[{"id":34215,"title":"RE: ANKER 2023","dimensions":"","date_begin":"2023-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the Artist and DMW Gallery","cached_tag_list":"in situ performance jackets","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"costumes","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/090/108/medium_500/2023_IN_SITU_Ignace_Cami_TEN_F005.jpg?1685607959","cached_actor_names":"Ignace Cami","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/000/090/108/large/2023_IN_SITU_Ignace_Cami_TEN_F005.jpg?1685607959","poster_credits":"(c)Ignace Cami, photo: M HKA, 2023","translations":[{"locale":"en","description":"\u003cp\u003eIgnace Cami\u0026rsquo;s new project RE:ANKER comprises a newly formed choir. Three songs about Antwerp and its port are sung by a group of twelve singers that are new to the Dutch language. Individually writing their own lyrics through the act of listening, they phonetically transform the original words and sounds into something new and enigmatic. Cami initiated the collaborative singing performance RE:ANKER specifically for his solo exhibition of the same name. Entwining the connective nature of singing with the alien experience of facing a foreign language, the transformative power of interpretation is harnessed.\u003c/p\u003e\r\n\r\n\u003cp\u003eAt various times during the exhibition, the choir performs in the museum room in specially designed \u003cem\u003ecostumes\u003c/em\u003e that refer to sailor cloths. The folk songs were also recorded and are available on vinyl record. One of the songs is about the giant Lange Wapper, a tormentor who, according to the numerous legends from Antwerp, can change shape and chase drunkards and adulterous husbands at night. Popularly, Lange Wapper is said to be the reason why so many small statues of the Virgin Mary have been placed on fa\u0026ccedil;ades in the centre of Antwerp \u0026mdash;since the giant cannot bear to look at her image. Indeed, the statues always appear at first floor level, at eye height with the giant.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIgnace Cami stelt een nieuw koor samen en initieert de zangperformance RE:ANKER speciaal voor zijn gelijknamige tentoonstelling in het M HKA. Een groep zangers die nieuw zijn in de Nederlandse taal zingt drie volksliederen over Antwerpen en zijn haven. Ze schrijven elk hun eigen tekst door te luisteren en de oorspronkelijke woorden en klanken fonetisch te vervormen. Zo ontstaat er iets nieuws en enigmatisch. Cami verweeft hier het verbindende aspect van samen te zingen met de bevreemdende ervaring van geconfronteerd te worden met een andere taal. Daardoor krijgt de vertolking een transformatief karakter.\u003c/p\u003e\r\n\r\n\u003cp\u003eOp verschillende momenten tijdens de tentoonstelling treedt het koor op in de museumzaal in speciaal ontworpen \u003cem\u003ekostuums\u003c/em\u003e die refereren aan kledij van zeelieden. De liederen werden ook opgenomen en zijn beschikbaar op vinylplaat. Een van de volksliederen gaat over de reus Lange Wapper, een kwelgeest die volgens de talrijke sagen uit Antwerpen van gedaante kan verwisselen en \u0026rsquo;s nachts dronkaards en overspelige echtgenoten achtervolgt. Volgens de legende zou Lange Wapper de reden zijn waarom er zoveel Mariabeeldjes op de gevels in het centrum van Antwerpen zijn aangebracht, aangezien de kwelgeest haar beeltenis niet kan verdragen. De beelden komen trouwens steeds voor ter hoogte van de eerste verdieping, op ooghoogte van de reus.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eIgnace Cami r\u0026eacute;unit un nouveau choeur avec lequel il cr\u0026eacute;e, sp\u0026eacute;cialement pour son exposition \u0026eacute;ponyme au M HKA, la performance vocale RE:ANKER. Un groupe de chanteur\u0026middot;ses, tous et toutes n\u0026eacute;ophytes en n\u0026eacute;erlandais, interpr\u0026eacute;tera trois chansons sur Anvers et son port. Chacun \u0026eacute;crit individuellement ses propres paroles \u0026agrave; travers l\u0026rsquo;\u0026eacute;coute. Par le biais d\u0026rsquo;une transcription phon\u0026eacute;tique, ils transforment les mots et les sons originaux en une pi\u0026egrave;ce vocale nouvelle et \u0026eacute;nigmatique. Cami marie l\u0026rsquo;aspect reliant du chant collectif \u0026agrave; l\u0026rsquo;exp\u0026eacute;rience ali\u0026eacute;nante de chanter dans une langue \u0026eacute;trang\u0026egrave;re, ce qui g\u0026eacute;n\u0026egrave;re un caract\u0026egrave;re transformatif.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; diff\u0026eacute;rents moments de l\u0026rsquo;exposition, le choeur se produit dans la salle du mus\u0026eacute;e. Tous et toutes sont v\u0026ecirc;tu\u0026middot;es de costumes sp\u0026eacute;cialement con\u0026ccedil;us pour l\u0026rsquo;occasion et qui font r\u0026eacute;f\u0026eacute;rence aux v\u0026ecirc;tements de marins. L\u0026rsquo;artiste a \u0026eacute;galement enregistr\u0026eacute; les chansons qui sont d\u0026eacute;sormais disponibles sur vinyle. L\u0026rsquo;une des chansons folkloriques parle du g\u0026eacute;ant Grand Wapper, un fauteur de troubles qui, selon de nombreuses l\u0026eacute;gendes anversoises, pouvait changer d\u0026rsquo;aspect la nuit et hantait les ivrognes et les maris adult\u0026egrave;res. La l\u0026eacute;gende veut aussi que le trublion craign\u0026icirc;t les statues de la Vierge et que cela explique leur pr\u0026eacute;sence innombrable sur les fa\u0026ccedil;ades du coeur historique de la ville. D\u0026rsquo;ailleurs, les statues sont toujours nich\u0026eacute;es au premier \u0026eacute;tage, soit \u0026agrave; hauteur d\u0026rsquo;yeux du g\u0026eacute;ant\u0026hellip;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":34216,"title":"Biscuit Moulds","dimensions":"variable dimensions","date_begin":"2020-01-01","material":"wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Courtesy of the Artist and DMW Gallery","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2023-01-01","reference":"","stream_count_app":52,"permalink":"speculoos","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/090/115/medium_500/2023_IN_SITU_Ignace_Cami_TEN_F048.jpg?1685612300","cached_actor_names":"Ignace Cami","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/000/090/115/large/2023_IN_SITU_Ignace_Cami_TEN_F048.jpg?1685612300","poster_credits":"(c)Ignace Cami, photo: M HKA, 2023","translations":[{"locale":"en","description":"\u003cp\u003eFor several years now, Ignace Cami has been training himself in the traditional cutting of outsized koekplanken [biscuit moulds] using text or image. Cami collaborates with local bakers who use their own, often secret, speculaas (a\u001ftypical Belgian spiced biscuit) recipe to bake biscuits. The biscuit is then displayed and offered in a mobile biscuit cart. Biscuit moulds can be traced back to a pre-Christian ritual of offerings: gradually, the offering was replaced by its image baked in biscuit.\u003c/p\u003e\r\n\r\n\u003cp\u003eFor this exhibition, Cami cut the images of three Antwerp giants into biscuit moulds: Druoon Antigoon; Pallas Athena, his wife; and Lange Wapper. According to legend, Druoon Antigoon ravaged Antwerp by demanding high tolls for passage on the River Scheldt, cutting off a hand from anyone who could not pay. Eventually, with a ruse the hero Silvio Brabo managed to cut off Antigoon\u0026rsquo;s hand and threw it into the river. This is how the city supposedly got its name, Antwerpen literally meaning hand-werpen (hand\u001fthrowing). From the 15th\u001fcentury on, giants were driven through the city in processions and circumambulations or ommegangen. The giants symbolise power and oppression. When a new monarch ruled the city, Antigoon was used as a warning of what could happen to leaders who wanted to keep the Antwerp people under oppression.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAl enkele jaren bekwaamt Ignace Cami zich in het ambachtelijk uitsnijden van buitenmaatse \u003ca href=\"https://nl.wikipedia.org/wiki/Koekplank\"\u003ekoekplanken\u003c/a\u003e met tekst of beeld. Hij werkt telkens samen met lokale bakkers die hun eigen, vaak geheime, speculaasrecept inzetten om koeken te bakken. De koek wordt dan gepresenteerd en aangeboden in een mobiele koekenkar. Koekplanken kunnen teruggevoerd worden op een prechristelijk gebruik van offergaven, waarbij in de loop der jaren het concrete offer werd vervangen door een in koek gebakken afbeelding ervan.\u003c/p\u003e\r\n\r\n\u003cp\u003eVoor deze tentoonstelling sneed Cami de afbeelding van drie reuzen (Druoon Antigoon, zijn vrouw Pallas Athena en Lange Wapper) van Antwerpen in koekenplanken. Volgens de sage teisterde Druoon Antigoon Antwerpen door hoge tol te eisen voor de doorvaart op de Schelde en iedereen die deze niet kon inlossen een hand af te hakken. Uiteindelijk slaagde de held Silvio Brabo erin met een list Antigoons hand af te hakken en in de Schelde te werpen. Zo zou de naam van de stad aan haar naam komen: \u0026ldquo;hand-werpen\u0026rdquo;. Vanaf de 15de eeuw werden reuzen in Ommegangen en stoeten door de stad gereden. Ze staan symbool voor macht en onderdrukking. Als er een nieuwe vorst over de stad heerste, werd Antigoon opgevoerd als waarschuwing voor wat er kon gebeuren met leiders die de Antwerpenaren te strak onder de knoet wilden houden\u0026hellip;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDepuis plusieurs ann\u0026eacute;es, Ignace Cami se perfectionne dans la sculpture artisanale de planches de biscuits surdimensionn\u0026eacute;es dans lesquelles il ajoute des textes ou des images. Il travaille chaque fois avec des boulangers locaux qui ont leur propre recette de sp\u0026eacute;culoos, souvent secr\u0026egrave;te. Le biscuit est ensuite pr\u0026eacute;sent\u0026eacute; et offert dans une charrette \u0026agrave; biscuits mobile. Les planches \u0026agrave; biscuits remontent \u0026agrave; l\u0026rsquo;usage pr\u0026eacute;chr\u0026eacute;tien\u0026nbsp;de l\u0026rsquo;offrande. Au fil du temps, on a remplac\u0026eacute; la v\u0026eacute;ritable offrande par une effigie en p\u0026acirc;te \u0026agrave; biscuits.\u003c/p\u003e\r\n\r\n\u003cp\u003ePour cette exposition, Cami a taill\u0026eacute; dans la planche l\u0026rsquo;image de trois g\u0026eacute;ants anversois\u0026nbsp;: Druon Antigone, Pallas Ath\u0026eacute;na et Grand Wapper. Selon la l\u0026eacute;gende, Druon Antigone tourmentait Anvers en exigeant un p\u0026eacute;age important pour tout passage sur l\u0026rsquo;Escaut et tranchait une main \u0026agrave; quiconque ne pouvait pas le payer. Finalement, le h\u0026eacute;ros Silvius Brabo r\u0026eacute;ussit par une ruse \u0026agrave; couper la main d\u0026rsquo;Antigone et \u0026agrave; la jeter dans l\u0026rsquo;Escaut. Le nom de la ville, Antwerpen, serait tir\u0026eacute; de cette l\u0026eacute;gende\u0026nbsp;: \u003cem\u003ehand werpen\u003c/em\u003e ou \u0026laquo;\u0026nbsp;lancer de la main\u0026nbsp;\u0026raquo;. Pallas Ath\u0026eacute;na \u0026eacute;tait l\u0026rsquo;\u0026eacute;pouse de Druon Antigone. \u0026Agrave; partir du XV\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle, lors des processions, et en particulier lors de celle de l\u0026rsquo;Ommegang, on faisait d\u0026eacute;filer des g\u0026eacute;ants \u0026agrave; travers la ville. Ils symbolisaient le pouvoir et l\u0026rsquo;oppression. D\u0026egrave;s qu\u0026rsquo;un nouveau souverain r\u0026eacute;gnait sur la ville, Druon Antigone \u0026eacute;tait mis en sc\u0026egrave;ne en guise d\u0026rsquo;avertissement de ce qui pourrait arriver \u0026agrave; un dirigeant qui tiendrait les Anversois sous un joug trop \u0026eacute;crasant\u0026hellip;\u003c/p\u003e\r\n"}]},{"id":34217,"title":"I’ll explain everything to the geese","dimensions":"","date_begin":"2022-01-01","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 and DMW Gallery","cached_tag_list":"table","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"table-d3566297-63d7-49a9-8832-6072ec89470e","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/090/112/medium_500/2023_IN_SITU_Ignace_Cami_TEN_F002.jpg?1685610289","cached_actor_names":"Ignace Cami","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/000/090/112/large/2023_IN_SITU_Ignace_Cami_TEN_F002.jpg?1685610289","poster_credits":"(c)Ignace Cami, photo: M HKA, 2023","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eI\u0026rsquo;ll explain everything to the geese\u003c/em\u003e is based on the old folk tradition of goose riding, which is still practiced today in various Antwerp polder villages. During a competition, one by one horse riders from various local goose associations ride under a goose that is hung upside down. The aim is to be the first to separate the goose\u0026rsquo;s head from its body, and the winner may call him- or herself king or queen of the association for a year. Originally, live geese were used, but today dead or artificial ones are used. I\u0026rsquo;ll explain everything to the geese consists of ceramic goose heads chained to glasses. The work can be activated in the form of a reception.\u0026nbsp;Guests are offered drinks and in return must take care of the object attached to their glass. All the goose heads look similar, but each is handmade and unique. The repetition of the same objects and actions gives the whole a ritual character. In carrying the same \u0026lsquo;burden\u0026rsquo;, people are unwittingly bound to each other. I\u0026rsquo;ll\u001fexplain everything to the geese questions the attraction and emotional charge of belonging to a community. Cami asks if folk traditions should continue to exist in the same form, or whether alternatives and deviations are possible.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet werk \u003cem\u003eI\u0026rsquo;ll explain everything to the geese\u003c/em\u003e is gebaseerd op de oude volkstraditie van het \u003ca href=\"https://historiesvzw.be/ritueel/gansrijden/\"\u003egansrijden\u003c/a\u003e die tot op vandaag in verschillende Antwerpse polderdorpen wordt beoefend. Ruiters van verschillende lokale gansverenigingen rijden tijdens de wedstrijd te paard \u0026eacute;\u0026eacute;n voor \u0026eacute;\u0026eacute;n onder een ondersteboven gehangen gans door. De bedoeling is om als eerste de kop van de gans te scheiden van het lijf. De winnaar mag zich een jaar lang koning van de vereniging noemen. Oorspronkelijk werden er levende ganzen gebruikt, tegenwoordig gaat het om dode ganzen of kunstganzen. \u003cem\u003eI\u0026rsquo;ll explain everything to the geese \u003c/em\u003ebestaat uit keramieken ganzenkoppen die aan glazen zijn vastgeketend. De installatie kan geactiveerd worden in de vorm van een receptie. De gasten krijgen drank aangeboden en moeten in ruil daarvoor zorg dragen voor het delicate voorwerp aan hun glas. De ganzenkoppen lijken op elkaar, maar zijn allemaal handgemaakt en uniek. Door de herhaling van dezelfde voorwerpen en handelingen krijgt het geheel een ritueel karakter. Mensen zijn ongewild met elkaar verbonden door het dragen van dezelfde last. Het werk bevraagt de aantrekkingskracht en de beladenheid van het behoren tot een gemeenschap. Zoals dat bij het gansrijden op een figuurlijke manier gebeurt, wordt de gans hier letterlijk geobjectiveerd. Ignace Cami vraagt zich af of volkstradities steeds in dezelfde vorm moeten blijven bestaan, of dat er alternatieven mogelijk zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eI\u0026rsquo;ll explain everything to the geese\u003c/em\u003e s\u0026rsquo;inspire d\u0026rsquo;une ancienne tradition populaire du jeu de l\u0026rsquo;oie, ou tir \u0026agrave; l\u0026rsquo;oie, qui se pratique encore \u0026agrave; ce jour dans certains villages des polders anversois. Lors de la comp\u0026eacute;tition, les cavaliers de diff\u0026eacute;rentes associations locales passent l\u0026rsquo;un apr\u0026egrave;s l\u0026rsquo;autre sous une oie suspendue par les pattes \u0026agrave; une corde tendue entre deux perches. Le but du jeu est d\u0026rsquo;\u0026ecirc;tre le premier \u0026agrave; arracher la t\u0026ecirc;te de l\u0026rsquo;oie tout en \u0026eacute;tant juch\u0026eacute; sur son cheval. Le vainqueur est le roi de l\u0026rsquo;association pendant un an. \u0026Agrave; l\u0026rsquo;origine, les oies \u0026eacute;taient vivantes, aujourd\u0026rsquo;hui elles sont mortes ou artificielles. \u003cem\u003eI\u0026rsquo;ll explain everything to the geese\u003c/em\u003e se compose de t\u0026ecirc;tes d\u0026rsquo;oies en c\u0026eacute;ramique encha\u0026icirc;n\u0026eacute;es \u0026agrave; des verres. L\u0026rsquo;installation peut \u0026ecirc;tre activ\u0026eacute;e sous forme de r\u0026eacute;ception\u0026nbsp;: les convives se voient offrir des boissons et en \u0026eacute;change, ils doivent prendre soin de l\u0026rsquo;objet d\u0026eacute;licat attach\u0026eacute; \u0026agrave; leur verre. Les t\u0026ecirc;tes d\u0026rsquo;oie se ressemblent, mais elles sont toutes r\u0026eacute;alis\u0026eacute;es de mani\u0026egrave;re artisanale et sont donc toutes des pi\u0026egrave;ces uniques. La r\u0026eacute;p\u0026eacute;tition des m\u0026ecirc;mes objets et des m\u0026ecirc;mes actions conf\u0026egrave;re \u0026agrave; l\u0026rsquo;ensemble un caract\u0026egrave;re rituel. Involontairement, les participant\u0026middot;es sont reli\u0026eacute;s par le fait de porter le m\u0026ecirc;me objet. L\u0026rsquo;\u0026oelig;uvre interroge le caract\u0026egrave;re attrayant et pesant de l\u0026rsquo;appartenance \u0026agrave; une communaut\u0026eacute;. \u0026Agrave; l\u0026rsquo;instar du sens figur\u0026eacute; que l\u0026rsquo;oie adopte dans le jeu de l\u0026rsquo;oie, celle-ci est r\u0026eacute;ifi\u0026eacute;e de mani\u0026egrave;re litt\u0026eacute;rale dans cette \u0026oelig;uvre. Ignace Cami s\u0026rsquo;interroge sur la n\u0026eacute;cessit\u0026eacute; du maintien perp\u0026eacute;tuel des traditions populaires sous la m\u0026ecirc;me forme ou la possibilit\u0026eacute; d\u0026rsquo;alternatives.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":34218,"title":"RE: ANKER","dimensions":"","date_begin":"2023-01-01","material":"","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":"","cached_tag_list":"vinyl record","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"vinyl","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/090/102/medium_500/2023_IN_SITU_Ignace_Cami_TEN_F081.jpg?1685607152","cached_actor_names":"Ignace Cami","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/000/090/102/large/2023_IN_SITU_Ignace_Cami_TEN_F081.jpg?1685607152","poster_credits":"(c)Ignace Cami, photo: M HKA, 2023","translations":[{"locale":"en","description":"\u003cp\u003eIgnace Cami\u0026rsquo;s new project of the same name,\u0026nbsp;\u003cem\u003eRE:ANKER\u003c/em\u003e\u0026nbsp;(2023), comprising a newly formed choir. Three songs about Antwerp and its port are sung by a group of twelve singers that are new to the Dutch language. Individually writing their own lyrics through the act of listening, they phonetically transform the original words and sounds into something new and enigmatic. Cami initiated the collaborative singing performance\u0026nbsp;\u003cem\u003eRE:ANKER\u003c/em\u003e\u0026nbsp;specifically for his solo exhibition of the same name at M\u0026nbsp;HKA. Entwining the connective nature of singing with the alien experience of facing a foreign language, the transformative power of interpretation is harnessed. After just four rehearsals, these newly transformed versions were recorded.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eChoir:\u003c/p\u003e\r\n\r\n\u003cp\u003eMohammed Al-Romaithy\u003c/p\u003e\r\n\r\n\u003cp\u003eSonny Burga\u003c/p\u003e\r\n\r\n\u003cp\u003eSilva Chilingaryan\u003c/p\u003e\r\n\r\n\u003cp\u003eAlmagul Imans\u003c/p\u003e\r\n\r\n\u003cp\u003eZackary Kear\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eJos\u0026eacute;e In\u0026egrave;s \u003c/em\u003eMpundu\u003c/p\u003e\r\n\r\n\u003cp\u003eRen\u0026eacute; Penda\u003c/p\u003e\r\n\r\n\u003cp\u003eAndrea Elisa Caixeta Reimberg\u003c/p\u003e\r\n\r\n\u003cp\u003eMinh Thao Tran\u003c/p\u003e\r\n\r\n\u003cp\u003eMarina Tsaran\u003c/p\u003e\r\n\r\n\u003cp\u003eMiguel Vasconcelos\u003c/p\u003e\r\n\r\n\u003cp\u003eFithriana Nur Yusup\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eMusical support: Elisabeth Alders\u003c/p\u003e\r\n\r\n\u003cp\u003eProducer: Lode Geens\u003c/p\u003e\r\n\r\n\u003cp\u003eDesign: Pauline Scharmann\u003c/p\u003e\r\n\r\n\u003cp\u003eRecording: J\u0026eacute;r\u0026eacute;my Michel\u003c/p\u003e\r\n\r\n\u003cp\u003ePressing: Deep Grooves\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eRE:ANKER\u003c/em\u003e\u0026nbsp;(2023), Ignace Cami\u0026#39;s nieuwe, gelijknamige project, is een pas opgericht koor. Twaalf zangers, stuk voor stuk \u0026#39;nieuwkomers\u0026#39; in het Nederlands, zingen drie volksliedjes over Antwerpen en zijn haven. Ze luisteren naar de liedjes en schrijven hun eigen teksten op basis van wat ze horen. Via deze puur fonetische transcriptie transformeren ze de originele woorden en klanken tot iets nieuws en raadselachtigs.\u0026nbsp;Ignace Cami initieerde de gezamenlijke zangperformance\u0026nbsp;\u003cem\u003eRE:ANKER\u003c/em\u003e\u0026nbsp;speciaal voor zijn gelijknamige solotentoonstelling in het M\u0026nbsp;HKA. Hij gebruikt de transformerende kracht van vertolking door de verbindende aard van het zingen te verweven met de vreemde ervaring geconfronteerd te worden met een andere taal.De nieuwe, getransformeerde versies van de volksliedjes werden opgenomen na slechts vier repetities.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe nouveau projet du m\u0026ecirc;me nom d\u0026rsquo;Ignace Cami,\u0026nbsp;\u003cem\u003eRE:ANKER\u003c/em\u003e\u0026nbsp;(2023), se compose d\u0026rsquo;un ch\u0026oelig;ur nouvellement form\u0026eacute;. Un groupe de douze chanteurs non n\u0026eacute;erlandophones interpr\u0026egrave;te trois chansons sur Anvers et son port. Chacun \u0026eacute;crit individuellement ses propres paroles \u0026agrave; travers l\u0026rsquo;\u0026eacute;coute. Par le biais d\u0026rsquo;une transcription phon\u0026eacute;tique, ils transforment les mots et les sons originaux en une pi\u0026egrave;ce vocale nouvelle et \u0026eacute;nigmatique. Cami a \u0026eacute;labor\u0026eacute; la performance chant\u0026eacute;e collaborative\u0026nbsp;\u003cem\u003eRE:ANKER\u003c/em\u003e\u0026nbsp;sp\u0026eacute;cialement pour son exposition individuelle du m\u0026ecirc;me nom au M\u0026nbsp;HKA. En mariant la nature reliante du chant \u0026agrave; l\u0026rsquo;exp\u0026eacute;rience ali\u0026eacute;nante de chanter dans une langue \u0026eacute;trang\u0026egrave;re, il stimule le pouvoir de transformation de l\u0026rsquo;interpr\u0026eacute;tation. Les nouvelles versions transform\u0026eacute;es des chansons ont \u0026eacute;t\u0026eacute; enregistr\u0026eacute;es apr\u0026egrave;s seulement quatre r\u0026eacute;p\u0026eacute;titions.\u003c/p\u003e\r\n"}]},{"id":34343,"title":"Gaai","dimensions":"","date_begin":"2012-01-01","material":"","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 DMW Gallery","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"gaai","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/090/116/medium_500/Gaai-still.jpeg?1685623367","cached_actor_names":"Ignace Cami","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/000/090/116/large/Gaai-still.jpeg?1685623367","poster_credits":"(c)still: Ignace Cami, 2023","translations":[{"locale":"en","description":"\u003cp\u003eIn this early video work, Ignace Cami portrays \u0026mdash; with a painted arm and hand \u0026mdash; a speaking jay. The bird keeps repeating: \u0026ldquo;De taal is gans het volk!\u0026rdquo; (\u0026ldquo;Language is the entire people!\u0026rdquo;). Although there is no consensus on the origin of the slogan, it has played an important role in the effort to \u0026lsquo;restore\u0026rsquo; the Dutch language in Flanders since 1830. Although one can hardly overestimate the role of language within a culture, according to Cami it is important that both are constantly evolving in order to remain relevant.\u003cbr /\u003e\r\nUntil a few years ago, in Flanders one talked about the Vlaamse gaai (Flemish Jay), although the animal is found across much of the world, as its English name, Eurasian Jay, indicates. The jay\u0026rsquo;s \u0026lsquo;Flemish\u0026rsquo; aspect is said to have originated in the Netherlands, where it was long thought that \u0026lsquo;invasive\u0026rsquo; jays came from Flanders. According to another explanation, it is based on a linguistic misunderstanding: the Old French geai flamant (flaming jay), indicating the variegated bird, being misinterpreted as geai flamand (Flemish Jay). Today, the bird is simply referred to as gaai, however isn\u0026rsquo;t this specimen \u0026mdash; that knows the language, and apparently also the history \u0026mdash; allowed to identify itself as a Flemish Jay?\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn dit vroege videowerk vertolkt Ignace Cami met beschilderde arm en hand een krassende en sprekende gaai, die steeds herhaalt: \u0026ldquo;De taal is gans het volk.\u0026rdquo; Hoewel er geen eensgezindheid is over de afkomst van de leuze \u0026ndash; Jan Frans Willems, een van de vaders van de Vlaamse Beweging, en Prudens van Duyse worden genoemd \u0026ndash; heeft ze een belangrijke rol gespeeld in het streven naar het \u0026lsquo;herstel\u0026rsquo; van het Nederlands in Vlaanderen sinds 1830. Hoewel de rol van taal binnen een cultuur moeilijk te overschatten valt, is het volgens Cami van belang dat beide voortdurend evolueren en transformeren en op die manier actueel blijven. Een protectionistische benadering van cultuur kan ervoor zorgen dat erfgoed statisch wordt en zijn relevantie verliest. Tot een aantal jaren geleden spraken we over \u003ca href=\"https://nl.wikipedia.org/wiki/Gaai\"\u003ede Vlaamse gaai\u003c/a\u003e, hoewel het dier over heel Europa voorkomt. Het \u0026#39;Vlaamse\u0026#39; van de gaai zou zijn oorsprong hebben gevonden in Nederland, waar men lang dacht dat invasieve gaaien uit Vlaanderen afkomstig waren. Volgens een andere verklaring zou het om een taalkundig misverstand gaan. Het oud-Franse \u0026lsquo;geai flamant\u0026rsquo; (vlammende gaai) voor de bontgekleurde vogel zou verkeerdelijk zijn ge\u0026iuml;nterpreteerd als \u0026lsquo;geai flamand\u0026rsquo; (Vlaamse gaai). Nu wordt de vogel aangeduid met het eenvoudige gaai, maar mag dit exemplaar \u0026ndash; dat de taal, en schijnbaar ook de geschiedenis, kent \u0026ndash; zichzelf niet als Vlaamse gaai identificeren?\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans cette vid\u0026eacute;o r\u0026eacute;alis\u0026eacute;e \u0026agrave; ses d\u0026eacute;buts, Ignace Cami a la main et le bras peints et joue le r\u0026ocirc;le d\u0026rsquo;un geai qui craille, cancane et ne cesse de r\u0026eacute;p\u0026eacute;ter\u0026nbsp;: \u0026laquo;\u0026nbsp;La langue, c\u0026rsquo;est tout le peuple\u0026nbsp;\u0026raquo;. Bien que l\u0026rsquo;origine de cet adage ne fasse pas l\u0026rsquo;unanimit\u0026eacute;, il a occup\u0026eacute; une place importante dans l\u0026rsquo;aspiration \u0026agrave; restaurer la langue flamande en Flandre depuis 1830. S\u0026rsquo;il est difficile de surestimer le r\u0026ocirc;le de la langue dans une culture, Cami estime qu\u0026rsquo;il est important que les deux \u0026eacute;voluent et se transforment en permanence afin de rester actuelles. Une approche protectionniste de la culture peut rendre le patrimoine statique et lui faire perdre sa pertinence. Jusqu\u0026rsquo;\u0026agrave; il y a quelques ann\u0026eacute;es, on parlait encore du \u003cem\u003eVlaamse gaai\u003c/em\u003e ou \u0026laquo;\u0026nbsp;geai flamand\u0026nbsp;\u0026raquo;, bien que cet animal soit pr\u0026eacute;sent dans toute l\u0026rsquo;Europe. Le qualificatif de \u0026laquo;\u0026nbsp;flamand\u0026nbsp;\u0026raquo; serait originaire des Pays-Bas, o\u0026ugrave; on a longtemps pens\u0026eacute; que ce geai envahisseur venait de Flandre. Selon une autre explication, il s\u0026rsquo;agirait d\u0026rsquo;une confusion linguistique. Le \u0026laquo;\u0026nbsp;geai flamant\u0026nbsp;\u0026raquo; qui d\u0026eacute;signe un oiseau bigarr\u0026eacute; aurait \u0026eacute;t\u0026eacute; interpr\u0026eacute;t\u0026eacute; comme \u0026laquo;\u0026nbsp;geai flamand\u0026nbsp;\u0026raquo;. Aujourd\u0026rsquo;hui, l\u0026rsquo;oiseau est simplement appel\u0026eacute; geai, mais ce sp\u0026eacute;cimen, qui conna\u0026icirc;t la langue et apparemment aussi l\u0026rsquo;histoire, ne peut-il pas s\u0026rsquo;identifier au geai flamand\u0026nbsp;?\u003c/p\u003e\r\n"}]},{"id":34344,"title":"The Landscape Stares Back I","dimensions":"","date_begin":"2022-01-01","material":"","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 DMW Gallery","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"the-landscape-stares-back-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/000/090/168/medium_500/2023_IN_SITU_Ignace_Cami_TEN_F026.jpg?1686241741","cached_actor_names":"Ignace Cami","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/000/090/168/large/2023_IN_SITU_Ignace_Cami_TEN_F026.jpg?1686241741","poster_credits":"(c)Ignace Cami, photo: M HKA, 2023","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFor \u003cem\u003eThe landscape stares back\u003c/em\u003e, Ignace Cami began from landscapes he found in second-hand shops that are knotted together with wool. These are a typical examples of home craft, a local and often very intensive form of cultural production. Cami is also interested in the back of these textile works. Whereas the front depicts an idyllic, nostalgic, pre-industrial landscape, the back shows the maker\u0026rsquo;s toil and plodding. Cami cuts horned masks from the back of the landscapes. The masks refer to half-human creatures from folktales that usually express the fascinations and fears within a community. The specific characteristics of the landscape also often play an important role in the nature of the stories that arise. After scanning the back of the landscapes, the images are enlarged and screen printed on burlap with puffing ink creating a kind of trompe-l\u0026rsquo;oeil effect.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVoor \u003cem\u003eThe Landscape Stares Back I (\u0026amp; II)\u0026nbsp;\u003c/em\u003evertrekt Ignace Cami van met wol geknoopte landschappen die hij in tweedehandswinkels vond. Ze vormen een typisch voorbeeld van huisvlijt, een lokale en vaak zeer intensieve vorm van culturele productie. Cami is ook ge\u0026iuml;nteresseerd in de achterkant van deze textielwerken. Want hoewel de voorzijde een idyllisch, nostalgisch, pre-industrieel landschap uitbeeldt, toont de achterkant het zwoegen en ploeteren van de maker. Cami knipt gehoornde maskers uit de landschappen. De maskers verwijzen naar half menselijke wezens uit volksverhalen die meestal de fascinaties en angsten binnen een gemeenschap vertolken. Ook de specifieke kenmerken van het landschap spelen vaak een belangrijke rol in de aard van de verhalen die er ontstaan. Na het inscannen van de achterzijden, worden de beelden uitvergroot en gezeefdrukt op jute met puff inkt: een speciale, schuimende inkt die ervoor zorgt dat de inkt gaat zwellen. Hierdoor ontstaat er een soort trompe-l\u0026#39;oeil effect. De abstract aandoende kleurvlekken worden pas leesbaar op afstand.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003ePour \u003cem\u003eThe landscape stares back\u003c/em\u003e, Ignace Cami part de textiles artisanaux en laine repr\u0026eacute;sentant des paysages qu\u0026rsquo;il a trouv\u0026eacute;s dans des boutiques d\u0026rsquo;occasion. Ils constituent un exemple typique de travail au foyer, une forme locale et souvent tr\u0026egrave;s intensive de production culturelle. Cami s\u0026rsquo;int\u0026eacute;resse \u0026eacute;galement \u0026agrave; l\u0026rsquo;arri\u0026egrave;re de ces textiles. Car, si le recto d\u0026eacute;peint un paysage idyllique, nostalgique et pr\u0026eacute;industriel, le verso montre le labeur et la besogne de celui ou celle qui l\u0026rsquo;a produit. Dans les paysages, Cami d\u0026eacute;coupe des masques \u0026agrave; cornes en r\u0026eacute;f\u0026eacute;rence \u0026agrave; des cr\u0026eacute;atures mi-humaines issues de contes populaires, qui incarnent en g\u0026eacute;n\u0026eacute;ral les fascinations et les peurs r\u0026eacute;gnant au sein d\u0026rsquo;une communaut\u0026eacute;. Les caract\u0026eacute;ristiques sp\u0026eacute;cifiques du paysage jouent souvent un r\u0026ocirc;le important dans la nature des histoires qui y \u0026eacute;mergent. Apr\u0026egrave;s avoir scann\u0026eacute; les versos, Cami agrandit les images et les s\u0026eacute;rigraphie ensuite sur de la toile de jute \u0026agrave; l\u0026rsquo;aide d\u0026rsquo;encre bouffie (une encre sp\u0026eacute;ciale, moussante, qui gonfle et cr\u0026eacute;e ainsi du relief). Cela g\u0026eacute;n\u0026egrave;re une sorte de trompe-l\u0026rsquo;oeil. Les taches de couleur d\u0026rsquo;apparence abstraite ne deviennent lisibles qu\u0026rsquo;en les regardant \u0026agrave; distance.\u003c/p\u003e\r\n"}]},{"id":34345,"title":"The Landscape Stares Back II","dimensions":"","date_begin":"2022-01-01","material":"","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 DMW Gallery","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"the-landscape-stares-back-ii","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/090/169/medium_500/2023_IN_SITU_Ignace_Cami_TEN_F027.jpg?1686241834","cached_actor_names":"Ignace Cami","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/000/090/169/large/2023_IN_SITU_Ignace_Cami_TEN_F027.jpg?1686241834","poster_credits":"(c)Ignace Cami, photo: M HKA, 2023","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFor \u003cem\u003eThe landscape stares back\u003c/em\u003e, Ignace Cami began from landscapes he found in second-hand shops that are knotted together with wool. These are a typical examples of home craft, a local and often very intensive form of cultural production. Cami is also interested in the back of these textile works. Whereas the front depicts an idyllic, nostalgic, pre-industrial landscape, the back shows the maker\u0026rsquo;s toil and plodding. Cami cuts horned masks from the back of the landscapes. The masks refer to half-human creatures from folktales that usually express the fascinations and fears within a community. The specific characteristics of the landscape also often play an important role in the nature of the stories that arise. After scanning the back of the landscapes, the images are enlarged and screen printed on burlap with puffing ink creating a kind of trompe-l\u0026rsquo;oeil effect.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoor \u003cem\u003eThe Landscape Stares Back I (\u0026amp; II)\u0026nbsp;\u003c/em\u003evertrekt Ignace Cami van met wol geknoopte landschappen die hij in tweedehandswinkels vond. Ze vormen een typisch voorbeeld van huisvlijt, een lokale en vaak zeer intensieve vorm van culturele productie. Cami is ook ge\u0026iuml;nteresseerd in de achterkant van deze textielwerken. Want hoewel de voorzijde een idyllisch, nostalgisch, pre-industrieel landschap uitbeeldt, toont de achterkant het zwoegen en ploeteren van de maker. Cami knipt gehoornde maskers uit de landschappen. De maskers verwijzen naar half menselijke wezens uit volksverhalen die meestal de fascinaties en angsten binnen een gemeenschap vertolken. Ook de specifieke kenmerken van het landschap spelen vaak een belangrijke rol in de aard van de verhalen die er ontstaan. Na het inscannen van de achterzijden, worden de beelden uitvergroot en gezeefdrukt op jute met puff inkt: een speciale, schuimende inkt die ervoor zorgt dat de inkt gaat zwellen. Hierdoor ontstaat er een soort trompe-l\u0026#39;oeil effect. De abstract aandoende kleurvlekken worden pas leesbaar op afstand.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003ePour \u003cem\u003eThe landscape stares back\u003c/em\u003e, Ignace Cami part de textiles artisanaux en laine repr\u0026eacute;sentant des paysages qu\u0026rsquo;il a trouv\u0026eacute;s dans des boutiques d\u0026rsquo;occasion. Ils constituent un exemple typique de travail au foyer, une forme locale et souvent tr\u0026egrave;s intensive de production culturelle. Cami s\u0026rsquo;int\u0026eacute;resse \u0026eacute;galement \u0026agrave; l\u0026rsquo;arri\u0026egrave;re de ces textiles. Car, si le recto d\u0026eacute;peint un paysage idyllique, nostalgique et pr\u0026eacute;industriel, le verso montre le labeur et la besogne de celui ou celle qui l\u0026rsquo;a produit. Dans les paysages, Cami d\u0026eacute;coupe des masques \u0026agrave; cornes en r\u0026eacute;f\u0026eacute;rence \u0026agrave; des cr\u0026eacute;atures mi-humaines issues de contes populaires, qui incarnent en g\u0026eacute;n\u0026eacute;ral les fascinations et les peurs r\u0026eacute;gnant au sein d\u0026rsquo;une communaut\u0026eacute;. Les caract\u0026eacute;ristiques sp\u0026eacute;cifiques du paysage jouent souvent un r\u0026ocirc;le important dans la nature des histoires qui y \u0026eacute;mergent. Apr\u0026egrave;s avoir scann\u0026eacute; les versos, Cami agrandit les images et les s\u0026eacute;rigraphie ensuite sur de la toile de jute \u0026agrave; l\u0026rsquo;aide d\u0026rsquo;encre bouffie (une encre sp\u0026eacute;ciale, moussante, qui gonfle et cr\u0026eacute;e ainsi du relief). Cela g\u0026eacute;n\u0026egrave;re une sorte de trompe-l\u0026rsquo;oeil. Les taches de couleur d\u0026rsquo;apparence abstraite ne deviennent lisibles qu\u0026rsquo;en les regardant \u0026agrave; distance.\u003c/p\u003e\r\n"}]},{"id":35917,"title":"Koek voor Ninove","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Stad Antwerpen, in langdurige bruikleen in M HKA","cached_tag_list":"stadscollectie city collection","publishing_process_id":1,"annotation":"","date_end":null,"reference":"SCA0059","stream_count_app":11,"permalink":"koek-voor-ninove","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/095/227/medium_500/SCA0059_F001.jpg?1763026465","cached_actor_names":"Ignace Cami","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/000/095/227/large/SCA0059_F001.jpg?1763026465","poster_credits":"(c)Ignace Cami - photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35855,"title":"Nar","dimensions":"","date_begin":"2020-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Stad Antwerpen, in langdurige bruikleen in M HKA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"SCA0061","stream_count_app":20,"permalink":"nar","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_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/000/092/439/medium_500/SCA0061_F001.jpg?1763026512","cached_actor_names":"Ignace Cami","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/000/092/439/large/SCA0061_F001.jpg?1763026512","poster_credits":"© Ignace Cami. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIgnace Cami (b. 1986, Lier) breathes new life into old things with his practice. He toys with ‘heritage’ as a concept, questioning its place in society while creating the conditions for a contemporary application of this concept. The work \u003ci\u003eNar \u003c/i\u003ewas created as part of Cami’s research for his\u003ci\u003e Koek voor Ninove\u003c/i\u003e project, which started from a local legend. To this end, Cami created artisanally carved speculoos boards, which local bakers used to bake this local delicacy. These speculoos boards draw on the pre-Christian custom of sacrifices, where the actual offering was replaced by a baked image as time went by.\u003cbr\u003e\u003cbr\u003eIgnace Cami is represented by DMW Gallery.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eMet zijn werk blaast Ignace Cami (°1986, Lier) oude dingen nieuw leven in. Hij speelt met de notie ‘erfgoed’, en ondervraagt de plaats ervan binnen een samenleving, terwijl hij tegelijkertijd de voorwaarden schept voor een hedendaagse toepassing van het begrip. Het werk \u003ci\u003eNar\u003c/i\u003e kadert in Cami’s onderzoek voor zijn project \u003ci\u003eKoek voor Ninove\u003c/i\u003e, dat een lokale stadslegende als uitganspunt had. Cami vervaardigt hiervoor ambachtelijk uitgesneden koekplanken, waarmee lokale bakkers vervolgens speculoos bakken. Koekplanken kunnen worden teruggevoerd op een prechristelijk gebruik van offergaven, waarbij in de loop der jaren het concrete offer werd vervangen door een in koek gebakken afbeelding ervan.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eIgnace Cami wordt vertegenwoordigd door DMW Gallery.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eDans son œuvre, Ignace Cami (°1986, Lier) insuffle une nouvelle vie à des objets anciens. Il joue avec la notion de « patrimoine », s’interrogeant sur sa place dans une société tout en créant les conditions d’une application contemporaine du concept. L’œuvre \u003ci\u003eNar \u0026nbsp;\u003c/i\u003es’inscrit dans le cadre des recherches menées par Cami pour son projet \u003ci\u003eKoek voor Ninove\u003c/i\u003e, qui s’inspire d’une légende urbaine locale. À cette fin, Cami fabrique des planches à biscuits sculptées de manière artisanale, que les boulangers locaux utilisent ensuite pour cuire du spéculoos. L’origine des planches à biscuits remonte à une utilisation préchrétienne des offrandes, où, au fil du temps, l’offrande concrète a été remplacée par une image de celle-ci cuite dans du biscuit.\u003cbr\u003e\u003cbr\u003eIgnace Cami est représenté par DMW Gallery.\u003c/p\u003e"}]}]