[{"id":3790,"title":"Staubstelle [Dusty Place]","dimensions":"variable dimensions","date_begin":"1996-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"De Vleeshal Collection, Middelburg (The Netherlands)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"VH0200","stream_count_app":44,"permalink":"staubstelle-dusty-place","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Suchan Kinoshita","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/000/013/111/large/Dia_00041.jpg?1351173536","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eSuchan Kinoshita\u0026rsquo;s multi-cultural and multi-disciplinary background makes her well prepared for the hybrid art practice she has been developing for almost two decades. \u003cem\u003eStaubstelle\u003c/em\u003e\u0026nbsp;can be regarded as a laboratory where viewers can look at and experience things. It is, as always, about time and space. Space is made tangible through the arrangement of the exhibited objects, while time is made visible through, for instance, the use of screw terminals, which make quick mutations of form possible. Also the vacuum cleaner bags in the installation refer to the temporal: the dust inside is testimony of previous events and past states of being. The association with the belief, deeply held in our culture, that everything will turn into dust in end gives a more profound layer of meaning to \u003cem\u003eStaubstelle\u003c/em\u003e. Other objects can also be seen as traces of incidents in the past. The ball of wool may previously have been a sweater. The emphasis that Kinoshita puts on the experience of time and space is to do with the fact that she grew up between two cultures and became aware of how differently different people relate to things we are tempted to regard as universal. In European culture space is mostly seen in relation to matter, whereas time is predominantly associated with the spiritual. Japanese culture sees neither body and soul nor space and time as opposed, but as complementary. \u003cem\u003eStaubstelle\u003c/em\u003e\u0026nbsp;allows us to see the materiality of time and the spirituality of space.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eSuchan Kinoshita ontwikkelde de laatste twintig jaar, onder andere dankzij haar multiculturele en multidisciplinaire achtergrond, een hybride kunstpraktijk. \u003cem\u003eStaubstelle\u003c/em\u003e\u0026nbsp;kan gezien worden als een laboratorium, waarin je als toeschouwer iets kunt onderzoeken en ervaren. Het gaat hier om de ervaring van tijd en ruimte. De ruimte wordt tastbaar gemaakt door de manier waarop de tentoongestelde voorwerpen gerangschikt zijn. De tijd wordt zichtbaar gemaakt door bijvoorbeeld het gebruik van schroefklemmen, waardoor snelle mutaties mogelijk zijn. Ook de in het werk aanwezige stofzuigerzakken verwijzen naar het tijdelijke: het stof in de zakken is de neerslag van voorbije gebeurtenissen. De associatie met het in onze cultuur gewortelde besef dat uiteindelijk alles en iedereen tot stof zal vergaan geeft een diepere betekenislaag aan \u003cem\u003eStaubstelle\u003c/em\u003e. Ook andere voorwerpen kunnen worden gezien als sporen van vroegere gebeurtenissen. Het bolletje wol is mogelijk vroeger een trui geweest. De nadruk die Kinoshita legt op de ervaring van tijd en ruimte houdt verband met het feit dat zij opgroeide tussen twee culturen, waardoor zij zich ervan bewust is dat ervaring van tijd en ruimte niet voor iedereen gelijk is. In de Europese cultuur wordt ruimte vooral gezien in relatie tot het materiele, het stoffelijke, terwijl tijd juist meer in verband wordt gebracht met het geestelijke. In de Japanse cultuur worden zowel lichaam en geest als ruimte en tijd niet als dualiteit gezien, maar als elkaar aanvullend. \u003cem\u003eStaubstelle\u003c/em\u003e\u0026nbsp;laat het stoffelijke van de tijd en het geestelijke van de ruimte zien.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":3788,"title":"Eerste Huwelijk - Tweede Huwelijk [First Marriage, Second Marriage]","dimensions":"","date_begin":"2002-01-01","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":"Collection M HKA, Antwerp","cached_tag_list":"video-installation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7483_M336","stream_count_app":28,"permalink":"eerste-huwelijk-tweede-huwelijk-first-marriage-second-marriage","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Suchan Kinoshita","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/000/011/442/large/Kinoshita__0002_Suchan__Eerste_en_Tweede_Huwelijk_2__2002__photo_Dirk_Pauwels.jpg?1343214999","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e*Eerste Huwelijk - Tweede Huwelijk* (translated as *First Marriage, Second Marriage*) was conceived as a provisional architectural whole in which the audience \u0026ndash; an ever-present concern in much of Kinoshita\u0026rsquo;s participatory practice \u0026ndash; could freely redefine its relationship to the various museum spaces, in the process of course also questioning the power structures that govern these spaces. This dense fabric of relationships, both spatial and temporal, is the true material from which the artist distills her works; not surprisingly, Kinoshita has often been named in early historiographies of what later became known as \u0026ldquo;relational aesthetics\u0026rdquo;. In a number of adjoining rooms inside *Eerste Huwelijk* a series of animated films were shown in which the artist explored the porous borders between dream, reality and narrative fiction \u0026ndash; one of these films in particular was projected on a Venetian blind that automatically, ceaselessly opened and closed again.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet diptiek *Eerste Huwelijk - Tweede Huwelijk* functioneert als een provisorische architectuur waarin het publiek een nieuwe verhouding tot de museale ruimte kan ontwikkelen. In zekere zin vormt dit netwerk van mogelijke relaties de grondstof van Kinoshita\u0026rsquo;s praktijk \u0026ndash; reden waarom haar werk in de jaren negentig vaak terugkeerde in de allereerste beschouwingen omtrent wat later \u0026ldquo;relationele esthetiek\u0026rdquo; zou gaan heten. In de onderscheiden, aanpalende ruimtes van *Eerste Huwelijk* en *Tweede Huwelijk* werden verschillende animatiefilms geprojecteerd waarin de poreuze grenzen tussen droom, werkelijkheid en narratieve fictie worden afgetast en ge\u0026euml;nsceneerd; de film uit *Eerste Huwelijk* wordt bijvoorbeeld geprojecteerd op een automatisch open- en dichtklappend Luxaflex-luik.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":3792,"title":"Uitzicht [View of the Outside]","dimensions":"variable dimensions","date_begin":"2002-01-01","material":"carpet, chairs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0405","stream_count_app":36,"permalink":"uitzicht-view-of-the-outside","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Suchan Kinoshita","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/000/013/101/large/kinoshita05.JPG?1351172589","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eUitzicht\u003c/em\u003e\u0026nbsp;[View of the Outside] consists of a piece of red carpet and two chairs. They are installed at the edge of a museum space, in front of a window, with a view unto the outside. The elements appear to have been taken straight out of a living room. When we sit down on the chairs we turn our backs to what is happening in the museum. At the same time we become very aware of being in a museum, precisely because we are looking at the world outside the museum. The museum window becomes the \u0026lsquo;window to the world\u0026rsquo;, a literal translation of how a painting used to be regarded. Moreover, as we sit on the chairs we become part of a work of art. We are in a complex situation: inside the museum but also turning against it; part of the audience but also of the exhibition. \u003cem\u003eUitzicht\u003c/em\u003e\u0026nbsp;[View of the Outside] plays with the relation between seeing and being seen. Kinoshita often uses marginal spaces and zones of transition for her installations, to question artificial institutional boundaries that inhibit cross-overs and interactions with other areas of art and society.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eUitzicht\u003c/em\u003e\u0026nbsp;bestaat uit een stuk rood tapijt en twee stoelen. Ze zijn opgesteld aan de rand van een museale ruimte, voor een raam, met uitzicht naar buiten. Kleed en stoelen wekken de indruk zo uit een huiskamer naar het museum te zijn overgebracht. Als je plaatsneemt in \u0026eacute;\u0026eacute;n van de stoelen, wend je je af van wat er in het museum gebeurt. Tegelijk ben je je, juist door het uitzicht op de wereld buiten het museum, er heel goed van bewust in een museum te zijn. Het raam waardoor je naar buiten kijkt, is een \u0026lsquo;venster op de wereld\u0026rsquo;, een letterlijke vertaling van de wijze waarop in vroeger tijden een schilderij werd opgevat. Op hetzelfde moment maak je, als je in \u0026eacute;\u0026eacute;n van de stoelen zit, deel uit van een kunstwerk. Je bevindt je in een complexe situatie: je bent in het museum maar keert je er tegelijkertijd van af , en je bent zowel een deel van het publiek als van het kunstwerk. Zo speelt \u003cem\u003eUitzicht\u003c/em\u003e met de verhouding tussen museum en wereld, tussen toeschouwer en kunstwerk, tussen kijken en bekeken worden. Suchan Kinoshita maakt voor haar installaties vaker gebruik van marginale ruimtes en overgangszones om zo de kunstmatige en institutionele afbakeningen, die kruisbestuivingen en interactie met andere sectoren van kunst en samenleving belemmeren, ter discussie te stellen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":15667,"title":"Klok","dimensions":"","date_begin":"2017-01-01","material":"Glas, Shampoo","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"honingklok","description_ru":"","description_de":"\u003cp\u003eZeit ist ein willk\u0026uuml;rliches Konzept, das durch die Objektivit\u0026auml;t der tickenden Minuten und Sekunden standardisiert wird. Suchan Kinoshita (1960, Japan, lebt in Br\u0026uuml;ssel) entdeckt die Zeit neu und findet daf\u0026uuml;r Messmechanismen, die die Ma\u0026szlig;e deregulieren. Die \u0026lsquo;Uhren\u0026rsquo;, die Kinoshita zeigt, geh\u0026ouml;ren zu einer zeitweiligen Installation, die aus Holz oder Schaumstoff gemacht sind. In dieser Architektur entwickelt das Publikum ein neues Verh\u0026auml;ltnis zum Raum im Museum.\u003c/p\u003e\r\n\r\n\u003cp\u003eBeim Betreten eines \u0026lsquo;Verschlags\u0026rsquo; betritt man eine totale Erfahrung; der Besucher wird sowohl Zuschauer als auch Teilnehmer. Einer dieser Verschl\u0026auml;ge ist mit sandl\u0026auml;uferartigen Flaschen gef\u0026uuml;llt, wobei jede Flasche eigene Abmessungen und auch einen anderen Inhalt hat. Die Uhren \u0026ndash; die sowohl Fl\u0026uuml;ssigkeiten als auch feste Substanzen enthalten \u0026ndash; k\u0026ouml;nnen von den Besuchern umgedreht werden. Danach messen die Uhren jeweils die eigenen Momente, da jede Uhr eine andere Form und Dimension und jede Substanz eine eigene Durchlaufzeit hat. Die \u003cem\u003eKlok (Uhr)\u0026nbsp;\u003c/em\u003efolgt der ruhigen Tr\u0026auml;ge von Babyshampoo.\u003c/p\u003e\r\n","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/000/036/989/medium_500/2017_SUPERDEMOCRATIE_Senaat_photo_M_HKA_6_36.jpg?1506686841","cached_actor_names":"Suchan Kinoshita","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/000/036/989/large/2017_SUPERDEMOCRATIE_Senaat_photo_M_HKA_6_36.jpg?1506686841","poster_credits":"image: (c) M HKA, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003eTime is a random concept, normalised by the objectivity of vibrating quartz and ticking seconds. \u003cstrong\u003eSuchan Kinoshita\u003c/strong\u003e (1960, Japan, lives in Brussels) rediscovers time and finds measuring mechanisms that deregulate size. The \u0026lsquo;clocks\u0026rsquo; displayed by Kinoshita are part of temporary installations made of wood or Styrofoam. Within this new architecture, the audience develops a new relationship with the museum space.\u003c/p\u003e\r\n\r\n\u003cp\u003eUpon entering a \u0026lsquo;box\u0026rsquo; you will go through an immersive experience, the visitor becomes both a viewer and a participant. One of these boxes is filled with hourglass-like bottles, each bottle has its own dimensions and the contents vary. The clocks - containing both liquids and solid substances - may be reversed by the visitors. The clocks only measure their own moment as each clock has a different shape and size and each substance has its own viscosity. The \u003cem\u003eKlok \u003c/em\u003e(Clock)\u0026nbsp;follows the calm inertia of baby shampoo.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eTijd is een willekeurig concept dat genormaliseerd is door de objectiviteit van trillende kwarts en tikkende seconden. Suchan Kinoshita herontdekt tijd en vindt daarvoor meetmechanismen uit die de maat dereguleren. De \u0026lsquo;klokken\u0026rsquo; die Kinoshita toont maken deel uit van tijdelijk installaties gemaakt van hout of piepschuim. Binnen deze nieuwe architectuur ontwikkelt het publiek een nieuwe verhouding tot de museale ruimte.\u003c/p\u003e\r\n\r\n\u003cp\u003eBij het betreden van een \u0026lsquo;hok\u0026rsquo; stap je in een totaal ervaring, de bezoeker wordt zowel kijker als deelnemer. Een van deze hokken is gevuld met zandloperachtige flessen, elke fles heeft eigen afmetingen en ook de inhoud verschilt. De klokken \u0026ndash; die zowel vloeistoffen als vaste substanties bevatten \u0026ndash; mogen worden omgedraaid door de bezoekers. Vervolgens meten de klokken enkel hun eigen moment aangezien elke klok een andere vorm en afmeting heeft en elke substantie een eigen doorlooptijd heeft. De \u003cem\u003eKlok\u0026nbsp;\u003c/em\u003evolgt de rustige traagheid van baby shampoo.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe temps est un concept al\u0026eacute;atoire qui a \u0026eacute;t\u0026eacute; normalis\u0026eacute; par l\u0026rsquo;objectivit\u0026eacute; des vibrations du quartz et du tic-tac des secondes. Suchan Kinoshita (1960, Japon, vit \u0026agrave; Bruxelles), r\u0026eacute;invente le temps et met au point pour cela des m\u0026eacute;canismes de mesure qui d\u0026eacute;r\u0026eacute;gulent la mesure. Les \u0026laquo;\u0026nbsp;horloges\u0026nbsp;\u0026raquo; de Kinoshita font partie d\u0026rsquo;installations temporaires de bois ou de polystyr\u0026egrave;ne. Au sein de cette nouvelle architecture, le public peut alors d\u0026eacute;velopper une nouvelle relation \u0026agrave; l\u0026rsquo;espace mus\u0026eacute;al.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn franchissant le seuil d\u0026rsquo;une \u0026laquo;\u0026nbsp;cabane\u0026nbsp;\u0026raquo;, le visiteur p\u0026eacute;n\u0026egrave;tre dans une exp\u0026eacute;rience totale, o\u0026ugrave; il est \u0026agrave; la fois spectateur et participant. Une des cabanes est remplie de bouteilles qui ressemblent \u0026agrave; des sabliers. Chaque bouteille a ses dimensions et son contenu sp\u0026eacute;cifique. Les horloges, qui contiennent tant des liquides que des substances solides, peuvent \u0026ecirc;tre retourn\u0026eacute;es par les visiteurs. En cons\u0026eacute;quence, chaque horloge ne mesure que son propre moment puisque sa forme et ses dimensions sont particuli\u0026egrave;res et que la substance qu\u0026rsquo;elle contient a une dur\u0026eacute;e d\u0026rsquo;\u0026eacute;coulement sp\u0026eacute;cifique.\u003c/p\u003e\r\n"}]},{"id":19941,"title":"Honingklok","dimensions":"","date_begin":"2017-01-01","material":"Glass, Honey","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00296","stream_count_app":23,"permalink":"honingklok-f03733e2-6915-44e8-92c8-49dcc9a01908","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/455/medium_500/Kinoshita_MHKA.jpg?1536833227","cached_actor_names":"Suchan Kinoshita","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/000/041/455/large/Kinoshita_MHKA.jpg?1536833227","poster_credits":"image: (c) M HKA, Collection M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eSuchan Kinoshita is continuously rediscovering time. She invents mechanisms that deregulate metrics. This work is part of a series of hourglass-like bottles made in different shapes and sizes. Each bottle contains a different liquid or substance, giving them each their own unique tempo. This bottle is filled with a mixture of honey and oil \u0026ndash; to stop coagulation. As is often the case in Kinoshita\u0026rsquo;s work, this piece takes as its starting point everyday and recognisable objects and connects them to daily activities.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eSuchan Kinoshita herontdekt voortdurend de tijd en vindt daarvoor meetmechanismen uit die de maat dereguleren. Dit werkt maakt deel uit van een grotere familie van dergelijke zandloperachtige flessen in verschillende vormen en afmetingen. Elke fles is met een andere vloeistof of substantie gevuld \u0026minus; deze is een mengeling van honing met een laagje olie om verharding te voorkomen \u0026minus;, waardoor de doorlooptijd telkens verschilt. Zoals dikwijls bij Kinoshita vertrekt ook dit werk van alledaagse en herkenbare dingen en sluit het aan bij de dagelijkse activiteiten die plaats vinden.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":33610,"title":"Zweiseitiges Liebesgedicht","dimensions":"29.8 x 21 cm ","date_begin":"2014-01-01","material":"ink on paper","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","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition of 33 / numbers 1-30 for GAGARIN. Map with manually stamped title. Paper inside is stamped with.\u003c/p\u003e","date_end":null,"reference":"M00231","stream_count_app":18,"permalink":"zweiseitiges-liebesgedicht","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/000/087/958/medium_500/Suchan_Kinoshita_edition.png?1665485253","cached_actor_names":"Suchan Kinoshita","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/000/087/958/large/Suchan_Kinoshita_edition.png?1665485253","poster_credits":"© Suchan Kinoshita","translations":[{"locale":"en","description":"\u003cp\u003eSuchan Kinoshita’s body of work unfolds over time through dynamic processes in which the personal relationship between viewer and artwork takes shape. The here and now of the experience is what matters. On one side of \u003ci\u003eZweiseitiges Liebesgedicht\u003c/i\u003e is the word ‘mit’ [with], on the other side is ‘mir’ [me]. A poetic work that suggests both closeness and an unbridgeable distance.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHet oeuvre van Suchan Kinoshita ontvouwt zich in de tijd via dynamische processen waarin de persoonlijke relatie tussen kijker en kunstwerk zich vormt. Het hier en nu van de beleving is van belang. Op de ene zijde van \u003ci\u003eZweiseitiges Liebesgedicht\u003c/i\u003e staat het woord ‘mit’ [met], op de andere kant staat ‘mir’ [mij]. Een poëtisch werk dat zowel nabijheid als onoverbrugbare afstand suggereert.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL'œuvre de Suchan Kinoshita se déploie dans le temps à travers des processus dynamiques au cours desquels se tisse la relation personnelle entre le spectateur et l'œuvre d'art. L'ici et maintenant de l'expérience sont essentiels. D'un côté de \u003ci\u003eZweiseitiges Liebesgedicht\u003c/i\u003e figure le mot « mit » [avec], de l'autre « mir » [moi]. Une œuvre poétique qui suggère à la fois la proximité et une distance insurmontable.\u0026nbsp;\u003c/p\u003e"}]},{"id":3789,"title":"Pijlen [Arrows]","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7484_M337","stream_count_app":43,"permalink":"pijlen-arrows","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Suchan Kinoshita","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/335/large/Kinoshita__0007_Suchan__Pijlen_still1.jpg?1333525952","poster_credits":"(c)Suchan Kinoshita","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eArrows\u003c/i\u003e\u0026nbsp;is one of a series of animated films shown during Suchan Kinoshita’s first solo exhibition at the M HKA in 2002. The series explored and staged to show the porous boundaries between dream, reality and narrative. \u003ci\u003eArrows\u003c/i\u003e\u0026nbsp;is no exception, presenting us with this sort of poetic and highly visual interplay. Before her career as an artist, Kinoshita, the child of a German mother and Japanese father, worked in the theatre as actor, director and set builder. These experiences informed her views, as an artist, on the role of the spectator as an active observer and the multiple and individual interpretation of a work of art. Kunoshita’s works of art unfold in the course of time, as dynamic processes in which the personal relationship between the spectator and the work take shape. The place and time of the presentation play an important part. As far as she is concerned, static depictions and representations of ‘something else’ are only a distraction. So the starting point here is not any complicated figuration or abstraction, but a recognisable and simple thing – an arrow. Kinoshita very deliberately focuses our attention on this everyday object in a public place, in this case a museum. The polystyrene background, which acts as a projection screen, reinforces this visual simplicity and gives the whole thing a more architectural dimension.\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eArrows\u003c/i\u003e fait partie d’une série de films d’animation présentés lors de la première exposition personnelle de Kinoshita au M HKA en 2002, explorant la perméabilité des frontières entre rêve, réalité et narration. Nous y voyons une séquence montrant des flèches se déplaçant de gauche à droite, pouvant représenter une histoire de mouvements et de migrations à travers le temps et l’espace.\u003c/p\u003e"}]}]