{"id":1881,"title":"El Hotel Eléctrico – Rooms available ","date_begin":"2014-02-21T00:00:00.000+01:00","date_end":"2014-05-11T00:00:00.000+02:00","location":{"readable":"Antwerp","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/787/large/EHE_affiche_web.jpg?1392820030","poster_credits":"(c)M HKA "},"translations":[{"locale":"en","name":"El Hotel Eléctrico – Rooms available ","short_description":"","description":"\u003cp\u003eWhat was lost when animation entered the field of cinema, and subjected itself to strict cinematic parameters? \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e went looking for the potential of animation in its earliest stages, when this innovative artistic method was not constrained by the conventions and the industrial approach as a mass medium.\u003c/p\u003e\u003cp\u003eWhen we try to understand animation as a form of art, the question arises as to what animation can be. Where can we find animation, other than in the playing field of a traditional screen? Where and how can animation manifest differently?\u003c/p\u003e\u003cp\u003eWhen animation leaves the measured framework of the film screen to crop up in the white gallery, artists and museums no longer just offer the visitor something to look at, but they situate it in a space that requires exploring. \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e was not so much conceived as a group exhibition, but rather as a visual essay, a space-bound experience. More than a mere cinematic practice, animation was understood here in wide sense, like entering a force field: manipulating intervals, not only of film frames themselves, but also between images and objects in a 'staged' space.\u003c/p\u003e\u003cp\u003eMuch like a hotel, a museum is a place where every visitor, by definition, is a temporary guest. The tension between public and private, between neutral interiors and custom objects, between waking and sleeping, between work and dreams, made for a playful contrast in the design of each zone or 'room' at \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e.\u003c/p\u003e\u003cp\u003eEl Hotel Eléctrico alternated between merry and macabre, monochrome and brightly-coloured, and magical and secret framework for work by\u003cstrong\u003e Robert Breer\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eDavid Claerbout\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eRobert Devriendt\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eLéon Foucault\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eSara van der Heide\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePierre Huyghe\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eKatrin Kamrau\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eJulien Maire\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eAnthony McCall\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eLars Morell\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMatt Mullican\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePhilip Newcombe\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eHonoré d’O\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eRoman Ondák\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eCornelia Parker\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePhilippe Parreno\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eBart Prinsen\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eThe Quay Brothers\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eYann Sérandour\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eTommy Simoens\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMichael Snow\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eClare Strand\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eJavier Téllez \u003c/strong\u003eand\u0026nbsp;\u003cstrong\u003eLuc Tuymans\u003c/strong\u003e.\u003c/p\u003e"},{"locale":"nl","name":"El Hotel Eléctrico – Kamers beschikbaar","short_description":"","description":"\u003cp\u003eWat ging verloren toen animatie het terrein van de cinema betrad, en zich onderwierp aan strikt filmische parameters? \u003ci\u003eEl Hotel Eléctrico \u003c/i\u003eging op zoek naar het potentieel van animatie in zijn vroegste fase, op het moment dat deze vernieuwende artistieke methode nog niet ingeperkt was door de conventies en de industriële benadering als massamedium.\u003c/p\u003e\u003cp\u003eWanneer we animatie als beeldende kunst proberen te begrijpen, dringt de vraag zich op wat animatie dan kan zijn. Waar vinden we nog animatie, tenzij binnen het speelveld van een traditioneel scherm? Waar en hoe kan animatie zich anders manifesteren?\u003c/p\u003e\u003cp\u003eWanneer animatie het afgemeten kader van het filmdoek verlaat om op te duiken in de witte galerie, bieden kunstenaars en musea de bezoeker niet meer zomaar iets om naar te kijken, maar situeren ze deze in een ruimte die noopt tot exploreren. \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e werd niet zozeer opgevat als een groepstentoonstelling, maar eerder als een visueel essay, een ruimte-gebonden ervaring. Meer dan een louter filmische praktijk, werd animatie hier begrepen in uitgebreide zin, als het betreden van een krachtveld: het manipuleren van intervallen, niet alleen van filmkaders onderling, maar ook tussen beelden en objecten in een ‘geregisseerde’ ruimte.\u003c/p\u003e\u003cp\u003eZoals een hotel, is een museum een plek waar elke bezoeker per definitie maar tijdelijk te gast is. De spanning tussen publiek en privé, tussen neutrale interieurs en gepersonaliseerde objecten, tussen waken en slapen, tussen werken en dromen zorgde voor een speels contrast in het ontwerpen van elke zone of ‘kamer’ van \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e.\u003c/p\u003e\u003cp\u003e\u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e\u0026nbsp;toonde een afwisselend vrolijk en macaber, monochroom en felgekleurd, en magisch en heimelijk kader voor werk van\u0026nbsp;\u003cstrong\u003eRobert Breer\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eDavid Claerbout\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eRobert Devriendt\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eLéon Foucault\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eSara van der Heide\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePierre Huyghe\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eKatrin Kamrau\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eJulien Maire\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eAnthony McCall\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eLars Morell\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMatt Mullican\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePhilip Newcombe\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eHonoré d’O\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eRoman Ondák\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eCornelia Parker\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePhilippe Parreno\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eBart Prinsen\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eThe Quay Brothers\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eYann Sérandour\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eTommy Simoens\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMichael Snow\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eClare Strand\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eJavier Téllez \u003c/strong\u003een\u0026nbsp;\u003cstrong\u003eLuc Tuymans\u003c/strong\u003e.\u003c/p\u003e"},{"locale":"fr","name":"El Hotel Eléctrico – Chambres libres","short_description":"","description":"\u003cp\u003eQu’est-ce qui s’est perdu lorsque l’animation s’est introduite dans le terrain du cinéma, et s’est soumise aux paramètres strictement filmiques\u0026nbsp;? \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e est allé à la recherche du potentiel de l’animation dans sa première phase, au moment que cette méthode artistique innovatrice n’était pas encore restreinte par les conventions et l’approche industrielle comme média de masse.\u003c/p\u003e\u003cp\u003eLorsque nous essayons de saisir l’animation comme art visuel, la question se pose de savoir ce que pourrait être l’animation. Où trouvons-nous encore de l’animation, sauf au sein du terrain d’un écran traditionnel\u0026nbsp;? Où et comment l’animation peut-elle se manifester autrement\u0026nbsp;?\u003c/p\u003e\u003cp\u003eLorsque l’animation quitte le cadre délimité de l’écran de cinéma pour émerger dans la galerie blanche, les artistes et les musées n’offrent plus une expérience exclusivement visuelle au spectateur, mais ils le situent dans un espace qui incite à l’exploration. \u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e n’a pas spécialement été conçu comme une exposition de groupe, mais plutôt comme un essai visuel, une expérience liée à l’espace. Plus qu’une pratique purement filmique, l’animation a été appréhendée dans le sens large, comme l’accession à un champ de force\u0026nbsp;: la manipulation d’intervalles, pas uniquement de cadres de films, mais également d’images et d’objets dans un espace ‘mis en scène’.\u003c/p\u003e\u003cp\u003eTout comme un hôtel, un musée est un lieu où tout visiteur n’est, par définition, qu’un hôte temporaire. La tension entre le public et le privé, entre les intérieurs neutres et les objets personnalisés, entre la veille et le sommeil, entre le travail et le rêve, a assuré un contraste ludique dans les projets de chaque zone ou ‘chambre’ d’\u003ci\u003eEl Hotel Eléctrico.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eEl Hotel Eléctrico\u003c/i\u003e\u0026nbsp;a offert un cadre alternativement joyeux et macabre, monochrome et vivement coloré, et magique et mystérieux à l’œuvre de\u0026nbsp;\u003cstrong\u003eRobert Breer\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eDavid Claerbout\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eRobert Devriendt\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eLéon Foucault\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eSara van der Heide\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePierre Huyghe\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eKatrin Kamrau\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eJulien Maire\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eAnthony McCall\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eLars Morell\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMatt Mullican\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePhilip Newcombe\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eHonoré d’O\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eRoman Ondák\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eCornelia Parker\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003ePhilippe Parreno\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eBart Prinsen\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eThe Quay Brothers\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eYann Sérandour\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eTommy Simoens\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMichael Snow\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eClare Strand\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eJavier Téllez \u003c/strong\u003eet\u0026nbsp;\u003cstrong\u003eLuc Tuymans\u003c/strong\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":129,"name":"Luc Tuymans","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/053/large/800px-Luc_Tuymans_01.jpg?1394653224","poster_credits":"(c)image: Marc Wathieu"}},{"id":230,"name":"Julien Maire","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/516/large/469456-pour-julien-maire-cinema-art.jpg?1369819534","poster_credits":null}},{"id":255,"name":"David Claerbout","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/681/large/claerbout.jpg?1370417537","poster_credits":null}},{"id":260,"name":"Honoré 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