{"id":5020,"name":"","email":"","language_id":1,"permalink":"ignace-cami","deleted":false,"legal_status_id":null,"url_1":"https://ignacecami.be/","twitter":null,"category_id":47,"date_of_birth":"1986-01-01T00:00:00.000+01:00","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"In Situ M HKA","publishing_process_id":1,"can_log_in":false,"firstname":"Ignace","lastname":"Cami","annotation":"","url_2":"","url_3":"","cached_name":"Ignace Cami","date_of_death":null,"cached_name_asc":"Cami, Ignace","stream_count_app":19,"gender":"male","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/090/170/large/thefountainfrontweb.jpg?1686242103","poster_credits":null,"media_count":1,"items_count":9,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eIgnace Cami is an artist that gives obsolete things renewal. Playing with the notion of \u0026lsquo;heritage\u0026rsquo;, he questions its place as being part of the natural law of society, whilst creating the conditions for its contemporary purpose and application. Today we see heritage with an overabundance of uses, from patrimony to carrots. Yet things that represent historical legacy have also become a site for contentions of the ideological kind, forming a friction between cultural stagnation and transformation. In this context, Cami asks such questions as: how might we relate to bygone cultural artefacts that are seen as inextricably connected to a place and a time? What happens when they are in the \u0026lsquo;wrong\u0026rsquo; place or the \u0026lsquo;wrong\u0026rsquo; time? What use is there for the archaic and the hyper-local? In what new ways can they find a meaningful place in the here and now?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIgnace Cami lives and works in Antwerp. He was a researcher at the Jan van Eyck Academie from 2020-2021. Together with Ward Zwart he ran the artist-run space CRYING space. He has participated in many group exhibitions, including: \u003cem\u003eKRASJ 5: Bi\u0026euml;nnale Actuele Kunst\u003c/em\u003e, Ninove (2021); \u003cem\u003eTRACES of the future\u003c/em\u003e, Galerie valerie_traan, Antwerp (2020); \u003cem\u003eCoup de Ville\u003c/em\u003e 2016, Sint Niklaas (2016); \u003cem\u003eStille kracht\u003c/em\u003e, De Warande, Turnhout (2014); His recent solo exhibition \u003cem\u003eTROMPO\u003c/em\u003e, was held at DMW Gallery, Antwerp (2021). \u003cem\u003eRE: ANKER\u003c/em\u003e at M HKA is his first museum solo exhibition.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eIgnace Cami is een kunstenaar die oude dingen nieuw leven inblaast. Hij speelt met de notie \u0026lsquo;erfgoed\u0026rsquo;, en ondervraagt zo de plaats ervan binnen een samenleving, terwijl hij tegelijkertijd de voorwaarden schept voor een hedendaagse toepassing van het begrip. Vandaag lijkt erfgoed vanalles te zijn, van patrimonium tot wortelen. Maar dingen die staan voor een historische erfenis zijn ook een plek geworden voor ideologische twisten, wat zorgt voor een wrijving tussen culturele stagnatie en transformatie. In deze context stelt Cami vragen als: hoe kunnen we ons verhouden tot vervlogen culturele artefacten die worden gezien als onlosmakelijk verbonden met een plaats en een tijd? Wat gebeurt er als ze zich op de \u0026lsquo;verkeerde\u0026rsquo; plaats of op het \u0026lsquo;verkeerde\u0026rsquo; moment bevinden? Wat is het nut van het archa\u0026iuml;sche en het hyperlokale? Op welke nieuwe manieren kunnen zij een betekenisvolle plaats vinden in het hier en nu?\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eIgnace Cami est un artiste qui r\u0026eacute;habilite des objets obsol\u0026egrave;tes. Jouant avec la notion de \u0026laquo; patrimoine \u0026raquo;, il en interroge la place dans la loi naturelle de la soci\u0026eacute;t\u0026eacute;, tout en cr\u0026eacute;ant les conditions de son but contemporain et de son application actuelle. Aujourd\u0026rsquo;hui, nous attribuons une pl\u0026eacute;thore d\u0026rsquo;usages au patrimoine, allant des legs aux carottes. Cependant, ce qui repr\u0026eacute;sente le legs historique est \u0026eacute;galement devenu un lieu de contestation de type id\u0026eacute;ologique, engendrant une friction entre la stagnation et la transformation culturelles. Dans ce contexte, Cami soul\u0026egrave;ve des questions telles que : comment pouvons-nous nous rapporter \u0026agrave; des artefacts culturels d\u0026rsquo;antan, consid\u0026eacute;r\u0026eacute;s comme inextricablement li\u0026eacute;s au lieu et au temps de leur provenance ? Que se passe-t-il lorsqu\u0026rsquo;ils se trouvent au \u0026laquo; mauvais \u0026raquo; endroit ou au \u0026laquo; mauvais \u0026raquo; moment ? Quelle est l\u0026rsquo;utilit\u0026eacute; de l\u0026rsquo;archa\u0026iuml;que et de l\u0026rsquo;hyper local ? Comment peuvent-ils trouver de mani\u0026egrave;re innovante une place significative dans l\u0026rsquo;ici et le maintenant ?\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":""}],"locations":[]}