{"id":15580,"title":"Regarding the Point of Restraint","dimensions":"","date_begin":"2017-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of Galeri Forsblom, Helsinki","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"regarding-the-point-of-restraint","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":"Painting","nl":"Schilderij","fr":"Peinture"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/426/large/2017_A_TEMPORARY_INSTITUTE_OF_FUTURES_STUDIES_photo__M_HKAcc_26.jpg?1493299259","poster_credits":"image: (c) M HKA, Courtesy Galerie Forsblom, Helsinki","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eNina Roos\u0026rsquo;s entire oeuvre since the early 1990s is a thoroughly and sophisticatedly argued plea for painting as a thinking practice and mode of being in the world. Painting, for her, is an ever-developing precision instrument. It is not \u003cem\u003eabout\u003c/em\u003e things; it \u003cem\u003eis\u003c/em\u003e things. It is its own language. Painting also doesn\u0026rsquo;t strive to create recognisable, easily read images or a signature personal style. Instead it is, and must be, ever changing. With \u003cem\u003eRegarding the Point of Restraint\u003c/em\u003e, 2017, a series of five paintings (of which one is a diptych) and the pavilion-like structure that supports and displays them, Roos seems to be saying that the same goes for exhibition-making, another practice that privileges thinking and precision and wants to promote the new, the unrecognisable.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eHet volledige oeuvre van Nina Roos is vanaf de vroege jaren 1990 een doordacht en haarfijn beargumenteerd pleidooi voor schilderkunst als vorm van denken en manier om in het leven te staan. Schilderen is voor haar een zich steeds ontwikkelend precisie-instrument. Schilderen heeft niet als doel om herkenbare, makkelijk te interpreteren beelden te cre\u0026euml;ren of een persoonlijke stijl te ontwikkelen. Het is en moet, daarentegen, altijd in verandering zijn. \u003cem\u003eRegarding the Point of Restraint\u003c/em\u003e (2017) is een reeks van vijf schilderijen (waaronder een tweeluik) in een paviljoenachtige structuur die ze ondersteunt en tegelijk toont. Roos lijkt te willen stellen dat haar statement over schilderen ook geldt voor het maken van tentoonstellingen, een andere praktijk die denken en precisie vooropstelt en erop uit is het nieuwe en onherkenbare te stimuleren.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;\u0026oelig;uvre compl\u0026egrave;te de Nina Roos, d\u0026egrave;s ses d\u0026eacute;buts \u0026agrave; l\u0026rsquo;arriv\u0026eacute;e des ann\u0026eacute;es\u0026nbsp;90, constitue un plaidoyer \u0026eacute;tay\u0026eacute;, profond et sophistiqu\u0026eacute; pour la peinture en tant que pratique de r\u0026eacute;flexion et mode de vie. Pour elle, peindre est un instrument de pr\u0026eacute;cision en perp\u0026eacute;tuelle \u0026eacute;volution. La peinture, ce n\u0026rsquo;est pas la repr\u0026eacute;sentation des choses, \u0026laquo;\u0026nbsp;c\u0026rsquo;est\u0026nbsp;\u0026raquo; les choses. La peinture est son propre langage. La peinture n\u0026rsquo;aspire pas \u0026agrave; cr\u0026eacute;er des images reconnaissables, faciles \u0026agrave; lire ni \u0026agrave; d\u0026eacute;velopper un style personnel. Au contraire, elle est, et doit \u0026ecirc;tre, en transformation constante. Avec \u003cem\u003eRegarding the Point of Restraint\u003c/em\u003e [En ce qui concerne le point de restriction] (2017), une s\u0026eacute;rie de cinq tableaux (dont un diptyque) et la structure pavillonnaire qui sert \u0026agrave; les pr\u0026eacute;senter, Roos para\u0026icirc;t dire que cela vaut tout autant pour la r\u0026eacute;alisation d\u0026rsquo;une exposition\u0026nbsp;: une autre pratique qui privil\u0026eacute;gie la r\u0026eacute;flexion et la pr\u0026eacute;cision et cherche \u0026agrave; promouvoir l\u0026rsquo;innovation et ce qu\u0026rsquo;on ne peut pas encore reconna\u0026icirc;tre.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}