M HKA gaat digitaal

Met M HKA Ensembles zetten we onze eerste échte stappen in het digitale landschap. Ons doel is met behulp van nieuwe media de kunstwerken nog beter te kaderen dan we tot nu toe hebben kunnen doen.

We geven momenteel prioriteit aan smartphones en tablets, m.a.w. de in-museum-ervaring. Maar we zijn evenzeer hard aan het werk aan een veelzijdige desktop-versie. Tot het zover is vind je hier deze tussenversie.

M HKA goes digital

Embracing the possibilities of new media, M HKA is making a particular effort to share its knowledge and give art the framework it deserves.

We are currently focusing on the experience in the museum with this application for smartphones and tablets. In the future this will also lead to a versatile desktop version, which is now still in its construction phase.


image: © M HKA

From a technocratic point of view, the term ‘mobility’ refers to road works, trucks, trains and airports. But mobility is also an existential phenomenon, both human and social. For alongside the mechanised ballet of our society, there is, more and more predominantly, our own ephemeral and nomadic feeling of existence, as well as the frustrating blockages and forced displacements of a fleeting world.

In an information report, the Senate made recommendations for more integrated public transportation, including a single ticket for the country and more intermodal transport.

In her video featuring short film clips edited together, Ria Pacquée (°1954, Antwerp) zaps between West and East, North and South. She thus confronts impressions of human actions – a sand storm in Morocco and a walk, with a headwind, of an elderly woman on the Belgian seaside – and questions: how to make the invisible visible?

A recurring figure in Johan Muyle’s works (°1956, living in Liège), the skeleton refers to the cycle of life and death, tragicomically, as in popular culture. Bearing the artist's head, they are motorised and mechanised, in a desperate attempt to replay the race from life to death.

The works of Johanna Kandl (°1954, living in Vienna) evoke the difficult living conditions in border regions. But it addresses the prosaic reality of contemporary news media through traditional historical painting. This monumental painting questions the rushed transition to capitalism, which was a harrowing experience for many in the former Eastern Bloc: “Who’s got the big picture?”.

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>Ria Pacquée, Inch'Allah, 2005.Video, videotape digital betacam, dvd, 00:18:40.

>Johan Muyle, Atlas, 2006.Installation, 135 cm x 110cm x 90cm ; 220 cm x 116 cm x 105 cm ; 135 cm x 113 cm x 78 cm.

>Johanna Kandl, Ohne titel (Who's got the big picture), 2006.Film, tempera, canvas, 258 x 354 cm.