{"id":3119,"name":"","email":"ensembles@muhka.be","language_id":1,"permalink":"edward-kienholz","deleted":false,"legal_status_id":null,"url_1":"","twitter":null,"category_id":47,"date_of_birth":"1927-01-01T00:00:00.000+00:00","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"Barok","publishing_process_id":1,"can_log_in":false,"firstname":"Edward","lastname":"Kienholz","annotation":"","url_2":"","url_3":"","cached_name":"Edward Kienholz","date_of_death":"1994-01-01T00:00:00.000+01:00","cached_name_asc":"Kienholz, Edward","stream_count_app":23,"gender":"male","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/157/large/EdwardKienholz.jpg?1527152505","poster_credits":null,"media_count":1,"items_count":2,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eIn America, \u003cstrong\u003eEdward Kienholz \u003c/strong\u003e(1927-1994) does not acquire the status he rightfully deserves during his lifetime: that of a cult artist who looks social excesses straight in the eye. In Europe, on the other hand, there has always been great interest in his installations. The strength of his work, which depicts a degraded urban reality in a hard and bold manner, receives worldwide recognition after his death.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eInitially alone, but later together with his wife Nancy, Kienholz makes confrontational installations, assemblages and environments: life-size characters in a recognisable setting and in characteristically silent poses surrounded by banal objects. Edward Kienholz is an artistic contemporary and supporter of the Beat generation. The whole of his oeuvre constitutes a ferocious commentary on racism, sexual stereotypes, poverty, greed, corruption, imperialism, patriotism, religion, alienation and \u0026ndash; above all \u0026ndash; moral hypocrisy. Nevertheless \u0026ndash; or just because of this \u0026ndash; he has, in the United States, long been seen as \u0026lsquo;\u003ci\u003ethe least known, most neglected and forgotten American artist\u003c/i\u003e\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eText: Hans Willemse\u003cbr /\u003e\r\nTranslations: Michael Meert\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eTijdens zijn leven verwerft \u003cstrong\u003eEdward Kienholz\u003c/strong\u003e (1927-1994) in Amerika niet de status die hij eigenlijk verdient: die van een cultkunstenaar die de maatschappelijke uitwassen recht in de ogen kijkt. In Europa is de belangstelling voor zijn installaties wel altijd groot geweest. De kracht van zijn werk, dat hard en brutaal een gedegradeerde stedelijke realiteit weergeeft, wordt na zijn dood wereldwijd erkend.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAanvankelijk alleen, maar later samen met zijn vrouw Nancy, maakt Kienholz confronterende installaties, assemblages en \u003ci\u003eenvironments\u003c/i\u003e: levensgrote personages in een herkenbare setting en in een karakteristieke zwijgende pose, omgeven door banale voorwerpen. Edward Kienholz is de artistieke tijdgenoot en medestander van de \u003ci\u003eBeat-generation\u003c/i\u003e. Het geheel van zijn oeuvre is een woest commentaar op racisme, seksuele stereotypen, armoede, hebzucht, corruptie, imperialisme, vaderlandsliefde, religie, vervreemding en \u0026ndash; bovenal \u0026ndash; morele hypocrisie. Desondanks \u0026ndash; of net daardoor \u0026ndash; wordt hij in de Verenigde Staten lange tijd gezien als \u003ci\u003e\u0026lsquo;The least known, most neglected and forgotten American artist\u0026rsquo;\u003c/i\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTekst: Hans Willemse\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eAu cours de sa vie,\u003cstrong\u003e Edward Kienholz\u003c/strong\u003e (1927-1994) n\u0026rsquo;a pas atteint aux \u0026Eacute;tats-Unis le statut qu\u0026rsquo;il m\u0026eacute;rite\u0026nbsp;: celui d\u0026rsquo;artiste culte qui ne recule pas devant les exc\u0026egrave;s de la soci\u0026eacute;t\u0026eacute;, mais les affronte de mani\u0026egrave;re directe. En Europe, ses installations ont toujours suscit\u0026eacute; un grand int\u0026eacute;r\u0026ecirc;t. Apr\u0026egrave;s sa mort, la puissance de son \u0026oelig;uvre, qui restitue avec duret\u0026eacute; et brutalit\u0026eacute; la r\u0026eacute;alit\u0026eacute; urbaine d\u0026eacute;grad\u0026eacute;e a enfin obtenu une reconnaissance mondiale.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eD\u0026rsquo;abord seul et plus tard avec sa femme, Nancy Reddin, Kienholz a r\u0026eacute;alis\u0026eacute; des installations, des assemblages et des environnements troublants\u0026nbsp;: des personnages grandeur nature dans un cadre reconnaissable, entour\u0026eacute;s d\u0026rsquo;objets banals et adoptant une pose silencieuse caract\u0026eacute;ristique. Edward Kienholz est un contemporain et un compagnon de route de la \u003cem\u003eb\u003c/em\u003e\u003cem\u003eeat \u003c/em\u003e\u003cem\u003egeneration\u003c/em\u003e. L\u0026rsquo;ensemble de son \u0026oelig;uvre est un commentaire f\u0026eacute;roce sur le racisme, les st\u0026eacute;r\u0026eacute;otypes sexuels, la pauvret\u0026eacute;, la cupidit\u0026eacute;, la corruption, l\u0026rsquo;imp\u0026eacute;rialisme, le patriotisme, la religion, l\u0026rsquo;ali\u0026eacute;nation et \u0026ndash; surtout \u0026ndash; l\u0026rsquo;hypocrisie morale. N\u0026eacute;anmoins, ou peut-\u0026ecirc;tre pr\u0026eacute;cis\u0026eacute;ment \u0026agrave; cause de cela \u0026ndash; on l\u0026rsquo;a longtemps consid\u0026eacute;r\u0026eacute; dans son pays comme \u0026laquo;\u0026nbsp;le moins connu, le plus ignor\u0026eacute; et le plus oubli\u0026eacute; des artistes \u0026eacute;tats-uniens\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTexte: Hans Willemse\u003cbr /\u003e\r\nTraductions: Michael Meert\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[]}