Exhibition: A NON-U-MENTAL HISTORY OF M HKA – Part 2: What must be heard
M HKA, Antwerp
11 September 2021 - 09 January 2022
image: © We Document Art, Collection M HKA / Collection Flemish Community
As part of an ongoing reflection on the origins and identity of the Museum of Contemporary Art Antwerp (M HKA), a series of exhibitions brings to light different aspects of its history, particularly around its predecessor institution, the International Cultural Centre (ICC). The ICC, founded in 1969 and closed in 1998, was the first institution for contemporary art in Flanders, housed in the imposing Royal Palace in the centre of Antwerp. At a time when traditional museums did not meet the needs of contemporary art in the 1970s and 1980s, the ICC offered a platform for the production and presentation of various disciplines and crossovers between different art forms. The program focused on local and international contemporary artists, and many conceptual artists and their installations were exhibited there.
The second part of this programme is devoted to sound art. In performances and concerts at ICC, artists have explored the possibilities of sound as a complement to their visual practices. Here, these experiments are presented in an installation that includes musical instruments, sound recordings, video recordings, and documentation by artists such as Vito Acconci, Laurie Anderson, Connie Beckley, Jacques Charlier, Maurizio Nannucci, Charlemagne Palestine, George Smits, Ben Vautier, and Bernard Villers.
Our interest in sound and its manipulation is as old as humanity itself. Before the appearance of the first recording devices (the phonograph was invented in the 19th century), it was impossible to record a sound and play it back. In order to transmit or replay their pieces, composers signed annotated scores and poets wrote their texts according to a series of rules, producing a certain cadence. Now, decades later, we present works from our collection by some of the avant-garde who used typography to represent rhythm, tone, and intonation. These artists pioneered a discipline that skillfully combines multiple media, where the use of sound resides within the world of visual art more than music.
"My hope for a project in Antwerp would be to make a 'non-u-mental' work that the city could enjoy for some time after its completion."
(Gordon Matta-Clark in a letter to Flor Bex, 1976)
This presentation is part of a larger programme highlighting artists associated with ICC via their works, which now belong to the M HKA collection. We revisit ICC programming through the centre’s archives— currently managed by M HKA—in a series that continues to reflect upon the museum in a "non-u-mental" way. Concerned less with monumentality than with deepening our understanding of the infinitesimal, this “non-u-mental” method also provides a constant potential for (re)discovery.
3D Scan:
Please enjoy the 3D scan of the presentation here.
First presentation: A NON-U-MENTAL HISTORY OF M HKA – Part 1: Foundation Gordon Matta-Clark
Third presentation: A NON-U-MENTAL HISTORY OF M HKA – Part 3: Classical Rewind - M HKA Ensembles
Media
>Laurie Anderson, performance at the ICC Antwerp, May 8th 1979
>View of the exhibition
>View of the exhibition
>View of the exhibition
>Postcard A NON-U-MENTAL HISTORY OF M HKA – Part 2: What must be heard
>Floor plan
>Floor plan
WorksShow artists
> Henri Chopin, Paul De Vree, Ou - Sound Poetry. An Anthologie, 1958-1974. Audio and visual equipment.
> Paul De Vree, Homage to Thelonius Monk, 1968-1981. Print, ink, paper, 450 x 450 mm.
> Hans Clavin, Music for Eve, 1969. Collage, collage, 29 x 21 cm.
> Maurizio Nannucci, This side is red, 1970. Installation, neon, 400 x 30 cm.
> Alain Arias-Misson, Birdsong, 1973. Mixed Media, plexi, 34 x 41 x 15.5 cm.
> Jacques Charlier, Hard Music, Art in another way, etc..., 1975-1987. Photography.
> Charlemagne Palestine, Charlemagne Palestine: concert op piano, 1975-2021. Video, video, 00:56:55.
> Christina Kubisch, Emergency Solos, 1975. Video, video, 00:24:38.
> Ian Hamilton Finlay, Lullaby, 1975. Print, ink on paper, 58.5 x 40.5 cm.
> Giuseppe Chiari, Potpourri aus der Oper “Der Wildschütz” / opera di georgi di chirico, 1976. Collage.
> Luciano Ori, Crescendo / N° 2, 1976. Collage, photographs, canvas, 85.5 x 53.5 cm.
> Laurie Anderson, Laurie Anderson – Songs for Lines/Songs for Waves, 1977. Audio and visual equipment, audio.
> Jacques Charlier, Terril, 1978. Photography.
> Vito Acconci, Window to the World: Remember Belgian Congo, 1978. Sketch, document.
> Jana Haimsohn, Jana Haimsohn: Performance ICC 13.11.1979, 1979. Video, video, 01:02:21.
> Jacques Charlier, Desperados Music, 1979. Video, 00:14:30.
> Connie Beckley, ICC Antwerpen, 1979. Video, video, 00:30:00.
> Laurie Anderson, Laurie Anderson Performance ICC, 08.05.1979, 1979. Photography, 20 dia's, 30 x 45 cm (x5).
> Alain Arias-Misson, The Congress of the Birds, 1979. Sculpture, wood, plexi, letraset, 43.5 x 43.5 x 7 cm.
> George Smits, Glazen staven op piepschuim, 1980. Object, glazen staven, isomo.
> George Smits, Isomopolis, 1981. Video, video, 00:20:00.
> George Smits, George Smits - Isomopolis (ICC - Antwerpen, 24 april 1981), 1981. Book, ink, paper, 30.5 x 22.2 cm, loose-leaf, language : Dutch, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen .
> George Smits, Slagvoorwerpen uit natuur, 1981. Mixed Media, wreck wood, sticks, cords, elastic bands, variable dimensions.
> George Smits, Witte muizen, 1982. Installation, isomo, coil spring, percussion instrument.
> George Smits, Transformatie tot aanslagvoorwerp, 1984. Mixed Media, mixed media.
> George Smits, Instrument voor 1 lied, n°1, 1986. Object, mixed media.
> Jacques Charlier, Photo de couverture de la cassette Chansons tristes, 1987. Photography.
> Ben, Piano Fluxusconcert, 1988. Installation, sculture, acrylic on piano, nailed down piano keys, 128 x 64 x 12.2cm.
> Bernard Villers, hand werpen, 2021. Performance.
> Jacques Charlier, Guitare et amplificateur. Other, guitar, amplifier.
> Ben, Empty tape piece for La Monte Young. Other, document, 54.8 x 72.3 cm.