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.

Ensemble: De M HKA - Collectie [The M HKA Collection]

©image: M HKA

“Works in the M HKA collection are often large and have a presence without being especially tangible.” – Narcisse Tordoir

For the third section, Narcisse Tordoir has made a highly individual choice of works from the M HKA collection, to reconstruct the atmosphere in Tiepolo’s prints. They link up with Tiepolo’s themes both in form and content.

Didier Vermeiren’s Untitled (1988) and Sculpture (1982) are reminiscent of the desolate landscapes of Tiepolo’s etchings. The pedestals and sculptures look austere and minimal. In contrast to its role in classical sculpture, the pedestal is here no longer relevant. Its stands on its own on the floor without supporting anything and thereby itself becomes the sculpture. These pedestals are evidence of an examination of the way an artist is able to appropriate historical elements, just as Tordoir did with Tiepolo’s work. Also Zonder titel [Untitled] (1997) by Ann Veronica Janssens contributes to sketching this deserted landscape. Her work is waiting for ‘an Oriental’, a spectator with whom to establish a relationship. You are permitted to enter the work cautiously and to interact with it, exploring its boundaries. By taking the above elements out of their context and putting them into a new situation – the museum – we view the world in a different way.

The symbolic language in Richard Venlet’s Untitled (1996) leads us to take a different view of the room and the works of art. Depending on how the viewer experiences the work, it may delineate or accentuate. By contrast, the clear language in Walter Swennen’s Zij die hier zijn zijn van hier (2006) leaves no room for interpretation, and ‘the Oriental’ is never far off.

Hide this description


>Guy Mees, Espace Perdu [Lost space], 1964.Sculpture, neon, lace, 124 x 136 x 51 cm.

>Guy Mees, Water te Water [Water to Water], 1970.Video, dvd, 00:03:13.

>Guy Mees, Zonder titel (Trap) [Untitled (Stairs)], 1970.Film, 16mm film, 00:01:00.

>René Heyvaert, Untitled, 1977-1978.Collage, paper, 34.6 x 24 cm.

>Andrei Monastyrski , The Balloon, 1977.Video, 8 mm film, dvd, mpeg, 00:02:49 min.

>Didier Vermeiren, Untitled, 1985.Sculpture, gypsum, 242 x 43 x 47.5 cm.

>Bernd Lohaus, Installatie Paper Art, Dominikanerkerk, Maastricht [Installation Paper Art, Dominican Church, Maastricht], 1987.Installation, paper tape, variable dimensions.

>Didier Vermeiren, Plâtre 1988, soccle de Musée Rodin, Meudon, supportant Victor Hugo debout, plâtre 1897, 1988.Sculpture, gypsum, 18 x 100 x 140 cm.

>Richard Venlet, Zonder titel [Untitled], 1996.Installation, acrylic paint, 414 x 5 cm.

>Hermann Pitz, Camera, 1997.Sculpture, wood, concrete, 19 x 22 x 8 cm.

>Ann Veronica Janssens, La pluie météorique, 1997.Installation, gravel, variable dimensions.

>Hicham Benohoud, Untitled [from the series 'La salle de classe n°2'], 2000-2002.Photography, silver gelatine print, 60 x 80 cm.

>Vaast Colson, 1 hour 30 minutes sculpture, 2003.Print, lambda print, 86.5 x 88.6 x 5 cm.

>Walter Swennen, Zij die van hier zijn zijn van hier, 2006.Painting, acryl op doek, 40 x 50 cm.