{"id":2490,"title":"Energy Flash – The Rave Movement","date_begin":"2016-06-17T00:00:00.000+02:00","date_end":"2016-09-25T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/036/large/2016_Energy_Flash_photo_M_HKA_488632_copy.jpg?1474374202","poster_credits":"(c)Photo: M HKA"},"translations":[{"locale":"en","name":"Energy Flash – The Rave Movement","short_description":"","description":"\u003cp\u003eRave culture from the 1980s and 1990s was Europe\u0026rsquo;s last big youth movement. During this period of radical social and political change, rave, in its various guises, migrated around the continent from its epicentre of Great Britain, Belgium and Germany. As a movement, it enacted a desire to be autonomous, with a belief in tolerance and experimental living, all built around the latent energy of electronic music. As a music-based culture, it embraced self-practice, invention and unbridled creativity, arguably leading to the densest period in history for the diversification of music.\u0026nbsp;\u003cem\u003eEnergy Flash\u003c/em\u003e\u0026nbsp;will be the first museum exhibition for considering rave, as well as the social, political, economic and technological conditions that led to the advent of rave as an alternative movement across Europe. It will look at the ideologies as well as the aesthetics of rave, along with its effects on wider culture.\u003c/p\u003e\r\n\r\n\u003cp\u003eFor many who felt failed by both the market and the state, raves opened up a third kind of space, which formed its own logic based on the collective. Regularly drawing many thousands of participants, raves themselves have been theorised as \u0026lsquo;temporary autonomous zones\u0026rsquo; \u0026ndash; spontaneously organised concentrations of people and musical energy that eluded formal structures of control. Though embodying both dystopian and utopian impulses, raves possessed some extraordinary qualities, transgressing race and class. Utilising the emergent technologies of the day, the music itself possessed a distinct new aesthetic that redrew the boundaries of music. Each locale developed its own rave culture, evolving countless forms of acid house, techno, hardcore, jungle and beyond. In a situation of moral panic, governments in Western Europe legislated to criminalise rave culture from the mid-1990s onwards.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEnergy Flash\u003c/em\u003e\u0026nbsp;will look at rave as a highly politicised phenomenon, considering it through the key notions of \u0026lsquo;autonomy\u0026rsquo;, \u0026lsquo;civil liberty\u0026rsquo;, \u0026lsquo;technology\u0026rsquo; and \u0026lsquo;creativity\u0026rsquo;. As an interdisciplinary project, it will display the works of numerous visual artists in dialogue with many artefacts from the fields of design, music and fashion, along with items selected from various archives, television documentary, literature and criminal legislature. In bringing together this diversity of material, this exhibition will argue that rave culture was inhibited due to its ambiguous place outside of neoliberal ideology, existing largely autonomous of both market and the state forces. This condition makes it a key case study for those wishing to imagine alternative forms of infrastructure for art and culture.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEnergy Flash\u003c/em\u003e includes a substantial programme of events by artists and musicians taking place over the summer.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe exhibition is curated by\u0026nbsp;\u003cstrong\u003eNav Haq\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e Senior Curator at M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eArtists: Jacques Andr\u0026eacute;, \u003c/strong\u003e\u003cstrong\u003eIrene de Andr\u0026eacute;s\u003c/strong\u003e\u003cstrong\u003e, \u003c/strong\u003e\u003cstrong\u003eCory Arcangel\u003c/strong\u003e\u003cstrong\u003e, \u003c/strong\u003e\u003cstrong\u003eGeorge Barber\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Jef Cornelis\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Jeremy Deller\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Denicolai \u0026amp; Provoost\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Rineke Dijkstra\u003c/strong\u003e\u003cstrong\u003e, \u003c/strong\u003e\u003cstrong\u003eAleksandra Domanović\u003c/strong\u003e\u003cstrong\u003e,\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eAndreas Gursky\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Dan Halter\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;Henrik Plenge Jakobsen\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Ann Veronica Janssens\u003c/strong\u003e\u003cstrong\u003e,\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eMartin Kersels\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Mark Leckey\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Daniel Pflumm\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Matt Stokes\u003c/strong\u003e\u003cstrong\u003e,\u003c/strong\u003e\u003cstrong\u003e Sergey Shutov\u003c/strong\u003e\u003cstrong\u003e,\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eThe Otolith Group\u003c/strong\u003e\u003cstrong\u003e,\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eWalter Van Beirendonck\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","name":"Energy Flash – De rave-beweging","short_description":"","description":"\u003cp\u003eDe rave-cultuur uit de jaren 80 en 90 was de laatste grote jongerenbeweging in Europa. Tijdens deze periode van radicale sociale en politieke veranderingen migreerde rave, in zijn verschillende gedaanten, doorheen het continent vanuit zijn epicentrum in Groot-Brittanni\u0026euml;, Belgi\u0026euml; en Duitsland. Als beweging drukte het een drang naar autonomie uit, met een geloof in tolerantie en experimenteel leven, geconstrueerd rond de latente energie van elektronische muziek. Als een op muziek gebaseerde cultuur omarmde het zelfbeoefening, uitvinding en ongebreidelde creativiteit, wat ongetwijfeld leidde tot de meest productieve periode in de geschiedenis van de diversifi\u0026euml;ring van muziek.\u0026nbsp;\u003cem\u003eEnergy Flash\u003c/em\u003e\u0026nbsp;wordt de eerste museale tentoonstelling die is gewijd aan zowel rave als beweging op zich, en de sociale, politieke, economische en technologische omstandigheden die hebben geleid tot het ontstaan van rave als een alternatieve beweging in heel Europa. De tentoonstelling richt zich op de ideologie\u0026euml;n en de esthetiek van rave, en zijn effect op de bredere cultuur.\u003c/p\u003e\r\n\r\n\u003cp\u003eVoor velen die zich bedrogen voelden door de band tussen de markt als de staat, opende rave een derde soort ruimte, een die haar eigen logica vormde op basis van het collectief. Met regelmatig meer dan duizenden deelnemers werden raves dan ook gezien als \u0026#39;tijdelijke autonome zones\u0026#39;; spontaan georganiseerde concentraties van mensen en muzikale energie die de formele structuren van controle wisten te ontlopen. Hoewel raves zowel dystopische als utopische impulsen belichaamden, bezaten ze een aantal buitengewone kwaliteiten, die grenzen zoals ras en klasse wisten te overstijgen. Door gebruik te maken van de toen opkomende technologie\u0026euml;n belichaamde de muziek een uitgesproken nieuwe esthetiek die de grenzen van de muziek herdefinieerde. Elke plek ontwikkelde haar eigen rave-cultuur en ontelbare vormen van house, techno, hardcore, jungle en andere. In een sfeer van morele paniek beslisten verschillende regeringen in West-Europa om de rave-cultuur vanaf het midden van de jaren 90 \u0026nbsp;buiten de wet te stellen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEnergy Flash\u003c/em\u003e\u0026nbsp;wil rave als gepolitiseerd fenomeen vanuit kernbegrippen benaderen: autonomie, burgerlijke vrijheid, techniek en creativiteit. Als interdisciplinair project zal het werk van tal van beeldende kunstenaars in dialoog geplaatst worden met verschillende objecten uit de wereld van design, muziek en mode, samen met items die werden geselecteerd uit diverse archieven, televisiereportages, literatuur en strafrechtelijke wetgeving. Door het samenbrengen van deze diversiteit aan materiaal zal deze tentoonstelling duidelijk maken hoe de rave-cultuur, die grotendeels los van zowel de markt als de staat stond, precies door haar dubbelzinnige plaats buiten de neoliberale ideologie werd onderdruk. Deze toestand van autonomie maakt het een belangrijke\u0026nbsp;\u003cem\u003ecasestudy\u003c/em\u003e\u0026nbsp;voor diegenen die alternatieve vormen van infrastructuur voor kunst en cultuur willen bedenken.\u003c/p\u003e\r\n\r\n\u003cp\u003eBij \u003cem\u003eEnergy Flash\u003c/em\u003e hoort ook een goedgevuld zomerprogramma van evenementen met kunstenaars en muzikanten.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKunstenaars: Jacques Andr\u0026eacute;\u003c/strong\u003e, \u003cstrong\u003eIrene de Andr\u0026eacute;s\u003c/strong\u003e, \u003cstrong\u003eCory Arcangel\u003c/strong\u003e, \u003cstrong\u003eGeorge Barber\u003c/strong\u003e,\u003cstrong\u003e Jef Cornelis\u003c/strong\u003e,\u003cstrong\u003e Jeremy Deller\u003c/strong\u003e,\u003cstrong\u003e Denicolai \u0026amp; Provoost\u003c/strong\u003e,\u003cstrong\u003e Rineke Dijkstra\u003c/strong\u003e, \u003cstrong\u003eAleksandra Domanović\u003c/strong\u003e, \u003cstrong\u003eAndreas Gursky\u003c/strong\u003e,\u003cstrong\u003e Dan Halter\u003c/strong\u003e, \u003cstrong\u003eHenrik Plenge Jakobsen\u003c/strong\u003e,\u003cstrong\u003e Ann Veronica Janssens\u003c/strong\u003e,\u0026nbsp;\u003cstrong\u003eMartin Kersels\u003c/strong\u003e,\u003cstrong\u003e Mark Leckey\u003c/strong\u003e,\u003cstrong\u003e Daniel Pflumm\u003c/strong\u003e,\u003cstrong\u003e Matt Stokes\u003c/strong\u003e,\u003cstrong\u003e Sergey Shutov\u003c/strong\u003e, \u003cstrong\u003eThe Otolith Group\u003c/strong\u003e, \u003cstrong\u003eWalter Van Beirendonck\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","name":"Energy Flash – Le movement rave","short_description":"","description":"\u003cp\u003eLa culture\u0026nbsp;\u003cem\u003erave\u003c/em\u003e\u0026nbsp;des ann\u0026eacute;es\u0026nbsp;80 et 90 \u0026eacute;tait le dernier grand courant \u0026agrave; avoir travers\u0026eacute; la jeunesse europ\u0026eacute;enne. Au cours de cette p\u0026eacute;riode de changements sociaux et politiques radicaux, les\u0026nbsp;\u003cem\u003eraves\u003c/em\u003e, dans leurs diff\u0026eacute;rentes formes, ont migr\u0026eacute; \u0026agrave; travers l\u0026rsquo;Europe \u0026agrave; partir de leurs \u0026eacute;picentres, la Grande-Bretagne, la Belgique et l\u0026rsquo;Allemagne. En tant que mouvement, la\u0026nbsp;\u003cem\u003erave\u003c/em\u003e\u0026nbsp;a marqu\u0026eacute; un d\u0026eacute;sir d\u0026rsquo;autonomie, avec une foi en la tol\u0026eacute;rance et en une existence exp\u0026eacute;rimentale, enti\u0026egrave;rement articul\u0026eacute;e autour de l\u0026rsquo;\u0026eacute;nergie latente de la musique \u0026eacute;lectronique. En tant que culture ancr\u0026eacute;e dans la musique, elle embrasse la pratique ind\u0026eacute;pendante, l\u0026rsquo;inventivit\u0026eacute; et la cr\u0026eacute;ativit\u0026eacute; d\u0026eacute;brid\u0026eacute;es, menant sans doute \u0026agrave; la p\u0026eacute;riode la plus dense de l\u0026rsquo;histoire en mati\u0026egrave;re de diversification musicale.\u0026nbsp;\u003cem\u003eEnergy Flash\u003c/em\u003e\u0026nbsp;sera la premi\u0026egrave;re exposition mus\u0026eacute;ale \u0026agrave; observer la\u0026nbsp;\u003cem\u003erave\u003c/em\u003e, ainsi que les conditions sociales, politiques, \u0026eacute;conomiques et technologiques ayant men\u0026eacute;, \u0026agrave; travers toute l\u0026rsquo;Europe, \u0026agrave; son av\u0026egrave;nement de contre-culture. L\u0026rsquo;exposition analysera les id\u0026eacute;ologies et l\u0026rsquo;esth\u0026eacute;tique de la culture\u0026nbsp;\u003cem\u003erave\u003c/em\u003e\u0026nbsp;et ses effets sur la culture au sens large.\u003c/p\u003e\r\n\r\n\u003cp\u003ePour beaucoup, se sentant l\u0026acirc;ch\u0026eacute;s par le lien entre les march\u0026eacute;s et les \u0026Eacute;tats, les\u0026nbsp;\u003cem\u003eraves\u003c/em\u003e\u0026nbsp;ont ouvert une sorte d\u0026rsquo;espace du troisi\u0026egrave;me type, sous-tendu par une propre logique, bas\u0026eacute;e sur le collectif. R\u0026eacute;unissant r\u0026eacute;guli\u0026egrave;rement des milliers de participants, les\u0026nbsp;\u003cem\u003eraves\u003c/em\u003e\u0026nbsp;ont \u0026eacute;t\u0026eacute; th\u0026eacute;oris\u0026eacute;es comme des \u0026laquo;\u0026nbsp;zones autonomes temporaires\u0026nbsp;\u0026raquo; \u0026ndash; des concentrations de gens et d\u0026rsquo;\u0026eacute;nergie musicale, organis\u0026eacute;es spontan\u0026eacute;ment, qui \u0026eacute;ludent les structures de contr\u0026ocirc;le formelles. Bien qu\u0026rsquo;incarnant \u0026agrave; la fois des impulsions dystopiques et utopiques, les\u0026nbsp;\u003cem\u003eraves\u003c/em\u003e\u0026nbsp;poss\u0026eacute;daient quelques qualit\u0026eacute;s extraordinaires\u0026nbsp;; elles transcendaient la race et la classe. Empreintes de technologies contemporaines, la musique comportait une esth\u0026eacute;tique nouvelle distincte qui a redessin\u0026eacute; ses fronti\u0026egrave;res. Chaque communaut\u0026eacute; locale a d\u0026eacute;velopp\u0026eacute; sa propre culture\u0026nbsp;\u003cem\u003erave\u003c/em\u003eet ses propres genres musicaux, allant de la house \u0026agrave; la techno, du hardcore \u0026agrave; la jungle, et au-del\u0026agrave;. En situation de panique morale, les gouvernements d\u0026rsquo;Europe occidentale ont l\u0026eacute;gif\u0026eacute;r\u0026eacute; \u0026agrave; partir des ann\u0026eacute;es\u0026nbsp;90 dans le sens de la criminalisation de la culture\u0026nbsp;\u003cem\u003erave\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEnergy Flash\u003c/em\u003e\u0026nbsp;va observer la\u0026nbsp;\u003cem\u003erave\u003c/em\u003e\u0026nbsp;en tant que ph\u0026eacute;nom\u0026egrave;ne hautement politis\u0026eacute;, la consid\u0026eacute;rant \u0026agrave; travers quatre notions cl\u0026eacute;s\u0026nbsp;: l\u0026rsquo;autonomie, la libert\u0026eacute; civile, la technologie, et la cr\u0026eacute;ativit\u0026eacute;. En tant que projet interdisciplinaire, l\u0026rsquo;exposition pr\u0026eacute;sentera des \u0026oelig;uvres de diff\u0026eacute;rents artistes plasticiens, en dialogue avec de multiples artefacts provenant du champ du design, de la musique et de la mode, ainsi que des \u0026eacute;l\u0026eacute;ments s\u0026eacute;lectionn\u0026eacute;s dans plusieurs archives, reportages t\u0026eacute;l\u0026eacute;vis\u0026eacute;s, ouvrages litt\u0026eacute;raires et l\u0026eacute;gislations p\u0026eacute;nales. En r\u0026eacute;unissant cette diversit\u0026eacute; de mat\u0026eacute;riau, l\u0026rsquo;exposition va \u0026eacute;tayer l\u0026rsquo;id\u0026eacute;e que la culture\u0026nbsp;\u003cem\u003erave\u003c/em\u003e\u0026nbsp;a \u0026eacute;t\u0026eacute; inhib\u0026eacute;e \u0026agrave; cause de son positionnement ambigu en dehors de l\u0026rsquo;id\u0026eacute;ologie n\u0026eacute;o-lib\u0026eacute;rale, \u0026eacute;voluant principalement de mani\u0026egrave;re ind\u0026eacute;pendante des march\u0026eacute;s et des \u0026Eacute;tats. Cette condition d\u0026rsquo;autonomie en fait une \u0026eacute;tude de cas essentielle pour qui souhaite imaginer des formes alternatives d\u0026rsquo;art et de culture.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEnergy Flash\u003c/em\u003e est accompagn\u0026eacute; d\u0026rsquo;un programme d\u0026rsquo;\u0026eacute;v\u0026eacute;nements par des artistes et des musiciens qui auront lieu tout au long de l\u0026rsquo;\u0026eacute;t\u0026eacute;.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eArtistes\u0026nbsp;: Jacques Andr\u0026eacute;\u003c/strong\u003e, \u003cstrong\u003eIrene de Andr\u0026eacute;s\u003c/strong\u003e, \u003cstrong\u003eCory Arcangel\u003c/strong\u003e, \u003cstrong\u003eGeorge Barber\u003c/strong\u003e,\u003cstrong\u003e Jef Cornelis\u003c/strong\u003e,\u003cstrong\u003e Jeremy Deller\u003c/strong\u003e,\u003cstrong\u003e Denicolai \u0026amp; Provoost\u003c/strong\u003e,\u003cstrong\u003e Rineke Dijkstra\u003c/strong\u003e, \u003cstrong\u003eAleksandra Domanović\u003c/strong\u003e, \u003cstrong\u003eAndreas Gursky\u003c/strong\u003e,\u003cstrong\u003e Dan Halter\u003c/strong\u003e,\u003cstrong\u003e Henrik Plenge Jakobsen\u003c/strong\u003e,\u003cstrong\u003e Ann Veronica Janssens\u003c/strong\u003e, \u003cstrong\u003eMartin Kersels\u003c/strong\u003e,\u003cstrong\u003e Mark Leckey\u003c/strong\u003e,\u003cstrong\u003e Daniel Pflumm\u003c/strong\u003e,\u003cstrong\u003e Matt Stokes\u003c/strong\u003e,\u003cstrong\u003e Sergey Shutov\u003c/strong\u003e, \u003cstrong\u003eThe Otolith Group\u003c/strong\u003e, \u003cstrong\u003eWalter Van Beirendonck\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\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":281,"name":"Ann Veronica Janssens","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/745/large/AVJ.jpg?1340625497","poster_credits":null}},{"id":361,"name":"Jeremy Deller","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/873/large/JeremyDeller.jpg?1462290665","poster_credits":null}},{"id":597,"name":"Jef Cornelis","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/906/large/cornelis.gif?1326879523","poster_credits":"(c)Courtesy Argos, Brussels"}},{"id":1069,"name":"The Otolith 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