{"id":13744,"title":"When Faith Moves Mountains","date_begin":"2022-07-17T00:00:00.000+02:00","date_end":"2022-10-09T00:00:00.000+02:00","location":{"readable":"Kyiv","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/159/large/WFMM_banner_2022-1.jpg?1657892444","poster_credits":null},"translations":[{"locale":"en","name":"When Faith Moves Mountains","short_description":"","description":"\u003cp\u003eThis project was set up differently from a classic exhibition; the working method was rather activist, whereby a \u0026#39;coalition of the willing\u0026#39; shares both the technical feasibility and the substantive focus and implements it step by step.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe decisions were collective, they arose from conversations between the two curators who initiated the project, the collection team of M HKA, the team of the PinchukArtCenter and the Ukrainian artists who participated, in particular the artist duo Yarema Malashchuk and Roman Khimei who strengthened the curatorial team.\u003c/p\u003e\r\n\r\n\u003cp\u003eA long list of works from the collection of the M HKA/The Flemish Community was weighed on various technical criteria as well as on content; the healing, emancipatory and empowering potential in works from a broad international field, but also how the Ukrainian side estimated to what extent and how this potential could now be active in Kyiv and whether works could enter into a dialogue with the works of Ukrainian artists that were selected independently.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe eventual exhibition is the outcome of testing these relationships; from this testing relevant substantive spheres became clear that imposed themselves in this context. The exhibition leads as a trajectory to the overwhelming topic of the \u0026#39;Russian War Crimes House\u0026#39; from Davos, which is integrated into the set-up and acts as an anchor to current reality. \u0026#39;Russian War Crimes\u0026#39; is the end point of the trajectory but also a starting point: the exhibition is aware that it is at the same time also the trajectory that follows up this moment, after seeing it. This theme that is difficult to bear is the inevitable, urgent reference today. It remains continuously present, and is therefore also included in the circulation areas through four photos of destruction of public buildings.\u003c/p\u003e\r\n\r\n\u003cp\u003eThree floors form three layers of the exhibition.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe exhibition opens with a discussion of war situations and the absorption of war by the land, with the key work by \u003cstrong\u003eBerlinde De Bruyckere\u003c/strong\u003e (Belgium, 1964), \u0026#39;In Flanders Fields\u0026#39; that commemorates the First World War, and \u0026#39;Oh Those Voices\u0026#39; by \u003cstrong\u003eJan Cox\u003c/strong\u003e (Netherlands/Belgium, 1919-1980), who focused his entire life on dealing with the horrors he saw and experienced during the Second World War. On the other hand, there is a special new work by the artist duo \u003cstrong\u003eYarema Malashchuk\u003c/strong\u003e (Ukraine, 1993) and \u003cstrong\u003eRoman Khimei\u003c/strong\u003e (Ukraine, 1992), who pose as dead Russian soldiers in five pictorial LED videos. The design critically refers to nineteenth-century romantic art and its attitude, in which both great feelings and death are abstracted.\u003c/p\u003e\r\n\r\n\u003cp\u003eFollowing on from this, in a second movement, questions are raised about and global historical awareness of broad movements that direct events. On the one hand, the focus is on Europe (with \u003cstrong\u003eAdrien Titriaux\u003c/strong\u003e (Belgium, 1980), \u003cstrong\u003eNastio Mosquito\u003c/strong\u003e (Angola, 1981) with also the question of the relationship between east and west by \u003cstrong\u003eBabi Badalov \u003c/strong\u003e(Azerbaijan, 1959). On the other, global ecological and economic questions, with \u003cstrong\u003eSheela Gowda\u003c/strong\u003e (Indies, 1957), \u003cstrong\u003eOtobong Nkanga\u003c/strong\u003e (Nigeria, 1974) and \u003cstrong\u003eAllan Sekula\u003c/strong\u003e (United States, 1951-2013).Two grisaille paintings by \u003cstrong\u003eDanylo Galkin\u003c/strong\u003e (Ukraine, 1985) depict stained glass windows, and those stained glass windows then again - with a knight and a family scene respectively - set battle and life against each other.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe middle layer can be seen as a space of possibility. First, the relationship of man to nature is thematised, with \u003cstrong\u003eOleksandr Burlaka\u003c/strong\u003e (Ukraine, 1982), \u003cstrong\u003eNikita Kadan\u003c/strong\u003e (Ukraine, 1982), Alevtina Kakhidze Ukraine, 1973), and \u003cstrong\u003eAlmagul Menlibayeva\u003c/strong\u003e (Kazakhstan, 1969). In contrast, the question of the individual position with \u003cstrong\u003eBarbara Kruger\u003c/strong\u003e (United States, 1945), \u003cstrong\u003eMark Lewis\u003c/strong\u003e (Canada, 1958) the historical performance works of \u003cstrong\u003eORLAN\u003c/strong\u003e (France, 1947), in dialogue with the Ukrainian artists \u003cstrong\u003eVlada Ralko\u003c/strong\u003e (1969) and \u003cstrong\u003eAnna Zvyagintseva \u003c/strong\u003e(1986).\u003c/p\u003e\r\n\r\n\u003cp\u003eWhat is it like to be human, in the landscape and as an individual with experienced, physically experienced positioning options?\u003c/p\u003e\r\n\r\n\u003cp\u003eeThe third part is a psychological space in which a number of dialogues lead to the end point, the overwhelming video in which the artist \u003cstrong\u003eOleksii Sai\u003c/strong\u003e (Ukraine, 1975) processed the flood of images that Ukraine is currently collecting collectively for the International Criminal Court in The Hague. In a first dialogue, the work TREMOR, RUMOUR, HOOVER by \u003cstrong\u003eHusseyn Alptekin\u003c/strong\u003e (Turkey, 1957-2007), made in response to the earthquake in Izmir in 1999 and the persistent feeling of insecurity, is linked to a new work by \u003cstrong\u003eLesia Khomenko\u003c/strong\u003e (Ukraine, 1980) which starts from a group photo as they often appear on social media in Ukraine, with soldiers made unrecognizable for security reasons.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn a second dialogue, between hope and reality, the hopeful work by \u003cstrong\u003eFrancis Al\u0026yuml;s \u003c/strong\u003efrom which the exhibition takes its title is contrasted with a negative form of collective action, the apparently poetic work with ink drawings of clouds, actually columns of smoke from burning buildings, by \u003cstrong\u003eOleksii Sai\u003c/strong\u003e who later also signs for the Russian Warcrimes video.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis is followed by a space with the counterpart of the war, life, with on the one hand the emotional image of being together in a bomb shelter by the Ukrainian artist \u003cstrong\u003eKinderalbum\u003c/strong\u003e (Ukraine, 1972) on the other the daily life of a black American in the monumental woodcut by \u003cstrong\u003eKerry James Marshall\u003c/strong\u003e (USA, 1955) and a look back at life in the (post) Soviet era in the cycles of drawings and paintings by \u003cstrong\u003eWilhelm Sasnal\u003c/strong\u003e (Poland, 1972). Sasnal does not leave the war out of the picture in this 20-year-old ensemble with its many secondary lines. The latter drawings are shown in the last exhibition space prior to Russian Warcrimes, in which the relational positioning of \u0026#39;La Correnspondance\u0026#39; by \u003cstrong\u003eLuc Tuymans\u003c/strong\u003e (Belgium, 1958), the existential female position of \u0026#39;Sacrifice\u0026#39; by \u003cstrong\u003eMarl\u0026egrave;ne Dumas\u003c/strong\u003e ((South Africa, 1953) and the sovereign positioning of \u0026#39;Me Dreaming\u0026#39; by \u003cstrong\u003eJan Fabre\u003c/strong\u003e (Belgium, 1958) is combined with a watercolor by the Ukrainian artist \u003cstrong\u003eYevhen Samborsky\u003c/strong\u003e (Ukraine, 1984), who simply makes the word \u0026#39;human\u0026#39; appear in a grisaille cloud.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe last three rooms, with gray walls, show the gripping images of Russian war crimes. They are introduced by two elegiac paintings, by \u003cstrong\u003eAndriy Sagaidakovsky\u003c/strong\u003e (Ukraine, 1957) and by \u003cstrong\u003eJan de Laur\u0026eacute;\u003c/strong\u003e (Belgium, 1978).\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://imagineukraine.s3.eu-west-1.amazonaws.com/ENG-5.pdf\"\u003e\u003cstrong\u003ePRESS RELEASE\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","name":"When Faith Moves Mountains","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eDit project werd anders opgezet dan een klassieke tentoonstelling; de werkwijze was eerder activistisch waarbij een \u0026lsquo;coalition of the willing\u0026rsquo; zowel de technische haalbaarheid als de inhoudelijke scherpstelling deelde en stapsgewijs doorvoerde. De beslissingen waren collectief, ze kwamen voort uit gesprekken tussen de twee curatoren die het project initieerden, het collectieteam van M HKA, het team van het PinchukArtCenter en de Oekraiense kunstenaars die deelnamen, met name het kunstenaarsduo Yarema Malashchuk en Roman Khimei \u0026nbsp;die het curatorenteam versterkten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEen longlist van werken uit de collectie van het M HKA/De Vlaamse Gemeenschap werd zowel op diverse technische criteria gewogen als op inhoudelijke; het helend, emancipatorisch en empowerend potentieel in werken uit een breed internationaal veld, maar ook hoe van Oekra\u0026iuml;ense zijde werd ingeschat in hoever en hoe dit potentieel nu in Kyiv werkzaam zou kunnen zijn en of werken een dialoog zouden kunnen aangaan met de werken van Oekra\u0026iuml;ense kunstenaars die onafhankelijk daarvan werden geselecteerd.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe uiteindelijke tentoonstelling is de uitkomst van het uittesten van deze relaties, uit dit uittesten werden relevante inhoudelijke sferen duidelijk die zich in deze context opdrongen.\u0026nbsp;De tentoonstelling leidt toe naar het verpletterende topic van het \u0026lsquo;Russian War Crimes House\u0026rsquo; uit Davos dat in het opzet is ge\u0026iuml;ntegreerd en fungeert als een anker tot de huidige realiteit. De tentoonstelling is zich er van bewust dat ze tegelijk (opnieuw) het traject is na het zien hiervan. \u0026lsquo;Russian Warcrimes\u0026rsquo; is een eindpunt maar ook een beginpunt. Deze moeilijk te dragen thematiek is de onvermijdelijke, urgente referentie vandaag. Ze blijft continu aanwezig, ook , ook in de circulatieruimtes hangen foto\u0026rsquo;s van vernietigingen aan publieke gebouwen. \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDrie verdiepingen vormen drie lagen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tentoonstelling opent met een omgang met oorlogssituaties, en de absorbtie van oorlog door het land, met het sleutelwerk van \u003cstrong\u003eBerlinde De Bruyckere \u003c/strong\u003e(Belgi\u0026euml;, 1964), \u0026lsquo;In Flanders Fields\u0026rsquo; dat de eerste\u0026nbsp; wereldoorlog in herinnering brengt, en \u0026lsquo;Oh Those Voices\u0026rsquo; van \u003cstrong\u003eJan Cox\u003c/strong\u003e (Nederland/Belgi\u0026euml;, 1919-1980), die zijn hele leven richtte op een omgang met de gruwelen die hij tijdens de tweede wereldoorlog zag en meemaakte. Daar tegenover staat een bijzonder nieuw werk van het kunstenaarsduo \u003cstrong\u003eYarema Malashchuk\u003c/strong\u003e (Oekra\u0026iuml;ne, 1993) en \u003cstrong\u003eRoman Khimei\u003c/strong\u003e (Oekra\u0026iuml;ne, 1992)die zich in vijf picturale ledvideo\u0026rsquo;s voordoen als gestorven Russische soldaten. De vormgeving refereert kritisch naar de negentiende-eeuwse romantische kunst en naar de houding daarin waarbij zowel de grote gevoelens als de dood geabstraheerd worden.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHierbij aansluitend worden in een tweede beweging vragen over en globaal historisch besef van brede bewegingen die evenementen aansturen. Aan de ene kant wordt hier gefocust op Europa met \u003cstrong\u003eAdrien Titriaux \u003c/strong\u003e(Belgi\u0026euml;, 1980), \u003cstrong\u003eNastio Mosquito \u003c/strong\u003e(Angola, 1981) met ook de vraag naar verhouding tussen oost en west door\u003cstrong\u003e Babi Badalov \u003c/strong\u003e(Azerbaijan, 1959). Aan de andere staan globale ecologische en economische vragen, met\u003cstrong\u003e Sheela Gowda \u003c/strong\u003e(Indi\u0026euml;, 1957), \u0026nbsp;\u003cstrong\u003eOtobong Nkanga\u003c/strong\u003e (Nigeria, 1974) en \u003cstrong\u003eAllan Sekula \u003c/strong\u003e(Verenigde Staten, 1951-2013). Twee grisailleschilderijen van \u003cstrong\u003eDanylo Galkin \u003c/strong\u003e(Oekra\u0026iuml;ne, 1985) beelden glasramen af, en die glasramen zetten dan weer - met respectievelijk een ridder en een familietafereel - strijd en leven tegen elkaar af.\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe middenlaag kan men als een mogelijkheidsruimte zien. Eerst wordt de relatie van de mens tot de natuur gethematiseerd, met \u003cstrong\u003eOleksandr Burlaka\u003c/strong\u003e (Oekra\u0026iuml;ne, 1982), \u003cstrong\u003eNikita Kadan \u003c/strong\u003e(Oekra\u0026iuml;ne, 1982), \u003cstrong\u003eAlevtina Kakhidze \u003c/strong\u003e(Oekra\u0026iuml;ne, 1973), en \u003cstrong\u003eAlmagul Menlibayeva \u003c/strong\u003e(Kazakhstan, 1969). Daar tegenover staat de vraagstelling van de individuele positie met \u003cstrong\u003eBarbara Kruger\u003c/strong\u003e\u0026nbsp; (Verenigde Staten, 1945), \u003cstrong\u003eMark Lewis\u003c/strong\u003e (Canada, 1958) de historische performancewerken van \u003cstrong\u003eORLAN\u003c/strong\u003e (Frankrijk, 1947), in dialoog met de Oekraiense kunstenaressen \u003cstrong\u003eVlada Ralko\u003c/strong\u003e (1969) en \u003cstrong\u003eAnna Zvyagintseva\u003c/strong\u003e (1986).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eWat is het om mens te zijn, in het landschap en als individu met doorleefde, fysiek ervaren positioneringsmogelijkheden?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet derde deel is een psychologische ruimte waarbij een aantal dialogen naar het eindpunt toeleiden, de overdonderende video waarin de kunstenaar \u003cstrong\u003eOleksii Sai \u003c/strong\u003e(Oekra\u0026iuml;ne, 1975) de beeldenvloed verwerkte die Oekra\u0026iuml;ne momenteel collectief verzamelt voor het Internationaal Strafhof in Den Haag. In een eerste dialoog wordt het werk \u003cem\u003eTREMOR\u003c/em\u003e, RUMOUR, \u003cem\u003eHOOVER \u003c/em\u003e\u003cem\u003evan \u003cstrong\u003eHusseyn Alptekin \u003c/strong\u003e(Turkije, 1957-2007), gemaakt in respons op de aardbeving in Izmir van 1999 en het blijvend onveiligheidsgevoel daardoor, gekoppeld aan een nieuw werk van\u003c/em\u003e \u003cstrong\u003eLesia Khomenko \u003c/strong\u003e(Oekra\u0026iuml;ne, 1980) die start van een groepsfoto zoals ze zo vaak op social media in Oekra\u0026iuml;ne voorkomen, met om veiligheidsredenen onherkenbaar gemaakte soldaten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn een tweede dialoog, tussen hoop en werkelijkheid, \u0026nbsp;wordt het hoopvolle werk van Francis Al\u0026yuml;s waaraan de tentoonstelling zijn titel ontleent, afgezet tegen een negatieve vorm van collectieve actie, het schijnbaar po\u0026euml;tisch werk met inkttekeningen van wolken, eigenlijk rookkolommen van brandende gebouwen, door \u003c/em\u003e\u003cstrong\u003eOleksii Sai \u003c/strong\u003edie verderop ook tekent voor de Russian Warcrimes video.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDaarna volgt een ruimte met de tegenhanger van de oorlog, het leven, met aan de ene kant het emotionele beeld van samenzijn in een schuilkelder van de Oekraiense kunstenares \u003cstrong\u003eKinderalbum\u003c/strong\u003e (Oekra\u0026iuml;ne, 1972) aan de andere het dagelijks leven van een zwarte Amerikaan in de monumentale houtsnede van \u003cstrong\u003eKerry James Marshall\u003c/strong\u003e (USA, 1955) en een terugblik op het leven in de (post)soviettijd in de tekeningencycli en schilderijen van \u003cstrong\u003eWilhelm Sasnal\u003c/strong\u003e (Polen, 1972). Sasnal laat in dit 20 jaar oude ensemble \u0026nbsp;met zijn vele nevenlijnen ook de oorlog niet uit beeld. Die laatste tekeningen worden getoond in de ruimte voor Russian Warcrimes, waarin de relationele positionering van \u0026lsquo;La Correnspondance\u0026rsquo; van \u003cstrong\u003eLuc Tuymans\u003c/strong\u003e (Belgi\u0026euml;, 1958), de existenti\u0026euml;le vrouwelijke positie van \u0026lsquo;Sacrifice\u0026rsquo; van \u003cstrong\u003eMarl\u0026egrave;ne Dumas\u003c/strong\u003e ((Zuid-Afrika, 1953) en de soevereine plaatsbepaling van \u0026lsquo;Me Dreaming\u0026rsquo; van \u003cstrong\u003eJan Fabre\u003c/strong\u003e (Belgi\u0026euml;, 1958) worden samengebracht met een aquarel van de Oekrai\u0026euml;nse kunstenaar \u003c/em\u003e\u003cstrong\u003eYevhen Samborsky \u003c/strong\u003e(Oekra\u0026iuml;ne, 1984) \u003cem\u003edie in een grisaille wolk eenvoudig het woord \u0026lsquo;mens\u0026rsquo; laat verschijnen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe drie laatste ruimtes, met grijze muren, tonen de pakkende beelden van Russische oorlogsmisdaden. Ze worden ingeleid door twee elegische schilderijen, van \u003cstrong\u003eAndriy Sagaidakovsky \u003c/strong\u003e(Oekra\u0026iuml;ne, 1957) en van\u003cstrong\u003e Jan de Laur\u0026eacute; \u003c/strong\u003e(Belgi\u0026euml;, 1978).\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003e\u003ca href=\"https://imagineukraine.s3.eu-west-1.amazonaws.com/Press+Release+NED.pdf\"\u003e\u003cstrong\u003ePERSMEDEDELING\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"fr","name":"When Faith Moves Mountains","short_description":"","description":""},{"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":45,"name":"Barbara Kruger","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/720/large/BarbaraKrugerPhotoBW.jpg?1366728607","poster_credits":null}},{"id":60,"name":"Almagul Menlibayeva","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/109/large/alma_014.jpg?1362582153","poster_credits":"(c)Almagul Menlibayeva"}},{"id":80,"name":"Babi Badalov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/371/large/Beforeafterbb.jpg?1360681698","poster_credits":null}},{"id":110,"name":"Jan Fabre","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/138/large/DSC_6405.jpg?1368189690","poster_credits":"(c)image: M HKA"}},{"id":129,"name":"Luc Tuymans","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/053/large/800px-Luc_Tuymans_01.jpg?1394653224","poster_credits":"(c)image: Marc Wathieu"}},{"id":163,"name":"Hiwa K","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/479/large/hiwak.jpg?1369747505","poster_credits":null}},{"id":258,"name":"Berlinde De Bruyckere","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/693/large/BerlindeDeBruyckere.jpg?1370423250","poster_credits":null}},{"id":261,"name":"Marlene Dumas","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/486/large/zwirner-dumas_ar.jpg?1366192858","poster_credits":null}},{"id":324,"name":"Sheela  Gowda","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/097/large/SheelaGowda.jpg?1358934111","poster_credits":"(c)image: Iniva, London"}},{"id":601,"name":"Allan Sekula","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/014/large/M_HKA_SEKULA_FOTO_BRAM_GOOTS_LRES10_36.jpg?1365511384","poster_credits":"(c)image: M HKA, Bram Goots"}},{"id":696,"name":"Francis Alÿs","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/617/large/FrancisAlys.jpg?1370333881","poster_credits":null}},{"id":727,"name":"Mark Lewis","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/608/large/mark_lewis.jpg?1370268465","poster_credits":null}},{"id":729,"name":"Wilhelm Sasnal","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/254/large/Sasnal_at_Raster_Gallery__Warsaw__2001.jpg?1368698820","poster_credits":null}},{"id":1184,"name":" ORLAN","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/785/large/09_DSC_2167capture2_blackwhite.JPG?1349164958","poster_credits":"(c)image: M HKA"}},{"id":1222,"name":"Kerry James Marshall","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/411/large/kerry-james-marshall.jpg?1328103746","poster_credits":"(c)BlackArtistNews"}},{"id":1795,"name":"Jan Cox","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/531/large/cox_1962_Boston2.jpg?1395776241","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen"}},{"id":2219,"name":"Nástio Mosquito","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/635/large/Nastio_Mosquito_-_Continents.jpg?1401699549","poster_credits":"(c)image: Nástio Mosquito"}},{"id":2670,"name":"Hüseyin Bahri  Alptekin","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/862/large/Huseyin_Bahri_Alptekin_%28Photo_by_Dragos_Alexandrescu_and_Patricia_Rodas%29.jpg?1441890167","poster_credits":"(c)photo: Dragos Alexandrescu - Patricia Rodas"}},{"id":2751,"name":"Jan De Lauré","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/837/large/12198090531909861341man_silhouettesvgmed.png?1439373319","poster_credits":null}},{"id":2752,"name":"Otobong Nkanga","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/997/large/2015_OtobongNkangaZW.jpg?1448459883","poster_credits":null}},{"id":2782,"name":"Nikita Kadan / Нікіта Кадан","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/342/large/NikitaKadan.jpg?1465901332","poster_credits":null}},{"id":3021,"name":"Alevtina Kakhidze /  Алевтина Кахідзе","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/413/large/Alevtina_Kakhidze_grey.jpg?1493287479","poster_credits":null}},{"id":3593,"name":"Adrien Tirtiaux","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/926/large/portrait-adrien.jpg?1559826610","poster_credits":"Courtesy Adrien Tirtiaux"}},{"id":4603,"name":"Anna Zvyagintseva /  Анна Звягінцева","assets":{"poster":null,"poster_credits":null}},{"id":4606,"name":"Lesia Khomenko / Леся Хоменко","assets":{"poster":null,"poster_credits":null}},{"id":4610,"name":"Yarema Malashchuk and Roman Khimei /  Ярема Малащук та Роман Хімей","assets":{"poster":null,"poster_credits":null}},{"id":4613,"name":"Oleksandr Burlaka / Олександр Бурлака","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/151/large/Oleksandr-Burlaka_-photo-by-Oleksandr-Surovtsov-_1340_c.jpeg?1675352604","poster_credits":"© photo by Oleksandr Surovtsov"}}],"items":[{"id":115,"title":"Tengri Boy","date_begin":"2010-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/101/large/479Menlibayeva,%20Almagul,%20Tenri%20Boy%20,%202010%20photo%20M%20HKAclinckx.jpg?1297433322","poster_credits":"(c)image: M HKA","actors":"Almagul Menlibayeva"},{"id":116,"title":"Forever Umai","date_begin":"2010-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/100/large/457Menlibayeva,%20Almagul%20Forever%20Umai,%202010%20photo%20M%20HKAclinckx.jpg?1297433195","poster_credits":"(c)image: M HKA","actors":"Almagul Menlibayeva"},{"id":117,"title":"The Observer","date_begin":"2010-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/098/large/Menlibayeva,Almagul%20_%20the%20Observer%202010photo%20M%20HKAclinckx.jpg?1302695346","poster_credits":" © Almagul Menlibayeva. Collection M HKA","actors":"Almagul Menlibayeva"},{"id":168,"title":"Ik, aan het dromen [Me, Dreaming]","date_begin":"1978-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/069/754/large/Fabre_Jan_collection_M_HKA__photo__M_HKAcc.jpg?1615474658","poster_credits":"image: (c) M HKA","actors":"Jan Fabre"},{"id":233,"title":"Moon Calendar Iraq","date_begin":"2007-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/700/large/Hiwa-K,%20Moon%20Calendar,%202007%20Live%20dance%20and%20videos%20_Moon%20Calendar%20%20Iraq.jpg?1302619581","poster_credits":"(c)image: M HKA","actors":"Hiwa K"},{"id":484,"title":"La Correspondance [The Correspondence]","date_begin":"1985-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/950/large/Tuymans,%20Luc,%20%20La%20Correspondance,%201985%20photo%20M%20HKAclinckx.jpg?1303994439","poster_credits":"©image: M HKA","actors":"Luc Tuymans"},{"id":3787,"title":"When Faith Moves Mountains, Lima, Peru, April 11, 2002","date_begin":"2002-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/610/large/when-faith-moves-mountains-cuando-la-fe-mueve-montanas-lima.jpg?1477914842","poster_credits":"(c)video stilll: Francis Alÿs","actors":"Francis Alÿs"},{"id":3831,"title":"Down Under","date_begin":"2009-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/817/large/Gowda__Down_Under__2009_photo_M_HKAcc.jpg?1362142474","poster_credits":"(c)image: M HKA","actors":"Sheela  Gowda"},{"id":3839,"title":"Sacrifice","date_begin":"1993-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/446/large/Dumas_Marlene_Sacrifice_1993_foto_Sybl._S._-_Pictures.jpg?1465989690","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community, image: © M HKA","actors":"Marlene Dumas"},{"id":4072,"title":"The Pitch","date_begin":"1996-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/530/large/Lewis___Mark__The_Pitch__1998.jpg?1343291665","poster_credits":"(c)image: M HKA","actors":"Mark Lewis"},{"id":4419,"title":"We Are Not What We Seem","date_begin":"1988-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/555/large/Kruger_Barbara_We_are_not_what_we_seem_1988_foto_SyblS.jpg?1465899933","poster_credits":"(c)image: Syb'l S'Pictures","actors":"Barbara Kruger"},{"id":4503,"title":"In Flanders Fields","date_begin":"2000-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/776/large/vlaanderen.jpg?1465914440","poster_credits":"(c)image:  M HKA, Collection M HKA / Flemish Community","actors":"Berlinde De Bruyckere"},{"id":5586,"title":"Sea Mines II","date_begin":"2002-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/052/large/Sasnal__Wilhelm__Sea_Mine_II__2002.jpg?1342680181","poster_credits":" © Wilhelm Sasnal. Image: M HKA","actors":"Wilhelm Sasnal"},{"id":5587,"title":"My Father's Room","date_begin":"2000-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/053/large/sasnal.jpg?1465915530","poster_credits":" © Wilhelm Sasnal. Image: M HKA","actors":"Wilhelm Sasnal"},{"id":5588,"title":"Untitled (Gwangju-set)","date_begin":"2002-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/067/large/Sasnal__0027_Wilhelm__z.t.__2002%2813%29.jpg?1342682112","poster_credits":"(c)image:  M HKA","actors":"Wilhelm Sasnal"},{"id":5983,"title":"Robe du MesuRAGE du M HKA","date_begin":"2012-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/851/large/DSC_2803.JPG?1349357318","poster_credits":"(c)image: M HKA","actors":" ORLAN"},{"id":6053,"title":"L’étalon ORLAN-CORPS, remake de l’oeuvre exposée à l’ICC en 1980","date_begin":"1980-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/852/large/DSC_2841.JPG?1349357458","poster_credits":"(c)image: M HKA","actors":" ORLAN"},{"id":6063,"title":"Statue de la liberté – pose finale de la performance du mesuRAGE Remake des oeuvres exposées à l’ICC en 1980","date_begin":"1980-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/861/large/2012-10-04_17.26.07.jpg?1349364794","poster_credits":"(c)image: M HKA","actors":" ORLAN"},{"id":7637,"title":"Sugar Gang (Santos)","date_begin":"1999-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/408/large/Sugar_Gang_%28Santos%29.jpg?1369226319","poster_credits":"(c)Allan Sekula","actors":"Allan Sekula"},{"id":7733,"title":"Chiropractor's Life-Size Model of a Human Vertebrae (The Dockers' Museum, object nr. 41)","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/026/261/large/Sekula__Allan__Dockers_Museum__2010_2013_photo_M_HKAcc_37.jpg?1418378395","poster_credits":"(c)Image: M HKA","actors":""},{"id":9564,"title":"Oh! Those Voices, Boston","date_begin":"1972-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/642/large/Cox_Jan_Oh_Those_voices__Boston_1972_photo_M_HKA.jpg?1392210347","poster_credits":"(c)image:M HKA","actors":"Jan Cox"},{"id":12045,"title":"Untitled","date_begin":"1999-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/025/493/large/Kerry_James_Marshall__exhibition_view_photo_M_HKAclinckx24.jpg?1668701731","poster_credits":"(c)photo: M HKA","actors":"Kerry James Marshall"},{"id":12857,"title":"Tremor, Rumour, Hoover ","date_begin":"2001-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/814/large/Tremor_Rumour_Hoover.PNG?1427375696","poster_credits":"(c)Alptekin","actors":"Hüseyin Bahri  Alptekin"},{"id":13212,"title":"Infinite Yield","date_begin":"2015-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/906/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_2.jpg?1444744066","poster_credits":"Courtesy of the Artist","actors":"Otobong Nkanga"},{"id":13692,"title":"I am Euromental","date_begin":"2015-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/175/large/Babi_Badalov_exhibition_View_Inbox_photo_M_HKAclinckx7.jpg?1657892222","poster_credits":"© Babi Badalov. Photo: M HKA","actors":"Babi Badalov"},{"id":15345,"title":"Untitled","date_begin":"2015-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/656/large/Jan_De_Laur%C3%A9__-_Sterven_is_oefenen__2__2015_2.jpg?1484058825","poster_credits":null,"actors":"Jan De Lauré"},{"id":28502,"title":"Fuck Africa","date_begin":"2015-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/160/large/nc3a1stio-mosquito-daily-lovemaking-2015-installation-photograph-courtesy-ikon-photo-by-stuart-whipps2.jpg?1657834048","poster_credits":"(c)Nástio Mosquito - Photo: Stuart Whipps","actors":"Nástio Mosquito"},{"id":29492,"title":"Europe Without Borders","date_begin":"2018-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/067/773/large/2021_02_08_M_HKA-218-63_2.jpg?1613058159","poster_credits":"Image: (c) We Document Art, Eigendom stad Antwerpen, in langdurige bruikleen in M HKA","actors":"Adrien Tirtiaux"},{"id":32459,"title":"Окреслення великого дикого поля / The Big Wild Field Draft","date_begin":"2020-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/177/large/CSV_0024.jpg?1657896853","poster_credits":"(c)Oleksandr Burlaka - photo: Sergey Illin, 2022","actors":"Oleksandr Burlaka / Олександр Бурлака"},{"id":32460,"title":"Оптичні протези / Optical Prostheses","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/180/large/uo3WuWMk.jpeg?1657898374","poster_credits":" © Danylo Galkin. Photo: Sergey Illin","actors":""},{"id":32461,"title":"Бомбосховище / The Bomb Shelter","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/182/large/CSV_9851.jpg?1657898611","poster_credits":"(c)Kinderalbum - photo: Sergey Illin, 2022","actors":""},{"id":32462,"title":"Тінь на землі / The Shadow On The Ground","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/163/large/CSV_9951_web.jpg?1657836600","poster_credits":"(c)Nikita Kadan - photo: Sergey Illin, 2022","actors":"Nikita Kadan / Нікіта Кадан"},{"id":32463,"title":"to remove/to add","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/157/large/Khomenko.JPG?1657830206","poster_credits":"(c)Lesia Khomenko - foto: M HKA, 2022","actors":"Lesia Khomenko / Леся Хоменко"},{"id":32470,"title":"Люди / Human","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/161/large/CSV_9876_2.jpg?1657835797","poster_credits":"(c)Jevgeny Samborskyi - photo: Sergey Illin, 2022","actors":""},{"id":32472,"title":"...чоловік сильно устав і хоче сильно спати/ A Man Is Weary And Wants To Sleep","date_begin":"1990-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/241/large/CSV_9970.jpg?1658475774","poster_credits":"(c)Andriy Sagaydakovskyi - photo: Sergey Illin","actors":""},{"id":32473,"title":"НОВИНИ / NEWS","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/234/large/CSV_9853.jpg?1658401556","poster_credits":"(c)Oleksiy Say - photo: Sergey Illin","actors":""},{"id":32474,"title":"Paths","date_begin":"2013-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/181/large/ABvSdAs8.jpeg?1657898536","poster_credits":" © Anna Zvyagintseva. Photo: Sergey Illin","actors":"Anna Zvyagintseva /  Анна Звягінцева"},{"id":32475,"title":"Order of Things","date_begin":"2015-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/094/914/large/2025_Kyiv_Biennial_2025_TEN_F024.jpg?1758892296","poster_credits":"© Anna Zvyagintseva — image: M HKA","actors":"Anna Zvyagintseva /  Анна Звягінцева"},{"id":32476,"title":"Улюблені іграшки лідерів / Leaders’ Favorite Toys","date_begin":"1998-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/200/large/CSV_9954.jpg?1658130677","poster_credits":"(c)Oksana Chepelyk - photo: Sergey Illin","actors":""},{"id":32477,"title":"The Wanderer / Мандрівник","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/189/large/CSV_0010.jpg?1658127927","poster_credits":"©Yarema Malashchuk and Roman Khimei - photo: Sergey Illin","actors":"Yarema Malashchuk and Roman Khimei /  Ярема Малащук та Роман Хімей"},{"id":32481,"title":"проєкт «Експонати»/ the Exhibits","date_begin":"2021-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/184/large/XUzh-8bE.jpeg?1657899304","poster_credits":"© Vlada Ralko. Photo: Sergey Illin","actors":""},{"id":32482,"title":"Plants","date_begin":"2022-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/193/large/CSV_0035.jpg?1658129147","poster_credits":"(c)Alevtina Kakhidze - photo: Sergey Illin","actors":"Alevtina Kakhidze /  Алевтина Кахідзе"}]}