\u0026quot;\u0026nbsp;\u0026mdash; AMVK\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14923,"title":"Plexi Boxes","dimensions":"8 x (21 x 25 x 3.5 cm)","date_begin":"1993-01-01","material":"Paint on plastic dishes","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":30,"permalink":"plexi-boxes","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/977/large/1-Sceance_cover_copy_kopie.jpg?1478963391","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;8 transparent Plexiglass boxes filled with semi-transparent layers of painted elements. Each of them is a work of which the final visual image is arbitrary, the structure within stays loose. Made for my installation in the group exhibition \u0026quot;Vierkant\u0026quot; (Square), curated by Jan Hoet, inspired by the writings of Ren\u0026eacute; Descartes and shown at the SMAK in Ghent in 1993.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;8 transparante Plexiglas dozen gevuld met semi-transparante lagen van geschilderde elementen. Ieder van hen is een werk waarvan het uiteindelijke visuele beeld visuele arbitrair is, de structuur binnenin blijft los. Gemaakt voor mijn installatie in de groeptentoonstelling \u0026lsquo;Vierkant\u0026rsquo;, gecureerd door Jan Hoet, ge\u0026iuml;nspireerd door het schrijven van Ren\u0026eacute; Descartes en getoond in het SMAK in Gent in 1993.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003ci\u003e\u0026mdash; AMVK\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14928,"title":"Welfare State","dimensions":"2 x (11 x 165.5 cm)","date_begin":"1995-01-01","material":"paint and felt tip on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2005-01-01","reference":"19950000Q","stream_count_app":20,"permalink":"welfare-state","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/946/large/1995-2015_Unic-Carrefour_2X_100x165_5.jpg?1478878021","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAlthough they are made twenty years apart,\u0026nbsp;\u003cem\u003eUnic\u0026nbsp;\u003c/em\u003e(1995) and\u0026nbsp;\u003cem\u003eCarrefour\u0026nbsp;\u003c/em\u003e(2015) form a diptych of sorts. On 4 September 1995, AMVK bought some basic produce from her local supermarket, blew up the receipt and turned it into a painting. Now she repeats the same act, making visible the changed state of welfare: a new chain, a new currency, a new ratio of nature to mortality (the food) and to freedom (its price).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHoewel er twintig jaar tussen beide werken ligt, vormen \u003cem\u003eUnic \u003c/em\u003e(1995) en \u003cem\u003eCarrefour \u003c/em\u003e(2015) een soort tweeluik. In 1995 kocht AMVK een aantal basisingredi\u0026euml;nten in haar plaatselijke supermarkt, vergrootte het kassaticket en maakte er een schilderij van. Nu herhaalt ze die handeling, waarbij ze de gewijzigde toestand van welvaart zichtbaar maakt: een nieuwe keten, een nieuwe munt, een nieuwe verhouding tussen natuur en mortaliteit (het voedsel) en natuur en vrijheid (de prijs van het voedsel).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eUn diptyque de peintures sur PVC\u0026nbsp;: tickets de caisse du supermarch\u0026eacute; pour l\u0026rsquo;achat de denr\u0026eacute;es alimentaires. L\u0026rsquo;un date de 1995, l\u0026rsquo;autre de 2015, du m\u0026ecirc;me lieu pour les m\u0026ecirc;mes denr\u0026eacute;es. Tous les prix ont augment\u0026eacute;, sauf celui de la viande.\u003c/p\u003e\r\n"}]},{"id":14929,"title":"Digital images AI-Lab","dimensions":"Dimensions variable","date_begin":"1988-01-01","material":"Computerprint on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"digital-images-ai-lab","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/964/large/1988_AI_lab_Vanuit_de_Nul-optie_kopie.jpg?1478952225","poster_credits":"(c)image: 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justify;\"\u003e((art/science) = (logics/future):\u0026nbsp;Signature)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;Signature)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15366,"title":"(kunst/wetenschap) = (logica/toekomst): Zonder titel","dimensions":"51 x 49 cm","date_begin":"1979-01-01","material":"Paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790000E","stream_count_app":12,"permalink":"zonder-titel-f1c194c6-ec7f-4323-a7cb-595c2a7b749e","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/697/large/19790000E_kl.jpg?1484226980","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): Untitled)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]: Sans titre)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15367,"title":"Feuer!","dimensions":"33.5 x 36 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15368,"title":"Zonder titel","dimensions":"28 x 40 cm","date_begin":"1979-01-01","material":"paint and felt tip on darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15369,"title":"Zonder titel","dimensions":"28 x 42 cm","date_begin":"1979-01-01","material":"paint and felt tip on darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15370,"title":"Zonder titel","dimensions":"21 x 27 cm","date_begin":"1979-01-01","material":"photocopy, collage, drawing, mixed materials on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15371,"title":"Axiomation","dimensions":"20 x 25.5 cm","date_begin":"1979-01-01","material":"photocopy, collage, drawing, mixed materials on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15383,"title":"Toestand met Figuur","dimensions":"102 x 57 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790321A","stream_count_app":5,"permalink":"toestand-met-figuur","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/715/large/19790321A_kl.jpg?1484234780","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15388,"title":"Toestand met Oranje en Groen Vlak","dimensions":"102 x 57 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15358,"title":"Harmonie met verticale streep","dimensions":"36 x 27 cm","date_begin":"1978-01-01","material":"ink and felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/689/large/19781200K_kl.jpg?1484215003","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eHarmonie met verticale streep \u003c/i\u003e(\u003ci\u003eHarmony with Vertical Line\u003c/i\u003e)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eHarmonie met verticale streep \u003c/i\u003e(\u003ci\u003eHarmonie au trait vertical\u003c/i\u003e)\u003c/p\u003e\r\n"}]},{"id":15301,"title":"Hindert het als Ik Hoest? ","dimensions":"26.8 x 17.5 cm","date_begin":"1977-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19771100C","stream_count_app":8,"permalink":"hindert-het-als-ik-hoest","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/556/medium_500/19771100C_kl.jpg?1483606176","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/556/large/19771100C_kl.jpg?1483606176","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15302,"title":"Natuurlijk in de Regen","dimensions":"34.5 x 24.5 cm","date_begin":"1977-01-01","material":"Color marker and paint on transparent foil","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19771100D","stream_count_app":8,"permalink":"natuurlijk-in-de-regen","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/557/medium_500/19771100D_kl.jpg?1483606342","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/557/large/19771100D_kl.jpg?1483606342","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15303,"title":"Wablieft?","dimensions":"34.5 x 24.5 cm","date_begin":"1977-01-01","material":"Color marker and paint on transparent foil","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19771100E","stream_count_app":8,"permalink":"wablieft","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/558/medium_500/19771100E_kl.jpg?1483606462","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/558/large/19771100E_kl.jpg?1483606462","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15304,"title":"Dag Dames! En Nu Manoeuvreren","dimensions":"26.8 x 17.6 cm","date_begin":"1977-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19771100F","stream_count_app":8,"permalink":"dag-dames-en-nu-manoeuvreren","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/559/medium_500/19771100F_kl.jpg?1483606715","cached_actor_names":"Anne-Mie Van 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justify;\"\u003e((art/science) = (logics/future): Black Hole)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e([art/science]=[logique/avenir]:\u0026nbsp;Trou noir)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15407,"title":"Doseren","dimensions":"42.5 x 32.5 cm","date_begin":"1980-01-01","material":"paint and felt tip on darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15408,"title":"Zonder titel","dimensions":"82 x 50 cm","date_begin":"1979-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15410,"title":"Zonder titel","dimensions":"48 x 34 cm","date_begin":"1980-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hamza Walker","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19800000D","stream_count_app":5,"permalink":"zonder-titel-b280a5b3-7632-4886-82ed-760fe3e498b0","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/742/large/19800000D_kl.JPG?1484303309","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15411,"title":"Just a little... It's very good","dimensions":"73 x 51 cm","date_begin":"1980-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15414,"title":"Je main tiendrai","dimensions":"79 x 56 cm","date_begin":"1980-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15415,"title":"(kunst/wetenschap) = (logica/toekomst): Zwarte rechthoek, zwevend","dimensions":"54.8 x 35 cm","date_begin":"1980-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19800000J","stream_count_app":10,"permalink":"zonder-titel-4ba19b8f-6221-4bf8-97a5-426822742e00","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/747/large/19800000J_kl.JPG?1484304495","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future):\u0026nbsp;Black Rectangle, Floating)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;Rectangle noir flottant)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15416,"title":"(kunst/wetenschap) = (logica/toekomst): Toestand met Zwarte Rechthoek","dimensions":"85 x 50 cm","date_begin":"1980-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19800000K","stream_count_app":13,"permalink":"toestand-met-zwarte-rechthoek","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/748/large/19800000K_kl.JPG?1484304608","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future):\u0026nbsp;Situation with Black Rectangle)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;Situation avec rectangle noir)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15417,"title":"Man Must Continue To Strive for Selfimprovement","dimensions":"","date_begin":"1980-01-01","material":"Paint and felt tip on darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19800700A","stream_count_app":5,"permalink":"man-must-continue-to-strive-for-selfimprovement","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/749/large/19800700A_kl.JPG?1484304810","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15419,"title":"(kunst/wetenschap) = (logica/toekomst): Life is 3,5 Billion Years Old","dimensions":"","date_begin":"1980-01-01","material":"paint and felt tip on darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19800717A","stream_count_app":13,"permalink":"life-is-3-5-billion-years-old","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/751/large/19800717A_kl.JPG?1484311193","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): Life is 3.5 Billion Years Old)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]:\u0026nbsp;La vie a 3,5\u0026nbsp;milliards d\u0026rsquo;ann\u0026eacute;es)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15421,"title":"Lucky Arnold. Vient d'echapper a son quatrieme naufrage","dimensions":"55 x 56 cm","date_begin":"1981-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15422,"title":"Ode to Michaux","dimensions":"40 x 44.8 cm","date_begin":"1981-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15423,"title":"Zonder titel","dimensions":"30.5 x 30.5 cm","date_begin":"1981-01-01","material":"paint on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15424,"title":"Zonder titel","dimensions":"32 x 32.5 cm","date_begin":"1981-01-01","material":"paint on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15425,"title":"Econom + Chemis Amusement","dimensions":"30.5 x 40 cm","date_begin":"1981-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15395,"title":"Harmonie 7","dimensions":"22 x 14.5 cm","date_begin":"1979-01-01","material":"felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19810001L","stream_count_app":10,"permalink":"ok","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/820/large/19810001L_kl.jpg?1486129243","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): OK)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]: OK)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15453,"title":"Proviand","dimensions":"25.5 x 19.3 cm","date_begin":"1981-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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justify;\"\u003e((art/science) = (logics/future): Untitled)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]: Sans titre)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. 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Ernaast hangt een still van \u003cem\u003eVideoklok\u003c/em\u003e.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Mirroir)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une image r\u0026eacute;alis\u0026eacute;e en pr\u0026eacute;paration de la 5e force.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Il s\u0026rsquo;agit d\u0026rsquo;un agrandissement d\u0026rsquo;un dessin que j\u0026rsquo;ai fait d\u0026rsquo;une photographie d\u0026rsquo;un soldat SS publi\u0026eacute;e dans le magazine Paris Match. Je l\u0026rsquo;ai toujours gard\u0026eacute;\u0026nbsp;; c\u0026rsquo;est un beau soldat qui ouvre son manteau et montre qu\u0026rsquo;il ne porte pas d\u0026rsquo;arme.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026Agrave; c\u0026ocirc;t\u0026eacute; est accroch\u0026eacute;e une image photocopi\u0026eacute;e extraite d\u0026rsquo;Horloge vid\u0026eacute;o.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15893,"title":"Diagnose aus den Augen","dimensions":"3 x (23.7 x 30 cm)","date_begin":"1987-01-01","material":"paint on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the 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stereotype of a lecher, of an affluent, oversexed man.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Dit is het stereotype van een geilaard, van een bemiddelde, oversekste man.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(St\u0026eacute;r\u0026eacute;otype)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ceci est le st\u0026eacute;r\u0026eacute;otype d\u0026rsquo;un obs\u0026eacute;d\u0026eacute; sexuel, d\u0026rsquo;un homme ais\u0026eacute; qui ne pense qu\u0026rsquo;\u0026agrave; \u0026ccedil;a.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15906,"title":"Naakt op Ligbed","dimensions":"36 x 27 cm","date_begin":"1988-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19880000C","stream_count_app":8,"permalink":"naakt-op-ligbed","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/915/medium_500/19880000C_kl.jpg?1501591902","cached_actor_names":"Anne-Mie Van 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artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19880000E","stream_count_app":9,"permalink":"de-betrekkelijk-bestaande-ruimte","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/916/medium_500/19880000E_kl.jpg?1501592079","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/916/large/19880000E_kl.jpg?1501592079","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15920,"title":"Zonder titel","dimensions":"42.1 x 29.8 cm","date_begin":"1988-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19880812A","stream_count_app":8,"permalink":"zonder-titel-f89f8132-d823-498a-b240-fc5a93f6e574","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/927/medium_500/19880812A_kl.jpg?1501593844","cached_actor_names":"Anne-Mie Van 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artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19880813A","stream_count_app":8,"permalink":"zonder-titel-e083e95e-87fb-4f84-8792-388852ae920f","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/928/medium_500/19880812B_kl.jpg?1501593938","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/928/large/19880812B_kl.jpg?1501593938","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15931,"title":"Fossilisatie","dimensions":"36 x 27 cm","date_begin":"1988-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19881216A","stream_count_app":8,"permalink":"fossilisatie-f3a33c4c-564c-4f14-85b9-a031bed6c53e","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/932/medium_500/19881216A_kl.jpg?1501594433","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/932/large/19881216A_kl.jpg?1501594433","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15933,"title":"Naakt in Zetel - Studie","dimensions":"25.5 x 27 cm","date_begin":"1989-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000A","stream_count_app":8,"permalink":"naakt-in-zetel-studie","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/933/medium_500/19890000A_kl.jpg?1501594538","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/933/large/19890000A_kl.jpg?1501594538","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15969,"title":"Huis op helling","dimensions":"36.2 x 27 cm","date_begin":"1989-01-01","material":"Felt tip and colour pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890601B","stream_count_app":12,"permalink":"huis-op-helling","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/969/large/19890601B_kl.jpg?1501599722","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15912,"title":"Axiom of Maria the Jewess","dimensions":"125 x 300 x 0.3 cm","date_begin":"1988-01-01","material":"plastic foil on PVC on aluminium, double sided","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection SMAK, Ghent","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19880002C","stream_count_app":5,"permalink":"axiom-of-maria-the-jewess","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/918/large/19880002C_kl.jpg?1501592433","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15942,"title":"Fossilisatie","dimensions":"244 x 122 cm","date_begin":"1989-01-01","material":"paint on forex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000G","stream_count_app":7,"permalink":"fossilisatie-22fe3e64-ff76-4faf-b5d2-48994950bfc7","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/941/large/19890000G_kl.jpg?1501595420","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15943,"title":"The Divine Trinity/Sex/Arthistory","dimensions":"154 x 114 x 0.1 cm","date_begin":"1989-01-01","material":"plastic foil on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Didier Casimiro","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000H","stream_count_app":5,"permalink":"the-divine-trinity-sex-arthistory","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/945/large/19890000H_kl.jpg?1501595603","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15944,"title":"De Vijfde Kracht","dimensions":"44 x 48 cm","date_begin":"1989-01-01","material":"plexiglass on aluminium","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000K","stream_count_app":5,"permalink":"de-vijfde-kracht","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/948/large/19890000K_kl.JPG?1501595788","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15945,"title":"Zonder titel","dimensions":"51.9 x 33.2 cm","date_begin":"1989-01-01","material":"paint and plexi on aluminium","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000L","stream_count_app":8,"permalink":"zonder-titel-907ed695-2b68-4073-8683-c34fc599b88d","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/951/large/19890000L_kl.JPG?1501595916","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15946,"title":"Man","dimensions":"21 x 24.6 cm","date_begin":"1989-01-01","material":"paint on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000O","stream_count_app":11,"permalink":"zonder-titel-1ff0877e-7db2-4f5b-9c16-e1ac80d43c16","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/953/large/19890000O_kl.jpg?1501596203","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This is the portrait of a man at the C\u0026ocirc;te d\u0026rsquo;Azur, a gangster.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Dit is het portret van een man aan de C\u0026ocirc;te d\u0026rsquo;Azur, een gangster.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Un Homme)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ceci est le portrait d\u0026rsquo;un homme \u0026agrave; la C\u0026ocirc;te d\u0026rsquo;Azur, un gangster.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15947,"title":"3 Altaren: Zon, Maan, Aarde","dimensions":"3 x (2 x (122 x 244 cm))","date_begin":"1989-01-01","material":"paint and plastic foil on trovicel on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Courtesy Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19890000P","stream_count_app":14,"permalink":"3-altars-sun-moon-earth","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/954/large/19890000P_kl.jpg?1501596388","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(3 Altars: Sun, Moon, Earth)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This is a series of three works on PVC, each divided in two, the two parts connected by iron hinges, one part leaning against a wall, the second lying on the ground.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe first altar was made for the moon, the second for the sun and the third for the earth. The image of the moon altar is a woman offering her breasts, such as the Dea Nutrix in antiquity. She looks down. Her right breast is yellow, her left grey, referring to the moon that lightens up thanks to the projection of sunlight on its surface. The female figure standing on the sun altar stares at you from out of the negative, with golden hair, smiling, straight in your face. When you look into the sun, you become blind. On the third altar, there\u0026#39;s a frolicking couple over which a swastika throws off its directions, becoming a cross.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe effigies are made in such a way that, standing at a certain spot before the work, they seem to come undone from their medium.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Het is een serie van drie werken op pvc, elk in twee gedeeld, de twee delen door ijzeren scharnieren verbonden, waarvan het ene deel tegen een muur leunt en het tweede op de grond ligt.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet eerste altaar is gemaakt voor de maan, het tweede voor de zon en het derde voor de aarde. Het altaar van de maan heeft als beeld een vrouw die haar borsten aanbiedt, zoals de Dea Nutrix in de antieke tijden. Ze kijkt naar beneden. Haar rechterborst is geel, haar linker grijs, verwijzend naar de oplichtende maan, dankzij de projectie van het zonlicht op haar oppervlak. De vrouwenfiguur die op het altaar van de zon staat kijkt vanuit het negatieve, met gouden haren, lachend, recht in uw gezicht. Wanneer je in de zon kijkt wordt je blind. Op het derde altaar staat een stoeiend koppel waaroverheen een swastika haar richtingen afwerpt en een kruis wordt.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe beeltenissen worden z\u0026oacute; gemaakt dat, wanneer men op een bepaalde plaats voor het werk staat, zij los lijken te komen van hun medium.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(3 Autels: Soleil, Lune, Terre)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;C\u0026rsquo;est une s\u0026eacute;rie de trois \u0026oelig;uvres sur PVC, chacune divis\u0026eacute;e en deux parties, reli\u0026eacute;es \u0026agrave; leur tour par une charni\u0026egrave;re en fer, dont une s\u0026rsquo;appuie contre un mur et la seconde repose sur le sol.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le premier autel est cr\u0026eacute;\u0026eacute; pour la lune, le deuxi\u0026egrave;me pour le soleil et le troisi\u0026egrave;me pour la terre.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;autel de la lune a comme image une femme qui offre ses seins, comme la d\u0026eacute;esse qui allaite (Dea Nutrix) de l\u0026rsquo;Antiquit\u0026eacute;. Elle regarde vers le bas. Son sein droit est jaune, son sein droit est gris, une r\u0026eacute;f\u0026eacute;rence \u0026agrave; la lune montante, gr\u0026acirc;ce \u0026agrave; la r\u0026eacute;flexion de la lumi\u0026egrave;re solaire \u0026agrave; sa surface.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le personnage f\u0026eacute;minin souriant \u0026agrave; la chevelure dor\u0026eacute;e pos\u0026eacute; sur l\u0026rsquo;autel du soleil fixe le spectateur droit dans les yeux. Or quand on regarde le soleil, on devient aveugle. Sur le troisi\u0026egrave;me autel, un couple en train de batifoler est recouvert d\u0026rsquo;un svastika qui renonce \u0026agrave; ses directions pour devenir une croix.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Les images sont ainsi faites que lorsqu\u0026rsquo;on se trouve \u0026agrave; une certaine distance de l\u0026rsquo;\u0026oelig;uvre, elle semble se d\u0026eacute;tacher de son support.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":16033,"title":"Good Dogs","dimensions":"123 x 67 x 4.4 cm","date_begin":"1990-01-01","material":"paint on forex in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16034,"title":"Stabat Mater (Erection)","dimensions":"200.5 x 150 x 0.3 cm","date_begin":"1990-01-01","material":"paint on forex on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15967,"title":"Nooit","dimensions":"36 x 27 cm","date_begin":"1989-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15972,"title":"Exterieur 1","dimensions":"36 x 27 cm","date_begin":"1989-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19881200A","stream_count_app":16,"permalink":"erklaren-sie-den-begriff-fuhrerprinzip","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/930/medium_500/19881200A_kl.jpg?1501594214","cached_actor_names":"Anne-Mie Van 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justify;\"\u003e\u003cem\u003e\u0026quot;A portrait of the businessman as a dandy-like Mephistopheles figure, inspired by a 1948 blues song with the same title, by Sunnyland Slim. I really like blues. With the wordplay \u0026#39;the devil is a businessman\u0026#39; in mind. He does have something very tempting, such a businessman.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Portret van de zakenman als dandyachtige Mefistofiguur, ge\u0026iuml;nspireerd op een blues-song van 1948 met dezelfde titel, van Sunnyland Slim. Ik hou erg van blues. Met in het achterhoofd de woordspeling \u0026rdquo;the devil is a businessman\u0026rdquo;, de zakenman kan een duivel zijn. 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Ils ont quelque chose de tr\u0026egrave;s s\u0026eacute;duisant ces hommes d\u0026rsquo;affaires.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":16061,"title":"Smelten","dimensions":"17.7 x 25 cm","date_begin":"1990-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Ik heb het beeld gedubbeld met zichzelf en abstracte elementen toegevoegd, kleurvlakken om te highlighten. Er staat een omgekeerde opsomming bijgeschreven, van 5. naar 1. Normaal gezien maak je vanuit een principe instrumenten aan, die na een tijd automatische reflexen worden, die dan een factor van uw identiteit vormen, dat uiteindelijk een effect heeft op de buitenwereld. Al die elementen komen aan bod als je als vrouw stereotiep gedrag vertoont, zodat je onbewust een doorgeefluik wordt van veronderstellingen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(5. Effet, 4. Facteur, 3. R\u0026eacute;flexe, 2. Instrument, 1. Principe)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;L\u0026rsquo;original est une image de femme nue glan\u0026eacute;e dans de l\u0026rsquo;imagerie pornographique soft. Il s\u0026rsquo;agit d\u0026rsquo;une odalisque qui attend pr\u0026egrave;s du t\u0026eacute;l\u0026eacute;phone. J\u0026rsquo;ai d\u0026eacute;doubl\u0026eacute; l\u0026rsquo;image et ajout\u0026eacute; des \u0026eacute;l\u0026eacute;ments abstraits, des surfaces de couleur pour la rehausser. L\u0026rsquo;\u0026oelig;uvre est accompagn\u0026eacute;e d\u0026rsquo;une \u0026eacute;num\u0026eacute;ration invers\u0026eacute;e, de 5 \u0026agrave; 1.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Normalement, on fabrique des instruments \u0026agrave; partir d\u0026rsquo;un principe. Apr\u0026egrave;s un certain temps, ces instruments deviennent des r\u0026eacute;flexes automatiques. Ensuite, ils constituent un facteur de son identit\u0026eacute; et finalement, ce facteur exerce un effet sur le monde ext\u0026eacute;rieur.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Tous ces \u0026eacute;l\u0026eacute;ments font surface quand une femme adopte un comportement st\u0026eacute;r\u0026eacute;otype, ce qui fait qu\u0026rsquo;elle devient, inconsciemment, une courroie de transmission de pr\u0026eacute;somptions.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":16179,"title":"No Future","dimensions":"300 x 210 x 0.3 cm","date_begin":"1991-01-01","material":"paint and plastic foil on trovicel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"individu-en-duiding","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/869/large/Schermafbeelding_2017-09-27_om_15.37.45.png?1506519496","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Description kills Foundation.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. Shifts of attention and the size of stimuli are aware of the nonrationality of strategy in general. Eye fixation knocks, knocks and mental rotation is amongst us. The naive versus the sophisticated, depth versus the picture-plae. Clockwise or counterclockwise my hand reaches out, I see it. I want you. Right versus left, our phantom hands melt together. In spite of the gravitational upright I start to fold mentally. The expected versus the unexpected. Mental practice-distance and time. Your neck. Is it expansion or contraction, the right versus the left?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2. Too down by earth is common fate: cubicul stimuli arouse, together with target stimuli. Gravitational upright, my inaccessibility tastes the match versus the unmatch. Multistable or not, I start to transform mentally. I rotate to the depth, nonanalog rotation. Arrays. I need distractors to overcome this fluid state. My mental practise is not able to live with this degree of instability. The positive versus the negative, nonrational, too many levels of description. Naked, too much.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e3. 4 years earlier: my introspective program is causally connected to itself. I keep my statistics on the program of my own behavior. They supply in deductive power, they know what they know, they make ad hoc conclusions. To get a flavor of the power of reflexion you can study the architecture of reflexion. You will find internal errors triggered and you will submit to objective orientated circular interpretation. Before and after methods do not free us from inconsistent, uncertain and incomplete behavior.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e4. Graceful degradation. Subset. Fighting hostile feelings, I fear the cycle of unpleasant things. Alienated I long for fixations. But there is only blankness.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK, May 1991\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom:\u0026nbsp;\u0026ldquo;Individu: Duiding. Verboden verbindingen + Twijfealchtige verbanden\u0026rdquo;, KMSK/ICC, 18-10-1991 tot 15-12-1991, p. 22. (Exhibition Catalogue)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Beschrijving doodt fundament.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. De attentieschijven en de groote van de stimuli zijn er zich van bewust dat strategie in \u0026rsquo;t algemeen niet rationeel is. Oogfixatie klopt, klopt en mentale rotatie is onder ons. Het na\u0026iuml;eve tegenover het gestofistikeerde, diepte versus het oppervlaktezicht. Met de klok mee of tegen de klok, mijn hand rekt uit, ik zie het. Ik verlang naar U. Rechts tegenover links, smelten onze spookhanden tesamen. Ondanks de zwaartekracht, loodrecht, begin ik mentaal op te vouwen. Het verwachte tegenover het onverwachte. Mentale praktijk-afstand en tijd. Uw nek. Is het uitzetting of samentrekking, het rechtse versus het averechtse?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2. Te laag bij de gronds is het algemeen lot: kubusvormige stimuli duiken op, tesamen met doelgerichte stimuli. Haaks op de zwaartekracht proeft mijn ontoegankelijkheid het verschil versus het onverschil. Multistabiel of niet, ik begin mentaal van vorm te veranderen. Ik draai naar de diepte, een niet analoge rotatie. Slagordes. Ik heb afleiders nodig om deze vloeibare staat het hoofd te bieden. Mijn mentale gewoonte kan deze graad van onstabiliteit niet overleven. Het positieve tegenover het negatieve, gebrek aan rationaliteit, teveel beschrijvingsniveaus. Naakt, te naakt.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e3. 4 jaren eerder was mijn introspektief programma slechts causaal aan zichzelf gebonden. Ik hield de statistieken bij van de programmas van mijn eigen gedrag. Ze voorzagen in aftrekbare kracht, ze wisten wat ze wisten, ze maakten ad hoc conclusies. Wilt U de kracht van de weerspiegeling proeven dan raad ik U aan de architectuur van de weerspiegeling te bestuderen. U zal interne fouten verijdeld vinden en zich onderwerpen aan een objektief georienteerde, ronddraaiende interpretatie. Voor na methodes vrijwaren ons dus niet van tegenstrijdig, onzeker noch onvolledig gedrag.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e4. Waardige degradatie. Onderplaatsing. Vijandige gevoelens. Me verdedigend vrees ik de cyclus van onaangename dingen. Vervreemd snak ik naar fixaties. Waar ik enkel leegte vind.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK, mei 1991\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUit: \u0026ldquo;Individu: Duiding. Verboden verbindingen + Twijfealchtige verbanden\u0026rdquo;, KMSK/ICC, 18-10-1991 tot 15-12-1991, p. 22. (Tentoonstellingscatalogus)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":16793,"title":"Nostalgie en Bezwering","dimensions":"5 x (19.5 x 30.5 x 5 cm)","date_begin":"1992-01-01","material":"acrylic, silkscreen paint and marker on plastic dishes","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"1993-01-01","reference":"","stream_count_app":27,"permalink":"nostalgie-en-bezwering","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/644/large/1992-93___Nostalgie_en_Bezwering.jpg?1508339360","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Nostalgia and Incantation)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Paintings on plastic trays for game p\u0026acirc;t\u0026eacute;. They are about the relationship between future, logic, art and science, but also about the physical reactions to the alienation that arises from regular exposure to abstractions.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Schilderingen op plastic schalen van wildp\u0026acirc;t\u0026eacute;. Gaan over de relatie tussen toekomst, logica, kunst en wetenschap, maar ook over de lichamelijke reacties op de vervreemding die ontstaat door te regelmatige blootstelling aan abstracties.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Nostalgie et incantation)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Des peintures sur terrines \u0026agrave; p\u0026acirc;t\u0026eacute; en plastique qui traitent de la relation entre avenir, logique, art et science, mais aussi de r\u0026eacute;actions physiques \u0026agrave; l\u0026rsquo;ali\u0026eacute;nation engendr\u0026eacute;e par l\u0026rsquo;exposition trop r\u0026eacute;guli\u0026egrave;re \u0026agrave; l\u0026rsquo;abstraction.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":16697,"title":"Ontmoeting","dimensions":"36 x 27 cm","date_begin":"1994-01-01","material":"Ink and colour pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19940328A","stream_count_app":8,"permalink":"ontmoeting","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/790/medium_500/19940328A_kl.jpg?1505913822","cached_actor_names":"Anne-Mie Van 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Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/769/large/19940325A_kl.jpg?1505482834","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eTesamen met de meubels \u003c/i\u003e(\u003ci\u003eTogether with the Furniture\u003c/i\u003e)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eTesamen met de meubels \u003c/i\u003e(\u003ci\u003eEnsemble avec les meubles\u003c/i\u003e)\u003c/p\u003e\r\n"}]},{"id":14481,"title":"Schatten uit Het Westen/Treasures of the West","dimensions":"dimensions variable","date_begin":"1993-01-01","material":"mixed media on darvic and 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16794,"title":"96 geërotiseerde concepten (96 eroticised concepts)","dimensions":"dimensions variable","date_begin":"1998-01-01","material":"digital images","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":97,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2000-01-01","reference":"","stream_count_app":120,"permalink":"eroticised-concepts-headnurse","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/883/large/1995_96_Eroticised_Concepts_HEADNURSE.jpg?1506590423","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(96 Eroticised Concepts)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In the context of a cultural undercover project in Bruges townhouses, a space was assigned to me in the Gezelle Quarter, where poet-priest Guido Gezelle lived in the nineteenth century. The house dated from the fourteenth or fifteenth century and there was a large window in the fa\u0026ccedil;ade, like a shop window in a red light district.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nI knew from my school days that Gezelle hated women and that he kept words he found interesting in a filing card system. Every day for 96 days I sent, by fax, a naked woman from my database, coupled with a word or notion from thermodynamics or artificial intelligence.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThat neighbourhood needed to show more female-friendliness. I\u0026#39;ve always felt an intrinsic connection between the use or abuse of images of women in the mass media and things that are going wrong in society.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;On Women Images\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eKeeping records on images of women and on words out of particular fields made me at a certain point combine them. The same way as cardealers present their newest products with scarsely dressed females. As an example I sampled words related to particular problems of elasticity , knowledge representation and symmetry in space to connect them with my files of 1. naked women only dressed with a belt, 2. women showing their breasts while fixating the spectator, 3. women busy taking of their blouses over their heads.\u003cbr /\u003e\r\nIn re-interpretating the images, I re-use them across the chosen word. For this I invent slightly fighting logical schemes to induce a certain random factor, for the sake of serendipity, synchronicity. In this way I try things out, I see how they work, if they work. Whereby I use the spectator as a measurement.\u003cbr /\u003e\r\nThe images serve as an instrument in a system to be proved.\u003cbr /\u003e\r\nAt present I use my computer to store images and words. I use my computer to collect them, to create systems in order to reveal things while working. Thus the information becomes the form, a tool; it becomes the canvas on which I work.\u003cbr /\u003e\r\nThe information, the data, becomes the paint, a mixed storage of passed, present and future intelligence.\u003cbr /\u003e\r\nIt\u0026rsquo;s just the way you use the information that decides on the content of the work, that gives the content needed for the actual purpose.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK, 22.3.97\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Naar aanleiding van een cultureel undercoverproject in Brugse burgerhuizen kreeg ik een plaats toegewezen in het Gezellekwartier, waar dichter-priester Guido Gezelle leefde in de 19e eeuw. Het huis stamde uit de 14e of 15e eeuw en had een groot venster in de voorgevel, zoals een etalage in een rosse buurt.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk wist uit mijn schooltijd nog dat Gezelle een hekel had aan vrouwen en dat hij voor hem interessante woorden bijhield via een fichesysteem. Gedurende 96 dagen stuurde ik per fax de combinatie van een blote vrouw uit mijn databank en een woord of begrip uit de thermodynamica of artifici\u0026euml;le intelligentie.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDie buurt had het nodig om meer vrouwvriendelijkheid aan de dag te leggen. Ik heb altijd een intrinsieke connectie gevoeld tussen het gebruik of misbruik van beelden van vrouwen in de massamedia en wat er verkeerd loopt in de maatschappij.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(96 Concepts \u0026eacute;rotis\u0026eacute;s)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Dans le cadre d\u0026rsquo;un projet culturel clandestin dans des r\u0026eacute;sidences priv\u0026eacute;es \u0026agrave; Bruges, on m\u0026rsquo;a attribu\u0026eacute; une place dans le quartier Gezelle o\u0026ugrave; le pr\u0026ecirc;tre-po\u0026egrave;te Guido Gezelle a v\u0026eacute;cu au XIXe\u0026nbsp;si\u0026egrave;cle. La maison datait du XIVe ou du XVe\u0026nbsp;si\u0026egrave;cle et avait une grande fen\u0026ecirc;tre en fa\u0026ccedil;ade, comme un \u0026eacute;talage dans un quartier chaud.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; Ce quartier avait besoin de faire preuve de plus d\u0026rsquo;\u0026eacute;gards envers les femmes. J\u0026rsquo;ai toujours senti un lien intrins\u0026egrave;que entre l\u0026rsquo;usage et l\u0026rsquo;abus d\u0026rsquo;images de femmes dans les m\u0026eacute;dias de masse et les dysfonctionnements de la soci\u0026eacute;t\u0026eacute;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe mes ann\u0026eacute;es d\u0026rsquo;\u0026eacute;coli\u0026egrave;re, je me souvenais que Gezelle d\u0026eacute;testait les femmes et qu\u0026rsquo;il avait mis au point un syst\u0026egrave;me de fiches pour les termes qu\u0026rsquo;il trouvait int\u0026eacute;ressants. 96 jours durant, j\u0026rsquo;ai envoy\u0026eacute; par fax l\u0026rsquo;image d\u0026rsquo;une femme nue provenant de ma base de donn\u0026eacute;es coupl\u0026eacute;e \u0026agrave; un mot ou un concept de la thermodynamique ou de l\u0026rsquo;intelligence artificielle.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLes femmes que l\u0026rsquo;on voit\u0026nbsp;: 1. sont seins nus et fixent le spectateur dans les yeux (36 images)\u0026nbsp;; 2. sont compl\u0026egrave;tement nues \u0026agrave; l\u0026rsquo;exception d\u0026rsquo;une ceinture (29 images)\u0026nbsp;; 3. sont en train d\u0026rsquo;enlever leur culotte (15 images)\u0026nbsp;; 4. sont \u0026agrave; diff\u0026eacute;rents stades de leur d\u0026eacute;shabillage (9 images)\u0026nbsp;; 5. se touchent les seins et le sexe en m\u0026ecirc;me temps (4 images)\u0026nbsp;; 6. ont \u0026eacute;tendu leurs v\u0026ecirc;tements en papillon (3 images).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":16795,"title":"God en Geweld/Violence and The Sacred","dimensions":"7 x (181 x 135 cm)","date_begin":"1995-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":34,"permalink":"god-en-geweld","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/884/large/Schermafbeelding_2017-09-28_om_12.06.39.png?1506593235","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze reeks omvat\u0026nbsp;7\u0026nbsp;werken die functioneren als bezweringrituelen ter verheerlijking van de vrouw als godgeest. Al scheppende praat de vrouw over zichzelf tegen zichzelf. Wanneer het oneindige principe al scheppende over zichzelf tegen zichzelf praat spreekt men over de oor- sprong van het dogma van de Heilige Drievuldigheid.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eMen heeft het intelligente principe, het sprekende principe en het principe waarover gesproken wordt. Waarover in mijn werken gesproken wordt is de dood, zij die spreekt is zij die heelt en het derde is dat wat betekenis geeft.\u2028Het woord geopenbaard, geuit door het leven is de vleeswording. Het is vanuit de gedachte dat het woord zich uit in \u0026ldquo;zijn\u0026rdquo;, waardoor het woord betekenis krijgt en stilte wordt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026mdash;\u0026nbsp;AMVK, 28.4.95\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":16796,"title":"Prober 1/Electriciteit","dimensions":"8 x (29 x 41.5 cm)","date_begin":"1998-01-01","material":"diasec, computerprint, plexi and pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"prober-1-tot-8-electriciteit","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/934/large/Schermafbeelding_2017-09-28_om_16.36.39.png?1506609439","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16797,"title":"Fashion \u0026 Perversity","dimensions":"36 x (12 x 25 cm)","date_begin":"1997-01-01","material":"paint on tapisplein-samples","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970000W","stream_count_app":14,"permalink":"fashion-perversity","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/935/large/Schermafbeelding_2017-09-28_om_17.27.30.png?1506612495","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A series of 36 drawings on small thick samples of floor carpet. I derived the title from the newly released biography of punk legend Vivien Westwood. I copied 36 recent fashion silhouettes from Vogue, each inspired by a word from the biography, in which fairly frank language is used. Each word in this collection of drawings is also part of the figure\u0026rsquo;s outfit. The 36 figures were given a magnetic back and were shown in and on an open iron industrial locker. As such, they form part of the third cycle of my HeadNurse exhibitions, which carry the name De vereiste finesse (The Required Particular\u003cu\u003e)\u003c/u\u003e.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Is een reeks van 36 tekeningen op kleine dikke vloerwolstalen. De titel ontleende ik aan de toen pas uitgekomen biografie van punklegende Vivien Westwood. Uit Vogue heb ik 36 recente modesilhouetten nagetekend, elke ge\u0026iuml;nspireerd door een woord uit de biografie waarin een tamelijk franke taal wordt gehanteerd. Elk woord wordt in deze verzameling werkjes ook deel van de outfit van de figuur. De 36 kregen een magnetische rug en werden in en op een openstaande ijzeren industri\u0026euml;le locker getoond. Ze vormen als dusdanig een onderdeel van de derde cyclus van mijn HeadNurse-tentoonstellingen, die de naam De vereiste finesse (The Required Particular) draagt.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In de eerste kamer bevindt zich een plaat die bestaat uit 36 vrouwenfiguurtjes op tapis-plein. De modellen haalde ik uit het exquis italiaans modeblad Collezioni. De absurde spanning tussen de commentaarteksten en de bijhorende vrouwenbeelden inspireerden mij uitermate. Ook gebruik- te ik markante woorden uit het boek Fashion and Perversity, een biografie over Vivienne Westwood.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet geheel oogt vanzelfsprekend en lachwekkend tegelijkertijd. Het is dan ook een eerbetoon aan Baobo, de obscene heidense godin zonder hoofd die keek door haar tepels en sprak door haar vulva. Haar exuberante dans brengt depressieven en melacholici terug aan het lachen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026mdash; AMVK, fragment uit tekst voor de expo HeadNurse, Zeno X, 1998\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Mode et perversion)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une s\u0026eacute;rie de 36\u0026nbsp;dessins sur de petits \u0026eacute;chantillons de tapis en laine \u0026eacute;paisse.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai emprunt\u0026eacute; le titre \u0026agrave; la biographie de la l\u0026eacute;gende punk, Vivienne Westwood, qui venait de para\u0026icirc;tre. J\u0026rsquo;ai copi\u0026eacute; 36\u0026nbsp;silhouettes de mannequin parues r\u0026eacute;cemment dans le magazine Vogue, inspir\u0026eacute;e une \u0026agrave; une d\u0026rsquo;un mot de la biographie \u0026eacute;crite dans un langage assez cru.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dans cette collection de petites \u0026oelig;uvres, chaque mot est \u0026eacute;galement une partie de la tenue du personnage. Les 36\u0026nbsp;\u0026oelig;uvres ont chacune un dos magn\u0026eacute;tique et sont pr\u0026eacute;sent\u0026eacute;es sur et dans des casiers m\u0026eacute;talliques industriels.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Elles constituaient de la sorte un \u0026eacute;l\u0026eacute;ment du troisi\u0026egrave;me cycle de mon exposition HeadNurse qui porte le nom de De Vereiste Finesse (La Finesse requise).\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":16850,"title":"La Science du Bien et du Mal","dimensions":"dimensions variable","date_begin":"1999-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":37,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2003-01-01","reference":"","stream_count_app":87,"permalink":"la-science-dus-bien-et-du-mal","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/255/large/Schermafbeelding_2017-10-04_om_10.04.39.png?1507104362","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;\u003c/em\u003e\u003cstrong\u003eEvil is a point of view or the\u0026nbsp; organised science as Mysterientheater.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eWhat astonished me as a small child was that at school, on a certain moment, one could choose between religion and morality, that the distinction between good and bad could be examined from different angles. That stupefaction was still the reason why a number of years ago I bought \u0026quot;La Science du Bien et du Mal\u0026quot; (the science of good and evil).\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe book was published in 1848,in Paris, and was written by a certain Victor G\u0026eacute;hant. It has \u0026quot;la Philosophie de la R\u0026eacute;v\u0026eacute;lation\u0026quot; as a subtitle. G\u0026eacute;hant starts his account with: Man has a triple activity: he loves, he understands and he wants... That activity has one single principle, substance: the soul.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn 1999, such as I did more in the past, I have intuitively controlled a hopeless love-sickness by the use of a cycle of works. Systematically, day after day, I linked a title chapter of \u0026quot;La Science du Bien et du Mal\u0026quot; with a soft-porno picture from my collection. Two years later I scanned the pictures into my computer, coloured them and made the texts less readable.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003ePaul Vandenbroeck, curator of the Museum of Fine Arts in Antwerp, came recently to my studio and pointed out the fact that spirit and contents of \u0026quot;La Science du Bien et du Mal\u0026quot; rely on the book \u0026quot;Le Miroir des Ames Simples et An\u0026eacute;anties et qui simplement demeurent en Vouloir et D\u0026eacute;sir d\u0026#39;Amour\u0026quot; (The mirror of Simple and Crushed Souls and who simply remain\u0026nbsp;in Volition and Longing for love ) of Marguerite Porete (Flemish-French, 1251-1310). \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe book was published in 1302. Porete was an independent beguine, a mystica who in 1312 with ao. Meister Eckhart was conciliary execrated. In 1310 she was burned at the stake in Paris with her book, under supervision of all the high officials of the Sorbonne. Le Miroir is a theatrical evocation of the fight between reason and love, between false theology and real mysticism. Still in the tradition of the courtoisie, her writing is penetrated with \u0026quot;La rage d\u0026#39;aimer\u0026quot; (The rage of love), this absolute fury which brings peace across all fear; she gives certainty to be loved, if necessary until inside the heart of hell.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eA book naming itself a mirror reflects reality, but it also reflects the one who reads it. It is an invitation to reflect oneself in order to come closer to reality. The medieval mirror hides just as much as it shows. Because of the language in which the book is written is not absolute, the reader also becomes interpretator and undergoes an inner transformation of sacramental order. Only in 1946, Marguerite Porete was rehabilitated, in Italian, thanks to Romana Guarneri.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK, 2002\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17029,"title":"Enlightment / Enchantment","dimensions":"5 x (25 x 42 cm)","date_begin":"2000-01-01","material":"paint on pvc on magnetic board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"enlightment-enchantment","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":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/778/large/20000000F_kl.JPG?1508503161","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17004,"title":"Met o.a. een hard lichaam","dimensions":"dimensions variable","date_begin":"1991-01-01","material":"paint and plastic foil on trovicel on wood (with iron hinged joints)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19910000O, 19910000R, 19910000S, 19910001D","stream_count_app":20,"permalink":"met-o-a-een-hard-lichaam","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/223/large/19910000O_kl.jpg?1515688123","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(With, Among Other Things, a Hard Body)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A series of four works of which only three are shown here, all in the format of a door. I bought the doors at DIY-shop Hubo. I made a mental striptease, starting from photographs my boyfriend at the time took of me in 1977. Each of these works is another interpretation of how you reveal yourself: half hidden behind a chink, doubled by a mirror, or open as a fan.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een serie van vier werken waarvan er hier maar drie getoond zijn, allemaal op het formaat van een deur. De deuren kocht ik bij doe-het-zelfzaak Hubo. Ik maakte een mentale striptease vertrekkend vanuit foto\u0026rsquo;s die mijn toenmalige vriend in 1977 van mij nam. Elk van die werken is een andere interpretatie van hoe je jezelf blootgeeft: half verstopt achter een kier, gedubbeld door een spiegel, of openstaand als een waaier.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Avec entre autres un corps ferme)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une s\u0026eacute;rie de quatre \u0026oelig;uvres dont seules trois sont pr\u0026eacute;sent\u0026eacute;es ici, toutes au format d\u0026rsquo;une porte. J\u0026rsquo;ai achet\u0026eacute; les portes au Hubo.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai fait un strip-tease mental en partant de photos que mon compagnon de l\u0026rsquo;\u0026eacute;poque a prises de moi en 1977.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chacune de ces \u0026oelig;uvres est une interpr\u0026eacute;tation diff\u0026eacute;rente de la fa\u0026ccedil;on dont on se met \u0026agrave; nu\u0026nbsp;: \u0026agrave; moiti\u0026eacute; cach\u0026eacute;(e) derri\u0026egrave;re une porte entreb\u0026acirc;ill\u0026eacute;e, d\u0026eacute;doubl\u0026eacute;(e) par un miroir ou d\u0026eacute;ploy\u0026eacute;(e) comme un \u0026eacute;ventail ouvert.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17039,"title":"Shanghai Démoiré","dimensions":"32 x 24 cm each","date_begin":"2007-01-01","material":"collage on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"shanghai-demoire","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/825/large/Knipsel.PNG?1508938244","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A series of collages of images of Japanese women, bought in Shanghai, on which I have glued classical Chinese theatre masks. The texts below are texts that I found in the descriptions of drawings that have a beneficial effect on man\u0026#39;s psyche.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een reeks collages van afbeeldingen van Japanse vrouwen, gekocht in Shanghai, waarop ik klassieke Chinese theatermaskers heb gekleefd. De teksten eronder zijn teksten die ik vond in de beschrijvingen van tekeningen die een heilzaam effect hebben op de psych\u0026eacute; van de mens.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une s\u0026eacute;rie de collages d\u0026rsquo;images de femmes japonaises, achet\u0026eacute;e \u0026agrave; Shanghai, sur laquelle j\u0026rsquo;ai coll\u0026eacute; des masques de th\u0026eacute;\u0026acirc;tre chinois classique.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Les textes en dessous sont des phrases que j\u0026rsquo;ai trouv\u0026eacute;es dans les descriptions de dessins qui exercent un effet salutaire sur la psych\u0026eacute; de l\u0026rsquo;\u0026ecirc;tre humain.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17035,"title":"A Dash of Dolls (Anatomie d'une Destrucivité Humaine)","dimensions":"40 x (17 x 19.5 cm)","date_begin":"2002-01-01","material":"ink and colour pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":29,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":40,"permalink":"a-dash-of-dolls","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/789/large/Knipsel.PNG?1508505751","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17041,"title":"Palet","dimensions":"","date_begin":"2008-01-01","material":"digital print on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"palet","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/837/large/Knipsel.PNG?1508941300","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17043,"title":"JEM","dimensions":"102,5 × 122 × 6,5 cm each","date_begin":"2009-01-01","material":"digital print on Plexiglas, double-sided, gesso and mirror in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"jem-16dd4d07-9ebc-4184-8f36-d741c4e32576","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/849/large/Knipsel.PNG?1508943199","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I scan different pages from a magazine and start working with them, I add texts until I have a perfect image on my computer, usually about a size of one to two meters. Then I start to disassemble it. I print the different parts in a factory, on different sheets of Plexiglas, and paint them some more, which changes the meaning of the colours and shapes. The rear surface mirrors, so that all aspects of the different layers can enter the game.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik scan verschillende pagina\u0026rsquo;s uit een magazine en ga ermee aan de slag, voeg teksten toe tot ik een perfect beeld op mijn computer heb staan, meestal van zo\u0026rsquo;n een tot twee meter grootte. Dan begin ik het uit elkaar te halen. De verschillende delen laat ik drukken in een fabriek, op verschillende platen plexiglas, en beschilder ze verder, waardoor de betekenis van de kleuren en vormen verandert. Het achterste vlak spiegelt zodat alle aspecten van de verschillende lagen mee kunnen spelen.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eFrom Sink to Bed\u003c/em\u003e (\u003cem\u003eDu lavabo au lit\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eHi Honey\u003c/em\u003e (\u003cem\u003eSalut ch\u0026eacute;ri(e)\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eIn My Maiden Form\u003c/em\u003e (\u003cem\u003eMa forme de jeune fille\u003c/em\u003e)\u003cbr /\u003e\r\n\u003cem\u003eStripped For Action\u003c/em\u003e (\u003cem\u003eD\u0026eacute;shabill\u0026eacute;(e) pour l\u0026rsquo;action\u003c/em\u003e)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Je num\u0026eacute;rise diff\u0026eacute;rentes pages d\u0026rsquo;un magazine avec lesquelles je me mets au travail\u0026nbsp;: j\u0026rsquo;ajoute du texte jusqu\u0026rsquo;\u0026agrave; ce que j\u0026rsquo;obtienne l\u0026rsquo;image parfaite sur mon ordinateur, en g\u0026eacute;n\u0026eacute;ral d\u0026rsquo;une taille d\u0026rsquo;un \u0026agrave; deux m\u0026egrave;tres.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ensuite, je commence \u0026agrave; la d\u0026eacute;composer. Dans une usine, je fais imprimer les diverses parties sur diff\u0026eacute;rentes plaques de plexiglas et je peins par-dessus, ce qui modifie la signification des couleurs et des formes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le reflet de la surface arri\u0026egrave;re permet \u0026agrave; tous les aspects des diff\u0026eacute;rentes couches d\u0026rsquo;interagir.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17045,"title":"REG","dimensions":"10 x (133.5 x 102.5 x 5 cm)","date_begin":"2010-01-01","material":"digital print (double sided) on plexi, gesso, mirror in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2011-01-01","reference":"","stream_count_app":7,"permalink":"reg","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/861/large/reg.PNG?1509005220","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17048,"title":"We Are Watches, So I Never Come Too Late","dimensions":"","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"we-are-watches-so-i-never-come-too-late","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/862/large/we_are_watches_1_kl.jpg?1509018742","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In the hall of a theatre I hung large plastic and rubber curtains (4m by 2m). They were combined with harsh-coloured plexi-works. The images on them abstract with suggestions of dirt, dust and uncontrolableness. The whole was framed with insipid, sentimental texts.\u0026nbsp;The opening night was graced by \u0026lsquo;Stalag 6\u0026rsquo;, a Brussels punk-band which vomited aggressive sounds and body-art.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOn the occasion of this show a folio with silk-screened strips was published, these define a sphere of disorientation and impotence within the exposition.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In een theaterhall heb ik grote plastic en rubberen gordijnen opgehangen (4m bij 2m). Ze waren gecombineerd met schelgekleurde plexi-werken. De afbeeldingen erop abstract, met suggesties van vuil, stof en ongecontroleerdheid. Het geheel werd omlijst met flauwe, sentimentele teksten.\u0026nbsp;De opening werd opgeluisterd door \u0026lsquo;Stalag 6\u0026rsquo;, een Brusselse punk-band die agressief geluid en body-art uitbraakte.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTer gelegenheid van deze tentoonstelling werd een map met gezeefdrukte stripverhalen uitgegeven. Deze bepalen een sfeer van desori\u0026euml;ntatie en onmacht binnen de tentoonstelling.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17049,"title":"Future : Logics = Art : Science","dimensions":"","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"future-logics-art-science","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/863/large/future_logics_1_kl.jpg?1509018931","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;In a small space of 6m by 5m hung 37 plexi-works by big steel nails; ceiling and walls, thus forming a figured out chaos. The works all had different shapes, they didn\u0026rsquo;t hung parallel to the wall, and not on a comfortable height to look at. It was almost impossible to look at the works without injuring oneself.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThe exposition was a conclusion made by me after reading 2 year-volumes of \u0026lsquo;New Scientist\u0026rsquo;, older scientific sources, and Wittgenstein.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;In een kleine ruimte van 6m bij 5m hingen 37 plexi-werken met grote stalen nagels in plafond en muren, aldus een berekende wanorde vormend. De werken hadden allemaal verschillende afmetingen, ze hingen niet parallel met de muur, en op niet comfortabele kijkhoogte. Het was haast onmogelijk de werken te bekijken zonder kwetsuren op te lopen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe tentoonstelling was een door mij gemaakte conclusie van 2 jaargangen \u0026lsquo;New Scientist\u0026rsquo;, oudere wettenschappelijke bronnen, en Wittgenstein.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17050,"title":"Only the Green Moments Make It All So Acceptable","dimensions":"","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"only-the-green-moments-make-it-all-so-acceptable","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/870/large/only_the_green_moments_1.jpg?1509020001","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;A. I hang 39 plexi-works on the walls, all in different colours and formats.\u003cbr /\u003e\r\nB. I also hang 7 European thoughts about \u0026lsquo;thinking\u0026rsquo; on the walls.\u003cbr /\u003e\r\nC. On the floor are 6 combinations consisting out of : 1, a piece of used American bath-carpet, pink-fluorescent. 2, a Thrifties plastic bag, filled with yellow radioactive water. 3, a European thought on brainwork, red-fluorescent. 4, covered with thin transparent plastic fastened to the wall with black electricity- wire. 5, all overwhelmed with an American publicity-text.\u003cbr /\u003e\r\nD. I combine the 6 combinations through thin green- fluorescent tape with one of the European thoughts on the walls. But the tape never reaches the thought.\u003cbr /\u003e\r\nE. From each combination come 4 green tape-lines.\u003cbr /\u003e\r\nF. For light there is the bright L.A.light, it makes the space very white and bright.\u003cbr /\u003e\r\nG. The music \u0026lsquo;Radio in Another Room\u0026rsquo; was made by Willy Tielemans.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;A. Ik hang 39 plexi-werken op de muren, allen met verschillende kleuren en formaten.\u003cbr /\u003e\r\nB. Ik hang ook 7 Europese gedachten over \u0026lsquo;denken\u0026rsquo; op de muren.\u003cbr /\u003e\r\nC. Op de grond liggen 6 kombinaties bestaande uit: 1, een stuk gebruikt Amerikaans\u003cbr /\u003e\r\nbadkarpet, roze-fluorescerend. 2, een plastic zak van Thrifties, gevuld met geel radioactief water. 3, een Europese gedachte over hersenwerk, roodfluorescerend. 4, bedekt met dun transparant plastic, met zwarte elektriciteitsdraad aan de muur bevestigd. 5, alles overstemd\u003cbr /\u003e\r\ndoor een Amerikaans publicitaire tekst.\u003cbr /\u003e\r\nD. Ik combineer de 6 combinaties door middel van dunne groen-fluorescerende\u003cbr /\u003e\r\ntape met \u0026eacute;\u0026eacute;n van de Europese gedachten op de muren. De tape geraakt echter\u003cbr /\u003e\r\nnooit tot bij de gedachte.\u003cbr /\u003e\r\nE. Vanuit elke combinatie komen 4 groene tape-lijnen.\u003cbr /\u003e\r\nF. Als verlichting is er het helle L.A. licht, het maakte de ruimte zeer wit en hel.\u003cbr /\u003e\r\nG. De muziek \u0026lsquo;Radio in Another Room \u0026lsquo; werd gemaakt door Willy Tielemans.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17051,"title":"Hoeren en Profeten","dimensions":"dimensions variable","date_begin":"1983-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"hoeren-en-profeten-dbc35236-bde3-4b64-b01b-f0d4602d85cb","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/892/large/hoeren_en_profeten_1_kl.jpg?1509025280","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Whores and Prophets I presented in a hind-quarter of the building. The space was filled with enormous piles of dirt from wood carton and paper. The installation was made out of 5 elements, which I placed in a certain circuit through which the spectator was led.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe 1st element was formed by arranged dirt around an imaginative laying figure, which was in its turn completed with plexi-tables on which images of naked women. The head was made of an assemblage of a great leaning backward woman figure.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe 2nd element were 3 graves ; piles of dirt on which portraits of false prophets, prototypes of their kind: Ernst, Orwell/ Huxley, Beckett.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe 3rd element as a 50m long paper loop on which 2 fights are repeated over and over: 2 male wrestlers and a copulating man + woman.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe 4th element was a Super8 film loop : a drawn animation of 4 dogs that undergo a rhythmic over-excitation. Thereby the words EXCITATION - INHIBITION.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe 5th element were drawings in rubber on PVC-plates. Images of contact-points and rejection-points.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe whole of the installation was finished with the smell of sulpher and my whispering voice shrouding in low frequencies : I ENJOY YOU!\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe opening was graced by a music-performance by Club Moral.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe whole goes parallel with the essay \u0026ldquo;La th\u0026eacute;orie \u0026eacute;cologique et la transmission des fant\u0026ocirc;mes \u0026ldquo;, San Sebastian, 28 April 1981. R. Guardans.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThis theory represents the contemporary structure of a society in which, through a puzzled out exploitation of the fear and a clear erotic code, has in it each transport of information, images and phantasms (\u0026ldquo;the transfer of chimeras\u0026rdquo;) in a control able manner each future through a puzzled out development and allowing inventions.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;In an ecologic view the transfer of chimeras is now what earlier used to be in their time gutters and asylums; places where shit and dirt flew into each other and where the future was whitewashed.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe trade, the economy has all means to part the clean from the dirty. All collective dirt, which remains in our hands after the gutters, the concentration camps and other desinfectants from above, th\u0026agrave;t is the \u0026lsquo;colonialism\u0026rsquo;, the \u0026lsquo;inquisition\u0026rsquo;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe anti-inventing of these practises, productors of pub1ic and private shit, is the kind of ecological theory that interests me.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e(R. Guardans)\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The importance of Transmarginal Inhibition in 5 steps:\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e1. Whores. Tables. Cross.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2. 2fights. Transport.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e3. 3Prophets. Grave\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e4. 4Dogs. FLexor. Relax.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e5. Bodies. Wander.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Hoeren en profeten presenteerde ik in een achterbouw. De ruimte was gevuld met enorme bergen afval van hout, karton en papier. De installatie bestond uit S elementen, die ik in een bepaald parcours plaatste waar de toeschouwer doorheen werd geleid.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet 1ste element werd gevormd door geschikt afval rondom een imaginair liggende figuur, deze werd op haar beurt aangevuld met plexi-tafels waarop afbeeldingen van naakte vrouwen. Het hoofd bestond uit een assemblage van een groot achteroverstaande vrouwenfiguur.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet 2de element bestond uit 3 graven; grote afval hopen met daarop portretten van valse profeten, prototypes voor hun soort: Ernst, Orwell/Huxley, Beckett.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet 3de element was een 50m lange papieren lus waarop steeds weer 2 gevechten herhaald worden: 2 mannelijke worstelaars, en een copulerende man + vrouw.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet 4de element was een Super 8 filmlus: een getekende animatie van 4 honden die een ritmische over-excitatie ondergaan. Daarbij de woorden EXCITATIE - INHIBITIE.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHet 5de element bestond uit tekeningen in rubber op PVC-platen. Afbeeldingen van contactpunten en afstotingspunten. Het geheel van de installatie werd afgewerkt\u003cbr /\u003e\r\nmet de geur van solfer en mijn fluisterende stem omfloerst met lage tonen: I ENJOY YOU!\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe opening werd opgeluisterd met een muziekperformance van Club Moral.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe Balans tussen excitatie en het inhibitieproces determineert het hele menselijk gedrag. Normaal en pathologisch.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Het belang van Transmarginale Inhibitie in 5 stappen:\u003cbr /\u003e\r\n1. Hoeren\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Tafels. Kruis.\u003cbr /\u003e\r\n2. 2Gevechten\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Transport.\u003cbr /\u003e\r\n3. 3Profeten\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Graf.\u003cbr /\u003e\r\n4. 4Honden\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Flexor. Relax.\u003cbr /\u003e\r\n5. Lichamen\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dwaal!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17052,"title":"De 4 Uitersten","dimensions":"dimensions variable","date_begin":"1984-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"de-4-uitersten-8f2f8f60-0cb2-48ab-952e-f436ed74418e","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/898/large/de_4_uitersten_2_kl.jpg?1509028460","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;\u003cstrong\u003eDe 4 uitersten\u003c/strong\u003e is een expositie die opgebouwd is volgens de struktuur van de 4 geestelijke oefeningen van Sint Ignatius van Loyola.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe dood. Het oordeel. De hel. De hemelse glorie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17053,"title":"De Mens in het Dier","dimensions":"dimensions variable","date_begin":"1985-01-01","material":"acrylic and felt tip on Plexiglas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":31,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":47,"permalink":"de-mens-in-het-dier-859b282d-cfc1-4722-acff-2924d30cdcbf","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/901/large/centaur-nonnen.jpg?1509095034","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(The Human in the Animal)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The installation De mens in het dier, which I made for the International Cultural Centre (ICC) on the Meir in Antwerp, was shown in a more extensive version at the Association for the Museum of Contemporary Art (VMHK) in Ghent. I stuffed that space with even newer work and added Een kwestie van hormonen (A Matter of Hormones) to the title.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn retrospect it was, all together, perhaps a bit overwhelming and insufferable, but at that moment I was not interested in any aesthetic presentation of my work. Everything I had made within this particular period, I wanted to show together, because my father had just died. I wanted to show what went on in my head; it had to be shown, as an overload of visual information.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCurator Jan Hoet hated the exhibition, made a lot of noise and was running about shouting \u0026lsquo;Shame!\u0026rsquo; I was completely shocked. Four years later, he began to like my work better. Multiples were made from these works for the Friends of the Museum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De installatie De mens in het dier, die ik voor in het ICC op de Antwerpse Meir maakte, werd in een uitgebreidere versie getoond in de VMHK in Gent. Ik heb die ruimte volgestouwd met nog nieuwer werk en voegde aan de titel Een kwestie van hormonen toe.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAchteraf gezien was het allemaal bijeen misschien wat overweldigend en onuitstaanbaar, maar op dat moment was ik niet ge\u0026iuml;nteresseerd in enige esthetische presentatie van mijn werk. Wat ik binnen deze bepaalde periode gemaakt had wilde ik allemaal samen tonen, omdat mijn vader net gestorven was. Ik wilde laten zien hoe het er binnen mijn hoofd aan toe ging, het moest getoond worden, als een overload aan visuele informatie.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCurator Jan Hoet haatte de tentoonstelling, maakte heel veel kabaal en liep daar \u0026ldquo;Schande!\u0026rdquo; te roepen, ik was compleet gechoqueerd. Vier jaren later begon hij mijn werk beter te vinden. Van deze werkjes werden multiples gemaakt voor de Vrienden van het museum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e(\u003ci\u003eL\u0026rsquo;humain dans l\u0026rsquo;animal\u003c/i\u003e)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;L\u0026rsquo;installation L\u0026rsquo;Humain dans l\u0026rsquo;Animal, que j\u0026rsquo;ai cr\u0026eacute;\u0026eacute;e \u0026agrave; l\u0026rsquo;ICC sur le Meir \u0026agrave; Anvers, a \u0026eacute;t\u0026eacute; expos\u0026eacute;e dans une version plus \u0026eacute;tendue au VMHK \u0026agrave; Gand.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai rempli cet espace d\u0026rsquo;\u0026oelig;uvres plus r\u0026eacute;centes et y ai ajout\u0026eacute; le sous-titre Een kwestie van hormone (Une question d\u0026rsquo;hormones).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Avec le recul, l\u0026rsquo;ensemble \u0026eacute;tait peut-\u0026ecirc;tre un peu envahissant et insupportable, mais \u0026agrave; ce moment, une pr\u0026eacute;sentation esth\u0026eacute;tique de mon \u0026oelig;uvre ne m\u0026rsquo;int\u0026eacute;ressait pas le moins du monde.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Je voulais montrer l\u0026rsquo;ensemble de ce que j\u0026rsquo;avais r\u0026eacute;alis\u0026eacute; au cours de cette p\u0026eacute;riode sp\u0026eacute;cifique, parce que mon p\u0026egrave;re venait de mourir. Je voulais montrer ce qui se passait dans ma t\u0026ecirc;te, il fallait que je le montre.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Jan Hoet a d\u0026eacute;test\u0026eacute; l\u0026rsquo;exposition, a fait du raffut et cri\u0026eacute; au scandale. J\u0026rsquo;en \u0026eacute;tais totalement boulevers\u0026eacute;e. Quatre ans plus tard, il a commenc\u0026eacute; \u0026agrave; davantage appr\u0026eacute;cier mon travail et des multiples de ces petites \u0026oelig;uvres ont \u0026eacute;t\u0026eacute; produits pour les Amis du Mus\u0026eacute;e.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17055,"title":"Verdeel en Heers","dimensions":"dimensions variable","date_begin":"1989-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"verdeel-en-heers-c96dd198-6da5-4649-a6c4-c5ef2058b486","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/906/large/de_5de_kracht_kl.jpg?1509103084","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I call this a mystic work because my main motive is the liquidation of adversary, the re-unification of what was torn apart in the beginning of mankind. 2 eyes, 2 ears, 2 halves of the brain, 2 hands, 2 feet. One always needs 2 to experience depth, to enter anything profoundly, including consciousness.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe pain which removes the Self from oneself is called consciousness.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBy showing all this together I try to liquidate these divisions which refrain us to exceed certain limits. More specific the limits which refrain us from feeling the unity with all that\u0026rsquo;s been created.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThis is a work in progress, in other words, this work evolves every time it is shown, it is refined, replenished and amplified, it becomes clearer and completer.\u0026nbsp; I see this work as a melting pot of all elements I\u0026rsquo;ve been working with in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik noem het een mystiek werk omdat mijn drijfveer vooral het opheffen van tegenstellingen is, het herenigen van dat wat van in het begin van de mensheid uiteen werd gehaald. 2 ogen,2 oren, 2 hersenhelften, 2 handen, 2 voeten. Altijd zijn er 2 nodig om de diepte te ervaren, in de diepte te treden, ook\u0026nbsp; van het bewustzijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe pijn die het Ik van zichzelf verwijdert heet het bewustzijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDoor dit alles\u0026nbsp; tesamen te tonen probeer ik die onderverdelingen op te heffen die ons ervan weerhouden bepaalde grenzen te overschrijden. Meer bepaald de grenzen die ons ervan weerhouden de eenheid met al wat geschapen is te voelen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDit is een work in progress, m.a.w. dit werk evolueert elke keer wanneer ik het toon, verfijnt zich, wordt aangevuld en duidelijker.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIk beschouw dit werk als de smeltkroes van alle elementen waar ik in de afgelopen 20 jaar mee gewerkt heb.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17058,"title":"Eclips","dimensions":"dimensions variable","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"eclips-91bb8298-fe54-4281-a149-c43772f48451","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":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/913/large/amvk_au000995_kl.jpg?1509109742","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;In \u0026ldquo;Eclips\u0026rdquo; Anne-Mie Van Kerckhoven uses a disturbed fragment from Michelangelo Antonioni\u0026rsquo;s film-classic \u0026ldquo;L\u0026rsquo;eclisse\u0026rdquo;, in which the actress Monica Vitti turns her back to the camera. The turn is slowed down and digital manipulated by the artist. By augmenting the contrast in the images Van Kerckhoven creates exorcising figures, characterized by her graphic and nervous style.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eVitti\u0026rsquo;s opponent in the film, Alain Delon, figures as an almost unrecognizable shadow in a layered editing in which close-ups of a fish are the most impressive image. Now and then, there are some moments of obstruction in which a void occurs. For Van Kerckhoven, images are forces, powers. They exorcise the forces behind the visible, the forces behind the conventions.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17059,"title":"Headnurse","dimensions":"dimensions variable","date_begin":"1998-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":27,"permalink":"headnurse","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/918/large/amvk_au001082.jpg?1509112010","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De tentoonstelling bestaat enerzijds uit een houten structuur in 2 parallelle lagen, evenwijdig aan de muren van de galerij, en anderzijds uit een interactieve computerprojectie.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eWij leven met 2 verschillende voorstellingen van de werking van ons brein: enerzijds zien we dat brein als onderverdeeld in rechter- en linkerhelft, met de specifieke taken die de wetenschappers er aan toeschrijven. Anderzijds is er een bewustzijn, een onbewustzijn en een onderbewustzijn, zeggen de psychiaters en de psychoanalysten.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIk vraag mij af in welke mate die 2 voorstellingen, onderverdelingen, compatibel zijn? Hebben ze wel iets met elkaar te maken?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOp de houten structuur heb ik 12 geperforeerde en volle ijzeren platen opgehangen die elkaar soms overlappen. Zoals de datastructuur in computers, subtekst enz. Vele onderdelen die uit kleine werken, teksten, computerprints en \u0026ldquo; scherven \u0026rdquo; kunststof bestaan, bedekken, al dan niet esthetisch gerangschikt, de platen. Al die elementen werden vanachter voorzien van een magnetische laag, zodat hun plaats niet absoluut is en kan gewijzigd worden door elke derde die iets beter kan verzinnen. Er zijn 3 platen die een werk op zich zijn, de andere zijn kwa informatie onderling verwisselbaar en aanvulbaar.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eZoals mijn werk zich aangepast heeft aan de galerij is er een begin- en een eindplaat. En een plaat die het midden bepaalt. Dat zijn de drie vaste. Ze figureren als drie kleine microcosmossen binnen al het andere dat te zien is.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet eerste dat\u0026nbsp;Structuren Betogen Niet\u0026nbsp;heet, is ontstaan uit 2 portretten uit mijn verzameling mensen die ik bewonder: een Pakistaanse vrijheids- strijdster en Lebed van Rusland. Het is meer bepaald het beeld dat ik van die mensen kreeg in de massamedia dat me intrigeert. Tesamen met mijn verbeelding, scherven verleden, heden en toekomst, heb ik uit mijn fascinatie voor die mensen een betekenismachine gemaakt.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn het midden hangt het werk\u0026nbsp;Vrije Radicalen, 3 magnetisch vastgehechte collages van vrouwenfiguren, in 4 stukken, waarvan één hun hoofd, twee hun kleed, niet magnetisch , vastgehouden door de rest, drie de bijpassende hand en vier een machine, nl. een satelliet, een windmolen en een radar.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet laatste volledige werk hangt terug bij de ingang en heet\u0026nbsp;Regenereren,\u0026nbsp;voortgaande op het idee\u0026nbsp;Eclips\u0026nbsp;uit een vorige installatie. Idee, abstractie, perversie en recuperatie.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet was mijn uitgangspunt niet om enige systematisering in de rest van de door mij gemaakte beelden aan te brengen in Zeno X. Dit blijkt echter een niet te stuiten, dwangmatige reflex te zijn wanneer het moment komt waar- op de dingen definitief worden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOmdat de tentoonstelling een vervolg is op de presentatie die ik december 1996 in Kunsthalle Lophem te Brugge toonde, en omdat de daar aanwezige computeranimatie als een stramien geconcipieerd werd voor dat wat ik in de volgende jaren ging maken, leek het me tamelijk normaal het systeem van onderverdelen in die film verder uit te proberen in deze nieuwe constellatie.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet was ook één van mijn uitgangspunten de animatie aanwezig te stellen in Zeno X, maar op de achtergrond, als een stem uit de achtergrond. Vandaar de opstelling achter een geperforeerd scherm, indirect.\u003cbr /\u003e\r\nDe film zelf was een verzameling variaties, 5 probers, op één thema: Sex versus Technologie. Het gebruik van sex en erotiek versus \u0026ldquo; de technieken \u0026ldquo; in de breedste zin van het woord.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe film kwam tot stand dank zij mijn grote databank vrouwenbeelden uit de blotevrouwenpers. Beelden die voldoen aan de behoefte van mannen in vrouwen in verschillende staten van ontkleding. Vele gebaren, blikken, attributen en camerahoeken worden hierbij op een stereotiepe manier gebruikt. (zie tekst\u0026nbsp;On Women Images).\u0026nbsp;Die sterotiepen zijn mijn triggers naar de onderhuidse bestaansvelden van die beelden op zich. Het is op dat niveau dat ik ze verbind met andere aspecten van de samenleving zoals ik die ervaar.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe interactieve projectie \u0026ldquo; De sexuele revolutie \u0026rdquo; gebeurt rechtstreeks vanuit een computer. Zij snijdt de tentoonstelling in twee, gebeurt op een fluorescerende plaat van 2 op 3 meter, en wordt in 3 opgedeeld. Men ziet 3 onafhankelijk van elkaar lopende animaties, elk met eigen klank. De films kunnen elk afzonderlijk stil worden gezet, en daarna weer geactiveerd. Wanneer de muis, die deze dingen bestuurt, gedurende meer dan 3 minuten gerust wordt gelaten begint de projectie weer van voren af aan. Het beeld werd eerst overlangs in het midden doorgesneden, daarna werd het bovenste deel nog eens in 2 verdeeld. Ik probeer hiermee een persoonlijk beeld van het menselijk brein uit: linksboven is het bewuste, rechtsboven het onbewuste en onderaan het onderbewuste. Het onderbewuste is even groot als de som van de andere twee.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIk definieerde het Bewuste als dat wat ik mijn materiele biotoop opleg, het IK, 2 à 3000 jaren oud, het Onbewuste als dat wat de sociale biotoop mij influistert, het instinct, de Kennis, en het Onderbewuste als dat wat de genetische biotoop mij aanreikt, de robot, de onbewuste agens, de wetenschap, intuitie.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet stramien dat uit mijn presentatie naar voor komt zijn 5 platen met elk een collage van 4 onderdelen, per twee gegroepeerd.\u003cbr /\u003e\r\n2 kleine plexiplaatjes met computerprints en 2 grotere vierkante polystyreenplaten.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOp de laatste is enerzijds de afbeelding van een zich ontkledende vrouw te zien en anderzijds een opsomming van de 5 delen en de positie van het bewuste onderdeel van de opsomming. Dit werd aangevuld door de afbeelding van een persoon in of onder een grote machine. De opsomming bestaat uit termen van elasticiteit, verzorger-patiëntrelaties, alchemistische processen, het specifieke domein waarnaar dit onderdeel van de opsomming refereert * en een persoonlijke interpretatie van de verhouding tussen het fenomeen van de ruimtereis en cosmetische hyigëne ter bevordering van de schoonheid.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eOp de twee kleine plaatjes ziet men enerzijds de tekening van een vrouw in mijn alchemistische rangorde, wat ik combineerde met een aangepaste kaft van een blotevrouwenblad.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn de eerste kamer bevindt zich ook een plaat die bestaat uit 36 vrouwenfi- guurtjes op tapis-plein. De modellen haalde ik uit het exquis italiaans modeblad Collezioni. De absurde spanning tussen de commentaarteksten en de bijhorende vrouwenbeelden inspireerden mij uitermate. Ook gebruikte ik markante woorden uit het boek Fashion and Perversity, een biografie over Vivienne Westwood.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet geheel oogt vanzelfsprekend en lachwekkend tegelijkertijd. Het is dan ook een eerbetoon aan Baobo, de obscene heidense godin zonder hoofd die keek door haar tepels en sprak door haar vulva. Haar exuberante dans brengt depressieven en melacholici terug aan het lachen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAan Morele Herbewapening liggen er 96 vrouwenafbeeldingen ten grondslag: specimen uit de volgende reeksen:\u0026nbsp;B: vrouw toont borst en kijkt in camera,\u0026nbsp;INT: vrouw half uitgestrekt op stoel in kamer\u0026nbsp;,\u0026nbsp;RUG: rugzicht\u0026nbsp;,\u0026nbsp;C: vrouw naakt met enkel ceintuur\u0026nbsp;,\u0026nbsp;S: vrouw naakt met slip, uittrekkend\u0026nbsp;,\u0026nbsp;R: vrouw naakt met enkel rok\u0026nbsp;,\u0026nbsp;HH: vrouw naakt met hand op borst en vulva\u0026nbsp;,\u0026nbsp;O: vrouw naakt met kleding opengespreid, BB: vrouw toont beide borsten, U: vrouw trekt kleding uit over hoofd.\u0026nbsp;Die koppelde ik aan *termen uit een boek over het vermogen tot interne zelforganisatie in het algemeen, over thermodynamica, over ordening in systemen in toestand van non-equilibri- um, over connectionistische netwerken en over representatie van concepten en associaties.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe tentoonstelling in Zeno X is de uitwerking van mijn eerste luik, nl. het vermogen tot interne ( onzichtbare ) zelforganisatie binnen een open systeem.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVan de eerste 24 vrouwen uit mijn 96 maakte ik een nieuwe interpretatie, in kleuren die hierbij de mentale connotatie van het bijhorende woord uitdrukken. Waardoor het woord uiteindelijk overbodig wordt. Het woord wordt terug temperament. De kleine plexiplaatjes maak ik telkens in een editie van 5 .\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn mijn volgende tentoonstellingen zal ik telkens 24 nieuwe vrouwen kleuren, gekoppeld aan een nieuw onderdeel van mijn opsomming.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVoorts is er nog een zesdelig zelfportret te zien en de verzorgende taken van de hoofdzuster repliceerde ik in dikke letters op een zachte ondergrond.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHelemaal achteraan in de tweede ruimte bestaat een kleine interactieve mogelijkheid alle 96 zwart-wit vrouwenbeelden met hun respectievelijk woord aan te klikken. Waarvan men ook een print kan maken.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHet geluidsdecor is samengesteld uit de klank van Morele Herbewapening, opnamen van radiofrequenties, van hedendaagse oost-europese radiozenders en muzakopnamen uit HongKong, en de registratie van een litouws komisch radioprogramma uit de jaren 20.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003ePiet Mondriaan: \u0026ldquo; Kunst zal verdwijnen, als het leven weer in evenwicht komt. \u0026ldquo; \u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK. 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Het gaat over hypocrisie en theater spelen in het dagelijkse leven.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Callas et son \u0026eacute;poux)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Je suis partie d\u0026rsquo;une image que j\u0026rsquo;avais dans mon armoire depuis les ann\u0026eacute;es\u0026nbsp;60. La combinaison de la diva et du vieil homme dans une sorte de pose mise en sc\u0026egrave;ne intrigue.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;y ai ajout\u0026eacute; une t\u0026ecirc;te de satyre qui rit. Cela traite d\u0026rsquo;hypocrisie et du fait de jouer la com\u0026eacute;die dans la vie quotidienne.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17219,"title":"Greet en Pierrot","dimensions":"55.8 x 53.8 cm","date_begin":"1997-01-01","material":"paint and felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17248,"title":"Man-Attitude-Light","dimensions":"45 x 30 x 3 cm","date_begin":"1998-01-01","material":"paint on pvc on aluminium","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection, 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Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19980100H","stream_count_app":14,"permalink":"2-meettoestellen-3d57d883-fdba-4fcf-af64-c60246b8f007","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/095/large/19980100H_kl.jpg?1510323187","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearmament:\u0026nbsp;2 Measuring Instruments)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;96 images of women underlie Moral Rearmament. I linked these to terms from books about the capacity for internal self-organisation within systems, about thermodynamics and knowledge representation, about methods of organisation within systems in a state of imbalance, about connectionist networks and about the possibilities to represent concepts and associations. In the margins of that big project, I have made many separate works that have ended up magnetically, and therefore rearrangeably, on the frameworks of my HeadNurse structures.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Aan Morele herbewapening liggen 96 vrouwenafbeeldingen ten grondslag. Die koppelde ik aan termen uit boeken over het vermogen tot interne zelforganisatie binnen systemen, over thermodynamica en kennisrepresentatie, over manieren van ordening binnen systemen in een toestand van onevenwicht, over connectionistische netwerken en over de mogelijkheden tot representatie van concepten en associaties. In de marge van dat grote project heb ik veel verschillende losse werken gemaakt die magnetisch, dus herschikbaar, terecht zijn gekomen op de raamwerken van mijn HeadNurse-structuren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVoor de eerste installatie van deze voortdurende reeks, in 1996, heb ik twee ingangen voorzien: \u0026eacute;\u0026eacute;n donker, \u0026eacute;\u0026eacute;n licht. Bezoekers kunnen zelf beslissen waar ze wensen toe te treden. De installatie bestaat uit de 96 ge\u0026euml;rotiseerde concepten, getoond op een 30-meter-lange muur gemaakt uit 12 verschillende platen, en deze computergeanimeerde film geprojecteerd op een groot scherm.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie is opgedragen aan Baubo, obscene godin uit het verleden, die door haar tepels kijkt en door haar vagina spreekt, op zulk een vuile manier danst dat alle melancholische en depressieve vrouwen terug van plezier vervuld worden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk dacht: Laten we een installatie maken die iedereen, man en vrouw, terug met plezier vervult. Dit door een hele hoop zwaar op de hand liggende woorden te herdefini\u0026euml;ren, mensen een aangename mentale massage te geven.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral:\u0026nbsp;Deux instruments de mesure)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;origine du R\u0026eacute;armement moral, il y a 96\u0026nbsp;images de femmes que j\u0026rsquo;ai coupl\u0026eacute;es \u0026agrave; des termes provenant de livres \u0026agrave; propos de la facult\u0026eacute; d\u0026rsquo;auto-organisation interne de syst\u0026egrave;mes, de thermodynamique et de repr\u0026eacute;sentation du savoir, de mani\u0026egrave;res d\u0026rsquo;ordonnancer des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, de r\u0026eacute;seaux connectiques et de possibilit\u0026eacute; de repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En marge de ce grand projet, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; bon nombre d\u0026rsquo;\u0026oelig;uvres autonomes, magn\u0026eacute;tiques donc ajustables, qui ont abouti sur les ch\u0026acirc;ssis de mes structures HeadNurse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour la premi\u0026egrave;re installation de cette s\u0026eacute;rie permanente, en 1996, j\u0026rsquo;ai pr\u0026eacute;vu deux entr\u0026eacute;es\u0026nbsp;: une entr\u0026eacute;e sombre, une entr\u0026eacute;e claire. Les visiteurs peuvent d\u0026eacute;cider eux-m\u0026ecirc;mes par o\u0026ugrave; ils veulent entrer. L\u0026rsquo;installation consiste en 96\u0026nbsp;concepts \u0026eacute;rotis\u0026eacute;s, pr\u0026eacute;sent\u0026eacute;s sur un mur d\u0026rsquo;une longueur de 30\u0026nbsp;m\u0026egrave;tres et compos\u0026eacute; de 12\u0026nbsp;plaques diff\u0026eacute;rentes. Le film est projet\u0026eacute; sur un grand \u0026eacute;cran.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026rsquo;installation est d\u0026eacute;di\u0026eacute;e \u0026agrave; Baubo \u0026ndash; la vulve mythique qui incarne la facult\u0026eacute; de l\u0026rsquo;humour paillard \u0026agrave; briser le deuil \u0026ndash; qui regarde avec ses mamelons et parle avec son vagin, et qui danse d\u0026rsquo;une mani\u0026egrave;re salace pour r\u0026eacute;conforter et d\u0026eacute;rider toutes les femmes m\u0026eacute;lancoliques et d\u0026eacute;prim\u0026eacute;es.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eJe me suis dit\u0026nbsp;: et si je r\u0026eacute;alisais une installation qui rend tout le monde heureux, hommes et femmes, en red\u0026eacute;finissant un certain nombre de mots \u0026eacute;vidents et en d\u0026eacute;livrant un massage susceptible de mettre joie le mental de tout un chacun.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17253,"title":"Masker met Hart","dimensions":"36 x 27 cm","date_begin":"1998-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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justify;\"\u003e\u003cem\u003e\u0026quot;I made this work after a residency in Shanghai, where I tried to learn Chinese using children\u0026#39;s books. 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Is een typisch werk in de antiSade-traditie, geen antikunst, maar een kunst die parallel ontstaat met de alledaagse progressieve kunst en er toch nooit deel van uit kan maken.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; cette \u0026oelig;uvre apr\u0026egrave;s une r\u0026eacute;sidence \u0026agrave; Shanghai o\u0026ugrave; j\u0026rsquo;ai tent\u0026eacute; d\u0026rsquo;apprendre le chinois \u0026agrave; l\u0026rsquo;aide de livres pour enfants. Apr\u0026egrave;s quelques semaines m\u0026rsquo;est soudain venue comme un \u0026eacute;clair une certaine notion de la fa\u0026ccedil;on dont le corps des citoyens chinois se rapporte \u0026agrave; l\u0026rsquo;environnement et \u0026agrave; la langue avec laquelle il s\u0026rsquo;approprie la r\u0026eacute;alit\u0026eacute;.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Cette \u0026oelig;uvre typique de la tradition anti-Sade n\u0026rsquo;est pas de l\u0026rsquo;anti-art, mais un art qui na\u0026icirc;t en parall\u0026egrave;le de l\u0026rsquo;art progressiste de tous les jours bien qu\u0026rsquo;il ne puisse jamais en faire partie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17656,"title":"Eindejaar","dimensions":"35 x 27 cm","date_begin":"2006-01-01","material":"ink on 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Perspective of the Tao)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026quot;An imaginary street scene, in which, among other things, sequences and numbers behave like figures. A work made according to the soul of Patricia De Martelaere\u0026rsquo;s book \u003cem\u003eTao\u0026iuml;sme \u0026ndash; De weg om niet te volgen\u003c/em\u003e (\u003cem\u003eTaoism: The Road Not to Take\u003c/em\u003e) from 2006. I used this image as a starting point for my interactive work\u003cem\u003e Pluriform\u003c/em\u003e. Above and below, I added an image of a \u003cem\u003eperpetuum mobile\u003c/em\u003e from the sixteenth century.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een imaginair straattafereel, waarin onder andere opeenvolgingen en cijfers zich als figuren gedragen. Werk gemaakt volgens de ziel van het boek Tao\u0026iuml;sme \u0026ndash; De weg om niet te volgen van Patricia De Martelaere uit 2006. Ik gebruikte dit beeld als begin voor mijn interactief werk Pluriform. Boven en onder voegde ik een afbeelding van een perpetuum mobile uit de 16e eeuw toe.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(De la perspective du Tao)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une sc\u0026egrave;ne de rue imaginaire, dans laquelle des successions et des chiffres, entre autres, se comportent comme des personnages. Une \u0026oelig;uvre r\u0026eacute;alis\u0026eacute;e selon l\u0026rsquo;esprit du livre Tao\u0026iuml;sme \u0026ndash; De weg om niet te volgen (2006) (Tao\u0026iuml;sme \u0026ndash; La voie \u0026agrave; ne pas suivre) de Patricia De Martelaere.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai utilis\u0026eacute; cette image comme amorce de mon \u0026oelig;uvre interactive De Pluriform (La Pluriforme). Au-dessus et en dessous, j\u0026rsquo;ai ajout\u0026eacute; l\u0026rsquo;image d\u0026rsquo;un mouvement perp\u0026eacute;tuel du XVIe\u0026nbsp;si\u0026egrave;cle.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17735,"title":"Sol Y Sombra","dimensions":"29.7 x 40.5 cm","date_begin":"2010-01-01","material":"collage and drawing","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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I had seen it at a Photokino fair in Germany. The wooden frames around the works had the screen dimensions of the TV screens.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nEach screen shows an interaction between two elements: the street and a woman, my father and my aunt Rita, my two grandmothers, Kapitein Zeppos and Ariane Despinal, David Lynch and Isabella Rossellini, a criminal couple killed in a taxi... Images from my personal life and from the mass media are treated in the same way.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Het werk werd gemaakt op het moment waarop een nieuw tv-formaat zou uitkomen speciaal voor high-definitionweergave. Had ik gezien op een Photokino-beurs in Duitsland. 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van Maurice Maeterlinck uit 1907.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Inspir\u0026eacute; des chapitres du livre \u0026eacute;ponyme de Maurice Maeterlinck de 1907, peinture sur tissu.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17952,"title":"Lichtbakken in Berlijn","dimensions":"dimensions variable","date_begin":"2006-01-01","material":"lambda print mounted in plexiglass lightbox","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection Didier Casimiro","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"lichtbakken-in-berlijn","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/192/large/20060000I_kl.jpg?1515681446","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17953,"title":"Louvre","dimensions":"3 x (23.6 x 23.6 cm)","date_begin":"1992-01-01","material":"paint on plastic plate","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19920000M","stream_count_app":8,"permalink":"louvre","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/196/large/19920000M_kl.jpg?1515681704","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17954,"title":"Maldoror","dimensions":"dimensions variable","date_begin":"1986-01-01","material":"paint on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19860000Q","stream_count_app":6,"permalink":"maldoror-ab64d1bf-461b-4d3b-a7f0-18c6013e5a2e","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/200/large/19860000Q_kl.JPG?1515682290","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17955,"title":"Mastering the Horizon","dimensions":"dimensions variable","date_begin":"2010-01-01","material":"mixed technique on paper / digital print on PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":0,"collection":"University of Chicago, Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2011-01-01","reference":"","stream_count_app":23,"permalink":"mastering-the-horizon","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/206/large/20110000A_kl.jpg?1515683115","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17956,"title":"Me and Architecture","dimensions":"2 x (35.5 x 27.6 cm)","date_begin":"2010-01-01","material":"collage/drawing, mixed materials","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"me-and-architecture","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/221/large/20100906_kl.jpg?1515687902","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17965,"title":"De mens in het dier - kleine plexi","dimensions":"9 x (20 x 15 cm)","date_begin":"1985-01-01","material":"acrylpaint and acryl felt tip on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"de-mens-in-het-dier-kleine-plexi","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/236/large/19850001A_kl.jpg?1515748346","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17966,"title":"Videoklok","dimensions":"dimensions variable","date_begin":"1987-01-01","material":"video installation with four rotating monitors","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":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2018-01-01","reference":"19871121A","stream_count_app":19,"permalink":"videoklok-mentale-rotatie-l-age-d-or-2-3","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/245/medium_500/2018_AMVK_photo_M_HKAcc.jpg?1518100277","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/245/large/2018_AMVK_photo_M_HKAcc.jpg?1518100277","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Videoclock)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From the series L\u0026rsquo;Age d\u0026rsquo;or: these are drawings of Danny Devos that I needed to make Videoklok (Videoclock). I drew Danny at home in twelve different phases. He was tied up in such a way that, together with a stick, his legs formed a triangle. One drawing for each hour of the clock.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn each of those stages, I incorporated an image of the consecutive numbers, from one to twelve, interpreted by cabbala and tarot. It has to do with the myth of Prometheus, in which the liver of a young man who is tied to a rock grows every day, after being eaten by an eagle. The work is about life fire, the act of drawing, digitalism, old gnostic interpretations of the geometries in the universe.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van de reeks L\u0026rsquo;Age d\u0026rsquo;or, het zijn de tekeningen van Danny Devos die ik nodig had om Videoklok te maken. Ik heb Danny thuis getekend in 12 verschillende fases, hij was zo vastgebonden dat zijn benen een driehoek vormden met een stok. E\u0026eacute;n tekening voor elk uur van de klok.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk heb in elk van die stadia een afbeelding verwerkt van de opeenvolgende cijfers van 1 tot 12, ge\u0026iuml;nterpreteerd door de kabbala en de tarot. Het heeft met de mythe van Prometheus te maken, waarin de lever van een jongeman, vastgebonden op een rots, elke dag weer aangroeit nadat die opgegeten wordt door een adelaar. Het werk gaat over levensvuur, de daad van het tekenen, digitalisme, oude gnostische interpretaties van de geometrie\u0026euml;n in het universum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Horloge vid\u0026eacute;o)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De la s\u0026eacute;rie L\u0026rsquo;\u0026Acirc;ge d\u0026rsquo;Or. Il s\u0026rsquo;agit des dessins de Danny Devos dont j\u0026rsquo;ai eu besoin pour cr\u0026eacute;er Videoklok (Horloge vid\u0026eacute;o). J\u0026rsquo;ai dessin\u0026eacute; Danny \u0026agrave; la maison dans douze phases diff\u0026eacute;rentes, il \u0026eacute;tait ligot\u0026eacute; de sorte que ses jambes formaient un triangle avec un b\u0026acirc;ton. Un dessin pour chaque heure de l\u0026rsquo;horloge.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026Agrave; chaque stade, j\u0026rsquo;ai int\u0026eacute;gr\u0026eacute; une illustration de chiffres successifs de 1 \u0026agrave; 12, selon une interpr\u0026eacute;tation de la cabale et du tarot. C\u0026rsquo;est toutefois plus li\u0026eacute; au mythe de Prom\u0026eacute;th\u0026eacute;e, dans lequel un aigle d\u0026eacute;vore chaque jour le foie du jeune homme attach\u0026eacute; \u0026agrave; un rocher et chaque nuit, le foie se r\u0026eacute;g\u0026eacute;n\u0026egrave;re.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;\u0026oelig;uvre traite de la dur\u0026eacute;e de vie, de l\u0026rsquo;acte de dessiner, de la num\u0026eacute;risation, des anciennes interpr\u0026eacute;tations gnostiques des g\u0026eacute;om\u0026eacute;tries de l\u0026rsquo;univers.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17967,"title":"5 versus 11 (L'Age d'Or)","dimensions":"350 x 500 cm","date_begin":"1990-01-01","material":"silkscreen paint on 18 pvc panels","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19900000P","stream_count_app":14,"permalink":"8-versus-11-l-age-d-or","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":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/246/large/19900000P_kl.jpg?1515751817","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;From the series L\u0026rsquo;Age d\u0026rsquo;or: these are drawings of Danny Devos that I needed to make Videoklok (Videoclock). I drew Danny at home in twelve different phases. He was tied up in such a way that, together with a stick, his legs formed a triangle. One drawing for each hour of the clock.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn each of those stages, I incorporated an image of the consecutive numbers, from one to twelve, interpreted by cabbala and tarot. It has to do with the myth of Prometheus, in which the liver of a young man who is tied to a rock grows every day, after being eaten by an eagle. The work is about life fire, the act of drawing, digitalism, old gnostic interpretations of the geometries in the universe.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Van de reeks L\u0026rsquo;Age d\u0026rsquo;or, het zijn de tekeningen van Danny Devos die ik nodig had om Videoklok te maken. Ik heb Danny thuis getekend in 12 verschillende fases, hij was zo vastgebonden dat zijn benen een driehoek vormden met een stok. E\u0026eacute;n tekening voor elk uur van de klok.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk heb in elk van die stadia een afbeelding verwerkt van de opeenvolgende cijfers van 1 tot 12, ge\u0026iuml;nterpreteerd door de kabbala en de tarot. Het heeft met de mythe van Prometheus te maken, waarin de lever van een jongeman, vastgebonden op een rots, elke dag weer aangroeit nadat die opgegeten wordt door een adelaar. Het werk gaat over levensvuur, de daad van het tekenen, digitalisme, oude gnostische interpretaties van de geometrie\u0026euml;n in het universum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(8 vs 11)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;De la s\u0026eacute;rie L\u0026rsquo;\u0026Acirc;ge d\u0026rsquo;Or. Il s\u0026rsquo;agit des dessins de Danny Devos dont j\u0026rsquo;ai eu besoin pour cr\u0026eacute;er Videoklok (Horloge vid\u0026eacute;o). J\u0026rsquo;ai dessin\u0026eacute; Danny \u0026agrave; la maison dans douze phases diff\u0026eacute;rentes, il \u0026eacute;tait ligot\u0026eacute; de sorte que ses jambes formaient un triangle avec un b\u0026acirc;ton. Un dessin pour chaque heure de l\u0026rsquo;horloge.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026Agrave; chaque stade, j\u0026rsquo;ai int\u0026eacute;gr\u0026eacute; une illustration de chiffres successifs de 1 \u0026agrave; 12, selon une interpr\u0026eacute;tation de la cabale et du tarot. C\u0026rsquo;est toutefois plus li\u0026eacute; au mythe de Prom\u0026eacute;th\u0026eacute;e, dans lequel un aigle d\u0026eacute;vore chaque jour le foie du jeune homme attach\u0026eacute; \u0026agrave; un rocher et chaque nuit, le foie se r\u0026eacute;g\u0026eacute;n\u0026egrave;re.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; L\u0026rsquo;\u0026oelig;uvre traite de la dur\u0026eacute;e de vie, de l\u0026rsquo;acte de dessiner, de la num\u0026eacute;risation, des anciennes interpr\u0026eacute;tations gnostiques des g\u0026eacute;om\u0026eacute;tries de l\u0026rsquo;univers.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17968,"title":"Plexi bakjes","dimensions":"5 x (21 x 25 cm)","date_begin":"1993-01-01","material":"paint on plexi ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":34,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"1994-01-01","reference":"","stream_count_app":48,"permalink":"plexi-bakjes","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/249/large/19930503A_kl.jpg?1515761835","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17969,"title":"Verkopen","dimensions":"dimensions variable","date_begin":"1995-01-01","material":"acrylic and marker on upholstery fabric samples","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"verkopen","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/255/large/19950001A_kl.jpg?1515762579","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(To Sell)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;My own account of the chapters from a marketing study book, with an overview of the psychological steps for convincing a client, enlivened with a coloured drawing of the accompanying scene. The use of colour shows the idea of the sales process: sometimes blue, sometimes orange, sometimes gold. Made on a sample book of expensive upholstery fabric.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Eigen weergave van de hoofdstukken uit een marketing-studieboek met een overzicht van de psychologische stappen in het overtuigen van een klant, opgefleurd met een gekleurde tekening van het bijbehorend tafereel. Het gebruik van de kleur toont het idee van het verkoopproces. Soms blauw, soms oranje, soms goud. Gemaakt op een staalboek van dure zetelstof.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Ventes)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ma propre restitution des chapitres d\u0026rsquo;un livre d\u0026rsquo;\u0026eacute;tude de marketing avec un aper\u0026ccedil;u des \u0026eacute;tapes psychologiques dans la persuasion d\u0026rsquo;un client, orn\u0026eacute; d\u0026rsquo;un dessin color\u0026eacute; de la sc\u0026egrave;ne aff\u0026eacute;rente. L\u0026rsquo;usage de la couleur d\u0026eacute;montre l\u0026rsquo;id\u0026eacute;e du processus de vente. Parfois bleu, parfois orange, parfois dor\u0026eacute;. R\u0026eacute;alis\u0026eacute; sur un livre d\u0026rsquo;\u0026eacute;chantillons de tissus d\u0026rsquo;am\u0026eacute;nagement de luxe.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17970,"title":"Filosofische ruimtes","dimensions":"dimensions variable","date_begin":"1998-01-01","material":"digital images","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":22,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2003-01-01","reference":"","stream_count_app":39,"permalink":"philosophical-rooms","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/264/large/19980001G_kl.jpg?1515767563","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Philosophical Rooms)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Every \u003c/em\u003eFilosofische ruimte\u003cem\u003e is a computer interpretation of an existing interior, in which I redefine the visual aspect according to the philosopher\u0026#39;s mental impact. The name becomes a presence in space in the form of a word. I made my first Filosofische ruimte, Descartes, in 1998. Then Spinoza and Leibniz. Each space is given a different appearance, based on the philosopher\u0026#39;s theory. It is me, the avatar, who welcomes the specific theory in an interior that is adapted to the circumstances. I take the liberty of drawing a very precise connection between each philosopher and my own personal evolution as a thinker.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Elke Filosofische ruimte\u003cb\u003e \u003c/b\u003eis een computerinterpretatie van een bestaand interieur waarin ik het visuele aspect herdefinieer volgens de mentale impact van de filosoof. De naam wordt in de vorm van een woord een aanwezigheid in de ruimte. Mijn eerste Filosofische ruimte, Descartes, maakte ik in 1998. Daarna Spinoza en Leibniz. Elke ruimte krijgt een ander voorkomen, gebaseerd op de theorie van de filosoof. Ik ben het, de avatar, die de specifieke theorie verwelkomt in een interieur dat aangepast is aan de omstandigheden. Ik ben zo vrij om een heel precieze verbinding tussen elke filosoof en mijn eigen persoonlijke evolutie als denker te tekenen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Espaces philosophiques)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Chaque Filosofische ruimte (Espace philosophique) est une interpr\u0026eacute;tation informatique d\u0026rsquo;un int\u0026eacute;rieur existant dans lequel je red\u0026eacute;finis l\u0026rsquo;aspect visuel selon l\u0026rsquo;impact mental du philosophe.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le nom devient une pr\u0026eacute;sence dans l\u0026rsquo;espace sous la forme d\u0026rsquo;un mot. Mon premier Espace philosophique, Descartes, remonte \u0026agrave; 1998. Ensuite ont suivi Spinoza et Leibnitz.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chaque espace se voit dot\u0026eacute; d\u0026rsquo;une apparence diff\u0026eacute;rente, inspir\u0026eacute;e de la th\u0026eacute;orie du philosophe. Je suis l\u0026rsquo;avatar qui accueille la th\u0026eacute;orie sp\u0026eacute;cifique dans un int\u0026eacute;rieur adapt\u0026eacute; aux circonstances.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Je prends la libert\u0026eacute; de dessiner les liens tr\u0026egrave;s pr\u0026eacute;cis entre chaque philosophe et mon \u0026eacute;volution personnelle en tant que penseuse.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17971,"title":"Prober met filosofen","dimensions":"5 x (29.7 x 42 cm)","date_begin":"2000-01-01","material":"diasec, computerprint, plexi and pvc with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"prober-met-filosofen","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/286/large/20000000A_kl.jpg?1515768819","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17972,"title":"Pluriform","dimensions":"5 x (36 x 26.8 cm)","date_begin":"2010-01-01","material":"computerprint on plexiglas and PVC, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"pluriform","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/291/large/20100000K_kl.jpg?1516003946","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A maze of magnified elements from drawn interiors. I see enlargements of my unconsciously created drawings almost as a form of pornography, as something obscene: you get to see something that is normally not meant for the naked eye.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een doolhof van vergrote elementen uit getekende interieurs. Ik zie vergrotingen van mijn onbewust ontstane tekeningen haast als een vorm van pornografie, als iets obsceen: je krijgt iets te zien wat normaal niet voor het blote oog is bedoeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Pluriforme)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un labyrinthe d\u0026rsquo;\u0026eacute;l\u0026eacute;ments agrandis provenant d\u0026rsquo;int\u0026eacute;rieurs dessin\u0026eacute;s. Je vois les agrandissements de dessins \u0026eacute;mergeant de mon inconscient presque comme une forme de pornographie, comme quelque chose d\u0026rsquo;obsc\u0026egrave;ne\u0026nbsp;: je donne \u0026agrave; voir quelque chose qui n\u0026rsquo;est normalement pas destin\u0026eacute; \u0026agrave; l\u0026rsquo;\u0026oelig;il nu.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17973,"title":"Respecting the Eternal Balance","dimensions":"6 x (151 x 101 x 15 cm)","date_begin":"2012-01-01","material":"lightbox, acrylic and collage on plexi in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2014-01-01","reference":"","stream_count_app":21,"permalink":"respecting-the-eternal-balance","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/296/large/20120000A_kl.jpg?1516005159","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This series is about urbanism, rhythm and inner nature. All these works started from the \u0026lsquo;soul\u0026rsquo; that I experience in a certain city or place where I have been or wanted to be in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze reeks gaat over urbanisme, ritme en innerlijkheid. Al deze werken begonnen vanuit de \u0026rdquo;ziel\u0026rdquo; die ik ervaar in een bepaalde stad of plaats waar ik de afgelopen 20 jaar geweest ben of wilde zijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Cette s\u0026eacute;rie traite d\u0026rsquo;urbanisme, de rythme et d\u0026rsquo;int\u0026eacute;riorit\u0026eacute;. Toutes ces \u0026oelig;uvres sont parties de \u0026laquo;\u0026nbsp;l\u0026rsquo;\u0026acirc;me\u0026nbsp;\u0026raquo; que j\u0026rsquo;ai ressentie dans certaines villes ou certains lieux o\u0026ugrave; je suis all\u0026eacute;e, ou aurais voulu aller, au cours des vingt derni\u0026egrave;res ann\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17974,"title":"Playgirl","dimensions":"14 x (100 x 150 cm)","date_begin":"2014-01-01","material":"casein paint, acryl paint and spay paint on digital prints, mounted on wooden board with glue and metal screws","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":30,"permalink":"playgirls","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/304/large/20140000C_kl.jpg?1516007320","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A series of collages whose effect is inspired by Karol Szymanowski\u0026rsquo;s impressionistic music piece La Fontaine d\u0026rsquo;Ar\u0026eacute;thuse from 1915. As basic images, I took pictures from the magazine Playgirl from 1958, which are scanned and layered, mirrored and multiplied. The works contain texts from the book Rhythm Analysis by Henri Lefebvre from 1992, together with pieces from my first text on computer from 1980.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe titles of the collages are the titles of chapters from Le Miroir des \u0026acirc;mes simples et an\u0026eacute;anties et qui seulement demeurent en vouloir et d\u0026eacute;sir d\u0026rsquo;amour (The Mirror of the Simple Souls Who Are Annihilated and Remain Only in Will and Desire of Love by Marguerite Porete, the thirteenth-century mystic. When I read the introduction to that book, I thought: \u0026lsquo;That\u0026rsquo;s me; I\u0026rsquo;m the reincarnation of that woman. Her writings are also a sex and technology project, like my HeadNurse project.\u0026rsquo;\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Een reeks collages waarvan de uitwerking ge\u0026iuml;nspireerd is door het impressionistische muziekstuk La Fontaine d\u0026rsquo;Ar\u0026eacute;thuse van Karol Szymanowski uit 1915. Als basisbeelden nam ik bladspiegels van het tijdschrift Playgirl uit 1958, die gescand worden en laag na laag worden opgehoogd, gespiegeld en vermenigvuldigd. In de werken komen teksten voor uit het boek Rhythmanalysis van Henri Lefebvre, uit 1992, samen met stukken uit mijn eerste tekst op computer uit 1980.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe titels van de collages zijn de titels van hoofdstukken uit Le Miroir des \u0026acirc;mes simples et an\u0026eacute;anties et qui seulement demeurent en vouloir et d\u0026eacute;sir d\u0026rsquo;amour (De spiegel van de eenvoudige zielen) van Marguerite Porete, de 13e-eeuwe mystica. Toen ik de inleiding van dat boek las, dacht ik: Dat ben ik, ik ben de re\u0026iuml;ncarnatie van die vrouw, haar geschriften zijn ook een seks- en Technologieproject, zoals mijn HeadNurse-project.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Une s\u0026eacute;rie de collages, dont l\u0026rsquo;\u0026eacute;laboration s\u0026rsquo;inspire de l\u0026rsquo;\u0026oelig;uvre musicale impressionniste La Fontaine d\u0026rsquo;Ar\u0026eacute;thuse (1915) de Karol Szymanowski. Comme images de base, j\u0026rsquo;ai pris des mises en page du magazine Playgirl de 1958 qui ont \u0026eacute;t\u0026eacute; num\u0026eacute;ris\u0026eacute;es et rehauss\u0026eacute;es couche par couche, pour ensuite servir de mod\u0026egrave;le et \u0026ecirc;tre multipli\u0026eacute;es.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Les textes dans les \u0026oelig;uvres proviennent du livre \u0026Eacute;l\u0026eacute;ments de rythmanalyse\u0026nbsp;: Introduction \u0026agrave; la connaissance des rythmes de Henri Lefebvre (1992) ainsi que de passages de mon premier texte sur ordinateur (1980).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Les titres des collages sont ceux des chapitres de l\u0026rsquo;ouvrage m\u0026eacute;di\u0026eacute;val Le Miroir des \u0026acirc;mes simples et an\u0026eacute;anties et qui seulement demeurent en vouloir et d\u0026eacute;sir d\u0026rsquo;amour de la mystique du XIIIe\u0026nbsp;si\u0026egrave;cle, Marguerite Porete. Lorsque j\u0026rsquo;ai lu l\u0026rsquo;introduction du livre, je me suis dit\u0026nbsp;: \u0026Ccedil;a, c\u0026rsquo;est moi. 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artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19770600B","stream_count_app":9,"permalink":"na-1-wording-is-er-allen-maar-de-eeuwig-terugkerende-golf","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/458/medium_500/19770600B_kl.jpg?1482241994","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/458/large/19770600B_kl.jpg?1482241994","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15294,"title":"Verwarde","dimensions":"36 x 26.8 cm","date_begin":"1977-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19771000F","stream_count_app":8,"permalink":"verwarde","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/481/medium_500/19771000F_kl.jpg?1482402988","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/481/large/19771000F_kl.jpg?1482402988","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15316,"title":"Beweging aan de Horizont","dimensions":"36 x 27 cm","date_begin":"1978-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19780500A","stream_count_app":8,"permalink":"beweging-aan-de-horizont","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/571/medium_500/19780500A_kl.jpg?1483613776","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/571/large/19780500A_kl.jpg?1483613776","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17991,"title":"Say It In Studs","dimensions":"2 x (48 x 36 cm)","date_begin":"2012-01-01","material":"collage, drawing, mixed materials on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"say-it-in-studs","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/423/large/20120929A_kl.jpg?1516807451","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15350,"title":"December 78/1","dimensions":"36 x 27 cm","date_begin":"1978-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19781200C","stream_count_app":8,"permalink":"december-78-1","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/681/medium_500/19781200C_kl.jpg?1484214163","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/681/large/19781200C_kl.jpg?1484214163","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14805,"title":"Carrel 3 (Connection Machine)","dimensions":"240 x 201 x 62 cm","date_begin":"2014-01-01","material":"wooden cabinet on wheels: meranti plywood and plexi glass","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":"Courtesy of the artist and Zeno X Gallery","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000P","stream_count_app":17,"permalink":"carrel-3-connexion-machine","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/541/large/AMVK2014_17a.jpg?1478877346","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;A carrel is a kind of separated cupboard that also serves as a database \u0026ndash; it\u0026rsquo;s a moving study table. In the Middle Ages, carrels were found in monastic libraries, where monks used them to isolate themselves from the environment\u0026#39;s noise.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe first carrel I made for a crematorium, the next three were for an exhibition at Zeno X Gallery. They were shown together with large PVC collages, based on quotations from the mystic Marguerite Porete and on Karol Szymanowski\u0026rsquo;s composing manner. Each of the carrels stands for a step in the development of data processing machines: they are computers, in other words.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTheir titles are: Enigma, Colossus, Connection Machine and Coromandel Disturbed 1 and 2. The first was an encoding machine, the second a decoding machine, and the third was launched as a revolutionary idea to put the processing system (the processor) precisely where the information is stored: in the memory. This way, the memory becomes the processor in the computer. I drew a parallel to the stages of a human life.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026quot;Een carrel is een soort opzichzelfstaande kast die ook dienst doet als een databank, het is een rijdende studeertafel. In de middeleeuwen vond men carrels in de kloosterbibliotheken, monniken gebruikten ze om zich van het lawaai van de omgeving te kunnen afzonderen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe eerste carrel maakte ik voor een crematorium, de volgende 3 waren voor een tentoonstelling bij Zeno X Gallery. Ze werden getoond samen met grote pvc-collages, gebaseerd op citaten van de mystica Marguerite Porete en de componeerwijze van Karol Szymanowski. Elk van de carrels staat voor een stap in de ontwikkeling van dataverwerkingsmachines. Computers, met andere woorden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHun namen zijn \u003cem\u003eEnigma\u003c/em\u003e, \u003cem\u003eColossus,\u003c/em\u003e \u003cem\u003eConnection Machine\u003c/em\u003e, \u003cem\u003eCoromandel, Disturbed \u003c/em\u003e1 en 2. De eerste was een coderingsmachine, de tweede decoderingsmachine, en met de derde werd als revolutionair idee gelanceerd om het verwerkingssysteem (de processor) te stoppen waar de informatie wordt opgeslagen, in het geheugen. Zo wordt het geheugen in de computer de processor. Ik trok een parallel naar de stadia in een mensenleven.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Un Carrel (ou box ou cubicule) est une sorte d\u0026rsquo;armoire autonome, de box qui fait aussi office de banque de donn\u0026eacute;es\u0026nbsp;; il s\u0026rsquo;agit de tables d\u0026rsquo;\u0026eacute;tude sur roulette. Au Moyen-\u0026acirc;ge, on les trouvait dans les biblioth\u0026egrave;ques de monast\u0026egrave;res afin de pouvoir s\u0026rsquo;isoler du bruit environnant.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le premier carrel que j\u0026rsquo;ai cr\u0026eacute;\u0026eacute; \u0026eacute;tait destin\u0026eacute; \u0026agrave; un cr\u0026eacute;matorium, les trois suivants ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;s pour une exposition \u0026agrave; la galerie Zeno X. Ils ont \u0026eacute;t\u0026eacute; expos\u0026eacute;s avec de grands collages sur PVC, inspir\u0026eacute;s de citations de la mystique Marguerite Porete et du mode de composition de Karol Szymanowski.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Chacun des carrels symbolise une \u0026eacute;tape de l\u0026rsquo;\u0026eacute;volution des machines de traitement de donn\u0026eacute;es, en d\u0026rsquo;autres mots, des ordinateurs.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Leurs noms sont Enigma, Colossus, The Connection Machine, Coromandel Disturbed\u0026nbsp;1 et 2. La premi\u0026egrave;re \u0026eacute;tait un cryptographe, la deuxi\u0026egrave;me un d\u0026eacute;codeur et avec la troisi\u0026egrave;me, on a lanc\u0026eacute; l\u0026rsquo;id\u0026eacute;e r\u0026eacute;volutionnaire d\u0026rsquo;introduire le syst\u0026egrave;me de traitement de l\u0026rsquo;information (le processeur) l\u0026agrave; o\u0026ugrave; celle-ci est sauvegard\u0026eacute;e, \u0026agrave; savoir dans la m\u0026eacute;moire. Ainsi, la m\u0026eacute;moire devient le processeur de l\u0026rsquo;ordinateur. J\u0026rsquo;ai \u0026eacute;tabli un parall\u0026egrave;le avec les phases d\u0026rsquo;une vie humaine.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17871,"title":"Defluff","dimensions":"40.2 x 18.8 cm","date_begin":"2014-01-01","material":"digital print on dibond","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000Q","stream_count_app":10,"permalink":"defluff-ce7c59d0-3f24-440d-902f-599dd7f37eaa","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/775/large/20140000Q_kl.jpg?1513246775","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17976,"title":"Kinski","dimensions":"116.5 x 125 x 4.5 cm","date_begin":"2018-01-01","material":"Acrylpaint, marker, spray paint, pencil, computerprints on plastic adhesive foil on PVC and plexiglas fragments","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20180000B","stream_count_app":9,"permalink":"kinski","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/541/large/20180000B_kl.jpg?1517583628","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026#39;You can fake virtues, not vice\u0026#39;, says the German actor Klaus Kinski. And I know that anarchy is the philosophy of those who can bear no laws.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026rdquo;Deugden kan je faken, verdorvenheid niet\u0026rdquo;, zegt de Duitse acteur Klaus Kinski. En ik weet dat anarchie de filosofie is van hen die geen wetten kunnen verdragen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026laquo;\u0026nbsp;On peut simuler des qualit\u0026eacute;s, mais pas des d\u0026eacute;fauts\u0026nbsp;\u0026raquo;, affirme l\u0026rsquo;acteur allemand Klaus Kinski. Et je sais que l\u0026rsquo;anarchie est la philosophie de ceux qui ne peuvent supporter de lois.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17977,"title":"Plastics [Plastic \u0026 Cellulose]","dimensions":"100.5 x 82.5 x 4.5 cm","date_begin":"2006-01-01","material":"acrylpaint, marker, spray paint and plastic adhesive foil on PVC with plexi front mounted on wooden box with plexiglas hinges","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"2018-01-01","reference":"20180000C","stream_count_app":16,"permalink":"plastics","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/723/medium_500/20180000C_kl.jpg?1566393168","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/723/large/20180000C_kl.jpg?1566393168","poster_credits":"(c)AMVK, 2018","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15378,"title":"Beginvormen dienen vernietigd te worden","dimensions":"36 x 27 cm","date_begin":"1979-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790114A","stream_count_app":13,"permalink":"beginvormen-dienen-vernietigd-te-worden","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/710/medium_500/19790114A_kl.jpg?1484233916","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/710/large/19790114A_kl.jpg?1484233916","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17975,"title":"Orakel (Ornament)","dimensions":"157.3 x 224 x 5.5 cm","date_begin":"2018-01-01","material":"computerprints on 2 plexiglas sheets mounted on wooden box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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justify;\"\u003eContemporary woman as mediator between the digital and the analogue, a contemporary oracle.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe hedendaagse vrouw als bemiddelaar tussen het digitale en het analoge, een hedendaags orakel.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eOracle [Ornement]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUne femme contemporaine, m\u0026eacute;diatrice entre le num\u0026eacute;rique et l\u0026rsquo;analogique, un oracle d\u0026rsquo;aujourd\u0026rsquo;hui.\u003c/p\u003e\r\n"}]},{"id":15251,"title":"René","dimensions":"36 x 27 cm","date_begin":"1977-01-01","material":"Ink and colour pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/464/large/19920807A_kl.jpg?1517407091","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18006,"title":"Sancta Annae Sacrum","dimensions":"21 x 29.6 cm","date_begin":"1993-01-01","material":"felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19930309B","stream_count_app":7,"permalink":"sancta-annae-sacrum","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/465/medium_500/19930309B_kl.jpg?1517407528","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/465/large/19930309B_kl.jpg?1517407528","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18007,"title":"Tweevoudig","dimensions":"28.2 x 21 cm","date_begin":"2001-01-01","material":"felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20010315A","stream_count_app":7,"permalink":"tweevoudig-46608001-bf73-47a6-8634-39f95a2781a6","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/466/medium_500/20010315A_kl.jpg?1517408089","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/466/large/20010315A_kl.jpg?1517408089","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18008,"title":"Ben ik een systeem?","dimensions":"38 x 25.6 cm","date_begin":"1981-01-01","material":"text engraved into white Darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"ben-ik-een-systeem","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/788/medium_500/AMVK_2018_photo_M_HKAcc_12_photo_M_HKAcc_.JPG?1518101619","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/788/large/AMVK_2018_photo_M_HKAcc_12_photo_M_HKAcc_.JPG?1518101619","poster_credits":"(c)image: M  HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Am I a System?)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This was part of the installation The Buty to Die in the group exhibition \u0026lsquo;\u0026Eacute;chelle 1\u0026rsquo; at Les Ateliers in Brussels in 1981.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Was deel van de installatie The Buty to Die in de groepstentoonstelling \u0026lsquo;\u0026Eacute;chelle 1\u0026rsquo;, bij Les Ateliers in Brussel in 1981.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Suis-je un syst\u0026egrave;me\u0026nbsp;?)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ceci faisait partie de l\u0026rsquo;installation The Buty to Die dans l\u0026rsquo;exposition de groupe \u0026Eacute;chelle\u0026nbsp;1 aux Ateliers \u0026agrave; Bruxelles en 1981.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18015,"title":"The Mag Interior","dimensions":"123 x 78 x 14 cm","date_begin":"2006-01-01","material":"lambda print mounted in plexiglass lightbox","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"the-mag-interior","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/468/medium_500/20060000K_kl.jpg?1517419949","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/468/large/20060000K_kl.jpg?1517419949","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Lightbox made during my DAAD residence in Berlin.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Lichtbak gemaakt tijdens mijn DAAD-residentie in Berlijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e(L\u0026rsquo;int\u0026eacute;rieur du Mag)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Caisson lumineux r\u0026eacute;alis\u0026eacute; pendant ma r\u0026eacute;sidence \u0026agrave; DAAD \u0026agrave; Berlin.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18016,"title":"Belgisch Spleen: Alle grond is weg onder de voeten (Bezwering van een verhuisdepressie)","dimensions":"dimensions variable","date_begin":"1993-01-01","material":"one channel video installation with child's desk, chair and framed photograph, dimensions variable","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":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"belgisch-spleen-alle-grond-is-weg-onder-de-voeten-bezwering-van-een-verhuisdepressie","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/469/medium_500/2018_AMVK_photo_M_HKAcc__2.jpg?1518100333","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/469/large/2018_AMVK_photo_M_HKAcc__2.jpg?1518100333","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Belgian Spleen: No Ground Left under My Feet (Warding off a House-Moving Depression))\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992, I collected all the ideas and reflections that I wrote down from 1974 up till then in a Brepols bookkeeping agenda for income and expenditure. I classified all the notes per day in the month, to find out whether the occurrence of certain spontaneous thoughts is subject to the specific moments in a year. I hoped to discover an evolution or system in the seemingly chaotic storm of thoughts and inspiration. The overwriting and listing inspired me to work on a series of works about the struggle between concept, language and image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1992 verzamelde ik in een Brepols-boekhoudersagenda voor inkomsten en uitgaven al de idee\u0026euml;n en reflecties die ik opschreef vanaf 1974 tot dan. Ik classificeerde al de notities per dag in de maand, om uit te vinden of het ontstaan van bepaalde spontane gedachten onderhevig is aan de specifieke momenten in een jaar. Ik hoopte zo een evolutie of systeem te ontdekken in de schijnbaar chaotische storm van gedachten en ingevingen. Het overschrijven en oplijsten inspireerde me tot een reeks werken over de strijd tussen concept, taal en beeld.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Spleen belge:\u0026nbsp;La terre s\u0026rsquo;est d\u0026eacute;rob\u0026eacute;e sous mes pieds [Exorcisme d\u0026rsquo;une d\u0026eacute;pression de d\u0026eacute;m\u0026eacute;nagement])\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1992, j\u0026rsquo;ai r\u0026eacute;uni dans un agenda perp\u0026eacute;tuel Recettes et D\u0026eacute;penses de Brepols toutes les id\u0026eacute;es et r\u0026eacute;flexions que j\u0026rsquo;avais consign\u0026eacute;es de 1974 \u0026agrave; cette date. J\u0026rsquo;ai classifi\u0026eacute; toutes les notes par jour du mois pour d\u0026eacute;couvrir si l\u0026rsquo;\u0026eacute;mergence de certaines pens\u0026eacute;es spontan\u0026eacute;es est sujette \u0026agrave; des moments sp\u0026eacute;cifiques dans l\u0026rsquo;ann\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;esp\u0026eacute;rais ainsi d\u0026eacute;couvrir une \u0026eacute;volution ou un syst\u0026egrave;me dans la temp\u0026ecirc;te apparemment chaotique des id\u0026eacute;es et des inspirations. La transcription et le listage m\u0026rsquo;ont inspir\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres sur la pol\u0026eacute;mique entre concept, langue et image.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18017,"title":"Die Loreley","dimensions":"dimensions variable","date_begin":"1987-01-01","material":"paint and plexi on aluminium","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":29,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":"1990-01-01","reference":"","stream_count_app":43,"permalink":"die-loreley-7ca75196-d8e4-47d1-8765-a0193d7c6550","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/786/medium_500/AMVK_2018_photo_M_HKAcc_1_photo_M_HKAcc__1.jpg?1518100691","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/786/large/AMVK_2018_photo_M_HKAcc_1_photo_M_HKAcc__1.jpg?1518100691","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The series Die Loreley consists of 54 portraits of acquaintances, friends and family members who spontaneously visited me during the period 1987\u0026ndash;1990. I let chance decide, and only asked them to come back once again to give me two hours of their time. That was the average time I needed to paint the portrait, in two 45-minute sessions. The natural light in my studio was also limited.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nI prepared the paint for one Plexiglas support per person. I started with the white of the eyes, around which I formed the rest of the face. During the sitting, people had to look me straight in the eye. In chronological order, in the order in which they visited me, I gave each model a line from the poem Die Loreley. There are nine people per stanza, and the poem has six stanzas.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe intention was to link a high-quality photo print of each portrait to the specific words. In this project, the portraits are only the first step to the final work. The second phase was stopped at a certain moment because it took too long to collect enough portraits. The poem Heinrich Heine wrote in the nineteenth century is about melancholy and inevitability \u0026ndash; destiny in its most fatal form.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Die Loreley bestaat uit 54 portretten van kennissen, vrienden en familie die mij gedurende de periode tussen 1987 en 1990 spontaan thuis bezochten. Ik heb het toeval laten beslissen, heb alleen gevraagd om nog eens terug te komen, me twee uren van hun tijd te geven. Dat was de tijd die ik gemiddeld nodig had om het portret in twee sessies van 45 minuten te schilderen. Het natuurlijk licht in mijn studio was ook beperkt.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe kleur van de plexiglas-ondergrond bereidde ik voor per persoon. Ik begon met het wit van de ogen waarrond ik de rest van het gelaat vormde. Gedurende het schilderen moesten de mensen me recht in de ogen kijken. In chronologische volgorde gaf ik aan elk van de geportretteerden een deel van het gedicht Die Loreley, in de volgorde waarop ze mij bezochten. Per strofe zijn er negen mensen, het gedicht telt zes strofen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe bedoeling was om een hoogwaardige foto-afdruk van elk portret aan de specifieke woorden te verbinden. De portretten zijn in dit project alleen maar de eerste stap geweest tot het uiteindelijke werk. Die tweede fase is wegens de te lange tijd om genoeg portretten te verzamelen op een gegeven moment gestopt. Het gedicht dat Heinrich Heine in de 19e eeuw schreef gaat over melancholie en onontkoombaarheid, het noodlot in zijn meest fatale vorm.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u003c/em\u003eLa Lorelei\u003cem\u003e se compose de 54\u0026nbsp;portraits d\u0026rsquo;amis, de connaissances et de membres de la famille qui sont spontan\u0026eacute;ment venus me rendre visite \u0026agrave; la maison entre 1987 et 1990.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai laiss\u0026eacute; le hasard d\u0026eacute;cider, je leur ai juste demand\u0026eacute; de bien vouloir revenir et de me consacrer deux heures, soit le temps qu\u0026rsquo;il me fallait en moyenne pour peindre leur portrait en deux sessions de 45\u0026nbsp;minutes. La lumi\u0026egrave;re naturelle dans mon atelier \u0026eacute;tait assez limit\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Je pr\u0026eacute;parais la couleur de fond du plexiglas en fonction de la venue de la personne. Je commen\u0026ccedil;ais par le blanc des yeux autour desquels je dessinais le reste du visage. Pendant que je peignais leur portrait, je demandais aux gens de me regarder dans les yeux.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Par ordre chronologique, je remettais \u0026agrave; chacun des portraitur\u0026eacute;s une partie du po\u0026egrave;me La Lorelei. Il y avait neuf personnes par strophe et le po\u0026egrave;me en comprend six.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Mon intention \u0026eacute;tait de relier une impression photographique de haute qualit\u0026eacute; de chaque portrait aux mots sp\u0026eacute;cifiques. Dans ce projet, les portraits ne sont que la premi\u0026egrave;re \u0026eacute;tape de l\u0026rsquo;\u0026oelig;uvre aboutie.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Mais en raison du temps excessif qu\u0026rsquo;il me fallait pour rassembler assez de portraits, la seconde \u0026eacute;tape a pris fin \u0026agrave; un moment donn\u0026eacute;, avant son ach\u0026egrave;vement.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le po\u0026egrave;me de Heinrich Heine, \u0026eacute;crit au XIXe\u0026nbsp;si\u0026egrave;cle, traite de la m\u0026eacute;lancolie et de l\u0026rsquo;inexorabilit\u0026eacute; du destin sous sa forme la plus fatale.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18019,"title":"Le Mal, la Morale et le Sentimental: Liggen, Staan, Zitten","dimensions":"dimensions variable","date_begin":"1982-01-01","material":"acrylic, felt tip and collage on plexi with iron tripod and electric wire","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"le-mal-la-morale-et-le-sentimental-liggen-staan-zitten","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/473/large/19820000C_kl.JPG?1517472919","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I distilled the movement of the human motives behind every action that is not linked to propagation or maintaining the species. These motives always include a starting point, an elaboration and a conclusion, as well as the fact that in the elaboration of things, the sum of the starting point, the starting point plus the conclusion, and the elaboration itself, are always included. I made this series for an event in Paris, to which I had been invited by squatters who unfortunately were prematurely expelled from their exhibition space. I then showed the work in the group exhibition Actuele beelding (\u0026lsquo;Current Imaging\u0026rsquo;) at the International Culture Centre (ICC) in Antwerp.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik distilleerde de beweging van de menselijke drijfveren achter elke actie die niet te maken heeft met het voortplanten en tot stand houden van de soort. Deze drijfveren houden telkens een uitgangspunt, een uitwerking en een conclusie in, alsook het feit dat in de uitwerking der dingen steeds de som van het uitgangspunt, het uitgangspunt plus de conclusie en de uitwerking zelf begrepen zijn. Ik maakte deze reeks voor een evenement in Parijs, waar ik uitgenodigd was door krakers die helaas vroegtijdig uit hun tentoonstellingsruimte werden gezet. Ik heb het werk dan getoond in de groepstentoonstelling Actuele beelding in het Antwerpse ICC.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai distill\u0026eacute; le mouvement des ressorts humains derri\u0026egrave;re chaque action qui ne concerne pas la procr\u0026eacute;ation et le maintien de l\u0026rsquo;esp\u0026egrave;ce.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ces motifs comportent toujours un point de d\u0026eacute;part, un d\u0026eacute;veloppement et une conclusion, ainsi que le fait que dans l\u0026rsquo;\u0026eacute;laboration des choses est toujours compris la somme du point de d\u0026eacute;part, du point de d\u0026eacute;part plus la conclusion et le d\u0026eacute;veloppement lui-m\u0026ecirc;me.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette s\u0026eacute;rie \u0026agrave; Paris, o\u0026ugrave; j\u0026rsquo;\u0026eacute;tais invit\u0026eacute;e par des squatteurs qui ont, h\u0026eacute;las, \u0026eacute;t\u0026eacute; expuls\u0026eacute;s pr\u0026eacute;matur\u0026eacute;ment de leur espace d\u0026rsquo;exposition.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai alors pr\u0026eacute;sent\u0026eacute; l\u0026rsquo;\u0026oelig;uvre dans l\u0026rsquo;exposition de groupe Actuele Beelding (Vision actuelle) \u0026agrave; l\u0026rsquo;ICC.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18020,"title":"Morele herbewapening: In mijn salon","dimensions":"28 x 23 cm","date_begin":"1998-01-01","material":"paint and plexi on magnetic board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"morele-herbewapening-in-mijn-salon","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/476/large/19980000A_kl.jpg?1517473553","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearmament:\u0026nbsp;In my Salon)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;96 images of women underlie Moral Rearmament. I linked these to terms from books about the capacity for internal self-organisation within systems, about thermodynamics and knowledge representation, about methods of organisation within systems in a state of imbalance, about connectionist networks and about the possibilities to represent concepts and associations. In the margins of that big project, I have made many separate works that have ended up magnetically, and therefore rearrangeably, on the frameworks of my HeadNurse structures.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Aan Morele herbewapening liggen 96 vrouwenafbeeldingen ten grondslag. Die koppelde ik aan termen uit boeken over het vermogen tot interne zelforganisatie binnen systemen, over thermodynamica en kennisrepresentatie, over manieren van ordening binnen systemen in een toestand van onevenwicht, over connectionistische netwerken en over de mogelijkheden tot representatie van concepten en associaties. In de marge van dat grote project heb ik veel verschillende losse werken gemaakt die magnetisch, dus herschikbaar, terecht zijn gekomen op de raamwerken van mijn HeadNurse-structuren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVoor de eerste installatie van deze voortdurende reeks, in 1996, heb ik twee ingangen voorzien: \u0026eacute;\u0026eacute;n donker, \u0026eacute;\u0026eacute;n licht. Bezoekers kunnen zelf beslissen waar ze wensen toe te treden. De installatie bestaat uit de 96 ge\u0026euml;rotiseerde concepten, getoond op een 30-meter-lange muur gemaakt uit 12 verschillende platen, en deze computergeanimeerde film geprojecteerd op een groot scherm.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDe installatie is opgedragen aan Baubo, obscene godin uit het verleden, die door haar tepels kijkt en door haar vagina spreekt, op zulk een vuile manier danst dat alle melancholische en depressieve vrouwen terug van plezier vervuld worden.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk dacht: Laten we een installatie maken die iedereen, man en vrouw, terug met plezier vervult. Dit door een hele hoop zwaar op de hand liggende woorden te herdefini\u0026euml;ren, mensen een aangename mentale massage te geven.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral:\u0026nbsp;Dans mon salon)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;origine du R\u0026eacute;armement moral, il y a 96\u0026nbsp;images de femmes que j\u0026rsquo;ai coupl\u0026eacute;es \u0026agrave; des termes provenant de livres \u0026agrave; propos de la facult\u0026eacute; d\u0026rsquo;auto-organisation interne de syst\u0026egrave;mes, de thermodynamique et de repr\u0026eacute;sentation du savoir, de mani\u0026egrave;res d\u0026rsquo;ordonnancer des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, de r\u0026eacute;seaux connectiques et de possibilit\u0026eacute; de repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; En marge de ce grand projet, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; bon nombre d\u0026rsquo;\u0026oelig;uvres autonomes, magn\u0026eacute;tiques donc ajustables, qui ont abouti sur les ch\u0026acirc;ssis de mes structures HeadNurse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour la premi\u0026egrave;re installation de cette s\u0026eacute;rie permanente, en 1996, j\u0026rsquo;ai pr\u0026eacute;vu deux entr\u0026eacute;es\u0026nbsp;: une entr\u0026eacute;e sombre, une entr\u0026eacute;e claire. Les visiteurs peuvent d\u0026eacute;cider eux-m\u0026ecirc;mes par o\u0026ugrave; ils veulent entrer. L\u0026rsquo;installation consiste en 96\u0026nbsp;concepts \u0026eacute;rotis\u0026eacute;s, pr\u0026eacute;sent\u0026eacute;s sur un mur d\u0026rsquo;une longueur de 30\u0026nbsp;m\u0026egrave;tres et compos\u0026eacute; de 12\u0026nbsp;plaques diff\u0026eacute;rentes. Le film est projet\u0026eacute; sur un grand \u0026eacute;cran.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eL\u0026rsquo;installation est d\u0026eacute;di\u0026eacute;e \u0026agrave; Baubo \u0026ndash; la vulve mythique qui incarne la facult\u0026eacute; de l\u0026rsquo;humour paillard \u0026agrave; briser le deuil \u0026ndash; qui regarde avec ses mamelons et parle avec son vagin, et qui danse d\u0026rsquo;une mani\u0026egrave;re salace pour r\u0026eacute;conforter et d\u0026eacute;rider toutes les femmes m\u0026eacute;lancoliques et d\u0026eacute;prim\u0026eacute;es.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eJe me suis dit\u0026nbsp;: et si je r\u0026eacute;alisais une installation qui rend tout le monde heureux, hommes et femmes, en red\u0026eacute;finissant un certain nombre de mots \u0026eacute;vidents et en d\u0026eacute;livrant un massage susceptible de mettre joie le mental de tout un chacun.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18021,"title":"Plexi bakjes: Hope and Desire","dimensions":"21 x 25 x 3.5 cm","date_begin":"1993-01-01","material":"acrylic and silkscreen paint on plexiglas in holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"plexi-bakjes-hope-and-desire","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/581/large/19930503A_kl.jpg?1517923087","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Plexi Holders: Hope and Desire)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparent Plexiglas holders filled with painted semi-transparent plates without a fixed order. Each tray is a work in which the visual image is random, of which the internal structure remains loose, in which all elements form one work, but never in a definite stage. Made for my installation in the group exhibition Vierkant (Square) in 1993, inspired by Ren\u0026eacute; Descartes\u0026rsquo;s scribbles and shown at the S.M.A.K. in Ghent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparante plexiglazen houders gevuld met beschilderde semitransparante plaatjes zonder vaste volgorde. Elk bakje is een werk waarin het visuele beeld willekeurig is, waarvan de interne structuur los blijft, waarin alle elementen \u0026eacute;\u0026eacute;n werk vormen, maar nooit in een definitief stadium. Gemaakt voor mijn installatie in de groepstentoonstelling Vierkant in 1993, ge\u0026iuml;nspireerd door de schrijfsels van Ren\u0026eacute; Descartes en getoond in het S.M.A.K. in Gent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e(Caissons en plexiglas:\u0026nbsp;Espoir et D\u0026eacute;sir)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Des caissons en plexi transparent remplis de petits panneaux peints, semi-transparents, sans ordre pr\u0026eacute;cis. Chaque caisson est une \u0026oelig;uvre dans laquelle l\u0026rsquo;image est arbitraire et dont la structure interne reste libre, dans laquelle tous les \u0026eacute;l\u0026eacute;ments constituent une seule \u0026oelig;uvre, mais jamais dans un stade d\u0026eacute;finitif. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre pour mon installation dans l\u0026rsquo;exposition de groupe Vierkant (Carr\u0026eacute;) en 1993, qui s\u0026rsquo;inspire des gribouillis de Ren\u0026eacute; Descartes et a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e au S.M.A.K. \u0026agrave; Gand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18022,"title":"Plexi bakjes: Man, vrouw en kroon","dimensions":"21 x 25 x 3.5 cm","date_begin":"1993-01-01","material":"acrylic and silkscreen paint on plexiglas in holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"plexi-bakjes-man-vrouw-en-kroon","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/580/large/19930701C_kl.jpg?1517922640","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Plexi Holders: Man, Woman and Crown)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparent Plexiglas holders filled with painted semi-transparent plates without a fixed order. Each tray is a work in which the visual image is random, of which the internal structure remains loose, in which all elements form one work, but never in a definite stage. Made for my installation in the group exhibition Vierkant (Square) in 1993, inspired by Ren\u0026eacute; Descartes\u0026rsquo;s scribbles and shown at the S.M.A.K. in Ghent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparante plexiglazen houders gevuld met beschilderde semitransparante plaatjes zonder vaste volgorde. Elk bakje is een werk waarin het visuele beeld willekeurig is, waarvan de interne structuur los blijft, waarin alle elementen \u0026eacute;\u0026eacute;n werk vormen, maar nooit in een definitief stadium. Gemaakt voor mijn installatie in de groepstentoonstelling Vierkant in 1993, ge\u0026iuml;nspireerd door de schrijfsels van Ren\u0026eacute; Descartes en getoond in het S.M.A.K. in Gent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Caissons en plexiglas:\u0026nbsp;Homme, Femme et Couronne)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Des caissons en plexi transparent remplis de petits panneaux peints, semi-transparents, sans ordre pr\u0026eacute;cis. Chaque caisson est une \u0026oelig;uvre dans laquelle l\u0026rsquo;image est arbitraire et dont la structure interne reste libre, dans laquelle tous les \u0026eacute;l\u0026eacute;ments constituent une seule \u0026oelig;uvre, mais jamais dans un stade d\u0026eacute;finitif. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre pour mon installation dans l\u0026rsquo;exposition de groupe Vierkant (Carr\u0026eacute;) en 1993, qui s\u0026rsquo;inspire des gribouillis de Ren\u0026eacute; Descartes et a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e au S.M.A.K. \u0026agrave; Gand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18023,"title":"Plexi bakjes: Naakstudie","dimensions":"21 x 25 x 3.5 cm","date_begin":"1994-01-01","material":"acrylic and silkscreen paint on plexiglas in holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"plexi-bakjes-naakstudie","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/579/large/19940001E_kl.jpg?1517922517","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Plexi Holders: Nude Study)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparent Plexiglas holders filled with painted semi-transparent plates without a fixed order. Each tray is a work in which the visual image is random, of which the internal structure remains loose, in which all elements form one work, but never in a definite stage. Made for my installation in the group exhibition Vierkant (Square) in 1993, inspired by Ren\u0026eacute; Descartes\u0026rsquo;s scribbles and shown at the S.M.A.K. in Ghent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparante plexiglazen houders gevuld met beschilderde semitransparante plaatjes zonder vaste volgorde. Elk bakje is een werk waarin het visuele beeld willekeurig is, waarvan de interne structuur los blijft, waarin alle elementen \u0026eacute;\u0026eacute;n werk vormen, maar nooit in een definitief stadium. Gemaakt voor mijn installatie in de groepstentoonstelling Vierkant in 1993, ge\u0026iuml;nspireerd door de schrijfsels van Ren\u0026eacute; Descartes en getoond in het S.M.A.K. in Gent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Caissons en plexiglas:\u0026nbsp;\u0026Eacute;tude de nu)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026quot;Des cais\u003cem\u003esons en plexi transparent remplis de petits panneaux peints, semi-transparents, sans ordre pr\u0026eacute;cis. Chaque caisson est une \u0026oelig;uvre dans laquelle l\u0026rsquo;image est arbitraire et dont la structure interne reste libre, dans laquelle tous les \u0026eacute;l\u0026eacute;ments constituent une seule \u0026oelig;uvre, mais jamais dans un stade d\u0026eacute;finitif. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre pour mon installation dans l\u0026rsquo;exposition de groupe Vierkant (Carr\u0026eacute;) en 1993, qui s\u0026rsquo;inspire des gribouillis de Ren\u0026eacute; Descartes et a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e au S.M.A.K. \u0026agrave; Gand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18024,"title":"Plexi bakjes: SCEANCE","dimensions":"21 x 25 x 3.5 cm","date_begin":"1993-01-01","material":"acrylic and silkscreen paint on plexiglas in holder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"plexi-bakjes-sceance","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/578/large/19930602E_kl.jpg?1517921288","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Plexi Holders: SCEANCE)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparent Plexiglas holders filled with painted semi-transparent plates without a fixed order. Each tray is a work in which the visual image is random, of which the internal structure remains loose, in which all elements form one work, but never in a definite stage. Made for my installation in the group exhibition Vierkant (Square) in 1993, inspired by Ren\u0026eacute; Descartes\u0026rsquo;s scribbles and shown at the S.M.A.K. in Ghent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Transparante plexiglazen houders gevuld met beschilderde semitransparante plaatjes zonder vaste volgorde. Elk bakje is een werk waarin het visuele beeld willekeurig is, waarvan de interne structuur los blijft, waarin alle elementen \u0026eacute;\u0026eacute;n werk vormen, maar nooit in een definitief stadium. Gemaakt voor mijn installatie in de groepstentoonstelling Vierkant in 1993, ge\u0026iuml;nspireerd door de schrijfsels van Ren\u0026eacute; Descartes en getoond in het S.M.A.K. in Gent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Caissons en plexiglas: SCEANCE)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Des caissons en plexi transparent remplis de petits panneaux peints, semi-transparents, sans ordre pr\u0026eacute;cis. Chaque caisson est une \u0026oelig;uvre dans laquelle l\u0026rsquo;image est arbitraire et dont la structure interne reste libre, dans laquelle tous les \u0026eacute;l\u0026eacute;ments constituent une seule \u0026oelig;uvre, mais jamais dans un stade d\u0026eacute;finitif. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre pour mon installation dans l\u0026rsquo;exposition de groupe Vierkant (Carr\u0026eacute;) en 1993, qui s\u0026rsquo;inspire des gribouillis de Ren\u0026eacute; Descartes et a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e au S.M.A.K. \u0026agrave; Gand.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18025,"title":"Prober met filosofen: Descartes","dimensions":"42 x 29.7 cm","date_begin":"2000-01-01","material":"computer print on plexiglas and pvc, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"prober-met-filosofen-descartes","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/577/large/20000000A_kl.jpg?1517920637","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Prober with Philosophers: Descartes)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;These works are part of the whole process around Morele Herbewapening (Moral Rearmament), a Sex and Technology project, with the subtitle Veerkracht Thuis! (Resilience at Home!).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs HeadNurse, I took 96 images of women from my database and connected them with words from texts about possibilities for internal self-organisation, about thermodynamics and knowledge representation, about order in systems in a state of imbalance, about connectionist networks and about the representation of concepts and associations in general. Through a systematic use and reuse of images of women, from the first nude magazines to the Sexual Revolution, I activated an alchemical process in five steps. Starting from Baroque thinkers, all the way to Nietzsche. As HeadNurse, I am both the assistant of Nietzsche and the female counterpart of Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maken deel uit van het hele proces rond Morele herbewapening, een seks-en-technologie-project, met als ondertitel Veerkracht thuis!\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls HeadNurse nam ik 96 vrouwenbeelden uit mijn databank en verbond ze met woorden uit teksten over mogelijkheden tot interne zelforganisatie, over thermodynamica en kennisrepresentatie, over orde in systemen in een staat van onevenwicht, over connectionistische netwerken en over de weergave van concepten en associaties in het algemeen. Door middel van een systematisch gebruik en hergebruik van afbeeldingen van vrouwen, vanaf de eerste naaktbladen tot aan de seksuele revolutie, activeerde ik een alchemistisch proces in vijf stappen. Vertrekkend vanuit denkers in de barok, tot bij Nietzsche. Als HeadNurse ben ik zowel de assistente van Nietzsche als de vrouwelijke tegenhanger van Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Essai avec philosophes: Descartes)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ces \u0026oelig;uvres font partie de tout le processus autour de R\u0026eacute;armement moral, un projet sexuel et technologique, dont le sous-titre est\u0026nbsp;: Veerkracht Thuis! (R\u0026eacute;silience \u0026agrave; la Maison\u0026nbsp;!).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour HeadNurse, j\u0026rsquo;ai sorti 96\u0026nbsp;images de femmes de ma banque de donn\u0026eacute;es, que j\u0026rsquo;ai reli\u0026eacute;es \u0026agrave; des termes provenant de textes sur la facult\u0026eacute; d\u0026rsquo;auto-organisation interne, sur la thermodynamique et la repr\u0026eacute;sentation du savoir, sur l\u0026rsquo;ordonnancement dans des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, sur les r\u0026eacute;seaux connectiques et la repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations en g\u0026eacute;n\u0026eacute;ral.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Par l\u0026rsquo;utilisation et la r\u0026eacute;utilisation syst\u0026eacute;matique d\u0026rsquo;images de femmes, allant des premiers magazines pr\u0026eacute;sentant des femmes nues \u0026agrave; la R\u0026eacute;volution sexuelle, j\u0026rsquo;ai activ\u0026eacute; un processus alchimique en cinq \u0026eacute;tapes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Partant des penseurs du baroque pour arriver \u0026agrave; Nietzsche. En tant que HeadNurse, je suis aussi bien l\u0026rsquo;assistante de Nietzsche que le pendant f\u0026eacute;minin de Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18026,"title":"Prober met filosofen: Leibnitz 1","dimensions":"42 x 29.7 cm","date_begin":"2000-01-01","material":"computer print on plexiglas and pvc, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"prober-met-filosofen-leibnitz-1","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/576/large/20000000C_kl.jpg?1517920156","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Prober with Philosophers: Leibnitz 1)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;These works are part of the whole process around Morele Herbewapening (Moral Rearmament), a Sex and Technology project, with the subtitle Veerkracht Thuis! (Resilience at Home!).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs HeadNurse, I took 96 images of women from my database and connected them with words from texts about possibilities for internal self-organisation, about thermodynamics and knowledge representation, about order in systems in a state of imbalance, about connectionist networks and about the representation of concepts and associations in general. Through a systematic use and reuse of images of women, from the first nude magazines to the Sexual Revolution, I activated an alchemical process in five steps. Starting from Baroque thinkers, all the way to Nietzsche. As HeadNurse, I am both the assistant of Nietzsche and the female counterpart of Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maken deel uit van het hele proces rond Morele herbewapening, een seks-en-technologie-project, met als ondertitel Veerkracht thuis!\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls HeadNurse nam ik 96 vrouwenbeelden uit mijn databank en verbond ze met woorden uit teksten over mogelijkheden tot interne zelforganisatie, over thermodynamica en kennisrepresentatie, over orde in systemen in een staat van onevenwicht, over connectionistische netwerken en over de weergave van concepten en associaties in het algemeen. Door middel van een systematisch gebruik en hergebruik van afbeeldingen van vrouwen, vanaf de eerste naaktbladen tot aan de seksuele revolutie, activeerde ik een alchemistisch proces in vijf stappen. Vertrekkend vanuit denkers in de barok, tot bij Nietzsche. Als HeadNurse ben ik zowel de assistente van Nietzsche als de vrouwelijke tegenhanger van Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Essai avec philosophes: Leibnitz 1)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ces \u0026oelig;uvres font partie de tout le processus autour de R\u0026eacute;armement moral, un projet sexuel et technologique, dont le sous-titre est\u0026nbsp;: Veerkracht Thuis! (R\u0026eacute;silience \u0026agrave; la Maison\u0026nbsp;!).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour HeadNurse, j\u0026rsquo;ai sorti 96\u0026nbsp;images de femmes de ma banque de donn\u0026eacute;es, que j\u0026rsquo;ai reli\u0026eacute;es \u0026agrave; des termes provenant de textes sur la facult\u0026eacute; d\u0026rsquo;auto-organisation interne, sur la thermodynamique et la repr\u0026eacute;sentation du savoir, sur l\u0026rsquo;ordonnancement dans des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, sur les r\u0026eacute;seaux connectiques et la repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations en g\u0026eacute;n\u0026eacute;ral.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Par l\u0026rsquo;utilisation et la r\u0026eacute;utilisation syst\u0026eacute;matique d\u0026rsquo;images de femmes, allant des premiers magazines pr\u0026eacute;sentant des femmes nues \u0026agrave; la R\u0026eacute;volution sexuelle, j\u0026rsquo;ai activ\u0026eacute; un processus alchimique en cinq \u0026eacute;tapes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Partant des penseurs du baroque pour arriver \u0026agrave; Nietzsche. En tant que HeadNurse, je suis aussi bien l\u0026rsquo;assistante de Nietzsche que le pendant f\u0026eacute;minin de Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18027,"title":"Prober met filosofen: Leibnitz 2","dimensions":"42 x 29.7 cm","date_begin":"2000-01-01","material":"computer print on plexiglas and pvc, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"prober-met-filosofen-leibnitz-2","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/575/large/20000000D_kl.jpg?1517919980","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Prober with Philosophers: Leibnitz 2)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;These works are part of the whole process around Morele Herbewapening (Moral Rearmament), a Sex and Technology project, with the subtitle Veerkracht Thuis! (Resilience at Home!).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs HeadNurse, I took 96 images of women from my database and connected them with words from texts about possibilities for internal self-organisation, about thermodynamics and knowledge representation, about order in systems in a state of imbalance, about connectionist networks and about the representation of concepts and associations in general. Through a systematic use and reuse of images of women, from the first nude magazines to the Sexual Revolution, I activated an alchemical process in five steps. Starting from Baroque thinkers, all the way to Nietzsche. As HeadNurse, I am both the assistant of Nietzsche and the female counterpart of Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze werken maken deel uit van het hele proces rond Morele herbewapening, een seks-en-technologie-project, met als ondertitel Veerkracht thuis!\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls HeadNurse nam ik 96 vrouwenbeelden uit mijn databank en verbond ze met woorden uit teksten over mogelijkheden tot interne zelforganisatie, over thermodynamica en kennisrepresentatie, over orde in systemen in een staat van onevenwicht, over connectionistische netwerken en over de weergave van concepten en associaties in het algemeen. Door middel van een systematisch gebruik en hergebruik van afbeeldingen van vrouwen, vanaf de eerste naaktbladen tot aan de seksuele revolutie, activeerde ik een alchemistisch proces in vijf stappen. Vertrekkend vanuit denkers in de barok, tot bij Nietzsche. Als HeadNurse ben ik zowel de assistente van Nietzsche als de vrouwelijke tegenhanger van Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Essai avec philosophes: Leibnitz 2)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ces \u0026oelig;uvres font partie de tout le processus autour de R\u0026eacute;armement moral, un projet sexuel et technologique, dont le sous-titre est\u0026nbsp;: Veerkracht Thuis! (R\u0026eacute;silience \u0026agrave; la Maison\u0026nbsp;!).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour HeadNurse, j\u0026rsquo;ai sorti 96\u0026nbsp;images de femmes de ma banque de donn\u0026eacute;es, que j\u0026rsquo;ai reli\u0026eacute;es \u0026agrave; des termes provenant de textes sur la facult\u0026eacute; d\u0026rsquo;auto-organisation interne, sur la thermodynamique et la repr\u0026eacute;sentation du savoir, sur l\u0026rsquo;ordonnancement dans des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, sur les r\u0026eacute;seaux connectiques et la repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations en g\u0026eacute;n\u0026eacute;ral.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Par l\u0026rsquo;utilisation et la r\u0026eacute;utilisation syst\u0026eacute;matique d\u0026rsquo;images de femmes, allant des premiers magazines pr\u0026eacute;sentant des femmes nues \u0026agrave; la R\u0026eacute;volution sexuelle, j\u0026rsquo;ai activ\u0026eacute; un processus alchimique en cinq \u0026eacute;tapes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Partant des penseurs du baroque pour arriver \u0026agrave; Nietzsche. En tant que HeadNurse, je suis aussi bien l\u0026rsquo;assistante de Nietzsche que le pendant f\u0026eacute;minin de Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18028,"title":"Prober met filosofen: Nietzsche","dimensions":"42 x 29.7 cm","date_begin":"2000-01-01","material":"computer print on plexiglas and pvc, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"prober-met-filosofen-nietzsche","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/574/large/20000000E_kl.jpg?1517918982","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Prober with Philosophers: Nietzsche)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;These works are part of the whole process around Morele Herbewapening (Moral Rearmament), a Sex and Technology project, with the subtitle Veerkracht Thuis! (Resilience at Home!).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs HeadNurse, I took 96 images of women from my database and connected them with words from texts about possibilities for internal self-organisation, about thermodynamics and knowledge representation, about order in systems in a state of imbalance, about connectionist networks and about the representation of concepts and associations in general. Through a systematic use and reuse of images of women, from the first nude magazines to the Sexual Revolution, I activated an alchemical process in five steps. Starting from Baroque thinkers, all the way to Nietzsche. As HeadNurse, I am both the assistant of Nietzsche and the female counterpart of Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maken deel uit van het hele proces rond Morele herbewapening, een seks-en-technologie-project, met als ondertitel Veerkracht thuis!\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls HeadNurse nam ik 96 vrouwenbeelden uit mijn databank en verbond ze met woorden uit teksten over mogelijkheden tot interne zelforganisatie, over thermodynamica en kennisrepresentatie, over orde in systemen in een staat van onevenwicht, over connectionistische netwerken en over de weergave van concepten en associaties in het algemeen. Door middel van een systematisch gebruik en hergebruik van afbeeldingen van vrouwen, vanaf de eerste naaktbladen tot aan de seksuele revolutie, activeerde ik een alchemistisch proces in vijf stappen. Vertrekkend vanuit denkers in de barok, tot bij Nietzsche. Als HeadNurse ben ik zowel de assistente van Nietzsche als de vrouwelijke tegenhanger van Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Essai avec philosophes: Nietzsche)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ces \u0026oelig;uvres font partie de tout le processus autour de R\u0026eacute;armement moral, un projet sexuel et technologique, dont le sous-titre est\u0026nbsp;: Veerkracht Thuis! (R\u0026eacute;silience \u0026agrave; la Maison\u0026nbsp;!).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour HeadNurse, j\u0026rsquo;ai sorti 96\u0026nbsp;images de femmes de ma banque de donn\u0026eacute;es, que j\u0026rsquo;ai reli\u0026eacute;es \u0026agrave; des termes provenant de textes sur la facult\u0026eacute; d\u0026rsquo;auto-organisation interne, sur la thermodynamique et la repr\u0026eacute;sentation du savoir, sur l\u0026rsquo;ordonnancement dans des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, sur les r\u0026eacute;seaux connectiques et la repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations en g\u0026eacute;n\u0026eacute;ral.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Par l\u0026rsquo;utilisation et la r\u0026eacute;utilisation syst\u0026eacute;matique d\u0026rsquo;images de femmes, allant des premiers magazines pr\u0026eacute;sentant des femmes nues \u0026agrave; la R\u0026eacute;volution sexuelle, j\u0026rsquo;ai activ\u0026eacute; un processus alchimique en cinq \u0026eacute;tapes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Partant des penseurs du baroque pour arriver \u0026agrave; Nietzsche. En tant que HeadNurse, je suis aussi bien l\u0026rsquo;assistante de Nietzsche que le pendant f\u0026eacute;minin de Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18030,"title":"Prober met filosofen: Spinoza","dimensions":"42 x 29.7 cm","date_begin":"2000-01-01","material":"computer print on plexiglas and pvc, with magnetic back","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"prober-met-filosofen-spinoza","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/570/large/20000000B_kl.jpg?1517918866","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Prober with Philosophers: Spinoza)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;These works are part of the whole process around Morele Herbewapening (Moral Rearmament), a Sex and Technology project, with the subtitle Veerkracht Thuis! (Resilience at Home!).\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs HeadNurse, I took 96 images of women from my database and connected them with words from texts about possibilities for internal self-organisation, about thermodynamics and knowledge representation, about order in systems in a state of imbalance, about connectionist networks and about the representation of concepts and associations in general. Through a systematic use and reuse of images of women, from the first nude magazines to the Sexual Revolution, I activated an alchemical process in five steps. Starting from Baroque thinkers, all the way to Nietzsche. As HeadNurse, I am both the assistant of Nietzsche and the female counterpart of Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maken deel uit van het hele proces rond Morele herbewapening, een seks-en-technologie-project, met als ondertitel Veerkracht thuis!\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls HeadNurse nam ik 96 vrouwenbeelden uit mijn databank en verbond ze met woorden uit teksten over mogelijkheden tot interne zelforganisatie, over thermodynamica en kennisrepresentatie, over orde in systemen in een staat van onevenwicht, over connectionistische netwerken en over de weergave van concepten en associaties in het algemeen. Door middel van een systematisch gebruik en hergebruik van afbeeldingen van vrouwen, vanaf de eerste naaktbladen tot aan de seksuele revolutie, activeerde ik een alchemistisch proces in vijf stappen. Vertrekkend vanuit denkers in de barok, tot bij Nietzsche. Als HeadNurse ben ik zowel de assistente van Nietzsche als de vrouwelijke tegenhanger van Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Essai avec philosophes: Spinoza)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ces \u0026oelig;uvres font partie de tout le processus autour de R\u0026eacute;armement moral, un projet sexuel et technologique, dont le sous-titre est\u0026nbsp;: Veerkracht Thuis! (R\u0026eacute;silience \u0026agrave; la Maison\u0026nbsp;!).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour HeadNurse, j\u0026rsquo;ai sorti 96\u0026nbsp;images de femmes de ma banque de donn\u0026eacute;es, que j\u0026rsquo;ai reli\u0026eacute;es \u0026agrave; des termes provenant de textes sur la facult\u0026eacute; d\u0026rsquo;auto-organisation interne, sur la thermodynamique et la repr\u0026eacute;sentation du savoir, sur l\u0026rsquo;ordonnancement dans des syst\u0026egrave;mes en \u0026eacute;tat de d\u0026eacute;s\u0026eacute;quilibre, sur les r\u0026eacute;seaux connectiques et la repr\u0026eacute;sentation de concepts et d\u0026rsquo;associations en g\u0026eacute;n\u0026eacute;ral.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Par l\u0026rsquo;utilisation et la r\u0026eacute;utilisation syst\u0026eacute;matique d\u0026rsquo;images de femmes, allant des premiers magazines pr\u0026eacute;sentant des femmes nues \u0026agrave; la R\u0026eacute;volution sexuelle, j\u0026rsquo;ai activ\u0026eacute; un processus alchimique en cinq \u0026eacute;tapes.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Partant des penseurs du baroque pour arriver \u0026agrave; Nietzsche. En tant que HeadNurse, je suis aussi bien l\u0026rsquo;assistante de Nietzsche que le pendant f\u0026eacute;minin de Big Brother.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18032,"title":"Respecting the Eternal Balance: Voidoid, Londen","dimensions":"151 x 101 x 15 cm","date_begin":"2012-01-01","material":"lightbox piece, acrylic and collage on plexiglass in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Didier Casimiro","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"respecting-the-eternal-balance-voidoid-londen","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/567/large/20120700A_kl.jpg?1517846222","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This series is about urbanism, rhythm and inner nature. All these works started from the \u0026lsquo;soul\u0026rsquo; that I experience in a certain city or place where I have been or wanted to be in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze reeks gaat over urbanisme, ritme en innerlijkheid. Al deze werken begonnen vanuit de \u0026rdquo;ziel\u0026rdquo; die ik ervaar in een bepaalde stad of plaats waar ik de afgelopen 20 jaar geweest ben of wilde zijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Respectant l\u0026rsquo;\u0026eacute;quilibre \u0026eacute;ternel:\u0026nbsp;Voidoid \u0026ndash; Londres)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Cette s\u0026eacute;rie traite d\u0026rsquo;urbanisme, de rythme et d\u0026rsquo;int\u0026eacute;riorit\u0026eacute;. Toutes ces \u0026oelig;uvres sont parties de \u0026laquo;\u0026nbsp;l\u0026rsquo;\u0026acirc;me\u0026nbsp;\u0026raquo; que j\u0026rsquo;ai ressentie dans certaines villes ou certains lieux o\u0026ugrave; je suis all\u0026eacute;e, ou aurais voulu aller, au cours des vingt derni\u0026egrave;res ann\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18034,"title":"Zelfportretten","dimensions":"dimensions variable","date_begin":"1981-01-01","material":"acrylic and marker on Plexiglas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"zelfportretten","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/486/large/19810300E_kl.JPG?1517564373","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Self-Portraits)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I don\u0026rsquo;t think this work was ever exhibited before. These are attempts at idea formation, via the abstract feeling around words and images, their outer forms, their meaning, their sound; my attempts to squeeze myself into all that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Volgens mij nog nooit eerder tentoongesteld. Het zijn pogingen tot idee\u0026euml;nvorming, via het abstracte gevoel rond woorden en beelden, hun uiterlijke vormen, hun betekenis, hun klank, om mezelf daar ergens tussen te wringen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Autoportraits)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Selon moi, ces \u0026oelig;uvres n\u0026rsquo;ont jamais \u0026eacute;t\u0026eacute; expos\u0026eacute;es pr\u0026eacute;c\u0026eacute;demment. Il s\u0026rsquo;agit de tentatives de conceptualisation d\u0026rsquo;id\u0026eacute;es par le biais de sentiments abstraits autour de mots et d\u0026rsquo;images, de leurs formes apparentes, de leur signification, de leur r\u0026eacute;sonance, afin de me faufiler entre leurs br\u0026egrave;ches.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18035,"title":"Wittgenstein: (Sagt W) 1","dimensions":"36 x 40.5 cm","date_begin":"1971-01-01","material":"paint and felt tip on Darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790000I","stream_count_app":10,"permalink":"wittgenstein-sagt-w-1","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/569/large/19790000I_kl.JPG?1517913642","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Wittgenstein: (Says\u0026nbsp;W) 2)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1974, after finishing my studies at the Royal Academy of Antwerp, I started reading Wittgenstein and the books of Marquis de Sade, and I took out a subscription for The New Scientist. It confused me that I didn\u0026rsquo;t encounter any women in the art history books whose example I could follow. Unconsciously, I suffered from the contradictions that society constantly imposed on me in all its facets, and also from the fact that much is being concealed. At that time I made a lot of work on PVC with abstract shapes and quotes on the future and meaning, in luminous colours, especially those visible only in UV light. These works are an impetus for developing my own logic.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1974, na mijn studie aan de Koninklijke Academie van Antwerpen, begon ik Wittgenstein en de boeken van Markies de Sade te lezen, en abonneerde mij op The New Scientist. Het verwarde mij dat ik in de kunstgeschiedenisboeken geen vrouwen tegenkwam waaraan ik me kon spiegelen. Onbewust leed ik aan de tegenstrijdigheden die de maatschappij mij in al haar facetten voortdurend opdrong, ook aan het feit dat er veel verzwegen wordt. Ik maakte op dat moment veel werken op pvc met abstracte vormen, citaten over toekomst en betekenis, in lichtgevende kleuren, vooral zichtbaar met uv-licht. Deze werken zijn een aanzet tot mijn eigen logica.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1974, apr\u0026egrave;s mes premi\u0026egrave;res \u0026eacute;tudes \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie royale des Beaux-Arts d\u0026rsquo;Anvers, je me suis mise \u0026agrave; lire des ouvrages de Wittgenstein et les livres du Marquis de Sade. Je me suis \u0026eacute;galement abonn\u0026eacute;e \u0026agrave; la revue The New Scientist. J\u0026rsquo;\u0026eacute;tais troubl\u0026eacute;e par le fait de ne jamais rencontrer aucune femme que je puisse prendre comme mod\u0026egrave;le dans les ouvrages d\u0026rsquo;histoire de l\u0026rsquo;art.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Inconsciemment, je souffrais de toutes les contradictions que m\u0026rsquo;imposait la soci\u0026eacute;t\u0026eacute; sous toutes ses facettes, ainsi que des multiples tabous qui r\u0026eacute;gnaient.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026Agrave; cette \u0026eacute;poque, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; de nombreuses \u0026oelig;uvres sur PVC sur lesquelles on pouvait voir des formes abstraites, des citations sur l\u0026rsquo;avenir et sur le sens des choses, dans des couleurs phosphorescentes, surtout visibles \u0026agrave; la lumi\u0026egrave;re UV. Ces \u0026oelig;uvres ont servi \u0026agrave; stimuler ma propre logique.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18036,"title":"Wittgenstein: (Sagt W) 2","dimensions":"36 x 40.5 cm","date_begin":"1979-01-01","material":"acrylic and felt tip pen on Darvic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19790000H","stream_count_app":13,"permalink":"wittgenstein-sagt-w-2","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/568/large/19790000H_kl.JPG?1517913074","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Wittgenstein: (Says\u0026nbsp;W) 2)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1974, after finishing my studies at the Royal Academy of Antwerp, I started reading Wittgenstein and the books of Marquis de Sade, and I took out a subscription for The New Scientist. It confused me that I didn\u0026rsquo;t encounter any women in the art history books whose example I could follow. Unconsciously, I suffered from the contradictions that society constantly imposed on me in all its facets, and also from the fact that much is being concealed. At that time I made a lot of work on PVC with abstract shapes and quotes on the future and meaning, in luminous colours, especially those visible only in UV light. These works are an impetus for developing my own logic.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;In 1974, na mijn studie aan de Koninklijke Academie van Antwerpen, begon ik Wittgenstein en de boeken van Markies de Sade te lezen, en abonneerde mij op The New Scientist. Het verwarde mij dat ik in de kunstgeschiedenisboeken geen vrouwen tegenkwam waaraan ik me kon spiegelen. Onbewust leed ik aan de tegenstrijdigheden die de maatschappij mij in al haar facetten voortdurend opdrong, ook aan het feit dat er veel verzwegen wordt. Ik maakte op dat moment veel werken op pvc met abstracte vormen, citaten over toekomst en betekenis, in lichtgevende kleuren, vooral zichtbaar met uv-licht. Deze werken zijn een aanzet tot mijn eigen logica.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;En 1974, apr\u0026egrave;s mes premi\u0026egrave;res \u0026eacute;tudes \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie royale des Beaux-Arts d\u0026rsquo;Anvers, je me suis mise \u0026agrave; lire des ouvrages de Wittgenstein et les livres du Marquis de Sade. Je me suis \u0026eacute;galement abonn\u0026eacute;e \u0026agrave; la revue The New Scientist. J\u0026rsquo;\u0026eacute;tais troubl\u0026eacute;e par le fait de ne jamais rencontrer aucune femme que je puisse prendre comme mod\u0026egrave;le dans les ouvrages d\u0026rsquo;histoire de l\u0026rsquo;art.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Inconsciemment, je souffrais de toutes les contradictions que m\u0026rsquo;imposait la soci\u0026eacute;t\u0026eacute; sous toutes ses facettes, ainsi que des multiples tabous qui r\u0026eacute;gnaient.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026Agrave; cette \u0026eacute;poque, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; de nombreuses \u0026oelig;uvres sur PVC sur lesquelles on pouvait voir des formes abstraites, des citations sur l\u0026rsquo;avenir et sur le sens des choses, dans des couleurs phosphorescentes, surtout visibles \u0026agrave; la lumi\u0026egrave;re UV. Ces \u0026oelig;uvres ont servi \u0026agrave; stimuler ma propre logique.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":17723,"title":"Untitled","dimensions":"36 x 27 cm","date_begin":"2009-01-01","material":"pastel on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20090828B","stream_count_app":8,"permalink":"untitled-9bf9bce1-5386-482e-8077-5ba4c006f589","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/596/medium_500/20090828B_kl.jpg?1512059629","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/596/large/20090828B_kl.jpg?1512059629","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17753,"title":"Untitled","dimensions":"25 x 25 cm","date_begin":"2011-01-01","material":"ink, oil pastel and ballpoint pen on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20110318A","stream_count_app":8,"permalink":"untitled-40a55ff5-b201-4d68-bf41-79caddf2528b","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/626/medium_500/20110318A_kl.jpg?1512133085","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/626/large/20110318A_kl.jpg?1512133085","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17789,"title":"A. Huxley - I","dimensions":"22.9 x 16 cm","date_begin":"2012-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20120711A","stream_count_app":8,"permalink":"a-huxley-i","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/680/medium_500/20120711A_kl.jpg?1512553971","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/680/large/20120711A_kl.jpg?1512553971","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17845,"title":"The Hole 2","dimensions":"35.4 x 45.2 cm","date_begin":"2013-01-01","material":"acrylic paint, oil pastel, ink and paper on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20130219A","stream_count_app":8,"permalink":"the-hole-2","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/746/medium_500/20130219A_kl.jpg?1513178255","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/746/large/20130219A_kl.jpg?1513178255","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17867,"title":"Untitled","dimensions":"14.7 x 21 cm","date_begin":"2013-01-01","material":"pencil and pastel on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20130722A","stream_count_app":11,"permalink":"untitled-bb9e8da2-e1ed-4ba0-949d-ca54246c46eb","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/768/medium_500/20130722A_kl.jpg?1513181226","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/768/large/20130722A_kl.jpg?1513181226","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18037,"title":"(kunst/wetenschap) = (logica/toekomst): Zonder titel","dimensions":"30.4 x 49.2 cm","date_begin":"1981-01-01","material":"Acrylic and felt tip pen on Plexiglas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"kunst-wetenschap-logica-toekomst-zonder-titel","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/484/large/19810000H_kl.JPG?1517563739","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e((art/science) = (logics/future): Untitled)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I worked on Plexiglas and PVC because it was a societal trend in the 1970s to reject plastic, since it didn\u0026rsquo;t perish. For me, plastic seemed to be the ideal medium to make art, precisely because of its perpetuity. I\u0026rsquo;ve always loved plastic, and I used it in an urge to make beautiful things. Yet I made things other people sometimes found ugly. There\u0026rsquo;s anger and a kind of protest in these works. I use signs that bear the future within themselves, I use new ways of thinking and representing, things which are autonomous. The notions of shape and colour, as separate entities, are being replaced. This is the beginning of a research on information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik maakte werk op plexiglas en pvc omdat het in de jaren 70 een maatschappelijke tendens was kunststof te verwerpen om het niet verging. Plastic leek voor mij de ideale drager om kunst te maken vanwege zijn eeuwigheidswaarde. Ik heb altijd van plastic gehouden, en ik gebruikte het in een drang om mooie dingen te maken. Toch maakte ik dingen die andere mensen soms lelijk vonden. Er zit woede en een soort van protest in deze werken. Ik gebruik tekens die de toekomst in zich dragen, gebruik nieuwe manieren van denken van voorstellen en op zichzelf staan. De termen vorm en kleur worden als afzonderlijke eenheden vervangen. Dit is het begin van een onderzoek naar informatie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e([art/science]=[logique/avenir]: Sans titre)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; des \u0026oelig;uvres sur plexiglas et sur PVC, parce que dans les ann\u0026eacute;es\u0026nbsp;70 r\u0026eacute;gnait une tendance sociale \u0026agrave; rejeter le plastique, une mati\u0026egrave;re qui ne se d\u0026eacute;compose pas. Personnellement, le plastique me semblait \u0026ecirc;tre le support id\u0026eacute;al pour cr\u0026eacute;er des \u0026oelig;uvres, justement en raison de sa p\u0026eacute;rennit\u0026eacute;. J\u0026rsquo;ai toujours aim\u0026eacute; le plastique et je m\u0026rsquo;en servais dans un d\u0026eacute;sir de produire de belles choses. Cela dit, je cr\u0026eacute;ais des choses que d\u0026rsquo;autres personnes trouvaient parfois laides. Ces \u0026oelig;uvres rec\u0026egrave;lent de la col\u0026egrave;re et une sorte de contestation. J\u0026rsquo;utilise des signes porteurs de futur et de nouvelles mani\u0026egrave;res de penser, de pr\u0026eacute;senter et d\u0026rsquo;\u0026ecirc;tre autonome. Les termes \u0026laquo;\u0026nbsp;forme\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;couleur\u0026nbsp;\u0026raquo; sont remplac\u0026eacute;s en tant qu\u0026rsquo;unit\u0026eacute;s ind\u0026eacute;pendantes.\u0026nbsp;Ceci est le d\u0026eacute;but d\u0026rsquo;une recherche sur l\u0026rsquo;information.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18038,"title":"Morele herbewapening gestoffeerd","dimensions":"4 x (94 x 50 x 55 cm), 1 x (94 x 50 x 62.5 cm)","date_begin":"2005-01-01","material":"upholstered (arm)chairs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"morele-herbewapening-gestoffeerd","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/787/medium_500/AMVK_2018_photo_M_HKAcc_1_photo_M_HKAcc__2.jpg?1518101573","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/787/large/AMVK_2018_photo_M_HKAcc_1_photo_M_HKAcc__2.jpg?1518101573","poster_credits":"(c)image: M  HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e(Moral Rearmament Upholstered)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Following a jubilee exhibition at the Industry, Labour and Textile Museum in Ghent, there was the possibility to design fabric that was to be woven on historic industrial textile machines from their collection. As part of my HeadNurse-project, I chose to make upholstery in green and black, laced with lurex. I had the oak chairs that I inherited from my grandmother upholstered with it. The kaleidoscopic result, when combined with some of my 96 ge\u0026euml;rotiseerde concepten (96 Eroticised Concepts), became an allusion to the prima materia, the essence out of which which women live and work.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Naar aanleiding van een jubileumtentoonstelling in het MIAT in Gent was er de mogelijkheid om stof te ontwerpen die geweven ging worden op historische industri\u0026euml;le textielmachines uit hun collectie. In het kader van mijn HeadNurse-project koos ik ervoor om meubelstof te maken in groen en zwart, doorspekt met lurex. Ik heb er de eiken stoelen die ik van mijn grootmoeder erfde mee laten bekleden. Het caleidoscopische resultaat met enkele van mijn 96 ge\u0026euml;rotiseerde concepten werd een allusie op de prima materia, de essentie van waaruit vrouwen leven en werken.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(R\u0026eacute;armement moral rembourr\u0026eacute;)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026Agrave; l\u0026rsquo;occasion d\u0026rsquo;une exposition comm\u0026eacute;morative au Mus\u0026eacute;e de l\u0026rsquo;Industrie du Travail et du Textile (MIAT) \u0026agrave; Gand, j\u0026rsquo;ai eu la possibilit\u0026eacute; de cr\u0026eacute;er une \u0026eacute;toffe qui allait \u0026ecirc;tre tiss\u0026eacute;e sur des machines industrielles historiques de leur collection.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dans le cadre du projet HeadNurse, j\u0026rsquo;ai choisi de cr\u0026eacute;er un tissu d\u0026rsquo;ameublement en vert et noir, \u0026eacute;maill\u0026eacute; de lurex, dont j\u0026rsquo;ai fait recouvrir les trois chaises en ch\u0026ecirc;ne h\u0026eacute;rit\u0026eacute;es de ma grand-m\u0026egrave;re.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le r\u0026eacute;sultat kal\u0026eacute;idoscopique coupl\u0026eacute; \u0026agrave; quelques-uns de mes Concepts \u0026eacute;rotis\u0026eacute;s faisait allusion \u0026agrave; la prima materia, la \u0026laquo;\u0026nbsp;mati\u0026egrave;re premi\u0026egrave;re\u0026nbsp;\u0026raquo;, la quintessence \u0026agrave; partir de laquelle les femmes vivent et travaillent.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18043,"title":"Chapitre 134","dimensions":"24.4 x 34.4 cm","date_begin":"2014-01-01","material":"collage, felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003eElle est si \u0026eacute;loign\u0026eacute;e de l\u0026#39;oeuvre des vertus.\u003c/p\u003e\r\n","date_end":null,"reference":"20140904A","stream_count_app":5,"permalink":"chapitre-134","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/490/large/20140904A_kl.jpg?1517564604","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18044,"title":"Porete meets Syzmanowski","dimensions":"300 x 400 cm","date_begin":"2014-01-01","material":"Screenprint on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000T","stream_count_app":4,"permalink":"porete-meets-syzmanowski","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/494/large/20140000T_kl.jpg?1517572940","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18045,"title":"Untitled","dimensions":"21 x 29.5 cm","date_begin":"2015-01-01","material":"Photocopy, monoprint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20150000B","stream_count_app":4,"permalink":"untitled-e808c386-d93c-4619-a999-92ce5cfd4a11","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/496/large/20150000B_kl.jpg?1517573599","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18046,"title":"De-Coupling Meaning is Alive","dimensions":"","date_begin":"2015-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20150500A","stream_count_app":4,"permalink":"de-coupling-meaning-is-alive","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/497/large/20150500A__kl.jpg?1517574147","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18047,"title":"Ruis en Raster","dimensions":"40.6 x 30.6 cm","date_begin":"2015-01-01","material":"pencil and pastel on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"ruis-en-raster","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/498/medium_500/20150409A_kl.jpg?1517577450","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/498/large/20150409A_kl.jpg?1517577450","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18049,"title":"Symmetry-Assymetry","dimensions":"61 x 45.7 cm","date_begin":"2015-01-01","material":"Pencil, colour pencil, oil pastel, dry pastel, felt tip, acryl paint on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"symmetry-assymetry","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/504/medium_500/20150715A_kl.jpg?1517578444","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/504/large/20150715A_kl.jpg?1517578444","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17273,"title":"Zelfportret","dimensions":"14.8 x 20.9 cm","date_begin":"1999-01-01","material":"bic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19990212A","stream_count_app":13,"permalink":"zelfportret-fbbd771f-d745-4355-9bdd-fc287939851c","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/117/medium_500/19990212A_kl.jpg?1510327507","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/117/large/19990212A_kl.jpg?1510327507","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18048,"title":"Als een Swastika","dimensions":"85.5 x 112 cm","date_begin":"2015-01-01","material":"printed sticker, paint, collage on synthetic leather (skai), sailcloth rings","short_description":"\u003cp\u003eSeries: Skai/Leatherette (Perspectiefwissels)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Didier Casimiro","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20150000A","stream_count_app":8,"permalink":"als-een-swatika","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/503/large/20150000A_kl.jpg?1517577983","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18033,"title":"Respecting the Eternal Balance: Buenos Aires","dimensions":"151 x 101 x 15 cm","date_begin":"2014-01-01","material":"lightbox piece, acrylic and collage on plexiglass in wooden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20140000M","stream_count_app":10,"permalink":"respecting-the-eternal-balance-buenos-aires","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/495/large/20140000M_kl.jpg?1517573157","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This series is about urbanism, rhythm and inner nature. All these works started from the \u0026lsquo;soul\u0026rsquo; that I experience in a certain city or place where I have been or wanted to be in the past 20 years.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Deze reeks gaat over urbanisme, ritme en innerlijkheid. Al deze werken begonnen vanuit de \u0026rdquo;ziel\u0026rdquo; die ik ervaar in een bepaalde stad of plaats waar ik de afgelopen 20 jaar geweest ben of wilde zijn.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Respectant l\u0026rsquo;\u0026eacute;quilibre \u0026eacute;ternel: Buenos Aires)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Cette s\u0026eacute;rie traite d\u0026rsquo;urbanisme, de rythme et d\u0026rsquo;int\u0026eacute;riorit\u0026eacute;. Toutes ces \u0026oelig;uvres sont parties de \u0026laquo;\u0026nbsp;l\u0026rsquo;\u0026acirc;me\u0026nbsp;\u0026raquo; que j\u0026rsquo;ai ressentie dans certaines villes ou certains lieux o\u0026ugrave; je suis all\u0026eacute;e, ou aurais voulu aller, au cours des vingt derni\u0026egrave;res ann\u0026eacute;es.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":18014,"title":"Transkamer","dimensions":"","date_begin":"2015-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":176,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"slides visuals","publishing_process_id":1,"annotation":"","date_end":"2018-01-01","reference":"","stream_count_app":28,"permalink":"transkamer-35211c9d-7d97-4589-866b-a904939f596e","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/791/medium_500/I_5a.jpg?1518106392","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/790/large/DS_bitmap_600x900_al_1.jpg?1518106365","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTranskamer \u003c/em\u003ewas the title of the first production of the artist collective FERDNND, founded in february 2014. The concept of the performance was conceived by Louis Van der Waal, Mauro Pawlowski, Sigrid Damen, Anja Perisic, C\u0026eacute;line Felga and AMVK.\u003cbr /\u003e\r\nOriginally \u003cem\u003eTranskamer \u003c/em\u003ewas born out of their shared fascination for all-round artist Roland Topor. His novel Le Locataire chimerique (The Tenant), 1964, was the starting point. The main character, a timid young man, moves into the apartment of a woman who has just jumped out of the window. The man is driven to despair by the bullying of his new neighbours.\u003cbr /\u003e\r\nThe piece also found inspiration in the images of the Chilean filmmaker and comic book author Alejandro Jodorowsky with his chaotic universe of Christ figures, alchemists and circus artists.\u003cbr /\u003e\r\nAs a background to the performance, AMVK designed this ever-playing slide cycle.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTranskamer\u003c/em\u003e was de titel van de allereerste productie van het kunstenaarscollectief FERDNND, opgericht in februari in 2014. Het concept van de voorstelling werd bedacht door Louis Van der Waal, Mauro Pawlowski, Sigrid Damen, Anja Perisic, C\u0026eacute;line Felga en AMVK.\u003cbr /\u003e\r\nOorspronkelijk is \u003cem\u003eTranskamer\u003c/em\u003e ontstaan uit hun gedeelde fascinatie voor all-round kunstenaar Roland Topor. Zijn roman \u003cem\u003eLe Locataire chimerique\u003c/em\u003e (\u003cem\u003eDe Huurder\u003c/em\u003e), 1964, vormde het vertrekpunt. Het hoofdpersonage, een timide jongeman, trekt in het appartement van een vrouw die zojuist uit het raam gesprongen is. De man wordt tot wanhoop gedreven door de pesterijen van zijn nieuwe buren.\u003cbr /\u003e\r\nHet stuk vond ook inspiratie in de beelden van de Chileense filmmaker en stripauteur Alejandro Jodorowsky met zijn chaotisch universum van Christusfiguren, alchemisten en circursartiesten.\u003cbr /\u003e\r\nAls achtergrond van de voorstelling ontwierp AMVK deze altijd spelende dia-cyclus.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e2015\u003cbr /\u003e\r\nDiaporama num\u0026eacute;rique, dimensions variables\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003eTranskamer \u003c/em\u003e\u0026eacute;tait le titre de la toute premi\u0026egrave;re production du collectif d\u0026rsquo;artistes FERDNND, fond\u0026eacute; en f\u0026eacute;vrier 2014. Louis Van der Waal, Mauro Pawlowski, Sigrid Damen, Anja Perisic, C\u0026eacute;line Felga et AMVK ont imagin\u0026eacute; le concept de la performance.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026Agrave; l\u0026rsquo;origine, \u003cem\u003eTranskamer\u003c/em\u003e est n\u0026eacute; de leur fascination commune pour l\u0026rsquo;artiste accompli Roland Topor. Le point de d\u0026eacute;part \u0026eacute;tait son roman \u003cem\u003eLe Locataire chim\u0026eacute;rique\u003c/em\u003e (\u003cem\u003eDe Huurder\u003c/em\u003e) de 1964 dans lequel le personnage principal, un jeune homme timide, s\u0026rsquo;installe dans l\u0026rsquo;appartement d\u0026rsquo;une femme qui vient de sauter par la fen\u0026ecirc;tre. Sans motifs apparents, ses voisins le prennent en grippe et s\u0026rsquo;acharnent sur lui, le poussant au d\u0026eacute;sespoir.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Les images du cin\u0026eacute;aste et auteur de bandes dessin\u0026eacute;es chilien Alejandro Jodorowsky \u0026eacute;taient aussi une inspiration pour la pi\u0026egrave;ce, avec son univers chaotique de figures du Christ, d\u0026rsquo;alchimistes et d\u0026rsquo;artistes de cirque.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; AMVK a con\u0026ccedil;u ce cycle de diapositives comme arri\u0026egrave;re-plan de la performance.\u003c/p\u003e\r\n"}]},{"id":18010,"title":"De 4 jaargetijden in Noorwegen","dimensions":"50 x 50 cm","date_begin":"1994-01-01","material":"acrylic on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"de-4-jaargetijden-in-noorwegen","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/789/medium_500/2018_AMVK_photo_M_HKAcc_87.JPG?1518101824","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/789/large/2018_AMVK_photo_M_HKAcc_87.JPG?1518101824","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e(The 4 Seasons in Norway)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;This was part of my graduation work in graphic design in 1974. I made a background drawing of a town in Norway, with clouds in which a kind of angel or goddess spins time. For every season, I provided a translucent Plexiglas plate with adapted colour changes and crops.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAs a small child, I really liked to walk through the plastic department of the Grand Bazar at Antwerp\u0026rsquo;s Groenplaats. All those replicas of objects in radiant colour ranges enchanted me. There was also my most artistic and very pretty aunt who in the 1950s completely dressed up her room in the parental house on the Turnhoutsebaan in Borgerhout with translucent plastic: that made a big impression on me.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nFor a long time, I\u0026rsquo;ve read fairy tales, and in the Norwegian legends and legends I found an intriguing alternative to the Bible and its Genesis with Adam and Eve.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Was een deel van mijn eindwerk voor grafische vormgeving in 1974. Ik maakte een achtergrondtekening van een stadje in Noorwegen met wolken waarin een soort engel of godin de tijd spint. Voor elk jaargetijde voorzag ik een doorschijnende plexiglasplaat met aangepaste kleurwisselingen en gewassen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAls klein kind al liep ik heel graag door de plasticafdeling van de Grand Bazar op de Antwerpse Groenplaats. Al die replica\u0026rsquo;s van voorwerpen in stralende kleurgamma\u0026rsquo;s betoverden mij. Er was ook mijn meest artistieke en heel mooie tante die in de jaren 50 haar kamer in het ouderlijke huis aan de Turnhoutsebaan in Borgerhout helemaal met doorschijnend plastic aankleedde, dat heeft een grote indruk op mij gemaakt.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIk heb lang sprookjes gelezen, en vond in de Noorse sagen en legenden een intrigerend alternatief voor de Bijbel en ontstaansgeschiedenis met Adam en Eva.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e(Les quatre saisons en Norv\u0026egrave;ge)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ceci \u0026eacute;tait une partie de mon travail de fin d\u0026rsquo;\u0026eacute;tudes de conception graphique en 1974. J\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; un dessin de fond d\u0026rsquo;une petite ville en Norv\u0026egrave;ge avec des nuages dans lesquels une sorte d\u0026rsquo;ange/divinit\u0026eacute; tisse le temps.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Pour chaque saison, j\u0026rsquo;ai pr\u0026eacute;vu une plaque en plexiglas transparent avec des nuances de couleur et des v\u0026eacute;g\u0026eacute;tations appropri\u0026eacute;es.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Enfant, j\u0026rsquo;aimais beaucoup me promener dans le \u0026laquo;\u0026nbsp;d\u0026eacute;partement plastique\u0026nbsp;\u0026raquo; du Grand Bazar de la Place Verte \u0026agrave; Anvers. Toutes ces r\u0026eacute;pliques d\u0026rsquo;objets dans des gammes de couleurs \u0026eacute;clatantes me fascinaient. Il y avait aussi ma tante, une tr\u0026egrave;s belle femme, tr\u0026egrave;s artistique, qui, dans les ann\u0026eacute;es\u0026nbsp;50, avait enti\u0026egrave;rement tapiss\u0026eacute; sa chambre dans la maison familiale de la Chauss\u0026eacute;e de Turnhout \u0026agrave; Borgerhout de plastique transparent. Cela m\u0026rsquo;avait fort impressionn\u0026eacute;e.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; J\u0026rsquo;ai longtemps lu des contes et trouvais dans les mythes et l\u0026eacute;gendes norv\u0026eacute;giens une alternative passionnante \u0026agrave; la Bible et au r\u0026eacute;cit de la Gen\u0026egrave;se avec Adam et \u0026Egrave;ve.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026minus; AMVK\u003c/p\u003e\r\n"}]},{"id":15891,"title":"Homuncula","dimensions":"36.2 x 27 cm","date_begin":"1987-01-01","material":"Felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18051,"title":"Wat voor een Paradijs","dimensions":"58 x 42 cm","date_begin":"2016-01-01","material":"Mixed media on plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18054,"title":"Skai/Leatherette (Persepectiefwissels)","dimensions":"85.5 x 112 cm","date_begin":"2016-01-01","material":"printed sticker, paint, collage on synthetic leather (skai), sailcloth rings","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection FRAC des Pays de la Loire, France","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20160400B","stream_count_app":9,"permalink":"skai-leatherette-persepectiefwissels","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":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/533/large/20160400B_kl.jpg?1517582290","poster_credits":"(c) image: AMVK, Collection FRAC de Pays de la Loire","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18052,"title":"Blowing, Cursing \u0026 Repeating","dimensions":"24 x 32 cm","date_begin":"2016-01-01","material":"Ballpoint pen, pencil, colour pencil, pastel \u0026 charcoal on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20160303A","stream_count_app":8,"permalink":"blowing-cursing-repeating","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":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/531/large/20160303A_kl.jpg?1517581206","poster_credits":"(c) image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eBlowing, Cursing \u0026amp; Repeating \u003c/i\u003e(\u003ci\u003eSouffler, jurer \u0026amp; r\u0026eacute;p\u0026eacute;ter\u003c/i\u003e)\u003c/p\u003e\r\n"}]},{"id":18053,"title":"I'll Rob You - diasec","dimensions":"","date_begin":"2017-01-01","material":"Diasec, digital print between plexi (matt) and PVC, aluminium profile","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":14,"stream_count":0,"collection":"Courtesy of the 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On each patch she combines a drawing of a woman in a voluptuous, seductive pose with such words as: \u0026lsquo;action\u0026rsquo; or \u0026lsquo;conduire le mental\u0026rsquo;. These images of naked pin-ups are combined with concepts from widely diverse contexts, such as advanced technology, anatomy or psychology. The connection between the words and the images, which appear to have nothing in common, disrupts the usual and familiar meaning of these words and images.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven bewerkte twee staaltjesboeken met stoffen. Op elk lapje stof combineert ze een tekening van een vrouw in een wulpse, uitdagende houding met woorden als \u0026lsquo;action\u0026rsquo; of \u0026lsquo;conduire le mental\u0026rsquo;. Deze beelden van naakte pin-ups combineert ze dus met begrippen uit heel andere contexten, zoals die van de spitstechnologie, de anatomie of de psychologie. Door de verbinding van woorden en beelden die niets met elkaar lijken te hebben, ontwricht de kunstenares de normale, vertrouwde betekenis van deze woorden en beelden.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20028,"title":"Concept of Anxiety","dimensions":"","date_begin":"1993-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Bruikleen M HKA van Stichting Beeldende Kunst Middelburg/De Vleeshal ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"VH0173_1","stream_count_app":31,"permalink":"concept-of-anxiety","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/506/medium_500/Anne_Mie_Van_Kerckhoven_Zonder_Titel_collecte__DeVleeshal_Foto_M_HKAcc3_19.jpg?1535459558","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/506/large/Anne_Mie_Van_Kerckhoven_Zonder_Titel_collecte__DeVleeshal_Foto_M_HKAcc3_19.jpg?1535459558","poster_credits":"Bruikleen M HKA van Stichting Beeldende Kunst Middelburg/De Vleeshal, image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven adapts two books of fabric samples. On each patch she combines a drawing of a woman in a voluptuous, seductive pose with such words as: \u0026lsquo;action\u0026rsquo; or \u0026lsquo;conduire le mental\u0026rsquo;. These images of naked pin-ups are combined with concepts from widely diverse contexts, such as advanced technology, anatomy or psychology. The connection between the words and the images, which appear to have nothing in common, disrupts the usual and familiar meaning of these words and images.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026#39;A\u0026#39; words on the textile samples:\u003c/p\u003e\r\n\r\n\u003cp\u003eabsoluut\u003cbr /\u003e\r\nabstract\u003cbr /\u003e\r\nabsurd\u003cbr /\u003e\r\naction\u003cbr /\u003e\r\nactuality\u003cbr /\u003e\r\nadam\u003cbr /\u003e\r\naffect\u003cbr /\u003e\r\nage\u003cbr /\u003e\r\nalteration\u003cbr /\u003e\r\nambiguity\u003cbr /\u003e\r\nangels\u003cbr /\u003e\r\nannihilatie\u003cbr /\u003e\r\nanimal\u003cbr /\u003e\r\nan sich\u003cbr /\u003e\r\nanxiety\u003cbr /\u003e\r\nart\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven bewerkte twee staaltjesboeken met stoffen. Op elk lapje stof combineert ze een tekening van een vrouw in een wulpse, uitdagende houding met woorden als \u0026lsquo;action\u0026rsquo; of \u0026lsquo;conduire le mental\u0026rsquo;. Deze beelden van naakte pin-ups combineert ze dus met begrippen uit heel andere contexten, zoals die van de spitstechnologie, de anatomie of de psychologie. Door de verbinding van woorden en beelden die niets met elkaar lijken te hebben, ontwricht de kunstenares de normale, vertrouwde betekenis van deze woorden en beelden.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026#39;A\u0026#39; woorden op de stofstalen:\u003c/p\u003e\r\n\r\n\u003cp\u003eabsoluut\u003cbr /\u003e\r\nabstract\u003cbr /\u003e\r\nabsurd\u003cbr /\u003e\r\naction\u003cbr /\u003e\r\nactuality\u003cbr /\u003e\r\nadam\u003cbr /\u003e\r\naffect\u003cbr /\u003e\r\nage\u003cbr /\u003e\r\nalteration\u003cbr /\u003e\r\nambiguity\u003cbr /\u003e\r\nangels\u003cbr /\u003e\r\nannihilatie\u003cbr /\u003e\r\nanimal\u003cbr /\u003e\r\nan sich\u003cbr /\u003e\r\nanxiety\u003cbr /\u003e\r\nart\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes mots dans le livre:\u003c/p\u003e\r\n\r\n\u003cp\u003eabsoluut\u003cbr /\u003e\r\nabstract\u003cbr /\u003e\r\nabsurd\u003cbr /\u003e\r\naction\u003cbr /\u003e\r\nactuality\u003cbr /\u003e\r\nadam\u003cbr /\u003e\r\naffect\u003cbr /\u003e\r\nage\u003cbr /\u003e\r\nalteration\u003cbr /\u003e\r\nambiguity\u003cbr /\u003e\r\nangels\u003cbr /\u003e\r\nannihilatie\u003cbr /\u003e\r\nanimal\u003cbr /\u003e\r\nan sich\u003cbr /\u003e\r\nanxiety\u003cbr /\u003e\r\nart\u003c/p\u003e\r\n"}]},{"id":20663,"title":"Artis Historia","dimensions":"2 x (30.4 x 22.8 cm)","date_begin":"2018-01-01","material":"collage, drawing, felt tip on lime paper, oil pastel \u0026 pastel on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":169,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"AMVK","cached_tag_list":"drawings","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20180729A/20180730A","stream_count_app":14,"permalink":"artis-historia","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/795/medium_500/20180729A_kl.jpg?1543935428","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/795/large/20180729A_kl.jpg?1543935428","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21340,"title":"A Dash of Dolls","dimensions":"123.5 x 500 cm","date_begin":"2019-01-01","material":"digital print on Forex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the Artist and Zeno X Gallery, Antwerp","cached_tag_list":"AMVK Anne-Mie Van Kerckhoven","publishing_process_id":1,"annotation":"","date_end":null,"reference":"20190500B","stream_count_app":27,"permalink":"a-dash-of-dolls-77575bc7-c936-4c5a-b22a-e31ae24edfa1","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/941/medium_500/Amberes__photoM_HKA_cc_2019_ccAMVK_%282%29.jpg?1559833024","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/941/large/Amberes__photoM_HKA_cc_2019_ccAMVK_%282%29.jpg?1559833024","poster_credits":"(c)image: M HKA, 2019 - Courtesy of the Artist and Zeno X Gallery, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eAnne-Mie Van Kerckhoven has created a vast body of critical work in which she focusses on the popular or media image, typically of women. One long-term project has been her series of Women portrait drawings, that have occupied many sketchbooks. The drawings, based on imagery with young women from such sources as pin-up magazines, are often juxtaposed with the quotes of philosophers. This particular set of drawings, named \u003cem\u003eA Dash of Dolls\u003c/em\u003e after the soft-porn magazine that was in this case the source material, includes a quote and lists of keywords from \u003cem\u003eAnatomie d\u0026rsquo;une destructivit\u0026eacute; humaine \u003c/em\u003e(\u003cem\u003eAnatomy of Human Destructiveness\u003c/em\u003e) by Erich Fromm. An array of words, completed with the model\u0026rsquo;s own name, is put alongside each figure, as if she is speaking them. Fromm\u0026rsquo;s words, which describe human aggression as a part of the human condition for expressing unhappiness, provide these images with a radical desire to attack back from a position of subordination.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAnne-Mie Van Kerckhoven heeft een enorme hoeveelheid kritische werken gecre\u0026euml;erd waarin ze focust op het populaire- of mediabeeld van hoofzakelijk vrouwen. Een van haar langetermijnprojecten is een serie vrouwenportretten die vele schetsboeken omvat. De tekeningen, gebaseerd op beelden van jonge vrouwen uit bronnen als pin-up tijdschriften, worden vaak naast citaten van filosofen geplaatst. Deze specifieke reeks tekeningen, genaamd \u003cem\u003eA Dash of Dolls \u003c/em\u003enaar het soft-pornomagazine dat als bronmateriaal diende, bevat een citaat en lijsten met trefwoorden uit \u003cem\u003eAnatomie d\u0026#39;une destructivit\u0026eacute; humaine \u003c/em\u003evan Erich Fromm. Een reeks woorden, aangevuld met de naam van het model, wordt naast elk figuur geplaatst, alsof ze door haar worden uitgesproken. Fromms beschrijvingen, die menselijke agressie beschouwen als een deel van de menselijke natuur gericht op het uiten van ongeluk, drukken in deze beelden een radicaal verlangen uit om terug te slaan vanuit een positie van ondergeschiktheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAnne-Mie Van Kerckhoven a cr\u0026eacute;\u0026eacute; un vaste corpus d\u0026rsquo;\u0026oelig;uvres critiques dans lesquelles elle se focalise sur les images st\u0026eacute;r\u0026eacute;otyp\u0026eacute;es de femmes que v\u0026eacute;hiculent la culture populaire et les m\u0026eacute;dias de masse. L\u0026rsquo;un de ses projets \u0026agrave; long terme est une s\u0026eacute;rie de dessins, plus sp\u0026eacute;cifiquement des portraits de femmes, qui occupent plusieurs carnets de croquis. Les dessins, inspir\u0026eacute;s d\u0026rsquo;imagerie puis\u0026eacute;e dans des magazines de pin-up, sont souvent accompagn\u0026eacute;s de citations de philosophes. Cette s\u0026eacute;rie de dessins, intitul\u0026eacute;e \u003cem\u003eA Dash of Dolls\u003c/em\u003e d\u0026rsquo;apr\u0026egrave;s le magazine \u0026eacute;rotique qui en fut la source d\u0026rsquo;inspiration, comporte une citation et des listes de mots cl\u0026eacute;s provenant de l\u0026rsquo;ouvrage \u003cem\u003eAnatomie d\u0026rsquo;une destructivit\u0026eacute; humaine\u003c/em\u003e d\u0026rsquo;Erich Fromm. Un ensemble de mots, compl\u0026eacute;t\u0026eacute; par le nom du mannequin ajout\u0026eacute; \u0026agrave; c\u0026ocirc;t\u0026eacute; de chaque figure, comme si c\u0026rsquo;\u0026eacute;tait elle qui les pronon\u0026ccedil;ait. Les mots de Fromm, qui d\u0026eacute;crivent l\u0026rsquo;agressivit\u0026eacute; des \u0026ecirc;tres humains comme inh\u0026eacute;rente \u0026agrave; la condition humaine pour exprimer son chagrin, agr\u0026eacute;mentent ces dessins d\u0026rsquo;un d\u0026eacute;sir radical de riposter \u0026agrave; partir d\u0026rsquo;une position de subordination.\u003c/p\u003e\r\n"}]},{"id":21959,"title":"Jeanne (2X)","dimensions":"101 x 78 x 2.7 cm","date_begin":"2018-01-01","material":"acrylic paint, silkscreen paint,  acrylic marker and adhesive foil on PVC, mounted on painted wooden board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003eOwner; Paul \u0026amp; Marie-Rose Declercq\u003c/p\u003e\r\n","date_end":"2019-01-01","reference":"20190000A","stream_count_app":8,"permalink":"jeanne-2x","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/609/medium_500/20190000A_kl.jpg?1566378240","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/609/large/20190000A_kl.jpg?1566378240","poster_credits":"(c)AMVK, 2019","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21961,"title":"Dul (Space Oddity)","dimensions":"100 x 200 x 3.3 cm","date_begin":"2019-01-01","material":"transparent PVC sheet, paper, acrylic paint, silkscreen paint, spray paint, acrylic marker and oil pencil on PVC, mounted on painted wooden board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"\u003cp\u003eStorage: Zeno X\u003c/p\u003e\r\n","date_end":null,"reference":"20190000B","stream_count_app":8,"permalink":"dul-space-oddity","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/610/medium_500/20190000B_kl.jpg?1566378473","cached_actor_names":"Anne-Mie Van Kerckhoven","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/610/large/20190000B_kl.jpg?1566378473","poster_credits":"(c)AMVK, 2019","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17233,"title":"Orgiva 1","dimensions":"24 x 15.5 cm","date_begin":"1997-01-01","material":"felt tip on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"19970824A","stream_count_app":9,"permalink":"orgiva","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/077/medium_500/19970824A_kl.jpg?1510317275","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/077/large/19970824A_kl.jpg?1510317275","poster_credits":"(c)image: AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":25665,"title":"3 Bollen","dimensions":"415. 5  x 100 x 0.5 cm (2 x (150 x 100 cm), 1 x (115.5 x  100 cm))","date_begin":"2020-01-01","material":"digital print on plexi","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":"M HKA, Antwerp","cached_tag_list":"opdracht","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00361","stream_count_app":16,"permalink":"3-bollen","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/056/839/medium_500/Anne-Mie_Van_Kerckhoven__3_Balls__2020_-_collection_M_HKA_1.jpg?1589455143","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/056/839/large/Anne-Mie_Van_Kerckhoven__3_Balls__2020_-_collection_M_HKA_1.jpg?1589455143","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe M HKA asked the Antwerp artist Anne-Mie Van Kerckhoven (b. 1951) to give an artistic interpretation to the required Plexiglas wall at the reception desk. The result is a subtly sensitive presence that eschews the cold, clinical presence that these screens have introduced into our society, while allowing it to be noticeably present.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis artistic intervention finds its origin in a question that has occupied Van Kerckhoven for years; the question of the form of perfection. The square is often seen as an \u0026#39;ideal\u0026#39; form, precisely because of its equal sides. This also applies to the circle, which refers to the Sun, Earth, and Moon,... but also to innocuous spherical energies called \u0026#39;orbs\u0026#39; that appear in digital photographs.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eStarting from her exploration into the relationship between the square and the circle, Van Kerckhoven began making spheres out of enigmatic square schematics and images. Only a handful of times did this process result in a new image that the artist considered meaningful, as with the present artworks. At the desk of the M HKA, three of them are floating in space.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOn the left the recreation of a utopian plan of Jerusalem (1801) by Richard Brothers, from (a book about) \u0026#39;Alchemy and Mysticism\u0026#39;.\u003cbr /\u003e\r\nIn the middle the Swan nr. 23 (1915), by Hilma Af Klint, from \u0026#39;Okkultismus und Avantgarde: van Munch bis Mondrian, 1900-1915, Schirn Kunsthalle Frankfurt (1995)\u0026#39;.\u003cbr /\u003e\r\nOn the right an optical experiment from \u0026#39;Bionics\u0026#39; (1968), by Lucien G\u0026eacute;rardin. Incidentally, the image was given the same colour as the work of Marlow Moss in the background.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThese three powerful, floating yet autonomous images evoke the possibility of fundamental meaning, change and the relationship between biology and the system: \u0026quot;\u003ci\u003eThe distances between the three spheres themselves and between them and the edges of the planes are perfectly attuned to each other.\u003cem\u003e An inexperienced eye can perceive this, an inexperienced eye can feel it. And that creates tranquillity.\u0026rdquo; \u003c/em\u003e\u003c/i\u003e\u0026ndash; AMVK\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis commissioned work has been included in the M HKA collection.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet M HKA vroeg de Antwerpse kunstenares Anne-Mie Van Kerckhoven (\u0026deg;1951) om de noodzakelijke plexiwand aan de balie een artistieke invulling te geven. Het resultaat is een subtiel gevoelige aanwezigheid die \u0026eacute;n ontdaan is van de kille, klinische aanwezigheid waarmee dergelijke plexi\u0026rsquo;s onze maatschappij zijn binnengedrongen, maar toch diezelfde plexi aanwezig laat zijn.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDeze artistieke interventie is het resultaat van een vraag die Van Kerckhoven al jaren bezig houdt; de vraag naar de vorm van perfectie. Het vierkant wordt vaak gezien als een \u0026lsquo;ideaal\u0026rsquo;, net door zijn gelijke afmetingen. Ook voor de cirkel geldt dit, die refereert naar de zon, de Aarde, de maan,\u0026hellip; maar ook naar goedaardige bolvormige energie\u0026euml;n die vanzelf opduiken in digitale foto\u0026rsquo;s en \u0026lsquo;orbs\u0026rsquo; genoemd worden.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVanuit haar vraag naar de verhouding tussen vierkant en cirkel, begon Van Kerckhoven van enigmatische vierkante schema\u0026rsquo;s en afbeeldingen cirkels te maken. Slechts een handvol keren resulteerde dit proces tot een voor haar betekenisvol nieuw beeld, zoals nu. Aan de balie van het M HKA zweven er drie in de ruimte.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLinks de herwerking van een utopisch plan van Jerusalem (1801), door Richard Brothers, uit (een boek over) \u0026lsquo;Alchemie en Mystiek\u0026rsquo;.\u003cbr /\u003e\r\nIn het midden\u0026nbsp;de Zwaan nr. 23 (1915), door Hilma Af Klint, uit \u0026lsquo;Okkultismus und Avantgarde: van Munch bis Mondrian, 1900-1915, Schirn Kunsthalle Frankfurt (1995)\u0026rsquo;.\u003cbr /\u003e\r\nRechts naar een optisch experiment uit \u0026lsquo;Bionica: Schakel tussen bioloog en ingenieur\u0026rsquo; (1968), door Lucien G\u0026eacute;rardin. Deze afbeelding kreeg voor de gelegenheid dezelfde kleur als het werk van Marlow Moss op de achtergrond.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDeze drie krachtige, zwevende maar autonome beelden roepen de mogelijkheid van fundamentele betekenisgeving, verandering en de relatie tussen biologie en het systeem op:\u0026nbsp;\u003cem\u003e\u0026ldquo;De onderlinge afstanden van de drie bollen tot elkaar en tot de randen van de vlakken zijn perfect op elkaar afgestemd. Een geoefend oog ziet dat, een ongeoefend oog voelt dat. En dat geeft rust.\u0026rdquo; \u003c/em\u003e\u0026ndash; AMVK\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet kunstwerk in opdracht werd intussen onderdeel van\u0026nbsp;de M HKA-collectie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLe M\u0026nbsp;HKA a demand\u0026eacute; \u0026agrave; l\u0026rsquo;artiste anversoise Anne-Mie Van Kerckhoven (\u0026deg;1951) de donner un contenu artistique \u0026agrave; la d\u0026eacute;sormais incontournable paroi en plexiglas install\u0026eacute;e \u0026agrave; l\u0026rsquo;accueil. Le r\u0026eacute;sultat offre une pr\u0026eacute;sence subtile, sensible, \u0026agrave; la fois d\u0026eacute;livr\u0026eacute;e de la froideur clinique avec laquelle de tels panneaux en plexiglas se sont r\u0026eacute;cemment insinu\u0026eacute;s dans notre soci\u0026eacute;t\u0026eacute;, tout en laissant ce plexiglas \u0026ecirc;tre pr\u0026eacute;sent.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCette intervention artistique est le fruit d\u0026rsquo;une question qui taraude Van Kerckhoven depuis des ann\u0026eacute;es\u0026nbsp;: la question de la forme de la perfection. Le carr\u0026eacute; est souvent consid\u0026eacute;r\u0026eacute; comme un \u0026laquo;\u0026nbsp;id\u0026eacute;al\u0026nbsp;\u0026raquo;, pr\u0026eacute;cis\u0026eacute;ment en raison de ses dimensions \u0026eacute;gales. Cela vaut aussi pour la sph\u0026egrave;re, qui fait r\u0026eacute;f\u0026eacute;rence au soleil, \u0026agrave; la Terre, \u0026agrave; la lune, etc., mais qui renvoie aussi aux bonnes \u0026eacute;nergies sph\u0026eacute;riques qui \u0026eacute;mergent sur des photographies, argentiques ou num\u0026eacute;riques, et qu\u0026rsquo;on appelle \u0026laquo;\u0026nbsp;orbes (1)\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePartant de sa question sur le rapport entre le carr\u0026eacute; et le cercle, Van Kerckhoven a commenc\u0026eacute; \u0026agrave; transformer des motifs carr\u0026eacute;s \u0026eacute;nigmatiques en cercles. Quelquefois seulement, ce processus a donn\u0026eacute; lieu \u0026agrave; une nouvelle image significative pour l\u0026rsquo;artiste, comme cette fois-ci. \u0026Agrave; l\u0026rsquo;accueil du M\u0026nbsp;HKA, trois exemplaires flottent dans l\u0026rsquo;espace.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Agrave; gauche, la r\u0026eacute;vision d\u0026rsquo;un plan utopique de J\u0026eacute;rusalem (1801) par Richard Brothers dans un ouvrage sur l\u0026rsquo;alchimie et la mystique.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAu milieu, le Cygne n\u0026deg;\u0026nbsp;23 (1915), par Hilma Af Klint dans le catalogue \u003cem\u003eOkkultismus und Avantgarde: von Munch bis Mondrian, 1900-1915\u003c/em\u003e, Schirn Kunsthalle Frankfurt/\u0026Eacute;dition Tertium, 1995.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Agrave; droite, d\u0026rsquo;apr\u0026egrave;s une exp\u0026eacute;rience optique dans \u003cem\u003eLa bionique\u003c/em\u003e de Lucien G\u0026eacute;rardin, Hachette, coll. L\u0026rsquo;univers des connaissances, 1968. L\u0026rsquo;artiste a donn\u0026eacute; pour l\u0026rsquo;occasion la m\u0026ecirc;me couleur \u0026agrave; cette repr\u0026eacute;sentation que celle de l\u0026rsquo;\u0026oelig;uvre de Marlow Moss en toile de fond.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eCes trois images puissantes, flottantes, mais autonomes \u0026eacute;voquent la possibilit\u0026eacute; d\u0026rsquo;un sens fondamental, le changement et la relation entre la biologie et le syst\u0026egrave;me\u0026nbsp;: \u0026laquo;\u0026nbsp;Les distances entre les trois sph\u0026egrave;res elles-m\u0026ecirc;mes et entre les sph\u0026egrave;res et les bords des surfaces sont parfaitement coordonn\u0026eacute;es. Un \u0026oelig;il exerc\u0026eacute; le voit, un \u0026oelig;il qui n\u0026rsquo;est pas exerc\u0026eacute; le ressent. Et cela procure de la tranquillit\u0026eacute;.\u0026nbsp;\u0026raquo; \u0026ndash; AMVK\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;\u0026oelig;uvre, r\u0026eacute;alis\u0026eacute;e \u0026agrave; la demande du M\u0026nbsp;HKA, a entre-temps int\u0026eacute;gr\u0026eacute; la collection permanente du mus\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e(1) En photographie, les orbes sont un ph\u0026eacute;nom\u0026egrave;ne optique de r\u0026eacute;flexion des rayons du flash sur une particule (poussi\u0026egrave;re, gouttelette, etc.) passant devant l\u0026rsquo;objectif et apparaissant parfois sur les photos, non comme un point, mais comme un rond, une tache blanche ou blanch\u0026acirc;tre, souvent transparente, de taille variable. Le ph\u0026eacute;nom\u0026egrave;ne a lieu aussi bien sur des photos argentiques que num\u0026eacute;riques. (source Wikip\u0026eacute;dia)\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":27923,"title":"3K-Kelder AK-37","dimensions":"10 x 15 cm","date_begin":"1994-01-01","material":"paper, emulsion","short_description":"\u003cp\u003ePictures of an exhibition opening or evening presentation at AK-37 - probably Saint Nicholas and/or three kings - basement installation by JL\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":84,"category_id":23,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"Photo opening","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":49,"permalink":"3k-kelder-ak-37","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eFoto\u0026#39;s gemaakt tijdens opening of presentatie in AK-37, waarschijnlijk Sint Niklaas en/of Driekoningen - kelderinstallatie door JL\u003c/p\u003e\r\n","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/000/063/795/medium_500/PXak37woutjef.jpg?1603620996","cached_actor_names":"Jef Lambrecht, Jan van Veen , Wout Vercammen, Guy Rombouts, Danny Devos, Anne-Mie Van Kerckhoven / AMVK, Rudi Renson, Nicole van Goethem, Laetitia Yalon","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/795/large/PXak37woutjef.jpg?1603620996","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003ePictures of an exhibition opening or evening presentation at AK-37 - probably Saint Nicholas and/or three kings - basement installation by JL - either during saint nicholas or three kings (the 3 magi)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eFoto\u0026#39;s gemaakt tijdens opening of presentatie in AK-37, waarschijnlijk Sint Niklaas en/of Driekoningen - kelderinstallatie door JL (of tijdens sinterklaas of drie koningen (Zwarte Wijze)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5481,"title":"Dramazone","dimensions":"Geheel: 51,8 x 45,1 cm, Tekening: 25,2 x 20,1 cm","date_begin":"2002-01-01","material":"east indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7548","stream_count_app":25,"permalink":"dramazone","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/974/medium_500/Kerckhoven__Anne-Mie__Dramazone__2002.jpg?1342529105","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/974/large/Kerckhoven__Anne-Mie__Dramazone__2002.jpg?1342529105","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5483,"title":"Landmeermin","dimensions":"Geheel: 38,5 x 47,5 cm, Tekening: 27 x 36 cm","date_begin":"1989-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":null,"reference":"BK7536","stream_count_app":24,"permalink":"landmeermin","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/977/medium_500/Kerckhoven__Anne-Mie__Landmeermin___1989.jpg?1342529714","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/977/large/Kerckhoven__Anne-Mie__Landmeermin___1989.jpg?1342529714","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003e“The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e“De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema’s zijn de verhouding tussen mens en dier, tussen intelligentie en intuïtie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.”\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e«\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps à devenir ce qu’il est. Autour de lui, des possibilités, la chair de la pensée. La couleur indique l’utilité, ce à quoi les idées et la science peuvent servir. Dessiner est une forme de compréhension, cela permet de simplifier ses perceptions et de mieux les maîtriser. Des thèmes récurrents sont les rapports entre les hommes et les animaux, entre l’intelligence et l’intuition, entre la créativité humaine et la technologie, entre l’image de soi et l’environnement créé par l’être humain. Cette collection de dessins se compose d’une combinaison d’images de la sphère de vie personnelle, de la mémoire et de l’imagination ainsi que de fragments de la culture environnante de l’image et de la parole.\u0026nbsp;»\u003c/p\u003e\u003cp\u003eAMVK\u003c/p\u003e"}]},{"id":5477,"title":"Nursing Activities, Direct (Verpulveren) [Nursing Activities, Direct (Pulverizing)]","dimensions":"190,5 x 529 x 75 cm (geheel), 2 x 1 m (platen)","date_begin":"1995-01-01","material":"Videoband VHS, hout, metaal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ehoekinstallatie met computerprints, wordt samen getoond met de video \u0026#39;Morele Herbewapening\u0026#39;\u003c/p\u003e\r\n","date_end":"1998-01-01","reference":"BK7039_M198","stream_count_app":77,"permalink":"nursing-activities-direct-verpulveren-nursing-activities-direct-pulverizing","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDie multimediale Installation \u003cem\u003eNursing Activities, Direct (verpulveren)\u003c/em\u003e (dt. Pflegeaktivit\u0026auml;ten, Direkt (pulverisieren)) ist Teil des umfangreichen HeadNurse-Projekt, das Anne-Mie Van Kerckhoven 1995 angefangen hat. Das ehrgeizige Projekt enth\u0026auml;lt verschiedene Ausstellungen und Berichte, worin AMVK der zeitgen\u0026ouml;ssischen, von Bildern begeisterten Gesellschaft ihre Dienste als \u0026ldquo;head nurse\u0026ldquo; (dt. Hauptkrankenschwester) anbietet und ohne Ironie die heilende Rolle der Kunst voraussetzt (Van Kerckhoven war 1999 schon als HeadNurse in der musealen Solopr\u0026auml;sentation \u003cem\u003eNursing Care, in Melancholy Stupor\u003c/em\u003e (dt. Pflege, in melancholischen Bet\u0026auml;ubungszustand) zu Gast). Auch in diesem farbvollen, vielformigen Werk pr\u0026auml;miert die Untersuchung nach dem Bild der Frau in diesem zeitgen\u0026ouml;ssischen visuellen Regime.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Eta; \u0026epsilon;\u0026gamma;\u0026kappa;\u0026alpha;\u0026tau;ά\u0026sigma;\u0026tau;\u0026alpha;\u0026sigma;\u0026eta; \u0026pi;\u0026omicron;\u0026lambda;\u0026upsilon;\u0026mu;έ\u0026sigma;\u0026omega;\u0026nu; \u003ci\u003eNursing Activities, Direct (pulverize)\u003c/i\u003e [\u0026Nu;\u0026omicron;\u0026sigma;\u0026eta;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026delta;\u0026rho;\u0026alpha;\u0026sigma;\u0026tau;\u0026eta;\u0026rho;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026epsilon;\u0026sigmaf;, Ά\u0026mu;\u0026epsilon;\u0026sigma;\u0026epsilon;\u0026sigmaf; (\u0026kappa;\u0026omicron;\u0026nu;\u0026iota;\u0026omicron;\u0026rho;\u0026tau;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta;)] \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026omicron;ύ\u0026nu; \u0026mu;έ\u0026rho;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;\u0026epsilon;\u0026gamma;ά\u0026lambda;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;ό\u0026tau;\u0026zeta;\u0026epsilon;\u0026kappa;\u0026tau; \u003ci\u003eHeadNurse\u003c/i\u003e [\u0026Pi;\u0026rho;\u0026omicron;ϊ\u0026sigma;\u0026tau;\u0026alpha;\u0026mu;έ\u0026nu;\u0026eta; \u0026nu;\u0026omicron;\u0026sigma;\u0026omicron;\u0026kappa;ό\u0026mu;\u0026alpha;], \u0026pi;\u0026omicron;\u0026upsilon; \u0026eta; Ά\u0026nu;\u0026nu;\u0026epsilon;-\u0026Mu;\u0026iota; \u0026Beta;\u0026alpha;\u0026nu; \u0026Kappa;έ\u0026rho;\u0026epsilon;\u0026kappa;\u0026omicron;\u0026beta;\u0026epsilon;\u0026nu; \u0026epsilon;\u0026gamma;\u0026kappa;\u0026alpha;\u0026iota;\u0026nu;ί\u0026alpha;\u0026sigma;\u0026epsilon; \u0026tau;\u0026omicron; 1995. \u0026Tau;\u0026omicron; \u0026phi;\u0026iota;\u0026lambda;ό\u0026delta;\u0026omicron;\u0026xi;\u0026omicron; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026pi;\u0026rho;ό\u0026gamma;\u0026rho;\u0026alpha;\u0026mu;\u0026mu;\u0026alpha; \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό \u0026mu;\u0026iota;\u0026alpha; \u0026sigma;\u0026epsilon;\u0026iota;\u0026rho;ά \u0026alpha;\u0026pi;ό \u0026epsilon;\u0026kappa;\u0026theta;έ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf;, \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; \u0026eta; AMVK \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026upsilon;\u0026pi;\u0026eta;\u0026rho;\u0026epsilon;\u0026sigma;ί\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026laquo;\u0026Pi;\u0026rho;\u0026omicron;ϊ\u0026sigma;\u0026tau;\u0026alpha;\u0026mu;έ\u0026nu;\u0026eta;\u0026raquo; \u0026sigma;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026kappa;\u0026omicron;\u0026iota;\u0026nu;\u0026omega;\u0026nu;ί\u0026alpha; \u0026epsilon;\u0026nu;\u0026theta;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026iota;ώ\u0026delta;\u0026eta; \u0026mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota;, \u0026chi;\u0026omega;\u0026rho;ί\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026rho;\u0026omega;\u0026nu;\u0026epsilon;ί\u0026alpha;, \u0026epsilon;\u0026pi;\u0026iota;\u0026kappa;\u0026alpha;\u0026lambda;\u0026epsilon;ί\u0026tau;\u0026alpha;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026theta;\u0026epsilon;\u0026rho;\u0026alpha;\u0026pi;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026iota;\u0026delta;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; (\u0026tau;\u0026omicron; 1999 \u0026eta; \u0026Beta;\u0026alpha;\u0026nu; \u0026Kappa;έ\u0026rho;\u0026epsilon;\u0026kappa;\u0026omicron;\u0026beta;\u0026epsilon;\u0026nu; \u0026epsilon;ί\u0026chi;\u0026epsilon; ή\u0026delta;\u0026eta; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026kappa;\u0026lambda;\u0026eta;\u0026theta;\u0026epsilon;ί \u0026omega;\u0026sigmaf; \u0026laquo;\u0026Pi;\u0026rho;\u0026omicron;ϊ\u0026sigma;\u0026tau;\u0026alpha;\u0026mu;έ\u0026nu;\u0026eta;\u0026raquo; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026tau;\u0026omicron;\u0026mu;\u0026iota;\u0026kappa;ή έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u003ci\u003eNursing Care, in Melancholy Stupor\u003c/i\u003e [\u0026Nu;\u0026omicron;\u0026sigma;\u0026eta;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;ή \u0026phi;\u0026rho;\u0026omicron;\u0026nu;\u0026tau;ί\u0026delta;\u0026alpha;, \u0026sigma;\u0026epsilon; \u0026mu;\u0026epsilon;\u0026lambda;\u0026alpha;\u0026gamma;\u0026chi;\u0026omicron;\u0026lambda;\u0026iota;\u0026kappa;ή \u0026chi;\u0026alpha;ύ\u0026nu;\u0026omega;\u0026sigma;\u0026eta;]). \u0026Alpha;\u0026upsilon;\u0026tau;ό \u0026tau;\u0026omicron; \u0026pi;\u0026omicron;\u0026lambda;ύ\u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026omicron;, \u0026pi;\u0026omicron;\u0026lambda;ύ\u0026pi;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026rho;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026epsilon;\u0026sigma;\u0026tau;\u0026iota;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; έ\u0026rho;\u0026epsilon;\u0026upsilon;\u0026nu;\u0026alpha; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;ί\u0026kappa;\u0026alpha;\u0026sigmaf; \u0026mu;έ\u0026sigma;\u0026alpha; \u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026sigma;ύ\u0026gamma;\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026omicron; \u0026omicron;\u0026pi;\u0026tau;\u0026iota;\u0026kappa;ό \u0026kappa;\u0026alpha;\u0026theta;\u0026epsilon;\u0026sigma;\u0026tau;ώ\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/000/088/079/medium_500/2022_Museum_In_Motion_AMVK_photo_M_HKA_clinckx_TEN_F_1.jpg?1665755860","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/088/078/large/2022_Museum_In_Motion_AMVK_photo_M_HKA_clinckx_TEN_F_4.jpg?1665755613","poster_credits":"© AMVK. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe multimedia installation \u003cem\u003eNursing Activities, Direct (pulverize)\u003c/em\u003e\u0026nbsp;is part of the grand HeadNurse-project that Anne-Mie Van Kerckhoven began in 1995. This ambitious project consists of different exhibitions and reports where AMVK offers her services as \u0026ldquo;head nurse\u0026rdquo; to an image-enthusiastic society and, without irony, invokes the healing properties of art (in 1999 Van Kerckhoven had already been invited as HeadNurse in the solo museum presentation \u003cem\u003eNursing Care, in Melancholy Stupor)\u003c/em\u003e. In this colorful, multifaceted work as well, focus is on the investigation into the image of woman within this contemporary visual regime.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe multimediale installatie \u003cem\u003eNursing Activities, Direct (verpulveren)\u003c/em\u003e\u0026nbsp;maakt deel uit van het omvangrijke HeadNurse-project dat Anne-Mie Van Kerckhoven in 1995 aanvatte. Dit ambitieuze project bestaat uit verschillende tentoonstellingen en reports waarin AMVK de hedendaagse, door beelden begeesterde samenleving haar diensten als \u0026ldquo;head nurse\u0026rdquo; aanbiedt en zonder ironie de helende rol van kunst vooropstelt (Van Kerckhoven was in 1999 al te gast als HeadNurse in de museale solopresentatie \u003cem\u003eNursing Care, in Melancholy Stupor\u003c/em\u003e). Ook in dit kleurrijke, veelvormige werk primeert het onderzoek naar het beeld van de vrouw in dit hedendaagse visuele regime.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;installation multim\u0026eacute;dia \u003cem\u003eNursing Activities, Direct (pulv\u0026eacute;riser)\u003c/em\u003e\u0026nbsp;fait partie du vaste projet HeadNurse qu\u0026#39;Anne-Mie Van Kerckhoven a d\u0026eacute;but\u0026eacute; en 1995. Ce projet ambitieux est constitu\u0026eacute; de plusieurs expositions et rapports dans lesquels AMVK offre ses services de \u0026laquo;\u0026nbsp;head nurse\u0026nbsp;\u0026raquo; \u0026agrave; la soci\u0026eacute;t\u0026eacute; contemporaine, enthousiasm\u0026eacute;e par les images et pr\u0026eacute;suppose sans ironie le r\u0026ocirc;le curatif de l\u0026#39;art (Van Kerckhoven \u0026eacute;tait d\u0026eacute;j\u0026agrave; invit\u0026eacute;e en 1999 en tant que HeadNurse dans la pr\u0026eacute;sentation solo en mus\u0026eacute;e \u003cem\u003eNursing Care, in Melancholy Stupor\u003c/em\u003e). Dans cette oeuvre color\u0026eacute;e et polymorphe \u0026eacute;galement, la recherche de l\u0026#39;image de la femme dans ce r\u0026eacute;gime visuel contemporain prime.\u003c/p\u003e\r\n"}]},{"id":5491,"title":"Destruktief Intellekt met te Flauw Verleden","dimensions":"framed: 38.5 x 47.5 cm, drawing: 27 x 36 cm","date_begin":"1976-01-01","material":"east-indian ink, pencil, paper","short_description":"\u003cp\u003e\u003ci\u003eDestructief intellekt met te flauw verleden \u003c/i\u003e(\u003ci\u003eDestructive Intellect with Too Questionable Past\u003c/i\u003e)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7529","stream_count_app":31,"permalink":"destructief-intellekt-met-te-flauw-verleden","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"\u003cp\u003e\u003ci\u003eDestructief intellekt met te flauw verleden \u003c/i\u003e(\u003ci\u003eIntellect destructif au pass\u0026eacute; trop insipide\u003c/i\u003e)\u003c/p\u003e\r\n","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/000/010/992/medium_500/Kerckhoven__Anne-Mie__Destructief_intellekt_met_te_flauw_verleden___1976.jpg?1342532428","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","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/000/010/992/large/Kerckhoven__Anne-Mie__Destructief_intellekt_met_te_flauw_verleden___1976.jpg?1342532428","poster_credits":"©image: AMVK","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026nbsp;\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":5503,"title":"Wonderlinge liefde","dimensions":"framed: 38,5 x 47,5 cm, drawing: 27 x 36 cm","date_begin":"1994-01-01","material":"east-indian ink, pencil, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"AMVK","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7542","stream_count_app":27,"permalink":"wonderlinge-liefde","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/003/medium_500/Kerckhoven__Anne-Mie__Wonderlinge_liefde__1994.jpg?1342594905","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/003/large/Kerckhoven__Anne-Mie__Wonderlinge_liefde__1994.jpg?1342594905","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026ldquo;The line drawing is like a skeleton, a framework that has needed quite some time to become what it is. It is surrounded by possibilities, the flesh of thought. Colour indicates what is useful, what we may use our thoughts and our science for. Drawing is a form of understanding; it makes sure that we can narrow down our observations and make them manageable. Recurrent themes are the relation between Humankind and the animals, between intelligence and intuition, between human creation and technology, between self-image and human-made surroundings. This collection of drawings consists of a combination of pictures from the personal sphere, pictures from memory and imaginings and fragments from the surrounding image and word culture.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026ldquo;De lijntekening is als een skelet, een raamwerk dat veel tijd nodig heeft gehad om te worden wat het is. Errond hangen de mogelijkheden, het vlees van de gedachten. Kleur geeft aan wat het nut is, waarvoor de gedachten en de wetenschap gebruikt kunnen worden.Tekenen is een vorm van verstaan, het zorgt ervoor dat je waarnemingen kan vereenvoudigen en beheersbaar maken. Terugkerende thema\u0026rsquo;s zijn de verhouding tussen mens en dier, tussen intelligentie en intu\u0026iuml;tie, tussen menselijke creativiteit en technologie, tussen zelfbeeld en door de mens gemaakte omgevingen. Deze verzameling van tekenwerk bestaat uit een combinatie van beelden uit de persoonlijke levenssfeer, beelden uit het geheugen en de verbeelding en fragmenten uit de omringende beeld- en woordcultuur.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Le dessin au trait est comme un squelette, un cadre qui a pris beaucoup de temps \u0026agrave; devenir ce qu\u0026rsquo;il est. Autour de lui, des possibilit\u0026eacute;s, la chair de la pens\u0026eacute;e. La couleur indique l\u0026rsquo;utilit\u0026eacute;, ce \u0026agrave; quoi les id\u0026eacute;es et la science peuvent servir. Dessiner est une forme de compr\u0026eacute;hension, cela permet de simplifier ses perceptions et de mieux les ma\u0026icirc;triser. Des th\u0026egrave;mes r\u0026eacute;currents sont les rapports entre les hommes et les animaux, entre l\u0026rsquo;intelligence et l\u0026rsquo;intuition, entre la cr\u0026eacute;ativit\u0026eacute; humaine et la technologie, entre l\u0026rsquo;image de soi et l\u0026rsquo;environnement cr\u0026eacute;\u0026eacute; par l\u0026rsquo;\u0026ecirc;tre humain. Cette collection de dessins se compose d\u0026rsquo;une combinaison d\u0026rsquo;images de la sph\u0026egrave;re de vie personnelle, de la m\u0026eacute;moire et de l\u0026rsquo;imagination ainsi que de fragments de la culture environnante de l\u0026rsquo;image et de la parole.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAMVK\u003c/p\u003e\r\n"}]},{"id":36587,"title":"Interview with Anne-Mie Van Kerckhoven (fragments), artist, conducted by Joanna Zielińska","dimensions":"","date_begin":"2024-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":168,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"interview-with-anne-mie-van-kerckhoven-fragments","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/803/medium_500/download_%282%29.jpg?1738839651","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK, Joanna Zielińska","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/803/large/download_%282%29.jpg?1738839651","poster_credits":"© Estate Hugo Roelandt","translations":[{"locale":"en","description":"\u003cp style=\"margin-left:0cm;\"\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(35,124,34);\"\u003e\u003cstrong\u003e►\u003c/strong\u003e\u003c/span\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(153,0,0);\"\u003e\u003cstrong\u003e \u003c/strong\u003e\u003c/span\u003e\u003cstrong\u003eCLICK \u003c/strong\u003e\u003ca href=\"https://s3.us-east-1.amazonaws.com/mhka_ensembles_production/assets/public/ANNE-MIE+EN+-+Vivian+voice%2C+1.05+speed.mp3\"\u003e\u003cstrong\u003eHERE \u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003eTO LISTEN TO THE AUDIO\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp style=\"margin-left:0cm;\"\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(71,71,71);\"\u003e“\u003c/span\u003eMy name is Anne-Mie van Kerckhoven. I am an artist living in Antwerp. During my time as a student at the academy, I was in the same class as Hugo Roelandt. We first met in 1970 while studying graphic design. By the end of our third year, we became a couple and stayed together for four years.\u003cbr\u003eHugo was already far more mature artistically than the rest of the class. Before he attended the academy, he had studied in Aalst, where he had excellent art teachers. He became friends with several older artists in Aalst and the surrounding areas, including Dendermonde’s Celbeton. Hugo was a very outspoken individual. He was also very tall, incredibly handsome, with striking hair… and always impeccably dressed. His mother, who worked as a house cleaner, made his clothes, which were beautifully tailored. Hugo always looked amazing. His father worked at the post office. I never thought he would be interested in me. I was far more naive, coming from a very restricted family. I hadn’t seen much of the world at all, while he was so worldly and wise.\u003cbr\u003eAt the beginning, he had a girlfriend who was a bit older and worked as an “entraîneuse” in bars. I also remember that, in the first year, 1970-1971, they went on a trip to Tibet, Afghanistan, and Pakistan. They traveled by road, which was very dangerous at the time. And they went to India. At one point, in the second year, 1972, they came back barefoot to the academy!\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eI remember that very soon, probably in his second year at the academy, he got money from his parents to buy a real camera, which was very expensive at the time. But his mother paid for everything; she worked only for her boys. I know he was very particular about his photos, and probably the first pictures he took were during his trip to India.\u0026nbsp;\u003cbr\u003eHe was a big fan of Diane Arbus’s photography. At a certain point, he started creating very large works, applying the developer with sponges and other unconventional tools. He was always experimenting with photography in different ways and was not at all concerned with framing. I remember he had a very good show with his pictures at the I.C.C. He also enjoyed printing photos on almost poster-like paper, which he displayed using only pushpins. Before that, he mounted them on small “cartons” he made himself. It reflected the artistic atmosphere of the time. We were all very enthusiastic about his work.\u003cbr\u003eWhen I met Hugo, he was already photographing himself dressed as a woman, wearing bathing suits. That was around 1972. It was influenced by the Aalst carnival, but at the same time, it was in the air: the music stars like David Bowie, Fassbinder’s films, and the Deutsche Welle. That was the ambiance of the time. The clothes for young people like us were also very unisex. When you look at the drawings I made back then, many depicted figures that were half-man, half-woman — ambiguous and not clearly defined. That was a reflection of the era, shaped by the influence of Andy Warhol’s Factory in the ‘60s. Similar things were happening in Berlin, and perhaps even more so in Köln.\u003cbr\u003eHugo sometimes kissed boys and had friends with whom he experimented. The nice thing about the ’70s was that everything was experimental, you know? Experimentation extended to relationships with both girls and boys. But with him, things couldn’t go well for too long. After a while, I had a very hard time — the lifestyle and the drinking became too much for me, and I got sick. I loved reading in bed, but he always wanted me to go with him to cafés and bars. We went out every night.\u003cbr\u003eArtistically, a lot was happening under the influence of what Roger D’Hondt was showing at the New Reform Gallery in Aalst. Artists from Poland, Czechoslovakia, and Hungary were frequently exhibited there, often small interventions with photographs. It was Fluxus, but also something between art and multiples. People were poor — we were poor too — so it wasn’t about grand, monumental art. It was about small things, small gestures. But those things were always made with great care and beauty. In that sense, it was actually a very nice period. Roger D’Hondt had a significant influence through the works he introduced to us. For example, the Wiener Aktionisten were not exhibited in museums in Belgium. Their work was very avant-garde, and people thought it was sick.\u003cbr\u003eHugo bought a 16mm camera on the black market — it had just become affordable at the time. We planned to make a film in Aalst, in the backyard of his parents’ home. His friend, the actor Jo Corthals, was going to be the star. Hugo needed a lot of smoke, so I had to burn piles of leaves all day to create it. The film was shot frame by frame, and it was my task to apply makeup in gradually evolving shades on Jo’s face. The filming lasted all day. But at the end of the day, Hugo realized he had forgotten to load the film into the camera. That was so typical of Hugo: he didn’t want to redo it the next day. I don’t think that’s good for an artist. In my view, his way of thinking often didn’t make sense — his tendency to cling too much to the negative was holding him back at that time.\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(71,71,71);\"\u003e”\u003c/span\u003e\u003c/p\u003e\u003c/blockquote\u003e\u003cp style=\"text-align:right;\"\u003e\u003cstrong\u003eInterview with Anne-Mie Van Kerckhoven (fragments), artist, conducted by Joanna Zielińska in 2024.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"margin-left:0cm;\"\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003cstrong\u003e►\u003c/strong\u003e\u003c/span\u003e\u003cspan style=\"color:rgb(153,0,0);\"\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/span\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003eKLIK \u003c/strong\u003e\u003c/span\u003e\u003ca href=\"https://s3.us-east-1.amazonaws.com/mhka_ensembles_production/assets/public/ANNE-MIE+NL+-+Laura+Peters+voice%2C+0.95+speed.mp3\"\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003eHIER\u003c/strong\u003e\u003c/span\u003e\u003c/a\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003e OM TE LUISTEREN\u003c/strong\u003e\u003c/span\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp style=\"margin-left:0cm;\"\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(71,71,71);\"\u003e“\u003c/span\u003eIk ben een kunstenaar die in Antwerpen woont. Tijdens mijn tijd als student aan de academie zat ik in dezelfde klas als Hugo Roelandt. We ontmoetten elkaar voor het eerst in 1970, terwijl we grafisch ontwerp studeerden. Tegen het einde van ons derde jaar werden we een koppel en bleven vier jaar samen.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eHugo was artistiek al veel rijper dan de rest van de klas. Voor hij naar de academie ging, had hij gestudeerd in Aalst, waar hij uitstekende kunstleerkrachten had. Hij werd bevriend met verschillende oudere kunstenaars in Aalst en de omliggende gebieden, waaronder Celbeton uit Dendermonde. Hugo was een zeer uitgesproken persoon. Hij was ook erg lang, ongelooflijk knap, met opvallend haar… en altijd onberispelijk gekleed. Zijn moeder, die als schoonmaakster werkte, maakte zijn kleren, en die waren prachtig op maat gemaakt. Hugo zag er altijd geweldig uit. Zijn vader werkte bij de post. Ik had nooit gedacht dat Hugo interesse in mij zou hebben. Ik was veel naïever, afkomstig uit een erg strikte familie. Ik had nauwelijks iets van de wereld gezien, terwijl hij zo wereldwijs en wijs was.\u003cbr\u003eIn het begin had hij een vriendin die wat ouder was en werkte als \"entraîneuse\" in bars. Ik herinner me ook dat ze in het eerste jaar, 1970-1971, een reis maakten naar Tibet, Afghanistan en Pakistan. Ze reisden over land, wat in die tijd erg gevaarlijk was. En ze gingen ook naar India. Op een gegeven moment, in het tweede jaar, 1972, kwamen ze op blote voeten terug naar de academie!\u003cbr\u003eIk herinner me dat hij al heel snel, waarschijnlijk in zijn tweede jaar aan de academie, geld kreeg van zijn ouders om een echte camera te kopen, wat destijds erg duur was. Maar zijn moeder betaalde voor alles; ze werkte alleen voor haar jongens. Ik weet dat hij erg precies was over zijn foto’s, en waarschijnlijk maakte hij zijn eerste foto’s tijdens zijn reis naar India.\u003cbr\u003eHij was een grote fan van de fotografie van Diane Arbus. Op een bepaald moment begon hij heel grote werken te maken, waarbij hij de ontwikkelaar aanbracht met sponzen en andere onconventionele gereedschappen. Hij experimenteerde altijd op verschillende manieren met fotografie en maakte zich helemaal geen zorgen over inkadering. Ik herinner me dat hij een zeer goede tentoonstelling had met zijn foto’s in het I.C.C. Hij hield er ook van om foto’s af te drukken op bijna posterachtig papier, die hij simpelweg ophing met punaises. Daarvoor monteerde hij ze op kleine\u0026nbsp;“kartons” die hij zelf maakte. Dat weerspiegelde de artistieke sfeer van die tijd. We waren allemaal erg enthousiast over zijn werk.\u003cbr\u003eToen ik Hugo ontmoette, fotografeerde hij zichzelf al verkleed als vrouw, in badpakken. Dat was rond 1972. Het was beïnvloed door het carnaval van Aalst, maar tegelijkertijd hing het in de lucht: muzieksterren zoals David Bowie, Fassbinders films en de Deutsche Welle. Dat was de sfeer van die tijd. De kleding voor jonge mensen zoals wij was ook erg uniseks. Als je kijkt naar de tekeningen die ik toen maakte, zie je veel figuren die half man, half vrouw waren—ambigue en niet duidelijk gedefinieerd. Dat was een weerspiegeling van het tijdperk, gevormd door de invloed van Andy Warhol’s Factory in de jaren\u0026nbsp;’60. Soortgelijke dingen gebeurden in Berlijn, en misschien nog meer in Keulen.\u003cbr\u003eHugo kuste soms jongens en had vrienden met wie hij experimenteerde. Het mooie aan de jaren\u0026nbsp;’70 was dat alles experimenteel was, snap je? Experimenten strekten zich ook uit tot relaties met zowel meisjes als jongens. De dingen mochten ook niet te lang goed gaan bij hem. Dat is ook de reden waarom ik het heel moeilijk kreeg na een tijd—de levensstijl en het drinken werden me teveel, ik werd ook ziek. Ik hield ervan om in bed te lezen, maar hij wilde altijd dat ik met hem meeging naar cafés en bars. We gingen elke avond uit.\u003cbr\u003eOp artistiek gebied gebeurde veel onder invloed van wat Roger D’Hondt toonde in de New Reform Gallery in Aalst. Kunstenaars uit Polen, Tsjecho-Slowakije en Hongarije werden daar veel geëxposeerd, dikwijls kleine interventies met foto’s. Het was Fluxus, maar ook iets tussen kunst en multiples in. Mensen waren arm—wij waren ook arm—dus het ging niet om grootse, monumentale kunst. Het ging altijd om kleine dingen, kleine gebaren. Maar die dingen werden altijd met grote zorg en schoonheid gemaakt. In die zin was het eigenlijk een heel mooie periode. Roger D’Hondt had veel invloed door de werken die hij ons liet zien. Bijvoorbeeld, de Wiener Aktionisten werden niet getoond in musea in België. Hun werk was erg avant-garde, en mensen vonden het ziekelijk.\u003cbr\u003eHugo kocht een 16mm-camera op de zwarte markt—dat was toen net betaalbaar. We waren van plan een film te maken in Aalst, in de achtertuin van zijn ouderlijk huis. Zijn vriend, de acteur Jo Corthals, ging de centrale ster zijn. Hugo had veel rook nodig, dus ik moest heel de dag massa's bladeren verbranden om die te maken. De film werd frame voor frame opgenomen, en mijn taak was het ook om\u0026nbsp;“schmink” in steeds evoluerende schakeringen op Jo zijn gezicht aan te brengen. De opnames hebben een hele dag geduurd. Wanneer het donker werd zag Hugo dat hij vergeten was de film in de camera te laden. Wat typisch Hugo was: hij wilde het niet over doen de dag erna. Ik denk dat dat niet goed is voor een kunstenaar. Voor mij klopte zijn manier van denken dikwijls niet, zijn neiging om zich te veel aan het negatieve vast te klampen speelde hem toen parten.\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(71,71,71);\"\u003e”\u003c/span\u003e\u003c/p\u003e\u003c/blockquote\u003e\u003cp style=\"margin-left:0cm;text-align:right;\"\u003e\u003cstrong\u003eInterview met Anne-Mie Van Kerckhoven (fragmenten), kunstenaar, afgenomen door Joanna Zielińska in 2024.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"margin-left:0cm;\"\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003cstrong\u003e►\u003c/strong\u003e\u003c/span\u003e\u003cspan style=\"color:rgb(153,0,0);\"\u003e\u003cstrong\u003e \u003c/strong\u003e\u003c/span\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003eCLIQUEZ\u0026nbsp;\u003c/strong\u003e\u003c/span\u003e\u003ca href=\"https://s3.us-east-1.amazonaws.com/mhka_ensembles_production/assets/public/ANNE-MIE+FR+-+Emilie+Lacroix+voice.mp3\"\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003eICI \u003c/strong\u003e\u003c/span\u003e\u003c/a\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003ePOUR ÉCOUTER L'AUDIO\u003c/strong\u003e\u003c/span\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp style=\"margin-left:0cm;\"\u003e\u003cstrong\u003e« \u003c/strong\u003eJe m’appelle Anne-Mie van Kerckhoven, je suis une artiste vivant à Anvers. Pendant mes années d’études à l’académie, j’étais dans la même classe que Hugo Roelandt. Nous nous sommes rencontrés pour la première fois en 1970, alors que nous étudiions le design graphique. À la fin de notre troisième année, nous sommes devenus un couple et sommes restés ensemble pendant quatre ans.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eHugo était artistiquement beaucoup plus mûr que le reste de la classe. Avant d’intégrer l’académie, il avait étudié à Alost, où il avait d’excellents professeurs d’art. Il s’était lié d’amitié avec plusieurs artistes plus âgés à Alost et dans les environs, y compris Celbeton de Termonde. Hugo était une personne très affirmée. Il était aussi très grand, incroyablement beau, avec des cheveux remarquables… et toujours impeccablement habillé. Sa mère, qui travaillait comme femme de ménage, confectionnait ses vêtements, qui étaient magnifiquement taillés. Hugo avait toujours une allure extraordinaire. Son père travaillait à la poste. Je n’aurais jamais pensé qu’il s’intéresserait à moi. J’étais beaucoup plus naïf, issu d’une famille très stricte. Je n’avais presque rien vu du monde, alors que lui était si cultivé et expérimenté.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eAu début, il avait une petite amie un peu plus âgée qui travaillait comme « entraîneuse » dans des bars. Je me souviens aussi que, lors de notre première année, en 1970-1971, ils ont fait un voyage au Tibet, en Afghanistan et au Pakistan. Ils ont voyagé par voie terrestre, ce qui était très dangereux à l’époque. Et ils sont aussi allés en Inde. À un moment donné, en deuxième année, en 1972, ils sont revenus à l’académie pieds nus !\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eJe me souviens que très tôt, probablement dès sa deuxième année à l’académie, il a reçu de l’argent de ses parents pour acheter un véritable appareil photo, ce qui était très coûteux à l’époque. Mais sa mère payait tout ; elle travaillait uniquement pour ses garçons. Je sais qu’il était très précis avec ses photos, et il a probablement pris ses premières images lors de son voyage en Inde.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eIl était un grand admirateur de la photographie de Diane Arbus. À un certain moment, il a commencé à créer des œuvres très grandes, appliquant le révélateur avec des éponges et d’autres outils non conventionnels. Il expérimentait toujours avec la photographie de différentes manières et ne se souciait absolument pas du cadrage. Je me souviens qu’il avait eu une très belle exposition de ses photographies à l’I.C.C. Il aimait aussi imprimer ses photos sur un papier presque semblable à des affiches, qu’il accrochait simplement avec des punaises. Avant cela, il les montait sur de petits « cartons » qu’il fabriquait lui-même. Cela reflétait l’atmosphère artistique de l’époque. Nous étions tous très enthousiastes à propos de son travail.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eQuand j’ai rencontré Hugo, il se photographiait déjà habillé en femme, en maillot de bain. C’était vers 1972. C’était influencé par le carnaval d’Alost, mais en même temps, c’était dans l’air du temps : les stars de la musique comme David Bowie, les films de Fassbinder et la Deutsche Welle. C’était l’ambiance de l’époque. Les vêtements pour les jeunes comme nous étaient aussi très unisexes. Si vous regardez les dessins que je faisais à l’époque, vous verrez beaucoup de figures à la fois masculines et féminines — ambiguës et non clairement définies. C’était un reflet de l’époque, façonné par l’influence de la Factory d’Andy Warhol dans les années 60. Des choses similaires se passaient à Berlin, et peut-être encore plus à Cologne.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eHugo embrassait parfois des garçons et avait des amis avec qui il expérimentait. Ce qui était beau dans les années 70, c’est que tout était expérimental, vous voyez ? L’expérimentation s’étendait aussi aux relations, aussi bien avec les filles qu’avec les garçons. Il ne voulait pas que les choses aillent trop bien trop longtemps. C’est aussi pourquoi j’ai eu beaucoup de mal au bout d’un moment — le mode de vie et l’alcool sont devenus trop pour moi, et je suis tombé malade. J’aimais lire au lit, mais lui voulait toujours que je l’accompagne dans les cafés et les bars. Nous sortions tous les soirs.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eSur le plan artistique, beaucoup de choses se passaient sous l’influence de ce que Roger D’Ondt exposait à la New Reform Gallery à Alost. Des artistes de Pologne, de Tchécoslovaquie et de Hongrie y étaient souvent exposés, souvent à travers de petites interventions photographiques. C’était du Fluxus, mais aussi quelque chose entre l’art et les multiples. Les gens étaient pauvres — nous étions aussi pauvres — donc il ne s’agissait pas d’un art grandiose et monumental. C’était toujours des choses simples, de petits gestes. Mais ces choses étaient toujours faites avec beaucoup de soin et de beauté. En ce sens, c’était en réalité une très belle période. Roger D’Ondt a eu une grande influence par les œuvres qu’il nous montrait. Par exemple, les actionnistes viennois n’étaient pas exposés dans les musées en Belgique. Leur travail était très avant-gardiste et les gens le trouvaient dérangeant.\u003c/p\u003e\u003cp style=\"margin-left:0cm;\"\u003eHugo a acheté une caméra 16 mm sur le marché noir — c’était tout juste abordable à l’époque. Nous avions prévu de faire un film à Alost, dans le jardin de sa maison familiale. Son ami, l’acteur Jo Corthals, devait en être la vedette principale. Hugo avait besoin de beaucoup de fumée, alors j’ai dû brûler des tas de feuilles toute la journée pour la produire. Le film était tourné image par image, et c’était aussi mon rôle d’appliquer du maquillage en nuances évolutives sur le visage de Jo. Le tournage a duré toute la journée. Quand la nuit est tombée, Hugo a réalisé qu’il avait oublié d’insérer la pellicule dans la caméra. C’était typique de lui : il ne voulait pas recommencer le lendemain. Pour moi, ce n’était pas une bonne chose pour un artiste. Souvent, sa façon de penser ne me semblait pas juste, et sa tendance à s’attacher trop au négatif lui faisait du tort à ce moment-là.\u003cstrong\u003e»\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003c/blockquote\u003e\u003cp style=\"margin-left:0cm;text-align:right;\"\u003e\u003cstrong\u003eEntretien avec Anne-Mie Van Kerckhoven (fragments), artiste, réalisé par Joanna Zielińska en 2024.\u003c/strong\u003e\u003c/p\u003e"}]},{"id":14110,"title":"Hugo Roelandt: Getuigenissen","dimensions":"","date_begin":"2016-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":155,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"hugo-roelandt-getuigenissen","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/316/medium_500/8690_image0012.jpg?1465812534","cached_actor_names":"Hugo Roelandt, Marc Holthof, Anne-Mie Van Kerckhoven / AMVK, Roger D' Hondt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/316/large/8690_image0012.jpg?1465812534","poster_credits":"(c)Estate Hugo Roelandt","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eNetwerk brengt i.s.m. New Reform Archive een hommage aan performance kunstenaar Hugo Roelandt (°1950, Aalst), die op 21 juli 2015 overleed. De tentoonstelling focust op de kunstactiviteiten die hij in de jaren ’70 en ’80 realiseerde in zijn geboortestad Aalst.\u003c/p\u003e\u003cp\u003eOpeningsevent\u0026nbsp;\u003ca href=\"http://www.netwerk-art.be/nl/events/1147/creatie-van-een-stuk\"\u003eZA 23.04 2016 20:00\u003c/a\u003e\u003cbr\u003e+ re-enactment van de performance\u0026nbsp;\u003ci\u003eCreatie van een Stuk\u003c/i\u003e, 1978, door Maria Degrève en muzikanten Kwinten Callens, David De Corte en Nikolaas Van Droogenbroeck.\u003cbr\u003e+ getuigenissen van Roger D’Hondt , Marc Holthof en Anne-Mie Van Kerckhoven.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":37092,"title":"(en nu…onder ons)","dimensions":"27 x 36 cm","date_begin":"1976-01-01","material":"Chinese ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy: AMVK en dépendence","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"en-nu-onder-ons","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/310/medium_500/19760000I_kl.jpg?1764254187","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/310/large/19760000I_kl.jpg?1764254187","poster_credits":"© AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37093,"title":"Bijna Nieuwjaar","dimensions":"27 x 36 cm","date_begin":"1976-01-01","material":"Chinese ink on Steinbach paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy: AMVK en dépendence","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"bijna-nieuwjaar","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/309/medium_500/AMVK_19760000F.jpg?1764253624","cached_actor_names":"Anne-Mie Van Kerckhoven / AMVK","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/309/large/AMVK_19760000F.jpg?1764253624","poster_credits":"© AMVK","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]