{"id":14131,"title":"Worth Fighting For","date_begin":"2022-11-14T00:00:00.000+01:00","date_end":"2022-12-14T00:00:00.000+01:00","location":{"readable":"Keulen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/220/large/Visual_fin_exhibition.png?1666604907","poster_credits":"©"},"translations":[{"locale":"en","name":"Worth Fighting For","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eWorth Fighting For \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Ukrainian fight is about the survival of a nation and its right to exist \u0026ndash; politically, militarily, economically, and culturally. When the Russian invasion started, Western Europe responded with an amazing wave of support for its neighbouring country, justly considering it part of the European community, yet to this day, Ukraine as a culture remains barely known to many European citizens.\u003c/p\u003e\r\n\r\n\u003cp\u003eAfter the invasion had been launched, the PinchukArtCentre, the leading Ukrainian contemporary Art museum, teamed up with the Antwerp contemporary art museum M HKA to address not only immediate urgencies but also strategic challenges.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis war is not the end, not even a means to an end. The resistance and assistance are propelled by what may come after. On the most basic level, this implies that Ukraine and Western Europe get more acquainted, and in a second step, that their capacities start to enhance one another. Finally, it may also be about a joint understanding, joint imagination, and values.\u0026nbsp; The horizon \u0026ndash; just as the war and the aid \u0026ndash; is therefore essentially a cultural one. \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eArt may offer a vital space of reflection for this, for Europe to better understand the vital and vibrant Ukrainian art scene as part of an international ecology, but also for Ukraine to keep seeing itself as part of a wider world. When re-opening the PinchukArtCentre in June this year, the partnership came to address a country at war;\u0026nbsp; much more than a war zone, also a place where life and culture continue. This was the prime challenge. The outcome was an exhibition presenting a dialogue between an international selection of the M HKA collection, chosen because of their empowering and emancipatory capacity, a collection of recent works from Ukrainian artists, mostly produced in times of war. The project included the Russian War Crimes exhibition, as an unavoidable reference.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition now finds a second iteration in Cologne. And this is how it has to be; sharing thinking in a shared space. For Cologne, the dialogues have been reedited in seven spaces. They start with the landscape of war, immediately followed up by the space of world making,\u0026nbsp; notions of landscape and everyday life, the double helix of the collective and individualism. And they conclude by weighing up the catastrophe of the Russian war crimes images against the potential of relevance of art.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBart De Baere and Bj\u0026ouml;rn Geldhof\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003eOpen everyday from 10.00 untill 18.00\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","name":"Worth Fighting For","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eWorth Fighting For \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/strong\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDe Oekra\u0026iuml;ense strijd gaat over het voortbestaan van een natie en haar recht op een politiek, militair, economisch en cultureel bestaan. Toen de Russische invasie begon, reageerde West-Europa met een verbluffende golf van steun voor zijn buurland, dat terecht beschouwd werd als een deel van de Europese gemeenschap. Maar tot op vandaag is Oekra\u0026iuml;ne als cultuur bij veel mensen in West-Europa nauwelijks bekend.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet PinchukArtCentre, het toonaangevende Oekra\u0026iuml;ense museum voor hedendaagse kunst, bundelde aan het begin van de invasie de krachten met het Antwerpse\u0026nbsp; M HKA, Museum van Hedendaagse Kunst, om niet alleen de onmiddellijke urgenties, maar ook de strategische uitdagingen aan te pakken.\u003c/p\u003e\r\n\r\n\u003cp\u003eDeze oorlog is niet het eindpunt, zelfs geen middel om het doel te bereiken. De weerstand en de steun worden integendeel gedreven door wat er daarna kan komen. Op het meest fundamentele niveau betekent dit dat Oekra\u0026iuml;ne en West-Europa elkaar beter leren kennen en, in tweede instantie, dat hun capaciteiten elkaar beginnen te versterken. Tenslotte kan het gaan om een gemeenschappelijk begrip, een gemeenschappelijke visie, en gemeenschappelijke waarden. Niet alleen de oorlog en de hulp, maar ook de horizon, zijn dus in wezen cultureel.\u003c/p\u003e\r\n\r\n\u003cp\u003eKunst kan daarvoor een belangrijke ruimte voor reflectie bieden, opdat Europa deze vitale en levende Oekra\u0026iuml;ense kunstsc\u0026egrave;ne beter begrijpt als onderdeel van een internationale ecologie, maar ook opdat Oekra\u0026iuml;ne zichzelf blijft zien als onderdeel van een grotere wereld. Bij de heropening van het PinchukArtCentre in juni dit jaar stond het partnerschap in het teken van een land dat in oorlog is, maar dat veel meer is dan een oorlogsgebied, namelijk ook een plek waar het leven en de cultuur doorgaan \u0026ndash; dat was de belangrijkste uitdaging. Het resultaat was een tentoonstelling die een dialoog presenteerde tussen een internationale selectie uit de M HKA-collectie \u0026ndash; die was samengesteld vanwege haar vermogen tot empowerment en emancipatie \u0026ndash; en actueel werk van Oekra\u0026iuml;ense kunstenaars, voor het merendeel gemaakt in oorlogstijd. Het project omvatte als onvermijdelijke referentie de Russische tentoonstelling over oorlogsmisdaden \u003cem\u003eRussian War Crimes\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eDeze tentoonstelling wordt nu een tweede keer herhaald in Keulen. En zo hoort het ook: gedeeld denken in een gedeelde ruimte. Voor Keulen werden de dialogen in zeven zalen herwerkt, te beginnen met het landschap van de oorlog; onmiddellijk gevolgd door het maken van een wereld; de noties \u0026#39;landschap\u0026#39; en \u0026#39;dagelijks leven\u0026#39;; de dubbele helix van collectief en individualisme; en ten slotte het afwegen van de catastrofale beelden van Russische oorlogsmisdaden tegen het potentieel dat kunst heeft om relevant te zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBart De Baere en Bj\u0026ouml;rn Geldhof\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003eOpen van 10.00 tot 18.00\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","name":"Worth Fighting For","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eWorth Fighting For \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Ukrainian fight is about the survival of a nation and its right to exist \u0026ndash; politically, militarily, economically, and culturally. When the Russian invasion started, Western Europe responded with an amazing wave of support for its neighbouring country, justly considering it part of the European community, yet to this day, Ukraine as a culture remains barely known to many European citizens.\u003c/p\u003e\r\n\r\n\u003cp\u003eAfter the invasion had been launched, the PinchukArtCentre, the leading Ukrainian contemporary Art museum, teamed up with the Antwerp contemporary art museum M HKA to address not only immediate urgencies but also strategic challenges.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis war is not the end, not even a means to an end. The resistance and assistance are propelled by what may come after. On the most basic level, this implies that Ukraine and Western Europe get more acquainted, and in a second step, that their capacities start to enhance one another. Finally, it may also be about a joint understanding, joint imagination, and values.\u0026nbsp; The horizon \u0026ndash; just as the war and the aid \u0026ndash; is therefore essentially a cultural one. \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eArt may offer a vital space of reflection for this, for Europe to better understand the vital and vibrant Ukrainian art scene as part of an international ecology, but also for Ukraine to keep seeing itself as part of a wider world. When re-opening the PinchukArtCentre in June this year, the partnership came to address a country at war;\u0026nbsp; much more than a war zone, also a place where life and culture continue. This was the prime challenge. The outcome was an exhibition presenting a dialogue between an international selection of the M HKA collection, chosen because of their empowering and emancipatory capacity, a collection of recent works from Ukrainian artists, mostly produced in times of war. The project included the Russian War Crimes exhibition, as an unavoidable reference.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition now finds a second iteration in Cologne. And this is how it has to be; sharing thinking in a shared space. For Cologne, the dialogues have been reedited in seven spaces. They start with the landscape of war, immediately followed up by the space of world making,\u0026nbsp; notions of landscape and everyday life, the double helix of the collective and individualism. And they conclude by weighing up the catastrophe of the Russian war crimes images against the potential of relevance of art.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBart De Baere and Bj\u0026ouml;rn Geldhof\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":"\u003cp\u003e\u003cstrong\u003eWorth Fighting For\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIm ukrainischen Kampf geht es um das \u0026Uuml;berleben einer Nation und ihr Recht auf politische, milit\u0026auml;rische, wirtschaftliche und kulturelle Existenz. Als die russische Invasion begann, reagierte Westeuropa mit einer erstaunlichen Welle der Unterst\u0026uuml;tzung f\u0026uuml;r sein Nachbarland und betrachtete es zu Recht als Teil der europ\u0026auml;ischen Gemeinschaft. Aber bis heute ist die Ukraine als Kultur vielen Menschen in Westeuropa kaum bekannt.\u003c/p\u003e\r\n\r\n\u003cp\u003eDas PinchukArtCentre, das f\u0026uuml;hrende ukrainische Museum f\u0026uuml;r zeitgen\u0026ouml;ssische Kunst, hat sich zu Beginn der Invasion mit dem Antwerpener Museum f\u0026uuml;r zeitgen\u0026ouml;ssische Kunst M HKA zusammengetan, um nicht nur die unmittelbaren Dringlichkeiten, sondern auch die strategischen Herausforderungen anzugehen.\u003c/p\u003e\r\n\r\n\u003cp\u003eDieser Krieg ist nicht das Ende, nicht einmal ein Mittel zum Zweck. Der Widerstand und die Unterst\u0026uuml;tzung werden von dem angetrieben, was danach kommen k\u0026ouml;nnte. Auf der grundlegendsten Ebene bedeutet dies, dass sich die Ukraine und Westeuropa besser kennenlernen, in zweiter Linie, dass sich ihre Kapazit\u0026auml;ten gegenseitig zu verst\u0026auml;rken beginnen, und am Ende kann es um ein gemeinsames Verst\u0026auml;ndnis, eine gemeinsame Vorstellung und gemeinsame Werte gehen.\u0026nbsp; Nicht nur der Krieg und die Hilfe, auch der Horizont ist also im Wesentlichen ein kultureller.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDie Kunst kann daf\u0026uuml;r einen wichtigen Raum der Reflexion bieten, damit Europa diese vitale und lebendige ukrainische Kunstszene als Teil einer internationalen \u0026Ouml;kologie besser versteht, aber auch, damit die Ukraine sich weiterhin als Teil einer gr\u0026ouml;\u0026szlig;eren Welt sieht. Bei der Wiederer\u0026ouml;ffnung des PinchukArtCentre im Juni dieses Jahres war die Partnerschaft auf ein Land ausgerichtet, das sich im Krieg befindet, aber viel mehr als ein Kriegsgebiet ist, n\u0026auml;mlich auch ein Ort, an dem das Leben und die Kultur weitergehen \u0026ndash; das war die wichtigste Herausforderung. Das Ergebnis war eine Ausstellung, die einen Dialog zwischen einer internationalen Auswahl der M HKA-Sammlung, die aufgrund ihrer erm\u0026auml;chtigenden und emanzipatorischen F\u0026auml;higkeit zusammengestellt wurde, und aktuellen Werken ukrainischer K\u0026uuml;nstlerinnen und K\u0026uuml;nstler, die zumeist in Kriegszeiten entstanden sind, pr\u0026auml;sentierte. Das Projekt schloss die russische Ausstellung \u0026uuml;ber Kriegsverbrechen als unvermeidliche Referenz ein.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDiese Ausstellung findet nun in K\u0026ouml;ln eine zweite Wiederholung. Und das ist auch richtig und wichtig ; gemeinsames Denken in einem gemeinsamen Raum. F\u0026uuml;r K\u0026ouml;ln wurden die Dialoge in sieben R\u0026auml;umen neu bearbeitet, beginnend mit der Landschaft des Krieges, unmittelbar gefolgt vom Raum der Welterzeugung, den Begriffen der Landschaft und des Alltags, der Doppelhelix des Kollektivs und des Individualismus und schlie\u0026szlig;lich der Abw\u0026auml;gung der Katastrophe der russischen Kriegsverbrecherbilder gegen das Relevanzpotential der Kunst.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eBart De Baere und Bj\u0026ouml;rn Geldhof\u003c/p\u003e\r\n"},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"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":60,"name":"Almagul Menlibayeva","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/109/large/alma_014.jpg?1362582153","poster_credits":"(c)Almagul Menlibayeva"}},{"id":72,"name":"Sergey Bratkov / Сергій Братков","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/021/large/1336123694.jpg?1350977612","poster_credits":null}},{"id":80,"name":"Babi Badalov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/371/large/Beforeafterbb.jpg?1360681698","poster_credits":null}},{"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":129,"name":"Luc Tuymans","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/053/large/800px-Luc_Tuymans_01.jpg?1394653224","poster_credits":"(c)image: Marc Wathieu"}},{"id":163,"name":"Hiwa K","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/479/large/hiwak.jpg?1369747505","poster_credits":null}},{"id":258,"name":"Berlinde De Bruyckere","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/693/large/BerlindeDeBruyckere.jpg?1370423250","poster_credits":null}},{"id":261,"name":"Marlene Dumas","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/486/large/zwirner-dumas_ar.jpg?1366192858","poster_credits":null}},{"id":324,"name":"Sheela  Gowda","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/097/large/SheelaGowda.jpg?1358934111","poster_credits":"(c)image: Iniva, London"}},{"id":601,"name":"Allan Sekula","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/014/large/M_HKA_SEKULA_FOTO_BRAM_GOOTS_LRES10_36.jpg?1365511384","poster_credits":"(c)image: M HKA, Bram Goots"}},{"id":696,"name":"Francis Alÿs","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/617/large/FrancisAlys.jpg?1370333881","poster_credits":null}},{"id":727,"name":"Mark Lewis","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/608/large/mark_lewis.jpg?1370268465","poster_credits":null}},{"id":729,"name":"Wilhelm Sasnal","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/254/large/Sasnal_at_Raster_Gallery__Warsaw__2001.jpg?1368698820","poster_credits":null}},{"id":1184,"name":" ORLAN","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/785/large/09_DSC_2167capture2_blackwhite.JPG?1349164958","poster_credits":"(c)image: M HKA"}},{"id":1222,"name":"Kerry James Marshall","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/411/large/kerry-james-marshall.jpg?1328103746","poster_credits":"(c)BlackArtistNews"}},{"id":1795,"name":"Jan Cox","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/531/large/cox_1962_Boston2.jpg?1395776241","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen"}},{"id":2219,"name":"Nástio Mosquito","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/635/large/Nastio_Mosquito_-_Continents.jpg?1401699549","poster_credits":"(c)image: Nástio Mosquito"}},{"id":2670,"name":"Hüseyin Bahri  Alptekin","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/862/large/Huseyin_Bahri_Alptekin_%28Photo_by_Dragos_Alexandrescu_and_Patricia_Rodas%29.jpg?1441890167","poster_credits":"(c)photo: Dragos Alexandrescu - 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