{"id":2491,"title":"The Eightees – A Decade of Extremes","date_begin":"2016-06-17T00:00:00.000+02:00","date_end":"2016-09-18T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/037/large/Barbara_Kruger__We_are_not_what_we_seem__1988_photo_M_HKAcc.jpg?1457363785","poster_credits":"(c)image: M HKA"},"translations":[{"locale":"en","name":"The Eightees – A Decade of Extremes","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e\u003cem\u003eThe Eighties \u0026ndash; A Decade of Extremes\u003c/em\u003e\u003c/strong\u003e\u0026nbsp;presents a nuanced picture of the eighties with all its contrasts, cheerful and playful, but also hard and radical.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cspan style=\"line-height:1.6\"\u003eThe eighties are known as the era of the post-modern individualist. These are the years of Thatcher, Reagan, the yuppies (young urban professionals), computerisation and mediatisation. The decade of\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003enouvelle cuisine\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e,\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003e\u0026nbsp;cold wave\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e\u0026nbsp;and advertising, the Walkman and aerobics, IKEA, Michael Jackson, but also of Joy Division and The Beastie Boys. The era of AIDS, the Gang of Nivelles, the CCC (Communist Combatant Cells), the Chernobyl nuclear disaster, the Anti-Fascist Front, the second punk generation, the\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eNo Future Generation\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. It was the decade of major protest marches against nuclear missiles and the fall of the Berlin Wall. The redefinition of the relationship between the state and the market marks the beginning of the erosion of the welfare state. For some \u0026ndash; the yuppies \u0026ndash; this meant the opportunity to generate enormous wealth through the newly created free market, but this period of post-industrialization was also marked by a deep recession; it is the time of the\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eNo Future Generation\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. The exhibition\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eThe Eighties \u0026ndash; A Decade of Extremes\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e\u0026nbsp;brings into focus the polarization that existed between wealth and malaise in the then society.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition shows works of the New York scene, which at that time was still the example for Europe: new media were used to address social problems, especially the gender issue. Along with this, there were the post-minimal installations with their elitist and cool aesthetic that dominated the European art scene, by artists ranging from\u0026nbsp;Allan McCollum\u0026nbsp;to\u0026nbsp;Jan Vercruysse, and poppyinstallations by\u0026nbsp;Jeff Koons\u0026nbsp;and\u0026nbsp;Wim Delvoye. Artists such as\u0026nbsp;Anne-Mie van Kerckhoven\u0026nbsp;and\u0026nbsp;Danny Devos\u0026nbsp;are shown as well, as exponents of the\u0026nbsp;\u003cem\u003eNo Future Generation\u003c/em\u003e\u0026nbsp;that saw artists use aggression and provocation both substantively and strategically to position themselves against tradition and political correctness. Aside from a variety of artworks, the exhibition also recalls social and political events through a variety of materials, ranging from drawings by \u0026#39;political cartoonist\u0026#39; GAL, vinyl records, magazines and movie excerpts.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eArtists:\u0026nbsp;Georg Baselitz, Guillaume Bijl, Jean-Marc Bustamante, Club Moral (Danny Devos \u0026amp; Anne-Mie Van Kerckhoven), Jef Cornelis, Ren\u0026eacute; Dani\u0026euml;ls, Thierry De Cordier, Anne Teresa De Keersmaeker, Wim Delvoye, Bernaded Dexters, Lili Dujourie, Jan Fabre, GAL, Robert Gober, Rodney Graham, Keith Haring, Jenny Holzer, J\u0026ouml;rg Immendorff, Per Kirkeby, Jeff Koons, Barbara Kruger, Robert Mapplethorpe, Paul McCarthy \u0026amp; Mike Kelley, Allan McCollum, Cady Noland, Ria Pacqu\u0026eacute;e, A.R. Penck, David Robilliard, Martha Rosler, Rob Scholte, Thomas Sch\u0026uuml;tte, Cindy Sherman, Walter Swennen, Jan Vercruysse en Franz West.​\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","name":"De jaren tachtig – Een decennium van extremen","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e\u003cem\u003eDe jaren tachtig \u0026ndash; Een decennium van extremen\u003c/em\u003e\u003c/strong\u003e\u0026nbsp;brengt een genuanceerd beeld van de jaren tachtig\u0026nbsp; met al zijn contrasten, vrolijk en speels, maar ook hard en radicaal.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cspan style=\"line-height:1.6\"\u003eDe jaren tachtig zijn bekend als de jaren van de postmoderne individualist. Het zijn de jaren van Thatcher, Reagan, de yuppies (\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eyoung urban professionals\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e), informatisering en mediatisering. Het decennium van\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003enouvelle cuisine\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e,\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003ecold wave\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e\u0026nbsp;en reclame, van de walkman en aerobics, van IKEA, Michael Jackson, maar ook Joy Division of The Beastie Boys. Van aids, De Bende van Nijvel, de CCC (Cellules Communistes Combattantes), de kernramp van Tsjernobyl, het Anti-Fascistisch Front, de tweede punkgeneratie, de\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eNo Future Generation\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. Het is het decennium van grote protestmarsen tegen de atoomraketten en de val van de Berlijnse Muur. De herdefini\u0026euml;ring van de verhouding tussen de staat en de markt markeert het begin van de uitholling van de welvaartsstaat. Voor sommigen \u0026ndash; de yuppies \u0026ndash; betekende dit de mogelijkheid om enorme rijkdom te genereren door de nieuw ontstane vrije markt, maar er heerste in die periode van postindustrialisering ook een diepe recessie, waarbij men spreekt over de\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eNo Future Generation\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. De tentoonstelling\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eDe jaren tachtig \u0026ndash; Een decennium van extremen\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e\u0026nbsp;toont deze polarisering tussen rijkdom en malaise in de samenleving.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling toont werk van de New Yorkse sc\u0026egrave;ne die toen nog het voorbeeld voor Europa was: nieuwe media werden gebruikt om maatschappelijke problemen aan te kaarten, vooral de genderkwestie. Daarnaast de postminimale installaties met hun elitaire en coole esthetiek die toen de Europese kunstscene domineerden, van\u0026nbsp;Allan McCollum\u0026nbsp;tot\u0026nbsp;Jan Vercruysse, en de\u0026nbsp;\u003cem\u003epoppy\u003c/em\u003e\u0026nbsp;installaties van\u0026nbsp;Jeff Koons\u0026nbsp;tot\u0026nbsp;Wim Delvoye. Maar ook kunstenaars zoals\u0026nbsp;Anne-Mie van Kerckhoven\u0026nbsp;en\u0026nbsp;Danny Devos\u0026nbsp;komen aan bod, de\u0026nbsp;\u003cem\u003eNo Future Generation\u003c/em\u003e\u0026nbsp;waar agressiviteit en provocatie zowel inhoudelijk als strategisch gebruikt werden om zich tegenover de traditie en de\u0026nbsp;\u003cem\u003epolitical correctness\u003c/em\u003e\u0026nbsp; te positioneren. Naast kunstwerken brengt de tentoonstelling ook maatschappelijke en politieke gebeurtenissen in herinnering door middel van tekeningen van \u0026lsquo;politiek tekenaar\u0026rsquo;\u0026nbsp;GAL, vinyplaten, tijdschriften en filmfragmenten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eKunstenaars:\u0026nbsp;Georg Baselitz, Guillaume Bijl, Jean-Marc Bustamante, Club Moral (Danny Devos \u0026amp; Anne-Mie Van Kerckhoven), Jef Cornelis, Ren\u0026eacute; Dani\u0026euml;ls, Thierry De Cordier, Anne Teresa De Keersmaeker, Wim Delvoye, Bernaded Dexters, Lili Dujourie, Jan Fabre, GAL, Robert Gober, Rodney Graham, Keith Haring, Jenny Holzer, J\u0026ouml;rg Immendorff, Per Kirkeby, Jeff Koons, Barbara Kruger, Robert Mapplethorpe, Paul McCarthy \u0026amp; Mike Kelley, Allan McCollum, Cady Noland, Ria Pacqu\u0026eacute;e, A.R. Penck, David Robilliard, Martha Rosler, Rob Scholte, Thomas Sch\u0026uuml;tte, Cindy Sherman, Walter Swennen, Jan Vercruysse en Franz West.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","name":"Les années 80 – Une décennie d’extrêmes","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003e\u003cem\u003eLes ann\u0026eacute;es\u0026nbsp;80 \u0026ndash; Une d\u0026eacute;cennie d\u0026rsquo;extr\u0026ecirc;mes\u003c/em\u003e\u003c/strong\u003e\u0026nbsp;pr\u0026eacute;sente une image nuanc\u0026eacute;e de ces ann\u0026eacute;es paradoxales, festives et ludiques, mais aussi dures et radicales.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLes ann\u0026eacute;es\u0026nbsp;80 sont connues comme les ann\u0026eacute;es de l\u0026rsquo;individualisme post-moderne. Ce sont les ann\u0026eacute;es de Thatcher, de Reagan, des\u0026nbsp;\u003cem\u003eyuppies\u003c/em\u003e\u0026nbsp;(\u003cem\u003eyoung urban professionals\u003c/em\u003e), de l\u0026rsquo;informatisation et de la m\u0026eacute;diatisation. La d\u0026eacute;cennie de la nouvelle cuisine, de la\u0026nbsp;\u003cem\u003ecold wave\u003c/em\u003e\u0026nbsp;et de la publicit\u0026eacute;, du baladeur et de l\u0026rsquo;a\u0026eacute;robic, d\u0026rsquo;IKEA, de Michael Jackson, mais aussi de Joy Division ou des Beastie Boys, du sida, de la bande de Nivelles, des C.C.C. (Cellules Communistes Combattantes), de la catastrophe nucl\u0026eacute;aire de Tchernobyl, du Front Anti-Fasciste, de la deuxi\u0026egrave;me g\u0026eacute;n\u0026eacute;ration punk \u0026ndash; la g\u0026eacute;n\u0026eacute;ration\u0026nbsp;\u003cem\u003eno future\u003c/em\u003e. C\u0026rsquo;est aussi la d\u0026eacute;cennie des grandes manifestations contre les missiles nucl\u0026eacute;aires et celle de la chute du mur de Berlin. La red\u0026eacute;finition du rapport entre l\u0026rsquo;\u0026Eacute;tat et le march\u0026eacute; marque le d\u0026eacute;but du d\u0026eacute;tricotage de l\u0026rsquo;\u0026eacute;tat-providence. Si pour certains \u0026ndash; les\u0026nbsp;\u003cem\u003eyuppies\u003c/em\u003e\u0026nbsp;\u0026ndash; ces mutations ont permis de g\u0026eacute;n\u0026eacute;rer des fortunes colossales gr\u0026acirc;ce \u0026agrave; l\u0026rsquo;\u0026eacute;closion de nouvelles \u0026eacute;conomies de march\u0026eacute;, d\u0026rsquo;autres subissaient de plein fouet la r\u0026eacute;cession profonde qui frappait cette p\u0026eacute;riode de post-industrialisation. D\u0026rsquo;o\u0026ugrave; la g\u0026eacute;n\u0026eacute;ration\u0026nbsp;\u003cem\u003eno future\u003c/em\u003e. L\u0026rsquo;exposition\u0026nbsp;\u003cem\u003eLes ann\u0026eacute;es\u0026nbsp;80 \u0026ndash; Une d\u0026eacute;cennie d\u0026rsquo;extr\u0026ecirc;mes\u003c/em\u003e\u0026nbsp;met en lumi\u0026egrave;re cette polarisation entre richesse et malaise dans la soci\u0026eacute;t\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;exposition pr\u0026eacute;sente des \u0026oelig;uvres de la sc\u0026egrave;ne new-yorkaise qui, \u0026agrave; l\u0026rsquo;\u0026eacute;poque, \u0026eacute;tait un exemple pour l\u0026rsquo;Europe\u0026nbsp;: de nouveaux m\u0026eacute;dias y \u0026eacute;taient utilis\u0026eacute;s pour aborder des probl\u0026egrave;mes soci\u0026eacute;taux, en particulier la question des genres. Outre les installations post-minimalistes et leur esth\u0026eacute;tique \u0026eacute;litaire et d\u0026eacute;pouill\u0026eacute;e qui dominaient la sc\u0026egrave;ne artistique europ\u0026eacute;enne de l\u0026rsquo;\u0026eacute;poque, d\u0026rsquo;Allan McCollum\u0026nbsp;\u0026agrave;\u0026nbsp;Jan Vercruysse, on peut y voir des installations d\u0026rsquo;inspiration pop de\u0026nbsp;Jeff Koons\u0026nbsp;\u0026agrave;\u0026nbsp;Wim Delvoye. Mais l\u0026rsquo;exposition donne aussi voix au chapitre \u0026agrave; des artistes embl\u0026eacute;matiques de la g\u0026eacute;n\u0026eacute;ration\u0026nbsp;\u003cem\u003eno future\u003c/em\u003e\u0026nbsp;comme\u0026nbsp;Anne-Mie van Kerckhoven\u0026nbsp;et\u0026nbsp;Danny Devos, qui n\u0026rsquo;ont pas h\u0026eacute;sit\u0026eacute; \u0026agrave; faire appel \u0026agrave; l\u0026rsquo;agressivit\u0026eacute; et \u0026agrave; la provocation, tant sur le plan de la strat\u0026eacute;gie que du contenu, pour se positionner vis-\u0026agrave;-vis de la tradition et du politiquement correct. Parall\u0026egrave;lement aux \u0026oelig;uvres, l\u0026rsquo;exposition nous rappelle des \u0026eacute;v\u0026eacute;nements soci\u0026eacute;taux et politiques \u0026agrave; travers des dessins du \u0026laquo;\u0026nbsp;dessinateur politique\u0026nbsp;\u0026raquo;\u0026nbsp;GAL\u0026nbsp;ainsi que des disques vinyle, des revues et extraits de films.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eArtistes:Georg Baselitz, Guillaume Bijl, Jean-Marc Bustamante, Club Moral (Danny Devos \u0026amp; Anne-Mie Van Kerckhoven), Jef Cornelis, Ren\u0026eacute; Dani\u0026euml;ls, Thierry De Cordier, Anne Teresa De Keersmaeker, Wim Delvoye, Bernaded Dexters, Lili Dujourie, Jan Fabre, GAL, Robert Gober, Rodney Graham, Keith Haring, Jenny Holzer, J\u0026ouml;rg Immendorff, Per Kirkeby, Jeff Koons, Barbara Kruger, Robert Mapplethorpe, Paul McCarthy \u0026amp; Mike Kelley, Allan McCollum, Cady Noland, Ria Pacqu\u0026eacute;e, A.R. Penck, David Robilliard, Martha Rosler, Rob Scholte, Thomas Sch\u0026uuml;tte, Cindy Sherman, Walter Swennen, Jan Vercruysse en Franz West.​\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":""},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":38,"name":"Guillaume Bijl","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/715/large/DSC_0969.jpg?1340273909","poster_credits":"(c)image: M HKA"}},{"id":41,"name":"Lili Dujourie","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/344/large/Dujouri,%20Lily%283%29.jpg?1305292462","poster_credits":"(c)image: ICC Archive "}},{"id":45,"name":"Barbara Kruger","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/720/large/BarbaraKrugerPhotoBW.jpg?1366728607","poster_credits":null}},{"id":102,"name":"Thierry De Cordier","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/366/large/Kunstencentrum%20Carlos%20de%20Meester%20te%20gast%20afb%20cat%20De%20Cordier%281%29.jpg?1305535554","poster_credits":"(c)image: ICC Archive "}},{"id":110,"name":"Jan Fabre","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/138/large/DSC_6405.jpg?1368189690","poster_credits":"(c)image: M HKA"}},{"id":134,"name":"Jan Vercruysse","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/339/large/89066_a891b517-4ddd-4a57-a3e4-807d8d1ea493_-1_273.Jpeg?1353964079","poster_credits":"(c)image: SMAK/Dirk Pauwels"}},{"id":171,"name":"Ria Pacquée","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/258/large/PerformanceRiaPacquee2011ArtsBirthdayphotoM_HKAclinckx2.jpg?1465901988","poster_credits":"©image: M HKA, 2011"}},{"id":220,"name":"Martha Rosler","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/371/large/clinckx0129_grey.jpg?1465996845","poster_credits":"(c)image: M HKA"}},{"id":267,"name":"Walter Swennen","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/060/large/MuHKA_LIZENE_270_2.jpg?1367848154","poster_credits":"(c)image: M HKA"}},{"id":545,"name":"Georg Baselitz","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/374/large/Georg_Baselitz_by_Erling_Mandelmann.jpg?1466004018","poster_credits":"(c)image: Erling Mandelmann, CC BY-SA 3.0"}},{"id":554,"name":"René Daniëls","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/377/large/1805csdanielesss.jpg?1466008180","poster_credits":"(c)image: Peter Cox, Courtesy Van Abbemuseum, Eindhoven"}},{"id":564,"name":"Jenny Holzer","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/851/large/jenny%20holzer.jpg?1326806011","poster_credits":null}},{"id":565,"name":"Jörg Immendorff","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/372/large/jorgimmendorf_grey.jpg?1466003081","poster_credits":null}},{"id":614,"name":"Cady Noland","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/075/large/blank.png?1367850543","poster_credits":null}},{"id":657,"name":"Keith Haring","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/487/large/Haring_Keith__1987_cafetaria__Muhka_Goyvaerts_Productions__still9.jpg?1366193638","poster_credits":"(c)image: Goyvaerts Productions"}},{"id":691,"name":"Franz West","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/545/large/West_Franz-museum-ludwig-koeln-111209-web.jpg?1340616348","poster_credits":"(c)image: Hpschaefer "}},{"id":740,"name":"Cindy Sherman","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/475/large/Screen_shot_2013-05-28_at_13.51.32.png?1369741748","poster_credits":"(c)image: Richard Burbridge"}},{"id":755,"name":"Wim Delvoye","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/022/large/78334.jpg?1350977656","poster_credits":null}},{"id":766,"name":"Allan McCollum","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/742/large/amccollum.jpg?1340623467","poster_credits":null}},{"id":1294,"name":"A. 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