{"id":878,"title":"EXTRA MUROS: Tracés, Similarities and Dissonants — Bie Michiels ","date_begin":"2012-03-01T00:00:00.000+01:00","date_end":"2012-03-31T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/236/large/Knickers_and_Bellina_1920x1280_jpeg.JPG?1333375582","poster_credits":null},"translations":[{"locale":"en","name":"EXTRA MUROS: Tracés, Similarities and Dissonants — Bie Michiels ","short_description":"","description":"\u003cp\u003e\u003ci\u003eTRACÉS. Similarities and dissonants\u0026nbsp;\u003c/i\u003e was the upshot of a recycling project that started in 2010 in the recycling centre of Merksem. The centre is the happy recipient of all kinds of end-of-life items collected in and around Antwerp.\u0026nbsp; There, they are sorted and repaired before they are further distributed across the Antwerp Recycling Stores.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBie Michels\u003c/strong\u003e (born in 1960, Kimwenza, GC) examined the interaction between man and object. How interested are people in the objects that pass through their hands? Are they intrigued by a scratch or a blood stain? Have they become immune, has overconsumption blunted their powers of perception or are they simply absent-minded in the presence of all those veiled intimacies?\u003c/p\u003e\u003cp\u003eIn \u003ci\u003eTRACÉS. Similarities and dissonants,\u003c/i\u003e different storylines of the project came together: stories of people who worked in the recycling store (through interviews and portraits), moving images and pictures about the process - from owner to recycling store to new owners – which certain objects followed, and the registration of a house being emptied following the death of the owner that had lay untouched for one and a half years.\u003c/p\u003e\u003cp\u003eAdditionally, Bie Michels selected a number of works from the collection of the M HKA about which the staff at the recycling store asked a few questions, such as: does a work of art, as an object, have more soul? Does an ordinary object that is transformed into a work of art or ends up at an exhibition immediately gain more soul?\u003c/p\u003e"},{"locale":"nl","name":"EXTRA MUROS: Tracés, analogieën en dissonanten — Bie Michiels","short_description":"","description":"\u003cp\u003e\u003ci\u003eTracés. Analogieën en dissonanten\u003c/i\u003e\u0026nbsp;was het resultaat van een kringloopproject dat in 2010 startte in de kringloopcentrale in Merksem. In de centrale komen alle afgedankte opgehaalde spullen van Antwerpen en omstreken terecht, worden ze gesorteerd en hersteld om daarna verder verdeeld te worden in de Antwerpse Kringwinkels.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBie Michels\u003c/strong\u003e (°1960, Kimwenza, GC) onderzocht de interactie tussen mens en object. Hoeveel interesse hebben mensen voor het voorwerp dat hun handen passeert? Worden ze geïntrigeerd door een kras of een bloedvlek? Of zijn ze immuun geworden, stoot de beladenheid hen af of zijn ze gewoon ’gedachteloos’ aanwezig bij al die onzichtbare intimiteiten?\u003c/p\u003e\u003cp\u003eIn\u0026nbsp;\u003ci\u003eTracés. Analogieën en dissonanten\u003c/i\u003e kwamen verschillende verhaallijnen van het project samen: verhalen van mensen die in de kringloopcentrale werkten (via interviews en portretten), bewegende beelden en foto’s over het traject – van eigenaar naar kringloopcentrale naar nieuwe eigenaar – dat bepaalde objecten aflegden, en de registratie van het leeghalen van een huis dat na het overlijden van de eigenares anderhalf jaar onaangeroerd bleef.\u003c/p\u003e\u003cp\u003eDaarnaast selecteerde Bie Michels een aantal kunstwerken uit de collectie van het M HKA waarover ze de werknemers van het kringloopcentrum een aantal vragen stelde, zoals: heeft een kunstwerk als object meer ziel? Heeft een gewoon object dat in een kunstwerk of een tentoonstelling terechtkomt ineens meer ziel?\u003c/p\u003e"},{"locale":"fr","name":"EXTRA MUROS: Tracés, analogies et dissonances — Bie Michiels","short_description":"","description":"\u003cp\u003e\u003ci\u003eTracés. Analogies et dissonances\u003c/i\u003e\u0026nbsp;était le résultat d’un projet entamé en 2010 dans la centrale de la chaîne Kringloop à Merskem. La centrale rassemble tous les objets jetés collectés à Anvers et ses environs. Là ils sont triés et réparés pour ensuite être redistribués dans les magasins anversois de matériel d’occasion.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBie Michels\u003c/strong\u003e (°1960, Kimwenza, GC) a examiné l’interaction entre l’homme et l’objet. Quel est intérêt dont les gens font preuve pour l’objet qui passe dans leurs mains\u0026nbsp;? Sont-ils intrigués par une rayure ou une tache de sang\u0026nbsp;? Ou sont-ils devenus indifférents, ressentent-ils un sentiment de répugnance à l’égard de la charge affective ou ne pensent-ils simplement rien du tout face à toutes ces intimités invisibles\u0026nbsp;?\u003c/p\u003e\u003cp\u003eDans \u003ci\u003eTracés. Analogies et dissonances,\u003c/i\u003e plusieurs histoires du projet ont été réunies: des histoires de personnes travaillant dans la centrale (via des interviews et des portraits), des images en mouvement et des photos du trajet – du propriétaire passant par la centrale jusqu’au nouveau propriétaire – que certains objets ont parcouru, et l’enregistrement du débarrassage d’une maison que l’on n’a pas touchée pendant un an et demi après le décès de la propriétaire.\u003c/p\u003e\u003cp\u003eDe plus, Bie Michels a sélectionné quelques œuvres d’art de la collection du M HKA au sujet desquelles elle a posé des questions aux travailleurs de la centrale, comme: en tant qu’objet, une œuvre d’art a-t-elle une plus grande âme\u0026nbsp;? Un objet ordinaire dont on se sert dans une œuvre d’art ou une exposition, a-t-il du coup une plus grande âme\u0026nbsp;?\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":52,"name":"Robert Filliou","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/742/large/Filliou__0045_Robert__from_Political_to_Political__Breakfasting_together_if_you_wish_still_disc2.jpg?1366810746","poster_credits":"(c)image: M HKA"}},{"id":67,"name":"Dmitri Aleksandrovich Prigov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/390/large/Prigov.jpg?1337329107","poster_credits":null}},{"id":76,"name":"Gulnara Kasmalieva \u0026 Muratbek Djumaliev ","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/237/large/Gulnara_Kasmalieva_and_Muratbek_Djumaliev_Trans_Siberian_Amazons__2005-2.JPG?1363017401","poster_credits":"(c)image: M HKA"}},{"id":78,"name":"Koka Ramishvili","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/247/large/KokaRamishvili.jpg?1367922733","poster_credits":"©"}},{"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":167,"name":"C K Rajan","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/686/large/CKRajan.jpg?1370421447","poster_credits":null}},{"id":270,"name":"Joëlle Tuerlinckx","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/698/large/tuerlinckx.jpeg?1370424438","poster_credits":"(c)image: M HKA"}},{"id":394,"name":"Henk Visch","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/647/large/henk_visch_lublin_01.jpg?1370379226","poster_credits":"(c)image: Galeria Biała, Lublin 2002"}},{"id":617,"name":"Elly Strik","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/493/large/12198090531909861341man_silhouettesvgmed.png?1465902142","poster_credits":null}},{"id":618,"name":"Didier Vermeiren","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/047/large/12198090531909861341man_silhouettesvgmed.png?1394579333","poster_credits":null}},{"id":713,"name":"Suchan Kinoshita","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/625/large/suchan_kinoshita_15.jpg?1370338529","poster_credits":"(c)image: M HKA"}},{"id":1064,"name":"Kerala Radicals","assets":{"poster":null,"poster_credits":null}}],"items":[{"id":4638,"title":"Solitude","date_begin":"1964-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/243/large/Filliou__0007_Robert___La_belette_est_solitaire__1964-74__photo__Kleinefenn.jpg?1333378411","poster_credits":"(c)image: Kleinefenn","actors":"Robert Filliou"},{"id":4720,"title":"The Perfect Philosophy","date_begin":"1975-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/434/large/Byars__James_Lee__Gouden_speld_en_tandenstoker__schenking_Flor_Bex%282%29.jpg?1333552484","poster_credits":"(c)image: M HKA","actors":"James Lee Byars"},{"id":4719,"title":"TH FI TO IN PH","date_begin":"1975-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/433/large/2018_James_Lee_Byars_Photo_M_HKA_27.jpg?1538663835","poster_credits":"(c)image: M HKA","actors":"James Lee Byars"},{"id":291,"title":"Obelisk","date_begin":"1983-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/464/large/Obelisk.jpg?1465915750","poster_credits":"(c)image: R. 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