{"id":22764,"title":"More Than Us","dimensions":"150 x 290 cm","date_begin":"2017-01-01","material":"watercolour on paper","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection MHKA, Antwerp","cached_tag_list":"VAC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0616_02","stream_count_app":62,"permalink":"more-than-us","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/495/medium_500/More_than_us_295x150.jpg?1572954699","cached_actor_names":"Ekaterina (Katya) Muromtseva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Drawing","nl":"Tekening","fr":"Dessin"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/495/large/More_than_us_295x150.jpg?1572954699","poster_credits":"© Ekaterina Muromtseva","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003eThese are paintings of collective bodies. As Walter Benjamin remarked somewhere, \u0026ldquo;the collective has a body too.\u0026rdquo;\u0026nbsp; But we are used to thinking about bodies as individual, as \u0026ldquo;mine.\u0026rdquo; These paintings ask: how can we see and think about collective bodies, the body experienced not as \u0026ldquo;mine\u0026rdquo; but as \u0026ldquo;ours\u0026rdquo; (or perhaps \u0026ldquo;theirs\u0026rdquo;)? In these paintings, the groups of bodies come together in emotionally resonant and powerful forms. They are emotionally resonant first of all because they suggest forms of duress - such as being lined up against the wall by the police \u0026mdash; or institutionalized gathering, whether it is prayer or protest or the police in the act of arresting someone. But these collective bodies are also organized by suggestive shapes \u0026mdash; triangles, lines, circles. (In a distant way, they may recall Matisse\u0026rsquo;s paintings of dancers. Or in another vein, Jackson Pollocks drip paintings, which are organized by a certain swooping gestures and shapes, so that the most miniscule of individual drips manages to come together into an overall organization.). The viewer sees an easily perceivable shape, which is given further coherence by the artist\u0026rsquo;s use of color: the bodies are seen a single unit, with an overarching logic, like a \u0026ldquo;mood\u0026rdquo; or \u0026ldquo;spirit\u0026rdquo; that gathers them together. But then, upon further examination, one notices that on the local level, the paint is splotchy, like camouflage.\u0026nbsp; This suggests that perhaps these groups are trying to \u0026ldquo;blend in\u0026rdquo; or hide, like an army in enemy territory. Or, perhaps these bodies are \u003cem\u003ebrought together\u003c/em\u003e by a form of mimicry (since that is what camouflage is): the single bodies make a collective by trying to blend in with \u003cem\u003eone another.\u0026nbsp; (\u003c/em\u003eAlthough it is quite different, I think also of Warhol\u0026rsquo;s use of camouflage, and especially his camouflage Last Supper paintings.). They wish to become indistinguishable from one another, to form a single (more powerful? pleasurable?) body. The way that shapes blend and bleed from one body to the next suggests the forces that orchestrate the bodies together, that the bodies are in fact, in important ways inseparable from one another, joined together by multiple forces, blobs and shards of feeling, affection, fear. In these varied but similar shapes, moving with and across bodies, the artist has represented the forces animating the collective body. (TEXT: Jonathan Flatley)\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":""},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003e\u003cstrong\u003eБольше нас\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u003cem\u003e2017, акварель, бумага\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eМы привыкли думать о теле, как о чем-то индивидуальном, о чем-то \u0026laquo;своем\u0026raquo;. Серия работ \u0026laquo;Больше нас\u0026raquo; поднимает вопрос: как рассматривать и понимать коллективное тело, тело, которое воспринимается не как \u0026laquo;мое\u0026raquo;, а как \u0026laquo;наше\u0026raquo;? В изображениях группы тел объединяются в эмоционально резонирующие сильные формы. Они наталкивают на мысль о формах физического принуждения \u0026ndash; например, о требовании полицейских встать к стене. Тела представлены как отдельные единицы с общей логикой, которая их объединяет. При рассмотрении становится заметно, что в некоторых местах краска похожа на камуфляж. Возможно, эти группы пытаются \u0026laquo;перемешаться\u0026raquo; или затеряться, как армия на территории врага. Или, может быть, эти тела \u003cem\u003eсводит воедино\u003c/em\u003e некая форма подражания (чем и является камуфляж): в попытке смешаться \u003cem\u003eдруг с другом\u003c/em\u003e отдельные фигуры образуют коллектив. Они хотят стать неразличимыми, сформировать единое тело. То, как формы смешиваются и перетекают из одного тела в другое, позволяет говорить о тех силах, которым подчинены эти тела. Также о том, что эти тела неотделимы друг от друга и объединены множеством значений: пятнами, фрагментами чувств, симпатии и страха. С помощью этих разнообразных, но похожих форм, художник показывает силы, питающие коллективное тело. (Джонатан Флэтли)\u003c/p\u003e\r\n"},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":3711,"name":"Ekaterina (Katya) Muromtseva","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}