[{"id":4840,"title":"870 petites images coupées","dimensions":"116 x 89 cm","date_begin":"2004-01-01","material":"silver gelatine print","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007623","stream_count_app":14,"permalink":"petites-images-coupees","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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":"Hicham Benohoud","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/000/033/597/large/Athene_Addiers_part1_422.JPG?1477657026","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eThe photos of Hicham Benohoud originate in a reserve against the Islamic traditions, culture, power and society. His work is both staged and documentary and touches both the tragic, playful and absurd. He uses the body, often his own body, in order to develop a reflection about identity, individuality, freedom and integrity. Values that are often threatened by social and cultural constraints. An example can be found in the work \u003ci\u003ePetites images coupées\u003c/i\u003e, 2004. Through the repetition of the same portrait he reduces the image of man to an object. The work is a mysterious picture of cover and display, decoration and defamation, humanity and alienation.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe foto's van Hicham Benohoud vinden hun oorsprong in een reserve\u0026nbsp;tegenover de Islamitische tradities, cultuur,\u0026nbsp;macht en maatschappij. Zijn werk is zowel geënsceneerd als documentair en raakt zowel aan het tragische, het speelse en het absurde. Hij gebruikt het lichaam, vaak zijn eigen lichaam, om een ​​reflectie te ontwikkelen over\u0026nbsp;identiteit, individualiteit,\u0026nbsp;vrijheid en integriteit. Deze waarden worden vaak bedreigd\u0026nbsp;door sociale en culturele beperkingen. Een voorbeeld hiervan vinden we in het werk \u003ci\u003ePetites images coupées\u003c/i\u003e, 2004. Door de herhaling van steeds eenzelfde portret herleidt hij het beeld van de mens tot object. Het werk is een mysterieus beeld van bedekken en tonen, versieren en ontsieren, menselijkheid en vervreemding.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":4842,"title":"Untitled  [from the series  'Version soft']","dimensions":"60 x 80 cm","date_begin":"2003-01-01","material":"silver gelatine print","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007622","stream_count_app":36,"permalink":"version-soft","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003eΗ σειρά \u003ci\u003eVersion soft\u003c/i\u003e (2004) περιλαμβάνει φωτογραφικές αυτοπροσωπογραφίες του Μπενοχούντ που παρουσιάζουν το γυμνό σώμα του καλλιτέχνη παγιδευμένο σε κλωστές, νήματα και ταινίες. Οι φωτογραφίες του Μπενοχούντ είναι ταυτόχρονα σκηνοθετημένες αλλά και έργα τεκμηρίωσης. Δείχνουν πώς το σουρεαλιστικό στοιχείο ενυπάρχει στο καθημερινό και πώς μικρές αναπαραστάσεις του παραλόγου μπορούν να διαπεράσουν το παραπέτασμα «ομαλότητας» που συνήθως κρατά στο σκοτάδι τις δημιουργικές φιλοδοξίες των ανθρώπων.\u003c/p\u003e","short_description_du":"","short_description_fr":"","short_description_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":"Hicham Benohoud","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/000/008/561/large/Benohoud__Hicham__Version_Soft__2003-2007_collectie_M_HKA.jpg?1334235649","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eVersion soft\u003c/i\u003e\u0026nbsp;is a series of photographic self-portraits by Hicham Benohoud, in which his naked body ensnared in various threads and yarns and tapes. Benohoud’s photographs are both staged and documentary. They show how the surreal can be embedded in the everyday and how little enactments of the absurd can tear holes in the fabric of ‘normalcy’ that usually keeps people’s creative ambitions under wrap.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eVersion soft\u003c/i\u003e\u0026nbsp;is een reeks van fotografische zelfportretten van Hicham Benohoud. De foto's tonen zijn naakte lichaam dat verstrikt is in allerlei draden, garens en banden. De foto's van Benohoud zijn zowel geënsceneerd als documentair. Ze tonen hoe het surreële ingebed kan worden in het dagelijkse leven en hoe kleine opvoeringen van het absurde gaten kunnen boren in de stof van de 'normaliteit', die meestal verstikkend is voor de creatieve ambities van mensen.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":4841,"title":"Untitled [from the series 'La salle de classe n°2']","dimensions":"60 x 80 cm","date_begin":"2000-01-01","material":"silver gelatine print","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"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":"BK007624","stream_count_app":59,"permalink":"salle-de-classe-serie-2-class-room-series-2","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003eΟ Χισάμ Μπενοχούντ είναι πιο γνωστός για τα αυστηρής δόμησης ομαδικά πορτραίτα του,\u0026nbsp; που ακολουθούν την αξιοσέβαστη παράδοση του \u003ci\u003etableau\u003c/i\u003e, έργα στα οποία ανάγει την ανθρώπινη μορφή σε αντικείμενο μεταξύ αντικειμένων, τα μέλη του σώματος απλά συστατικά στοιχεία μιας ιδιαίτερα σκηνογραφημένης σύνθεσης. Οι προσωπογραφίες των άδολων παιδιών που πρόθυμα παίρνουν τις πιο παράδοξες πόζες στη μακροχρόνια φωτογραφική σουίτα \u003ci\u003eSalle de classe \u003c/i\u003e[Αίθουσα διδασκαλίας]\u0026nbsp;κατατάσσονται στα καλύτερα δείγματα του είδους. Οι φωτογραφίες αυτές αποκτήθηκαν για την έκθεση \u003ci\u003eUNTITLED: Moussem Festival Spring 2007 \u003c/i\u003e[ΧΩΡΙΣ ΤΙΤΛΟ: Φεστιβάλ Moussem, Άνοιξη 2007].\u003c/p\u003e","short_description_du":"","short_description_fr":"","short_description_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":"Hicham Benohoud","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/000/008/558/large/Benohoud__Hicham_Salle_de_classe_2000_2002_2.jpg?1334235428","poster_credits":"(c)image: Hicham Benohoud, M HKA","translations":[{"locale":"en","description":"\u003cp\u003eHicham Benohoud is best known for his minutely composed group portraits in the hallowed tableau tradition, in which he ’reduces’ the human form to an object among objects, our body parts mere compositional attributes of a certain scenography. The portraits of guileless schoolboys who eagerly assume the most bizarre of positions in the long-term photo suite \u003ci\u003eSalle de classe\u003c/i\u003e\u0026nbsp;rank among the genre‘s best examples. These pictures were acquired in the context of the 2007 exhibition project \u003ci\u003e'UNTITLED: Moussem Festival Spring 2007'\u003c/i\u003e.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHicham Benohoud is vooral bekend door zijn minutieus georkestreerde groepsportretten in een\u0026nbsp;tableau-traditie, waarin hij de menselijke vorm 'reduceert' tot een object in het midden van andere objecten, met onze lichaamsdelen slechts functionerend als attributen in de algehele scenografie. Een goed voorbeeld van deze stijl vormen de portretten van de fotoreeks \u003ci\u003eSalle de classe\u003c/i\u003e. In deze reeks zien we argeloze schooljongetjes enthousiast de meest bizarre poses aannemen. Hun lichamen staan slechts in dienst van de esthetische compositie van de foto's. De reeks werd verworven in de context van het tentoonstellingsproject \u003ci\u003e'UNTITLED: Moussem Festival Spring 2007'\u003c/i\u003e in het M HKA in 2007.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eHicham Benohoud est surtout connu grâce à ses portraits de groupe minutieusement orchestrés, dans une tradition de tableau, dans lesquels il ‘réduit’ la forme humaine à un objet au milieu d’autres objets, avec nos parties de corps uniquement fonctionnant en tant qu’attributs dans la scénographie générale. Les portraits de la série de photos \u003ci\u003eSalle de classe\u003c/i\u003e forment un bon exemple de ce style. Dans cette série, nous voyons des écoliers innocents prendre les poses les plus bizarres avec beaucoup d’enthousiasme. Leurs corps sont uniquement en service de la composition esthétique des photos. La série a été acquise dans le contexte du projet d’exposition \u003ci\u003e'UNTITLED: Moussem Festival Spring 2007'\u003c/i\u003e dans le M HKA en 2007.\u003c/p\u003e"}]}]