{"id":12426,"title":"MARIANNE BERENHAUT – to the right \u0026 back","date_begin":"2021-09-11T00:00:00.000+02:00","date_end":"2022-01-09T00:00:00.000+01:00","location":{"readable":"Antwerp","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/887/large/Berenhaut_Marianne-Berenhaut-Le-Lit-Vie-Prive--e-series-2000-metal-bed-quilted-with-seaweed-dried-5-bubbles-of-glasses-mattress-75.5-x-87.5-x-190-cm-unique.jpg?1629454186","poster_credits":"image: (c) Marianne Berenhaut"},"translations":[{"locale":"en","name":"MARIANNE BERENHAUT – to the right \u0026 back","short_description":"","description":"\u003cp\u003eDividing her time between Brussels and London, Marianne Berenhaut (Brussels, b. 1934) makes poetic sculptures assembled with discarded or left-behind objects, creating associative compositions and muted installations. Until recently, her work has remained relatively underappreciated, but the art world is beginning to take notice of her powerful and extensive oeuvre.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eFor an object to be included in her practice, it must bear signs of life and use. For over six decades Berenhaut has been carefully selecting and incorporating objects like old furniture, garments, and toys in her sculptures. When experiencing one of her installations, an oppressive silence, sadness, or doom hangs in the air. It\u0026rsquo;s as if an unknown human fate is being summoned, the objects expressing a forgotten life story. In her unique visual language, she addresses longing, absence, trauma, and memory.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eVie Priv\u0026eacute;e, \u003c/em\u003ethe generic title that Marianne has given to her works of the last twenty years, leads the viewer to believe that they are entering a domestic, intimate environment. On the contrary, the artist emphasizes the ever-present connection between \u0026quot;her art\u0026quot; and the social life around her. Her unpretentious and somewhat naive sculptures play on collective emotional memory; to reduce them to nostalgic secondhand objects would be an injustice, like reducing the Shoah to a \u003cem\u003efait divers\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe series \u003cem\u003ePoup\u0026eacute;es Poubelles\u003c/em\u003e (created in the 1970s) is a collection of dolls made from nylon stockings filled with rags, hay, straw, and flowers \u0026ndash; each with their own everyday object. This series is characteristic of the latent visual language that the artist so often uses. Of the assemblage \u003cem\u003eVie Priv\u0026eacute;e : Le Lit (2020)\u003c/em\u003e, she says, \u003cem\u003e\u0026quot;When it was finished, I was surprised. It looked like nothing I had ever made. Until then, I often talked about loss, about the life I was robbed of, and my childhood. But since I made this sculpture, I\u0026#39;ve been more concerned with my personal life and my personal fantasies.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSpeaking about the \u0026quot;left-behind\u0026quot; objects she collects, she emphatically explains that they are not merely \u0026ldquo;there\u0026rdquo;. Whether they were found on the street, at a flea market, or in a garage sale, she allows her discoveries to age undisturbed, waiting for an association or melding that presents itself at the right moment. The sculptures are created without preconceived ideas, and thus tell their story only afterwards, \u003cem\u003ea posteriori\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eMarianne Berenhaut (Brussels, 1934) lives and works alternately in Brussels and London. This year, M HKA acquired two of her works, a \u003cem\u003ePoup\u0026eacute;e Poubelle\u003c/em\u003e and \u003cem\u003eLe Lit\u003c/em\u003e. They are exhibited together with a number of works on loan.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eMarianne Berenhaut creates poetic sculptures with so-called discarded objects. These objects, ranging from kitchen utensils to broken tables and nylon stockings, metal pipes and plates, all bear signs of a history and life. Since the 1960s, Berenhaut has developed an oeuvre that she has divided into four periods or families: \u003cem\u003eMaison Sculpture\u003c/em\u003e, followed by \u003cem\u003ePoup\u0026eacute;e Poubelle\u003c/em\u003e in the 1970s, \u003cem\u003eVie Priv\u0026eacute;e\u003c/em\u003e since the 1980s, and her most recent work, since 2015, which she refers to as \u003cem\u003eBits and Pieces\u003c/em\u003e. A turning point in her oeuvre is \u003cem\u003eLe Lit\u003c/em\u003e from 2000.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThierry de Duve on her work: \u0026ldquo;One can only rejoice to see\u0026nbsp;Marianne moving towards reconciliation with her life as a survivor. Her recent work has changed, it is less tragic, more playful, more erotic too. No doubt it will never be free of ambivalence [...]. For her it will always be a question of faithfulness and memory, or of faithfulness to memory, which is a service she renders us \u0026ndash; for in Auschwitz, humanity was orphaned of itself, and that is something no one can forget.\u0026quot;\u003c/p\u003e\r\n"},{"locale":"nl","name":"MARIANNE BERENHAUT – rechts, averechts","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eMarianne Berenhaut (Brussel, 1934) woont en werkt afwisselend in Brussel en Londen. Tussen 1960 en 1964 studeert ze aan de Acad\u0026eacute;mie du Midi en het Atelier de Moeschal. Haar werk is lange tijd relatief onderbelicht gebleven binnen het professionele kunstenveld, maar de laatste jaren is daar verandering in gekomen. Ze maakt po\u0026euml;tische sculpturen die ze samenstelt met zogenaamd \u0026ldquo;achtergebleven\u0026rdquo; voorwerpen waar ze associatieve composities en verstilde installaties van maakt.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAl meer dan zes decennia bouwt Marianne Berenhaut aan een omvangrijk en indrukwekkend oeuvre. Ze gebruikt gevonden voorwerpen zoals oude meubels, kledingstukken en speelgoed, het ding moet tekens van leven dragen om deel uit te maken van haar werk. Een beklemmende stilte omhult haar installaties, er hangt verdriet of onheil in de lucht, alsof een onbekend menselijk lot in herinnering wordt gebracht, alsof de objecten een vergeten levensverhaal opnieuw trachten uit te drukken. In een unieke beeldtaal verhaalt ze over verlangen, afwezigheid, trauma en herinnering.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe generische titel die Marianne aan haar werken van de voorbije twintig jaar gegeven heeft, \u003cem\u003eVie Priv\u0026eacute;e\u003c/em\u003e, doen de toeschouwer vermoeden inzage te krijgen in een intieme en huiselijke sfeer. Het tegendeel is waar, de kunstenares benadrukt dat er steeds een verband bestaat tussen \u0026lsquo;haar kunst\u0026rsquo; en het sociale leven om haar heen. Haar po\u0026euml;tische en ongekunstelde ietwat na\u0026iuml;eve sculpturen spelen in op het collectieve emotionele geheugen, ze reduceren tot een vorm van nostalgische tweedehands voorwerpen zou een obsceniteit zijn die de Shoah herleidt tot een fait divers.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe reeks \u003cem\u003ePoup\u0026eacute;es Poubelles\u003c/em\u003e (gerealiseerd in de jaren 1970) bestaat uit een verzameling poppen, gemaakt uit nylonkousen die gevuld zijn met lompen, hooi, stro, bloemen en ook telkens een alledaagse voorwerp. Deze reeks is kenmerkend voor de verstilde beeldtaal die de kunstenaar hanteert. Over de assemblage \u003cem\u003eVie Priv\u0026eacute;e : Le Lit\u003c/em\u003e (2020) zegt ze: \u003cem\u003e\u0026ldquo;Toen het af was, was ik verrast. Het leek op niets dat ik ooit had gemaakt. Tot dan sprak ik vaak over verlies, over mijn beroofde leven en mijn kindertijd. Maar sinds ik deze sculptuur heb gemaakt, heb ik het meer over mijn eigen leven en mijn eigen fantasie\u0026euml;n.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eOver de \u0026lsquo;achtergebleven\u0026rsquo; voorwerpen die ze verzamelt zegt ze nadrukkelijk dat die er niet \u0026lsquo;zomaar\u0026rsquo; zijn. Of ze nu op straat, op een rommelmarkt of in een garageverkoop te vinden waren, ze laat haar vondsten onaangeroerd rijpen in afwachting van een associatie of versmelting\u0026nbsp; die zich pas aandient als het moment daarvoor gekomen is. De sculpturen ontstaan zonder voorbedachte rade, en vertellen op die manier hun verhaal pas achteraf, a posteriori.\u003c/p\u003e\r\n\r\n\u003cp\u003eThierry de Duve over haar werk: \u0026ldquo;Men kan alleen maar opgetogen zijn te zien dat Marianne zich verzoent met haar leven als overlevende. Haar recente werk is veranderd, het is minder tragisch, speelser, meer erotisch ook. Het zal zonder twijfel nooit vrij zijn van ambivalentie [\u0026hellip;]. Voor haar zal het altijd een kwestie zijn van trouw en geheugen, of van trouw aan het geheugen, wat een dienst is die ze ons bewijst \u0026ndash; want in Auschwitz is de mensheid verweesd van zichzelf, en dat is iets wat niemand kan vergeten.\u0026rdquo;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","name":"MARIANNE BERENHAUT – endroit, anvers ","short_description":"","description":"\u003cp\u003ePartageant son temps entre Bruxelles et Londres, Marianne Berenhaut (n\u0026eacute;e en 1934 \u0026agrave; Bruxelles) r\u0026eacute;alise des sculptures po\u0026eacute;tiques assembl\u0026eacute;es \u0026agrave; partir d\u0026rsquo;objets que l\u0026rsquo;on pourrait dire \u0026ldquo;laiss\u0026eacute;s-pour-compte\u0026rdquo;, cr\u0026eacute;ant des compositions associatives et des installations sobres. Son \u0026oelig;uvre, jusqu\u0026rsquo;\u0026agrave; pr\u0026eacute;sent rest\u0026eacute;e m\u0026eacute;connue dans le champ de l\u0026rsquo;art contemporain, suscite aujourd\u0026rsquo;hui un int\u0026eacute;r\u0026ecirc;t grandissant.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eChaque objet incorpor\u0026eacute; par Berenhaut dans son travail porte des signes de vie et des traces d\u0026rsquo;utilisation. Depuis plus de soixante ans, elle s\u0026eacute;lectionne et collectionne avec soin des meubles, des v\u0026ecirc;tements et des jouets anciens. Il en r\u0026eacute;sulte des sculptures qui g\u0026eacute;n\u0026egrave;rent un silence oppressant ainsi qu\u0026rsquo;une certaine impression de tristesse ou de malheur. Ces objets \u0026eacute;voquent une existence humaine pass\u0026eacute;e et insaisissable, et portent l\u0026rsquo;histoire d\u0026rsquo;une vie oubli\u0026eacute;e. A travers son langage visuel singulier, Berenhaut aborde des probl\u0026eacute;matiques telles que la nostalgie, l\u0026#39;absence, le traumatisme et la m\u0026eacute;moire.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eVie Priv\u0026eacute;e\u003c/em\u003e, le titre g\u0026eacute;n\u0026eacute;rique que l\u0026rsquo;artiste a donn\u0026eacute; \u0026agrave; ses \u0026oelig;uvres des vingt derni\u0026egrave;res ann\u0026eacute;es, laisse croire au spectateur qu\u0026#39;il ou elle fait face \u0026agrave; un environnement domestique et intime. Cependant, l\u0026#39;artiste met aussi l\u0026#39;accent sur le lien omnipr\u0026eacute;sent entre sa pratique et le contexte social qui l\u0026#39;entoure. Ses sculptures sans pr\u0026eacute;tention et quelque peu na\u0026iuml;ves jouent sur la m\u0026eacute;moire \u0026eacute;motionnelle collective; les r\u0026eacute;duire \u0026agrave; des objets de seconde main nostalgiques serait une injustice, tout comme on ne peut r\u0026eacute;duire la Shoah \u0026agrave; un fait divers.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa s\u0026eacute;rie \u003cem\u003ePoup\u0026eacute;es Poubelles\u003c/em\u003e (cr\u0026eacute;\u0026eacute;e dans les ann\u0026eacute;es 1970) constitue une collection de poup\u0026eacute;es faites de bas nylon remplis de chiffons, de foin, de paille et de fleurs; comportant chacune un objet du quotidien diff\u0026eacute;rent. Cette s\u0026eacute;rie est caract\u0026eacute;ristique du langage visuel calfeutr\u0026eacute; employ\u0026eacute; par l\u0026rsquo;artiste.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; propos de l\u0026#39;assemblage \u003cem\u003eVie Priv\u0026eacute;e : Le Lit\u003c/em\u003e (2020), Berenhaut d\u0026eacute;clare : \u003cem\u003e\u0026quot;Quand il fut termin\u0026eacute;, j\u0026#39;ai \u0026eacute;t\u0026eacute; surprise. Il ne ressemblait \u0026agrave; rien de ce que j\u0026#39;avais fait auparavant. Jusque-l\u0026agrave;, je parlais souvent de la perte, de ma vie vol\u0026eacute;e, de mon enfance. Mais depuis que j\u0026#39;ai r\u0026eacute;alis\u0026eacute; cette sculpture, je m\u0026#39;int\u0026eacute;resse davantage \u0026agrave; ma vie personnelle et \u0026agrave; mes fantasmes personnels.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;artiste explique avec insistance que les objets \u0026quot;laiss\u0026eacute;s-pour-compte\u0026quot; qu\u0026#39;elle collectionne existent bien au-del\u0026agrave; de leur simple pr\u0026eacute;sence physique. Suite \u0026agrave; leur d\u0026eacute;couverte dans la rue, sur un march\u0026eacute; aux puces ou dans un vide-grenier, l\u0026rsquo;artiste les laisse vieillir sans les perturber, en attendant une association ou une combinaison opportunes. Les sculptures sont ainsi cr\u0026eacute;\u0026eacute;es sans id\u0026eacute;e pr\u0026eacute;con\u0026ccedil;ue, et ne racontent leur histoire qu\u0026#39;apr\u0026egrave;s coup, \u003cem\u003ea posteriori\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThierry de Duve \u0026eacute;crit \u0026agrave; propos de l\u0026#39;\u0026oelig;uvre de Marianne Berenhaut : \u0026laquo;\u0026nbsp;On ne peut que se r\u0026eacute;jouir de voir Marianne aller dans le sens de la r\u0026eacute;conciliation avec sa vie de survivante. Son travail r\u0026eacute;cent change, moins tragique, plus ludique, plus \u0026eacute;rotique aussi. L\u0026rsquo;ambivalence n\u0026rsquo;en sera sans doute jamais absente [...]. Ce sera toujours pour elle une question de fid\u0026eacute;lit\u0026eacute; et de m\u0026eacute;moire, ou de fid\u0026eacute;lit\u0026eacute; \u0026agrave; la m\u0026eacute;moire \u0026ndash; un service qu\u0026rsquo;elle nous rend, car \u0026agrave; Auschwitz l\u0026#39;humanit\u0026eacute; est devenue orpheline d\u0026rsquo;elle-m\u0026ecirc;me, et cela, nul ne peut l\u0026rsquo;oublier.\u0026nbsp;\u0026raquo;\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":4279,"name":"Marianne Berenhaut","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/914/large/evenbeeld_mhka_Berenhaut_ZW.jpg?1634545486","poster_credits":"image: (c) Evenbeeld"}}],"items":[{"id":30746,"title":"Passoire rouge (écumoire) [from the series Poupée poubelle]","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/837/large/2021_MARIANNE_BERENHAUT_%E2%80%93_rechts__averechts_photoM_HKA_clinckx_12.jpg?1631784830","poster_credits":"image: © M HKA, Collection M HKA / Collection Flemish Community","actors":"Marianne Berenhaut"},{"id":30747,"title":"Table de jardin plâtrée","date_begin":"1993-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/536/large/20211011_MuHKA11825_web.jpg?1634130140","poster_credits":"image: © We Document Art, Courtesy Marianne Berenhaut/Dvir Gallery","actors":"Marianne Berenhaut"},{"id":30748,"title":"Elle lui a raconté qu’ il y avait eu du bruit sur le toit","date_begin":"1995-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/535/large/2021_MARIANNE_BERENHAUT_%E2%80%93_rechts__averechts_photoM_HKA_clinckx_25.jpg?1631783513","poster_credits":"image: (c) M HKA, Courtesy Marianne Berenhaut/Dvir Gallery","actors":"Marianne Berenhaut"},{"id":30749,"title":"Votre nom ?","date_begin":"1995-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/534/large/2021_MARIANNE_BERENHAUT_%E2%80%93_rechts__averechts_photoM_HKA_clinckx_28.jpg?1631783425","poster_credits":"image: (c) M HKA, Courtesy Marianne Berenhaut/Dvir Gallery","actors":"Marianne Berenhaut"},{"id":30750,"title":"Enlève-moi ça","date_begin":"1999-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/533/large/2021_MARIANNE_BERENHAUT_%E2%80%93_rechts__averechts_photoM_HKA_clinckx_44.jpg?1631783351","poster_credits":"image: (c) M HKA, Courtesy Marianne Berenhaut/Dvir Gallery","actors":"Marianne Berenhaut"},{"id":30751,"title":"Le Lit (Vie Privée series)","date_begin":"2000-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/915/large/Berenhaut_Marianne-Berenhaut-Le-Lit-Vie-Prive--e-series-2000-metal-bed-quilted-with-seaweed-dried-5-bubbles-of-glasses-mattress-75.5-x-87.5-x-190-cm-unique.jpg?1629726019","poster_credits":"Image : © Marianne Berenhaut, Collection M HKA","actors":"Marianne Berenhaut"},{"id":30752,"title":"Mariage  entre un vélo et des interrupteurs [from the series Vie privée]","date_begin":"2003-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/531/large/2021_MARIANNE_BERENHAUT_%E2%80%93_rechts__averechts_photoM_HKA_clinckx_29.jpg?1631781862","poster_credits":"image: (c) M HKA, Courtesy Marianne Berenhaut/Dvir Gallery","actors":"Marianne Berenhaut"},{"id":30754,"title":"Y a-t-il un pharmacien dans cette ville ! 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