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: Liminal Difference

©image: M HKA


This title came to our mind when pairing the works of Charif Benhelima, Nina Papaconstantinou and Francis Alÿs.

What is the threshold, they made us ask, between what can be perceived and what is unobservable with our senses, that which happens too quickly or too slowly, that which is too small or too large to make any difference? Like Marcel Duchamp's “Infra-Thin”, liminal difference cannot be defined accurately but merely exemplified, by the speed of plant growth, the increase of water in an ocean after light rainfall or the distance between two sides of a paper sheet. Art dealing with these thresholds, the inconceivable stages in between different states, reflects on more than the limits of human perception. It questions the very construction of the human psyche because what we perceive determines how we define ourselves and the world around us.

Benhelima consciously overexposes polaroids to find barely visible the essence of iconic banalities around us. His series Black-Out question the nature of perception. Papaconstantinou made Sylvia Plath: The Missing Journal by using a pen with no ink, alluding to the story of a diary that has been written but cannot be read. Alÿs literally enacts his belief by having the surface of one side of a hill moved by a long line of people to the other; literally moving a mountain by faith.

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>Francis Alÿs, When Faith Moves Mountains, Lima, Peru, April 11, 2002, 2002.Installation, mixed media, variable dimensions.

>Charif Benhelima, Garbage, 2005.Photography, cibachroom, aluminium, plexiglas, 120 x 122 cm.

>Charif Benhelima, Permanent Address, 2006.Photography, cibachroom, aluminium, plexiglas, 120 x 122 cm.

>Charif Benhelima, Minus Two, 2006.Photography, cibachroom, aluminium, plexiglas, 120 x 122 cm.

>Charif Benhelima, Baseline, 2006.Photography, cibachroom, aluminium, plexiglas, 100 x 102 cm.

>Nina Papaconstantinou, Sylvia Plath: The lost journal, 2008.Drawing, paper, black thread, 21 x 500 cm.