[{"id":8927,"title":"Hollands Kabinet","dimensions":"558 x (26 x 18 cm)","date_begin":"2010-01-01","material":"watercolor, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection VAM, Eindhoven","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2012-01-01","reference":"","stream_count_app":15,"permalink":"hollands-kabinet","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/000/020/479/large/20120123_0198_1_.jpg?1391173335","poster_credits":"(c)Sara van der Heide","translations":[{"locale":"en","description":"** *The serial work Hollands Kabinet [Dutch Cabinet] consists of 558 drawings. The same amount of days the 'Kabinet Rutte' was in power. The serial work is about word play, shaping time and over the time it became a diary journal of the political roaring times in the Netherlands from the period 14 October 2010 till 23 April 2012.*  - Sara van der Heide**\r\n\r\nIn contrast to a conventional and linear history of art however, *Hollands Kabinet [Dutch Cabinet]* does not divide the '-isms' into clearly demarcated categories. To the contrary, here the images mix and morph in a loop of red, white and black colour fields. We constantly seem to recognize one particular period or another, or a typical stylistic feature. The images and their connotations constantly transform and combine via dissolves. In reality, these are all 'original' graphic works from the artist herself. \r\n\r\nThe slow, almost ritual succession of slides induces a meditative mood. Throughout time and in most cultures, the association of the colours red-white-black is seen as a powerful combination that refers to the cycle of birth, life and death.\r\n\r\n\r\n"},{"locale":"nl","description":"** *The serial work Hollands Kabinet [Dutch Cabinet] consists of 558 drawings. The same amount of days the 'Kabinet Rutte' was in power. The serial work is about word play, shaping time and over the time it became a diary journal of the political roaring times in the Netherlands from the period 14 October 2010 till 23 April 2012.* - Sara van der Heide**\r\n\r\nMaar in tegenstelling tot een conventionele en lineaire kunstgeschiedenis, onderscheidt *Hollands Kabinet* de “–ismes” niet in helderde kenmerkende categorieën, integendeel. In de plaats daarvan mengen en morphen de beelden in een loop van rood, wit en zwart. Voortdurend menen we een andere periode of typische stijltrek te herkennen. Overvloeiers doen de beelden en hun connotaties voortdurend transformeren en combineren. In werkelijkheid zijn het allemaal ‘originele’ grafische werkjes van de kunstenares zelf. \r\n\r\nDe trage, bijna rituele opeenvolging van dia’s brengt een meditatieve gemoedstoestand teweeg. De kleurcombinatie rood-wit-zwart wordt (doorheen de tijd en in de meeste culturen) gezien als een sterke combinatie die refereert naar de cyclus van geboorte, leven en dood. \r\n\r\n\r\n"},{"locale":"fr","description":"Mais contrairement à l’histoire de l’art conventionnelle et linéaire, cette œuvre ne catalogue pas les « -ismes » en catégories caractéristiques distinctes. En lieu et place, elle mélange et morphe les images dans une boucle de rouge, blanc et noir. On pense en permanence reconnaître une autre période ou un trait stylistique typique. Les fondus transforment et conjuguent sans cesse les images et leurs connotations. En réalité, ce sont toutes des œuvres graphiques « originales » de l’artiste en personne. \r\nLa succession lente, quasi rituelle des diapositives génère un état d’âme méditatif. La combinaison des couleurs rouge, blanc et noir est perçue (à travers le temps et dans la plupart des cultures) comme une juxtaposition puissante qui renvoie au cycle naissance, vie, mort. \r\n"}]},{"id":31156,"title":"Four Months, Four Million Light Years","dimensions":"Variable dimensions","date_begin":"2020-01-01","material":"Film installation, watercolours, paper- and textile banners","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"four-months-four-million-light-years","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/000/085/823/medium_500/_WIM2403.jpg?1661264120","cached_actor_names":"Sara van der Heide","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/000/085/823/large/_WIM2403.jpg?1661264120","poster_credits":"©Sara Sejin Chang (Sara van der Heide). Photo: Wim Van Eesbeek","translations":[{"locale":"en","description":"\u003cp\u003eHer installation \u003cem\u003eFour Months, Four Million Light Years\u003c/em\u003e consists of a film, a series of drawings and text works on paper and fabric that engulf the installation space. The work presents a shamanic healing journey through space and time, addresses the colonial narratives behind transnational and transracial adoption, through the historical relations between The Netherlands and Korea. In the Netherlands alone around 40,000 people have been adopted from the Global South, often through child trafficking and with falsified documents. The four months of the title refer to a Korean decree, which required children to stay a minimum of four months in a Korean orphanage in order to become adoptable by law for the lucrative transnational and transracial industry. This industry started to flourish after the Korean War and still perpetuates the same colonial relations from 300 years ago. Chang, in her multi-layered and evocative installation, refers to historical events such as the participation of Dutch soldiers in the deadly Korean War (1950\u0026ndash;1953), early Dutch colonial descriptions of Asian people and contemporary Dutch society. Shamanic poems, songs and visions invoke the ancestors for support. The work is an homage to those who have been cut off from their mothers, fathers, families, ancestors, land, culture and spirits.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8928,"title":"Art History","dimensions":"21:00 min","date_begin":"2011-01-01","material":"2 x 80 slides","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy De Vleeshal, Middelburg (The Netherlands)","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"VH0320","stream_count_app":23,"permalink":"art-history","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":"Sara van der Heide","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/000/020/489/large/image001_3_1_.jpg?1391177011","poster_credits":"(c)Sara van der Heide","translations":[{"locale":"en","description":"\u003cp\u003eBe it with her paintings, drawings or performance pieces, the multi-layered work of Sara van der Heide (b. 1977) always leaves room for a variety of interpretations. She treasures this openness; each image simultaneously has diverse layers of meaning awaiting potential discovery. This 'simultaneity' is particularly made manifest as a strategy in her piece *Art History* (2011). The work consists of two slide carousels, each with eighty graphic images of red, white and black drawings that Sara van der Heide has alternate in an automated projection. As for the technique of presentation, the endless series of slides is reminiscent of traditional academic classes in art history from the past. The abstract drawings refer back to constructivism and abstract expressionism, but also to so-called 'primitive' art and applied design.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe formele en inhoudelijke gelaagdheid van het werk van Sara van der Heide (°1977) biedt altijd ruimte voor verschillende interpretaties, of ze nu met schilderijen, tekeningen, installaties of performance werkt. Sara van der Heide koestert die openheid, in elk beeld zitten telkens meerdere betekenislagen tegelijk verborgen. Die ‘gelijktijdigheid’ is in het bijzonder een strategie die ze met *Art History* (2011) sterk uitspeelt. Het werk bestaat uit twee dia-carrousels met elk tachtig grafische beelden van rode, witte en zwarte tekeningen die van der Heide laat alterneren in een geautomatiseerde projectie. De eindeloze reeks dia’s herinnert ons qua techniek aan de traditionele academische lessen kunstgeschiedenis van weleer. De abstracte tekeningen refereren naar het constructivisme en abstract expressionisme, maar evengoed naar zogenoemde “primitieve” kunst en toegepaste ontwerpen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eLa stratification de la forme et du contenu dans l’œuvre de Sara van der Heide (°1977) permet toujours de multiples interprétations, qu’elle s’adonne à la peinture, au dessin, à l’installation ou à la performance. Sara van der Heide affectionne cette ouverture et chaque image recèle plusieurs niveaux de lecture. Cette simultanéité est une stratégie qu’elle applique en particulier dans *Art History* (2011). L’œuvre -ismes » en catégories caractéristiques distinctes. En lieu et place, elle mélange et morphe les images dans une boucle de rouge, blanc et noir. On pense en permanence reconnaître une autre période ou se compose de deux carrousels de diapositives, chacun doté de quatre-vingts dessins rouge, blanc et noir que l’artiste alterne dans une projection automatisée. Sur le plan de la technique, la série infinie de diapositives nous rappelle les cours d’histoire de l’art académiques d’antan. Les dessins abstraits font référence au constructivisme et à l’expressionnisme abstrait, mais tout autant à l’art dit 'primitif' et appliqué. Mais contrairement à l’histoire de l’art conventionnelle et linéaire, cette œuvre ne catalogue pas les «un trait stylistique typique. Les fondus transforment et conjuguent sans cesse les images et leurs connotations. En réalité, ce sont toutes des œuvres graphiques « originales » de l’artiste en personne. La succession lente, quasi rituelle des diapositives génère un état d’âme méditatif. La combinaison des couleurs rouge, blanc et noir est perçue (à travers le temps et dans la plupart des cultures) comme une juxtaposition puissante qui renvoie au cycle naissance\u003c/p\u003e"}]}]