[{"id":13122,"title":"In Pursuit of Bling","dimensions":"variable dimensions","date_begin":"2014-01-01","material":"inkjet prints, lightbox, metal modulated structure, minerals, objects, texts, videos with sound, woven textile pieces","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"Otobong Nkanga IN SITU Bling","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"in-pursuit-of-bling","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/875/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_4.jpg?1444912596","poster_credits":"Courtesy of the Artist","translations":[{"locale":"en","description":"\u003cp\u003eThe installation\u003cem\u003e In Pursuit of Bling\u003c/em\u003e was first shown in 2014, at the eight Berlin Biennale. The current setup was preceded by three performances.\u003c/p\u003e\u003cp\u003e\u003cem\u003eIn Pursuit of Bling\u003c/em\u003e is the confluence of several research avenues into the numerous metamorphoses that natural resources undergo during their transition from raw material to finished product.\u003c/p\u003e\u003cp\u003eThe mineral mica is the starting point of this installation. The word \u0026#39;mica\u0026#39; comes from the Latin \u0026#39;micare\u0026#39;, which means \u0026#39;to twinkle\u0026#39;, \u0026#39;to glitter\u0026#39;. This meaning fits the connotation of \u0026#39;bling\u0026#39; extremely well. As a processed mineral, mica can take many forms and it is used in several applications. These forms and stories are examined in the installation.\u003c/p\u003e\u003cp\u003eIn the middle of the installation, there are two tapestries: one shows a gemstone-like form, pierced by needles, the other shows the legs of a man and woman, crowned with abstract forms that refer to mining landscapes. Around the carpets, metal benches are positioned with geological samples, photographs, minerals like mica, malachite and copper and texts that were printed on limestone. Two videos are on display as well, showing Nkanga presenting shiny objects and walking through the streets of Berlin with a malachite crown on her head.\u003c/p\u003e\u003cp\u003eThese separate elements all refer to the historical connection that exists between past and present and to our insatiable appetite for raw materials \u0026ndash;\u0026nbsp; as well as to our desire to turn these raw materials into commodities, to make nature into a commodity.\u003c/p\u003e\u003cp\u003eThe installation is also a reflection on the contradictory nature of the word \u0026#39;bling\u0026#39;. \u0026#39;Bling\u0026#39; signifies both the splendour and pomp natural resources can provide and the downside of that splendour: the dark and sombre past of colonialism and the unending capitalist exploitation linked to the exploitation of minerals. In addition, \u0026#39;bling\u0026#39; also stands for a fascination with gloss and glitter, and exaggerated individualism. In addition to the mineral story and references to history in general, the installation embodies the striving for a better and prettier version of ourselves.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe installatie \u003cem\u003eIn Pursuit of Bling\u003c/em\u003e werd voor het eerst getoond in 2014 op de 8e Bi\u0026euml;nnale van Berlijn. De installatie werd voorafgegaan door drie performances, pas nadien kwam het huidige werk tot stand.\u003c/p\u003e\u003cp\u003e\u003cem\u003eIn Pursuit of Bling\u003c/em\u003e toont de samenkomst van verschillende onderzoekspistes naar de talloze metamorfosen die natuurlijke rijkdommen doorlopen tijdens hun overgang van grondstof tot verwerkt product.\u003c/p\u003e\u003cp\u003eHet mineraal mica is het beginpunt van deze installatie. Het woord mica is afkomstig van het Latijnse \u0026lsquo;micare\u0026rsquo;, wat schijnen of schitteren betekent. Deze betekenis komt goed overeen met de connotatie van \u0026lsquo;bling\u0026rsquo;. Mica kan verschillende vormen aannemen en het heeft verscheidene toepassingen: juwelen, make-up, smartphones, etc. Deze toepassingen worden onderzocht in de installatie.\u003c/p\u003e\u003cp\u003eIn het midden van de installatie staan twee tapijten: een toont een vorm die doet denken aan een edelsteen, doorboord door naalden en de andere toont de onderkant van een mannelijk en een vrouwelijk lichaam bekroond door abstracte vormen die aan mijnbouwlandschappen refereren. Rondom de tapijten staan metalen bankjes met geologische stalen, foto\u0026rsquo;s, mineralen zoals mica, malachiet en koper en teksten geprint op kalksteen. Er worden ook twee video\u0026rsquo;s getoond, waarop Nkanga glanzende objecten presenteert en door de straten van Berlijn wandelt met een kroon gemaakt van malachiet op haar hoofd.\u003c/p\u003e\u003cp\u003eDeze losse elementen verwijzen allemaal naar de historische connectie tussen heden en verleden en naar onze onverzadigbare lust naar grondstoffen. Maar ook naar onze drang om deze grondstoffen te verwerken tot handelswaar en om van de natuur een handelsgoed te maken.\u003c/p\u003e\u003cp\u003eDaarnaast beschouwt de installatie ook\u0026nbsp; de tegenstrijdigheid die bestaat rond het woord \u0026lsquo;bling\u0026rsquo;. \u0026lsquo;Bling\u0026rsquo; omvat zowel de pracht en praal van natuurlijke rijkdommen, als voor de keerzijde van die pracht: de koloniale geschiedenis en de onophoudelijke kapitalistische uitbuiting gebonden aan het ontginnen van mineralen. Daarnaast verwijst \u0026lsquo;bling\u0026rsquo; ook naar de fascinatie met glans en glitter en het overdreven individualisme. De installatie belichaamt het streven naar een betere en mooiere versie van onszelf.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eExpos\u0026eacute;e pour la premi\u0026egrave;re fois \u0026agrave; la 8e\u0026nbsp;Biennale de Berlin, l\u0026rsquo;installation \u003cem\u003eIn Pursuit of Bling\u003c/em\u003e (2014) a \u0026eacute;t\u0026eacute; pr\u0026eacute;c\u0026eacute;d\u0026eacute;e de trois performances avant d\u0026rsquo;adopter son dispositif actuel.\u003c/p\u003e\u003cp\u003e\u003cem\u003eIn Pursuit of Bling\u003c/em\u003e est la rencontre de diff\u0026eacute;rentes pistes de recherche sur les nombreuses m\u0026eacute;tamorphoses que parcourent les ressources naturelles pendant leur transformation de mati\u0026egrave;re premi\u0026egrave;re en produit manufactur\u0026eacute;.\u003c/p\u003e\u003cp\u003eLe mica, un minerai tr\u0026egrave;s recherch\u0026eacute;, est le point de d\u0026eacute;part de cette installation. Le mot mica vient du latin \u003cem\u003emicare\u003c/em\u003e qui signifie briller ou scintiller. Cette signification cadre extr\u0026ecirc;mement bien avec la connotation clinquante de \u003cem\u003ebling\u003c/em\u003e. Sous sa forme de minerai trait\u0026eacute;, le mica peut adopter diff\u0026eacute;rents aspects et on l\u0026rsquo;utilise dans diverses applications. L\u0026rsquo;installation analyse ces formes et ces r\u0026eacute;cits.\u003c/p\u003e\u003cp\u003eAu centre de l\u0026rsquo;installation se dressent deux tapisseries\u0026nbsp;: l\u0026rsquo;une montre une forme qui fait penser \u0026agrave; une pierre pr\u0026eacute;cieuse, transperc\u0026eacute;e par des aiguilles et l\u0026rsquo;autre, les bas des corps d\u0026rsquo;un homme et d\u0026rsquo;une femme surmont\u0026eacute;s de formes abstraites qui rappellent les paysages miniers. Autour des tapisseries sont dispos\u0026eacute;s de petits pr\u0026eacute;sentoirs en m\u0026eacute;tal sur lesquels sont pos\u0026eacute;s des \u0026eacute;chantillons g\u0026eacute;ologiques, des photos, des minerais tels que le mica, la malachite et le cuivre, et des textes imprim\u0026eacute;s sur de la pierre calcaire. L\u0026rsquo;installation comporte en outre deux vid\u0026eacute;os, sur lesquelles on peut voir Nkanga pr\u0026eacute;senter des objets brillants et arpenter les rues de Berlin, coiff\u0026eacute;e d\u0026rsquo;une couronne en malachite.\u003c/p\u003e\u003cp\u003eCes \u0026eacute;l\u0026eacute;ments autonomes font tous r\u0026eacute;f\u0026eacute;rence \u0026agrave; la relation historique entre le pr\u0026eacute;sent et le pass\u0026eacute;, \u0026agrave; notre app\u0026eacute;tit insatiable de mati\u0026egrave;res premi\u0026egrave;res et \u0026agrave; notre propension \u0026agrave; les transformer en biens commerciaux, \u0026agrave; \u0026laquo;\u0026nbsp;marchandiser\u0026nbsp;\u0026raquo; la nature.\u003c/p\u003e\u003cp\u003eL\u0026rsquo;installation est aussi une r\u0026eacute;flexion sur la contradiction autour du mot anglais \u003cem\u003ebling\u003c/em\u003e. Il signifie aussi bien le faste que peuvent procurer les ressources naturelles que l\u0026rsquo;envers du d\u0026eacute;cor pompeux\u0026nbsp;; le pass\u0026eacute; sombre et lourd du colonialisme et l\u0026rsquo;exploitation capitaliste incessante qui ont fait de ces ressources naturelles des objets de convoitise et des enjeux colossaux. En outre, le mot \u003cem\u003ebling\u003c/em\u003e renvoie aussi \u0026agrave; la fascination pour tout ce qui brille et \u0026agrave; l\u0026rsquo;individualisme exacerb\u0026eacute; dont il t\u0026eacute;moigne. En plus de la richesse min\u0026eacute;rale de la terre et des r\u0026eacute;f\u0026eacute;rences \u0026agrave; l\u0026rsquo;Histoire, l\u0026rsquo;installation incarne l\u0026rsquo;aspiration \u0026agrave; une meilleure et plus belle version de nous-m\u0026ecirc;mes.\u003c/p\u003e\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e"}]},{"id":13121,"title":"Social Consequences IV: The Mapping - The Pile - Emptied Pit - Ruin ","dimensions":"4 x (29 x 42 cm)","date_begin":"2013-01-01","material":"acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Rick and Jolanda Hunting","cached_tag_list":"Otobong Nkanga IN SITU Social Consequences The Mapping The Pile Emptied Pit Ruin","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"social-consequences-iv-the-mapping-the-pile-emptied-pit-ruin","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/851/large/Social_Consequences_IV_-_The_Mapping_-_Ruin.jpg?1440503695","poster_credits":"Courtesy of Rick and Jolanda Hunting","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13119,"title":"Social Consequences IV: The Takeover","dimensions":"2 x (29 x 42 cm)","date_begin":"2013-01-01","material":"stickers, acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Maurice van Valen, Eindhoven","cached_tag_list":"Otobong Nkanga In Situ Social Consequences The Takeover","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"social-consequences-iv-the-takeover","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/850/large/Social_Consequences_IV_-_The_Takeover.jpg?1440503541","poster_credits":"Courtesy of Maurice van Valen, Eindhoven","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13179,"title":"Solid Maneuvers","dimensions":"variable dimensions","date_begin":"2015-01-01","material":"Various metals, Forex, acrylic, tar, salt, make-up, vermiculite","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"Otobong Nkanga IN SITU Solid Maneuvers","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"solid-maneuvers","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/874/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_8.jpg?1444913948","poster_credits":"Courtesy of the Artist","translations":[{"locale":"en","description":"\u003cp\u003eThe three works on display here are part of a larger whole: the installation at Portikus in Frankfurt showed seven of the nine pieces in the \u003cem\u003eSolid Maneuvers \u003c/em\u003eseries. Along with the drawing \u003cem\u003eThe Apparatus \u003c/em\u003e(2015), these works also refer to the damage caused to landscapes and people.\u003c/p\u003e\u003cp\u003eThe inspiration for this work came when Nkanga undertook a study tour along one of the railroads in Namibia. Her endpoint was the town of Tsumeb.\u0026nbsp; Since 1875, this place is known as the \u0026#39;Green Hill\u0026#39; because of the very rich substrate containing copper ores, with the copper soils becoming green from oxidation. Initially, the ores were used by the original population (the San or Bushmen) as trading goods with neighbouring populations like the Ovambo, who transformed them. In 1905, the discovery of copper stocks by the West led to the founding of the town of Tsumeb by the German colonial power in Africa and shortly after, the railway was built to facilitate the draining of resources: 243 different types of minerals were extracted from the Tsumeb mines. In the late 1990s, the deepest mine was closed: economically, it was no longer viable, since most raw materials were already extracted.\u003c/p\u003e\u003cp\u003eDuring her trip, Nkanga did not end up in the land of the Green Hill, but in a desolate and ruined, completely emptied landscape, a deep wound which only through its bareness, it\u0026#39;s \u0026#39;lacking\u0026#39;, still referred to the once rich soil. The copper had long been extracted, shipped, processed and used to add lustre to European steeples. Every connection to their origin has been erased \u0026ndash; or not? With her exhibition at Portikus, Nkanga sought an opportunity to reinterpret these mined holes as underground monuments and to regard the use and \u0026#39;residence\u0026#39; copper received in Europe \u0026ndash;\u0026nbsp; topping architecture \u0026ndash; as a pedestal for the minerals.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe drie sculpturen die hier tentoongesteld worden, maken deel uit van een groter geheel. De opstelling in Portikus (Frankfurt) toonde zeven (van de negen) werken uit reeks \u003cem\u003eSolid Maneuvers\u003c/em\u003e. Samen met de tekening \u003cem\u003eThe Apparatus \u003c/em\u003everwijzen ook deze werken naar de toegebrachte schade aan landschappen en mensen.\u003c/p\u003e\u003cp\u003eDe inspiratie voor deze werken kwam naar aanleiding van een studiereis die Nkanga ondernam langs een van de spoorlijnen in Namibi\u0026euml;. Haar eindpunt was de stad Tsumeb. Deze plek staat sinds 1875 bekend als de \u0026lsquo;Groene Heuvel\u0026rsquo;, naar de bijzonder rijke ondergrond met koperertsen. De kopergronden werden groen door oxidatie. De ertsen werden aanvankelijk door de oorspronkelijke bevolking (de San of Bosjesmannen) opgegraven en als ruilwaar gebruikt met naburige bevolkingsgroepen. De ontdekking van de kopervoorraden door het Westen leidde in 1905 tot de oprichting van de stad Tsumeb, officieel gesticht als onderdeel van de Duitse koloniale macht in Afrika. Kort daarna werd de spoorlijn aangelegd om het afvoeren van de rijkdommen te vergemakkelijken. Uit de mijnen van Tsumeb werden 243 verschillende soorten mineralen gehaald. Eind jaren negentig werd de diepste mijn gesloten, het was economisch niet meer rendabel, aangezien de meeste grondstoffen reeds gewonnen waren.\u003c/p\u003e\u003cp\u003eTijdens haar reis kwam ze niet terecht in het land van de Groene Heuvel, maar wel in een desolaat en geru\u0026iuml;neerd landschap dat volledig was leeggehaald, een diepe wonde die enkel door het leegte verwees naar de ooit zo rijke ondergrond. Het koper was lang geleden gewonnen, verscheept, verwerkt en gebruikt om de torenspitsen in Europa op te luisteren. Elke connectie met hun oorsprong werd gewist, of toch niet? Met haar tentoonstelling in Portikus (Frankfurt) ging Nkanga op zoek naar de mogelijkheid om deze ontgonnen gaten te herinterpreteren als ondergrondse monumenten en de in Europa toegepaste verblijfplaatsen -bovenop architectuur- te zien als een pedestal voor de mineralen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eLes trois \u0026oelig;uvres expos\u0026eacute;es ici font partie d\u0026rsquo;un plus grand ensemble. La disposition \u0026agrave; Portikus (Francfort) pr\u0026eacute;sentait sept des neuf dans la s\u0026eacute;rie compl\u0026egrave;te de \u003cem\u003eSolid Man\u0026oelig;uvres \u003c/em\u003e(2015). De m\u0026ecirc;me que le dessin \u003cem\u003eThe Apparatus \u003c/em\u003e(2015), ces \u0026oelig;uvres d\u0026eacute;noncent les dommages inflig\u0026eacute;s aux paysages et aux humains.\u003c/p\u003e\u003cp\u003eCes \u0026oelig;uvres lui ont \u0026eacute;t\u0026eacute; inspir\u0026eacute;es par un voyage d\u0026rsquo;\u0026eacute;tudes que l\u0026rsquo;artiste a entrepris le long d\u0026rsquo;une ligne de chemin de fer en Namibie, de Swakopmund \u0026agrave; Tsumeb, aussi connue comme \u0026laquo;\u0026nbsp;la colline verte\u0026nbsp;\u0026raquo; depuis 1875, en r\u0026eacute;f\u0026eacute;rence au sous-sol particuli\u0026egrave;rement riche en minerais de cuivre, auxquels l\u0026rsquo;oxydation donne une couleur verte. \u0026Agrave; l\u0026rsquo;origine, la population locale (les San ou Bochimans) utilisait les minerais en tant que valeur d\u0026rsquo;\u0026eacute;change avec des populations voisines, comme les Ovambo qui les transformaient. Apr\u0026egrave;s avoir d\u0026eacute;couvert ces importantes r\u0026eacute;serves de cuivre, l\u0026rsquo;administration coloniale allemande fonde la ville de Tsumeb en 1905, et fait poser peu de temps apr\u0026egrave;s une ligne de chemin de fer pour faciliter le transport des ressources. Au fil du temps, 243\u0026nbsp;sortes de min\u0026eacute;raux diff\u0026eacute;rents ont \u0026eacute;t\u0026eacute; extraites des mines de Tsumeb. \u0026Agrave; la fin des ann\u0026eacute;es\u0026nbsp;90, les exploitants miniers ont ferm\u0026eacute; la mine la plus profonde, parce que celle-ci n\u0026rsquo;\u0026eacute;tait plus rentable\u0026nbsp;: la plus grande part des mati\u0026egrave;res premi\u0026egrave;res en avait \u0026eacute;t\u0026eacute; retir\u0026eacute;e.\u003c/p\u003e\u003cp\u003eArriv\u0026eacute;e \u0026agrave; Tsumeb, Nkanga ne s\u0026rsquo;est pas retrouv\u0026eacute;e au pays de la colline verte, mais dans un paysage de d\u0026eacute;solation, exsangue et en friche \u0026ndash; une plaie profonde dont seul le d\u0026eacute;pouillement rappelle le sous-sol autrefois si riche. Le cuivre \u0026eacute;tait depuis longtemps extrait, transport\u0026eacute;, travaill\u0026eacute; et utilis\u0026eacute; pour agr\u0026eacute;menter les tours de clocher en Europe. Tout lien avec leur origine a \u0026eacute;t\u0026eacute; effac\u0026eacute;. Bien que\u0026hellip; L\u0026rsquo;exposition de Nkanga \u0026agrave; Portikus (Francfort) part en qu\u0026ecirc;te de la possibilit\u0026eacute; de r\u0026eacute;interpr\u0026eacute;ter ces cavit\u0026eacute;s b\u0026eacute;antes \u0026eacute;cum\u0026eacute;es en tant que monuments souterrains et de consid\u0026eacute;rer les lieux ornement\u0026eacute;s de leurs extractions en Europe \u0026ndash; au-del\u0026agrave; de l\u0026rsquo;architecture \u0026ndash; comme autant de pi\u0026eacute;destaux pour ces minerais.\u003c/p\u003e\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e"}]},{"id":13183,"title":"Social Consequences I: Crisis","dimensions":"29 x 42 cm","date_begin":"2009-01-01","material":"Round stickers, acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Huisman/Jurriëns","cached_tag_list":"IN SITU Otobong Nkanga Social Consequences Crisis Drawing","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"social-consequences-i-crisis","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/879/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_14.jpg?1444913703","poster_credits":"Courtesy of Huisman/Jurriëns","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13184,"title":"The Weight of Scars","dimensions":"","date_begin":"2015-01-01","material":"Textile","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"IN SITU Otobong Nkanga Tapestry Weight Scars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"tapestry","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/880/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_3.jpg?1444910812","poster_credits":"Courtesy of the Artist","translations":[{"locale":"en","description":"\u003cp\u003eNkanga designed the tapestries for M HKA\u0026#39;s \u0026lsquo;Puntzaal\u0026rsquo;; they were produced in the TextielMuseum\u0026rsquo;s (Tilburg Textile Museum) TextielLab.\u003c/p\u003e\u003cp\u003eIn the tapestry \u003cem\u003eThe Weight of Scars\u003c/em\u003e (2015) ten spaces have been left for images. In her photography, Nkanga goes searches the boundary between the truth that is contained in a photo and the amount of information and truth that is not visible. Everything that preceded the taking of the picture or happens after that moment can\u0026#39;t be contained in a static image, so a picture can be a piece of evidence, but it doesn\u0026#39;t necessarily show the truth.\u003c/p\u003e\u003cp\u003eApart from that, Nkanga wants to capture the world around her through photography, not to create a static image, but precisely to show the changes. Photography provides evidence of human interference.\u003c/p\u003e\u003cp\u003eAt the age of seven, Nkanga lost her father and at the age of seventeen, her mother. Moreover,\u0026nbsp; in 1977 she lost any tangible proof of her early years due to a house fire. Only two photographs could be saved, one of Nkanga with her brother and sister, another, a wedding picture of her parents. This made it impossible for Nkanga to ask certain questions about her origin and history. The urge to study everything to the bone and to gather as much information as possible, may be linked to these events.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe wandtapijten werden door Nkanga ontworpen voor de puntzaal en in het TextielLab van het TextielMuseum in Tilburg gemaakt.\u003c/p\u003e\u003cp\u003eOp \u003cem\u003eThe Weight of Scars\u003c/em\u003e (2015) is er ruimte voorzien voor foto\u0026rsquo;s. Fotografie is een medium dat Nkanga graag gebruikt. In haar foto\u0026rsquo;s gaat ze op zoek naar de grens tussen de waarheid die in een foto vervat zit en de hoeveelheid aan informatie die niet zichtbaar is. Alles wat voorafgaat of nakomt, kan niet gevat worden in een statisch beeld, hierdoor kan een foto wel een bewijsstuk zijn, maar toont het niet noodzakelijk de waarheid.\u003c/p\u003e\u003cp\u003eDaarnaast wil Nkanga de wereld rond haar vastleggen via fotografie. Niet zozeer om een statisch beeld te vormen, maar net om de veranderingen te tonen. De fotografie levert bewijsstukken van het menselijk ingrijpen.\u003c/p\u003e\u003cp\u003eOp zevenjarige leeftijd verloor Nkanga haar vader en op zeventienjarige leeftijd ook haar moeder. Bovendien verloor ze in 1977 \u0026ndash;door een woningbrand \u0026ndash;elk tastbaar bewijs van haar vroege kinderjaren. Er konden slechts twee foto\u0026rsquo;s gered worden, een van haar samen met haar broer en zus en een trouwfoto van haar ouders. Hierdoor werd het voor Nkanga onmogelijk om bepaalde vragen te stellen over haar herkomst en verleden. De drang om alles tot op het bot te bestuderen en om overal zo veel mogelijk informatie over te verzamelen, kan aan deze gebeurtenissen gekoppeld worden.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eLes tapisseries que Nkanga a con\u0026ccedil;ues pour la salle triangulaire sont produites au TextielLab, le laboratoire du TextielMuseum (mus\u0026eacute;e du textile \u0026agrave; Tilburg).\u003c/p\u003e\u003cp\u003eSur \u003cem\u003eThe Weight of Scars\u003c/em\u003e (2015), l\u0026rsquo;artiste a fait pr\u0026eacute;voir des emplacements pour des photographies. Nkanga affectionne l\u0026rsquo;usage de ce m\u0026eacute;dia \u0026agrave; travers lequel elle part en qu\u0026ecirc;te de la fronti\u0026egrave;re entre la r\u0026eacute;alit\u0026eacute; qui peut \u0026ecirc;tre contenue dans une photographie et la quantit\u0026eacute; d\u0026rsquo;informations et de v\u0026eacute;rit\u0026eacute; qui demeure invisible. Tout ce qui pr\u0026eacute;c\u0026egrave;de ou suit le moment de la prise de vue ne peut \u0026ecirc;tre inclus dans une image statique. Ainsi, une photo peut de fait \u0026ecirc;tre une preuve, mais ne montre pas forc\u0026eacute;ment la v\u0026eacute;rit\u0026eacute;.\u003c/p\u003e\u003cp\u003eNkanga souhaite en outre fixer le monde qui l\u0026rsquo;entoure par le biais de la photographie, non pas tant pour cr\u0026eacute;er une image statique, mais au contraire pour attester des changements. La photographie fournit des preuves de l\u0026rsquo;intervention humaine.\u003c/p\u003e\u003cp\u003eNkanga n\u0026rsquo;avait que sept ans quand elle a perdu son p\u0026egrave;re et \u0026agrave; peine dix de plus quand sa m\u0026egrave;re est d\u0026eacute;c\u0026eacute;d\u0026eacute;e. Qui plus est, l\u0026rsquo;incendie de sa maison en 1977 a d\u0026eacute;truit toute preuve tangible de sa petite enfance. Seules deux photos ont pu \u0026ecirc;tre sauv\u0026eacute;es\u0026nbsp;: une photo o\u0026ugrave; figure la petite Otobong, avec son fr\u0026egrave;re et sa s\u0026oelig;ur, et une photo de mariage de ses parents. Cet encha\u0026icirc;nement de disparitions a emp\u0026ecirc;ch\u0026eacute; Nkanga de poser certaines questions sur son origine et son pass\u0026eacute;. Sa propension \u0026agrave; tout vouloir \u0026eacute;tudier jusque dans le moindre d\u0026eacute;tail et \u0026agrave; toujours rassembler le plus d\u0026rsquo;information possible est peut-\u0026ecirc;tre li\u0026eacute;e \u0026agrave; ces \u0026eacute;v\u0026eacute;nements.\u003c/p\u003e\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e"}]},{"id":13190,"title":"Social Consequences III: Without you Everything Falls Apart - Engaged - Body Builder – The Overload - Waiting for X - Fractured ","dimensions":"29,7 x 42 cm","date_begin":"2010-01-01","material":"acrylic, sticker, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Mary Kien","cached_tag_list":"IN SITU Otobong Nkanga Social Consequences Everything Falls Apart Drawing","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"social-consequences-iii-without-you-everything-falls-apart-engaged-body-builder-the-overload-waiting-for-x-fractured","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/886/large/SocConseqIIIWithoutyou2010.jpg?1443624300","poster_credits":"Courtesy of  Mary Kien","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13213,"title":"Backstage","dimensions":"","date_begin":"2015-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"IN SITU Otobong Nkanga Backstage Performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"backstage","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/921/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_5.jpg?1444913131","poster_credits":"Courtesy of the Artist","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13187,"title":"Filtered Memories 1990 - 1992: Survival, 1990 - 91, F.G.C. Shagamu.","dimensions":"29.7 x 42 cm","date_begin":"2010-01-01","material":"acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Maurice van Valen, Eindhoven","cached_tag_list":"IN SITU Otobong Nkanga Filtered Memories Survival Shagamu","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"filtered-memories-1990-1992-survival-1990-91-f-g-c-shagamu","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/883/large/FilteredMemories.jpg?1443622036","poster_credits":"Courtesy of Maurice van Valen, Eindhoven","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13176,"title":"The Flow Will Not Stop!","dimensions":"80 x 109.5 cm","date_begin":"2011-01-01","material":"stickers, acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of THE EKARD COLLECTION","cached_tag_list":"Otobong Nkanga In Situ Flow Stop","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"the-flow-will-not-stop","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/870/large/The_Flow_will_not_stop_final_small.jpg?1443432574","poster_credits":"Courtesy of THE EKARD COLLECTION","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13177,"title":"Social Consequences II: The Choice We Make","dimensions":"2 x (29 x 42 cm)","date_begin":"2009-01-01","material":"stickers, acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"IN SITU Otobong Nkanga Social Consequences Choices Drawing","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"social-consequences-ii-the-choice-we-make","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/873/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_13.jpg?1444914095","poster_credits":"Courtesy of the Artist","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13178,"title":"Social Consequences II: The Overload - Projectiles - Piercing Pressure - Hostage - Wastescape - The Overflow","dimensions":"§ x (29 x 42 cm)","date_begin":"2009-01-01","material":"stickers, acrylic on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Wim van Dongen","cached_tag_list":"Otobong Nkanga IN SITU Social Consequences The Overload Piercing Pressure Hostage Wastescape The Overflow","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"social-consequences-ii-the-overload-projectiles-piercing-pressure-hostage-wastescape-the-overflow","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/872/large/SocConseqIIOverloadtoOverflow.jpg?1443536836","poster_credits":"Collectie Wim van Dongen","translations":[{"locale":"en","description":"\u003cp\u003eSome frequently recurring elements in Nkanga\u0026#39;s drawings refer to landscapes and maps, needles, colour samples and bodies or body parts turning into something else. In\u0026nbsp; her drawings, Nkanga examines or describes elements that cannot be captured in words. Quite often, the drawings also serve as a preliminary study, or they are a by-product of her performances.\u003c/p\u003e\u003cp\u003eThe needles that seem to pierce many of the drawings refer to the need of people to subdue the earth to their will. In the past, emissaries from western empires travelled around the world and planted flags everywhere. They appropriated territories without any consultation with the indigenous population; a needle on a world map indicated their property.\u003c/p\u003e\u003cp\u003eFurthermore, the needles refer to Nkanga\u0026#39;s desire to scrutinise the world and to investigate all mysteries as thoroughly as possible. The works often find themselves on the borderline between colonial history and Nkanga\u0026#39;s own version of history. Yet her work is not overloaded by this difficult history, nor does it avoid it.\u003c/p\u003e\u003cp\u003eWhen examining the Earth (at various levels: through geology, mineralogy, cartography, economy etc.), humans are often overlooked. Layers are analysed, minerals removed, profits calculated, holes drilled, raw materials shipped, forests cut down \u0026ndash; and huge scars left. These procedures are planned and studied in advance, but the impact on people is often seen as incidental or unimportant. The one who has placed a needle is the owner of the land and may do with it as he pleases. There is no regard for the broader application of the land either, or for the importance it may have for the customs, rituals and experiences of the inhabitants. Still, value is not only related to monetary transactions, it may also be linked to culture or knowledge. The economical, socio-cultural and political is interconnected and it are these connections that Nkanga wants to expose.\u003c/p\u003e\u003cp\u003eThe colour samples, which are often applied to the drawing, show the starting point of the work. From this patchwork of colours, the drawing is put in motion.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eBepaalde elementen in de tekeningen van Nkanga\u0026nbsp; verwijzen naar landschappen, landschapskaarten, naalden, kleurstalen en lichamen of lichaamsdelen. In haar tekeningen onderzoekt of beschrijft ze elementen die niet in woorden kunnen gevat worden. Dikwijls zijn de tekeningen ook een voorstudie of een bijproduct van haar performances.\u003c/p\u003e\u003cp\u003eDe naalden, die veel tekeningen lijken te doorboren, refereren aan de menselijke nood om de aarde te onderwerpen aan hun wil. Gezanten van westerse landen reisden de wereld rond en plaatsten overal vlaggen. Ze eigenden zichzelf gebieden toe zonder overleg met de oorspronkelijke bevolking. Een naald op een wereldkaart duidde eigendom aan.\u003c/p\u003e\u003cp\u003eDaarnaast\u0026nbsp; verwijzen de naalden naar Nkanga\u0026rsquo;s drang om de wereld te doorgronden en alle mysteries zo grondig mogelijk te onderzoeken. De werken van Nkanga bevinden zich vaak op de scheidingslijn tussen de koloniale geschiedenis en haar eigen interpretatie van de geschiedenis.\u003c/p\u003e\u003cp\u003eBij de studie van de aarde (op verschillende niveaus: geologisch, mineralogisch, cartografisch, economisch, \u0026hellip;) wordt de mens vaak over het hoofd gezien. Er worden lagen weg geschraapt, mineralen weggehaald, winsten berekend, gaten geboord, grondstoffen verscheept, bossen gekapt en enorme littekens achtergelaten. Deze procedures worden op voorhand gepland en bestudeerd, maar de impact op de mens wordt vaak als bijkomstig of onbelangrijk gezien. Degene die een naald plaats is immers eigenaar van de grond en mag er dus mee doen wat hij wil. Er is ook geen aandacht voor de bredere toepassingen van het land of het belang dat het land heeft bij gebruiken, rituelen en de beleving van de bewoners. Waarde komt niet enkel uit monetaire transacties, het kan ook cultuur of kennisgebonden zijn. Het economische, socioculturele en politieke is onderling verbonden en het zijn deze connecties die Nkanga bloot wil leggen.\u003c/p\u003e\u003cp\u003eDe kleurstalen die vaak op de tekening worden aangebracht, tonen het beginpunt van het werk. Vanuit dit lappendeken aan kleuren wordt de tekening in gang gezet.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eQuelques \u0026eacute;l\u0026eacute;ments r\u0026eacute;currents dans les dessins de Nkanga r\u0026eacute;f\u0026egrave;rent aux paysages et aux cartes topographiques, aux aiguilles, aux nuanciers, aux corps ou parties de corps qui se m\u0026eacute;tamorphosent. \u0026Agrave; travers ses dessins, Nkanga analyse ou d\u0026eacute;crit des \u0026eacute;l\u0026eacute;ments que les mots ne peuvent pas exprimer. Souvent, ses dessins constituent des \u0026eacute;tudes pr\u0026eacute;liminaires ou une documentation de ses performances.\u003c/p\u003e\u003cp\u003eLes aiguilles qui paraissent transpercer bon nombre de ses dessins symbolisent le besoin des \u0026ecirc;tres humains d\u0026rsquo;assujettir la terre \u0026agrave; leur volont\u0026eacute;. Autrefois, ce furent les Occidentaux qui sillonnaient les mers et les continents pour s\u0026rsquo;approprier des territoires sans aucune concertation avec la population autochtone. Une aiguille sur une mappemonde indiquait le territoire que l\u0026rsquo;on s\u0026rsquo;\u0026eacute;tait appropri\u0026eacute;.\u003c/p\u003e\u003cp\u003ePar ailleurs, les aiguilles renvoient aussi \u0026agrave; l\u0026rsquo;aspiration de Nkanga de sonder le monde et d\u0026rsquo;analyser en profondeur tous les myst\u0026egrave;res. Les \u0026oelig;uvres de Nkanga se situent souvent \u0026agrave; la fronti\u0026egrave;re entre l\u0026rsquo;histoire coloniale et sa propre interpr\u0026eacute;tation de l\u0026rsquo;Histoire.\u003c/p\u003e\u003cp\u003eL\u0026rsquo;\u0026eacute;tude de la terre (\u0026agrave; diff\u0026eacute;rents niveaux\u0026nbsp;: g\u0026eacute;ologique, min\u0026eacute;ralogique, cartographique, \u0026eacute;conomique\u0026hellip;) n\u0026eacute;glige souvent l\u0026rsquo;\u0026ecirc;tre humain. On analyse des strates, on extrait des min\u0026eacute;raux, on calcule des b\u0026eacute;n\u0026eacute;fices, on fore le sol, on transporte des mati\u0026egrave;res premi\u0026egrave;res, on abat des for\u0026ecirc;ts et on laisse d\u0026rsquo;\u0026eacute;normes cicatrices. Ces proc\u0026eacute;d\u0026eacute;s sont planifi\u0026eacute;s et \u0026eacute;tudi\u0026eacute;s, mais l\u0026rsquo;impact sur l\u0026rsquo;homme est souvent consid\u0026eacute;r\u0026eacute; comme accessoire, voire sans importance. Celui qui a plant\u0026eacute; une aiguille est le propri\u0026eacute;taire du territoire et peut donc en faire ce qu\u0026rsquo;il veut. Ils sont indiff\u0026eacute;rents \u0026agrave; toute autre affectation de la terre susceptible d\u0026rsquo;assurer l\u0026rsquo;existence de plus larges communaut\u0026eacute;s, insensibles \u0026agrave; l\u0026rsquo;importance attach\u0026eacute;e aux coutumes, usages, rituels et au v\u0026eacute;cu des habitants. La valeur ne r\u0026eacute;sulte pas seulement de transactions financi\u0026egrave;res, mais peut \u0026ecirc;tre li\u0026eacute;e \u0026agrave; la culture ou \u0026agrave; la connaissance. L\u0026rsquo;\u0026eacute;conomique, le socio-culturel et le politique sont \u0026eacute;troitement li\u0026eacute;s et ce sont pr\u0026eacute;cis\u0026eacute;ment ces liens que Nkanga veut d\u0026eacute;voiler.\u003c/p\u003e\u003cp\u003eLes nuanciers qu\u0026rsquo;on aper\u0026ccedil;oit souvent sur les dessins font en quelque sorte fonction de fen\u0026ecirc;tre de d\u0026eacute;gagement\u0026nbsp;; ils permettent de voir le patchwork de couleurs \u0026agrave; partir duquel la r\u0026eacute;alisation de l\u0026rsquo;\u0026oelig;uvre est enclench\u0026eacute;e.\u003c/p\u003e"}]},{"id":13188,"title":"The Bigger Plan","dimensions":"29.7 x 42 cm","date_begin":"2011-01-01","material":"acrylic on paper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Rick and Jolanda Hunting","cached_tag_list":"IN SITU Otobong Nkanga Bigger 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Het is een van de 15.000 stukken zeep die Nkanga liet produceren door de Griekse zeepmakers Vis Olivae uit Kalamáta in het kader van haar project ‘Carved to Flow’. De stukken zeep vormden een belangrijke bouwsteen van Nkanga's installaties op Documenta 14 in Kassel (2017). Ze werden tijdens de tentoonstelling ook verkocht; de opbrengst ging naar twee initiatieven: Akwa Ibom, een nieuwe niet-commerciële kunstruimte in Athene die haar naam ontleent aan het geboortedorp van Nkanga’s vader, en een biologische boerderij die Peter Nkanga, de broer van de kunstenares, runt in Akwa Ibom in Nigeria. Dit exemplaar van 'O8 Black Stone' zit in het originele, grijze kartonnen doosje waar op de achterzijde alle ingrediënten staan opgesomd.\u003c/p\u003e","date_end":null,"reference":"S0614_11","stream_count_app":13,"permalink":"o8-black-stone-soap","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/114/medium_500/S0614_11_F001.jpg?1707737066","cached_actor_names":"Otobong Nkanga","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/114/large/S0614_11_F001.jpg?1707737066","poster_credits":"© Otobong Nkanga. 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In spring 2015, Nkanga travelled to Namibia, making her way along an almost entirely defunct railway line from Swakopmund to Tsumeb. The artist was intent on reaching The Green Hill in Tsumeb, an area renowned for its minerals, crystals and copper deposits. This hill had been hand-mined by the Ovambo for generations, who took solely what they needed. However, when Namibia became German South West Africa, the colonial regime began to mine The Green Hill industrially, extracting and exporting tones of minerals each year. What Nkanga encountered in Tsumeb was no longer a hill or an active mine, but a dormant hole in the ground. The installation \u003cem\u003eTsumeb Fragments\u003c/em\u003e is born from Nkanga sifting through her memories of Namibia, and the vast amount of material she generated and collected in an attempt to formalize intuitively felt and invisible connections. The modular structure of the tables enables the reconfiguration of the fragments. The mine and its history are presented in their many faces: the image of a monumental hole in the landscape to which the artist dedicates a performance, fragments of stones and debris, archival images collected from the local museum, and the fascinating vision of a floating cluster of copper. The arrangement of the installation challenges the traditional modes of presentation of research-based practices.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":29547,"title":"The Accumulator","dimensions":"64 x 50.5 cm","date_begin":"2021-01-01","material":"acryl on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Stad Antwerpen, in langdurige bruikleen in M HKA","cached_tag_list":"Otobong Nkanga Stadscollectie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"SCA0011","stream_count_app":39,"permalink":"the-accumulator","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/068/565/medium_500/Nkanga_Otobong_web.jpg?1612946776","cached_actor_names":"Otobong Nkanga","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/068/565/large/Nkanga_Otobong_web.jpg?1612946776","poster_credits":"scan: (c) M HKA, Eigendom stad Antwerpen, in langdurige bruikleen in M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eMet tekeningen, installaties, foto’s, sculpturen, wandtapijten, gedichten en performances onderzoekt Otobong Nkanga (°1974, Kano, Nigeria) de sociale en topografische relatie met onze omgeving. Hierbij besteedt ze veel aandacht aan de connectie tussen ertsen, materiële cultuur en de herverdeling van macht en kennis. De tekening \u003ci\u003eThe accumulator\u003c/i\u003e toont een constructie met een hoofdloze figuur en groene plateaus, waarop voorwerpen die aan mijnbouwlandschappen refereren verzameld worden. Ze brengt de herinneringen en de historische impact van menselijke ingrepen in de natuur aan het licht en bestudeert de systemen en methoden verbonden aan het ontginnen, verwerken en transporteren van grondstoffen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":32049,"title":"The Connector","dimensions":"42 x 29.7 cm","date_begin":"2022-01-01","material":"Acrylverf, stickers en potlood op papier","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Stad Antwerpen, in langdurige bruikleen in M HKA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"SCA0012","stream_count_app":29,"permalink":"the-connector","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/570/medium_500/2022_Museum_In_Motion_photo_M_HKA_clinckx_TEN_F00_1_42.jpg?1664204945","cached_actor_names":"Otobong Nkanga","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/570/large/2022_Museum_In_Motion_photo_M_HKA_clinckx_TEN_F00_1_42.jpg?1664204945","poster_credits":" © Otobong Nkanga. Photo: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13123,"title":"From Where I Stand","dimensions":"11.18 x 6.23 m","date_begin":"2015-01-01","material":"textile","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist / In Situ-  Fabienne Lerclerc / Musée d’Art Moderne de Paris","cached_tag_list":"Otobong Nkanga In Situ Carpet Bruises Lustre Kneuzingen Glans","publishing_process_id":1,"annotation":"\u003cp\u003ePERFORMANCES: 15.10.2015 | 28.11.2015 | 17.12.2015 | 07.01.2016\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":29,"permalink":"carpet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Otobong Nkanga","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/923/large/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_10.jpg?1444914597","poster_credits":"Courtesy of the Artist","translations":[{"locale":"en","description":"\u003cp\u003eLike so many elements in Nkanga\u0026#39;s work, the carpet on the floor depicts the mineral mica. It is placed centrally in the room and occupies a central place in her work as well. Here, people can come together and will also be invited to gather during the performances.\u003c/p\u003e\r\n\r\n\u003cp\u003eNkanga designed the carpet and it was made by an industrial carpet maker.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet tapijt op de vloer stelt een mineraal voor. Het ligt centraal in de zaal en is ook centraal in haar oeuvre. Op deze plek kunnen mensen samen komen en zullen ze ook uitgenodigd worden om te verzamelen tijdens de performances.\u003cbr /\u003e\r\nNkanga ontwiept het tapijt en een industrieel tapijtenmaker maakte het.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePERFORMANCES: 15.10.2015 | 28.11.2015 | 17.12.2015 | 07.01.2016\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe tapis sur le sol repr\u0026eacute;sente, comme tant d\u0026rsquo;\u0026eacute;l\u0026eacute;ments dans les \u0026oelig;uvres de Nkanga, un minerai. Pos\u0026eacute;e au centre de la salle, la pi\u0026egrave;ce est aussi centrale dans son \u0026oelig;uvre. \u0026Agrave; cet endroit, les gens peuvent se r\u0026eacute;unir et c\u0026rsquo;est aussi l\u0026agrave; qu\u0026rsquo;ils seront invit\u0026eacute;s \u0026agrave; se rassembler pendant les performances. Nkanga a con\u0026ccedil;u le projet et l\u0026rsquo;a fait r\u0026eacute;aliser par un fabricant industriel de tapis.\u003c/p\u003e\r\n\r\n\u003cp\u003ePERFORMANCES: 15.10.2015 | 28.11.2015 | 17.12.2015 | 07.01.2016\u003c/p\u003e\r\n"}]},{"id":13212,"title":"Infinite Yield","dimensions":"","date_begin":"2015-01-01","material":"textile","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"IN SITU Otobong Nkanga Tapestry Infinite Yield","publishing_process_id":1,"annotation":"\u003cp\u003eOtobong Nkanga created the tapestry \u003ci\u003eInfinite Yield\u003c/i\u003e for her exhibition IN SITU: \u003ci\u003eOtobong Nkanga - Bruises and Lustre\u003c/i\u003e in the M HKA. She used drawings as a starting point and reshaped them on a large scale. The work thematises the natural wealth of our planet and its exploitation dictated by supply and demand in a globalized world. Nkanga wants to expose relationships between landscape, humanity and labour. The artist not only raises issues but also makes active proposals to reflect on contemporary issues. For example, she explores the possibility of reinterpreting extracted pits of abandoned mines as underground monuments.\u0026nbsp;Nkanga designed the tapestries for M HKA's ‘Puntzaal’; they were produced in the TextielMuseum’s (Tilburg Textile Museum) TextielLab.\u003c/p\u003e","date_end":null,"reference":"BK7924","stream_count_app":54,"permalink":"infinite-yield","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003eOtobong Nkanga fertigte den Wandteppich\u0026nbsp; \u003ci\u003eInfinite Yield \u003c/i\u003eim Rahmen ihrer Ausstellung\u003ci\u003e IN SITU \u003c/i\u003ean\u003ci\u003e: Otobong Nkanga – Quetschungen und Glanz \u003c/i\u003eim M HKA. Ausgehend von ihren Zeichnungen verlieh sie \u0026nbsp;ihnen wieder Form im großen Maßstab. Das Werk thematisiert den natürlichen Reichtum der Erde und ihren Abbau unter dem Einfluss von Nachfrage und Angebot in einer globalisierten Welt. Nkanga möchte die Beziehungen zwischen Landschaft, Mensch und Arbeit offenlegen. Die Künstlerin bringt nicht nur Zustände zur Sprache, sondern macht auch aktive Vorschläge, um über die heutigen Probleme nachzudenken. So untersucht sie die Möglichkeit, stillgelegte Bergwerke als unterirdische Monumente neu zu interpretieren.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"\u003cp\u003eOtobong Nkanga werd geboren in Kano in Nigeria. Ze leeft en werkt sinds zeven jaar in Antwerpen. Ze was aanwezig op tal van biënnales, de Biennale de Lyon (2015), de Sao Paulo Biennale (2014), de Berlin Biennale (2014) en de Sharjah Biennale (2013), met solo exhibitions in instellingen als het Folkwang museum in Essen, het Stedelijk Museum in Amsterdam, Portikus in Frankfurt en de Kadist Foundation in Parijs. In 2015 won ze ook de Yangyhyun prijs, de belangrijkste Koreaanse internationale kunstprijs. Ze was nu in M HKA voor het eerst breed zichtbaar in eigen land, met ook vijf performances.\u003c/p\u003e\u003cp\u003eNkanga ontwikkelde een veelzijdige artistieke praktijk in het afgelopen decennium, zij levert actieve voorstellen voor de behandeling van een aantal van de meest dringende problemen van de huidige tijd. Haar werk gaat over de relaties tussen de natuurlijke rijkdom van de aarde en de exploitatie ervan door de mensheid. Een van haar centrale en aanhoudende bekommernissen is hoe de intensiteit van het ontginnen van mineralen onlosmakelijk verbonden is met het kapitalisme. Nkanga is tegelijkertijd gefascineerd door de schade die wordt toegebracht als door het verlangen om te worden verleid door consumptiegoederen.\u003c/p\u003e\u003cp\u003eNkanga wil de verbindingen tussen verkwisten en verlangen, een cruciale factor in de complexe netwerken van vraag en aanbod die de mondiale economie definiëren visualiseren. Nkanga's werken, zowel de tekeningen, haar performances, sculpturen en andere media, zijn gebouwd rond een meer holistische begrip van ruimte, tijd en object, een aaneenrijgen van fragmenten van verhalen, ervaringen en foto's. Haar tekeningen werken voor haar als bronmateriaal waaruit ze elementen activeert voor haar werken. Ze werkt regelmatig met tapijten, waarbij ze beroep doet op het textiel museum in Tilburg.\u003c/p\u003e","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/906/medium_500/2015_OTOBONG_NKANGA_M_HKAphotoclinckx2_2.jpg?1444744066","cached_actor_names":"Otobong Nkanga","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003eОтобонґ Нканґа створила гобелен «Нескінченний врожай» для своєї виставки «Синці та сяйво», що проходила в Музеї сучасного мистецтва в Антверпені. Основою для нього стали збільшені та скомпоновані малюнки мисткині. У цій роботі вона міркує про природні багатства землі та їх експлуатацію в глобалізованому світі попиту і пропозиції. Нканґа прагне розкрити сутність відносин між природою, людьми та працею. При цьому вона не лише критикує наявний стан речей, а й пропонує підходи до осмислення проблем сучасності. Наприклад, мисткиня досліджує можливість реінтерпретації закинутих кар’єрів у якості своєрідних пам’ятників земним надрам. Може здатися, що зображення на гобелені відсилає до естетики сюрреалізму, та воно принципово відрізняється за змістом: людське тіло тут представлено як частину світової екосистеми.\u003c/p\u003e\u003cp\u003eВ наш час втручання людства у довкілля несе величезну шкоду навіть у порівняно мирні часи. Війни також стають складовою екосистеми, прямо й опосередковано впливаючи на економіку та екологію в усьому світі.\u0026nbsp;\u003c/p\u003e","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"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","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eOtobong Nkanga made the tapestry\u003ci\u003e Infinite Yield\u003c/i\u003e as part of her exhibition \u003ci\u003eBruises and Shine\u003c/i\u003e at M HKA. She started from her drawings and redesigned them on a large scale. The work thematizes the natural wealth of the earth and its exploitation under the influence of supply and demand in a globalized world. Nkanga wants to expose the relationships between the landscape, people and labour. The artist not only addresses situations, but also makes active proposals for thinking about contemporary problems. For example, she investigates the possibility of reinterpreting extracted pits from abandoned mines as underground monuments. This image may seem to refer to surrealistic paintings in the form the artist develops, but her content is very different; the human body is presented as a part of the global natural ecosystem.\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eNowadays human intervention into the natural environment and the harm to it is so strong even during a relatively peaceful time. Wars also becoming a part of the ecosystem and have their impact on the economical and ecological global environment both quite literally and indirectly.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eOtobong Nkanga maakte het wandtapijt \u003ci\u003eInfinite Yield \u003c/i\u003ein het kader van haar tentoonstelling\u003ci\u003e IN SITU: Otobong Nkanga – Kneuzingen en Glans \u003c/i\u003ein het M HKA (2015-2016). Ze vertrok daarbij van haar tekeningen en geeft deze opnieuw vorm op grote schaal. Het werk thematiseert de natuurlijke rijkdom van de aarde en de ontginning ervan onder invloed van vraag en aanbod in een geglobaliseerde wereld. Nkanga wil de relaties blootleggen tussen het landschap, de mens en arbeid. De kunstenares kaart niet alleen situaties aan, maar doet ook actieve voorstellen om over hedendaagse problemen na te denken. Zo onderzoekt ze de mogelijkheid ontgonnen putten van verlaten mijnen te herinterpreteren als ondergrondse monumenten. De wandtapijten werden door Nkanga ontworpen voor de puntzaal en in het TextielLab van het TextielMuseum in Tilburg gemaakt.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eOtobong Nkanga a réalisé la tapisserie \u003ci\u003eInfinite Yield \u003c/i\u003edans le cadre de son exposition\u003ci\u003e IN SITU : Otobong Nkanga – Kneuzingen en Glans \u003c/i\u003eau M HKA. Dans ce cadre, elle est partie de ses dessins et leur redonne forme à grande échelle. L'œuvre thématise la richesse naturelle de la terre et son exploitation sous l'influence de l'offre et de la demande dans un monde mondialisé. Nkanga veut mettre à nu les relations entre le paysage, l'homme et le travail. L'artiste passe non seulement des situations en revue mais elle fait également des propositions actives pour réfléchir aux problèmes contemporains. Ainsi, elle étudie la possibilité de réinterpréter les puits exploités des mines abandonnées en tant que monuments souterrains. Les tapisseries que Nkanga a conçues pour la salle triangulaire sont produites au TextielLab, le laboratoire du TextielMuseum (musée du textile à Tilburg).\u003c/p\u003e"}]}]