{"id":13898,"title":"Fotowerken / Performance Projekt - Photo Works / Performance Project","dimensions":"","date_begin":"1974-01-01","material":"","art_status_id":13,"legal_status_id":84,"category_id":23,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"","cached_tag_list":"Hugo Roelandt","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":85,"permalink":"photo-works-performance-project","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/622/medium_500/1974_Performance_Projekt_-_poster_by_HR_and_AMVK.JPG?1461828989","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/000/031/622/large/1974_Performance_Projekt_-_poster_by_HR_and_AMVK.JPG?1461828989","poster_credits":"(c) Estate Hugo Roelandt","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eHugo Roelandt’s first personal exhibition. He shows both photographic works\u0026nbsp;that are shot in the travesty milieu of Antwerp, and a number of self-portraits\u0026nbsp;in which the artist presents himself in different transformations. In one series\u0026nbsp;of photo’s he is dressed like a woman and takes on seductive poses. In series\u0026nbsp;of slides he\u0026nbsp;expresses different \u003ca href=\"https://hugoroelandt2.ensembles.org/events/hugo-roelandt-81971b49-f3ac-4b3d-8b65-78b51db18edc?item=13862\"\u003efeelings\u003c/a\u003e and emotions in an exaggerated\u0026nbsp;manner. Roelandt finds that the preparations for his manipulated or staged\u0026nbsp;photo’s were more\u0026nbsp;fascinating to him than the final result – and this brings\u0026nbsp;him to performance.\u003c/p\u003e\u003cp\u003eOn 9 November 1974 he takes part in a ‘Performance-project’ in a\u0026nbsp;theatre space above the New Reform gallery. Roelandt puts a nude model\u0026nbsp;(Mark Verreckt) in front of\u0026nbsp;a white background and starts to paint coloured\u0026nbsp;horizontal stripes on them so that the body becomes part of the painting. A\u0026nbsp;photograph is taken of the result. At the\u0026nbsp;same time musical acts are performed\u0026nbsp;by Luc Steels, William Flips runs around in a costume in the form of a pinball\u0026nbsp;machine and invites the public to play a\u0026nbsp;game on it. Ria Pacquée performs\u0026nbsp;one of her first acts (she eats spaghetti, let it drop out of her mouth and eats it\u0026nbsp;again for the duration of the performance).\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e“(…) because it was a new start I wanted to banish everything\u0026nbsp;which is usually accepted as normal in order to really start anew. That’s why\u0026nbsp;I have\u0026nbsp;tried to paint a person (…) in the wall: I put the person in front of the\u0026nbsp;wall and tried with paint to unify him with the wall so that he disappeared.\u0026nbsp;Because\u0026nbsp;everything – especially concerning the mind – is thought of as being\u0026nbsp;the result of man’s intervention. If you paint away man, you actually paint\u0026nbsp;away what is the most elementary. (…)\u0026nbsp;At the time I made photographs, but I refused to photograph what was\u0026nbsp;in front of me, what is out there. What interested\u0026nbsp;me was to change in a\u0026nbsp;very conscious way certain situations and to record this. Photography was\u0026nbsp;a suitable medium for that. In the long run changing\u0026nbsp;things became more\u0026nbsp;important than photography itself and thus it is a small step to turn to ‘live’\u0026nbsp;events. (…)\u0026nbsp;Anyway, I didn’t myself call these first\u0026nbsp;‘appearances’ performances.\u0026nbsp;It is only because the medium got known here that the name, which was\u0026nbsp;common at the time, was given to the things I was doing.” \u0026nbsp;\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003eHugo Roelandt\u003cbr\u003e– Interview with Hugo Roelandt by Luc Mishalle, in CET-Bulletin,\u0026nbsp;1980, nr.5, p. 4-6.\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e(Abstracts from\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Mark Holthof, Occasional Papers, London, 2016)\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eHugo Roelandts eerste persoonlijke tentoonstelling. Hij exposeert fotowerk\u0026nbsp;gemaakt in het Antwerpse travestie-milieu en zelfportretten waarop de\u0026nbsp;kunstenaar zich in gedaanteverwisselingen manifesteert. Naast een reeks foto’s\u0026nbsp;waarin hij als vrouw verkleed verleidelijke poses aanneemt, toont hij een diareeks\u0026nbsp;waarin hij op\u0026nbsp;overdreven manier verschillende \u003ca href=\"https://hugoroelandt2.ensembles.org/events/hugo-roelandt-81971b49-f3ac-4b3d-8b65-78b51db18edc?item=13862\"\u003egevoelens\u003c/a\u003e en emoties uit. Roelandt\u0026nbsp;vindt de voorbereidingen voor zijn gemanipuleerde of geënsceneerde foto’s echter\u0026nbsp;boeiender dan het eindresultaat – wat hem tot performance brengt.\u0026nbsp;\u003c/p\u003e\u003cp\u003eOp 9 november 1974 neemt hij deel aan een ‘Performance-projekt’ in een theater boven de New Reform Gallery in Aalst. Roelandt\u0026nbsp;plaatst een naaktmodel (Mark Verreckt) voor een witte achtergrond, waarover\u0026nbsp;hij gekleurde horizontale strepen begint te schilderen, zodat het lichaam in\u0026nbsp;het schilderij opging. Hij creëert een eindsituatie waarvan er een foto werd\u0026nbsp;genomen. Tegelijk worden muzikale acts uitgevoerd door Luc Steels, loopt William\u0026nbsp;Flips rond met een kostuum in de vorm van een flipperkast waarop het publiek\u0026nbsp;uitgenodigd wordt een spelletje te spelen, en doet Ria Pacquée een van haar eerste\u0026nbsp;acties (waarbij ze tijdens de performance\u0026nbsp;spaghetti opeet, terug uit haar mond\u0026nbsp;laat komen en dan opnieuw opeet).\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e“(…) omdat het een eerste begin was wilde ik alles wat normaal als\u0026nbsp;bestaand aanvaard wordt weg bannen om echt opnieuw te beginnen. Daarom heb\u0026nbsp;ik geprobeerd een persoon – die toevallig Verreckt was – in de muur te schilderen:\u0026nbsp;ik heb die persoon gewoon voor een muur gezet en met verf geprobeerd hem en de\u0026nbsp;muur één te maken zodat hij verdween omdat alles – vooral wat het denken betreft\u0026nbsp;– zogezegd van de mens uit gebeurt. En als je dus een mens weg schildert, schilder\u0026nbsp;je eigenlijk het elementaire weg. (…)\u0026nbsp;In die tijd fotografeerde ik, maar ik weigerde toen te fotograferen wat\u0026nbsp;er is, wat er staat (…) Mij interesseerde het bepaalde toestanden heel bewust\u0026nbsp;te veranderen en die dan vast te leggen. Daarvoor was fotografie een geschikt\u0026nbsp;middel. Op den duur werd het veranderen echter belangrijker dan de fotografie\u0026nbsp;zelf en dan is de stap klein om er ‘live’ toestanden van te maken. (…)\u0026nbsp;Trouwens, die eerste ‘optredens’ zal ik ze maar noemen, noemde ikzelf geen\u0026nbsp;performances. Het is slechts omdat het medium ook hier bekend werd dat men dat\u0026nbsp;soort dingen waar ik mee bezig was uiteindelijk de naam heeft gegeven\u0026nbsp;die op dat\u0026nbsp;moment gangbaar was.” \u003c/strong\u003e\u003c/i\u003e\u003c/span\u003eHugo Roelandt\u003c/p\u003e\u003c/blockquote\u003e\u003cblockquote\u003e\u003cp\u003e– Interview met Hugo Roelandt door Luc Mishalle, in CET-Bulletin, juniaugustus\u0026nbsp;1980, nr.5, p. 4-6.\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e(Uittreksels uit\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Marc Holthof, Occasional Papers, Londen, 2016)\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eHugo Roelandt’s first personal exhibition. He shows both photographic works\u0026nbsp;that are shot in the travesty milieu of Antwerp, and a number of self-portraits\u0026nbsp;in which the artist presents himself in different transformations. In one series\u0026nbsp;of photo’s he is dressed like a woman and takes on seductive poses. In series\u0026nbsp;of slides he\u0026nbsp;expresses different \u003ca href=\"https://hugoroelandt2.ensembles.org/events/hugo-roelandt-81971b49-f3ac-4b3d-8b65-78b51db18edc?item=13862\"\u003efeelings\u003c/a\u003e and emotions in an exaggerated\u0026nbsp;manner. Roelandt finds that the preparations for his manipulated or staged\u0026nbsp;photo’s were more\u0026nbsp;fascinating to him than the final result – and this brings\u0026nbsp;him to performance.\u003c/p\u003e\u003cp\u003eOn 9 November 1974 he takes part in a ‘Performance-project’ in a\u0026nbsp;theatre space above the New Reform gallery. Roelandt puts a nude model\u0026nbsp;(Mark Verreckt) in front of\u0026nbsp;a white background and starts to paint coloured\u0026nbsp;horizontal stripes on them so that the body becomes part of the painting. A\u0026nbsp;photograph is taken of the result. At the\u0026nbsp;same time musical acts are performed\u0026nbsp;by Luc Steels, William Flips runs around in a costume in the form of a pinball\u0026nbsp;machine and invites the public to play a\u0026nbsp;game on it. Ria Pacquée performs\u0026nbsp;one of her first acts (she eats spaghetti, let it drop out of her mouth and eats it\u0026nbsp;again for the duration of the performance).\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e“(…) because it was a new start I wanted to banish everything\u0026nbsp;which is usually accepted as normal in order to really start anew. That’s why\u0026nbsp;I have\u0026nbsp;tried to paint a person (…) in the wall: I put the person in front of the\u0026nbsp;wall and tried with paint to unify him with the wall so that he disappeared.\u0026nbsp;Because\u0026nbsp;everything – especially concerning the mind – is thought of as being\u0026nbsp;the result of man’s intervention. If you paint away man, you actually paint\u0026nbsp;away what is the most elementary. (…)\u0026nbsp;At the time I made photographs, but I refused to photograph what was\u0026nbsp;in front of me, what is out there. What interested\u0026nbsp;me was to change in a\u0026nbsp;very conscious way certain situations and to record this. Photography was\u0026nbsp;a suitable medium for that. In the long run changing\u0026nbsp;things became more\u0026nbsp;important than photography itself and thus it is a small step to turn to ‘live’\u0026nbsp;events. (…)\u0026nbsp;Anyway, I didn’t myself call these first\u0026nbsp;‘appearances’ performances.\u0026nbsp;It is only because the medium got known here that the name, which was\u0026nbsp;common at the time, was given to the things I was doing.” \u0026nbsp;\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003eHugo Roelandt\u003cbr\u003e– Interview with Hugo Roelandt by Luc Mishalle, in CET-Bulletin,\u0026nbsp;1980, nr.5, p. 4-6.\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e(Abstracts from\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Mark Holthof, Occasional Papers, London, 2016)\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"}}]}