{"id":1109,"title":"Horizons of Reality","date_begin":"2003-03-15T00:00:00.000+01:00","date_end":"2003-06-01T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/236/large/Ragimov__Kerim__Human_Project._Portrait_nrs__005__1994-2003__foto_A4A_vzw.jpg?1363016753","poster_credits":"(c)image: M HKA"},"translations":[{"locale":"en","name":"Horizons of Reality","short_description":"","description":"\u003cp\u003e‘Horizons of reality’ as the title of an exhibition evokes visions of a splendid view of reality, of various perspectives of reality, of seemingly infinite possibilities which may yet become reality. On the other hand, it is also reminiscent of circumscribing reality: at all levels of reality and in any direction there is ultimately that boundary which was in fact already visible from the beginning. This duality is tangible in the works selected for this exhibition. After 'Paramount Basics', ‘Horizons of reality’ is the second exhibition in a series in which the M HKA focuses on a specific line of approach within a defined context. The museum no longer wishes to have traditional thematic exhibitions around a geographical theme or around a content theme. It does not want to dish up a conclusive story, but to offer the viewer an open field of works of art which enter into relationships in different ways, of possibilities to approach essential questions around art and society. The starting point for this exhibition was the question of the relationship between art and reality, within the context of the former Soviet Union. How do art and reality affect each other in modern society? Reality may be considered as a social construct, which is (also) shaped by art: art helps to shape the perception screens through which a society arrives at an image of reality. Therefore, the relationship between art and its context shows up in the first place in the shape the work of art assumes. What positions can art take as a constructor of reality? This question was present in a particularly pertinent way, almost as an impossibility, in contemporary art of the last decade in the former Soviet Union. For the Soviet system claimed the monopoly of shaping the image of reality, and art was a means of translation within this notion. Perestroika did not only result in eliminating the umbrella system, but also boundaries, social security and the general feeling of safety. Artists adapted within their own artistic scene again and started to differentiate as much as possible within this context. Now that the situation is gradually stabilising, the previous period can be reviewed and the questions can be re-examined.\u003c/p\u003e\u003cp\u003e\u003ci\u003e‘Horizons of reality’\u003c/i\u003e is a broad group exhibition with about twenty artists from the former Soviet Union: from well-known names with unknown work to (in these parts as yet) unknown talent, including: \u003cstrong\u003eVictor Alimpiev \u0026amp; Sergey Vishnevsky, Victor Alimpiev \u0026amp; Marian Zhunin, Vladimir Arkhipov, Sergey Bratkov, Factory of Found Clothes: Glyuklya \u0026amp; Tsaplya, Lyudmila Gorlova, Dmitri Gutov, Irina Korina, Nina Kotel, Oleg Kulik, Vladimir Kupriyanov, Vladislav Mamyshev-Monroe, Andrei \u0026nbsp;Monastyrski, Anatoly Osmolovsky, George Pervov, Kerim Ragimov, Aleksandr Shaburov, Dmitry Vilensky, Yevgeny Yufit, Konstantin Zvezdochetov\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","name":"Werkelijkheidshorizonten","short_description":"","description":"\u003cp\u003e‘Werkelijkheidshorizonten’ als titel van een tentoonstelling roept visioenen op van een weids uitzicht op de realiteit, van verschillende perspectieven op realiteit, van quasi oneindige mogelijkheden die toch werkelijkheid kunnen worden. Aan de andere kant doet het ook denken aan een begrenzing van de realiteit: op alle niveaus van de werkelijkheid en in elke richting is er uiteindelijk die grens, die eigenlijk al vanaf het begin zichtbaar was. Deze dualiteit is voelbaar in de werken die voor deze tentoonstelling werden geselecteerd. Na ‘Paramount Basics’ is ‘Werkelijkheidshorizonten’ de tweede tentoonstelling in een reeks waarin het M HKA binnen een bepaalde context een specifieke invalshoek centraal stelt. Het museum wil geen traditionele thematische tentoonstellingen meer maken, noch rond een geografisch thema, noch rond een inhoudelijk thema. Het wil de toeschouwer geen afgesloten verhaal voorschotelen, maar hem een open veld aanbieden van kunstwerken die op verschillende wijzen relaties aangaan, van mogelijkheden om wezenlijke vragen rond kunst en maatschappij te benaderen. Voor deze tentoonstelling wordt vertrokken vanuit de vraag naar de verhouding tussen kunst en werkelijkheid, binnen de context van de voormalige Sovjet-Unie. Hoe beïnvloeden kunst en realiteit elkaar in de hedendaagse maatschappij? De realiteit kan als een sociale constructie worden gezien waar kunst (mee) vorm aan geeft: kunst vormt mee de waarnemingsrasters waardoor een maatschappij zich een beeld van de werkelijkheid vormt. De relatie tussen kunst en haar context toont zich dus in de eerste plaats in de vorm die het kunstwerk aanneemt. Welke posities kan kunst innemen als realiteitsconstructeur? Deze vraag was op een bijzonder pertinente wijze, bijna als een onmogelijkheid, aanwezig in de hedendaagse kunst van het laatste decennium in de voormalige Sovjet-Unie. Het sovjetsysteem claimde immers het monopolie op de vorming van het realiteitsbeeld en kunst was daarbinnen een vertaalinstrument. Met de perestrojka viel niet alleen het overkoepelende systeem weg, maar ook de grenzen, de sociale zekerheid en het algemene gevoel van veiligheid. De kunstenaars plooiden zich terug binnen hun eigen artistieke scène en gingen zich in die context zoveel mogelijk differentiëren. Nu de toestand zich langzamerhand stabiliseert, kan worden teruggekeken op de vorige periode en kunnen de vragen worden herijkt.\u003c/p\u003e\u003cp\u003e\u003ci\u003e‘Werkelijkheidshorizonten’\u003c/i\u003e is een brede groepstentoonstelling met een twintigtal kunstenaars uit de voormalige Sovjet-Unie: van bekende namen met onbekend werk tot (hier nog) onbekend talent, waaronder: Sergey Bratkov, Dmitri Gutov, Oleg Kulik, Anatoli Osmolovski, Konstantin Zvezdochotov, Vladimir Arkhipov, Viktor Alimpiev, Lyudmila Gorlova, Kerim Ragimov, Aleksandr Shaburov, Vladimir Kupriyanov.\u003c/p\u003e"},{"locale":"fr","name":"Horizons de la réalité","short_description":"","description":"\u003cp\u003eLe titre de l’exposition ‘Horizons de la réalité’ évoque les visions d’un magnifique panorama sur la réalité, de différentes perspectives sur la réalité, de possibilités quasi infinies pouvant malgré tout devenir réalité. Par ailleurs, il fait aussi penser à un confinement de la réalité : à tous les niveaux de la réalité et quelle que soit la direction empruntée, une frontière se dresse, qui était en fait déjà visible depuis le début. Cette dualité se ressent dans les œuvres sélectionnées pour cette exposition. Après ‘Paramount Basics’, ‘Horizons de la réalité’ est la deuxième exposition d’une série dans laquelle M HKA opte pour un point de vue tout à fait spécifique qui s’inscrit dans un contexte bien défini. Le musée ne tient plus à monter des expositions traditionnelles à thème, liées à la géographie ou au contenu. Il ne veut plus servir au spectateur un récit cohérent sur un plateau mais préfère lui proposer de grands espaces d’œuvres d’art qui, d’une manière ou d’une autre, ont un lien entre elles, ainsi que des possibilités infinies d’aborder les questions relatives à l’art et à la société. Le coup d’envoi de cette exposition repose sur la question du rapport entre l’art et la réalité, dans le contexte de l’ex-Union soviétique. Comment l’art et la réalité peuvent-ils s’influencer mutuellement dans la société contemporaine ? La réalité peut se concevoir comme une structure sociale qui prend forme aussi grâce à l’art : l’art participe au modelage des trames perceptuelles à travers lesquelles une société se forge une idée de la réalité. La relation entre l’art et son contexte se manifeste donc avant tout dans la forme qu’assume l’œuvre d’art. Quels sont les positionnements que l’art peut prendre en tant que constructeur de la réalité ? Au cours de la dernière décennie, cette question a dominé l’art contemporain de l’ex-Union soviétique d’une manière étonnamment pertinente, comme une quasi-impossibilité. Le régime des Soviets s’octroyait d’ailleurs le monopole dans le façonnage de l’image de la réalité et dans ce contexte, l’art était devenu un outil de traduction. Avec la perestroïka, non seulement le système de l’organisation centrale a disparu mais aussi, les frontières, la sécurité sociale et le sentiment général de sécurité. Les artistes se sont repliés sur leur propre environnement artistique pour s’y différencier le plus possible les uns des autres. Aujourd’hui, avec un retour, certes lent, vers la stabilité, on peut revenir à la période précédente et recalibrer les questions.\u003c/p\u003e\u003cp\u003e\u003ci\u003e‘Horizons de la réalité’\u003c/i\u003e est une exposition d’ensemble d’une vingtaine d’artistes de l’ex-Union soviétique où les noms connus avec des œuvres inconnues côtoient des talents inconnus (jusqu’ici), notamment: Sergey Bratkov, Dmitri Gutov, Oleg Kulik, Anatoli Osmolovski, Konstantin Zvezdochotov, Vladimir Arkhipov, Viktor Alimpiev, Lyudmila Gorlova, Kerim Ragimov, Aleksandr Shaburov, Vladimir Kupriyanov.\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":34,"name":"Andrei Monastyrski ","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/034/large/DSC_4624.JPG?1362564069","poster_credits":"(c)M HKA"}},{"id":59,"name":"Anatoly Osmolovsky","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/220/large/438px-Osmolovsky.jpg?1363013544","poster_credits":null}},{"id":61,"name":"Victor Alimpiev \u0026 Marian Zhunin","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/242/large/VictorAlimpiev.jpg?1363021136","poster_credits":"(c)Allan Frame"}},{"id":66,"name":"Konstantin Zvezdochotov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/538/large/ZVEZ.jpg?1354812058","poster_credits":null}},{"id":70,"name":"Vladislav (Vlad) Mamyshev-Monroe ","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/875/large/2_.jpg?1362152736","poster_credits":null}},{"id":71,"name":"Kerim Ragimov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/223/large/KerimRagimov.jpg?1363013940","poster_credits":null}},{"id":72,"name":"Sergey Bratkov / Сергій Братков","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/021/large/1336123694.jpg?1350977612","poster_credits":null}},{"id":2750,"name":"Dmitry Gutov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/844/large/gutov1_grey.jpg?1439471498","poster_credits":null}},{"id":3356,"name":"Irina Korina","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/717/large/IrinaKorina-Photo_by_Svetlana_Shuvaeva-sm.jpg?1542300751","poster_credits":"(c)image: Svetlana Shuvaeva"}},{"id":5147,"name":"Lyudmila Gorlova","assets":{"poster":null,"poster_credits":null}},{"id":5151,"name":"Vladimir Arkhipov","assets":{"poster":null,"poster_credits":null}},{"id":5152,"name":"Factory of Found Clothing (FFС)","assets":{"poster":null,"poster_credits":null}}],"items":[{"id":35097,"title":"Smash ","date_begin":"1992-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/374/large/06.jpg?1700155294","poster_credits":"© Dmitry Gutov. 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