{"id":12302,"title":"A NON-U-MENTAL HISTORY OF M HKA – Part 2: What must be heard","date_begin":"2021-09-11T00:00:00.000+02:00","date_end":"2022-01-09T00:00:00.000+01:00","location":{"readable":"Antwerp","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/402/large/LaurieAnderson_Performance_82_232.jpg?1627291219","poster_credits":"image: (c) Laurie Anderson"},"translations":[{"locale":"en","name":"A NON-U-MENTAL HISTORY OF M HKA – Part 2: What must be heard","short_description":"","description":"\u003cp\u003eAs part of an ongoing reflection on the origins and identity of the Museum of Contemporary Art Antwerp (M HKA), a series of exhibitions brings to light different aspects of its history, particularly around its predecessor institution, the International Cultural Centre (ICC). The ICC, founded in 1969 and closed in 1998, was the first institution for contemporary art in Flanders, housed in the imposing Royal Palace in the centre of Antwerp. At a time when traditional museums did not meet the needs of contemporary art in the 1970s and 1980s, the ICC offered a platform for the production and presentation of various disciplines and crossovers between different art forms. The program focused on local and international contemporary artists, and many conceptual artists and their installations were exhibited there.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe second part of this programme is devoted to sound art. In performances and concerts at ICC, artists have explored the possibilities of sound as a complement to their visual practices. Here, these experiments are presented in an installation that includes musical instruments, sound recordings, video recordings, and documentation by artists such as \u003cstrong\u003eVito Acconci, Laurie Anderson, Connie Beckley, Jacques Charlier, Maurizio Nannucci, Charlemagne Palestine, George Smits, Ben Vautier, \u003c/strong\u003eand\u003cstrong\u003e Bernard Villers.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eOur interest in sound and its manipulation is as old as humanity itself. Before the appearance of the first recording devices (the phonograph was invented in the 19th century), it was impossible to record a sound and play it back. In order to transmit or replay their pieces, composers signed annotated scores and poets wrote their texts according to a series of rules, producing a certain cadence. Now, decades later, we present works from our collection by some of the avant-garde who used typography to represent rhythm, tone, and intonation. These artists pioneered a discipline that skillfully combines multiple media, where the use of sound resides within the world of visual art more than music.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp align=\"center\" style=\"margin-left:6.0pt;\"\u003e\u003cem\u003e\u0026quot;My hope for a project in Antwerp would be to make a \u0026#39;non-u-mental\u0026#39; work that the city could enjoy for some time after its completion.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp align=\"center\" style=\"margin-left:6.0pt;\"\u003e(Gordon Matta-Clark in a letter to Flor Bex, 1976)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThis presentation is part of a larger programme highlighting artists associated with ICC via their works, which now belong to the M HKA collection. We revisit ICC programming through the centre\u0026rsquo;s archives\u0026mdash; currently managed by M HKA\u0026mdash;in a series that continues to reflect upon the museum in a \u0026quot;non-u-mental\u0026quot; way. Concerned less with monumentality than with deepening our understanding of the infinitesimal, this \u0026ldquo;non-u-mental\u0026rdquo; method also provides a constant potential for (re)discovery.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e3D Scan:\u003c/strong\u003e\u003cbr /\u003e\r\nPlease enjoy the 3D scan of the presentation \u003ca href=\"https://mpembed.com/show/?m=XyMmpuZiE6Y\u0026amp;mpu=621\" target=\"_blank\"\u003ehere\u003c/a\u003e.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eFirst presentation: \u003ca href=\"http://ensembles.org/events/a-non-u-mental-history-of-mhka-gordon-matta-clark-foundation?locale=en\" target=\"_blank\"\u003eA NON-U-MENTAL HISTORY OF M HKA \u0026ndash; Part 1: Foundation Gordon Matta-Clark\u003c/a\u003e\u003cbr /\u003e\r\nThird presentation: \u003ca href=\"http://ensembles.org/events/a-non-u-mental-history-of-m-hka-part-3-classical-rewind\" target=\"_blank\"\u003eA NON-U-MENTAL HISTORY OF M HKA \u0026ndash; Part 3: Classical Rewind - M HKA Ensembles\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"nl","name":"EEN NON-U-MENTALE GESCHIEDENIS VAN HET M HKA – Deel 2: Wat gehoord moet worden","short_description":"","description":"\u003cp\u003eNaar aanleiding van een permanente reflectie over het ontstaan en de identiteit van het Museum van Hedendaagse Kunst Antwerpen (M HKA), worden in een reeks tentoonstellingen verschillende aspecten van haar voorganger, het Internationaal Cultureel Centrum (ICC), belicht. Het ICC, opgericht in 1969 en gesloten in 1998, was de eerste instelling voor hedendaagse kunst in Vlaanderen, gehuisvest in het statige Koninklijk Paleis in het centrum van Antwerpen. In een periode waarin traditionele musea niet beantwoordden aan de noden van de hedendaagse kunst, bood het ICC in de jaren 1970 en 1980 een platform voor de productie en presentatie van uiteenlopende disciplines en \u003cem\u003ecross-overs\u003c/em\u003e tussen verschillende kunstvormen. Het programma richtte zich op hedendaagse lokale en internationale kunstenaars, waarbij veel installatie- en conceptkunstenaars hun weg naar het ICC vonden.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eHet tweede deel van dit programma is gewijd aan geluidskunst. De acties van kunstenaars die hun beeldend werk verrijkten met klank, werden in het ICC meestal aangekondigd als performance/concert. Deze presentatie bestaat uit een installatie, muziekinstrumenten, geluidsopnames, videoregistraties, en documentatie van onder anderen\u003cstrong\u003e Vito Acconci\u003c/strong\u003e,\u003cstrong\u003e Laurie Anderson\u003c/strong\u003e,\u003cstrong\u003e Connie Beckley\u003c/strong\u003e,\u003cstrong\u003e Jacques Charlier\u003c/strong\u003e,\u003cstrong\u003e Maurizio Nannucci\u003c/strong\u003e,\u003cstrong\u003e Charlemagne Palestine\u003c/strong\u003e,\u003cstrong\u003e George Smits\u003c/strong\u003e,\u003cstrong\u003e Ben Vautier \u003c/strong\u003een \u003cstrong\u003eBernard Villers\u003c/strong\u003e.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eExperimenteren met geluid is zo oud als de mensheid zelf. Voor de eerste opnameapparatuur in gebruik werd genomen (de fonograaf werd in de negentiende eeuw uitgevonden), was het onmogelijk om geluid te registeren en opnieuw af te spelen. Componisten gebruikten partituren met annotatie en dichters schreven al naargelang de mode in een bepaalde cadans wat heropvoering mogelijk maakte. Nu, zovele decennia later, presenteren we werken uit onze collectie van enkele avant-gardisten die experimenteerden met typografie om ritme, toonhoogte en intonatie te verbeelden. Ze pionierden in een discipline waarin vele media samenkwamen en waarin geluid dichter bij \u0026nbsp;beeldende kunst dan bij muziek stond.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp align=\"center\"\u003e\u003cem\u003e\u0026ldquo;Mijn hoop voor een project in Antwerpen zou zijn om een \u0026lsquo;non-u-mentaal\u0026rsquo; werk te voltooien waarvan de stad na de realisatie nog een zekere tijd zou kunnen genieten.\u0026rdquo; \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp align=\"center\"\u003e(Gordon Matta-Clark in een brief aan Flor Bex, 1976)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDeze presentatie past in een groter programma dat het oeuvre van de kunstenaars, verbonden aan het ICC in relatie tot hun werk in de M HKA-collectie, wil belichten. Daarnaast onderzoekt het de programmatie van het ICC vanuit het perspectief van het ICC-archief, dat het M HKA ook beheert.\u0026nbsp; Deze reeks zet de \u0026lsquo;non-u-mentale\u0026rsquo; benadering voort, als een methode om over het museum na te denken: het gaat minder om monumentaliteit, en meer om de vooruitgang van ons begrip van de kleine dingen, steeds gericht op ontdekkingen.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e3D Scan:\u003c/strong\u003e\u003cbr /\u003e\r\nOntdek \u003ca href=\"https://mpembed.com/show/?m=XyMmpuZiE6Y\u0026amp;mpu=621\" target=\"_blank\"\u003ehier \u003c/a\u003ede 3D scan van de presentatie.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEerste presentatie: \u003ca href=\"http://ensembles.org/events/a-non-u-mental-history-of-mhka-gordon-matta-clark-foundation?locale=nl\" target=\"_blank\"\u003eEEN NON-U-MENTALE GESCHIEDENIS VAN HET M HKA \u0026ndash; Deel 1: Stichting Gordon Matta-Clark\u003c/a\u003e\u003cbr /\u003e\r\nDerde presentatie: \u003ca href=\"http://ensembles.org/events/a-non-u-mental-history-of-m-hka-part-3-classical-rewind?locale=nl\" target=\"_blank\"\u003eEEN NON-U-MENTALE GESCHIEDENIS VAN HET M HKA \u0026ndash; Deel 3: Klassiek terugspoelen\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"fr","name":"UNE HISTOIRE NON-U-MENTAL DU M HKA – Partie 2 : Ce qu’il faut entendre","short_description":"","description":"\u003cp style=\"margin-left:6.0pt;\"\u003eDans le cadre d\u0026#39;une r\u0026eacute;flexion permanente sur les origines et l\u0026#39;identit\u0026eacute; du Mus\u0026eacute;e d\u0026#39;Art Contemporain d\u0026#39;Anvers (M HKA), une s\u0026eacute;rie d\u0026#39;expositions met en lumi\u0026egrave;re diff\u0026eacute;rents aspects de son histoire, notamment autour de l\u0026rsquo;institution qui lui a pr\u0026eacute;c\u0026eacute;d\u0026eacute;, le\u0026nbsp; Centre Culturel International (Internationaal Cultureel Centrum - ICC). L\u0026#39;ICC, fond\u0026eacute; en 1969 et ferm\u0026eacute; en 1998, fut la premi\u0026egrave;re institution d\u0026#39;art contemporain en Flandre, install\u0026eacute;e dans l\u0026#39;imposant Palais Royal au centre d\u0026#39;Anvers. \u0026Agrave; une \u0026eacute;poque o\u0026ugrave; les mus\u0026eacute;es traditionnels ne r\u0026eacute;pondaient pas aux besoins de l\u0026#39;art contemporain, dans les ann\u0026eacute;es 1970 et 1980, l\u0026#39;ICC a offert une plateforme pour la production et la pr\u0026eacute;sentation de diverses disciplines et de croisements entre diff\u0026eacute;rentes formes d\u0026#39;art. Le programme \u0026eacute;tait ax\u0026eacute; sur les artistes contemporains locaux et internationaux, et de nombreux artistes conceptuels et leurs installations ont pu y \u0026ecirc;tre expos\u0026eacute;s.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:6.0pt;\"\u003eLa deuxi\u0026egrave;me partie de ce programme est consacr\u0026eacute;e \u0026agrave; l\u0026#39;art sonore. Lors de performances et concerts \u0026agrave; l\u0026rsquo;ICC, des artistes exploraient les possibilit\u0026eacute;s du son, en compl\u0026eacute;ment de leurs pratiques visuelles. Ici, ces exp\u0026eacute;rimentations sont pr\u0026eacute;sent\u0026eacute;es sous forme d\u0026rsquo;une installation comprenant des instruments de musique, des enregistrements sonores, des enregistrements vid\u0026eacute;o et de la documentation d\u0026rsquo;artistes tels que \u003cstrong\u003eVito Acconci\u003c/strong\u003e, \u003cstrong\u003eLaurie Anderson\u003c/strong\u003e, \u003cstrong\u003eConnie Beckley\u003c/strong\u003e, \u003cstrong\u003eJacques Charlier\u003c/strong\u003e, \u003cstrong\u003eMaurizio Nannucci\u003c/strong\u003e, \u003cstrong\u003eCharlemagne Palestine\u003c/strong\u003e, \u003cstrong\u003eGeorge Smits\u003c/strong\u003e, \u003cstrong\u003eBen Vautier, \u003c/strong\u003eet \u003cstrong\u003eBernard Villers.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:6.0pt;\"\u003eNotre int\u0026eacute;r\u0026ecirc;t pour le son et sa manipulation remonte \u0026agrave; la nuit des temps. Avant l\u0026#39;apparition des premiers appareils d\u0026#39;enregistrement (le phonographe ayant \u0026eacute;t\u0026eacute; invent\u0026eacute; au XIXe si\u0026egrave;cle), il \u0026eacute;tait impossible d\u0026#39;enregistrer un son et de le restituer. Afin de pouvoir transmettre ou rejouer leurs pi\u0026egrave;ces, les compositeurs signaient des partitions annot\u0026eacute;es et les po\u0026egrave;tes \u0026eacute;crivaient leurs textes selon une s\u0026eacute;rie de r\u0026egrave;gles, produisant une certaine cadence. Aujourd\u0026#39;hui, plusieurs d\u0026eacute;cennies plus tard, nous pr\u0026eacute;sentons des \u0026oelig;uvres de notre collection r\u0026eacute;alis\u0026eacute;es par certains membres de l\u0026rsquo;avant-garde qui ont eu recours \u0026agrave; la typographie pour repr\u0026eacute;senter le rythme, la tonalit\u0026eacute; et l\u0026#39;intonation. Ces artistes sont les pionniers d\u0026#39;une discipline qui combine habilement plusieurs supports, o\u0026ugrave; l\u0026rsquo;usage du son s\u0026rsquo;inscrit davantage dans le monde des arts visuels que celui de la musique.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp align=\"center\" style=\"margin-left:10.0pt;\"\u003e\u003cem\u003e\u0026quot;Mon espoir pour un projet \u0026agrave; Anvers serait de r\u0026eacute;aliser une \u0026oelig;uvre \u0026lsquo;non-u-mentale\u0026rsquo; dont la ville pourrait profiter pendant un certain temps apr\u0026egrave;s son ach\u0026egrave;vement.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp align=\"center\" style=\"margin-left:104.0pt;\"\u003e(Gordon Matta-Clark dans une lettre \u0026agrave; Flor Bex, 1976)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:6.0pt;\"\u003eCette pr\u0026eacute;sentation s\u0026rsquo;inscrit dans le contexte d\u0026#39;un programme plus large qui vise \u0026agrave; mettre en lumi\u0026egrave;re les artistes associ\u0026eacute;s \u0026agrave; l\u0026#39;ICC \u0026agrave; travers leurs \u0026oelig;uvres qui font aujourd\u0026#39;hui partie de la collection du M HKA. Nous y revisitons la programmation de l\u0026rsquo;ICC gr\u0026acirc;ce aux archives du centre, actuellement g\u0026eacute;r\u0026eacute;es par le M HKA. Cette s\u0026eacute;rie poursuit l\u0026#39;approche \u0026quot;non-u-mentale\u0026quot; comme m\u0026eacute;thode de r\u0026eacute;flexion sur le mus\u0026eacute;e: il s\u0026#39;agit moins de monumentalit\u0026eacute; que de l\u0026rsquo;approfondissement de notre compr\u0026eacute;hension de l\u0026rsquo;infime, un processus qui doit toujours \u0026ecirc;tre ax\u0026eacute; sur la d\u0026eacute;couverte.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:6.0pt;\"\u003e\u003ca href=\"https://mpembed.com/show/?m=XyMmpuZiE6Y\u0026amp;mpu=621\" target=\"_blank\"\u003eScan 3D\u003c/a\u003e de l\u0026#39;exposition.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"margin-left:6.0pt;\"\u003ePremier pr\u0026eacute;sentation : \u003ca href=\"http://ensembles.org/events/a-non-u-mental-history-of-mhka-gordon-matta-clark-foundation?locale=fr\" target=\"_blank\"\u003eUNE HISTOIRE NON-U-MENTAL DU M HKA \u0026ndash; Partie 1 : Fondation Gordon Matta-Clark\u003c/a\u003e\u003cbr /\u003e\r\nTroisi\u0026egrave;me pr\u0026eacute;sentation : \u003ca href=\"http://ensembles.org/events/a-non-u-mental-history-of-m-hka-part-3-classical-rewind?locale=fr\" target=\"_blank\"\u003eUNE HISTOIRE NON-U-MENTAL DU M HKA \u0026ndash; Partie 3 : Rembobinage classique\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":""},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":40,"name":"Paul De Vree","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/836/large/PDV_foto_1975_ICC_DT_03.jpg?1349281501","poster_credits":null}},{"id":93,"name":"Vito Acconci","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/092/large/VitoAcconci1973.jpg?1351155663","poster_credits":"(c)CC-BY-SA-3.0; GNU Free Documentation License"}},{"id":97,"name":"Jacques Charlier","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/621/large/charlier2.jpg?1370335496","poster_credits":null}},{"id":98,"name":"Henri  Chopin","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/166/large/chopin10_%281%29.jpeg?1332962542","poster_credits":null}},{"id":121,"name":"Maurizio Nannucci","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/011/large/MaurizioNannucci.jpg?1365510277","poster_credits":"(c)image: Berkshire Fine Arts"}},{"id":612,"name":"Alain Arias-Misson","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/712/large/self-portrait_AAMisson.jpg?1366722913","poster_credits":"(c)Courtesy of the artist"}},{"id":949,"name":"Luciano Ori","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/310/large/1MAN.jpg?1633941848","poster_credits":null}},{"id":1038,"name":"Bernard Villers","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/295/large/evenbeeld_mhka_Bernard_Villers_ZW.jpg?1634542902","poster_credits":"image: (c) Evenbeeld"}},{"id":1175,"name":"Laurie Anderson","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/296/large/LaurieAnderson_Performance_82_232.jpg?1633613562","poster_credits":"image: (c) Laurie Anderson"}},{"id":1192,"name":"Ian Hamilton Finlay","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/640/large/finlay.jpg?1334671169","poster_credits":null}},{"id":1393,"name":"Charlemagne Palestine","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/188/large/_photo_M_HKAcc_11_4_web.jpg?1547562099","poster_credits":"(c)image: M HKA, 2019"}},{"id":1682,"name":"Ben","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/576/large/BEN.jpg?1369991252","poster_credits":"(c)image: Ben Vautier"}},{"id":1994,"name":"Hans Clavin","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/721/large/studiobrescia_2007_003.jpg?1366746623","poster_credits":"(c)image: Jan De Vree"}},{"id":2773,"name":"George Smits","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/897/large/GSmits_bij_klanksculptuur.jpg?1444385835","poster_credits":"Courtesy of the Estate George Smits, Antwerp"}},{"id":3179,"name":"Christina Kubisch","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/294/large/Kubisch.jpg?1633612796","poster_credits":null}},{"id":4274,"name":"Connie Beckley","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/314/large/1Vrouw.jpg?1633941975","poster_credits":null}},{"id":4316,"name":"Giuseppe Chiari","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/307/large/1MAN.jpg?1633941297","poster_credits":null}},{"id":4322,"name":"Jana Haimsohn","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/293/large/jana-haimsohn.jpg?1633612390","poster_credits":null}}],"items":[{"id":163,"title":"Ou - Sound Poetry.  An Anthologie","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/213/large/Small_WDA_DeVree_Ou.jpg?1632822336","poster_credits":"image: © We Document Art, Collection M HKA / Collection Flemish Community","actors":"Henri  Chopin, Paul De Vree"},{"id":169,"title":"This side is red","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/191/large/20210909_MUHKA10743_web.jpg?1632816457","poster_credits":"image: © We Document Art, Collection M HKA / Collection Flemish Community","actors":"Maurizio Nannucci"},{"id":3803,"title":"Homage to Thelonius Monk","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/196/large/20210909_MUHKA10805_web.jpg?1632817180","poster_credits":"image: © We Document Art, Collection M HKA / Collection Flemish Community","actors":"Paul De Vree"},{"id":12769,"title":"Birdsong","date_begin":"1973-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/721/large/Plexi_Theater_Object_300.jpg?1426759410","poster_credits":"(c)image: M HKA ","actors":"Alain Arias-Misson"},{"id":12792,"title":"The Congress of the Birds","date_begin":"1979-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/974/large/Small_WDA_Misson_Congress.jpg?1632233081","poster_credits":"image: © We Document Art, Collection M HKA / Collection Flemish Community","actors":"Alain Arias-Misson"},{"id":13196,"title":"Glazen staven op piepschuim","date_begin":"1980-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/198/large/20210909_MUHKA10775_web.jpg?1632817744","poster_credits":"image: © We Document Art, Collection M HKA / Collection Flemish Community","actors":"George Smits"},{"id":13198,"title":"Slagvoorwerpen uit 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