{"id":12922,"title":"Chris Reinecke - Haben Sie Zeit zum Lesen?","date_begin":"2022-05-14T00:00:00.000+02:00","date_end":"2022-08-21T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/840/large/9_3_Transport_Feuermaus_um_Globus_-_kopie.jpg?1643887415","poster_credits":"(c)Chris Reinecke"},"translations":[{"locale":"en","name":"Chris Reinecke - Haben Sie Zeit zum Lesen?","short_description":"","description":"\u003cp\u003e\u003ci\u003eDuring a museum visit in the early 1970s, Chris Reinecke was suspected of wanting to set the building on fire. As was her habit, she was carrying some cod liver oil, a vitamin supplement, which was mistaken for petrol! After terrorist group RAF (Red Army Faction) made its appearance, a profound distrust of socially engaged art emerged. Reinecke, perhaps more than anyone from that period, embodies the ethical dilemma of an individual torn between art and activism.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e“I am Indian, I am Vietnamese, I am German and I am Chris Reinecke”\u003c/p\u003e\u003chr\u003e\u003cp\u003e\u003cstrong\u003eChris Reinecke (°1936, Potsdam)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn 1961, Chris Reinecke graduated from the École nationale supérieure des beaux-arts in Paris. Afterwards she went to the Kunstakademie in Düsseldorf, continuing her studies until 1965 in the studio of Gerhard Hoehme, where Sigmar Polke, Gerhard Richter and Franz Erhard Walther were also in training.\u003c/p\u003e\u003cp\u003eThrough her then-husband, Jörg Immendorff, she met Joseph Beuys. She considered it strange that he taught in military costume and would go down into the cellar with his students to drink schnapps in a warlike fashion. It was a confusing period. While the RAF was arming itself, Reinecke was teaching women to solder and men to crochet. She does not believe in aura or genius. Through her playful use of trivial household materials, she started tampering with prevailing moral codes in both the field of gender and the relationship between art and the public. Phenomenology, the positioning of people and things, runs like a common thread through Reinecke's oeuvre and is closely related to her critical questioning of the position of the artist and art in society.\u003c/p\u003e\u003cp\u003eAfter a local conservative politician declared that people ‘should just build their own houses’, she came to her conclusions. Art is powerless against political reality. She joined the \u003ci\u003eMietersolidarität\u003c/i\u003e (solidarity with tenants) and responded to the general cynicism with, among other things, a design for mobile residential units. She used wool and a crochet needle to make a cocoon which could be hung between two lampposts. In addition, she designed a one-person cabin on wheels. “This helps everyone - you have your home and others have their peace and quiet!”\u003c/p\u003e\u003cp\u003eAn important concept for Reinecke is 'changeability’. She is not interested in art that legitimizes the status quo – or her own oeuvre – to perpetuate the prevailing conditions, but in art that can exert influence on existing social structures. In just five years, Reinecke developed an oeuvre based on merciless self-criticism that quickly processes the insights gained, starting with the spatialization of painting, about participatory objects and installations, actions, teaching and social criticism.\u003c/p\u003e\u003cp\u003eShe abandoned her art for a while but picked up the thread again in the eighties. For Reinecke, art is not an opportunity for finger-wagging, but an agitating ‘firemouse’ that can play a powerful role alongside the economy, politics and the media.\u003c/p\u003e\u003chr\u003e\u003cp\u003eWith special thanks to Chris Reinecke and Sebastian Schemann. For Chris Reinecke, for Isi Fiszman - for, not against. With kind regards, Lotte Beckwé\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color:#0000ff;\"\u003eClick \u003c/span\u003e\u003ca href=\"https://mpembed.com/show/?m=PFraAU8UUNv\u0026amp;mpu=621\"\u003e\u003cspan style=\"color:#0000ff;\"\u003ehere\u003c/span\u003e\u003c/a\u003e\u003cspan style=\"color:#0000ff;\"\u003e to view the 3D file of the exhibition.\u003c/span\u003e\u003c/p\u003e"},{"locale":"nl","name":"Chris Reinecke - Haben Sie Zeit zum Lesen?","short_description":"","description":"\u003cp\u003eBij een museumbezoek begin jaren zeventig werd Chris Reinecke ervan verdacht het gebouw in brand te willen steken. Zoals gewoonlijk had ze levertraan bij, een vitamine supplement. Men dacht dat het petroleum was! Na het optreden van de terreurgroep RAF (Rote Armee Fraktion) ontstond er een wantrouwen tegenover geëngageerde kunst. Reinecke verbeeldt, misschien beter dan wie dan ook uit die periode, het ethische dilemma van een individu dat verscheurd wordt tussen kunst en activisme.\u003c/p\u003e\u003cp\u003e“Ik ben een Indiër, ik ben een Vietnamees, ik ben een Duitse en Chris Reinecke”\u003c/p\u003e\u003chr\u003e\u003cp\u003eChris Reinecke (°1936, Potsdam)\u003c/p\u003e\u003cp\u003eIn 1961 studeert Chris Reinecke af aan de École nationale supérieure des beaux-arts te Parijs. Daarna trekt ze naar de Kunstacademie in Düsseldorf waar ze tot 1965 haar studies verderzet in het atelier van Gerhard Hoehme; waar op dat moment ook Sigmar Polke, Gerhard Richter en Franz Erhard Walther in de leer zijn.\u003c/p\u003e\u003cp\u003eVia haar toenmalige echtgenoot, Jörg Immendorff leert Reinecke Joseph Beuys kennen. Ze vond het vreemd dat hij les gaf in militair kostuum en met zijn leerlingen oorlogsgewijs afzakte in de kelder om Schnaps te drinken. Het was een verwarrende periode. Terwijl de RAF zich bewapent, leert Reinecke vrouwen solderen en mannen haken. Reinecke hecht geen geloof aan aura of genie. Met haar speels gebruik van banale huishoudmaterialen begint ze te morrelen aan de gangbare morele codes op zowel het gebied van gender als die van de relatie tussen kunst en publiek. De fenomenologie, de positiebepaling van mensen en dingen, loopt als een rode draad doorheen Reinecke’s oeuvre en sluit nauw aan bij haar kritische bevraging van de positie van de kunstenaar en kunst in de maatschappij.\u003c/p\u003e\u003cp\u003eNadat een plaatselijke conservatieve politicus zich liet ontvallen om ‘gewoon zelf je huizen te bouwen’ trekt ze haar conclusies. Kunst staat machteloos tegenover de politieke realiteit. Ze sluit zich aan bij de \u003ci\u003eMietersolidarität\u003c/i\u003e (solidariteit met huurders) en beantwoordt het algemene cynisme met op Mayakowski’s Rosta’s geïnspireerde affiches met, onder andere, een ontwerp voor mobiele woonunits. Met wol en haaknaald maakt ze een cocon dat je tussen twee lantaarnpalen kan hangen. Daarnaast ontwerpt ze ook een éénpersoonscabine op wielen. “Dit helpt iedereen - jij hebt je huis en anderen hebben hun rust!”\u0026nbsp;\u003c/p\u003e\u003cp\u003eEen belangrijk begrip voor Reinecke is ‘veranderbaarheid’. Ze is niet geïnteresseerd in kunst die de status quo – noch haar eigen oeuvre – legitimeert om de heersende omstandigheden te bestendigen, maar in kunst die invloed kan uitoefenen op bestaande sociale structuren. In een periode van slechts vijf jaar ontwikkelt Reinecke vanuit een genadeloze zelfkritiek een oeuvre dat in snel tempo de opgedane inzichten verwerkt beginnend bij de verruimtelijking van de schilderkunst, over participatieve objecten en installaties, acties, lesgeven en sociale kritiek.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAlhoewel ze de kunst even links liet liggen, nam ze de draad terug op in de jaren tachtig. Kunst is voor Reinecke geen moraliserend vingertje, maar een agiterende vuurmuis die een krachtige rol kan spelen naast de economie, de politiek en de media.\u003c/p\u003e\u003chr\u003e\u003cp\u003eMet speciale dank aan Chris Reinecke en Sebastian Schemann. Voor Chris Reinecke, voor Isi Fiszman – voor, \u0026nbsp;niet tegen. Met de groeten van Lotte Beckwé\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color:#0000ff;\"\u003eKlik \u003c/span\u003e\u003ca href=\"https://mpembed.com/show/?m=PFraAU8UUNv\u0026amp;mpu=621\"\u003e\u003cspan style=\"color:#0000ff;\"\u003ehier\u003c/span\u003e\u003c/a\u003e\u003cspan style=\"color:#0000ff;\"\u003e om het 3D-bestand van de tentoonstelling te bekijken.\u003c/span\u003e\u003c/p\u003e"},{"locale":"fr","name":"Chris Reinecke - Haben Sie Zeit zum Lesen?","short_description":"","description":"\u003cp\u003eAu début des années\u0026nbsp;70, lors d’une visite à un musée, on soupçonne l’artiste Chris Reinecke de vouloir mettre le feu à l’édifice. Comme à son habitude, elle transporte une fiole d’huile de foie de morue, un complément vitaminique qu’on prend pour de l’essence\u0026nbsp;! Après les attentats de la Bande à Baader ou Fraction Armée Rouge, l’art engagé suscite la méfiance. Reinecke saisit, peut-être mieux que quiconque à l’époque, le dilemme éthique d’un individu déchiré entre l’art et l’activisme.\u003c/p\u003e\u003cp\u003e«\u0026nbsp;Je suis une Indienne, je suis une Vietnamienne, je suis une Allemande et Chris Reinecke.\u0026nbsp;»\u003c/p\u003e\u003chr\u003e\u003cp\u003eChris Reinecke (°1936, Potsdam)\u003c/p\u003e\u003cp\u003eEn 1961, Chris Reinecke obtient son diplôme de l’École nationale supérieure des Beaux-Arts à Paris. Elle entre ensuite à l’Académie des Beaux-Arts de Düsseldorf, où elle poursuit ses études jusqu’en 1965 dans l’atelier de Gerhard Hoehme, le même atelier où Sigmar Polke, Gerhard Richter et Franz Erhard Walther sont également apprentis.\u003c/p\u003e\u003cp\u003ePar l’intermédiaire de son époux de l’époque, Jörg Immendorff, Reinecke rencontre Joseph Beuys. Elle trouve étrange que ce dernier enseigne en costume militaire et que comme en temps de guerre, il descende à la cave avec ses élèves, pour y boire du schnaps. C’est une période trouble. Pendant que la Fraction Armée Rouge s’arme, Reinecke apprend aux femmes à souder et aux hommes à crocheter. Elle ne croit pas à l’aura ou au génie. Avec son utilisation ludique de matériaux domestiques banals, elle commence à triturer en douce les codes moraux de l’époque, tant en matière de genre que de relation entre l’art et le public. La phénoménologie, la définition de la position des humains et objets traverse l’œuvre de Reinecke comme un fil rouge et rejoint en cela sa remise en question critique de la position de l’artiste et de l’art dans la société.\u003c/p\u003e\u003cp\u003eAprès les propos d’un politicien conservateur local déclarant que les gens «\u0026nbsp;n’ont qu’à construire leurs propres maisons\u0026nbsp;», elle tire ses conclusions\u0026nbsp;: l’art est impuissant face à la réalité politique. Elle rejoint la «\u0026nbsp;Mietersolidarität\u0026nbsp;» [solidarité des locataires] et répond au cynisme généralisé par des affiches inspirées de l’agit-prop de Maïakovski pour Rosta (l’agence télégraphique soviétique), illustrant, entre autres, un projet d’unités résidentielles mobiles. Elle utilise de la laine et une aiguille à crochet pour fabriquer un cocon qui peut être suspendu entre deux réverbères et conçoit en outre une cabine individuelle sur roues. «\u0026nbsp;Cela aide tout le monde –, vous avez votre maison et les autres ont leur tranquillité\u0026nbsp;!\u0026nbsp;»\u003c/p\u003e\u003cp\u003eUn concept important pour Reinecke est celui du «\u0026nbsp;changement\u0026nbsp;». Elle ne s’intéresse pas à l’art qui légitime le statu quo – ni sa propre œuvre – pour maintenir les conditions dominantes, mais à l’art susceptible d’influencer des structures sociales existantes. En l’espace d’à peine cinq ans, Reinecke développe, à partir d’une autocritique implacable, une œuvre qui intègre à un rythme accéléré les connaissances qu’elle a acquises, à commencer par la spatialisation de la peinture, en passant par des objets et des installations participatifs, des actions, de l’enseignement et de la critique sociale.\u003c/p\u003e\u003cp\u003eBien qu’elle ait abandonné toute activité artistique pendant un certain temps, elle a repris le fil au cours des années\u0026nbsp;80. Pour Reinecke, l’art n’est pas un doigt moralisateur, mais une souris de feu capable de jouer un rôle puissant, en parallèle de l’économie, la politique et les médias.\u003c/p\u003e\u003chr\u003e\u003cp\u003eAvec des remerciements particuliers à Chris Reinecke et à Sebastian Schemann. Pour Chris Reinecke, pour Isi Fiszman – pour, non contre. Avec les salutations de Lotte Beckwé\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color:#0000ff;\"\u003eCliquez \u003c/span\u003e\u003ca href=\"https://mpembed.com/show/?m=PFraAU8UUNv\u0026amp;mpu=621\"\u003e\u003cspan style=\"color:#0000ff;\"\u003eici\u003c/span\u003e\u003c/a\u003e\u003cspan style=\"color:#0000ff;\"\u003e pour voir le fichier 3D de l'exposition.\u003c/span\u003e\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":4449,"name":"Chris Reinecke","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/837/large/1970_Mietersolidarit%C3%A4t_Mommartz6.jpg?1643886577","poster_credits":null}}],"items":[{"id":31698,"title":"Solidarität der Mieter und warum (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/695/large/1_2_Solidarit%C3%A4t_der_Mieter_und_warum_1.jpeg?1643729531","poster_credits":null,"actors":"Chris Reinecke"},{"id":31699,"title":"Das nennt sich Sozialstaat (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/698/large/1_3_Das_nennt_sich_Sozialstaat.jpeg?1643729922","poster_credits":null,"actors":"Chris Reinecke"},{"id":31714,"title":"Selbsthilfe Frauen (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/726/large/2_3_1_Selbsthilfe_Frauen_Wandzeitung_1.jpeg?1643802363","poster_credits":null,"actors":"Chris Reinecke"},{"id":31716,"title":"Sie haben die Macht (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/732/large/3_2_2Drittel_des_Volkes_nach_ihrem_Interesse_zu_formen.jpeg?1643803398","poster_credits":null,"actors":"Chris Reinecke"},{"id":31724,"title":"Gold Geld (Mietersolidarität)","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/740/large/3_10_Gold_Geld.jpeg?1643804615","poster_credits":null,"actors":"Chris Reinecke"},{"id":31726,"title":"Minna Beuff: Mischeis Trinken (Mietersolidarität)","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/742/large/4_4_Minna_Beuff_Mischeis_Trinken.jpg?1643805050","poster_credits":null,"actors":"Chris Reinecke"},{"id":31728,"title":"Kunst muss sein (LIDL)","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/744/large/4_6_Kunst_muss_sein.jpeg?1643805346","poster_credits":null,"actors":"Chris Reinecke"},{"id":31729,"title":"Haben Sie Zeit zum Lesen?","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/745/large/4_7_Haben_Sie_Zeit_zum_Lesen.jpg?1643805539","poster_credits":null,"actors":"Chris Reinecke"},{"id":31730,"title":"Zeit und Arbeit ","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/017/large/4_9_Zeit_und_Arbeit_II.jpg?1657195359","poster_credits":null,"actors":"Chris Reinecke"},{"id":31733,"title":"Sport + Transport (Mietersolidarität)","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/826/large/7_4_Sport_und_Transport_im_Hofgarten_ORIGINAL.jpeg?1643884827","poster_credits":null,"actors":"Chris Reinecke"},{"id":31734,"title":"Mitsprache der kleinen Leute ","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/756/large/5_6_Mitsprache_der_kleinen_Leute.jpeg?1643807440","poster_credits":null,"actors":"Chris Reinecke"},{"id":31735,"title":"Klima-Tisch ","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/757/large/11_6_Klimatisch_2_Fotos_-_kopie_%282%29.jpeg?1643808452","poster_credits":null,"actors":"Chris Reinecke"},{"id":31736,"title":"Umgebungskleider","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/181/large/1967_Umgebungskleider_CR.jpg?1646147523","poster_credits":null,"actors":"Chris Reinecke"},{"id":31737,"title":"Kaugummiplastik auf roter Bühne","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/761/large/11_3_1_Schauspielhaus_Kaugummiskulpur.jpeg?1643810062","poster_credits":null,"actors":"Chris Reinecke"},{"id":31739,"title":"Female doing, Male doing - Ich zeige Frauen das Löten, ich zeige Männern das Häkeln","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/767/large/11_1_1_L%C3%B6ten_H%C3%A4keln_Mann-Frau_-_kopie.jpeg?1643811123","poster_credits":null,"actors":"Chris Reinecke"},{"id":31743,"title":"Feuer-maus / Feuer-transport ","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/776/large/9_3_Transport_Feuermaus_um_Globus.jpg?1643812415","poster_credits":null,"actors":"Chris Reinecke"},{"id":31753,"title":"Aschenbahn - Olympia (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/822/large/7_1_Aschenbahn.Olympia_Menschen_mit_Klumpf%C3%BC%C3%9Fen.jpeg?1643883288","poster_credits":null,"actors":"Chris Reinecke"},{"id":31757,"title":"Baut Euch Eure Häuser selbst (Selbsthilfe Wöhnen)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/830/large/7_5_1_Baut_Euch_Eure_H%C3%A4user_selbst_Schlafwagen.jpeg?1643885317","poster_credits":null,"actors":"Chris Reinecke"},{"id":31758,"title":"Strategische Zeichnung (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/833/large/6_4_Strategische_Zeichnung_Verkehrs_Stop.jpeg?1643885874","poster_credits":null,"actors":"Chris Reinecke"},{"id":31759,"title":"Wir machen die Stadt in der Stadt (Mietersolidarität)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/835/large/6_5_Wir_machen_die_Stadt_in_der_Stadt.jpeg?1643886178","poster_credits":null,"actors":"Chris Reinecke"},{"id":31760,"title":"Minna Beuff - Selbsthilfe Frauen","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/881/large/5_Mieter_MinnaBeuff_2.jpg?1652447146","poster_credits":null,"actors":"Chris Reinecke"},{"id":31763,"title":"Schutz gegen Anfassen ","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/180/large/Reinecke_Schutz.jpg?1646147364","poster_credits":null,"actors":"Chris Reinecke"},{"id":31869,"title":"Honigstück für Ehepaare","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/182/large/1q9hfqz--455w.jpg?1646155995","poster_credits":null,"actors":"Chris Reinecke"},{"id":31912,"title":"Abstandsmessung","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/345/large/Abstadsmesser_1965_82x27_5cm.jpg?1646821085","poster_credits":null,"actors":"Chris Reinecke"},{"id":31913,"title":"Selbstportrait","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/387/large/DSC00163.JPG?1650366221","poster_credits":null,"actors":"Chris Reinecke"},{"id":31922,"title":"Dombild (Kölner Dom)","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/791/large/Reinecke_Dombild.jpg?1652437335","poster_credits":null,"actors":"Chris Reinecke"},{"id":31923,"title":"Gültig 8 Monate","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/344/large/Ordnung_Packung_DSC09946.JPG?1646751507","poster_credits":null,"actors":"Chris Reinecke"},{"id":32125,"title":"Ordnung von Raumgegenständen in Blau und Rot","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/386/large/1966_1_Ordnung.jpg?1650365469","poster_credits":null,"actors":"Chris Reinecke"},{"id":32206,"title":"PACKUNG - weiblicher Körper","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/738/large/5_1968_1_Ordnung_Packung_1968_Chris_Reinecke__Packung_weiblicher_K%C3%B6rper__%28Packet_female_body%29__1968__acrylic_paint_on_tissue_paper_on_brown_paper__12_12_by_18_inches..jpg?1652432120","poster_credits":null,"actors":"Chris Reinecke"},{"id":32207,"title":"PACKUNG 2 - männliche Anatomie","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/739/large/6_1968_1_Ordnung_Packung_2.jpg?1652432273","poster_credits":null,"actors":"Chris Reinecke"},{"id":32208,"title":"PACKUNG – hier offnen","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/742/large/7_1968_1_Ordnung_PACKUNG_Hier_Oeffnen_1968_34x25cm.jpg?1652432447","poster_credits":null,"actors":"Chris Reinecke"},{"id":32210,"title":"Himmel","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/747/large/4_1968_Himmel_1968_16_5x11_5cm_frame18x13cm.jpg?1652432926","poster_credits":null,"actors":"Chris Reinecke"},{"id":32214,"title":"Region nach oben geöffnet","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/830/large/8_1969_1_Ordnung_region.jpg?1652440142","poster_credits":null,"actors":"Chris Reinecke"},{"id":32215,"title":"Appetizer","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/831/large/10_1969_1_Ordnung_Appetizer.jpg?1652440648","poster_credits":null,"actors":"Chris Reinecke"},{"id":32217,"title":"III Programm Veränderlich","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/832/large/14_1969_S_Reinecke_11.jpg?1652440939","poster_credits":null,"actors":"Chris Reinecke"},{"id":32219,"title":"Nicht für Augen, Nase, Mund, Ohren, Hände, Füße","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/837/large/15_1969_Nicht.jpg?1652441548","poster_credits":null,"actors":"Chris Reinecke"},{"id":32221,"title":"Information No. 3. von Chris Reinecke ","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/842/large/Reinecke_information_1.jpg?1652442885","poster_credits":null,"actors":"Chris Reinecke"},{"id":32222,"title":"Alarm","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/865/large/Alarm.jpg?1652443700","poster_credits":null,"actors":"Chris Reinecke"}]}