{"id":454,"title":"Chantal Akerman — Too Far, Too Close","date_begin":"2012-02-10T00:00:00.000+01:00","date_end":"2012-06-10T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/284/large/Tomb%C3%A9e%20de%20nuit%20sur%20Shanghai02.jpg?1325665086","poster_credits":"(c)photo: Chantal Akerman"},"translations":[{"locale":"en","name":"Chantal Akerman — Too Far, Too Close","short_description":"","description":"\u003cp\u003eThe M HKA organized the very first major European retrospective of \u003cstrong\u003eChantal Akerman \u003c/strong\u003e(°1950 - †2015), artist and one of the most influential filmmakers of her generation.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eBesides her monumental reputation in the field of feminist and film critique, Akerman played a crucial role in the gradual \u003ci\u003emerger\u003c/i\u003e between 'conventional' cinema and installation art that is akin to the moving image. Since the early 90s, Akerman alternated between both areas: mainstream or arthouse films, such as \u003ci\u003eA Couch in New York\u003c/i\u003e (1996) and \u003ci\u003eLa Captive\u003c/i\u003e (2000), on the one hand, and experimental \u003ci\u003equasi\u003c/i\u003e-documentaries like \u003ci\u003eLà-bas\u003c/i\u003e (2006) or video installations like \u003ci\u003eD'Est\u003c/i\u003e (1993), on the other.\u003c/p\u003e\u003cp\u003eThe significance of Akerman's work is not only formal, but also closely linked to its programmatic research on biography, gender, identity and memory - all framed in a ground-breaking exploration of modest aesthetics of everyday life\u003c/p\u003e\u003cp\u003e\u003ci\u003eChantal Akerman. Too Far, Too Close\u003c/i\u003e\u0026nbsp;highlighted the many stresses in her multifaceted work. The exhibition spanned a forty-year career in film and related media, starting with the timeless declaration of intent \u003ci\u003eSaute ma ville\u003c/i\u003e\u0026nbsp;(1968) and concluding with\u0026nbsp;\u003ci\u003eManiac Summer\u003c/i\u003e, an installation dating from 2009. She brought a balanced mix of straightforward experimental film work, such as\u0026nbsp;\u003ci\u003eHotel Monterey \u003c/i\u003e(1972) or\u0026nbsp;\u003ci\u003eLa Chambre\u003c/i\u003e\u0026nbsp;(1972) and more complex, ambitious installations, such as\u0026nbsp;\u003ci\u003eMarcher à côté de ses lacets dans une frigidaire vide\u003c/i\u003e\u0026nbsp;(2004) or the emblematic\u0026nbsp;\u003ci\u003eD’Est\u003c/i\u003e\u0026nbsp;(1993).\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","name":"Chantal Akerman — Too Far, Too Close","short_description":"","description":"\u003cp\u003eCurator: Dieter Roelstraete\u003c/p\u003e\u003cp\u003e\u003cbr\u003eHet M HKA toonde de allereerste grootschalige Europese overzichtstentoonstelling van Chantal Akerman, beeldend kunstenaar en een van de invloedrijkste filmmakers van haar generatie.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eBehalve haar monumentale reputatie in het veld van de feministische film(-kritiek), heeft Akerman een cruciale rol gespeeld in de geleidelijke toenadering tussen ‘conventionele’ cinema en installatiekunst die bij het bewegende beeld aanleunt. Sinds begin jaren 90 was Akerman dan ook afwisselend in beide gebieden actief: \u003ci\u003emainstream\u003c/i\u003e of \u003ci\u003earthouse films\u003c/i\u003e zoals\u0026nbsp;\u003ci\u003eA Couch in New York\u003c/i\u003e\u0026nbsp;(1996) en\u0026nbsp;\u003ci\u003eLa Captive\u003c/i\u003e\u0026nbsp;(2000) loste ze af met experimentele quasi-documentaires zoals\u0026nbsp;\u003ci\u003eLà-bas\u003c/i\u003e\u0026nbsp;(2006) of video-installaties zoals\u0026nbsp;\u003ci\u003eD’Est \u003c/i\u003e(1993).\u003cbr\u003e\u003cbr\u003eDe betekenis van Akermans werk is niet uitsluitend formeel, maar ook sterk verbonden met haar programmatische onderzoek rond biografie, gender, identiteit en geheugen – allemaal gekaderd in een baanbrekende exploratie van de bescheiden esthetiek van het dagelijks leven.\u003c/p\u003e\u003cp\u003e\u003ci\u003eChantal Akerman. Too Far, Too Close\u003c/i\u003e\u0026nbsp;belichtte de talrijke spanningen in haar veelzijdige werk. Daarbij overspande de tentoonstelling een veertigjarige carrière in film en aanverwante media, beginnend met de tijdloze intentieverklaring\u0026nbsp;\u003ci\u003eSaute ma ville\u003c/i\u003e\u0026nbsp;(1968) en afsluitend met\u0026nbsp;\u003ci\u003eManiac Summer\u003c/i\u003e, een installatie uit 2009. Ze bracht een uitgebalanceerde mix van rechttoe-rechtaan experimenteel filmwerk, zoals\u0026nbsp;\u003ci\u003eHotel Monterey \u003c/i\u003e(1972) of\u0026nbsp;\u003ci\u003eLa Chambre\u003c/i\u003e\u0026nbsp;(1972) en meer complexe, ambitieuze installaties, zoals\u0026nbsp;\u003ci\u003eMarcher à côté de ses lacets dans une frigidaire vide\u003c/i\u003e\u0026nbsp;(2004) of het emblematische\u0026nbsp;\u003ci\u003eD’Est\u003c/i\u003e\u0026nbsp;(1993).\u0026nbsp;\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","name":"Chantal Akerman — Too Far, Too Close","short_description":"","description":"\u003cp\u003eLe M HKA a mis sur pied la première grande rétrospective européenne de \u003cstrong\u003eChantal Akerman \u003c/strong\u003e(°1950-†2015), plasticienne et une des cinéastes les plus influents de sa génération.\u003c/p\u003e\u003cp\u003eHormis sa réputation monumentale dans le domaine du féminisme et de la critique cinématographique, Akerman a joué un rôle crucial au niveau du rapprochement progressif entre le cinéma ‘conventionnel’ et l’art d’installation qui se joint à l’image en mouvement. Par conséquent, Akerman alternait, depuis le début des années ’90, son activité dans les deux domaines: des films \u003ci\u003emainstream\u003c/i\u003e ou \u003ci\u003earthouse films\u003c/i\u003e comme\u0026nbsp;\u003ci\u003eA Couch in New York\u003c/i\u003e\u0026nbsp;(1996) et\u0026nbsp;\u003ci\u003eLa Captive\u003c/i\u003e\u0026nbsp;(2000) prenaient le relais de quasi-documentaires expérimentaux comme\u003ci\u003e Là-bas\u003c/i\u003e\u0026nbsp;(2006) ou d’installations vidéo comme\u0026nbsp;\u003ci\u003eD’Est \u003c/i\u003e(1993).\u003cbr\u003e\u003cbr\u003eLa signification de l’œuvre d’Akerman n’est pas exclusivement formelle, mais est également fortement liée à sa recherche programmatique au sujet de la biographie, du genre, de l’identité et de la mémoire – tous inscrits dans le cadre d’une exploration innovatrice de l’esthétique modeste dans la vie quotidienne.\u003c/p\u003e\u003cp\u003e\u003ci\u003eChantal Akerman. Too Far, Too Close\u003c/i\u003e\u0026nbsp;a mis en évidence les nombreuses tensions dans son œuvre multiforme. Dans ce cadre, l’exposition a couvert une carrière de quarante ans dans le domaine du film et des médias connexes, commençant par la déclaration d’intention intemporelle \u003ci\u003eSaute ma ville\u003c/i\u003e\u0026nbsp;(1968) et terminant par\u0026nbsp;\u003ci\u003eManiac Summer\u003c/i\u003e, une installation datant de 2009. Elle a présenté un mélange équilibré de films expérimentaux sans détour, comme \u003ci\u003eHotel Monterey \u003c/i\u003e(1972) ou\u0026nbsp;\u003ci\u003eLa Chambre\u003c/i\u003e\u0026nbsp;(1972) et d’installations ambitieuses et plus complexes comme\u0026nbsp;\u003ci\u003eMarcher à côté de ses lacets dans un frigidaire vide\u003c/i\u003e\u0026nbsp;(2004) ou le film emblématique\u0026nbsp;\u003ci\u003eD’Est\u003c/i\u003e\u0026nbsp;(1993).\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003c/p\u003e"},{"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":679,"name":"Chantal Akerman","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/093/large/Akerman%202a.jpg?1327478914","poster_credits":null}}],"items":[{"id":2627,"title":"De l'autre côté: Une voix dans le désert [From the other side: A voice in the desert]","date_begin":"2002-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/287/large/fronti%C3%A8re.jpg?1325666353","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":2630,"title":"D'est, au bord de la fiction [From the East: bordering on fiction]","date_begin":"1995-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/878/large/20100507160506713_0054.jpg?1319723741","poster_credits":null,"actors":"Chantal Akerman"},{"id":2631,"title":"Femmes d'Anvers en Novembre [Women from Antwerp in November]","date_begin":"2008-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/274/large/11893Akerman1_300%20dpi.jpg?1325664283","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":2636,"title":"Tombée de nuit sur Shanghai","date_begin":"2007-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/285/large/Tomb%C3%A9e%20de%20nuit%20sur%20Shanghai02.jpg?1325665167","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":2637,"title":"Maniac Summer","date_begin":"2009-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/135/large/ETE%20MANIAQUE31%20kopie.jpg?1327482097","poster_credits":"(c)Chantal Akerman","actors":"Chantal Akerman"},{"id":2638,"title":"Saute Ma Ville [Blow Up My Town]","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/374/large/saute%20ma%20ville%20copy%20kopie.jpg?1325754898","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":2640,"title":"La Chambre [The Room]","date_begin":"1972-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/283/large/LA%20CHAMBRE%2005%20il%20fait%20froid.jpg?1325664950","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":2641,"title":"Hotel Monterey","date_begin":"1972-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/372/large/hotel%20monterey%20kopie.jpg?1325754005","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":2644,"title":"Chantal Akerman par Chantal Akerman","date_begin":"1997-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/783/large/akerman_2.jpg?1328814170","poster_credits":"(c)photo: Chantal Akerman","actors":"Chantal Akerman"},{"id":3013,"title":"Marcher à côté de ses lacets dans un frigidaire vide","date_begin":"2004-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/147/large/Marcher%20%C3%A0%20c%C3%B4t%C3%A9%20%28still%206%29.jpg?1327484223","poster_credits":"(c)Chantal Akerman","actors":"Chantal Akerman"},{"id":5751,"title":"Chantal Akerman 'Too Far, Too Close'","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/265/large/__Photo_M_HKA__14.jpg?1458549737","poster_credits":null,"actors":"Chantal Akerman"}]}