{"id":2665,"title":"What Would I Do in Orbit?","date_begin":"2016-11-13T00:00:00.000+01:00","date_end":"2017-01-22T00:00:00.000+01:00","location":{"readable":"Museum Abteiberg, Mönchengladbach","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/939/large/WWIDIO_CampaignImage.JPG?1476176951","poster_credits":"(c)image: Museum Abteiberg"},"translations":[{"locale":"en","name":"What Would I Do in Orbit?","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eThe impact of medialization, digitization, technology, science, and the imaginary worlds of artificial intelligence on our modern ego have long been a key topic in the work of performer and musician Anne-Mie Van Kerckhoven (b. 1951). Her rich multimedia oeuvre fusing introspection, complex interdisciplinary theories, ancient mysticism and new fields of research spans some 40 years of artistic production.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven\u0026rsquo;s work is about a human brain that was quick to internalize the pervasive complexity and absurd contradictions of the 20th century: the phenomena of film montage manipulations, indoctrination through images turned artificial collages, and phenomena of the so-called \u0026ldquo;present time\u0026rdquo; that hurt. It deals with the unconscious and the subconscious, delving into private thoughts and this very thinking\u0026rsquo;s evolution as everted or visualized in the form of drawings, diagrams, altered photographs and texts. Van Kerckhoven\u0026rsquo;s aesthetics have an ever-present sense of timeliness and relevance, revealing themselves to be little-known precursors to other tendencies common to art produced today: the parallel existence and combinability of analogue and digital artistic media has been a feature of her work since the early 1980s.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe Antwerp-based artist studied graphic design in the 1970s while independently exploring philosophical and scientific theories. Her oeuvre began with drawing as the primary medium \u0026ndash; the medium she at that time most associated with the advantages of easy communication and replicability/dissemination \u0026ndash; and expanded over the years, becoming an instrument for multimedia, spatial and cinematic representations of thoughts, emotions, and inner worlds. In the early 1980s, she began an intense collaboration with neuroscientist Luc Steels and his Artificial Intelligence Laboratory (Brussels, now Paris) creating visual languages steeped in scientific imaging: diagrams, drawn animation and text/image schemes.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHer practice is historically rooted in the countercultures of punk, feminism and the anti-academicism typical of her generation, celebrating the aesthetics of pop and trash as a vehicle for highly complex content and new intellectual and artistic structures:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026ldquo;At the time I was reading de Sade and Wittgenstein simultaneously in combination with scientific journals. The explanation of my work became a second version of my work. And my own brain became the subject of my art. The impulses that led me to do things became one of my main interests. Influence, determination, destiny, social aspects, morals \u0026ndash; everything that drives people\u0026rsquo;s actions served as inspiration. I began to use images from mass media as a counterbalance to my own. I collected every magazine I could afford, and used the whole \u0026lsquo;superficiality\u0026rsquo; to look for structures, lines and systems below the surface.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(from: Anne-Mie Van Kerckhoven,(\u003cem\u003eDas Abstrakte ist keine sexuelle Stimulanz\u003c/em\u003e,1995)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven\u0026rsquo;s work leads from the current phenomenon of excessive introspection (omnipresent in the medium of \u0026ldquo;selfies,\u0026rdquo; among others) back to the precarious state of thinking that lurks, in a sense, \u0026ldquo;below the surface\u0026rdquo; of our idealized and desired portraits. Van Kerckhoven\u0026rsquo;s \u0026ldquo;futuristic\u0026rdquo; perspective from the 1970s and \u0026lsquo;80s \u0026ndash; trashy, broken, but constantly on the lookout for future-oriented images (AMVK: They were \u0026ldquo;fantasies about the future\u0026rdquo;; re-absorption of sci-fi aesthetics from the 1960s into the 1980s) \u0026ndash; forms an interesting relationship with the picture of the future presented in current artistic images and text worlds. The titular quote \u0026ldquo;What Would I Do in Orbit?\u0026quot; is material from Anne-Mie Van Kerckhoven\u0026rsquo;s youth in the 1960s (image above: Brigitte Bardot on a plane ca. 1964) and her early artistic years around 1980 (=\u003cem\u003eBasic\u003c/em\u003e), a period characterized by notions of escape, freedom and self-inquiry (The working title was appellatively: \u0026quot;What Would Y o u Do...\u0026quot;, reflexive exhibition title \u0026ldquo;What Would I Do ...\u0026rdquo;).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAt Museum Abteiberg, Anne-Mie Van Kerckhoven is realizing an exhibition with specially-built walls and picture-hanging structures. Works from every phase of her artistic production will be arranged in an anticipated 12 chapters (levels of expression) that draw connections between her earliest and newest works and tie together materials as diverse as painting, drawing and collage, sculpture, foils, fluorescent colors, Xerox technology and computer animation, with a cinematic animated work at the center of each. The spatial architecture becomes an abstract installation of interior thought. The exhibition also includes events with invited guests, illuminating three different areas of investigation. Anne-Mie Van Kerckhoven will appear with performance artist Danny Devos in a concert featuring \u0026ldquo;Club Moral,\u0026rdquo; her performance band which has been active since 1984. Neuroscientist Luc Steels, director of the Artificial Intelligence Laboratory, will come for a lecture and interdisciplinary discussion, as will Belgian feminist theorist and activist Marthe van Dessel. Dates for these events will be announced in the coming weeks.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven\u0026rsquo;s work has been featured in early exhibitions at ICC Antwerp, K\u0026uuml;nstlerhaus Hamburg, the Los Angeles County Museum of Art (LACMA) and many galleries and artist-run spaces. Solo exhibitions since 2000 include those at NAK Neuer Aachener Kunstverein and Kunsthalle Bern (2004/05), WIELS in Brussels (2008), Kunsthalle N\u0026uuml;rnberg (2009), the Renaissance Society in Chicago (2011) and Kunstverein M\u0026uuml;nchen (2015). Van Kerckhoven lived in Berlin for one year as a DAAD fellow in 2006/07; she exhibited in Manifesta 7 Trento/Rovereto/Bozen in 2008. Other projects in 2016 include those at Zeno X Gallery, Antwerp, \u0026ldquo;Pseudo-Fourier\u0026rdquo; at Solo Shows S\u0026atilde;o Paulo, Brazil, and Biennale de Rennes.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis exhibition is realized in cooperation with the Kunstverein Hannover (March 18 to May 14, 2017) and the M HKA Antwerp (spring 2018). It was made possible with generous support from the Department Culture, Youth, Sports and Media of Flanders, the Kunststiftung NRW (Arts Foundation of North Rhine-Westphalia) and the Hans Fries Foundation.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003ca href=\"http://ensembles.org/ensembles/1-parallellisms-disciplines-comfort?locale=nl\"\u003eChapter 1: Parallellisms: disciplines / comfort\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/2-evil-and-enternainment-gnosis-games-process-forking?locale=nl\"\u003eChapter 2: Evil and enternainment / Gnosis Games / Process, forking\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/3-systems-and-life-words-signs-symbols-unflat-concurrent-prologs-relations-facts-rules?locale=nl\"\u003eChapter 3: Systems and life / Words, signs, symbols / Unflat concurrent prologs / Relations, facts, rules\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/4-coupling-the-world-and-the-others-connectivity-pure-flat-concurrents?locale=nl\"\u003eChapter 4: Coupling, the world and the others / Connectivity / Pure flat concurrents\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/5-faces-digitalism-religion-and-time-pentagram-generalized-ordering-and-its-applications?locale=nl\"\u003eChapter 5: Faces, digitalism, religion and time / Pentagram / Generalized ordering and its applications\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/6-intelligence-processing-building-absorber-the-i-as-substitute?locale=nl\"\u003eChapter 6: Intelligence, processing, building / Absorber: the I as substitute\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/7?locale=nl\"\u003eChapter 7: Faces, fate / Magic force / Concept hierarchies / Multiple classification\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/8-numbers-alchemy-realization-sensible-strategy-and-subsets-of-matching-patterns?locale=nl\"\u003eChapter 8: Numbers, alchemy / Realization / Sensible strategy and subsets of matching patterns\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/9-numbers-fate-and-place-initiation-forbidden-values-clash-of-rules?locale=nl\"\u003eChapter 9: Numbers, fate and place / Initiation / Forbidden values / Clash of rules\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/10-mysticism-and-digitalis-principle-event-evaluators-retreiver-mechanisms?locale=nl\"\u003eChapter 10: Mysticism and digitalis / Principle / Event evaluators / Retreiver Mechanisms\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/11-blind-spreading-human-risk-takers-cowboys?locale=nl\"\u003eChapter 11: Blind spreading / Human / Risk takers / Cowboys\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/12-architectures-of-reflexion-soul-towards-object-oriented-circular-interpretations?locale=nl\"\u003eChapter 12: Architectures of reflexion / Soul / Towards object-oriented circular interpretations\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"nl","name":"What Would I Do in Orbit?","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eDe impact van mediatisering, digitalisering, technologie, wetenschap en de denkbeeldige werelden van kunstmatige intelligentie op ons modern ego zijn lang een essentieel onderwerp geweest in het werk van performer en muzikant Anne-Mie Van Kerckhoven (b. 1951). Haar rijke multimedia-oeuvre vermengt zelfbezinning, complexe interdisciplinaire theorie\u0026euml;n, oud mysticisme, nieuwe onderzoeksvelden en strekt zich uit over ongeveer 40 jaar artistieke productie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhovens werk gaat over een menselijk brein dat zich de doordringende complexiteit en absurde tegenstellingen van de 20\u003csup\u003ee\u003c/sup\u003e eeuw snel eigen maakte: het fenomeen van filmmontagemanipulaties, indoctrinatie via beelden die uitgroeiden tot artistieke collages en fenomenen van de zogenaamde \u0026ldquo;huidige tijd\u0026rdquo; die kwetsen. Het brein behandelt het onbewuste en het onderbewuste en graaft hiervoor in private gedachten en de evolutie van het denken zoals opgeroepen of gevisualiseerd in de vorm van tekeningen, diagrammen, gewijzigde foto\u0026rsquo;s en teksten. Van Kerckhovens esthetiek voelt telkens op nieuw tijdloos en relevant aan en onthult zich als een weinig bekende voorloper van andere trends die vandaag gebruikelijk zijn in de kunst: het parallelle bestaan en de combineerbaarheid van analoge en digitale artistieke media is een eigenschap van haar werk sinds het begin van de jaren 80.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe artieste uit Antwerpen studeerde grafisch design in de jaren 70 terwijl ze op haar eentje filosofische en wetenschappelijke theorie\u0026euml;n ontdekte. Haar oeuvre begon met tekenen als het eerste medium \u0026ndash; het medium dat ze op dat moment het meest in verband bracht met de voordelen van gemakkelijke communicatie en reproduceerbaarheid / verspreiding \u0026ndash; en breidde de volgende jaren steeds verder uit. Het werd een instrument voor multimedia, ruimtelijke en cinematische weergaves van gedachtes, emoties en innerlijke werelden. Aan het begin van de jaren 80 begon ze een nauwe samenwerking met neurowetenschapper Luc Steels en zijn Artificial Intelligence Laboratory (Brussel, nu Parijs) en cre\u0026euml;erde ze visuele talen die de wereld werden ingestuurd via wetenschappelijke beelden: diagrammen, getekende animatie en tekst-/beeldschema\u0026rsquo;s.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHaar werkwijze is historisch geworteld in de tegenculturen punk, feminisme en de typische anti-academische opvatting van haar generatie waarin de esthetiek van pop en trash in de kijker werd gezet als een middel voor ontzettend complexe inhoud en nieuwe intellectuele en artistieke structuren:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;\u003cem\u003eIn die periode las ik gelijktijdig De Sade en Wittgenstein in combinatie met wetenschappelijke tijdschriften. De uitleg van mijn werk werd een tweede versie van mijn werk. En mijn eigen brein werd het onderwerp van mijn kunst. De impulsen die me ertoe leidden dingen te doen, groeiden uit tot een van mijn belangrijkste interesses. Invloed, vastberadenheid, lot, sociale aspecten, moraal \u0026ndash; alles dat een drijfveer was voor de handelingen van mensen gebruikte ik als inspiratie. Ik begon beelden uit de massamedia te gebruiken als een tegenbalans voor mijn eigen beelden. Ik verzamelde elk magazine dat ik me kon veroorloven en gebruikte de hele \u0026lsquo;oppervlakkigheid\u0026rsquo; om op zoek te gaan naar structuren, lijnen en systemen onder het oppervlak.\u0026rdquo; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;(uit: Anne-Mie Van Kerckhoven,(\u003cem\u003eDas Abstrakte ist keine sexuelle Stimulanz\u003c/em\u003e,1995)\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhovens werk gaat van het huidige fenomeen van overdreven zelfbespiegeling (onder meer alomtegenwoordig in het medium \u0026ldquo;selfies\u0026rdquo;) terug naar de hachelijke toestand van het denken dat, in zekere zin, \u0026ldquo;onder het oppervlak\u0026rdquo; van onze ge\u0026iuml;dealiseerde en verlangde portretten schuilt. Van Kerckhovens \u0026ldquo;futuristische\u0026rdquo; opvattingen uit de jaren 70 en 80 \u0026ndash; waardeloos, gebroken, maar constant op de uitkijk voor futuristische beelden (AMVK: Het waren \u0026ldquo;fantasie\u0026euml;n over de toekomst\u0026rdquo;; het opslorpen van scifi-esthetiek van de jaren 60 in de jaren 80) - vormt een interessante relatie met de afbeelding van de toekomst voorgesteld in de huidige artistieke beelden en tekstwerelden. De titelquote \u0026ldquo;What would I Do in Orbit?\u0026rdquo; verwijst naar Anne-Mie Van Kerckhovens jeugd in de jaren 60 (afbeelding boven: Brigitte Bardot op een vliegtuig ca. 1964) en haar vroege artistieke jaren rond 1980 (=\u003cem\u003eBasic\u003c/em\u003e), een periode gekenmerkt door begrippen als ontsnapping, vrijheid en zelfonderzoek (De werktitel was de beschrijvende naam: \u0026ldquo;What Would Y o u Do \u0026hellip;\u0026rdquo;, de reflexieve tentoonstellingstitel (What Would I Do \u0026hellip;\u0026rdquo;).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn het Museum Abteiberg houdt Anne-Mie Van Kerckhoven een tentoonstelling met speciaal gebouwde muren en structuren met opgehangen foto\u0026rsquo;s. Werken uit elke fase van haar artistieke productie worden gerangschikt in 12 voorziene hoofdstukken (niveaus van uitdrukking) die verbanden leggen tussen haar oudste en nieuwste werken en die diverse materialen als schilderijen, tekeningen, collages, beeldhouwwerken, folies, fluorescerende kleuren, Xerox-technologie en computeranimatie samenvoegen met een cinematisch geanimeerd werk aan de basis van elk van die materialen. De ruimtelijke architectuur wordt een abstracte installatie van de innerlijke gedachte. De tentoonstelling organiseert ook evenementen met uitgenodigde gasten en zet drie verschillende domeinen van onderzoek in de kijker. Anne-Mie Van Kerckhoven zal er verschijnen met performance-artiest Danny Devos in een concert met \u0026ldquo;Club Moral\u0026rdquo;, haar performanceband die sinds 1984 actief is. Neurowetenschapper Luc Steels, directeur van het\u0026nbsp; Artificial Intelligence Laboratory, komt een lezing geven over interdisciplinaire discussie, net als de Belgische feministisch theoreticus en activiste Marthe Van Dessel. De data voor deze evenementen worden in de volgende weken bekendgemaakt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhovens werk werd al heel wat jaren geleden tentoongesteld in ICC Antwerpen, K\u0026uuml;nstlerhaus Hamburg, the Los Angeles County Museum of Art (LACMA) en vele galerijen en tentoonstellingsruimtes van artiesten. Solotentoonstellingen sinds 2000 vinden we onder meer terug in het NAK Neuer Aachener Kunstverein en in de Kunsthalle Bern (2004/05), WIELS in Brussel (2008), Kunsthalle N\u0026uuml;rnberg (2009), de Renaissance Society in Chicago (2011) en Kunstverein M\u0026uuml;nchen (2015). Van Kerckhoven leefde een jaar in Berlijn met een DAAD-beurs in 2006/07 en stelde tentoon tijdens Manifesta 7 Trento/Rovereto/Bozen in 2008. Andere projecten in 2016 vinden we onder meer in Zeno X Gallery, Antwerpen, \u0026ldquo;Pseudo-Fourier\u0026rdquo; tijdens Solo Shows S\u0026atilde;o Paulo, Brazili\u0026euml;, en de Biennale de Rennes.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDeze tentoonstelling komt tot stand in samenwerking met het Kunstverein Hannover (18 maart tot 14 mei 2017) en het MHKA Antwerpen (lente 2018). Ze werd mogelijk gemaakt met de genereuze steun van het departement Cultuur, Jeugd, Sport en Media van Vlaanderen, de Kunststiftung NRW (Kunststichting van Noordrijn-Westfalen) en de Hans Fries-stichting.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003ca href=\"http://ensembles.org/ensembles/1-parallellisms-disciplines-comfort?locale=nl\"\u003eChapter 1: Parallellisms: disciplines / comfort\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/2-evil-and-enternainment-gnosis-games-process-forking?locale=nl\"\u003eChapter 2: Evil and enternainment / Gnosis Games / Process, forking\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/3-systems-and-life-words-signs-symbols-unflat-concurrent-prologs-relations-facts-rules?locale=nl\"\u003eChapter 3: Systems and life / Words, signs, symbols / Unflat concurrent prologs / Relations, facts, rules\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/4-coupling-the-world-and-the-others-connectivity-pure-flat-concurrents?locale=nl\"\u003eChapter 4: Coupling, the world and the others / Connectivity / Pure flat concurrents\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/5-faces-digitalism-religion-and-time-pentagram-generalized-ordering-and-its-applications?locale=nl\"\u003eChapter 5: Faces, digitalism, religion and time / Pentagram / Generalized ordering and its applications\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/6-intelligence-processing-building-absorber-the-i-as-substitute?locale=nl\"\u003eChapter 6: Intelligence, processing, building / Absorber: the I as substitute\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/7?locale=nl\"\u003eChapter 7: Faces, fate / Magic force / Concept hierarchies / Multiple classification\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/8-numbers-alchemy-realization-sensible-strategy-and-subsets-of-matching-patterns?locale=nl\"\u003eChapter 8: Numbers, alchemy / Realization / Sensible strategy and subsets of matching patterns\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/9-numbers-fate-and-place-initiation-forbidden-values-clash-of-rules?locale=nl\"\u003eChapter 9: Numbers, fate and place / Initiation / Forbidden values / Clash of rules\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/10-mysticism-and-digitalis-principle-event-evaluators-retreiver-mechanisms?locale=nl\"\u003eChapter 10: Mysticism and digitalis / Principle / Event evaluators / Retreiver Mechanisms\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/11-blind-spreading-human-risk-takers-cowboys?locale=nl\"\u003eChapter 11: Blind spreading / Human / Risk takers / Cowboys\u003c/a\u003e\u003cbr /\u003e\r\n\u003ca href=\"http://ensembles.org/ensembles/12-architectures-of-reflexion-soul-towards-object-oriented-circular-interpretations?locale=nl\"\u003eChapter 12: Architectures of reflexion / Soul / Towards object-oriented circular interpretations\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"fr","name":"What Would I Do in Orbit?","short_description":"","description":""},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eDas Einwirken von Medialisierung, Digitalisierung, Technologie, Wissenschaft, den Vorstellungswelten von k\u0026uuml;nstlicher Intelligenz auf unser heutiges Ego ist sehr fr\u0026uuml;h von der belgischen K\u0026uuml;nstlerin, Performerin und Musikerin Anne-Mie Van Kerckhoven (*1951) thematisiert worden. Rund 40 Jahre umfasst inzwischen ihr multimediales Werk, in dem Selbstbetrachtung, komplexe interdisziplin\u0026auml;re Theorien, alte Mystik und neue Forschungsfelder zusammenkommen.\u003cbr /\u003e\r\nIm Werk von Anne-Mie Van Kerckhoven geht es um ein menschliches Gehirn, das die Komplexit\u0026auml;t und die absurden Widerspr\u0026uuml;che des 20. Jahrhunderts sehr jung schon wie invasiv verinnerlicht hat. Die Ph\u0026auml;nomene der Manipulation in der Filmmontage. Die Indoktrinationen durch Bilder, die k\u0026uuml;nstliche Collagen sind. Ph\u0026auml;nomene vemeintlicher \u0026bdquo;Gegenwart\u0026ldquo;, die weh tun. Es geht um das Un- und Unterbewusste, die Versenkung in das Innere des Denkens, in die Evolutionen dieses Denkens, ausgest\u0026uuml;lpt bzw. visualisiert durch Zeichnungen, Diagramme, bearbeitete Fotografien und Texte. Eine wenig bekannte Vorl\u0026auml;uferschaft und Aktualit\u0026auml;t wird in der \u0026Auml;sthetik Van Kerckhovens sichtbar: bereits seit den fr\u0026uuml;hen 1980er Jahren gilt hier die parallele Existenz bzw. auch die Montagef\u0026auml;higkeit von analogen und digitalen k\u0026uuml;nstlerischen Medien.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie in Antwerpen lebende K\u0026uuml;nstlerin studierte in den 1970er Jahren Grafikdesign und besch\u0026auml;ftigte sich parallel mit philosophischen und naturwissenschaftlichen Theorien. Sie arbeitete dabei zun\u0026auml;chst im Medium der Zeichnung \u0026ndash; dem Medium, das sie damals mit dem Vorteil der leichten Kommunikationsf\u0026auml;higkeit und Multiplizierbarkeit/Verbreitung verband \u0026ndash; und erweiterte es im Laufe der Jahre hin zu einem Instrument f\u0026uuml;r multimediale, r\u0026auml;umliche und filmische Darstellungen von Gedanken, Emotionen, Innenwelten. In den fr\u0026uuml;hen 1980er Jahren begann eine intensive Zusammenarbeit mit dem Neurowissenschaftler Luc Steels und dessen Institute for Artificial Intelligence (Br\u0026uuml;ssel, heute Paris), wodurch Bildsprachen bestimmend wurden, die durch wissenschaftliche Bildverfahren gepr\u0026auml;gt sind: Diagramm, zeichnerische Animation, Text-Bild-Schema.\u003cbr /\u003e\r\nDer historische Beginn dieses k\u0026uuml;nstlerischen Werks liegt in der Gegenkultur von Punk, Feminismus und einem generationstypischem Anti-Akademismus, der einerseits Pop- und Trash-\u0026Auml;sthetik, andererseits eine hochkomplexe Inhaltlichkeit und neue gedanklich-k\u0026uuml;nstlerische Strukturen hervorbrachte:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026bdquo;Zu dieser Zeit las ich gleichzeitig de Sade und Wittgenstein in Kombination mit Wissenschaftsmagazinen. Die Erkl\u0026auml;rung meiner Arbeit wurde zu einer zweiten Version meiner Arbeit. Und mein eigenes Gehirn wurde zum Gegenstand meiner Kunst. Die Impulse, die mich dazu brachten, Dinge zu tun, r\u0026uuml;ckten ins Zentrum meines Interesses. Einfluss, Bestimmung, Schicksal, das Soziale, die Moral \u0026ndash; alles, was das Handeln der Leute antreibt, wurde zu meiner Inspiration. Als Gegengewicht zu den Bildern begann ich damit, Bilder aus den Massenmedien zu verwenden. Ich sammelte jedes Magazin, das ich mir leisten konnte, und nutzte die ganze \u0026sbquo;Oberfl\u0026auml;chlichkeit\u0026rsquo; dazu, um unter der Oberfl\u0026auml;che nach Strukturen, Sparten und Systemen zu suchen.\u0026ldquo;\u003c/em\u003e\u003cbr /\u003e\r\n(aus: Anne-Mie Van Kerckhoven,\u0026nbsp;\u003cem\u003eDas Abstrakte ist keine sexuelle Stimulanz\u003c/em\u003e, 1995)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDas Werk von Anne-Mie Van Kerckhoven f\u0026uuml;hrt vom heutigen Ph\u0026auml;nomen exzessiver Selbstbetrachtung (omnipr\u0026auml;sent u.a. im Medium der \u0026sbquo;Selfies\u0026rsquo;) zur\u0026uuml;ck in die unsicheren Zust\u0026auml;nde des Denkens, gewisserma\u0026szlig;en \u0026sbquo;unter die Oberfl\u0026auml;che\u0026rsquo; unserer Ideal- und Wunschportraits. In Van Kerckhovens \u0026sbquo;futuristischer\u0026rsquo; Perspektive der 1970er und 80er Jahre \u0026ndash; trashigen, gebrochenen, dennoch auf eine Zukunft gerichteten Bildern (AMVK: Es waren \u0026bdquo;phantasies about the future\u0026ldquo;; erneute Rezeptionen der Sci Fi-\u0026Auml;sthetik der 1960 Jahre in den 1980er Jahren) \u0026ndash; ergibt\u0026nbsp;\u0026nbsp;sich eine interessante Beziehung zum Zukunftsbild in k\u0026uuml;nstlerischen Bild- und Textwelten der heutigen Zeit. Das titelgebende Zitat \u0026bdquo;What Would I Do in Orbit?\u0026ldquo; ist Material aus Anne-Mie Van Kerckhovens Jugend in den 1960er Jahren (Montage oben: Brigitte Bardot im Flugzeug um 1964) und ihren k\u0026uuml;nstlerischen Anf\u0026auml;ngen um 1980 (=\u003cem\u003eBasic\u003c/em\u003e), worin sich Flucht- und Freiheitsvorstellungen mit Selbstbefragung waren (Der Werktitel war appellativ: \u0026bdquo;What Would\u0026nbsp; Y o u \u0026nbsp;Do....\u0026ldquo;, Ausstellungstitel reflexiv \u0026bdquo;What Would I Do...\u0026ldquo;).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven realisiert im Museum Abteiberg eine Ausstellung mit eigenen W\u0026auml;nden und Bildh\u0026auml;ngestrukturen, die in voraussichtlich 12 Kapiteln (Ausdrucksebenen) Werke aus allen Werkphasen zeigt, ganz neue mit fr\u0026uuml;hesten Arbeiten verbindet, dabei Malerei, Zeichnung, Collage, Materialien wie Plastik, Folien, fluoreszierende Farben, Kopiertechnik und Computeranimation zusammenbringt und jeweils eine filmische Animation ins Zentrum setzt. Der r\u0026auml;umliche Aufbau wird zu einer abstrakten Installation des inneren Denkens. Im Rahmen der Ausstellung wird Anne-Mie Van Kerckhoven drei Bereiche ihrer Auseinandersetzung mit eingeladenen G\u0026auml;sten darstellen. Zusammen mit dem Performance-K\u0026uuml;nstler Danny Devos realisiert sie ein Konzert ihrer seit 1984 aktiven Performance-Band \u0026bdquo;Club Moral\u0026ldquo;. Der Neurowissenschaftler Luc Steels, Leiter des Institute for Artificial Intelligence, kommt zu einem Vortrag und interdisziplin\u0026auml;rem Gespr\u0026auml;ch, ebenso die belgische Feministin, Theoretikerin und Aktivistin Marthe van Dessel. Die Termine der Veranstaltungen werden in den kommenden Wochen bekanntgegeben.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAnne-Mie Van Kerckhoven stellte fr\u0026uuml;h im ICC Antwerpen, im K\u0026uuml;nstlerhaus Hamburg oder auch im Los Angeles Museum of Art aus, zudem in vielen Galerien und Off-Spaces. Seit 2000 Einzelausstellungen u.a. Neuen Aachener Kunstverein NAK und Kunsthalle Bern (2004/05), WIELS in Br\u0026uuml;ssel (2008), Kunsthalle N\u0026uuml;rnberg (2009), Renaissance Society in Chicago (2011), Kunstverein M\u0026uuml;nchen (2015). 2006/07 lebte Van Kerckhoven f\u0026uuml;r ein Jahr als Stipendiatin des DAAD in Berlin, 2008 Manifesta Trient/Rovereto/Bozen. Weitere Projekte 2016 u.a. Galerie Zeno X, Antwerpen, \u0026bdquo;Pseudo-Fourier\u0026ldquo; bei Solo Shows, Sao Paulo, Brasilien, Biennale de Rennes.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Ausstellung wird realisiert in Zusammenarbeit mit dem Kunstverein Hannover (18. M\u0026auml;rz \u0026ndash; 14. Mai 2017) und dem M HKA Antwerpen (Fr\u0026uuml;hjahr 2018). Sie wurde erm\u0026ouml;glicht durch eine gro\u0026szlig;z\u0026uuml;gige Unterst\u0026uuml;tzung des Ministeriums f\u0026uuml;r Kultur, Jugend, Sport und Medien in Flandern, der Kunststiftung NRW und der Hans Fries-Stiftung.\u003c/p\u003e\r\n"},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":1472,"name":"Anne-Mie Van Kerckhoven / AMVK","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/282/large/place_is_where_the_mind_is.jpg?1571990393","poster_credits":"(c)image: AMVK"}}],"items":[{"id":5476,"title":"Attributen en substantie","date_begin":"1993-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/953/large/Kerckhove__Anne_Mie_Van__Atributen_en_substantie_.jpg?1342527141","poster_credits":"(c)image: M HKA","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":5505,"title":"I'll rob you","date_begin":"2006-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/725/large/01.JPG?1478548699","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":13057,"title":"Atman/Wombman","date_begin":"1988-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/028/989/large/Anne-Mie_Van_Kerckhoven_1988.jpg?1432728097","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":13059,"title":"Prada","date_begin":"2000-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/037/large/1998_Prada_x_4_20_6x29_kl_kopie.jpg?1478865206","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14406,"title":"Re-Pain","date_begin":"1999-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/836/large/47_repain_screenshot_1.jpg?1470737924","poster_credits":"(c)video still: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14413,"title":"Dieper","date_begin":"2002-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/844/large/61_dieper_screenshot_1.jpg?1470740240","poster_credits":"(c)video still: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14414,"title":"Morele herbewapening: Cumulator","date_begin":"2004-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/847/large/62bis_cumulator_screenshot.jpg?1470746499","poster_credits":"(c)video still: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14449,"title":"Chapter of Opening the Mouth of Time ","date_begin":"2007-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/929/large/68_chapter_of_opening_screenshot_1.jpg?1473251733","poster_credits":"(c)video still: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14456,"title":"Flashback","date_begin":"2013-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/936/large/flashback_screenshot_1.jpg?1473253351","poster_credits":"(c)video still: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14461,"title":"= Basic","date_begin":"1980-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/660/large/D_80_II_4_001.jpg?1478247480","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14478,"title":"De 5de Kracht","date_begin":"1989-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/821/large/15_1989_De_Vijfde_Kracht_installatie___film__kopie.jpg?1478686372","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14619,"title":"39 Steps vs 19 Keys","date_begin":"1983-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/238/large/5_1983_0620_19_keys_9_x_A3_zie_foto.jpg?1478266067","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14622,"title":"Stress = (proviand+politik) x (jugend+poison)","date_begin":"1981-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/878/large/stress3_9x6x300dpi.jpg?1509022010","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14624,"title":"De Profundis","date_begin":"1987-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/246/large/11_1987_0000P_de_profundis_200x250.jpg?1478625640","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14626,"title":"De Goddelijke 3-1heid / Sex /De Kunstgeschiedenis van 1990-'45 [The Devine Tri-unity / Sex / Art History 1900-'45]","date_begin":"1989-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/248/large/13_1989_0000I_de_kusntgeschiedenis_244x122.jpg?1478625870","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14627,"title":"Interieur I: Locus Solis","date_begin":"1989-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/249/large/14_1989_0000J_Locus_Solis_200x150.jpg?1478626924","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14652,"title":"Belgisch Spleen: Santo/Santa","date_begin":"1992-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/391/large/21_1993_santo_santa.jpg?1478694965","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14658,"title":"Instinct, Etc...","date_begin":"1994-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/397/large/24_1994_Instinct_60_x_60_kopie.jpg?1478696311","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14659,"title":"Agnost Repetition Compulsion","date_begin":"1995-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/398/large/23_4_copy.jpg?1478696179","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14680,"title":"Ongeloof en Geloof/Disbelief and Belief","date_begin":"1995-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/420/large/25_1995_God_en_Geweld._0000U_kl_181x135.jpg?1478956099","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14718,"title":"Rorty the Headroom","date_begin":"2002-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/452/large/26_2002_rorty_240_x_150_kopie.jpg?1478859503","poster_credits":"(c)image: AMVK ","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14719,"title":"Maeterlinck","date_begin":"2003-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/453/large/28_2003_mat_Maeterlinck.jpg?1478866515","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14724,"title":"Bedstorie Bed","date_begin":"2006-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/458/large/32_2006_0000I_bedstorie_bed_lichtbak_151x89_kopie.jpg?1478959483","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14774,"title":"L'âme ne peut rien d'elle-même","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/508/large/37_2013_12_L'a%CC%82me_ne_peut_rien_d'elle-_me%CC%82me_%28Chap.34%29_100_x_150_cm_kopie_2.jpg?1478960806","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14775,"title":"Carrel 1 (Enigma)","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/509/large/AMVK2014_15b.jpg?1478868966","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14776,"title":"Frozen Equipoise (Groys meets Obrist)","date_begin":"2006-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/510/large/39_2006_0000M_frozen_equipoise_150_x_120_cm.jpg?1478871916","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14782,"title":"Defluff","date_begin":"2016-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/516/large/172.Defluff.JPG?1476796502","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14783,"title":"Vacant","date_begin":"1989-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/517/large/1989_Vacant_dubbelzijdig_beide_kanten_kopie.jpg?1478962706","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14785,"title":"Theory of Stress","date_begin":"1993-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/519/large/badstoffen001_kl.jpg?1478873928","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14799,"title":"Free Association / Intellectual Intimidation","date_begin":"1994-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/533/large/1994__FREE_ASSOCIATION_dubbelzijdig_39_6_x_41_4_cm_.jpg?1478964387","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14802,"title":"The Avant-Will Twin Human","date_begin":"2013-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/536/large/2013_2ie%CC%80me_Sexe_Noisy_Le_Sec__248_x_200.jpg?1478876848","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14804,"title":"Carrel 2 (Collosus)","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/540/large/AMVK2014_16b.jpg?1478876950","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14805,"title":"Carrel 3 (Connection Machine)","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/541/large/AMVK2014_17a.jpg?1478877346","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14843,"title":"Decor voor Ballet in Wit van Marc Vanrunxt: Zwarte zon/Wit vierkant \u0026 Witte zon/Zwart vierkant","date_begin":"1988-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/675/large/1988-1995_ballet_in_wit-400_x_4__.jpg?1478264646","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14846,"title":"Drawings","date_begin":"1978-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/597/large/20030700A_kl.jpg?1484038705","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14851,"title":"Hersens met Horens","date_begin":"1984-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/648/large/20160900A_kl.jpg?1484056852","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14864,"title":"Self-portraits on PVC","date_begin":"1992-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/826/large/1992_8_zelfprortetten_in_een_cluster_215_x_105_cm.jpg?1478686759","poster_credits":"(c)image: AMVK","actors":"Anne-Mie Van Kerckhoven / AMVK"},{"id":14875,"title":"Belgisch 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