{"id":11081,"title":"Double-Take: Leader of the Syrian Revolution Commanding a Charge","dimensions":"","date_begin":"2014-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":5,"permalink":"double-take-leader-of-the-syrian-revolution-commanding-a-charge","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Installation","nl":"Installatie","fr":"Installation"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/810/large/Lawrence_Abu_Hamdan_Double_Take_2014_3.jpg?1402323533","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eThis new work by Abu Hamdan is a sound piece illustrated by a series of photograph. It centres on a contemporary version of Th\u0026eacute;odore G\u0026eacute;ricault\u0026rsquo;s painting \u003cem\u003eOfficer of the Chasseurs Commanding a Charge \u003c/em\u003e(1812, in the Louvre) where the artist replaced the French imperial officer with Sultan Basha Al-Atrash (1891\u0026ndash;1982), the leader of\u0026nbsp; the Syrian uprising against the French in 1925\u0026ndash;1927. The painting was commissioned by a wealthy businessman from Syria for his British country house. Anglophilia is the unusual reason behind this paradoxical anti-colonial image that uses the aesthetics of the coloniser. The sound piece appropriates a traditional method of storytelling set to music, in which Sultan Basha Al Atrash often features, and together with the photographs the work provokes us to see how colonial violence is represented, celebrated, embodied and appropriated.\u003c/p\u003e\u003cp\u003eAbu Hamdan uses the doubleness of the story told by the paintings (the beginning and end of French imperialism) to understand the ways in which people build a complex and contradictory relationships to their colonial past. The two hundred years separating G\u0026eacute;ricault\u0026rsquo;s painting from its perversion are condensed in one moment of double-take, into which a whole history of the colonial project can be read. (AK)\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eDit nieuwe werk van Abu Hamdan is een geluidswerk ge\u0026iuml;llustreerd door een reeks foto\u0026rsquo;s. Het is een hedendaagse versie van Th\u0026eacute;odore G\u0026eacute;ricaults schilderij \u003cem\u003eOfficer of the Chasseurs Commanding a Charge\u003c/em\u003e (1812, in het Louvre) waar de kunstenaar de Franse keizerlijke officier verving door Sultan Pasha Al-Atrash (1891\u0026ndash;1982), de leider van de Syrische opstand tegen de Fransen in 1925\u0026ndash;1927. Het schilderij werd gemaakt in opdracht van een in Londen gevestigde rijke zakenman van Syrische afkomst voor in zijn landhuis. Anglofilie is de ongewone reden voor zijn paradoxale gebruik van antikoloniale beelden die zijn doordrongen met de esthetiek van de kolonisator. Het geluidswerk eigent zich een traditionele manier van verhalen vertellen op muziek toe, waarin Sultan Pasha Al-Atrash vaak voorkomt, en in combinatie met de foto\u0026rsquo;s provoceert het werk ons tot het zien van hoe koloniaal geweld wordt vertegenwoordigd, gevierd, belichaamd en toege\u0026euml;igend.\u003c/p\u003e\u003cp\u003eAbu Hamdan gebruikt de dubbele aard van het verhaal dat door de schilderijen wordt verteld (het begin en het einde van het Franse imperialisme) om de manieren waarop mensen complexe en contradictorische relaties aangaan met hun koloniale verleden te begrijpen. De tweehonderd jaar tussen het schilderij van G\u0026eacute;ricault en zijn vervormde kopie worden gecondenseerd in een bevreemdend moment waarin de hele geschiedenis van het koloniale project gelezen kan worden. (AK)\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eCette nouvelle \u0026oelig;uvre d\u0026rsquo;Abu Hamdan \u0026ndash; une commande d\u0026rsquo;un riche homme d\u0026rsquo;affaires d\u0026rsquo;origine syrienne pour sa r\u0026eacute;sidence secondaire en Angleterre \u0026ndash; est une pi\u0026egrave;ce acoustique accompagn\u0026eacute;e d\u0026rsquo;une s\u0026eacute;rie d\u0026rsquo;images centr\u0026eacute;es autour d\u0026rsquo;une version contemporaine du tableau de Th\u0026eacute;odore G\u0026eacute;ricault, \u003cem\u003eOfficier de chasseurs \u0026agrave; cheval de la garde imp\u0026eacute;riale chargeant \u003c/em\u003e(1812, collection du Louvre) dans lequel l\u0026rsquo;artiste a remplac\u0026eacute; l\u0026rsquo;officier imp\u0026eacute;rial fran\u0026ccedil;ais par le sultan Pacha Al-Atrach (1891\u0026ndash;1982), le meneur de la r\u0026eacute;volte contre le pouvoir fran\u0026ccedil;ais entre\u0026nbsp;1925 et\u0026nbsp;1927. L\u0026rsquo;anglophilie est la raison inhabituelle de cette image anticoloniale paradoxale, impr\u0026eacute;gn\u0026eacute;e de l\u0026rsquo;esth\u0026eacute;tique du colonisateur. La pi\u0026egrave;ce acoustique s\u0026rsquo;approprie un mode traditionnel de narration, transpos\u0026eacute; en musique, o\u0026ugrave; il est souvent question d\u0026rsquo;Al-Atrach. Avec les photographies qui l\u0026rsquo;accompagnent, l\u0026rsquo;\u0026oelig;uvre nous donne \u0026agrave; voir la mani\u0026egrave;re dont la violence coloniale est repr\u0026eacute;sent\u0026eacute;e, c\u0026eacute;l\u0026eacute;br\u0026eacute;e, incarn\u0026eacute;e et accapar\u0026eacute;e.\u003c/p\u003e\u003cp\u003eAbu Hamdan se sert de la double nature de l\u0026rsquo;histoire racont\u0026eacute;e par les tableaux (le d\u0026eacute;but et la fin de l\u0026rsquo;imp\u0026eacute;rialisme fran\u0026ccedil;ais) pour comprendre les mani\u0026egrave;res dont les peuples forgent des relations complexes et contradictoires avec leur pass\u0026eacute; colonial. Les deux cents ans qui s\u0026eacute;parent le tableau de G\u0026eacute;ricault de sa version pervertie sont condens\u0026eacute;s en un seul moment de regard double dans lequel on peut lire toute l\u0026rsquo;histoire du projet colonial. (AK)\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":2482,"name":"LAWRENCE ABU HAMDAN","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}