{"id":13863,"title":"Zelfportret in travestie / Self-portrait in Drag ","dimensions":"","date_begin":"1974-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Estate Hugo Roelandt","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":74,"permalink":"zelfportret-in-travestie-self-portrait-in-drag","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/822/medium_500/1974_Zelfportretten_in_travestie_%285%29.JPG?1739270558","cached_actor_names":"Hugo Roelandt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"category":{"en":"Photography","nl":"Fotografie","fr":"Photographie"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/822/large/1974_Zelfportretten_in_travestie_%285%29.JPG?1739270558","poster_credits":"© Estate Hugo Roelandt","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eHugo Roelandt created an extensive series of self-portraits in which he dressed in women’s clothes, striking assured and seductive poses. These works reflect the experimental spirit of ‘70s cultural icons such\u0026nbsp;as David Bowie and director Rainer Werner Fassbinder, who intertwined gender expression with their art. Crucially, the series is\u0026nbsp;deeply connected to the tradition of the \u003ci\u003eVoil Jeanetten\u003c/i\u003e at the Aalst Carnival, an event Roelandt participated in faithfully in almost every\u0026nbsp;year of his life. On the festival’s final day, men parade through the streets dressed flamboyantly as women, donning fur coats, pushing baby carriages or even wearing lampshades as headgear. Rooted in the ritual reversals of carnival, this tradition aims to disrupt\u0026nbsp;societal norms by embracing opposing roles and subverting the established social order. Roelandt’s \u003ci\u003eSelf-Portraits in Drag\u003c/i\u003e are\u0026nbsp;some of his formative works, highlighting the interaction between performance and photography.\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eHugo Roelandt maakte een reeks zelfportretten waarin hij in vrouwenkleren verleidelijke poses aannam. Deze werken weerspiegelen de\u0026nbsp;experimentele geest van culturele iconen uit de jaren 70, zoals David Bowie en regisseur Rainer Werner Fassbinder, die genderexpressie met hun kunst verweefden. De reeks is sterk verbonden met\u0026nbsp;de traditie van de \u003ci\u003eVoil Jeanetten\u003c/i\u003e op het Aalsters carnaval, een evenement waaraan Roelandt zijn hele leven trouw deelnam. Op de\u0026nbsp;laatste dag van het festival paraderen mannen door de straten, opzichtig als vrouwen gekleed, met bontjassen, kinderwagens of\u0026nbsp;zelfs lampenkappen op hun hoofd. Deze traditie is geworteld in het\u0026nbsp;‘omkeringsritueel’ van carnaval, dat maatschappelijke normen wil\u0026nbsp;verstoren door tegengestelde rollen te omarmen. Roelandts \u003ci\u003eZelfportretten in travestie\u003c/i\u003e behoren tot zijn vroegste werken, en stellen de interactie tussen performance en fotografie centraal.\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eHugo\u0026nbsp;Roelandt a réalisé une vaste série d’autoportraits dans lesquels il s’habille en femme et adopte des poses assurées et séduisantes. Ces œuvres reflètent l’esprit expérimental des icônes culturelles des années\u0026nbsp;70, telles que David\u0026nbsp;Bowie et le réalisateur Rainer Werner Fassbinder, qui ont imbriqué l’expression de genre à leur art. La série est fondamentalement liée à la tradition des «Vuil Jeanetten » [sales tantouses] au carnaval d’Alost, un événement auquel Roelandt a fidèlement pris part presque chaque année de sa vie. La coutume de ce carnaval veut que le dernier jour des cortèges, des hommes déguisés avec flamboyance en femmes défilent dans les rues\u0026nbsp;en poussant des landaus, emmitouflés dans des manteaux de fourrure, ou affublés d’abat-jour en guise de couvre-chef. Enracinée dans les\u0026nbsp;rituel d’inversion, typiques des carnavals, cette tradition vise à ébranler les normes sociétales, à endosser des rôles opposés et à\u0026nbsp;subvertir le\u0026nbsp;temps de la fête l’ordre social établi. Les \u003ci\u003eAutoportraits \u003c/i\u003ede Roelandt font partie de ses œuvres formatrices qui\u0026nbsp;soulignent l’interaction entre la performance et la photographie.\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1660,"name":"Hugo Roelandt","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}