[{"id":505,"title":"Untitled","dimensions":"","date_begin":"2011-01-01","material":"wood, paper, chalk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"untitled--15","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/000/000/890/large/M_HKA_HOMAGE_BERNDLOHAUS_LRes-75.jpg?1303475850","poster_credits":"©image: M HKA, Bram Goots","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3885,"title":"Madame Looking for the Right Direction Without Seeing the Beauty of the City","dimensions":"","date_begin":"1991-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy van de kunstenaar","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"madame-searching-for-the-right-direction-without-seeing-the-beauty-of-the-city","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/000/033/063/large/2016_Van_Broodthaers_tot_Braeckman__7.jpg?1475499560","poster_credits":"image: (c) M HKA, Courtesy of the artist","translations":[{"locale":"en","description":"\u003cp\u003eThese photographs are images of performances in which the artist reveals fragments from the life of \u0026lsquo;Madame\u0026rsquo;. \u0026lsquo;Madame\u0026rsquo; is a character brought to life by Ria Pacqu\u0026eacute;e in 1981, and played by herself. Photographs are made of her comings and goings, and then printed on canvas. In her first apparitions, \u0026lsquo;Madame\u0026rsquo; cut a rather pathetic figure; a housebound woman addicted to television, sherry and valium. The photograph of \u0026lsquo;Madame\u0026rsquo; in a dilapidated interior strewn with empty beer bottles is typical of this period.\u003c/p\u003e\r\n\r\n\u003cp\u003eAs the years go by, however, \u0026lsquo;Madame\u0026rsquo; grows into a lonely \u0026lsquo;folk-woman\u0026rsquo; with gray hair and thick spectacles. From here on, she becomes active outside the house, and takes part in all sorts of activities. She is in constant search of something, something that may in one way or another complete her \u0026ndash; a sweetheart, a husband or just company. She tries to become part of a crowd, but doing so she is only further confronted with her loneliness. So, for example, she sells \u0026lsquo;souvenirs of the man I\u0026rsquo;ve loved\u0026rsquo; at some little market stall, or plays the toilet attendant in a public institution, or has herself photographed in a tasteless interior decorated with canine portraits.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe photographs of \u0026lsquo;Madame\u0026rsquo; offer us a glimpse into the world of a woman of few means and bereft of social contacts. Pacqu\u0026eacute;e combines tragedy with a certain sense of humor, but without ever being hurtful. And although humor plays its part, the photographs speak to us of the endless loneliness of individuals who do their best to make it through their daily lives in a somewhat satisfying way.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze foto\u0026rsquo;s zijn beelden van performances waarin de kunstenares fragmenten uit het leven van \u0026lsquo;Madame\u0026rsquo; blootlegt. \u0026lsquo;Madame\u0026rsquo; is een personage dat Ria Pacqu\u0026eacute;e in 1981 in het leven heeft geroepen en dat door haarzelf wordt gespeeld. Van haar doen en laten zijn foto\u0026rsquo;s gemaakt die afgedrukt werden op schildersdoek. In haar eerste optredens was \u0026lsquo;Madame\u0026rsquo; een deerniswekkende, aan televisie, sherry en valium verslaafde vrouw die aan huis gekluisterd was. De foto van \u0026lsquo;Madame\u0026rsquo; in een vervallen interieur met lege bierflesjes typeert deze periode.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn de loop der jaren groeit \u0026lsquo;Madame\u0026rsquo; echter uit tot een eenzame volksvrouw met grijze haren en een bril met zwaar montuur. Vanaf dan is ze juist actief buitenshuis en neemt ze deel aan allerlei activiteiten. Ze is steeds op zoek naar iets, iets wat haar op \u0026eacute;\u0026eacute;n of andere manier kan vervolledigen, een geliefde, een echtgenoot of gewoon gezelschap. Ze wil opgaan in de massa, maar wordt hierdoor enkel met haar eenzaamheid geconfronteerd. Zo verkoopt ze bijvoorbeeld aan een kraampje op \u0026eacute;\u0026eacute;n of andere markt \u0026quot;souvenirs of the man I\u0026rsquo;ve loved\u0026quot;\u0026nbsp;(souvenirs van de man waarvan ik hield), speelt ze toiletdame in een openbare instelling of laat ze zich samen met een hond fotograferen in een smakeloos interieur dat gedecoreerd is met hondenportretten.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe foto\u0026rsquo;s van \u0026lsquo;Madame\u0026rsquo; laten de belevingswereld van een vrouw met een minimum aan middelen en sociale contacten zien. Hierbij wordt tragiek gecombineerd met een zekere vorm van humor, maar zonder ooit kwetsend te zijn. Hoewel licht humoristisch, spreken deze foto\u0026rsquo;s wel van een eindeloze eenzaamheid van individuen die moeite doen om op een bevredigende manier deel te nemen aan het dagelijks leven.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCes photographies sont des images de performances dans lesquelles l\u0026rsquo;artiste d\u0026eacute;voile des passages de la vie de \u0026laquo;\u0026nbsp;Madame\u0026nbsp;\u0026raquo;, un personnage que Ria Pacqu\u0026eacute;e a invent\u0026eacute; en 1981 et qu\u0026rsquo;elle incarnait elle-m\u0026ecirc;me. Elle faisait photographier ses faits et gestes et imprimait ensuite les images sur toile. Dans ses premi\u0026egrave;res performances, Madame \u0026eacute;tait une femme pitoyable, accro \u0026agrave; la t\u0026eacute;l\u0026eacute;vision, au sherry et au valium, clo\u0026icirc;tr\u0026eacute;e chez elle. La photographie de Madame dans un int\u0026eacute;rieur d\u0026eacute;cr\u0026eacute;pit, jonch\u0026eacute; de bouteilles de bi\u0026egrave;re vides caract\u0026eacute;rise cette p\u0026eacute;riode.\u003c/p\u003e\r\n\r\n\u003cp\u003eAu fil des ann\u0026eacute;es, Madame a cependant \u0026eacute;volu\u0026eacute; en une femme du peuple, solitaire, aux cheveux gris et aux lunettes \u0026agrave; la monture \u0026eacute;paisse. D\u0026egrave;s lors, elle est devenue active hors de chez elle et a pris part \u0026agrave; diverses activit\u0026eacute;s. Elle \u0026eacute;tait constamment en qu\u0026ecirc;te de quelque chose \u0026ndash; quelque chose qui puisse la compl\u0026eacute;ter de l\u0026rsquo;une ou l\u0026rsquo;autre mani\u0026egrave;re\u0026nbsp;: un amoureux, un mari ou simplement de la compagnie. Elle souhaitait se fondre dans la masse, mais ne faisait qu\u0026rsquo;affronter sa solitude de la sorte. Ainsi, dans une \u0026eacute;choppe d\u0026rsquo;un march\u0026eacute; quelconque, elle vendait, par exemple, des \u0026laquo;\u0026nbsp;souvenirs de l\u0026rsquo;homme qu\u0026rsquo;elle a aim\u0026eacute;\u0026nbsp;\u0026raquo;, jouait la dame pipi d\u0026rsquo;une institution publique ou se faisait photographier avec son chien dans un int\u0026eacute;rieur de mauvais go\u0026ucirc;t, d\u0026eacute;cor\u0026eacute; avec des portraits de chiens.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes photographies de Madame illustrent le monde d\u0026rsquo;une femme qui dispose d\u0026rsquo;un minimum de moyens et de contacts sociaux. L\u0026rsquo;artiste combine ce faisant le tragique avec une certaine forme d\u0026rsquo;humour, toutefois sans jamais \u0026ecirc;tre blessante. Bien que l\u0026eacute;g\u0026egrave;rement humoristiques, ces photographies parlent d\u0026rsquo;une solitude infinie d\u0026rsquo;individus qui se donnent la peine de participer de mani\u0026egrave;re satisfaisante \u0026agrave; la vie quotidienne.\u003c/p\u003e\r\n"}]},{"id":3900,"title":"Document for the right to the everyday","dimensions":"","date_begin":"1999-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":"2000-01-01","reference":"S0268","stream_count_app":10,"permalink":"document-for-the-right-to-the-everyday","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":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/588/large/Document%20for%20the%20right%20to%20the%20everyday%201.jpg?1331631661","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4031,"title":"Zonder titel [Untitled]","dimensions":"490 x 690 cm","date_begin":"1992-01-01","material":"Colour photo","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":"Collection M HKA, Antwerp","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 9 photos\u003c/p\u003e\r\n","date_end":null,"reference":"BK006182","stream_count_app":38,"permalink":"zonder-titel-untitled--105","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":"Ria Pacquée","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/709/large/RP_Zondertitel.jpg?1475500685","poster_credits":"Image: (c) M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003eRia Pacqu\u0026eacute;e and her camera regularly roam the streets, on the lookout for life on the street and for pictures that can bring this life to expression. This series consists of nine of these photographs, selected and arranged according to form, and presented in three rows of three. The formal disposition elicits a comparison between people and objects that all lead a roaming life, and have come to stand outside society. They seem removed from their original identity and function. They have their own individual histories, and the question is how they came to wind up where they have. In this way the similarity of form underlines the similarity of content. While both people and objects have center-stage in the image, their \u0026lsquo;averted\u0026rsquo; pose and their cover make them not wholly visible, and give them the impression of not being truly present. They are at once visible and invisible, present and not present. The photographs are framed like small paintings, and are hung close to each other. Considered individually they don\u0026rsquo;t represent much, but together they tell a story by grace of their mutual relationships. On their own they seem like casual snaps, a registration of reality. But the manner of their association again points to a \u0026lsquo;staging\u0026rsquo;, to a manipulation of reality. This creates a game between from and content, presence and absence, and between fiction and reality as well.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRia Pacqu\u0026eacute;e zwerft zelf regelmatig te voet met haar camera door de stad, op zoek naar het leven op straat, en naar beelden die dit leven tot uitdrukking kunnen brengen. Deze serie bestaat uit negen op straat gemaakte foto\u0026rsquo;s, die op vorm geselecteerd en gerangschikt zijn en gepresenteerd worden in drie rijen van drie foto\u0026rsquo;s. De formele rangschikking ontlokt een vergelijking tussen de mensen en voorwerpen, die allemaal een zwervend bestaan leiden, en buiten de maatschappij zijn komen te staan. Ze lijken ontdaan van hun oorspronkelijke identiteit en functionaliteit. Ze hebben hun eigen individuele geschiedenis, en het is de vraag hoe zij zijn beland op de plaats waar ze nu zijn. Zo wordt door de overeenkomst in vorm de overeenkomst in inhoud benadrukt. Hoewel zowel de mensen als de voorwerpen centraal in het beeld staan, zijn ze door hun afgewende houding en hun bedekking niet helemaal zichtbaar, en wekken ze de indruk niet echt aanwezig te zijn. Ze zijn tegelijk zichtbaar en onzichtbaar, aanwezig en niet aanwezig. De foto\u0026rsquo;s zijn ingelijst als schilderijtjes, en zijn dicht op elkaar opgehangen. Afzonderlijk stellen zij eigenlijk niets voor, samen vertellen zij een verhaal, door hun onderlinge relaties. Op zichzelf lijken ze terloopse momentopnamen te zijn, een registratie van de werkelijkheid, maar de manier waarop ze zijn samengebracht wijst weer op enscenering, op manipulatie van de werkelijkheid. Zo ontstaat een spel tussen vorm en inhoud, afwezigheid en aanwezigheid en tussen fictie en werkelijkheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eRia Pacqu\u0026eacute;e erre souvent \u0026agrave; travers la ville, \u0026agrave; pied, munie de son appareil photo, \u0026agrave; la recherche de la vie de la rue et d\u0026rsquo;images qui peuvent exprimer cette vie. Cette s\u0026eacute;rie se compose de neuf photographies prises dans la rue, s\u0026eacute;lectionn\u0026eacute;es et class\u0026eacute;es sur base de leur forme et pr\u0026eacute;sent\u0026eacute;es en trois rang\u0026eacute;es de trois photographies. Le classement formel g\u0026eacute;n\u0026egrave;re une comparaison entre les \u0026ecirc;tres humains et les objets, qui m\u0026egrave;nent tous une existence nomade et se retrouvent en marge de la soci\u0026eacute;t\u0026eacute;. Tous semblent d\u0026eacute;pourvus de leur identit\u0026eacute; et de leur fonctionnalit\u0026eacute; originelle. Ils ont leur propre histoire et la question soulev\u0026eacute;e est de savoir comment ils ont atterri \u0026agrave; l\u0026rsquo;endroit o\u0026ugrave; ils sont aujourd\u0026rsquo;hui. La concordance de la forme souligne de la sorte la concordance du contenu. Malgr\u0026eacute; leur place aussi centrale que celle des objets dans l\u0026rsquo;image, les \u0026ecirc;tres humains et leur couverture ne sont pas enti\u0026egrave;rement visibles en raison de leur pose d\u0026eacute;tourn\u0026eacute;e. Ils donnent l\u0026rsquo;impression de ne pas vraiment \u0026ecirc;tre pr\u0026eacute;sents. Ils sont \u0026agrave; la fois visibles et invisibles, pr\u0026eacute;sents et absents. Les photographies sont encadr\u0026eacute;es comme de petites peintures et accroch\u0026eacute;es tr\u0026egrave;s pr\u0026egrave;s les unes des autres. S\u0026eacute;par\u0026eacute;ment, elles ne repr\u0026eacute;sentent pas grand-chose \u0026agrave; vrai dire, mais ensemble, elles racontent une histoire \u0026agrave; travers leurs relations mutuelles. Individuellement, on dirait des instantan\u0026eacute;s pris en passant, un enregistrement de la r\u0026eacute;alit\u0026eacute;, mais leur juxtaposition indique une mise en sc\u0026egrave;ne, une manipulation de la r\u0026eacute;alit\u0026eacute;. Ainsi appara\u0026icirc;t un jeu entre forme et contenu, pr\u0026eacute;sence et absence, fiction et r\u0026eacute;alit\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":3868,"title":"Have you accepted that whatever seems to be is not, and that that which seems not to be is?","dimensions":"","date_begin":"1991-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Verzameling Jan Meersman","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"have-you-accepted-that-whatever-seems-to-be-is-not-and-that-that-which-seems-not-to-be-is","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/000/033/062/large/1_15.jpg?1475499239","poster_credits":"image: (c) M HKA, Verzameling Jan Meersman","translations":[{"locale":"en","description":"\u003cp\u003eThis project, together with \u003cem\u003eMadame visiting the National Garden Festival hoping to see the Princess\u003c/em\u003e, was commissioned for \u0026#39;Edge 90\u0026#39;, an exhibition of innovative and international visual art which took place in Newcastle upon Tyne, England, and also in Glasgow and London, in 1990. \u0026#39;Edge 90 was the second in a series of bi-annual exhibitions organised by the Edge Biennale Trust, commissioning new projects by artists working in installation, performance, sculpture, broadcast media and video. This project took place in the City of London - around the city\u0026#39;s major financial institutions - in November, 1990. In both projects Ria Pacqu\u0026eacute;e was in disguise and infiltrated real-life situations and her experiences were discreetly documented by a photographer.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe Character she used, \u0026#39;It\u0026#39;, was making its first appearance. \u0026quot;(...) In London I wanted to make a project that was a kind of pilgrimage, not to a place such as Lourdes, but in a part of the city where people pass close by each other, in a hurry, shopping or working. I had been thinking about the character for the project for a long time. \u0026#39;It\u0026#39; had to be a person who could just as easily be a man or a woman \u0026ndash; in fact, a neutral person. He or she is an outsider with some strange obsessions. The character is a solitary person, in a struggle with a world he cannot comprehend. When you first see him standing with the placard, you think he belongs to a sect, but he doesn\u0026#39;t. His placard is a message without a message - a pseudo philosophical text \u0026ndash; as so many things are pseudo. Both characters (\u0026#39;Madame\u0026#39; and \u0026#39;It\u0026#39;) are a game with real and unreal. I try to break through reality, with the street, kitsch and people as decor. Both persons are me and the world together.\u0026quot;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit project, samen met \u003cem\u003eMadame visiting the National Garden Festival hoping to see the Princess\u003c/em\u003e, was een opdracht voor \u0026#39;Edge 90\u0026#39;, een tentoonstelling met innovatieve en internationale beeldende kunst die in 1990 plaatsvond in Newcastle upon Tyne, in Glasgow en in Londen. \u0026#39;Edge 90\u0026#39; was de tweede in een reeks van tweejaarlijkse tentoonstellingen die georganiseerd werden door de Edge Bi\u0026euml;nnale Trust, die opdrachten gaf voor nieuwe projecten van kunstenaars werkzaam in installatie- en performancekunst, beeldhouwkunst, video, radio en televisie. \u003cem\u003eHave you\u003c/em\u003e vond in november 1990 plaats in de City of London, rondom de grote financi\u0026euml;le instellingen van de stad. Voor beide projecten was Ria Pacqu\u0026eacute;e verkleed en had ze zich \u0026#39;ge\u0026iuml;nfiltreerd\u0026#39; in situaties uit het echte leven. Haar ervaringen werden discreet gedocumenteerd door een fotograaf.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet personage dat ze gebruikte, \u0026#39;It\u0026#39;, verscheen voor het eerst. \u0026quot;(...) In Londen wilde ik een project maken dat een soort pelgrimstocht was, niet naar een plek zoals Lourdes, maar naar een deel van de stad waar mensen dicht naast elkaar voorbijlopen, gehaast, winkelend of werkend. Ik had reeds lang zitten denken over het personage van het project. Het moest een persoon zijn die net zo goed een man als een vrouw kon zijn \u0026ndash; een neutraal persoon, eigenlijk. Hij of zij is een buitenstaander met een aantal vreemde obsessies. Het personage is een eenzame persoon, verwikkeld in een strijd met een wereld die hij niet kan begrijpen. Als je hem voor het eerst ziet staan met het plakkaat, dan denk je dat hij tot een sekte behoort, maar dat is niet zo. Zijn plakkaat is een boodschap zonder boodschap \u0026ndash; een pseudo-filosofische tekst \u0026ndash; zoals zoveel dingen \u003cem\u003epseudo\u003c/em\u003e zijn. Beide personages (\u0026#39;Madame\u0026#39; en \u0026#39;It \u0026#39;) zijn een spel met\u0026nbsp; echt en onecht. Ik probeer door de werkelijkheid te breken, met de straat, de kitsch en de mensen als decor. Beide personen zijn mezelf en de wereld samen.\u0026#39;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe projet \u003cem\u003eMadame visiting the National Garden Festival hoping to see the Princess\u003c/em\u003e \u0026eacute;tait une commande pour l\u0026rsquo;exposition internationale d\u0026rsquo;arts plastiques innovants \u003cem\u003eEdge\u0026nbsp;90\u003c/em\u003e, qui s\u0026rsquo;est tenue en 1990 \u0026agrave; Newcastle upon Tyne (Royaume-Uni) et ensuite \u0026agrave; Glasgow et \u0026agrave; Londres. \u003cem\u003eEdge\u0026nbsp;90\u003c/em\u003e \u0026eacute;tait la seconde \u0026eacute;dition d\u0026rsquo;une s\u0026eacute;rie d\u0026rsquo;expositions bisannuelles organis\u0026eacute;es par Edge Biennale Trust, qui commandait de nouveaux projets \u0026agrave; des artistes r\u0026eacute;alisant des installations, des performances, des sculptures, des diffusions dans les m\u0026eacute;dias et des vid\u0026eacute;os. Ce projet a eu lieu \u0026agrave; la City \u0026agrave; Londres \u0026ndash; aux alentours de ses plus grandes institutions financi\u0026egrave;res \u0026ndash; en novembre\u0026nbsp;1990. Dans les deux projets, Ria Pacqu\u0026eacute; \u0026eacute;tait d\u0026eacute;guis\u0026eacute;e et a infiltr\u0026eacute; des situations de la vie r\u0026eacute;elle. \u0026Agrave; sa demande, un photographe l\u0026rsquo;a discr\u0026egrave;tement suivie et a pris des photos de ses exp\u0026eacute;riences. It, le personnage qu\u0026rsquo;elle a cr\u0026eacute;\u0026eacute; pour ce projet, faisait alors sa premi\u0026egrave;re apparition. \u0026laquo;\u0026nbsp;[\u0026hellip;] \u0026Agrave; Londres, j\u0026rsquo;ai voulu faire un projet qui \u0026eacute;tait une sorte de p\u0026egrave;lerinage, non pas dans un lieu comme Lourdes, mais dans une partie de la ville o\u0026ugrave; les gens se croisent les uns les autres dans la pr\u0026eacute;cipitation, effectuant leurs courses ou se rendant au travail. J\u0026rsquo;ai longtemps r\u0026eacute;fl\u0026eacute;chi au personnage pour le projet. Il fallait que ce soit une personne qui puisse \u0026ecirc;tre aussi facilement un homme ou une femme \u0026ndash; en fait, un personnage neutre. Un personnage hors s\u0026eacute;rail, avec certaines obsessions \u0026eacute;tranges, une cr\u0026eacute;ature solitaire, en conflit avec un monde qu\u0026rsquo;il ou elle ne peut pas comprendre. Quand on le voit pour la premi\u0026egrave;re fois tenir sa pancarte, on croit qu\u0026rsquo;il fait partie d\u0026rsquo;une secte, mais ce n\u0026rsquo;est pas le cas. Sa pancarte est un message sans message \u0026ndash; un texte pseudo-philosophique \u0026ndash;, comme tant de choses sont \u0026ldquo;pseudo\u0026rdquo;. Les deux personnages (\u0026ldquo;Madame\u0026rdquo; et \u0026ldquo;It\u0026rdquo;) sont un jeu entre le r\u0026eacute;el et l\u0026rsquo;irr\u0026eacute;el. Je tente de percer la r\u0026eacute;alit\u0026eacute;, la rue, le kitsch et les gens en tant que d\u0026eacute;cor. Les deux personnages sont \u0026agrave; la fois moi et le monde.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n"}]},{"id":3693,"title":"The girl who was never asked to marry","dimensions":"90 x 80 x 100 cm","date_begin":"1988-01-01","material":"leather, paper, silk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"photography","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK005618","stream_count_app":56,"permalink":"the-girl-who-was-never-asked-to-marry","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":"Ria Pacquée","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/700/large/The%20girl%20who%20was%20never%20asked%20to%20marry.jpg?1331720431","poster_credits":"© Syb'L S.-Pictures","translations":[{"locale":"en","description":"\u003cp\u003eThe bridal gown on the sofa, together with the photo-album and the photograph on the wall, are all components of this installation by Ria Pacqu\u0026eacute;e. The ensemble comprises the result of her performances where she plays a subtle game with everyday reality. Transformed into her prototypical \u0026#39;Madame\u0026#39;, she plays this role to the fill. Her art is thus no direct rendering of our society, rather it drifts and hovers between reality and fiction, underscoring some of life\u0026#39;s trials and tribulations. \u0026lsquo;Madame\u0026rsquo; anonymously makes her lonely way in the world. She exudes a desperation that is almost palpable. Her photographs are imbued with a sense of loss, of solitude and a melancholy before which one may be powerless to resist. But we also see a \u0026#39;Madame\u0026#39; who is indefatigably always looking for something to fill this emotional void, and this element often brings humor to her performances. A humor that is both cutting and healing, always leaving us with the impression that \u0026#39;Madame\u0026#39; is not so hopeless a case as she first appears. In this installation, as well, we \u0026#39;Madame\u0026#39; refusing to drown in loneliness. She poses in a bridal dress in green surroundings and in front of City Hall, as befits the occasion. There is, however, the absence of one key participant, and \u0026#39;Madame\u0026#39;s sad saga is destined to continue. Moreover, the gown and the wrenched opened photo-album abandoned on the sofa, only go to amplify this feeling of isolation. The void is not yet filled, the quest not yet accomplished. But despite the missing bridegroom, \u0026#39;Madame\u0026#39; will not be put off from diving into life, from doing as she must. Despite the fact that \u0026#39;Madame\u0026#39; is a figure of fiction, we still can identify with her plight, and her performances provide us with food for thought.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe bruidsjurk op de sofa maakt samen met het fotoalbum en de foto aan de muur deel uit van een installatie van Ria Pacqu\u0026eacute;e. Het vormt de neerslag van haar performances waarin ze een subtiel spel speelt met de alledaagse realiteit. Getransformeerd tot het typetje \u0026lsquo;Madame\u0026rsquo; neemt ze deel aan het dagelijkse leven en gaat er volledig in op. Haar kunst is dus geen directe weergave van onze maatschappij maar zweeft tussen realiteit en fictie. Zo benadrukt Pacqu\u0026eacute;e bepaalde aspecten van het leven. \u0026lsquo;Madame\u0026rsquo; gaat anoniem op in de eenzaamheid van de haar omringende wereld en straalt zo een haast voelbare wanhoop uit. Haar foto\u0026rsquo;s zijn doordrongen van een gemis, van eenzaamheid en melancholie waartegen je machteloos staat en waardoor je soms verzwolgen wordt. Maar we zien ook een \u0026lsquo;Madame\u0026rsquo; die steeds op zoek is naar iets wat dit gemis kan opheffen. Dit laatste brengt ook humor in haar performances. Humor die nu eens snijdend, dan weer zalvend is maar steeds de indruk wekt dat \u0026lsquo;Madame\u0026rsquo; toch niet zo weerloos is als ze in eerste instantie lijkt. Ook in deze installatie zien we \u0026lsquo;Madame\u0026rsquo; die weigert kopje onder te gaan in de eenzaamheid. Ze poseert in bruidskledij in een groene omgeving en voor het stadhuis, zoals het hoort op een bruiloft. Er is echter telkens \u0026eacute;\u0026eacute;n grote afwezige die haar eenzaamheid extra in de verf zet. Ook de bruidsjurk en het opengeslagen fotoalbum die beide verlaten op de sofa liggen, versterken dit gevoel van eenzaamheid. De leegte is nog niet opgevuld, de zoektocht is nog niet voltooid. En toch weerhoudt deze leegte, dit gemis van een bruidegom \u0026lsquo;Madame\u0026rsquo; er niet van te participeren aan het alledaagse leven en te doen waar ze nood aan heeft. Ondanks het feit dat \u0026lsquo;Madame\u0026rsquo; een fictief personage is, wekt ze bij de toeschouwer ook herkenning op en zetten haar performances op die manier aan tot reflectie.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":11281,"title":"Gold Magic","dimensions":"","date_begin":"2014-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Crack","dimensions":"","date_begin":"2014-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"crash-crack","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/000/024/041/large/DSC_2870_low.jpg?1403811620","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e\u0026quot;Wanneer kunst nostalgie en hoop weigert als sentimentele vergoedingen voor een onzekere toekomst, en kunst zich via speculatie en scepticisme op de toekomst richt.\u0026quot;\u003c/strong\u003e (Lars Bang Larsen)\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":11284,"title":"Facebook Cover","dimensions":"","date_begin":"2014-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":11279,"title":"Resting","dimensions":"","date_begin":"2014-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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Foot","dimensions":"","date_begin":"2014-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the 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HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":11282,"title":"Complete Collapse","dimensions":"","date_begin":"2014-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":5,"permalink":"complete-collapse","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/000/024/034/large/DSC_2893.jpg?1403791994","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3893,"title":"Curtain of Silence","dimensions":"190 x 120 cm","date_begin":"1998-01-01","material":"colour photograph on aluminium, protected by a layer of foil","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7260_M230a_b","stream_count_app":25,"permalink":"curtain-of-silence","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":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/698/large/Curtain%20of%20Silence.jpg?1331719928","poster_credits":"© Syb'L S.-Pictures","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eRia Pacqu\u0026eacute;e brengt toevallige situaties en objecten uit de alledaagse wereld in beeld. De straat, de markt, kerkhoven en de woestijn vormen haar werkterrein. In eerste instantie laat ze zich opmerken als performance kunstenaar. Op het einde van de jaren 80 verschuift het zwaartepunt naar de fotografie. Haar fotoreeksen vertellen uiteenlopende verhalen, kaarten maatschappelijke situaties aan en spelen een spel met de realiteit.\u003c/p\u003e\u003cp\u003eIn de jaren negentig schuimt Pacqu\u0026eacute;e oude kerkhoven af op zoek naar verloren gewaande herinneringen. Ze inventariseert de sterfelijkheid in de vorm van verdwenen ornamenten, onleesbare letters en stenen hoofden die door erosie een andere identiteit hebben gekregen. Ze fotografeert grafmonumenten die zelf stilaan sterven.\u003c/p\u003e\u003cp\u003eHet werk\u003cem\u003e Curtain of Silence \u003c/em\u003etoont 2 foto\u0026rsquo;s van gesluierde vrouwen, genomen op een kerkhof in Como. Pacqu\u0026eacute;e vond de kleine, verweerde hoofden aan de zijkant van een graf. De sluier geldt als ambigu symbool voor de kuisheid en de dood. Vandaag wordt de hoofddoek enerzijds als fundamentalistisch statement en anderzijds als vrijheidsideaal van jonge moslima\u0026rsquo;s gezien. De sluier verbergt herkenbare persoonlijkheidskenmerken en bepaalt tegelijk iemands identiteit.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":3910,"title":"Ria Pacquée - 40 foto's","dimensions":"21 x 15 cm, idea \u0026 layout : Ria Pacquée, nr 3/4 of the series PASSAGES, publisher : Stichting Kunst en Projecten vzw, Zedelgem","date_begin":"1989-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist book","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2004/819","stream_count_app":14,"permalink":"ria-pacquee-passages","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":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/539/large/Passages%201.jpg?1331567786","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13494,"title":"FROM MY ROTTING BODY, FLOWERS SHALL GROW AND I AM IN THEM AND THAT IS ETERNITY","dimensions":"","date_begin":"2014-01-01","material":"photo print on barite paper, wooden shelf, flower pot in terra cotta, ground, dymo lettering","short_description":"\u003cp style=\"text-align: justify;\"\u003eThe Belgian photographer Ria Pacqu\u0026eacute;e makes herself the subject of her works in the most extraordinary situations. The title \u003ci\u003eFrom my rotting body, flowers shall grow and I am in them and that is eternity\u003c/i\u003e refers on the one hand to the famous quote of Thomas Moore, which was later also used by Edvard Munch, and on the other to a performance that Pacquee did in 2014, when \u0026lsquo;Picnic at Hanssenpark\u0026rsquo;, an exhibition of Danny Devos in De Pont, Bruges. Pacqu\u0026eacute; ends her performance by burying her head in sand. For this edition, the artist throws dirt in her face multiple times, and takes pictures of the result. Although the flowerpot is only filled with potting soil, one expects, it would be watered regularly. The scene changes the importance of this philosophical reflection in a light-footed confrontation with mortality.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"fotoprint bloempot Ria Pacquée","publishing_process_id":1,"annotation":"\u003cp\u003e10 ex. + 4 A.P.\u003c/p\u003e\r\n\r\n\u003cp\u003egift of the Friends of M HK\u003c/p\u003e\r\n","date_end":null,"reference":"S0510","stream_count_app":17,"permalink":"from-my-rotting-body-flowers-shall-grow-and-i-am-in-them-and-that-is-eternity","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp style=\"text-align: justify;\"\u003eDe Belgische fotografe Ria Pacqu\u0026eacute;e maakt zichtzelf, geplaatst in de meest uitzonderlijke situaties, tot onderwerp van haar werken. De titel \u003cem\u003eFrom my rotting body, flowers shall grow and I am in them and that is eternity\u003c/em\u003e verwijst enerzijds naar een wereldberoemd citaat door Thomas Moore, die later ook Edvard Munch gebruikt werd, en anderzijds naar een performance die Pacquee in 2014 uitvoerde bij de opening van \u0026ldquo;Picnic at Hanssenpark\u0026rdquo;, een tentoonstelling van Danny Devos in De Pont, Brugge. Pacqu\u0026eacute;e be\u0026euml;indigt die performance door haar hoofd te begraven in het zand. Voor deze editie gooit de kunstenares meermaals aarde in haar gezicht en neemt daarna foto\u0026rsquo;s van het resultaat. Hoewel de bloempot uitsluitend gevuld is met potaarde, wordt verwacht dat hij regelmatig met water begoten wordt. Het tafereel verandert de gewichtigheid van deze filosofische overpeinzing in een lichtvoetige confrontatie met vergankelijkheid.\u003c/p\u003e\r\n","short_description_fr":"\u003cp style=\"text-align: justify;\"\u003eLa photographe belge Ria Pacqu\u0026eacute;e se prend comme sujet de ses \u0026oelig;uvres, dans les situations les plus exceptionnelles. Le titre \u003cem\u003eFrom my rotting body, flowers shall grow and I am in them and that is eternity\u003c/em\u003e fait r\u0026eacute;f\u0026eacute;rence d\u0026#39;une part \u0026agrave; une citation mondialement c\u0026eacute;l\u0026egrave;bre de Thomas Moore, utilis\u0026eacute;e plus tard \u0026eacute;galement par Edvard Munch, et d\u0026#39;autre part \u0026agrave; une performance ex\u0026eacute;cut\u0026eacute;e par Pacqu\u0026eacute;e en 2014 lors de l\u0026#39;ouverture de \u0026laquo;\u0026nbsp;Picknic at Hanssenpark\u0026nbsp;\u0026raquo;, une exposition de Danny Devos \u0026agrave; De Pont, Bruges. Pacqu\u0026eacute;e termine cette performance en enterrant sa t\u0026ecirc;te dans le sable. Pour cette \u0026eacute;dition, l\u0026#39;artiste jette plusieurs fois de la terre sur son visage et prend ensuite des photos du r\u0026eacute;sultat. Bien que le pot de fleurs ait \u0026eacute;t\u0026eacute; exclusivement rempli de terreau, il devait \u0026ecirc;tre r\u0026eacute;guli\u0026egrave;rement arros\u0026eacute; d\u0026#39;eau. La sc\u0026egrave;ne transforme l\u0026#39;importance de cette r\u0026eacute;flexion philosophique en confrontation l\u0026eacute;g\u0026egrave;re avec fugacit\u0026eacute;.\u003c/p\u003e\r\n","short_description_ru":"","short_description_de":"\u003cp style=\"text-align: justify;\"\u003eDie belgische Fotografin Ria Pacqu\u0026eacute;e macht sich selbst, in die meist au\u0026beta;ergew\u0026ouml;hnliche Situationen, zur Thema ihrer Werken. Der Titel \u003cem\u003eFrom my rotting body, flowers shall grow and I am in them and that is eternity\u003c/em\u003e (dt. Aus meinem zerfallenden K\u0026ouml;rper, werden Blumen wachsen und ich bin in denen und das ist Ewigkeit) verweist einerseits auf dem weltber\u0026uuml;hmten Zitat Thomas Moore, der sp\u0026auml;ter auch von Edvard Munch benutzt wurde, und andererseits auf einer Performance, die Pacqu\u0026eacute;e 2014, bei der Er\u0026ouml;ffnung von \u0026lsquo;Picnic at Hanssenpark\u0026rsquo;, eine Ausstellung von Danny Devos in De Pont in der Westfl\u0026auml;mischen Stadt Br\u0026uuml;gge ausgef\u0026uuml;hrt hat. Pacqu\u0026eacute;e beendet die Performance, indem sie ihren Kopf in dem Sand begrabt. F\u0026uuml;r diese Edition wirft die K\u0026uuml;nstlerin mehrmals Erde im Gesicht und nimmt danach auch Fotos von dem Ergebnis. Obwohl der Blumentopf ausschlieslich mit Blumenerde gef\u0026uuml;llt ist, erwartet man, dass er regelm\u0026auml;\u0026beta;ig mit Wasser begossen wird. Die Szene \u0026auml;ndert die Gewichtigkeit dieser philosophischer Reflexion in einer leichtf\u0026uuml;\u0026beta;igen Konfrontation mit der Verg\u0026auml;nglichkeit.\u003c/p\u003e\r\n","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Ria Pacquée","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/067/large/pacqu%C3%A9e.jpg?1451922106","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13762,"title":"Ria Pacquée 'Desert of Fragments'","dimensions":"24.5 x 19 cm, language : English, Dutch, publisher : Museum van Hedendaagse Kunst, Antwerpen, ISBN : 90-72828-15-1","date_begin":"2001-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/618","stream_count_app":9,"permalink":"ria-pacquee-desert-of-fragments-fc651e78-05b7-4c89-a648-f3c159975f9c","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":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/342/large/__Photo_M_HKA__93.jpg?1458563063","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Liliane Dewachter, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ria Pacqu\u0026eacute;e, Jon Thompson, Alice Redon, Andrew Webb.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditor : Liliane Dewachter, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ria Pacqu\u0026eacute;e, Jon Thompson, Alice Redon, Andrew Webb.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditor : Liliane Dewachter, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ria Pacqu\u0026eacute;e, Jon Thompson, Alice Redon, Andrew Webb.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":14014,"title":"Waiting for my man who lost the war","dimensions":"106.5 x 150 cm","date_begin":"1989-01-01","material":"colour photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"Ria Pacquée Madame","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK005760_001","stream_count_app":13,"permalink":"waiting-for-my-man-who-lost-the-war","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":"Ria Pacquée","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/188/large/RP_Zes_foto's_van_verschillende_performances_1982-1988_3__1989.jpg?1465217986","poster_credits":"©image: Syb'l S.-Pictures","translations":[{"locale":"en","description":"\u003cp\u003eThis\u0026nbsp;photograph is an image\u0026nbsp;of a performance\u0026nbsp;in which the artist reveals fragments from the life of \u0026lsquo;Madame\u0026rsquo;. \u0026lsquo;Madame\u0026rsquo; is a character brought to life by Ria Pacqu\u0026eacute;e in 1981, and played by herself. Photographs are made of her comings and goings, and then printed on canvas. In her first apparitions, \u0026lsquo;Madame\u0026rsquo; cut a rather pathetic figure; a housebound woman addicted to television, sherry and valium. The photograph of \u0026lsquo;Madame\u0026rsquo; in a dilapidated interior strewn with empty beer bottles is typical of this period.\u003c/p\u003e\r\n\r\n\u003cp\u003eAs the years go by, however, \u0026lsquo;Madame\u0026rsquo; grows into a lonely \u0026lsquo;folk-woman\u0026rsquo; with gray hair and thick spectacles. From here on, she becomes active outside the house, and takes part in all sorts of activities. She is in constant search of something, something that may in one way or another complete her \u0026ndash; a sweetheart, a husband or just company. She tries to become part of a crowd, but doing so she is only further confronted with her loneliness. So, for example, she sells \u0026lsquo;souvenirs of the man I\u0026rsquo;ve loved\u0026rsquo; at some little market stall, or plays the toilet attendant in a public institution, or has herself photographed in a tasteless interior decorated with canine portraits.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe photographs of \u0026lsquo;Madame\u0026rsquo; offer us a glimpse into the world of a woman of few means and bereft of social contacts. Pacqu\u0026eacute;e combines tragedy with a certain sense of humor, but without ever being hurtful. And although humor plays its part, the photographs speak to us of the endless loneliness of individuals who do their best to make it through their daily lives in a somewhat satisfying way.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze foto is een beeld\u0026nbsp;van een performance\u0026nbsp;waarin de kunstenares fragmenten uit het leven van \u0026lsquo;Madame\u0026rsquo; blootlegt. \u0026lsquo;Madame\u0026rsquo; is een personage dat Ria Pacqu\u0026eacute;e in 1981 in het leven heeft geroepen en dat door haarzelf wordt gespeeld. Van haar doen en laten zijn foto\u0026rsquo;s gemaakt die afgedrukt werden op schildersdoek. In haar eerste optredens was \u0026lsquo;Madame\u0026rsquo; een deerniswekkende, aan televisie, sherry en valium verslaafde vrouw die aan huis gekluisterd was. De foto van \u0026lsquo;Madame\u0026rsquo; in een vervallen interieur met lege bierflesjes typeert deze periode.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn de loop der jaren groeit \u0026lsquo;Madame\u0026rsquo; echter uit tot een eenzame volksvrouw met grijze haren en een bril met zwaar montuur. Vanaf dan is ze juist actief buitenshuis en neemt ze deel aan allerlei activiteiten. Ze is steeds op zoek naar iets, iets wat haar op \u0026eacute;\u0026eacute;n of andere manier kan vervolledigen, een geliefde, een echtgenoot of gewoon gezelschap. Ze wil opgaan in de massa, maar wordt hierdoor enkel met haar eenzaamheid geconfronteerd. Zo verkoopt ze bijvoorbeeld aan een kraampje op \u0026eacute;\u0026eacute;n of andere markt \u0026quot;souvenirs of the man I\u0026rsquo;ve loved\u0026quot;\u0026nbsp;(souvenirs van de man waarvan ik hield), speelt ze toiletdame in een openbare instelling of laat ze zich samen met een hond fotograferen in een smakeloos interieur dat gedecoreerd is met hondenportretten.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe foto\u0026rsquo;s van \u0026lsquo;Madame\u0026rsquo; laten de belevingswereld van een vrouw met een minimum aan middelen en sociale contacten zien. Hierbij wordt tragiek gecombineerd met een zekere vorm van humor, maar zonder ooit kwetsend te zijn. Hoewel licht humoristisch, spreken deze foto\u0026rsquo;s wel van een eindeloze eenzaamheid van individuen die moeite doen om op een bevredigende manier deel te nemen aan het dagelijks leven.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCette photographie est une image d\u0026#39;une performance dans laquelle l\u0026rsquo;artiste d\u0026eacute;voile des passages de la vie de \u0026laquo;\u0026nbsp;Madame\u0026nbsp;\u0026raquo;, un personnage que Ria Pacqu\u0026eacute;e a invent\u0026eacute; en 1981 et qu\u0026rsquo;elle incarnait elle-m\u0026ecirc;me. Elle faisait photographier ses faits et gestes et imprimait ensuite les images sur toile. Dans ses premi\u0026egrave;res performances, Madame \u0026eacute;tait une femme pitoyable, accro \u0026agrave; la t\u0026eacute;l\u0026eacute;vision, au sherry et au valium, clo\u0026icirc;tr\u0026eacute;e chez elle. La photographie de Madame dans un int\u0026eacute;rieur d\u0026eacute;cr\u0026eacute;pit, jonch\u0026eacute; de bouteilles de bi\u0026egrave;re vides caract\u0026eacute;rise cette p\u0026eacute;riode.\u003c/p\u003e\r\n\r\n\u003cp\u003eAu fil des ann\u0026eacute;es, Madame a cependant \u0026eacute;volu\u0026eacute; en une femme du peuple, solitaire, aux cheveux gris et aux lunettes \u0026agrave; la monture \u0026eacute;paisse. D\u0026egrave;s lors, elle est devenue active hors de chez elle et a pris part \u0026agrave; diverses activit\u0026eacute;s. Elle \u0026eacute;tait constamment en qu\u0026ecirc;te de quelque chose \u0026ndash; quelque chose qui puisse la compl\u0026eacute;ter de l\u0026rsquo;une ou l\u0026rsquo;autre mani\u0026egrave;re\u0026nbsp;: un amoureux, un mari ou simplement de la compagnie. Elle souhaitait se fondre dans la masse, mais ne faisait qu\u0026rsquo;affronter sa solitude de la sorte. Ainsi, dans une \u0026eacute;choppe d\u0026rsquo;un march\u0026eacute; quelconque, elle vendait, par exemple, des \u0026laquo;\u0026nbsp;souvenirs de l\u0026rsquo;homme qu\u0026rsquo;elle a aim\u0026eacute;\u0026nbsp;\u0026raquo;, jouait la dame pipi d\u0026rsquo;une institution publique ou se faisait photographier avec son chien dans un int\u0026eacute;rieur de mauvais go\u0026ucirc;t, d\u0026eacute;cor\u0026eacute; avec des portraits de chiens.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes photographies de Madame illustrent le monde d\u0026rsquo;une femme qui dispose d\u0026rsquo;un minimum de moyens et de contacts sociaux. L\u0026rsquo;artiste combine ce faisant le tragique avec une certaine forme d\u0026rsquo;humour, toutefois sans jamais \u0026ecirc;tre blessante. Bien que l\u0026eacute;g\u0026egrave;rement humoristiques, ces photographies parlent d\u0026rsquo;une solitude infinie d\u0026rsquo;individus qui se donnent la peine de participer de mani\u0026egrave;re satisfaisante \u0026agrave; la vie quotidienne.\u003c/p\u003e\r\n"}]},{"id":18471,"title":"INDIVIDU : DUIDING. Verboden verbindingen + Twijfelachtige verbanden (Marlene Dumas, Christine \u0026 Irene Hohenbuchler, Annemie Van Kerckhoven, Ria Pacquée)","dimensions":"42 x 29.8 cm, 31 p., language : Dutch, publisher : Koninklijk Museum voor Schone Kunsten/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1991-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;301.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Greta Van Broeckhoven.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Greta Van Broeckhoven \u0026amp; Erik Pultau.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : KMSK Koninklijk Museum voor Schone Kunsten Antwerpen \u0026amp; ICC/Internationaal Cultureel Centrum, Antwerpen (18.10. - 15.12.1991)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/985","stream_count_app":10,"permalink":"individu-duiding-verboden-verbindingen-twijfelachtige-verbanden-marlene-dumas-christine-irene-hohenbuchler-annemie-van-kerckhoven-ria-pacquee","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/000/040/166/medium_500/20180322130020626_0001.jpg?1521720257","cached_actor_names":"Ria Pacquée, Anne-Mie Van Kerckhoven, Christine \u0026 Irene Hohenbüchler, Marlene Dumas","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/040/166/large/20180322130020626_0001.jpg?1521720257","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21335,"title":"I didn’t do it","dimensions":"variable dimensions","date_begin":"2016-01-01","material":"Graffiti","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"i-didn-t-do-it","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/000/045/541/medium_500/Amberes_photo_M_HKA_cc_2019_cc__23.jpg?1559816155","cached_actor_names":"Ria Pacquée","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/000/045/541/large/Amberes_photo_M_HKA_cc_2019_cc__23.jpg?1559816155","poster_credits":"Courtesy of the artist, image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp\u003eRia Pacqu\u0026eacute;e has organised many performative interventions and statements within the urban landscape. Since 1978, she has spread political slogans in the streets of Antwerp as one strand of her practice. This includes sentences such as \u0026ldquo;\u003cem\u003eOh godverdoemme\u003c/em\u003e\u0026rdquo; (\u0026ldquo;\u003cem\u003eOh goddamn it\u003c/em\u003e\u0026rdquo;) or \u0026ldquo;\u003cem\u003ega langzaam naar uw werk\u003c/em\u003e\u0026rdquo; (\u0026ldquo;\u003cem\u003ego to work slowly\u003c/em\u003e\u0026rdquo;), and are written onto abandoned buildings using spray paint, but occasionally within exhibitions. This message \u0026ldquo;\u003cem\u003eI didn\u0026rsquo;t do it\u003c/em\u003e\u0026rdquo; is on the one hand a contradictory message, as the artist carries out the (sometimes illegal) acts herself. \u0026ldquo;\u003cem\u003eI\u003c/em\u003e \u003cem\u003edidn\u003c/em\u003e\u003cem\u003e\u0026rsquo;\u003c/em\u003e\u003cem\u003et\u003c/em\u003e \u003cem\u003edo\u003c/em\u003e \u003cem\u003eit\u003c/em\u003e\u0026rdquo; is also something said in Chapter 5 titled \u003cem\u003eBlue\u003c/em\u003e of Bola\u0026ntilde;o\u0026rsquo;s \u003cem\u003eAntwerp\u003c/em\u003e, in a scenario when a local person is questioned by the police following the shooting of six young people close to a campsite.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eRia Pacqu\u0026eacute;e heeft vele performatieve interventies en statements binnen het stedelijke landschap georganiseerd. Sinds 1978 verspreidt ze politieke slogans in de straten van Antwerpen als onderdeel van haar praktijk. Dit omvat zinnen als \u0026quot;\u003ci\u003eOh godverdoemme\u003c/i\u003e\u0026quot; of \u0026quot;\u003ci\u003ega langzaam naar uw werk\u003c/i\u003e\u0026quot;, en zijn met behulp van spuitverf geschreven op verlaten gebouwen, en af en toe ook binnen tentoonstellingen. De boodschap \u0026ldquo;\u003ci\u003eI didn\u0026rsquo;t do it\u003c/i\u003e\u0026rdquo; is enerzijds een tegenstrijdige boodschap, omdat de kunstenaar de (soms illegale) handelingen zelf uitvoert. \u0026ldquo;\u003ci\u003eI didn\u003c/i\u003e\u003ci\u003e\u0026rsquo;\u003c/i\u003e\u003ci\u003et do it\u003c/i\u003e\u0026rdquo; is ook een uitspraak die voorkomt in hoofdstuk 5, getiteld \u003ci\u003eBlue,\u003c/i\u003e in Bola\u0026ntilde;o\u0026#39;s roman \u003ci\u003eAntwerp\u003c/i\u003e, wanneer een lokale persoon wordt ondervraagd door de politie nadat zes jonge mensen in de buurt van een camping werden neergeschoten.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eRia Pacqu\u0026eacute;e a organis\u0026eacute; de multiples interventions performatives et d\u0026eacute;clarations dans le paysage urbain. Depuis 1978, elle a int\u0026eacute;gr\u0026eacute; \u0026agrave; sa pratique la diffusion de slogans politiques dans les rues d\u0026rsquo;Anvers. Cela inclut des expressions comme \u003ci\u003eOh godverdoemme\u003c/i\u003e [Nom de Dieu\u0026nbsp;!] ou \u003ci\u003ega langzaam naar uw werk\u003c/i\u003e [rendez-vous lentement \u0026agrave; votre travail] qu\u0026rsquo;elle bombe sur des b\u0026acirc;timents abandonn\u0026eacute;s, mais qu\u0026rsquo;elle reprend parfois aussi dans des expositions. Ce message\u0026nbsp;: \u0026laquo;\u0026nbsp;\u003ci\u003eI didn\u0026rsquo;t do it\u003c/i\u003e\u0026nbsp;\u0026raquo; [je ne l\u0026rsquo;ai pas fait] est d\u0026rsquo;une part contradictoire, \u0026eacute;tant donn\u0026eacute; que l\u0026rsquo;artiste r\u0026eacute;alise toujours elle-m\u0026ecirc;me ses actions (parfois ill\u0026eacute;gales), et cite d\u0026rsquo;autre part une phrase du roman Anvers de Bola\u0026ntilde;o, prononc\u0026eacute;e dans le chapitre\u0026nbsp;5, intitul\u0026eacute; \u003ci\u003eBlue, \u003c/i\u003elors d\u0026rsquo;un interrogatoire de la police suite \u0026agrave; une fusillade contre six jeunes gens \u0026agrave; proximit\u0026eacute; du camping.\u003c/p\u003e\r\n"}]},{"id":28939,"title":"Von der Wiederholung der Träume zur Realität (cat.)","dimensions":"A5 var.","date_begin":"1991-01-01","material":"paper, ink (printing)","short_description":"\u003cp\u003eCatalogue for the group exhibition at Grita Insam (Vienna) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; curated by Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"von-der-wiederholung-der-traume-zur-realitat-cat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eCataloog voor de groepstentoonstelling bij Grita Insam (Wenen) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; samengesteld door Ulrike Lindmayr\u003c/p\u003e\r\n","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/000/065/834/medium_500/JL18s029.jpg?1606036798","cached_actor_names":"Jef Geys, Michel François, Ulli Lindmayr, Ria Pacquée, Patrick Vanden Eynde, Patrick Van Caeckenbergh, Bernd Lohaus, Frank F Castelyns, Jef Lambrecht","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/000/065/834/large/JL18s029.jpg?1606036798","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eCatalogue for the group exhibition at Grita Insam (Vienna) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; curated by Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003etitle from work by Bernd Lohaus - JL proposed I.E. \u0026amp; \u0026#39;presidency\u0026#39;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eCataloog voor de groepstentoonstelling bij Grita Insam (Wenen) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; samengesteld door Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003etitel van Bernd Lohaus - JL presenteerde I.E. en \u0026#39;presidency\u0026#39;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":31170,"title":"Hats","dimensions":"00:04:18","date_begin":"2011-01-01","material":"Digital slideshow","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":176,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2019-01-01","reference":"","stream_count_app":22,"permalink":"hats","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/000/085/931/medium_500/Hats.jpg?1661348314","cached_actor_names":"Ria Pacquée","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/000/085/931/large/Hats.jpg?1661348314","poster_credits":"© Ria Pacquée","translations":[{"locale":"en","description":"\u003cp\u003eIn her later works, the artist concentrates on exploring public spaces, recording events with a camera from a particular point of view. She has developed her interests in rituals and the metaphysics of religious experience, anonymity, wandering around the city. Archiving sounds and images are also important methodologies in her work. The video \u003cem\u003eHats\u003c/em\u003e is part of the artist\u0026rsquo;s archival practice of wandering through different places, often geographically distant, recording various headgear; their cultural specifics, styles and colours. \u003cem\u003eHats\u003c/em\u003e is a specific image archive, an attempt to create a typographic study, a record of a journey, a registration made from a specific perspective focused on the movement of objects and forms.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4032,"title":"Inch'Allah","dimensions":"00:18:40","date_begin":"2005-01-01","material":"Videotape digital betacam, DVD","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006182","stream_count_app":89,"permalink":"inch-allah","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas Video \u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e besteht aus kurzen, unabh\u0026auml;ngigen, zusammen montierten Filmfragmenten. Pacqu\u0026eacute;e schaltet von Osten auf Westen hin und her, zwischen L\u0026auml;ndern wie Belgien, Israel, Frankreich und Tunesien. Allt\u0026auml;gliche Ereignisse und Eindr\u0026uuml;cke des menschlichen Handelns werden aneinander gereiht, vom manchmal bunten Leben in Nordeuropa \u0026uuml;ber die intime Sch\u0026ouml;nheit von Regionen wie Yemen und Marokko. Die Bilder enthalten keine narrative oder hierarchische Struktur. Sie werden von einem Voice-Over unterst\u0026uuml;tzt, die Ausschnitte aus \u003cem\u003eThe Book of Questions\u003c/em\u003e (1967) des franz\u0026ouml;sisch-j\u0026uuml;dischen Autors Edmon Jab\u0026egrave;s vorliest. Genau wie dieses Buch ist der Film ein Mosaik aus Fragmenten, Aphorismen und Bilddialogen, die sich um eine zentrale Frage drehen: wie k\u0026ouml;nnen sie das Unsichtbare sichtbar machen?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e ist eine logische Folge von Pacqu\u0026eacute;es \u0026auml;lterem Werk. Darin zieht die K\u0026uuml;nstlerin durch die Stra\u0026szlig;en, um Bilder zu sammeln, die sie entsprechend formeller Elemente ordnet. So entstehen auditive und visuelle Puzzle mit Bildern von Linien, Farben, Schatten und Licht. Willk\u0026uuml;rliche Fragmente werden zu einem bedeutungsvollen Ganzen kombiniert. Auch dieses Werk behandelt die Illusion einer objektiven Realit\u0026auml;t. Unsere Wahrnehmung der Wirklichkeit wird verzerrt durch den Standpunkt, den wir einnehmen, durch den Ort, wo wir leben, die Ereignisse und Bilder, die wir sehen und h\u0026ouml;ren, und die Art Leben, das wir f\u0026uuml;hren. Pacqu\u0026eacute;e will den Einfluss dieses subjektiven Standpunktes deutlich machen. Sie zeigt uns, wie getrennte Fragmente und Teile einem Ganzen Sinn geben. Pacqu\u0026eacute;e \u0026auml;u\u0026szlig;ert die Idee, dass das Leben sich nicht unbedingt nur um Kenntnisse und Einsicht dreht. Wie Menschen sich gegen\u0026uuml;ber den anderen verhalten ist viel wesentlicher. Alles andere ist nur eine \u0026Auml;u\u0026szlig;erung des Moments.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Tau;\u0026omicron; \u0026beta;ί\u0026nu;\u0026tau;\u0026epsilon;\u0026omicron; \u003ci\u003eInch\u0026#39;Allah\u003c/i\u003e [\u0026Iota;\u0026nu;\u0026sigma;\u0026alpha;\u0026lambda;ά] \u0026sigma;\u0026upsilon;\u0026nu;\u0026tau;ί\u0026theta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό \u0026sigma;ύ\u0026nu;\u0026tau;\u0026omicron;\u0026mu;\u0026alpha;, \u0026mu;\u0026epsilon;\u0026mu;\u0026omicron;\u0026nu;\u0026omega;\u0026mu;έ\u0026nu;\u0026alpha; \u0026alpha;\u0026pi;\u0026omicron;\u0026sigma;\u0026pi;ά\u0026sigma;\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026tau;\u0026alpha;\u0026iota;\u0026nu;\u0026iota;ώ\u0026nu; \u0026pi;\u0026omicron;\u0026upsilon; έ\u0026chi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026mu;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026epsilon;ί \u0026mu;\u0026alpha;\u0026zeta;ί. \u0026Eta; \u0026Pi;\u0026alpha;\u0026kappa;έ \u0026pi;\u0026epsilon;\u0026tau;ά\u0026gamma;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta;\u0026nu; \u0026Alpha;\u0026nu;\u0026alpha;\u0026tau;\u0026omicron;\u0026lambda;ή \u0026sigma;\u0026tau;\u0026eta; \u0026Delta;ύ\u0026sigma;\u0026eta;, \u0026pi;\u0026epsilon;\u0026rho;\u0026nu;ώ\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026chi;ώ\u0026rho;\u0026epsilon;\u0026sigmaf; ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026tau;\u0026omicron; \u0026Beta;έ\u0026lambda;\u0026gamma;\u0026iota;\u0026omicron;, \u0026tau;\u0026omicron; \u0026Iota;\u0026sigma;\u0026rho;\u0026alpha;ή\u0026lambda;, \u0026eta; \u0026Gamma;\u0026alpha;\u0026lambda;\u0026lambda;ί\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026Tau;\u0026upsilon;\u0026nu;\u0026eta;\u0026sigma;ί\u0026alpha;. \u0026Kappa;\u0026alpha;\u0026theta;\u0026eta;\u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026nu;ά \u0026gamma;\u0026epsilon;\u0026gamma;\u0026omicron;\u0026nu;ό\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026nu;\u0026tau;\u0026upsilon;\u0026pi;ώ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026alpha;\u0026nu;\u0026theta;\u0026rho;ώ\u0026pi;\u0026iota;\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026delta;\u0026rho;ά\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026beta;ά\u0026lambda;\u0026lambda;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026ndash; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta; \u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026rho;\u0026nu;\u0026alpha;\u0026beta;\u0026alpha;\u0026lambda;\u0026iota;\u0026kappa;ή \u0026zeta;\u0026omega;ή \u0026tau;\u0026eta;\u0026sigmaf; \u0026Beta;ό\u0026rho;\u0026epsilon;\u0026iota;\u0026alpha;\u0026sigmaf; \u0026Epsilon;\u0026upsilon;\u0026rho;ώ\u0026pi;\u0026eta;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026tau;\u0026eta;\u0026nu; \u0026beta;\u0026alpha;\u0026theta;\u0026iota;ά \u0026omicron;\u0026mu;\u0026omicron;\u0026rho;\u0026phi;\u0026iota;ά \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026omicron;\u0026chi;ώ\u0026nu; ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026eta; \u0026Upsilon;\u0026epsilon;\u0026mu;έ\u0026nu;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026Mu;\u0026alpha;\u0026rho;ό\u0026kappa;\u0026omicron;. \u0026Delta;\u0026epsilon;\u0026nu; \u0026upsilon;\u0026pi;ά\u0026rho;\u0026chi;\u0026epsilon;\u0026iota; \u0026alpha;\u0026phi;ή\u0026gamma;\u0026eta;\u0026sigma;\u0026eta; \u0026omicron;ύ\u0026tau;\u0026epsilon; \u0026iota;\u0026epsilon;\u0026rho;\u0026alpha;\u0026rho;\u0026chi;\u0026iota;\u0026kappa;ή \u0026delta;\u0026omicron;\u0026mu;ή \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf;. \u0026Tau;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026omicron;\u0026delta;\u0026epsilon;ύ\u0026epsilon;\u0026iota;\u003ci\u003e \u003c/i\u003e\u0026alpha;\u0026phi;ή\u0026gamma;\u0026eta;\u0026sigma;\u0026eta; \u0026mu;\u0026epsilon; \u0026alpha;\u0026pi;\u0026omicron;\u0026sigma;\u0026pi;ά\u0026sigma;\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u003ci\u003e\u0026Beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron; \u0026tau;\u0026omega;\u0026nu; \u0026Epsilon;\u0026rho;\u0026omega;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026omega;\u0026nu; \u003c/i\u003e(1967) \u0026tau;\u0026omicron;\u0026upsilon; \u0026gamma;\u0026alpha;\u0026lambda;\u0026lambda;\u0026omicron;-\u0026epsilon;\u0026beta;\u0026rho;\u0026alpha;ί\u0026omicron;\u0026upsilon; \u0026sigma;\u0026upsilon;\u0026gamma;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;έ\u0026alpha; Edmond Jab\u0026egrave;s. Ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron;, \u0026eta; \u0026tau;\u0026alpha;\u0026iota;\u0026nu;ί\u0026alpha; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha; \u0026mu;\u0026omega;\u0026sigma;\u0026alpha;ϊ\u0026kappa;ό \u0026alpha;\u0026pi;ό \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026theta;έ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;, \u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026lambda;ό\u0026gamma;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026rho;έ\u0026phi;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026gamma;ύ\u0026rho;\u0026omega; \u0026alpha;\u0026pi;ό έ\u0026nu;\u0026alpha; \u0026kappa;\u0026epsilon;\u0026nu;\u0026tau;\u0026rho;\u0026iota;\u0026kappa;ό \u0026epsilon;\u0026rho;ώ\u0026tau;\u0026eta;\u0026mu;\u0026alpha;: \u0026pi;ώ\u0026sigmaf; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;ί \u0026kappa;\u0026alpha;\u0026nu;\u0026epsilon;ί\u0026sigmaf; \u0026nu;\u0026alpha; \u0026kappa;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026alpha;ό\u0026rho;\u0026alpha;\u0026tau;\u0026omicron; \u0026omicron;\u0026rho;\u0026alpha;\u0026tau;ό;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Tau;\u0026omicron; \u003ci\u003e\u0026Iota;\u0026nu;\u0026sigma;\u0026alpha;\u0026lambda;ά \u003c/i\u003e\u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί \u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;ή \u0026sigma;\u0026upsilon;\u0026nu;έ\u0026chi;\u0026epsilon;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026eta;\u0026gamma;\u0026omicron;ύ\u0026mu;\u0026epsilon;\u0026nu;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Pi;\u0026alpha;\u0026kappa;έ, \u0026sigma;\u0026tau;\u0026omicron; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026omicron; \u0026eta; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026iota;\u0026delta;\u0026alpha; \u0026beta;\u0026gamma;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026delta;\u0026rho;ό\u0026mu;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026lambda;\u0026lambda;έ\u0026xi;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf;, \u0026tau;\u0026iota;\u0026sigmaf; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026upsilon;\u0026nu;έ\u0026chi;\u0026epsilon;\u0026iota;\u0026alpha; \u0026omicron;\u0026rho;\u0026gamma;\u0026alpha;\u0026nu;ώ\u0026nu;\u0026epsilon;\u0026iota; \u0026sigma;ύ\u0026mu;\u0026phi;\u0026omega;\u0026nu;\u0026alpha; \u0026mu;\u0026epsilon; \u0026tau;\u0026alpha; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;ά \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026alpha;. \u0026Delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026epsilon;ί \u0026mu;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026rho;ό\u0026pi;\u0026omicron; \u0026alpha;\u0026kappa;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026omicron;\u0026pi;\u0026tau;\u0026iota;\u0026kappa;ά \u0026pi;\u0026alpha;\u0026zeta;\u0026lambda;, \u0026mu;\u0026epsilon; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026gamma;\u0026rho;\u0026alpha;\u0026mu;\u0026mu;έ\u0026sigmaf;, \u0026chi;\u0026rho;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;, \u0026sigma;\u0026kappa;\u0026iota;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026phi;\u0026omega;\u0026sigmaf;. \u0026Tau;\u0026upsilon;\u0026chi;\u0026alpha;ί\u0026epsilon;\u0026sigmaf; \u0026lambda;\u0026epsilon;\u0026pi;\u0026tau;\u0026omicron;\u0026mu;έ\u0026rho;\u0026epsilon;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;ά\u0026zeta;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026sigma;\u0026chi;\u0026eta;\u0026mu;\u0026alpha;\u0026tau;ί\u0026sigma;\u0026omicron;\u0026upsilon;\u0026nu; έ\u0026nu;\u0026alpha; \u0026epsilon;\u0026nu;\u0026iota;\u0026alpha;ί\u0026omicron; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026sigma;\u0026iota;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;ό \u0026sigma;ύ\u0026nu;\u0026omicron;\u0026lambda;\u0026omicron;. \u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026epsilon;\u0026pi;ί\u0026sigma;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026psi;\u0026epsilon;\u0026upsilon;\u0026delta;\u0026alpha;ί\u0026sigma;\u0026theta;\u0026eta;\u0026sigma;\u0026eta; \u0026mu;\u0026iota;\u0026alpha;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;\u0026epsilon;\u0026nu;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf;. \u0026Eta; \u0026alpha;\u0026nu;\u0026tau;ί\u0026lambda;\u0026eta;\u0026psi;ή \u0026mu;\u0026alpha;\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026delta;\u0026iota;\u0026alpha;\u0026sigma;\u0026tau;\u0026rho;\u0026epsilon;\u0026beta;\u0026lambda;ώ\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta;\u0026nu; ά\u0026pi;\u0026omicron;\u0026psi;\u0026eta; \u0026pi;\u0026omicron;\u0026upsilon; \u0026upsilon;\u0026iota;\u0026omicron;\u0026theta;\u0026epsilon;\u0026tau;\u0026omicron;ύ\u0026mu;\u0026epsilon;, \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026nu; \u0026tau;ό\u0026pi;\u0026omicron; \u0026pi;\u0026omicron;\u0026upsilon; \u0026zeta;\u0026omicron;ύ\u0026mu;\u0026epsilon;, \u0026alpha;\u0026pi;ό \u0026tau;\u0026alpha; \u0026gamma;\u0026epsilon;\u0026gamma;\u0026omicron;\u0026nu;ό\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026beta;\u0026lambda;έ\u0026pi;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon; \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026kappa;\u0026omicron;ύ\u0026mu;\u0026epsilon;, \u0026kappa;\u0026alpha;\u0026theta;ώ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026rho;ό\u0026pi;\u0026omicron; \u0026zeta;\u0026omega;ή\u0026sigmaf; \u0026mu;\u0026alpha;\u0026sigmaf;. \u0026Eta; \u0026pi;\u0026rho;ό\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Pi;\u0026alpha;\u0026kappa;έ \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026sigma;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota; \u0026xi;\u0026epsilon;\u0026kappa;ά\u0026theta;\u0026alpha;\u0026rho;\u0026eta; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026pi;ί\u0026delta;\u0026rho;\u0026alpha;\u0026sigma;\u0026eta; \u0026alpha;\u0026upsilon;\u0026tau;ή\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026upsilon;\u0026pi;\u0026omicron;\u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;\u0026epsilon;\u0026nu;\u0026iota;\u0026kappa;ή\u0026sigmaf; ά\u0026pi;\u0026omicron;\u0026psi;\u0026eta;\u0026sigmaf;. \u0026Mu;\u0026alpha;\u0026sigmaf; \u0026delta;\u0026epsilon;ί\u0026chi;\u0026nu;\u0026epsilon;\u0026iota; \u0026pi;ώ\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ά \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026mu;έ\u0026rho;\u0026eta; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026omicron;ύ\u0026nu; \u0026nu;\u0026alpha; \u0026delta;ώ\u0026sigma;\u0026omicron;\u0026upsilon;\u0026nu; \u0026nu;ό\u0026eta;\u0026mu;\u0026alpha; \u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026sigma;ύ\u0026nu;\u0026omicron;\u0026lambda;\u0026omicron;. \u0026Eta; \u0026Pi;\u0026alpha;\u0026kappa;έ \u0026pi;\u0026rho;\u0026omicron;\u0026omega;\u0026theta;\u0026epsilon;ί \u0026tau;\u0026eta;\u0026nu; \u0026iota;\u0026delta;έ\u0026alpha; ό\u0026tau;\u0026iota; \u0026eta; \u0026zeta;\u0026omega;ή \u0026delta;\u0026epsilon;\u0026nu; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;\u0026alpha;\u0026rho;\u0026alpha;ί\u0026tau;\u0026eta;\u0026tau;\u0026omicron; \u0026nu;\u0026alpha; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026rho;έ\u0026phi;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026gamma;ύ\u0026rho;\u0026omega; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta; \u0026gamma;\u0026nu;ώ\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026nu;ό\u0026eta;\u0026sigma;\u0026eta;. \u0026Omicron; \u0026tau;\u0026rho;ό\u0026pi;\u0026omicron;\u0026sigmaf; \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026nu; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026omicron; \u0026sigma;\u0026chi;\u0026epsilon;\u0026tau;ί\u0026zeta;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026omicron;\u0026iota; ά\u0026nu;\u0026theta;\u0026rho;\u0026omega;\u0026pi;\u0026omicron;\u0026iota; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026pi;\u0026omicron;\u0026lambda;ύ \u0026pi;\u0026iota;\u0026omicron; \u0026omicron;\u0026upsilon;\u0026sigma;\u0026iota;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ό\u0026sigmaf;. Ό\u0026lambda;\u0026alpha; \u0026tau;\u0026alpha; \u0026upsilon;\u0026pi;ό\u0026lambda;\u0026omicron;\u0026iota;\u0026pi;\u0026alpha; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;\u0026lambda;ώ\u0026sigmaf; \u0026mu;\u0026iota;\u0026alpha; \u0026epsilon;\u0026kappa;\u0026delta;ή\u0026lambda;\u0026omega;\u0026sigma;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026iota;\u0026gamma;\u0026mu;ή\u0026sigmaf;.\u003c/p\u003e\r\n","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/000/007/694/medium_500/inch.jpg?1465914276","cached_actor_names":"Ria Pacquée","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/694/large/inch.jpg?1465914276","poster_credits":"(c)Ria Pacquée, image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe video \u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e is composed of short, individual film excerpts that are edited together. Pacqu\u0026eacute;e zaps from East to West, between countries including Belgium, Israel, France and Tunisia. Everyday events and impressions of human actions are juxtaposed with each other, from the sometimes carnivalesque life of Northern Europe to the intimate beauty of such regions as Yemen and Morocco. There is no narrative nor hierarchical structure to the images. They are underpinned by a voice-over that includes passages from \u003cem\u003eThe Book of Questions\u003c/em\u003e (1967) by the French-Jewish writer Edmond Jab\u0026egrave;s. Like this book, the film is a mosaic of extracts, aphorisms and visual dialogues that revolve around a central question: how can one make the invisible visible?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e is a logical sequel to Pacqu\u0026eacute;e\u0026rsquo;s earlier work, in which she goes out into the streets to gather images which she then arranges in accordance with formal elements. This gives rise to auditory and visual puzzles with images of lines, colours, shade and light. Random details are combined to make a meaningful whole. This work also revolves around the illusion of an objective reality. Our perception of reality is distorted by the point of view we adopt, by the place we live, the events and images we see and hear, and the sort of life we lead. Pacqu\u0026eacute;e\u0026rsquo;s intention is to make the influence of this subjective point of view clear. She shows us how separate details and parts can give meaning to a whole. Pacqu\u0026eacute;e advances the idea that life does not necessarily revolve around knowledge and understanding. The way people relate to one another is much more essential. All the rest is just a manifestation of the moment.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe video \u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e is opgebouwd uit korte, losse, aan elkaar gemonteerde filmfragmenten. Pacqu\u0026eacute;e zapt tussen Oost en West, tussen landen als Belgi\u0026euml;, Isra\u0026euml;l, Frankrijk en Tunesi\u0026euml;. Alledaagse gebeurtenissen en impressies van het menselijke handelen worden tegenover elkaar geplaatst, van het soms carnavaleske leven in Noord-Europa tot de intieme schoonheid van streken als Jemen en Marokko. De beelden bevatten geen narratieve noch hi\u0026euml;rarchische structuur. Ze worden ondersteund door een voice-over, die passages voorleest uit \u003cem\u003eThe Book of Questions\u003c/em\u003e (1967) van de Frans-joodse auteur Edmond Jab\u0026egrave;s. Net als dit boek is de film een moza\u0026iuml;ek van fragmenten, aforismen en beelddialogen die rond een centrale vraag cirkelen: hoe kun je het onzichtbare zichtbaar maken?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e is een logisch vervolg op Pacqu\u0026eacute;e\u0026rsquo;s oudere werk. Daarin trekt de kunstenares de straat op om beelden te verzamelen die ze ordent volgens formele elementen. Zo ontstaan auditieve en visuele puzzels met beelden van lijnen, kleuren, schaduw en licht. Lukrake fragmenten worden gecombineerd tot een betekenisvol geheel. Ook dit werk draait rond de illusie van een objectieve realiteit. Onze perceptie van de werkelijkheid wordt vertekend door het standpunt dat we innemen, door de plaats waar we leven, de gebeurtenissen en beelden die we zien en horen, en het soort leven dat we leiden. Pacqu\u0026eacute;e wil de invloed duidelijk maken van dit subjectieve standpunt. Ze toont ons hoe afzonderlijke fragmenten en delen een geheel zin geven. Pacqu\u0026eacute;e oppert de idee dat het leven niet noodzakelijk rond kennis en inzicht draait. Hoe mensen zich verhouden tot elkaar is veel essenti\u0026euml;ler. Al het overige is slechts een manifestatie van het moment.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa vid\u0026eacute;o \u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e est constitu\u0026eacute;e de courts fragments de film individuels, mont\u0026eacute;s ensemble. Pacqu\u0026eacute;e zappe entre l\u0026#39;Orient et l\u0026#39;Occident, entre des pays comme la Belgique, Isra\u0026euml;l, la France et la Tunisie. Des \u0026eacute;v\u0026eacute;nements de la vie quotidienne et des impressions d\u0026#39;actions humains sont mis en vis-\u0026agrave;-vis, de la vie parfois carnavalesque de l\u0026#39;Europe du Nord \u0026agrave; la beaut\u0026eacute; intime de pays tels que le Y\u0026eacute;men ou le Maroc. Les images sont d\u0026eacute;pourvues de structure narrative et hi\u0026eacute;rarchique. Elles sont soutenues par une voix off lisant des extraits du \u003cem\u003eLivre des Questions\u003c/em\u003e (1967), de l\u0026#39;\u0026eacute;crivain franco-juif Edmond Jab\u0026egrave;s. \u0026Agrave; l\u0026#39;instar de ce livre, le film est une mosa\u0026iuml;que de fragments, d\u0026#39;aphorismes et de dialogues visuels qui gravitent autour d\u0026#39;une question centrale : comment rendre visible l\u0026#39;invisible ?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eInch\u0026rsquo;Allah\u003c/em\u003e est une suite logique de l\u0026#39;\u0026oelig;uvre ancienne de Pacqu\u0026eacute;e. L\u0026#39;artiste se prom\u0026egrave;ne en rue pour y glaner des images qu\u0026#39;elle ordonne ensuite en fonction d\u0026#39;\u0026eacute;l\u0026eacute;ments formels. Il en r\u0026eacute;sulte de v\u0026eacute;ritables puzzles auditifs et visuels, faits d\u0026#39;images de lignes, de couleurs, d\u0026#39;ombre et de lumi\u0026egrave;re. Des fragments al\u0026eacute;atoires sont combin\u0026eacute;s pour former un ensemble coh\u0026eacute;rent. Cette \u0026oelig;uvre aussi est ax\u0026eacute;e sur l\u0026#39;illusion d\u0026#39;une r\u0026eacute;alit\u0026eacute; objective. Notre perception de la r\u0026eacute;alit\u0026eacute; est fauss\u0026eacute;e par le point de vue que nous adoptons, par l\u0026#39;endroit o\u0026ugrave; nous vivons, par les \u0026eacute;v\u0026eacute;nements et les images que nous voyons et entendons, et par le type de vie que nous menons. Pacqu\u0026eacute;e veut mettre en \u0026eacute;vidence l\u0026#39;influence de ce point de vue subjectif. Elle nous montre comment des fragments et des composantes distincts peuvent donner du sens \u0026agrave; un ensemble. Pacqu\u0026eacute;e sugg\u0026egrave;re l\u0026#39;id\u0026eacute;e que la vie ne se r\u0026eacute;duit pas toujours n\u0026eacute;cessairement \u0026agrave; la connaissance et \u0026agrave; l\u0026#39;intelligence. La fa\u0026ccedil;on dont les \u0026ecirc;tres humains sont en relation les uns avec les autres est beaucoup plus fondamentale. Tout le reste n\u0026#39;est qu\u0026#39;une manifestation du moment.\u003c/p\u003e\r\n"}]},{"id":4030,"title":"Zes foto's van verschillende performances 1982 - 1988 [Six photographs of various performances 1982 - 1988]","dimensions":"6 x (40 x 50 cm)","date_begin":"1989-01-01","material":"colour photograph, marouflage on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Ria Pacquée","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK005760_002","stream_count_app":90,"permalink":"zes-foto-s-van-verschillende-performances-1982-1988-six-photographs-of-various-performances-1982-1988","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":"Ria Pacquée","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/702/large/Image%202.jpg?1331721028","poster_credits":"©Ria Pacquée","translations":[{"locale":"en","description":"\u003cp\u003eThese photographs are images of performances in which the artist reveals fragments from the life of \u0026lsquo;Madame\u0026rsquo;. \u0026lsquo;Madame\u0026rsquo; is a character brought to life by Ria Pacqu\u0026eacute;e in 1981, and played by herself. Photographs are made of her comings and goings, and then printed on canvas. In her first apparitions, \u0026lsquo;Madame\u0026rsquo; cut a rather pathetic figure; a housebound woman addicted to television, sherry and valium. The photograph of \u0026lsquo;Madame\u0026rsquo; in a dilapidated interior strewn with empty beer bottles is typical of this period.\u003c/p\u003e\r\n\r\n\u003cp\u003eAs the years go by, however, \u0026lsquo;Madame\u0026rsquo; grows into a lonely \u0026lsquo;folk-woman\u0026rsquo; with gray hair and thick spectacles. From here on, she becomes active outside the house, and takes part in all sorts of activities. She is in constant search of something, something that may in one way or another complete her \u0026ndash; a sweetheart, a husband or just company. She tries to become part of a crowd, but doing so she is only further confronted with her loneliness. So, for example, she sells \u0026lsquo;souvenirs of the man I\u0026rsquo;ve loved\u0026rsquo; at some little market stall, or plays the toilet attendant in a public institution, or has herself photographed in a tasteless interior decorated with canine portraits.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe photographs of \u0026lsquo;Madame\u0026rsquo; offer us a glimpse into the world of a woman of few means and bereft of social contacts. Pacqu\u0026eacute;e combines tragedy with a certain sense of humor, but without ever being hurtful. And although humor plays its part, the photographs speak to us of the endless loneliness of individuals who do their best to make it through their daily lives in a somewhat satisfying way.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze foto\u0026rsquo;s zijn beelden van performances waarin de kunstenares fragmenten uit het leven van \u0026lsquo;Madame\u0026rsquo; blootlegt. \u0026lsquo;Madame\u0026rsquo; is een personage dat Ria Pacqu\u0026eacute;e in 1981 in het leven heeft geroepen en dat door haarzelf wordt gespeeld. Van haar doen en laten zijn foto\u0026rsquo;s gemaakt die afgedrukt werden op schildersdoek. In haar eerste optredens was \u0026lsquo;Madame\u0026rsquo; een deerniswekkende, aan televisie, sherry en valium verslaafde vrouw die aan huis gekluisterd was. De foto van \u0026lsquo;Madame\u0026rsquo; in een vervallen interieur met lege bierflesjes typeert deze periode.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn de loop der jaren groeit \u0026lsquo;Madame\u0026rsquo; echter uit tot een eenzame volksvrouw met grijze haren en een bril met zwaar montuur. Vanaf dan is ze juist actief buitenshuis en neemt ze deel aan allerlei activiteiten. Ze is steeds op zoek naar iets, iets wat haar op \u0026eacute;\u0026eacute;n of andere manier kan vervolledigen, een geliefde, een echtgenoot of gewoon gezelschap. Ze wil opgaan in de massa, maar wordt hierdoor enkel met haar eenzaamheid geconfronteerd. Zo verkoopt ze bijvoorbeeld aan een kraampje op \u0026eacute;\u0026eacute;n of andere markt \u0026quot;souvenirs of the man I\u0026rsquo;ve loved\u0026quot;\u0026nbsp;(souvenirs van de man waarvan ik hield), speelt ze toiletdame in een openbare instelling of laat ze zich samen met een hond fotograferen in een smakeloos interieur dat gedecoreerd is met hondenportretten.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe foto\u0026rsquo;s van \u0026lsquo;Madame\u0026rsquo; laten de belevingswereld van een vrouw met een minimum aan middelen en sociale contacten zien. Hierbij wordt tragiek gecombineerd met een zekere vorm van humor, maar zonder ooit kwetsend te zijn. Hoewel licht humoristisch, spreken deze foto\u0026rsquo;s wel van een eindeloze eenzaamheid van individuen die moeite doen om op een bevredigende manier deel te nemen aan het dagelijks leven.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCes photographies sont des images de performances dans lesquelles l\u0026rsquo;artiste d\u0026eacute;voile des passages de la vie de \u0026laquo;\u0026nbsp;Madame\u0026nbsp;\u0026raquo;, un personnage que Ria Pacqu\u0026eacute;e a invent\u0026eacute; en 1981 et qu\u0026rsquo;elle incarnait elle-m\u0026ecirc;me. Elle faisait photographier ses faits et gestes et imprimait ensuite les images sur toile. Dans ses premi\u0026egrave;res performances, Madame \u0026eacute;tait une femme pitoyable, accro \u0026agrave; la t\u0026eacute;l\u0026eacute;vision, au sherry et au valium, clo\u0026icirc;tr\u0026eacute;e chez elle. La photographie de Madame dans un int\u0026eacute;rieur d\u0026eacute;cr\u0026eacute;pit, jonch\u0026eacute; de bouteilles de bi\u0026egrave;re vides caract\u0026eacute;rise cette p\u0026eacute;riode.\u003c/p\u003e\r\n\r\n\u003cp\u003eAu fil des ann\u0026eacute;es, Madame a cependant \u0026eacute;volu\u0026eacute; en une femme du peuple, solitaire, aux cheveux gris et aux lunettes \u0026agrave; la monture \u0026eacute;paisse. D\u0026egrave;s lors, elle est devenue active hors de chez elle et a pris part \u0026agrave; diverses activit\u0026eacute;s. Elle \u0026eacute;tait constamment en qu\u0026ecirc;te de quelque chose \u0026ndash; quelque chose qui puisse la compl\u0026eacute;ter de l\u0026rsquo;une ou l\u0026rsquo;autre mani\u0026egrave;re\u0026nbsp;: un amoureux, un mari ou simplement de la compagnie. Elle souhaitait se fondre dans la masse, mais ne faisait qu\u0026rsquo;affronter sa solitude de la sorte. Ainsi, dans une \u0026eacute;choppe d\u0026rsquo;un march\u0026eacute; quelconque, elle vendait, par exemple, des \u0026laquo;\u0026nbsp;souvenirs de l\u0026rsquo;homme qu\u0026rsquo;elle a aim\u0026eacute;\u0026nbsp;\u0026raquo;, jouait la dame pipi d\u0026rsquo;une institution publique ou se faisait photographier avec son chien dans un int\u0026eacute;rieur de mauvais go\u0026ucirc;t, d\u0026eacute;cor\u0026eacute; avec des portraits de chiens.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes photographies de Madame illustrent le monde d\u0026rsquo;une femme qui dispose d\u0026rsquo;un minimum de moyens et de contacts sociaux. L\u0026rsquo;artiste combine ce faisant le tragique avec une certaine forme d\u0026rsquo;humour, toutefois sans jamais \u0026ecirc;tre blessante. Bien que l\u0026eacute;g\u0026egrave;rement humoristiques, ces photographies parlent d\u0026rsquo;une solitude infinie d\u0026rsquo;individus qui se donnent la peine de participer de mani\u0026egrave;re satisfaisante \u0026agrave; la vie quotidienne.\u003c/p\u003e\r\n"}]},{"id":20129,"title":"GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster, Jrg.8, nr.2, 1 maart 1989","dimensions":"57.7 x 41.7 cm, 3 p., ill., language : Dutch, publisher : Galerij van de Akademie Van Waasmunster","date_begin":"1989-01-01","material":"Ink, paper","short_description":"\u003cp\u003eArtikelen :\u0026nbsp;\u003c/p\u003e\u003cp\u003e- Ria Pacquée\u003c/p\u003e\u003cp\u003e-\u0026nbsp;Films over Christian Boltanski : Quelques Activités de C.B. + Christian Boltanski par Alain Fleischer (Delphine Renard \u0026amp; Christian Boltanski)\u003c/p\u003e\u003cp\u003e-\u0026nbsp;L'Age d'Or van Luis Buñuel, met medewerking van Salvador Dali\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"T \u0026 P/GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster","stream_count_app":26,"permalink":"ga-tijdschrift-van-de-galerij-van-de-akademie-van-waasmunster-jrg-8-nr-2-1-maart-1989","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/000/043/105/medium_500/Image00062.jpg?1546511286","cached_actor_names":"Christian Boltanski, Luis Buñuel , Salvador Dalí, Ria Pacquée, Wilfried Huet","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/105/large/Image00062.jpg?1546511286","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]