[{"id":8243,"title":"Malcom X: An Introduction","dimensions":"14 x 19 cm, 112 p, language: English, publisher: Richmond Art Gallery and Galerie Werner Whitman, ISBN: N/A","date_begin":"2008-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"artist novel","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2025/871","stream_count_app":20,"permalink":"malcom-x-an-introduction--2","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/000/018/694/large/Malcolm_X_An_Introduction_by_J.D._Salinger.jpg?1376929557","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLiterary synopsis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThis artist book is a rewriting of J.D. Salinger\u0026#39;s \u003cem\u003eSeymour: An Introduction\u003c/em\u003e with Malcolm X taking the place of the main protagonist, Seymour. The text is kept as close to Salinger\u0026#39;s original as possible however the details of the life of Seymour have been changed to refer instead to the life of Malcolm X.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRelation of the novel to the artist\u0026rsquo;s practice\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThis project took the contrast between two seemingly unrelated historical individuals, J.D. Salinger and Malcolm X, as its starting point. Dan Starling was interested in them because they both became silent at the same historical moment in early 1965: Salinger chose not to publish and became a recluse and Malcolm X was assassinated. Because they had little else in common, Starling felt that he could bring them together by using a representational style that would literally make them \u0026ldquo;look\u0026rdquo; similar. He made a series of \u0026ldquo;folk\u0026rdquo; woodcarvings, photographs, a video, and an artist book. Starling is interested in the moment in which these two individuals lived since it presents a transition between a segregated society divided along colour lines and a postmodern multicultural society.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLiteraire synopsis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDit kunstboek is een bewerking van \u003cem\u003eSeymour: An Introduction\u003c/em\u003e van J.D. Salinger, maar dan met Malcolm X in de plaats van het hoofdpersonage Seymour. De tekst blijft zo dicht mogelijk bij het origineel van Salinger, hoewel de details van het leven van Seymour vervangen zijn door details die verwijzen naar het leven van Malcolm X.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eVerhouding van de roman tot de praktijk van de kunstenaar\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDit project nam als uitgangspunt het contrast tussen twee historische figuren waar op het eerste zicht geen verband tussen is: J.D. Salinger en Malcolm X. Dan Starling raakte geboeid door hen omdat ze allebei monddood werden op hetzelfde historische moment in het begin van 1965: Salinger stopte met publiceren en koos voor een kluizenaarsleven en Malcolm X werd vermoord. Omdat ze voor de rest weinig gemeenschappelijk hadden, vond Starling dat hij ze dichter bij elkaar kon brengen door een stijl te kiezen die hen letterlijk op elkaar doet \u0026ldquo;gelijken\u0026rdquo;. Hij maakte een reeks folkloristische houtsneden, foto\u0026rsquo;s, een video en een kunstboek. Starling is ge\u0026iuml;nteresseerd in het moment waarin deze twee individuen leefden, omdat het staat voor een transitie van een gesegregeerde samenleving, verdeeld volgens huidskleur, naar een postmoderne multiculturele samenleving.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":21549,"title":"The Culture Industry and the Propaganda Factory","dimensions":"15.7 x 24 cm, 164 p, language : English, publisher : New Documents, Vancouver (Canada)/Los Angeles (USA), ISBN: 978-1-927354-16-2","date_begin":"2014-01-01","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":"Collection M HKA, Antwerp ","cached_tag_list":"artist's novel","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2030/171","stream_count_app":16,"permalink":"the-culture-industry-and-the-propaganda-factory","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/046/306/medium_500/dan_starling_The_Culture_Industry_and_the_Propaganda_Factory.jpg?1563183071","cached_actor_names":"Dan Starling","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/000/046/306/large/dan_starling_The_Culture_Industry_and_the_Propaganda_Factory.jpg?1563183071","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLiterary synopsis\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eThe Culture Industry and the Propaganda Factory\u003c/i\u003e is a rewrite of Roald Dahl\u0026rsquo;s \u003ci\u003eCharlie and the Chocolate Factory\u003c/i\u003e. Dahl suffered criticism due to his racist depiction of the workers in the chocolate factory as \u0026ldquo;pygmies from Africa\u0026rdquo; and chose to change them to \u0026ldquo;Oompa-loompas from Oompaloompaland\u0026rdquo; in the second edition. All of the original illustrations were redrawn using the techniques of drypoint and etching so that they could be altered. All of the characters were replaced with new ones and the story changed accordingly so that this edition is totally different from the original.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eRelation of the novel to the artist\u0026rsquo;s practice\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eThe Culture Industry and the Propaganda Factory\u003c/i\u003e is part of Dan Starling\u0026#39;s practice. He has used the approach of revisiting works and reimagining their outcomes as a means of investigation and have found that it often yields thought-provoking and unanticipated discoveries. His work in etching, as well as an artist book and performance, \u003ci\u003eCharlie and the Chocolate Factory and the Return of the Repressed\u003c/i\u003e, was based on rewriting the children\u0026rsquo;s book \u003ci\u003eCharlie and the Chocolate Factory \u003c/i\u003e,written by Roald Dahl in 1964. Dahl was criticized for his racist characterization of the workers in the chocolate factory as \u0026#39;pygmies from Africa\u0026#39;.\u0026nbsp;In the second edition, he chose to refer to them as the \u0026#39;Oompaloompas from Oompaloompaland\u0026#39;.\u0026nbsp;Starling\u0026nbsp;designed a project to interrogate the effect that this pacification of racism, which was considered a satisfactory compromise at the time, had on the fictional story. The artist\u0026nbsp;re-drew all of the illustrations in order to make his own character replacements in the book to ultimately produce a different version and a visual frieze, where the written text is obliterated and only imagery remains. As the final act of this metamorphosis, Starling performed the oral history of the new text, a \u0026#39;Revolting Rhyme\u0026#39;,\u0026nbsp;based on the etching frieze. The transformation of this book sought to address the inequities of the past by opening up the canon of ideas that have been under-represented and have been actively denied representation.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]