[{"id":465,"title":"Sailor's Dream [from the “Pin-Up” series]","dimensions":"125 x 70 cm","date_begin":"1996-01-01","material":"watercolour, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eInterestingly, it is the female nude, one of the canonical forms of Western art history, that occupies a central place in Marlene Dumas’ watercolours. At first glance, the watercolours from the \u003ci\u003eMD–Pin Up Series\u003c/i\u003e: \u003ci\u003eBlind Joy\u003c/i\u003e, \u003ci\u003eIndian Summer\u003c/i\u003e, \u003ci\u003eMis-Cast\u003c/i\u003e, \u003ci\u003eSailor’s Dream\u003c/i\u003e and \u003ci\u003eSlight Delight\u003c/i\u003e seem devoid of the embittered, lugubrious undertone that is characteristic of much of Dumas’ work in oil; they appear as symbols of a certain pleasure that may prove more empowering than we are willing to admit as we enter the minefield of post-feminist gender politics. However, the paintings are based on Polaroids Dumas made during a visit to a notorious Amsterdam strip club named Casa Rosso, as well as on photographs cut out of pornographic magazines.\u003c/p\u003e\u003cp\u003eNL\u003c/p\u003e\u003cp\u003eHet vrouwelijk naakt, één van de meest eerbiedwaardige, canonieke thema’s uit die schilderkunstige traditie, staat ook hier centraal. De vijf aquarellen uit de \u003ci\u003eMD–Pin Up Series\u003c/i\u003e\u0026nbsp;in de M HKA-verzameling, \u003ci\u003eBlind Joy\u003c/i\u003e, \u003ci\u003eIndian Summer\u003c/i\u003e, \u003ci\u003eMis-Cast\u003c/i\u003e, \u003ci\u003eSailor’s Dream\u003c/i\u003e\u0026nbsp;en\u003ci\u003e Slight Delight\u003c/i\u003e\u0026nbsp;(allen uit 1996) lijken op het eerste zicht de bittere bijklank te ontberen die veel van haar olieverfschilderijen ten dele karakteriseren, en staan, ogenschijnlijk althans, meer in het teken van plezier en genot. De beelden zijn gebaseerd op polaroids die Dumas maakte in de stripclub Casa Rosso in Amsterdam, en op foto’s uit diverse pornografische magazines.\u003c/p\u003e\u003cp\u003eFR\u003c/p\u003e\u003cp\u003eLe nu féminin, l’un des thèmes canoniques de l’histoire de l’art occidental, occupe une place centrale dans l’œuvre de Marlene Dumas. Ces aquarelles s’inspirent de polaroïds que Dumas a pris lors d’une visite dans un fameux club de strip-tease amstellodamois, Casa Rosso, et de photos découpées dans des magazines pornographiques. Dévoilant une certaine vulnérabilité qui peut aller de pair avec le travail du sexe, Dumas adopte les «\u0026nbsp;trucs bon marché\u0026nbsp;» qu’on utilise pour attirer l’attention masculine – des yeux qui vous regardent, des parties génitales exposées ou couvertes avec coquetterie et fausse pudeur.\u003c/p\u003e","date_end":null,"reference":"BK006911-004","stream_count_app":86,"permalink":"sailors-dream","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/000/000/989/medium_500/Marlene_Dumas__Sailors_Dream_1996_foto_Sybl._S._Pictures.jpg?1465989749","cached_actor_names":"Marlene Dumas","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/000/000/989/large/Marlene_Dumas__Sailors_Dream_1996_foto_Sybl._S._Pictures.jpg?1465989749","poster_credits":"© Marlene Dumas — image: Syb'l. S. - Pictures","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003e\"I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\" \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas uses the human figure as a point of departure to develop a visual critique of contemporary racial, sexual and social identities. The watercolours from the ‘MD–Pin Up Series’ in the M HKA collection are based on Polaroids that Dumas took in a strip club in Amsterdam, and on photographs from various pornographic magazines. The female body is depicted in her characteristic raw, expressionist style with sombre tones.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003e\"I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\" \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas neemt de menselijke figuur als uitgangspunt om een visuele kritiek te ontwikkelen op hedendaagse raciale, seksuele en sociale identiteiten. De aquarellen uit de ‘MD–Pin Up Series’ uit de M HKA-collectie zijn gebaseerd op polaroids die Dumas maakte in een stripclub in Amsterdam, en op foto’s uit diverse pornografische magazines. Het vrouwelijke lichaam wordt afgebeeld in haar kenmerkende rauwe, expressionistische stijl met sombere tinten.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003e«\u0026nbsp;J'utilise toutes les astuces qui permettent d'attirer l'attention : des yeux qui vous observent, des organes sexuels exposés ou délibérément couverts. L'attrait primitif de la reconnaissance. L'image en tant que prostituée. Vous êtes obligé de dire oui ou non.\u0026nbsp;» \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas utilise la figure humaine comme point de départ pour développer une critique visuelle des identités raciales, sexuelles et sociales contemporaines. Les aquarelles de la série « MD–Pin Up » de la collection du M HKA s’inspirent de Polaroids que Dumas a pris dans un club de strip-tease à Amsterdam, ainsi que de photographies tirées de divers magazines pornographiques. Le corps féminin y est représenté dans son style caractéristique, brut et expressionniste, aux tons sombres.\u003c/p\u003e"}]},{"id":466,"title":"Slight Delight [from the “Pin-Up” series]","dimensions":"125 x 70 cm","date_begin":"1996-01-01","material":"aquarelle, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"watercolor","publishing_process_id":1,"annotation":"\u003cp\u003eNL\u003c/p\u003e\u003cp\u003eHet vrouwelijk naakt, één van de meest eerbiedwaardige, canonieke thema’s uit die schilderkunstige traditie, staat ook hier centraal. De vijf aquarellen uit de \u003ci\u003eMD–Pin Up Series\u003c/i\u003e\u0026nbsp;in de M HKA-verzameling, \u003ci\u003eBlind Joy\u003c/i\u003e, \u003ci\u003eIndian Summer\u003c/i\u003e, \u003ci\u003eMis-Cast\u003c/i\u003e, \u003ci\u003eSailor’s Dream\u003c/i\u003e en \u003ci\u003eSlight Delight\u003c/i\u003e (allen uit 1996) lijken op het eerste zicht de bittere bijklank te ontberen die veel van haar olieverfschilderijen ten dele karakteriseren, en staan, ogenschijnlijk althans, meer in het teken van plezier en genot. De beelden zijn gebaseerd op polaroids die Dumas maakte in de stripclub Casa Rosso in Amsterdam, en op foto’s uit diverse pornografische magazines.\u003c/p\u003e\u003cp\u003eEN\u003c/p\u003e\u003cp\u003eInterestingly, it is the female nude, one of the canonical forms of Western art history, that occupies a central place in these watercolors. At first glance, the five watercolors from the \u003ci\u003eMD–Pin Up Series\u003c/i\u003e\u0026nbsp;in the collection of M HKA, \u003ci\u003eBlind Joy\u003c/i\u003e, \u003ci\u003eIndian Summer\u003c/i\u003e, \u003ci\u003eMis-Cast\u003c/i\u003e, \u003ci\u003eSailor’s Dream\u003c/i\u003e and \u003ci\u003eSlight Delight\u003c/i\u003e [all made in 1996] seem devoid of the embittered, lugubrious undertone that is characteristic of much of the artist’s work in oil; they appear as symbols of a certain pleasure that may prove more empowering than we are willing to admit as we enter the minefield of post-feminist gender politics. However, the paintings are based on Polaroids Dumas made during a visit to a notorious Amsterdam strip club named Casa Rosso, as well as on photographs cut out of pornographic magazines.\u003c/p\u003e\u003cp\u003eFR\u003c/p\u003e\u003cp\u003eLe nu féminin, l'un des thèmes les plus respectables, canoniques de la tradition picturale, occupe là encore une place centrale. Les cinq aquarelles de la \u003ci\u003eMD–Pin Up Series\u003c/i\u003e\u0026nbsp;dans la collection du M HKA, \u003ci\u003eBlind Joy\u003c/i\u003e, \u003ci\u003eIndian Summer\u003c/i\u003e, \u003ci\u003eMis-Cast\u003c/i\u003e, \u003ci\u003eSailor’s Dream\u003c/i\u003e et \u003ci\u003eSlight Delight\u003c/i\u003e (toutes de 1996) semblent dénuées de la connotation amère qui caractérise en partie beaucoup de ses peintures à l'huile et sont plutôt placées sous le signe du plaisir, apparemment du moins. Les images sont basées sur des polaroïds réalisés par Dumas au club de strip-tease Casa Rosso à Amsterdam et sur des photos tirées de divers magazines pornographiques.\u003c/p\u003e","date_end":"1996-01-01","reference":"BK006911-005","stream_count_app":101,"permalink":"slight-delight","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/000/045/942/medium_500/Dumas_SlightDelight_CC.jpg?1559834294","cached_actor_names":"Marlene Dumas","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/000/045/942/large/Dumas_SlightDelight_CC.jpg?1559834294","poster_credits":"© Marlene Dumas — image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003e\"I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\" \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas uses the human figure as a point of departure to develop a visual critique of contemporary racial, sexual and social identities. The watercolours from the ‘MD–Pin Up Series’ in the M HKA collection are based on Polaroids that Dumas took in a strip club in Amsterdam, and on photographs from various pornographic magazines. The female body is depicted in her characteristic raw, expressionist style with sombre tones.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003e\"I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\" \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas neemt de menselijke figuur als uitgangspunt om een visuele kritiek te ontwikkelen op hedendaagse raciale, seksuele en sociale identiteiten. De aquarellen uit de ‘MD–Pin Up Series’ uit de M HKA-collectie zijn gebaseerd op polaroids die Dumas maakte in een stripclub in Amsterdam, en op foto’s uit diverse pornografische magazines. Het vrouwelijke lichaam wordt afgebeeld in haar kenmerkende rauwe, expressionistische stijl met sombere tinten.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003e«\u0026nbsp;J'utilise toutes les astuces qui permettent d'attirer l'attention : des yeux qui vous observent, des organes sexuels exposés ou délibérément couverts. L'attrait primitif de la reconnaissance. L'image en tant que prostituée. Vous êtes obligé de dire oui ou non.\u0026nbsp;» \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas utilise la figure humaine comme point de départ pour développer une critique visuelle des identités raciales, sexuelles et sociales contemporaines. Les aquarelles de la série « MD–Pin Up » de la collection du M HKA s’inspirent de Polaroids que Dumas a pris dans un club de strip-tease à Amsterdam, ainsi que de photographies tirées de divers magazines pornographiques. Le corps féminin y est représenté dans son style caractéristique, brut et expressionniste, aux tons sombres.\u003c/p\u003e"}]},{"id":3842,"title":"Semite [from the portfolio ‘Eerbetoon aan Jan Hoet (map I)’]","dimensions":"35 x 45,5 cm (framed: 58 x 48 cm)","date_begin":"2004-01-01","material":"silkscreen on paper (ed. 100 + X)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp - Donated by Bart De Baere, 2008","cached_tag_list":"silkscreen","publishing_process_id":1,"annotation":"\u003cp\u003eDe zeefdruk *Semite* is de eerste uit een oplage van 10 prints die Marlene Dumas in 2004 maakte. Het is een portret van een man, afgaand op de titel afkomstig uit het Midden-Oosten. Het is een ogenschijnlijk simpel werk: buiten de ogen, neus en mond is het portret met weinig details uitgewerkt. De titel suggereert echter een meer beladen betekenis. Het woord *semiet* of *semitisch* verwijst in principe naar de bewoners van het Midden-Oosten, maar kent in de uitdrukking *anti-semitisme* tevens een associatie met het jodendom. Of deze man een jood is of een arabier, laat Dumas echter in het midden. Ze suggereert dat voor haar het verschil er niet toe doet. In haar portretten heeft Dumas aandacht voor de specifieke persoon in plaats van het algemene; ze maakt haar figuren niet tot symbolen voor een overstijgende problematiek.\u003c/p\u003e\u003cp\u003eThe silkscreen print *Semite* is the first from an edition of 10 prints that Marlene Dumas made in 2004. It is a portrait of a man, judging from the title of Middle-Eastern origin. On first view it’s a simple work: aside from eyes, nose and mouth, not many details are elaborated. In principle, the word *semite* refers to (most of) the inhabitants of the Middle-East, but in the expression *anti-semitism* the association in common parlance is usually with Jewry. As to whether this man is a Jew or an Arab, Dumas leaves open. She suggests that for her the difference does not matter. In her portraits, Dumas’ focus is on the specific individual instead of the generic; she does not make her protagonists into symbols for an overriding problematic issue.\u003c/p\u003e","date_end":null,"reference":"S0404","stream_count_app":44,"permalink":"semite","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/000/011/447/medium_500/Dumas__Marlene__Semite__2004___photo_clinckx.jpg?1343216046","cached_actor_names":"Marlene Dumas","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/000/011/447/large/Dumas__Marlene__Semite__2004___photo_clinckx.jpg?1343216046","poster_credits":"© Marlene Dumas — image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe silkscreen print \u003ci\u003eSemite\u003c/i\u003e is the first from an edition of 10 prints that Marlene Dumas made in 2004. Dumas takes the human figure as her starting point to develop a visual critique of contemporary racial, sexual and social identities. \u003ci\u003eSemite\u003c/i\u003e is a portrait of a man who, judging by the title, hails from the Middle East. In her portraits, Dumas focuses on the individual rather than the general; she does not turn her figures into symbols of broader issues.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe zeefdruk \u003ci\u003eSemite\u003c/i\u003e is de eerste uit een oplage van 10 prints die Marlene Dumas in 2004 maakte. Dumas neemt de menselijke figuur als uitgangspunt om een visuele kritiek te ontwikkelen op hedendaagse raciale, seksuele en sociale identiteiten. \u003ci\u003eSemite\u003c/i\u003e\u0026nbsp;is het portret van een man, afgaand op de titel afkomstig uit het Midden-Oosten. In haar portretten heeft Dumas aandacht voor de specifieke persoon in plaats van het algemene; ze maakt haar figuren niet tot symbolen voor een overstijgende problematiek.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eLa sérigraphie \u003ci\u003eSemite\u003c/i\u003e est la première d’une série de dix tirages réalisés par Marlene Dumas en 2004. Dumas prend la figure humaine comme point de départ pour développer une critique visuelle des identités raciales, sexuelles et sociales contemporaines. \u003ci\u003eSemite\u003c/i\u003e est le portrait d’un homme qui, à en juger par le titre, est originaire du Moyen-Orient. Dans ses portraits, Dumas s’intéresse à la personne en tant qu’individu plutôt qu’à la généralité ; elle ne fait pas de ses personnages des symboles d’une problématique plus large.\u003c/p\u003e"}]},{"id":13217,"title":"Marlene Dumas - Strips/No interviews please","dimensions":"31.2 x 22.6 cm, publisher : Stichting één op één, Amsterdam, nr. 4","date_begin":"1987-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist book","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1999/625","stream_count_app":13,"permalink":"marlene-dumas-strips-no-interviews-please","description_ru":"","description_de":"","description_es":"","description_el":"","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/000/030/206/large/artistbooks_7_29.jpg?1452871327","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13744,"title":"Marlene Dumas 'MD'","dimensions":"21 x 15.4 cm, 54 p., language : Dutch, English, Norwegian, publisher : Museum van Hedendaagse Kunst, Antwerpen, ISBN : 90-72828-08-9","date_begin":"1999-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/612","stream_count_app":7,"permalink":"marlene-dumas-md","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/000/031/369/large/__Photo_M_HKA__86.jpg?1458566456","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eForeword : Gavin Jantjes, Henie Onstad Kunstsenter (H\u0026oslash;vikodden).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Dominique van den Boogerd \u0026amp; Marlene Dumas.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition travelled to Camden Arts Centre, London \u0026amp; Henie Onstad Kunstsenter, H\u0026oslash;vikodden (Norway).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSold out!\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eForeword : Gavin Jantjes, Henie Onstad Kunstsenter (H\u0026oslash;vikodden).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Dominique van den Boogerd \u0026amp; Marlene Dumas.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition travelled to Camden Arts Centre, London \u0026amp; Henie Onstad Kunstsenter, H\u0026oslash;vikodden (Norway).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eUitverkocht!\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eForeword : Gavin Jantjes, Henie Onstad Kunstsenter (H\u0026oslash;vikodden).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Dominique van den Boogerd \u0026amp; Marlene Dumas.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition travelled to Camden Arts Centre, London \u0026amp; Henie Onstad Kunstsenter, H\u0026oslash;vikodden (Norway).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u0026Eacute;puis\u0026eacute;!\u003c/strong\u003e\u003c/p\u003e\r\n"}]},{"id":18471,"title":"INDIVIDU : DUIDING. Verboden verbindingen + Twijfelachtige verbanden (Marlene Dumas, Christine \u0026 Irene Hohenbuchler, Annemie Van Kerckhoven, Ria Pacquée)","dimensions":"42 x 29.8 cm, 31 p., language : Dutch, publisher : Koninklijk Museum voor Schone Kunsten/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1991-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;301.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Greta Van Broeckhoven.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Greta Van Broeckhoven \u0026amp; Erik Pultau.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : KMSK Koninklijk Museum voor Schone Kunsten Antwerpen \u0026amp; ICC/Internationaal Cultureel Centrum, Antwerpen (18.10. - 15.12.1991)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/985","stream_count_app":10,"permalink":"individu-duiding-verboden-verbindingen-twijfelachtige-verbanden-marlene-dumas-christine-irene-hohenbuchler-annemie-van-kerckhoven-ria-pacquee","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/000/040/166/medium_500/20180322130020626_0001.jpg?1521720257","cached_actor_names":"Ria Pacquée, Anne-Mie Van Kerckhoven, Christine \u0026 Irene Hohenbüchler, Marlene Dumas","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/000/040/166/large/20180322130020626_0001.jpg?1521720257","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18502,"title":"Magdalena (a painting needs a wall to object to)","dimensions":"200 x 100 cm","date_begin":"1995-01-01","material":"Oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection, Courtesy Zeno X Gallery","cached_tag_list":"Marlene Dumas Magdalena barok","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"magdalena-a-painting-needs-a-wall-to-object-to","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/000/040/234/medium_500/MarleneDumas_Magdalena.jpg?1522055801","cached_actor_names":"Marlene Dumas","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/000/040/234/large/MarleneDumas_Magdalena.jpg?1522055801","poster_credits":"Private collection, Courtesy Zeno X Gallery, photographer: Peter Cox","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eMarlene Dumas makes engaged portraits, infused with an oppressive unrest, and painted with a sometimes wild, hasty touch. It is no coincidence that precisely the work \u003cem\u003eMagdalena\u003c/em\u003e will be shown in the exhibition, a dark and penetrating painting of a female figure turning around. It evokes associations with both disgust and resistance. The gesture conveyed by Marlene Dumas in this work expresses both a remarkable directness, but also an extreme reticence, which functions as a shield of sorts.\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;\"\u003eMarlene Dumas maakt betrokken portretten, doortrokken van een broeierige onrust, en geschilderd met een soms wilde, haastige toets. Niet toevallig wordt in de tentoonstelling \u003cem\u003eMagdalena\u003c/em\u003e getoond, een donker en indringend schilderij van een vrouwenfiguur die zich omdraait. Het roept associaties op met zowel afkeer als verzet. De geste die Dumas in dit werk legt, is die van een opmerkelijke directheid, maar ook een extreme terughoudendheid die fungeert als een schild.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTekst: Hans Willemse\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eMarlene\u0026nbsp;Dumas r\u0026eacute;alise des portraits sombres, impr\u0026eacute;gn\u0026eacute;s d\u0026rsquo;une agitation sensuelle et orageuse, peints \u0026agrave; coups de touches rapides, voire sauvages. Ce n\u0026rsquo;est pas un hasard si l\u0026rsquo;exposition montre le tableau \u003cem\u003eMagdalena\u003c/em\u003e, une toile obscure et p\u0026eacute;n\u0026eacute;trante d\u0026rsquo;un personnage f\u0026eacute;minin qui se retourne. L\u0026rsquo;\u0026oelig;uvre \u0026eacute;voque des associations avec la r\u0026eacute;pulsion aussi bien qu\u0026rsquo;avec la r\u0026eacute;sistance. Le geste de Marlene Dumas dans ce tableau est remarquablement direct, mais en m\u0026ecirc;me temps d\u0026rsquo;une extr\u0026ecirc;me r\u0026eacute;serve qui fait office de carapace.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTexte: Hans Willemse\u003cbr /\u003e\r\nTraductions: Isabelle Grynberg\u003c/p\u003e\r\n"}]},{"id":464,"title":"Mis-Cast","dimensions":"125 x 70 cm","date_begin":"1996-01-01","material":"aquarelle, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006911-003","stream_count_app":76,"permalink":"mis-cast","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/000/045/944/medium_500/Dumas_Miscast_CC.jpg?1559834771","cached_actor_names":"Marlene Dumas","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/000/045/944/large/Dumas_Miscast_CC.jpg?1559834771","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community, image: © M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIt is the female nude, one of the canonical forms of Western art history, that occupies a central place in Marlene Dumas\u0026rsquo; works. These watercolour paintings are based on Polaroid images Dumas made during a visit to a notorious Amsterdam strip club named Casa Rosso, as well as on photographs cut out of pornographic magazines. Displaying a sense of vulnerability that can come with sex work, Dumas adopts the \u0026lsquo;cheap tricks\u0026rsquo; used to attract male attention \u0026ndash; eyes looking at you, genitalia exposed or coyly covered.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\u0026quot;\u0026nbsp;\u003c/em\u003eMarlene Dumas\u003c/p\u003e\r\n\r\n\u003cp\u003eHet vrouwelijk naakt, \u0026eacute;\u0026eacute;n van de meest eerbiedwaardige, canonieke thema\u0026rsquo;s uit die schilderkunstige traditie, staat ook hier centraal. De vijf aquarellen uit de\u0026nbsp;\u003cem\u003eMD\u0026ndash;Pin Up Series\u003c/em\u003e\u0026nbsp;in de M HKA-verzameling,\u0026nbsp;\u003cem\u003eBlind Joy\u003c/em\u003e,\u0026nbsp;\u003cem\u003eIndian Summer\u003c/em\u003e,\u0026nbsp;\u003cem\u003eMis-Cast\u003c/em\u003e,\u0026nbsp;\u003cem\u003eSailor\u0026rsquo;s Dream\u003c/em\u003e\u0026nbsp;en\u0026nbsp;\u003cem\u003eSlight Delight\u003c/em\u003e\u0026nbsp;(allen uit 1996) lijken op het eerste zicht de bittere bijklank te ontberen die veel van haar olieverfschilderijen ten dele karakteriseren, en staan, ogenschijnlijk althans, meer in het teken van plezier en genot. De beelden zijn gebaseerd op polaroids die Dumas maakte in de stripclub Casa Rosso in Amsterdam, en op foto\u0026rsquo;s uit diverse pornografische magazines.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe nu f\u0026eacute;minin, l\u0026rsquo;un des th\u0026egrave;mes canoniques de l\u0026rsquo;histoire de l\u0026rsquo;art occidental, occupe une place centrale dans l\u0026rsquo;\u0026oelig;uvre de Marlene Dumas. Ces aquarelles s\u0026rsquo;inspirent de polaro\u0026iuml;ds que Dumas a pris lors d\u0026rsquo;une visite dans un fameux club de strip-tease amstellodamois, Casa Rosso, et de photos d\u0026eacute;coup\u0026eacute;es dans des magazines pornographiques. D\u0026eacute;voilant une certaine vuln\u0026eacute;rabilit\u0026eacute; qui peut aller de pair avec le travail du sexe, Dumas adopte les \u0026laquo;\u0026nbsp;trucs bon march\u0026eacute;\u0026nbsp;\u0026raquo; qu\u0026rsquo;on utilise pour attirer l\u0026rsquo;attention masculine \u0026ndash; des yeux qui vous regardent, des parties g\u0026eacute;nitales expos\u0026eacute;es ou couvertes avec coquetterie et fausse pudeur.\u003c/p\u003e\r\n"}]},{"id":33100,"title":"The Performer (Portrait of Romana Vrede)","dimensions":"200 x 100 cm","date_begin":"2019-01-01","material":"Oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection, Courtesy Zeno X Gallery, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"the-performer-portrait-of-romana-vrede","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/000/086/765/medium_500/2022_Marlene_Dumas_photoM_HKA_clinckx.jpg?1663162956","cached_actor_names":"Marlene Dumas","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/000/086/765/large/2022_Marlene_Dumas_photoM_HKA_clinckx.jpg?1663162956","poster_credits":" © Marlen Dumas. Courtesy Zeno X Gallery, Antwerp. Photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33102,"title":"Purple Pose, Pin-Up Series","dimensions":"125 x 70 cm","date_begin":"1996-01-01","material":"Watercolour on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"purple-pose-pin-up-series","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/000/086/960/medium_500/Marlen_Dumas_Purple_Pose__Pin-Up_Series.jpg?1663248099","cached_actor_names":"Marlene Dumas","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/000/086/960/large/Marlen_Dumas_Purple_Pose__Pin-Up_Series.jpg?1663248099","poster_credits":"© Courtesy of the artist and Zeno X Gallery, Antwerp. Photo: Felix Tirry","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22591,"title":"Sacrifice (2)","dimensions":"Acrylic paint on canvas","date_begin":"2017-01-01","material":"Acrylic paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, donation of the artist ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0700","stream_count_app":18,"permalink":"sacrifice-2","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/000/086/851/medium_500/2022_Marlene_Dumas_photoM_HKA_clinckx_3.jpg?1663163277","cached_actor_names":"Marlene Dumas","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/000/086/851/large/2022_Marlene_Dumas_photoM_HKA_clinckx_3.jpg?1663163277","poster_credits":"© Marlene Dumas. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eSacrifice\u003c/em\u003e\u0026nbsp;represents a person seen from the back, who is facing a line of legs and feet. Marlene Dumas uses photographs and films as source material, alters and enlists them\u0026nbsp;for her own purposes. Dumas allows reality to resonate in painting. She starts out from reality and moves into a pictorial reality, whereby she merges intimacy, embedded humour, tragedy, experience, and acceptance. In her work, feelings, reflection and action appear to operate in concert. It is impossible to estimate the tenor of her intentions, for a painter can in the end only be read in the painting\u0026rsquo;s form. The work\u0026rsquo;s title, the way it is painted and the use of colour convey the impression of an emotional event. However, we do not know exactly what is happening. Dumas leaves ample room for interpretation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eSacrifice\u003c/em\u003e\u0026nbsp;toont een naakte vrouw op de rug gezien. Voor haar staat een rij mannen, waarvan we alleen de benen en schoenen te zien krijgen. Dit kleine werk geeft de indruk opvallend groot te zijn. De figuren zijn ruw geschilderd met zware, donkere contouren. Veel grote partijen bestaan uit slechts \u0026eacute;\u0026eacute;n grof geborstelde veeg. Het contrast tussen licht en donker is scherp, het kleurgebruik spaarzaam waardoor de eenvoudige voorstelling aan grafische kracht wint. Zoals in bijna alle werken van Dumas gaat het hier waarschijnlijk om een schilderkunstige omzetting of \u0026lsquo;vervalsing\u0026rsquo; van andermans beelden. (Dumas gebruikt foto\u0026rsquo;s en films als bronnenmateriaal.) Deze beelden worden door de kunstenares zonder pardon gestolen, vervormd en ingezet voor eigen doeleinden. De teneur van haar bedoelingen kan onmogelijk worden ingeschat omdat de intenties van een schilder uitsluitend kenbaar zijn in de vorm van het schilderij. Zowel de titel van het werk, de manier waarop het geschilderd is, als het kleurgebruik geven de indruk van een emotionele gebeurtenis. We weten echter niet wat er juist aan de hand is. Ook in dit werk laat Dumas de ruimte voor interpretatie open.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eSacrifice\u003c/i\u003e\u0026nbsp;montre une femme nue, vue de dos. Devant elle se tient une rang\u0026eacute;e d\u0026rsquo;hommes dont nous ne voyons que les jambes et les chaussures. Cette petite \u0026oelig;uvre donne l\u0026rsquo;impression d\u0026rsquo;\u0026ecirc;tre particuli\u0026egrave;rement grande. Les personnages sont peints de fa\u0026ccedil;on assez grossi\u0026egrave;re, avec des contours sombres et \u0026eacute;pais. De grandes parts se composent uniquement d\u0026rsquo;un rude coup de pinceau. Le contraste entre le clair et l\u0026rsquo;obscur est net, l\u0026rsquo;utilisation de la couleur est parcimonieuse, ce qui accentue la force graphique de cette image simple. Comme dans presque toutes les \u0026oelig;uvres de Dumas, il s\u0026rsquo;agit vraisemblablement d\u0026rsquo;une transposition ou d\u0026rsquo;une \u0026laquo;\u0026nbsp;contrefa\u0026ccedil;on\u0026nbsp;\u0026raquo; picturale d\u0026rsquo;images d\u0026rsquo;autrui (Dumas utilise des photos et des films comme mat\u0026eacute;riau source). L\u0026rsquo;artiste vole ces images sans scrupules, les d\u0026eacute;forme et les utilise \u0026agrave; ses propres fins. Il est impossible d\u0026rsquo;\u0026eacute;valuer la teneur de ses intentions, car celles-ci ne peuvent \u0026ecirc;tre manifestes que dans la forme du tableau. Aussi bien le titre de l\u0026rsquo;\u0026oelig;uvre que la mani\u0026egrave;re dont elle est peinte et la palette de couleurs donnent l\u0026rsquo;impression d\u0026rsquo;un \u0026eacute;v\u0026eacute;nement \u0026eacute;motionnel. On ne sait toutefois pas exactement ce dont il est question. Dans cette \u0026oelig;uvre, Dumas laisse une fois de plus le champ libre \u0026agrave; l\u0026rsquo;interpr\u0026eacute;tation.\u003c/p\u003e\r\n"}]},{"id":462,"title":"Blind Joy","dimensions":"125 x 70 cm","date_begin":"1996-01-01","material":"aquarel on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":1,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006911-001","stream_count_app":93,"permalink":"blind-joy","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/000/035/767/medium_500/Dumas_BlindJoy_CC.jpg?1559834371","cached_actor_names":"Marlene Dumas","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/000/035/767/large/Dumas_BlindJoy_CC.jpg?1559834371","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community, image: © M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify\"\u003e\u0026#39;\u003cem\u003eI use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no\u003c/em\u003e.\u0026#39;\u0026nbsp;- Marlene Dumas\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eInterestingly, it is the female nude, one of the canonical forms of Western art history, that occupies a central place in Marlene Dumas\u0026rsquo; watercolours. At first glance, the watercolours from the \u003cem\u003eMD\u0026ndash;Pin Up Series\u003c/em\u003e: \u003cem\u003eBlind Joy\u003c/em\u003e, \u003cem\u003eIndian Summer\u003c/em\u003e, \u003cem\u003eMis-Cast\u003c/em\u003e, \u003cem\u003eSailor\u0026rsquo;s Dream\u003c/em\u003e and \u003cem\u003eSlight Delight\u003c/em\u003e seem devoid of the embittered, lugubrious undertone that is characteristic of much of Dumas\u0026rsquo; work in oil; they appear as symbols of a certain pleasure that may prove more empowering than we are willing to admit as we enter the minefield of post-feminist gender politics. However, the paintings are based on Polaroids Dumas made during a visit to a notorious Amsterdam strip club named Casa Rosso, as well as on photographs cut out of pornographic magazines.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003e\u003cem\u003e\u0026#39;I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\u0026#39;\u0026nbsp;\u003c/em\u003e- Marlene Dumas\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eHet vrouwelijk naakt, \u0026eacute;\u0026eacute;n van de meest eerbiedwaardige, canonieke thema\u0026rsquo;s uit die schilderkunstige traditie, staat ook hier centraal. De vijf aquarellen uit de \u003cem\u003eMD\u0026ndash;Pin Up Series\u003c/em\u003e\u0026nbsp;in de M HKA-verzameling, \u003cem\u003eBlind Joy\u003c/em\u003e, \u003cem\u003eIndian Summer\u003c/em\u003e, \u003cem\u003eMis-Cast\u003c/em\u003e, \u003cem\u003eSailor\u0026rsquo;s Dream\u003c/em\u003e\u0026nbsp;en\u003cem\u003e Slight Delight\u003c/em\u003e\u0026nbsp;(allen uit 1996) lijken op het eerste zicht de bittere bijklank te ontberen die veel van haar olieverfschilderijen ten dele karakteriseren, en staan, ogenschijnlijk althans, meer in het teken van plezier en genot. De beelden zijn gebaseerd op polaroids die Dumas maakte in de stripclub Casa Rosso in Amsterdam, en op foto\u0026rsquo;s uit diverse pornografische magazines.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe nu f\u0026eacute;minin, l\u0026rsquo;un des th\u0026egrave;mes canoniques de l\u0026rsquo;histoire de l\u0026rsquo;art occidental, occupe une place centrale dans l\u0026rsquo;\u0026oelig;uvre de Marlene Dumas. Ces aquarelles s\u0026rsquo;inspirent de polaro\u0026iuml;ds que Dumas a pris lors d\u0026rsquo;une visite dans un fameux club de strip-tease amstellodamois, Casa Rosso, et de photos d\u0026eacute;coup\u0026eacute;es dans des magazines pornographiques. D\u0026eacute;voilant une certaine vuln\u0026eacute;rabilit\u0026eacute; qui peut aller de pair avec le travail du sexe, Dumas adopte les \u0026laquo;\u0026nbsp;trucs bon march\u0026eacute;\u0026nbsp;\u0026raquo; qu\u0026rsquo;on utilise pour attirer l\u0026rsquo;attention masculine \u0026ndash; des yeux qui vous regardent, des parties g\u0026eacute;nitales expos\u0026eacute;es ou couvertes avec coquetterie et fausse pudeur.\u003c/p\u003e\r\n"}]},{"id":3839,"title":"Sacrifice","dimensions":"70 x 90 cm","date_begin":"1993-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"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":"\u003cp\u003e\u003ci\u003eSacrifice\u003c/i\u003e\u0026nbsp;shows a naked woman seen from the back. Before her stands a row of men, of whom we see only their legs and shoes. This small work gives the impression of being strikingly large. The figures are roughly painted with heavy, dark contours. Many large parts consist of but a single, large brushed sweep. The contrast between light and dark is sharp, the use of color is frugal, which lends graphic weight to the simple depiction. As with nearly all of Dumas’s works, here we are probably also presented with a painterly conversion or ‘forgery’ of someone else’s images. (Dumas uses photographs and films as source material.) These images are ‘stolen’ by the artist, distorted and recruited for her own purposes. It's impossible to estimate the tenor of her intentions, for a painter can only be read in the painting’s form. Both the title of the work, the way in which it is painted, and the use of color give the impression of an emotional event. However, we don't know exactly what is happening. In this work, too, Dumas leaves ample room for interpretation.\u003c/p\u003e\u003cp\u003e\u003ci\u003eSacrifice stellt eine Person in der Rückenansicht dar, die einer Reihe von Beinen und Füßen gegenübersteht. Marlene Dumas verwendet Fotografien und Filme als Ausgangsmaterial, und verändert und verfremdet diese für ihre eigenen Zwecke.\u0026nbsp;\u003c/i\u003e\u003cbr\u003e\u003ci\u003eDumas lässt die Realität in der Malerei mitschwingen. Sie geht von der Realität aus und bewegt sich in eine Bildrealität, in der sie Intimität, eingebetteten Humor, Tragik, Erlebnis und Akzeptanz miteinander verbindet. In ihrem Werk scheinen Gefühle, Reflexion und Handlung im Einklang zu stehen.\u003c/i\u003e\u003cbr\u003e\u003ci\u003eEs ist unmöglich, den Tenor ihrer Intentionen abzuschätzen, denn eine Malerin kann letztlich nur in der Form des Bildes gelesen werden. Der Titel des Werks, die Malweise und die Farbgebung vermitteln den Eindruck eines emotionalen Ereignisses. Wir wissen jedoch nicht genau, was geschieht. Dumas lässt viel Raum für Interpretationen.\u003c/i\u003e\u003cbr\u003e\u003ci\u003eIm Kontext der heutigen Ukraine könnte \u0026nbsp;Sacrifice wie die Stimme jeder ukrainischen Frau klingen: verletzlich im Angesicht eines Aggressors.\u0026nbsp;\u003c/i\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"BK006152","stream_count_app":91,"permalink":"sacrifice","description_ru":"","description_de":"\u003cp\u003e\u003ci\u003eSacrifice \u003c/i\u003e(dt. Opfer) zeigt eine nackte Frau von der Rückseite gesehen. Vor ihr steht eine Reihe Männer, von denen man nur die Beine und Schuhe sehen kann. Dieses kleine Werk gibt den Eindruck auffällig groβ zu sein. Die Figuren sind grob gemalt mit schweren, dunklen Konturen. Viele groβe Bereiche bestehen nur aus einem groben gebürsteten Strich. Der Kontrast zwischen Hell und Dunkel ist sehr stark, die Farbverwendung sparsam, damit die einfache Vorstellung an grafischer Kraft gewinnt. Wie in fast allen Werken von Dumas handelt es sich hier wahrscheinlich um eine malerische Umwandlung oder ‘Fälschung’ von Bildern anderer Leute. (Dumas benutzt Fotos und Filme als Quellenmaterial). Diese Bilder werden von der Künstlerin ohne Pardon gestohlen, verformt und für eigene Zwecke eingesetzt. Der Sinn von ihren Absichten kann unmöglich eingeschätzt werden, weil die Absichten eines Malers ausschlieβlich in der Form des Gemäldes erkennbar wird. Sowohl der Titel des Werks, die Art des Malens, als auch die Farbverwendung machen den Eindruck von einem emotionalen Ereignis. Wir wissen aber nicht, was genau los ist. Auch in diesem Werk lässt Dumas Raum für Interpretation offen.\u003c/p\u003e","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/000/011/446/medium_500/Dumas_Marlene_Sacrifice_1993_foto_Sybl._S._-_Pictures.jpg?1465989690","cached_actor_names":"Marlene Dumas","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003eМарлен Дюма самотужки збирає та реставрує старі фотографії та кіноплівки, які потім використовує при створенні своїх робіт. Точно вказати, як народилась ідея цього твору, неможливо, оскільки задум художниці можна оцінювати лише виходячи з її робіт. Назва роботи, стиль її виконання та кольорова гама наводять на враження, що тут зображено емоційно забарвлену подію, та ми не знаємо точно, яка це подія. У цій картині, як і в багатьох інших, Дюма залишає широкий простір для інтерпретації.\u003c/p\u003e\u003cp\u003eВ контексті сучасної України, «Жертвопринесення» можна трактувати як зображення українських жінок, особливо вразливих в умовах агресії.\u003c/p\u003e","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/446/large/Dumas_Marlene_Sacrifice_1993_foto_Sybl._S._-_Pictures.jpg?1465989690","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community, image: © M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eSacrifice\u003c/i\u003e\u0026nbsp;represents a person seen from the back, who is facing a line of legs and feet. Marlene Dumas uses photographs and films as source material, alters and enlists them\u0026nbsp;for her own purposes.\u0026nbsp;\u003cbr\u003eDumas allows reality to resonate in painting. She starts out from reality and moves into a pictorial reality, whereby she merges intimacy, embedded humour, tragedy, experience, and acceptance. In her work, feelings, reflection and action appear to operate in concert.\u003cbr\u003eIt is impossible to estimate the tenor of her intentions, for a painter can in the end only be read in the painting’s form. The work’s title, the way it is painted and the use of colour convey the impression of an emotional event. However, we do not know exactly what is happening. Dumas leaves ample room for interpretation.\u003cbr\u003eIn the context of Ukraine today, Sacrifice could sound like the voice of every Ukrainian woman: vulnerable in the face of an aggressor.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eSacrifice\u003c/i\u003e\u0026nbsp;toont een naakte vrouw op de rug gezien. Voor haar staat een rij mannen, waarvan we alleen de benen en schoenen te zien krijgen. Dit kleine werk geeft de indruk opvallend groot te zijn. De figuren zijn ruw geschilderd met zware, donkere contouren. Veel grote partijen bestaan uit slechts één grof geborstelde veeg. Het contrast tussen licht en donker is scherp, het kleurgebruik spaarzaam waardoor de eenvoudige voorstelling aan grafische kracht wint. Zoals in bijna alle werken van Dumas gaat het hier waarschijnlijk om een schilderkunstige omzetting of ‘vervalsing’ van andermans beelden. (Dumas gebruikt foto’s en films als bronnenmateriaal.) Deze beelden worden door de kunstenares zonder pardon gestolen, vervormd en ingezet voor eigen doeleinden. De teneur van haar bedoelingen kan onmogelijk worden ingeschat omdat de intenties van een schilder uitsluitend kenbaar zijn in de vorm van het schilderij. Zowel de titel van het werk, de manier waarop het geschilderd is, als het kleurgebruik geven de indruk van een emotionele gebeurtenis. We weten echter niet wat er juist aan de hand is. Ook in dit werk laat Dumas de ruimte voor interpretatie open.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eSacrifice\u003c/i\u003e montre une femme nue, vue de dos. Devant elle se tient une rangée d’hommes dont nous ne voyons que les jambes et les chaussures. Cette petite œuvre donne l’impression d’être particulièrement grande. Les personnages sont peints de façon assez grossière, avec des contours sombres et épais. De grandes parts se composent uniquement d’un rude coup de pinceau. Le contraste entre le clair et l’obscur est net, l’utilisation de la couleur est parcimonieuse, ce qui accentue la force graphique de cette image simple. Comme dans presque toutes les œuvres de Dumas, il s’agit vraisemblablement d’une transposition ou d’une «\u0026nbsp;contrefaçon\u0026nbsp;» picturale d’images d’autrui (Dumas utilise des photos et des films comme matériau source). L’artiste vole ces images sans scrupules, les déforme et les utilise à ses propres fins. Il est impossible d’évaluer la teneur de ses intentions, car celles-ci ne peuvent être manifestes que dans la forme du tableau. Aussi bien le titre de l’œuvre que la manière dont elle est peinte et la palette de couleurs donnent l’impression d’un événement émotionnel. On ne sait toutefois pas exactement ce dont il est question. Dans cette œuvre, Dumas laisse une fois de plus le champ libre à l’interprétation.\u003c/p\u003e"}]},{"id":463,"title":"Indian Summer [from the “Pin-Up” series]","dimensions":"125 x 70 cm","date_begin":"1996-01-01","material":"aquarelle, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEN\u003c/p\u003e\u003cp\u003eIt is the female nude, one of the canonical forms of Western art history, that occupies a central place in Marlene Dumas’ works. These watercolour paintings are based on Polaroid images Dumas made during a visit to a notorious Amsterdam strip club named Casa Rosso, as well as on photographs cut out of pornographic magazines. Displaying a sense of vulnerability that can come with sex work, Dumas adopts the ‘cheap tricks’ used to attract male attention – eyes looking at you, genitalia exposed or coyly covered.\u003c/p\u003e\u003cp\u003eNL\u003c/p\u003e\u003cp\u003eHet vrouwelijk naakt, één van de meest eerbiedwaardige, canonieke thema’s uit die schilderkunstige traditie, staat ook hier centraal. De vijf aquarellen uit de\u0026nbsp;\u003ci\u003eMD–Pin Up Series\u003c/i\u003e\u0026nbsp;in de M HKA-verzameling,\u0026nbsp;\u003ci\u003eBlind Joy\u003c/i\u003e,\u0026nbsp;\u003ci\u003eIndian Summer\u003c/i\u003e,\u0026nbsp;\u003ci\u003eMis-Cast\u003c/i\u003e,\u0026nbsp;\u003ci\u003eSailor’s Dream\u003c/i\u003e\u0026nbsp;en\u0026nbsp;\u003ci\u003eSlight Delight\u003c/i\u003e\u0026nbsp;(allen uit 1996) lijken op het eerste zicht de bittere bijklank te ontberen die veel van haar olieverfschilderijen ten dele karakteriseren, en staan, ogenschijnlijk althans, meer in het teken van plezier en genot. De beelden zijn gebaseerd op polaroids die Dumas maakte in de stripclub Casa Rosso in Amsterdam, en op foto’s uit diverse pornografische magazines.\u003c/p\u003e\u003cp\u003eFR\u003c/p\u003e\u003cp\u003eLe nu féminin, l’un des thèmes canoniques de l’histoire de l’art occidental, occupe une place centrale dans l’œuvre de Marlene Dumas. Ces aquarelles s’inspirent de polaroïds que Dumas a pris lors d’une visite dans un fameux club de strip-tease amstellodamois, Casa Rosso, et de photos découpées dans des magazines pornographiques. Dévoilant une certaine vulnérabilité qui peut aller de pair avec le travail du sexe, Dumas adopte les «\u0026nbsp;trucs bon marché\u0026nbsp;» qu’on utilise pour attirer l’attention masculine – des yeux qui vous regardent, des parties génitales exposées ou couvertes avec coquetterie et fausse pudeur.\u003c/p\u003e","date_end":null,"reference":"BK006911-002","stream_count_app":94,"permalink":"indian-summer","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/000/045/943/medium_500/Dumas_IndianSummer_CC.jpg?1559834610","cached_actor_names":"Marlene Dumas","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/000/045/943/large/Dumas_IndianSummer_CC.jpg?1559834610","poster_credits":"© Marlene Dumas — image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003e\"I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\" \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas uses the human figure as a point of departure to develop a visual critique of contemporary racial, sexual and social identities. The watercolours from the ‘MD–Pin Up Series’ in the M HKA collection are based on Polaroids that Dumas took in a strip club in Amsterdam, and on photographs from various pornographic magazines. The female body is depicted in her characteristic raw, expressionist style with sombre tones.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003e\"I use all the cheap tricks of attracting attention: eyes looking at you, sexual parts exposed or deliberately covered. The primitive pull of recognition. The image as prostitute. You are forced to say yes or no.\" \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas neemt de menselijke figuur als uitgangspunt om een visuele kritiek te ontwikkelen op hedendaagse raciale, seksuele en sociale identiteiten. De aquarellen uit de ‘MD–Pin Up Series’ uit de M HKA-collectie zijn gebaseerd op polaroids die Dumas maakte in een stripclub in Amsterdam, en op foto’s uit diverse pornografische magazines. Het vrouwelijke lichaam wordt afgebeeld in haar kenmerkende rauwe, expressionistische stijl met sombere tinten.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003e«\u0026nbsp;J'utilise toutes les astuces qui permettent d'attirer l'attention : des yeux qui vous observent, des organes sexuels exposés ou délibérément couverts. L'attrait primitif de la reconnaissance. L'image en tant que prostituée. Vous êtes obligé de dire oui ou non.\u0026nbsp;» \u003c/i\u003eMarlene Dumas\u003c/p\u003e\u003cp\u003eMarlene Dumas utilise la figure humaine comme point de départ pour développer une critique visuelle des identités raciales, sexuelles et sociales contemporaines. Les aquarelles de la série « MD–Pin Up » de la collection du M HKA s’inspirent de Polaroids que Dumas a pris dans un club de strip-tease à Amsterdam, ainsi que de photographies tirées de divers magazines pornographiques. Le corps féminin y est représenté dans son style caractéristique, brut et expressionniste, aux tons sombres.\u003c/p\u003e"}]}]