{"id":2757,"title":" Joseph Beuys – Greetings from the Eurasian","date_begin":"2017-10-13T00:00:00.000+02:00","date_end":"2018-01-21T00:00:00.000+01:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/849/large/Image00004.jpg?1501144143","poster_credits":null},"translations":[{"locale":"en","name":" Joseph Beuys – Greetings from the Eurasian","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eThe exhibition \u003cem\u003eJoseph Beuys \u0026ndash; Greetings from the Eurasian \u003c/em\u003ewill seek simultaneously to consider Beuys\u0026rsquo; activities in Antwerp during the 1960s and \u0026lsquo;70s, alongside considering his relevance to a new generation.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys was active in Antwerp during the 1960s and 1970s through his relationship with Wide White Space gallery, for whom he was a key reference. Amongst his many exhibitions, it is here that he also made his performance \u003cem\u003eEurasienstab\u003c/em\u003e (\u003cem\u003eEurasian Staff\u003c/em\u003e) in collaboration with Henning Christiansen on 9 February 1968. \u003cem\u003eJoseph Beuys \u0026ndash; Greetings from the Eurasian \u003c/em\u003ewill in the first instance look at Beuys as an artist that was not only active in Antwerp (where he met other figures of the Post-War avant-garde such as Marcel Broodthaers and Panamarenko) but was also deeply influential in Belgium more broadly, in a way that has been largely forgotten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition will also consider Beuys as a figure who worked in a way that was contrary to the logic and hegemony of Modernism. He was in a sense the embodiment of the anti-Modern. Using his \u003cem\u003eEurasienstab\u003c/em\u003e performance as a starting point, the exhibition will consider how Beuys\u0026rsquo; use of the notion of \u0026lsquo;Eurasia\u0026rsquo; was part of his Anti-Modern sentiment, looking away from the grand-narrative and hegemony of the \u0026ldquo;West\u0026rdquo;, and towards a vision of affinity with the \u0026ldquo;East\u0026rdquo;, to the point of even removing such distinctions. It was a vision that was more attuned to cultural depth, mysticism and to nature. This was also echoed in his political engagement, with an approach to politics though a belief in discursivity, latent energy and direct action.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eJoseph Beuys \u0026ndash; Greetings from the Eurasian \u003c/em\u003ewill include numerous major works by Beuys, including a number of installations related to key actions, including \u003cem\u003eEurasienstab\u003c/em\u003e (\u003cem\u003eEurasian Staff\u003c/em\u003e) (1968) and \u003cem\u003eHonigpumpe am Arbeitsplatz \u003c/em\u003e(\u003cem\u003eHoneypump in the Workplace\u003c/em\u003e) (1977) that he activated at Documenta 6 in 1977, as well as key works such as \u003cem\u003eInfiltration homogen f\u0026uuml;r Konzertfl\u0026uuml;gel\u003c/em\u003e (\u003cem\u003eHomogeneous Infiltration for Grand Piano\u003c/em\u003e) (1966) and \u003cem\u003eStra\u0026szlig;enbahnhaltestelle\u003c/em\u003e (\u003cem\u003eTramstop\u003c/em\u003e) (1976), amongst many others. The exhibition will also look at the activities of the Antwerp Free International University that was set up by proponents of the Antwerp artistic community during the early 1980s. \u003cem\u003eJoseph Beuys \u0026ndash; Greetings from the Eurasian \u003c/em\u003ewill be the first major exhibition of works by Beuys in Belgium since the 1980s.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition is curated by \u003cstrong\u003eNav Haq\u003c/strong\u003e, Senior Curator, M HKA\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe exhibition will be the first in a series of monographic exhibitions at M HKA looking at key figures of the Post-War avant-garde who were active in Antwerp, locating the city as part of a network of scenes around the dense region of Benelux and the Rheinland. Subsequent exhibitions in 2018 and 2019 will focus on \u003cstrong\u003eMarcel Broodthaers\u003c/strong\u003e and \u003cstrong\u003eJames Lee Byars\u003c/strong\u003e respectively.\u003c/p\u003e\r\n"},{"locale":"nl","name":"Joseph Beuys – Groeten van de Euraziaat","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling \u003cem\u003eJoseph Beuys \u0026ndash; Groeten van de Euraziaat \u003c/em\u003eonderzoekt zowel de activiteiten van Beuys in Antwerpen in de jaren zestig en zeventig, als zijn relevantie voor een nieuwe generatie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys was in de jaren zestig en zeventig actief in Antwerpen via zijn connectie met de Wide White Space Gallery, voor wie hij een belangrijke referentie was. Hier werd \u0026ndash; naast zijn vele tentoonstellingen \u0026ndash; op 9 februari 1968 \u003cem\u003eEurasienstab\u003c/em\u003e (\u003cem\u003eEurazische Staf\u003c/em\u003e) gepresenteerd, een performance in samenwerking met Henning Christiansen. In de huidige tentoonstelling wordt Beuys in de eerste plaats beschouwd als een kunstenaar die niet alleen actief was in Antwerpen (waar hij andere sleutelfiguren uit de naoorlogse avant-garde ontmoette, zoals Marcel Broodthaers en Panamarenko), maar ook in Belgi\u0026euml; een sterke invloed had, en vaak op wijzen die grotendeels vergeten zijn.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling benadert Beuys als een figuur die kunst maakte op een manier die in strijd was met de logica en hegemonie van het modernisme. Hij was in zekere zin de belichaming van het anti-modernisme. Op basis van zijn \u003cem\u003eEurasienstab\u003c/em\u003e-performance onderzoekt de tentoonstelling hoe Beuys\u0026#39; gebruik van het begrip \u0026#39;Eurazi\u0026euml;\u0026#39; deel uitmaakte van zijn anti-modernistische houding die de grootverhalen van \u0026#39;het Westen\u0026#39; achter zich liet en een visie van verbinding met het \u0026#39;Oosten\u0026#39; ontwikkelde, die uiteindelijk dergelijke tegenstellingen wist op te heffen. Het was een visie die meer afgestemd was op culturele diepte, mystiek en de natuur. Dit werd weerspiegeld in zijn politieke betrokkenheid, met een benadering tot de politiek die uitging gaf van een geloof in discursiviteit, latente energie en directe actie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eJoseph Beuys \u0026ndash; Groeten van de Euraziaat \u003c/em\u003etoont veel belangrijke werken van Beuys, waaronder een aantal installaties die verband houden met belangrijke acties, waaronder \u003cem\u003eEurasienstab\u003c/em\u003e (\u003cem\u003eEurazische Staf\u003c/em\u003e) (1968), en \u003cem\u003eHonigpumpe am Arbeitsplatz\u003c/em\u003e (\u003cem\u003eHoningpomp in de Werkplaats\u003c/em\u003e) (1977) dat hij activeerde tijdens Documenta 6 in 1977 en zijn idee van \u0026#39;sociaal beeldhouwwerk\u0026#39; illustreert. De tentoonstelling belicht ook de lang vergeten activiteiten van de Antwerp Free International University, die door Beuys en lokale kunstenaars in de vroege jaren tachtig werd opgericht. Het is de eerste grote tentoonstelling van werken van Joseph Beuys in Belgi\u0026euml; sinds de jaren tachtig.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling wordt gecureerd door \u003cstrong\u003eNav Haq\u003c/strong\u003e, Senior Curator van het M HKA.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling is de eerste in een serie monografische tentoonstellingen van het M HKA rond sleutelfiguren van de naoorlogse avant-garde die actief waren in Antwerpen, en die de stad situeren binnen een netwerk van sc\u0026egrave;nes in de dichte Benelux- en Rijnlandregio\u0026#39;s. De volgende tentoonstellingen in 2018 en 2019 zullen zich richten op respectievelijk \u003cstrong\u003eMarcel Broodthaers\u003c/strong\u003e en J\u003cstrong\u003eames Lee Byars\u003c/strong\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","name":" Joseph Beuys – Salutations de l’Eurasien","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;exposition \u003cem\u003eJoseph Beuys \u0026ndash; Salutations d\u0026rsquo;Eurasie \u003c/em\u003etentera de consid\u0026eacute;rer \u0026agrave; la fois les activit\u0026eacute;s de Beuys \u0026agrave; Anvers durant les ann\u0026eacute;es\u0026nbsp;60 et 70 et la pertinence de son \u0026oelig;uvre pour une nouvelle g\u0026eacute;n\u0026eacute;ration.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys a \u0026eacute;t\u0026eacute; actif \u0026agrave; Anvers entre la fin des ann\u0026eacute;es\u0026nbsp;60 et le d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;70 \u0026agrave; travers ses liens avec la galerie Wide White Space pour laquelle il \u0026eacute;tait une r\u0026eacute;f\u0026eacute;rence essentielle. Parmi ses nombreuses expositions, c\u0026rsquo;est l\u0026agrave; qu\u0026rsquo;il a effectu\u0026eacute; sa performance \u003cem\u003eEurasienstab \u003c/em\u003e[\u003cem\u003eB\u0026acirc;ton Eurasien\u003c/em\u003e] en collaboration avec Henning Christiansen, le 9\u0026nbsp;f\u0026eacute;vrier 1968. Au-del\u0026agrave; d\u0026rsquo;un artiste ayant \u0026eacute;t\u0026eacute; actif \u0026agrave; Anvers (o\u0026ugrave; il a rencontr\u0026eacute; d\u0026rsquo;autres figures de proue telles que Marcel Broodthaers), l\u0026rsquo;exposition \u003cem\u003eJoseph Beuys \u0026ndash; Eurasienstab \u003c/em\u003eabordera \u0026eacute;galement Beuys en tant que personnalit\u0026eacute; ayant exerc\u0026eacute; une profonde influence sur la sc\u0026egrave;ne artistique belge en g\u0026eacute;n\u0026eacute;ral, un aspect en grande partie oubli\u0026eacute; aujourd\u0026rsquo;hui.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;exposition envisagera par ailleurs Beuys comme un artiste ayant eu une pratique \u0026agrave; l\u0026rsquo;encontre de la logique et de l\u0026rsquo;h\u0026eacute;g\u0026eacute;monie du modernisme. Dans un certain sens, il incarnait l\u0026rsquo;anti-modernisme. Prenant la performance \u003cem\u003eEurasienstab\u003c/em\u003e comme point de d\u0026eacute;part, l\u0026rsquo;exposition analysera dans quelle mesure l\u0026rsquo;usage de la notion \u0026laquo;\u0026nbsp;d\u0026rsquo;Eurasie\u0026nbsp;\u0026raquo; faisait partie du sentiment anti-moderniste de Beuys, qui d\u0026eacute;tournait le regard des grands r\u0026eacute;cits de \u0026laquo;\u0026nbsp;l\u0026rsquo;Occident\u0026nbsp;\u0026raquo; pour le diriger vers \u0026laquo;\u0026nbsp;l\u0026rsquo;Orient\u0026nbsp;\u0026raquo;, dans une vision allant m\u0026ecirc;me jusqu\u0026rsquo;\u0026agrave; supprimer de telles distinctions. Il avait manifestement plus d\u0026rsquo;affinit\u0026eacute;s avec la profondeur culturelle, le mysticisme et la nature. Cela se r\u0026eacute;percutait dans son engagement politique qui reposait sur une croyance en la discursivit\u0026eacute;, la cr\u0026eacute;ativit\u0026eacute;, l\u0026rsquo;action directe et la libert\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;exposition comportera bon nombre d\u0026rsquo;\u0026oelig;uvres majeures de Beuys, y compris des installations li\u0026eacute;es \u0026agrave; ses actions et ses activit\u0026eacute;s phares, dont \u003cem\u003eEurasienstab\u003c/em\u003e (1968), ainsi que \u003cem\u003eHonigpumpe am Arbeitsplatz \u003c/em\u003e[\u003cem\u003ePompe \u0026agrave; miel sur le lieu de travail\u003c/em\u003e] (1977) une \u0026oelig;uvre qu\u0026rsquo;il a pr\u0026eacute;sent\u0026eacute;e \u0026agrave; la Documenta\u0026nbsp;6 \u0026agrave; Kassel en 1977 et qui illustre son id\u0026eacute;e de \u0026laquo;\u0026nbsp;sculpture sociale\u0026nbsp;\u0026raquo;. L\u0026rsquo;exposition mettra \u0026eacute;galement en lumi\u0026egrave;re les activit\u0026eacute;s depuis longtemps oubli\u0026eacute;es de l\u0026rsquo;Antwerp Free International University [l\u0026rsquo;universit\u0026eacute; libre internationale d\u0026rsquo;Anvers], cofond\u0026eacute;e par Beuys et des artistes locaux au d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;80. Il s\u0026rsquo;agit de la premi\u0026egrave;re exposition importante d\u0026rsquo;\u0026oelig;uvres de Beuys en Belgique depuis les ann\u0026eacute;es\u0026nbsp;80, lorsque l\u0026rsquo;artiste \u0026eacute;tait encore en vie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;exposition est organis\u0026eacute;e par \u003cstrong\u003eNav Haq\u003c/strong\u003e, commissaire d\u0026rsquo;exposition au M\u0026nbsp;HKA.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;exposition sera la premi\u0026egrave;re d\u0026rsquo;une s\u0026eacute;rie de pr\u0026eacute;sentations monographiques au M\u0026nbsp;HKA de figures cl\u0026eacute;s de l\u0026rsquo;avant-garde d\u0026rsquo;apr\u0026egrave;s-guerre ayant \u0026eacute;t\u0026eacute; actives \u0026agrave; Anvers, inscrivant la ville dans un r\u0026eacute;seau de sc\u0026egrave;nes artistiques de la dense r\u0026eacute;gion du Benelux et du bassin rh\u0026eacute;nan. Les expositions suivantes en 2018 et 2019 se focaliseront respectivement sur \u003cstrong\u003eMarcel Broodthaers\u003c/strong\u003e et \u003cstrong\u003eJames Lee Byars\u003c/strong\u003e.\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eDie Ausstellung \u003cem\u003eJoseph Beuys \u0026ndash; \u003c/em\u003e\u003cem\u003eGr\u0026uuml;\u0026szlig;e aus \u003c/em\u003e\u003cem\u003eEurasien\u003c/em\u003e befasst sich sowohl mit Beuys\u0026rsquo; Aktivit\u0026auml;ten in Antwerpen in den 1960er und 1970er Jahren als auch mit seiner Bedeutung f\u0026uuml;r eine neue Generation.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys war in den sp\u0026auml;ten 1960er, fr\u0026uuml;hen 1970er Jahren im Rahmen seiner Beziehungen zur Wide White Space-Galerie, in der er ein fest etablierter K\u0026uuml;nstler war, in Antwerpen aktiv. Hier hat er am 9. Februar 1968 neben seinen zahlreichen Ausstellungen u.a. seine Performance \u003cem\u003eEurasienstab\u003c/em\u003e in Zusammenarbeit mit Henning Christiansen pr\u0026auml;sentiert. In erster Linie besch\u0026auml;ftigt sich diese Ausstellung mit dem K\u0026uuml;nstler Beuys, der nicht nur in Antwerpen aktiv war (wo er weiteren Schl\u0026uuml;sselfiguren wie Marcel Broodthaers begegnet ist), sondern auch \u0026ndash; auf inzwischen weitgehend vergessene Weise \u0026ndash;insgesamt einen gro\u0026szlig;en Eindruck in Belgien hinterlassen hat.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Ausstellung befasst sich mit Beuys als Person, deren Vorgehensweise im Widerspruch zur Logik und Vorherrschaft des Modernismus\u0026lsquo; stand. In diesem Sinne war er die Verk\u0026ouml;rperung der Anti-Moderne. Auf der Grundlage seiner \u003cem\u003eEurasienstab\u003c/em\u003e-Performance untersucht die Ausstellung, inwieweit Beuys\u0026rsquo; \u0026sbquo;Eurasien\u0026lsquo;-Konzept Teil seiner antimodernen Auffassung war, den Blick derart von der Geschichte des \u0026bdquo;Westens\u0026ldquo; abgewandt und der Vision einer Affinit\u0026auml;t zum \u0026bdquo;Osten\u0026ldquo; zugewandt, dass sich solche Unterschiede gar v\u0026ouml;llig aufl\u0026ouml;sten. Diese Vision stand eher im Bezug zu kultureller Tiefe, Mystik und Natur und spiegelte sich in seinem politischen Engagement wider; seine politischen Auffassungen \u0026auml;u\u0026szlig;erten sich im Glauben an die Debattenkultur, Kreativit\u0026auml;t, direktes Handeln und Freiheit.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Ausstellung umfasst zahlreiche gro\u0026szlig;e Werke von Beuys, einschlie\u0026szlig;lich einer Reihe von Installationen in Bezug auf wichtige Aktionen und Aktivit\u0026auml;ten, u.a. \u003cem\u003eEurasienstab\u003c/em\u003e (1968) sowie \u003cem\u003eHonigpumpe am Arbeitsplatz\u003c/em\u003e (1977), die er 1977 bei der Documenta 6 in Kassel aktiviert hatte; ein Werk, das seine Vorstellung der \u0026sbquo;Sozialskulptur\u0026lsquo; veranschaulicht. Au\u0026szlig;erdem wirft die Ausstellung einen Blick auf die lange in Vergessenheit geratenen Aktivit\u0026auml;ten der Freien Internationalen Universit\u0026auml;t Antwerpen, die in den fr\u0026uuml;hen 1980er Jahren ebenfalls von Beuys und einheimischen K\u0026uuml;nstlern gegr\u0026uuml;ndet worden war. Es ist die erste gro\u0026szlig;e Ausstellung mit Werken von Joseph Beuys seit den 1980er Jahren in Belgien; damals lebte der K\u0026uuml;nstler noch.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eKuratiert wird die Ausstellung von \u003cstrong\u003eNav Haq\u003c/strong\u003e, Senior Kurator, \u003cem\u003eM HKA\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Ausstellung ist die erste in einer Reihe monografischer Ausstellungen im \u003cem\u003eM HKA\u003c/em\u003e, die sich mit den in Antwerpen aktiven Schl\u0026uuml;sselfiguren der Avantgarde aus der Nachkriegszeit befassen; dabei fungiert die Stadt als Teil eines Netzwerks von Szenen aus der dicht besiedelten Region der Benelux-L\u0026auml;nder und des Rheinlands. Die 2018 und 2019 folgenden Ausstellungen konzentrieren sich auf \u003cstrong\u003eMarcel Broodthaers\u003c/strong\u003e und \u003cstrong\u003eJames Lee Byars\u003c/strong\u003e.\u003c/p\u003e\r\n"},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":95,"name":"Marcel Broodthaers","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/371/large/Broodthaers3.jpg?1305536992","poster_credits":"(c)image: M HKA"}},{"id":100,"name":"James Lee Byars","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/324/large/Byars%20%20James%20lee.jpg?1305283754","poster_credits":"(c)image: ICC Archive "}},{"id":104,"name":"Luc Deleu","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/756/large/Luc_Deleu_-1.jpg?1340634758","poster_credits":"(c)image: M HKA"}},{"id":150,"name":"Joseph Beuys","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/430/large/598px-Joseph_Beuys_Filtz_TV_by_Lothar_Wolleh.jpg?1507805974","poster_credits":"(c)SABAM België, 2017 - photo: Lothar Wolleh, CC-BY-SA-3.0 via Wikimedia Commons"}},{"id":339,"name":"Andy Warhol","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/878/large/andy-warhol-self-portrait-c-1977-chin-on-hand.jpg?1326813861","poster_credits":null}}],"items":[{"id":207,"title":"Zwei Fraulein mit leuchtenden Brot","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/508/large/Pinakothek_Two_Maidens.jpg?1507715082","poster_credits":"(c)SABAM België, 2017 - photo: Courtesy Sammlung der Pinakothek der Moderne, München","actors":"Joseph Beuys"},{"id":9649,"title":"Joseph Beuys 'Eurasienstab'","date_begin":"1987-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/446/large/PAN_AM_BOOK_137_A.jpg?1400848508","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","actors":"Joseph Beuys"},{"id":15469,"title":"Joyce","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/928/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_17.jpg?1507816418","poster_credits":"(c)SABAM België, 2017 - 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