[{"id":9356,"title":"A God Passing","dimensions":"","date_begin":"2007-01-01","material":"DVD","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 the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"a-god-passing","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/000/020/278/large/captures_ramses_0001.jpg?1389194960","poster_credits":null,"translations":[{"locale":"en","description":"A *God Passing* documents the transfer of the statue of Ramses to the new Egyptian Museum on the Giza Plateau. Masses of people filled the streets in 2007 and gazed with awe and respect at the colossal brightly lit statue as it was transported from the city in various segments. Almost four years later, the work was used during ‘Royal Academy Live’ to look back at the events that took place in Cairo in 2007. The primary question: *“can the removal of Ramses be seen as the starting shot of the revolution in the Middle East?”* One thing is certain: via Tretiakoff’s work we become witnesses to one of the first moments at which the people were able to sense their own power while the authorities stood by powerless. In the film, moreover, the entire spectacle ends in complete chaos. \r\n\r\n"},{"locale":"nl","description":"In *A God Passing* wordt de verhuizing van het beeld van Ramses naar het nieuw Egyptisch Museum op het Gizeh-plateau gedocumenteerd. Een gigantische massa komt in 2007 op straat en kijkt vol ontzag naar het kolossale beeld dat met spots wordt verlicht en in verschillende delen de stad uit wordt gevoerd. Een kleine vier jaar later wordt er aan de hand van dit werk tijdens ‘Rijksakademie Live’ teruggeblikt op de gebeurtenissen die zich toen in Caïro hebben afgespeeld. De hoofdvraag die gesteld wordt: *“kan de verhuizing van Ramses gezien worden als eerste aanzet tot de revolutie in het Midden -Oosten?”* Eén ding is zeker. Via het werk van Tretiakoff zijn we getuige van één van de eerste momenten dat het volk zijn eigen macht heeft kunnen voelen en dat de overheid machteloos stond. Het hele schouwspel eindigt in de film overigens in complete chaos. "},{"locale":"fr","description":""}]},{"id":17585,"title":"Immolation I, II, III, IV","dimensions":"4 x (220 x 75 cm)","date_begin":"2016-01-01","material":"cigarette brunt drawings on silk paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"barok","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":30,"permalink":"immolation-i-ii-iii-iv","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/041/181/medium_500/Immolation_II.jpg?1527514732","cached_actor_names":"David Gheron Tretiakoff","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/040/219/large/Immolation_I.jpg?1527514668","poster_credits":"Courtesy of the artist","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe four-part \u003cem\u003eImmolation\u003c/em\u003e shows four Arab revolutionaries who publicly sacrifice themselves through self-immolation and in so doing herald the beginning of the Arab Spring. The lugubrious drawings were created by means of cigarette burns, a direct reference to torture and burning stakes, even if what is depicted here can be considered as the most ultimate act of resistance in the form of self-destruction.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe portraits were meticulously executed on fragile sheets of paper in large format. They present a horribly detailed image. The burning male figures, surrounded by flames, seem to be consumed by an incessant torture; the burn holes through the paper show a trajectory of scars. Tuymans points to the cynical consequence of the procedure used: \u0026lsquo;drawing these images with the glowing end of a cigarette on the very fragile structure of the rice paper creates an almost poetic beauty\u0026rsquo;. Here, Tretiakoff presents the disconnection between political religiosity and resistance. The depicted martyrs are Mohamad Bouazizi from Tunisia, Ahmad Hachem as-Sayyed from Egypt, Ahmad al-Matarneh from Jordan and Hamza Al-Khatib from Syria.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nText: Hans Willemse\u003cbr /\u003e\r\nTranslations: Michael Meert\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet vierluik \u003cem\u003eImmolation\u003c/em\u003e toont vier Arabische revolutionairen die zich publiek offeren door zelfverbranding en daarmee het begin inluiden van de Arabische Lente: Mohamad Bouazizi uit Tunesi\u0026euml;, Ahmad Hachem als-Sayyed uit Egypte, Ahmad al-Matarneh uit Jordani\u0026euml; en Hamza Al-Khatib uit Syri\u0026euml;. De lugubere tekeningen zijn ontstaan door brandgaten van rokende sigaretten, een rechtstreekse verwijzing naar foltering en brandstapels, al gaat het hier om de meest ultieme verzetsdaad in de vorm van zelfvernietiging.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe portretten werden minutieus aangebracht op kwetsbare vellen papier op groot formaat. De aanblik is akelig gedetailleerd. De ontbrande mansfiguren, omgeven door vlammen, lijken ter plekke verteerd te worden door een onophoudelijk foltering; de brandgaten doorheen het papier tonen een trac\u0026eacute; van littekens. Tuymans wijst op het cynische gevolg van het gehanteerde proced\u0026eacute;: \u003cem\u003e\u0026ldquo;Door deze beelden te tekenen met het gloeiende uiteinde van een sigaret op de zeer fragiele structuur van het rijstpapier ontstaat er een bijna po\u0026euml;tische schoonheid\u0026rdquo;.\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTekst: Hans Willemse\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe quadriptyque \u003cem\u003eImmolation\u003c/em\u003e montre quatre r\u0026eacute;volutionnaires arabes qui se sont\u0026nbsp;sacrifi\u0026eacute;s en public en s\u0026rsquo;immolant par le feu, des gestes de d\u0026eacute;sespoir qui ont amorc\u0026eacute; le Printemps arabe. Les dessins lugubres ont \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;s \u0026agrave; l\u0026rsquo;aide de trous faits par des cigarettes fumantes, une r\u0026eacute;f\u0026eacute;rence directe aux tortures et aux b\u0026ucirc;chers bien qu\u0026rsquo;il s\u0026rsquo;agisse en l\u0026rsquo;occurrence d\u0026rsquo;actes de r\u0026eacute;sistance ultime sous forme d\u0026rsquo;autodestruction.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes portraits ont \u0026eacute;t\u0026eacute; minutieusement r\u0026eacute;alis\u0026eacute;s sur de fragiles feuilles de papier en grand format. La vue est affreusement d\u0026eacute;taill\u0026eacute;e. Les visages enflamm\u0026eacute;s des hommes, entour\u0026eacute;s de flammes, semblent se consumer sur place sous une torture incessante\u0026nbsp;; les trous de br\u0026ucirc;lure \u0026agrave; travers le papier dessinent un trac\u0026eacute; de cicatrices. Tuymans attire l\u0026rsquo;attention sur la cons\u0026eacute;quence cynique du proc\u0026eacute;d\u0026eacute; utilis\u0026eacute;\u0026nbsp;: \u0026laquo;\u0026nbsp;r\u0026eacute;aliser ces dessins avec l\u0026rsquo;extr\u0026eacute;mit\u0026eacute; d\u0026rsquo;une cigarette allum\u0026eacute;e sur la structure fragile du papier de riz produit une beaut\u0026eacute; presque po\u0026eacute;tique\u0026nbsp;\u0026raquo;. Tretiakoff pr\u0026eacute;sente ici le d\u0026eacute;chirement de la religiosit\u0026eacute; politique et de la r\u0026eacute;sistance. Les martyrs qu\u0026rsquo;il montre sont Mohamed Bouazizi de Tunisie, Ahmad Hachem As-Sayyed d\u0026rsquo;\u0026Eacute;gypte, Ahmad al-Matarneh de Jordanie et Hamza Al-Khatib de Syrie.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexte: Hans Willemse\u003cbr /\u003e\r\nTraductions: Isabelle Grynberg\u003c/p\u003e\r\n"}]}]