[{"id":13114,"title":"Way of an Object / Путь объекта (original title)","dimensions":"155 x 80 x 52 cm","date_begin":"2013-01-01","material":"theatre with three objects-turned-puppets, a Kubachi marriage bracelet, a carved wooden saltbox and a painting by Russia’s Viktor Vasnetsov of a prophet bird","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"M HKA, Antwerp / Donated by the V-A-C Foundation, Moskow, 2015","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0504_1","stream_count_app":105,"permalink":"way-of-an-object","description_ru":"\u003cp\u003e\u003cstrong\u003eПуть объекта. 2013, серия из трех марионеток,\u0026nbsp;смешанная техника\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eДля работы «Путь объекта» Махачева выбирает три артефакта: картину русского живописца В. М. Васнецова «Гамаюн, птица вещая», резную деревянную солонку XIX века и свадебный браслет из с. Кубачи. Художница хочет освободить эти музейные предметы, находящиеся в собственности Республики Дагестан, даровать им свободу движения и способность говорить. Объекты, которые обрели руки и ноги, оживают в представлении артистки кукольного театра Екатерины Касабовой и сценариста Андрея Курешкова, который заставляет их рассуждать о собственной роли в истории Дагестана. При этом в тот момент, как они будто бы оживают, оказывается, что они по-прежнему неспособны мыслить или говорить самостоятельно. Они остаются марионетками и напоминают нам о том, что в истории решающий вопрос всегда таков: «Кто на самом деле говорит?». Более того, «Путь объекта» можно рассматривать как призыв к тому, чтобы придать более значимую роль произведениям в региональных музеях.\u003c/p\u003e","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/000/029/930/medium_500/Taus_Makacheva.jpg?1444924695","cached_actor_names":"Taus Makhacheva","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/000/029/930/large/Taus_Makacheva.jpg?1444924695","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eFor \u003ci\u003eWay of an Object,\u003c/i\u003e Makhacheva selects three artifacts: a painting by the Russian painter V.M. Vasnetsov, a wooden saltcellar and a ceremonial wedding armband. The artist wishes to free these museum pieces native to the Republic of Dagestan from their inability to function and to speak. The objects are provided with arms and legs, and brought to life in a street performance by puppeteer Ekaterina Kasabova and with a script by Andrey Kureshkov, that has the objects debate about their role in Dagestan's history. And while they seem to come to life, the artifacts are still unable to think or speak independently. They remain marionettes and remind us of the fact that history's most determinative question always is: \"Who's doing the talking?\" Moreover, \u003ci\u003eWay of an Object\u003c/i\u003e may be seen as a plea to find a more active role for objects in local museums.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eVoor \u003ci\u003eWay of an Object \u003c/i\u003eselecteert Makhacheva drie artefacten: een schilderij van de Russische schilder V.M. Vasnetsov, een houten zoutvaatje en een ceremoniële huwelijksarmband. De kunstenaar wil deze museumstukken uit de Republiek Dagestan bevrijden van hun onvermogen om te functioneren en te spreken. De objecten worden voorzien van benen en armen en worden geanimeerd door een straatoptreden van poppenspeler Ekaterina Kasabova in een script van Andrey Kureshkov.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eDe voorwerpen debatteren over hun rol in de geschiedenis van Dagestan. Hoewel ze tot leven lijken te komen, zijn de artefacten nog steeds niet in staat zelfstandig te denken of spreken, het blijven marionetten. Maar ze wijzen ons wel op een belangrijke vraag binnen de geschiedenis: “Wie is er aan het woord?” Daarnaast kan \u003ci\u003eWay of an Object\u003c/i\u003e gezien worden als een pleidooi om op zoek te gaan naar een meer actieve rol voor objecten in lokale musea.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003ePour \u003ci\u003eWay of an Object\u003c/i\u003e, Makhacheva a sélectionné trois artefacts: un tableau du peintre russe V. M. Vasnetsov, une salière en bois et un bracelet nuptial. L’artiste, qui souhaite libérer ces pièces muséales – originaires de la République du Daguestan – de leur incapacité à fonctionner et à parler, les dote de jambes et de bras. Animés par la marionnettiste Ekaterina Kasabova lors d’un spectacle de rue écrit par Andrey Kureshkov, les objets débattent de leur rôle dans l’histoire du Daguestan. Bien qu’ils semblent s’animer, les artefacts ne sont pas pour autant en mesure de penser ou de parler de manière autonome. Cela reste des marionnettes qui nous rappellent que la question la plus importante tout au long de l’histoire est toujours: «\u0026nbsp;Qui a la parole\u0026nbsp;?\u0026nbsp;» Par ailleurs, \u003ci\u003eWay of an Object\u003c/i\u003e peut être vu comme un plaidoyer pour partir en quête d’un rôle plus actif pour les objets de nos musées locaux.\u003c/p\u003e"}]},{"id":28210,"title":"Supiltar","dimensions":"23 x 5 x 7 cm (x2)","date_begin":"2017-01-01","material":"wood","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":118,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp style=\"text-align:justify\"\u003elepelvormig houten voorwerp [er is een tweede exemplaar van deze editie op dezelfde standplaats, in doosje en met cerificaat]\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003e\u0026lsquo;Moustache spoon\u0026rsquo; (designed to protect facial hair from food spillage)\u0026mdash; custom-made replicas of the original early 20th-century Dagestani cutlery from the Dagestan Museum of Fine Arts\u003c/p\u003e\r\n","date_end":null,"reference":"S0573_01 — S0573_02","stream_count_app":43,"permalink":"zonder-titel-9d59a2bb-aa9d-4674-85b9-d75de928f1a0","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/000/086/271/medium_500/Taus_Web-029_2.jpg?1661780054","cached_actor_names":"Taus Makhacheva","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":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eDuring a residency at London\u0026rsquo;s Delfina Foundation, Makhacheva staged a special dinner event under the title \u003cem\u003e\u0026lsquo;Gazing At The Highlanders, Gazing From The Highlands\u0026rsquo; \u003c/em\u003e(2015), exploring questions of memory, history, and geopolitics. The dishes spanned from the time of the Caucasian War (1817-1864) till the present. The food was accompanied by \u0026lsquo;moustache spoons\u0026rsquo; (designed to protect facial hair from food spillage)\u0026mdash; custom-made replicas of the original early 20th-century Dagestani cutlery from the Dagestan Museum of Fine Arts. Similar to her \u0026lsquo;Caspian Sea\u0026rsquo; (2014) performance, the event explored food as a metaphor articulating complex geopolitical histories.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31768,"title":"Types du Caucase","dimensions":"91 x (ca. 14 x 9 cm)","date_begin":"2013-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"M HKA / Donation of the artist, 2015","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2015-01-01","reference":"S0504_3","stream_count_app":99,"permalink":"types-du-caucase","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/000/086/829/medium_500/2022_MAKHACHEVA__Taus_S0504_3_photoM_HKA_clinckx_3.jpg?1663158885","cached_actor_names":"Taus Makhacheva","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/000/086/826/large/2022_MAKHACHEVA__Taus_S0504_3_photoM_HKA_clinckx_1.jpg?1663158699","poster_credits":"© Taus Makhacheva. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eTypes du Caucase \u003c/em\u003eis a set of 19th-century postcards from Taus Makhacheva\u0026rsquo;s personal archive. The life and customs of the peoples of the Caucasus appear on postcards as an exoticized representation of the Other. The captions on the postcards are written in Russian and French, which designates them as being for the members of the elites of that time. Examples of \u0026lsquo;popularised ethnography\u0026rsquo; of the Russian Empire, such \u0026lsquo;picturesque\u0026rsquo; photographs are the product of orientalism that served as an instrument of colonial policy.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet veelluik \u0026#39;Types du Caucase\u0026#39; bestaat uit een eenennegentig \u003cem\u003efound objects\u003c/em\u003e, antieke Russische postkaarten die deel uitmaakten van de persoonlijke collectie van de kunstenaar, die staand op plankjes aan een wand worden gepresenteerd. De postkaarten tonen stereotiepe voorstellingen van diverse Kaukasische personen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":32930,"title":"Mining serendipity","dimensions":"Chain: 47 cm / wooden box: 11 x 17 x 7 cm ","date_begin":"2020-01-01","material":"Brass, glass, gold, black porcelain  ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp.","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSet of body-oriented artefacts. Unlimited, unsigned, numbered edition .\u003c/p\u003e\r\n\r\n\u003cp\u003eDesigned in collaboration with the Moscow based jewellery studio Mineral Weather\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eCommissioned by the Frans Masereel Centrum, as part of the offline and off-site group project Solitude (autumn-winter 2020/2021).\u003c/strong\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"M00389","stream_count_app":27,"permalink":"mining-serendipity","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/000/086/247/medium_500/Mining_serendipity.jpg?1661769112","cached_actor_names":"Taus Makhacheva","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/000/086/247/large/Mining_serendipity.jpg?1661769112","poster_credits":"© Taus Makhacheva. Photo:  Frans Masereel Centrum","translations":[{"locale":"en","description":"\u003cp\u003eCommissioned in times of increased distancing, \u003cem\u003eMining Serendipity\u003c/em\u003e is a toolkit that represents the potentialities for the new modes of coexistence in the world. The work draws upon ideas proposed by Soviet futurologists during the 1971 Sochi conference on psychotechnics as well as the visions stretching from the mediaeval times to contemporary theories of collectivity such as Rupert Sheldrake\u0026rsquo;s \u0026lsquo;morphic resonance\u0026rsquo;.\u0026nbsp; The fully dismountable set includes a sectional case, a segmented chain and seven pendants that can be assembled in any possible combination. The necklace with seven pendants represents extrasensory skills and abilities that suggest new modes of sporadic and serendipitous collectivity. Some of the artefacts stand for powers invoked by Makhacheva; for example, HSBM (Highly Superior Biographical Memory) as an empathetic ability to focus on the biographies of people and objects, and RS (Remote Synaesthesia) as a soft skill standing for non-haptic communication.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13244,"title":"Landscape","dimensions":"","date_begin":"2013-01-01","material":"series of wooden objects, carved by Kazbek Alikhov","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp - Donation V-A-C, Moscow","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eDonation of V-A-C Foundation\u003c/p\u003e\u003cp\u003e13 out of an ongoing series of wooden nozes evocating a landscape with mountains.\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":79,"permalink":"landscape","description_ru":"\u003cp\u003e\u003cstrong\u003eПейзаж. 2013 по настоящее время, дерево, смешанная техника\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eРабота «Пейзаж» – это пополняющаяся коллекция человеческих носов, сделанных из дерева и повторяющих черты северо-кавказских лиц. Есть несколько кавказских былин, повествующих о том, как мужчины теряли свои носы. Чтобы доказать свою мужественность и тем самым вернуть нос, они отправлялись в походы на подвиги. Также в аварском языке слово «мегIер» означает гору и нос одновременно. Отождествление горцев с горами и их вершинами глубоко укоренено в этом регионе. «Пейзаж» не только «раскрывает» интересные факты о связях кавказского народа со своей родиной, но намекает на стереотипы и клише, которые часто влияют на наше восприятие страны и их жителей. (Илина Коралова)\u003c/p\u003e","description_de":"\u003cp style=\"text-align:justify;\"\u003eTaus Makhacheva stammt von den Awaren, der größten ethnischen Gruppe in Dagestan, wurde in Moskau geboren und besuchte die Schule in London. Sie verwendet Objekte, Filme und Performances, um sich selbst in eine Geschichte innerhalb eines Kontextes einzufügen, wo „Nation“ nicht existiert. In \u003ci\u003eLandscape \u003c/i\u003ebilden hölzerne Nasen eine Bergkette im Miniaturformat. Die Nasen haben die Merkmale eines Durchschnitts der kaukasischen Bevölkerung. Mit einem Gefühl für Humor untersucht Makhacheva hier die Grenzen der Identifikation innerhalb einer kulturellen oder physischen Landschaft. Gleichzeitig verweist das Werk auf die jüngere Entwicklung hin zu einer bezahlbaren plastischen Chirurgie.\u003c/p\u003e","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/000/085/985/medium_500/2021_EURAZIE___photo_M_HKAclinckx__6.jpg?1661422868","cached_actor_names":"Taus Makhacheva","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/000/085/984/large/2021_EURAZIE___photo_M_HKAclinckx__12.jpg?1661422850","poster_credits":"©Taus Makhacheva. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eThe work is a collection (in progress) of wooden objects representing human noses, modelled after North Caucasian faces. In Caucasus there are several legends referring to men losing their noses. In order to find them again, and thereby to prove their manliness, they set off on adventurous journeys. In the Avar language, for instance, the word \u003ci\u003emerlep\u003c/i\u003e means ‘mountain’ as well as ‘nose’. The highlanders’ identification with their mountains and peaks is also deeply rooted in the region. \u003ci\u003eLandscape\u003c/i\u003e does not only ‘tell’ interesting facts about the bond between the Caucasian people and their homeland, but hints at the stereotypes and clichéd images that often influ­ence our knowledge of countries and their inhabitants. (Ilina Koralova)\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eLandscape is een verzameling houten voorwerpen die menselijke neuzen voorstellen, gemodelleerd naar Kaukasische types. In de Kaukasus bestaan er allerlei legendes rond mannen die hun neus verliezen. Om hun neuzen terug te vinden en zo hun mannelijkheid te bewijzen, vertrekken ze op avontuurlijke reizen. In het Avaars, de oorspronkelijke taal van Dagestan, betekent het woord merlep zowel ‘berg’ als ‘neus’. Landscape is niet alleen een reflectie op de band tussen de Kaukasische bevolking en haar moederland, maar verwijst ook naar de stereotypen en clichés die vaak onze kennis van landen en hun inwoners beïnvloeden.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eLandscape est une collection d’objets en bois représentant des nez humains modelés d’après différents archétypes caucasiens. Il existe dans le Caucase plusieurs légendes faisant référence à des hommes perdant leur nez. Afin de les retrouver, et ainsi prouver leur virilité, ces hommes se lancent dans diverses aventures. Il est utile de noter que dans la langue Avar, parlée au Daghestan, le mot « merlep » signifie à la fois « montagne » et « nez ». Landscape ne se limite pas à une réflexion sur le lien entre les populations caucasiennes et leur patrie, mais évoque également les stéréotypes et les clichés qui influencent souvent notre connaissance des pays et de leurs habitants.\u003c/p\u003e"}]},{"id":34788,"title":"Ring Road","dimensions":"50 × 90 × 75 cm, 370 kg","date_begin":"2018-01-01","material":"dolomite sculpture, contract, budget","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"M HKA, Antwerp - Donated by the artist, 2023","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eInstallation, mixed media. Dimensions variable. Sculptor: Aleksey Selivanov. Stonemason: Sergey Solovyev.\u003c/p\u003e\u003cp\u003eTaus Makhacheva\u0026nbsp;biedt M HKA een bijzonder kunstwerk aan getiteld Ring Road. Het centrale stuk van deze installatie is een 300kg zware massieve sculptuur in dolomietsteen van een berg met een cirkelvormige weg zonder begin of einde. Het is een sterk conceptueel kunstwerk in zoverre de schenking tevens een publiek voorstel inhoudt voor de aanleg van dergelijke rondweg op de berg Makhnot in Dagestan.\u003c/p\u003e\u003cp\u003eIn afwachting van de realisatie van deze weg, die geraamd is op 1 miljoen euro, verklaarde de kunstenaar het werk onverkoopbaar en uitte de wens het intussen permanent onder te brengen bij een museale instelling. \u003ci\u003eRing Road\u003c/i\u003e werd in opdracht van Stichting Cosmoscow gemaakt en tentoongesteld op de Cosmoscow beurs in 2018, het is ook doorgereisd naar Kaunas Biënnale in 2019. Onlangs was het te zien in het Fries museum in Leewarden in haar solotentoonstelling \"Its Possible to Raise the Ceiling a Bit\". Meest recent was het te zien in de New York University Art Gallery in Abu Dhabi in de tentoonstelling \"The Only Constant\".\u003c/p\u003e","date_end":null,"reference":"S0745","stream_count_app":29,"permalink":"ring-road","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/091/315/medium_500/Makhacheva_Taus_3.jpg?1699459834","cached_actor_names":"Taus Makhacheva","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/000/091/315/large/Makhacheva_Taus_3.jpg?1699459834","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eWith a stance towards contemporary society that is simultaneously humorous and critical, Taus Makhacheva's work questions classical forms of historiography and prevailing cultural conventions. The \u003ci\u003eRing Road\u003c/i\u003e project is an ambitious plan to build a highway around a mountain in Dagestan. Because the road connects nowhere to the existing road network, it serves no practical purpose. With the idea of an endless highway that leads nowhere, Makhacheva undermines the road as a symbol of power and control.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eMet een tegelijk humoristische en kritische houding tegenover de huidige maatschappij stelt het werk van Taus Makhacheva klassieke vormen van geschiedschrijving en heersende culturele conventies in vraag. Het project \u003ci\u003eRing Road\u003c/i\u003e is een ambitieus plan om een snelweg te bouwen rond een berg in Dagestan. Omdat de weg nergens aansluit op het bestaande wegennet, heeft hij in de praktijk geen functie. Met het idee voor een eindeloze snelweg die je nergens heen voert, ondermijnt Makhacheva \u0026nbsp;de weg als symbool voor macht en controle.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eAvec une attitude à la fois humoristique et critique à l’égard de la société contemporaine, l’œuvre de Taus Makhacheva remet en question les formes classiques de l’historiographie et les conventions culturelles dominantes. Le projet \u003ci\u003eRing Road\u003c/i\u003e, un ambitieux plan de construction d’autoroute autour d’une montagne au Daghestan, ne rejoint nulle part le réseau routier existant et n’a donc aucune fonction pratique. Avec l’idée d’une autoroute sans fin qui ne mène nulle part, Makhacheva sape le symbole de pouvoir et de contrôle que constitue la route.\u003c/p\u003e"}]},{"id":13224,"title":"Tightrope","dimensions":"01:16:00","date_begin":"2015-01-01","material":"4K video, colour, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"M HKA, Donated by the V-A-C Foundation, Moscow","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eCollection: Joint acquisition by M HKA and Van Abbemuseum, Eindhoven\u003c/p\u003e","date_end":null,"reference":"S0504_2","stream_count_app":120,"permalink":"tightrope","description_ru":"\u003cp\u003e\u003cstrong\u003eКанат.\u0026nbsp;2015, видео\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eВ новом видео Таус Махачевой канатоходец пересекает ущелье в горной местности Дагестана, используя произведения искусства дагестанских художников вместо балансирующего шеста или подвешивая картины на баланс. Канатоходец Расул Абакаров, потомок известной династии канатоходцев в 5-м поколении, проносит живописные и графические работы, создающие образ искусства Дагестана XX века, с одной горы на другую и складывает их в конструкцию, которая является метафорой музейного хранилища. Осуществляя этот опасный проект, Таус создает свое собственное видение истории искусства в 61 произведении, подвергая сомнению механизмы функционирования истории искусства под угрозой глубин амнезии. Балансирование картин над пропастью отображает хрупкое равновесие постсоветской субъективности, возрождающейся в поисках баланса между традиционным прошлым и национальным, местной и современной культурой. И, наконец, шаткое равновесие на канате воплощает экзистенциальный опыт художника, который всегда балансирует на грани признания и забвения. (Сильвия Франческини)\u003c/p\u003e","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/000/029/913/medium_500/Taus_Makhacheva__Tightrope_2015.jpg?1444653788","cached_actor_names":"Taus Makhacheva","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/913/large/Taus_Makhacheva__Tightrope_2015.jpg?1444653788","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eA tightrope walker crosses the abyss of a canyon in the highlands of Cauca­sians mountains using artworks of various Dagestani artists on instead of a balancing pole. The walker, Rasul Abakarov, descendant of a famous tight­rope dynasty in 5th generation, brings paintings and works on paper span­ning through the whole 20th century from one side of the mountain to the other into a structure that evokes a museum storage. By staging this risky operation, Makhacheva creates a vision of subjective institutional history of art in 61 objects, questioning the mechanisms of functioning of history of art under the threat of depths of amnesia. The way how artworks are moved above the void evokes the fragile balance of post-soviet subjectivity rein­venting itself and looking for an equilibrium between the traditional past and the national, local and contemporary culture. Ultimately the precarious balance of the tightrope embodies the existential experience of an artist always balancing on the verge of appreciation and oblivion. (Silvia Franceschini)\u003c/p\u003e\u003chr\u003e\u003cp\u003eTaus Makhacheva, \u003ci\u003eTightrope\u003c/i\u003e, 2015\u003cbr\u003e\u003cbr\u003eTightrope walker: Rasul Abakarov\u003cbr\u003eExecutive producer: Malika Alieva\u003cbr\u003eDirector of photography: Alexander Sinyagin\u003cbr\u003eCamera: Pavel Filkov\u003cbr\u003eQuadrocopter camera: Shamil Gadzhidadaev\u003cbr\u003eEditing: Alexandra Pustynnova\u003cbr\u003eColour grading: Mikhail Perelman, Nika Digital Studio\u003cbr\u003eSound engineer: Alexandra Pustynnova\u003cbr\u003eSound designer: Alexander Khokhlov\u003cbr\u003eFoley artist: Sergey Radzievsky\u003cbr\u003eMetal Structure 1: Malika Alieva, Robert Ashurbekov, Isa Charakov\u003cbr\u003eMetal Structure 2: Malika Alieva, Aliomar Aliomarov, Isa Charakov\u003cbr\u003eTightrope technical assistance: Mukhtar Abakarov\u003cbr\u003eTechnical equipment: Kinozavod\u003cbr\u003eProduction support: Abdulla Abdullaev, Patimat Abdullaeva, Patimat Ataeva, Natalia Bezrukova, Ruslan Dadashev, Gusein Gimbatov, Iraiganat Kurbanova, Magomed Magomedov, Nurmagomed Nurmagomedov, Akhmed Yusupov\u003cbr\u003eResearch: Malika Alieva, Alexandra Pustynnova\u003cbr\u003ePrinting: Marat Suleimanov\u003cbr\u003e\u003cbr\u003eWith support of the Ministry of Culture of The Republic of Dagestan, P. S. Gamzatova Dagestan Museum of Fine Arts and collection custodians Bakiyat Kakhimova, Zuriyat Dzhanbatyrova, Ravzat Otsokova, deputy director Ayshat Magomedova and director Salikhat Gamzatova, Department of Audiovisual Technologies of the College of Entrepreneurship No. 11 (Moscow), Museum of Contemporary Art Antwerp (M HKA, Belgium), Jan Van Eyck Academie, Altus Group\u003cbr\u003e\u003cbr\u003eThe work is based on the collection of P. S. Gamzatova Dagestan Museum of Fine Arts\u003cbr\u003eThe selection of artworks is loosely based on an unpublished article on the collection of P. S. Gamzatova Dagestan Museum of Fine Arts by Dzhamilya Dagirova\u003cbr\u003e\u003cbr\u003eProduction supported by Cosmoscow Artists’ Patron Programme\u003cbr\u003eCourtesy of the artist\u003cbr\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHet oeuvre van Taus Makhacheva stelt klassieke vormen van geschiedschrijving, heersende culturele conventies en genderkwesties in vraag. Met een tegelijk humoristische en kritische houding tegenover de huidige maatschappij probeert Makhacheva het hedendaagse met het nostalgische, het lokale met het globale, traditie met vooruitgang te verzoenen. In de video \u003ci\u003eTightrope \u003c/i\u003everhuist een circusartiest kunstwerken van de ene berg naar de andere, waar ze worden bijgezet in een houten constructie die doet denken aan een museumdepot. Tijdens de evenwichtsoefening vervangen de werken de balanceerstok.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL’œuvre de Taus Makhacheva interroge les formes classiques d’historiographie, les conventions culturelles dominantes et les questions de genre. Avec une attitude à la fois humoristique et critique à l’égard de la société actuelle, Makhacheva tente de réconcilier le contemporain et le nostalgique, le local et le global, la tradition et le progrès. Dans la vidéo \u003ci\u003eTightrope\u003c/i\u003e, un artiste de cirque déménage des œuvres d’art d’une pile à l’autre où il les entrepose dans une construction en bois qui fait penser à une réserve de musée. Pendant l’exercice d’équilibre, les œuvres remplacent le bâton d’équilibre.\u003c/p\u003e"}]}]