{"id":2312,"title":"The Welfare State","date_begin":"2015-05-29T00:00:00.000+02:00","date_end":"2015-09-27T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/028/387/large/AU_CONGO_BELGE..jpg?1462800588","poster_credits":"(c)Photo: M HKA"},"translations":[{"locale":"en","name":"The Welfare State","short_description":"","description":"\u003cp\u003eThe exhibition\u0026nbsp;\u003cem\u003eThe Welfare State\u003c/em\u003e\u0026nbsp;did not look back wistfully on the welfare state in its traditional form, a utopian blueprint for an egalitarian (homogenous) community in post-war Western Europe. Nor did it invite artists to \u0026lsquo;illustrate\u0026rsquo; political and social involvement. What it did do was raise a number of fundamental questions.\u0026nbsp; What is the \u0026lsquo;imaginary\u0026rsquo; aspect of the welfare state? Does it have a physical shape? Can it be \u0026lsquo;shown\u0026rsquo;?\u003c/p\u003e\r\n\r\n\u003cp\u003eThe exhibition was socio-political, both explicitly and implicitly, and addressed topics that are relevant in a global context, such as the communication between citizens of different socio-economic levels (Stephen Willats), the social implications of artificial intelligence (Anne-Mie van Kerckhoven) the changing status of labour (Kajsa Dahlberg), the rise of the European far right (Arturas Raila), the situation of the refugees fleeing from the civil war in Syria (R\u0026oacute;za El-Hassan), or the potential shift to a non-monetary economy (Francisco Camacho Herrera).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThe Welfare State\u003c/em\u003e\u0026nbsp; presented new and existing work by eight artists from different generations:\u0026nbsp;\u003cstrong\u003eFrancisco Camacho Herrera\u003c/strong\u003e\u0026nbsp;(\u0026deg;1979, Colombia/the Netherlands),\u0026nbsp;\u003cstrong\u003eJosef Dabernig\u003c/strong\u003e\u0026nbsp;(\u0026deg;1956, Austria),\u0026nbsp;\u003cstrong\u003eKajsa Dahlberg\u003c/strong\u003e\u0026nbsp;(\u0026deg;1973, Sweden),\u0026nbsp;\u003cstrong\u003eR\u0026oacute;za El-Hassan\u003c/strong\u003e\u0026nbsp;(\u0026deg;1966, Hungary/Syria),\u0026nbsp;\u003cstrong\u003eDonna Kukama\u003c/strong\u003e (\u0026deg;1981, South Africa),\u0026nbsp;\u003cstrong\u003eArtūras Raila\u003c/strong\u003e\u0026nbsp;(\u0026deg;1962, Lithuania),\u0026nbsp;\u003cstrong\u003eAnne-Mie Van Kerckhoven\u003c/strong\u003e\u0026nbsp;(\u0026deg;1951, Belgium) and \u003cstrong\u003eStephen Willats\u003c/strong\u003e\u0026nbsp;(\u0026deg;1943, England). The exhibition also included visual and textual material from the four cultural archives of Flanders:\u0026nbsp;\u003cstrong\u003eAmsab\u003c/strong\u003e\u0026nbsp;and the\u0026nbsp;\u003cstrong\u003eLiberal Archives\u003c/strong\u003e\u0026nbsp;in Ghent,\u0026nbsp;\u003cstrong\u003eKADOC\u003c/strong\u003e\u0026nbsp;in Leuven and \u003cstrong\u003eADVN\u003c/strong\u003e\u0026nbsp;in Antwerp.\u003c/p\u003e\r\n"},{"locale":"nl","name":"De Welvaartsstaat ","short_description":"","description":"\u003cp\u003eDe tentoonstelling\u0026nbsp;\u003cem\u003eDe Welvaartsstaat\u003c/em\u003e\u0026nbsp;keek niet nostalgisch terug naar de welvaartsstaat in zijn \u0026#39;klassieke\u0026#39; vorm; een utopische blauwdruk voor een egalitaire (en homogene) samenleving in het naoorlogse West-Europa. Het nodigde kunstenaars niet uit om politieke en maatschappelijke betrokkenheid te \u0026#39;illustreren\u0026#39;, maar stelde een aantal fundamentele vragen. Wat is het \u0026#39;imaginaire\u0026#39; van de verzorgingsstaat? Heeft het een \u0026#39;vorm\u0026#39;? Kan het worden \u0026#39;getoond\u0026#39;?\u003c/p\u003e\r\n\r\n\u003cp\u003eDe tentoonstelling was zowel expliciet als impliciet sociaal-politiek, en behandelde onderwerpen die relevant zijn in de wereldcontext, zoals de communicatie tussen burgers van verschillende sociaal-economische niveaus (Stephen Willats), de sociale implicaties van artifici\u0026euml;le intelligentie (Anne-Mie Van Kerckhoven), de veranderende status van arbeid (Kajsa Dahlberg), de opkomst van het Europese extreem-rechts (Art\u0026uuml;ras Raila), de situatie van de vluchtelingen uit de burgeroorlog in Syri\u0026euml; (R\u0026oacute;za El-Hassan) of de mogelijke verschuiving naar een niet-monetaire economie (Francisco Camacho Herrera).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe Welvaartsstaat\u003c/em\u003e\u0026nbsp;presenteerde nieuw en bestaand werk van acht kunstenaars van verschillende generaties:\u0026nbsp;\u003cstrong\u003eFrancisco Camacho Herrera\u003c/strong\u003e\u0026nbsp;(\u0026deg;1979, Colombia/Nederland),\u0026nbsp;\u003cstrong\u003eJosef Dabernig\u003c/strong\u003e\u0026nbsp;(\u0026deg;1956, Oostenrijk),\u0026nbsp;\u003cstrong\u003eKajsa Dahlberg\u003c/strong\u003e\u0026nbsp;(\u0026deg;1973, Zweden),\u0026nbsp;\u003cstrong\u003eR\u0026oacute;za El-Hassan\u003c/strong\u003e\u0026nbsp;(\u0026deg;1966, Hongarije/Syri\u0026euml;),\u0026nbsp;\u003cstrong\u003eDonna Kukama\u003c/strong\u003e (\u0026deg;1981, Zuid-Afrika),\u0026nbsp;\u003cstrong\u003eArtūras Raila\u003c/strong\u003e\u0026nbsp;(\u0026deg;1962, Litouwen),\u0026nbsp;\u003cstrong\u003eAnne-Mie Van Kerckhoven\u003c/strong\u003e\u0026nbsp;(\u0026deg;1951, Belgi\u0026euml;) en \u003cstrong\u003eStephen Willats\u003c/strong\u003e\u0026nbsp;(\u0026deg;1943, Engeland). De tentoonstelling bevatte ook visueel en tekstueel materiaal uit de vier culturele archieven van Vlaanderen:\u0026nbsp;\u003cstrong\u003eAmsab\u003c/strong\u003e\u0026nbsp;en het\u0026nbsp;\u003cstrong\u003eLiberaal Archief\u003c/strong\u003e\u0026nbsp;in Gent,\u0026nbsp;\u003cstrong\u003eKADOC\u003c/strong\u003e\u0026nbsp;in Leuven en \u003cstrong\u003eADVN\u003c/strong\u003e\u0026nbsp;in Antwerpen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","name":"L'état Providence","short_description":"","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;exposition \u003cem\u003eL\u0026rsquo;Etat-providence\u003c/em\u003e ne revoit pas d\u0026rsquo;une mani\u0026egrave;re nostalgique l\u0026rsquo;Etat-providence \u0026lsquo;classique\u0026rsquo;\u0026nbsp;; un projet utopique en vue d\u0026rsquo;une soci\u0026eacute;t\u0026eacute; \u0026eacute;galitaire (et homog\u0026egrave;ne) dans l\u0026rsquo;Europe de l\u0026rsquo;Ouest d\u0026rsquo;apr\u0026egrave;s-guerre. Elle n\u0026rsquo;a pas invit\u0026eacute; les artistes \u0026agrave; \u0026lsquo;illustrer\u0026rsquo; l\u0026rsquo;implication politique et soci\u0026eacute;tale, mais elle a pos\u0026eacute; quelques questions fondamentales. Qu\u0026rsquo;est-ce que c\u0026rsquo;est que \u0026lsquo;l\u0026rsquo;imaginaire\u0026rsquo; de l\u0026rsquo;Etat-providence\u0026nbsp;? A-t-il une \u0026lsquo;forme\u0026rsquo;\u0026nbsp;? Peut-on le \u0026lsquo;montrer\u0026rsquo;?\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;exposition \u0026eacute;tait tant explicitement qu\u0026rsquo;implicitement de nature sociopolitique, et a trait\u0026eacute; des sujets qui sont pertinents dans le contexte mondial, comme la communication entre des citoyens de diff\u0026eacute;rents niveaux socio\u0026eacute;conomiques (Stephen Willats), les implications sociales de l\u0026rsquo;intelligence artificielle (Anne-Mie Van Kerckhoven), le statut \u0026eacute;volutif du travail (Kajsa Dahlberg), la progression de l\u0026rsquo;extr\u0026ecirc;me droite europ\u0026eacute;enne (Art\u0026uuml;ras Raila), la situation des r\u0026eacute;fugi\u0026eacute;s originaires de la guerre civile en Syrie (R\u0026oacute;za El-Hassan) ou le glissement \u0026eacute;ventuel vers une \u0026eacute;conomie non mon\u0026eacute;taire (Francisco Camacho Herrera).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eL\u0026rsquo;Etat-providence \u003c/em\u003ea pr\u0026eacute;sent\u0026eacute; de nouvelles \u0026oelig;uvres et des \u0026oelig;uvres existantes de huit artistes de diff\u0026eacute;rentes g\u0026eacute;n\u0026eacute;rations:\u003cstrong\u003e Francisco Camacho Herrera\u003c/strong\u003e\u0026nbsp;(\u0026deg;1979, Colombie/Pays-Bas),\u0026nbsp;\u003cstrong\u003eJosef Dabernig\u003c/strong\u003e\u0026nbsp;(\u0026deg;1956, Autriche),\u0026nbsp;\u003cstrong\u003eKajsa Dahlberg\u003c/strong\u003e\u0026nbsp;(\u0026deg;1973, Su\u0026egrave;de),\u0026nbsp;\u003cstrong\u003eR\u0026oacute;za El-Hassan\u003c/strong\u003e\u0026nbsp;(\u0026deg;1966, Hongrie/Syrie),\u0026nbsp;\u003cstrong\u003eDonna Kukama\u003c/strong\u003e (\u0026deg;1981, Afrique du Sud),\u0026nbsp;\u003cstrong\u003eArtūras Raila\u003c/strong\u003e\u0026nbsp;(\u0026deg;1962, Lituanie),\u0026nbsp;\u003cstrong\u003eAnne-Mie Van Kerckhoven\u003c/strong\u003e\u0026nbsp;(\u0026deg;1951, Belgique) et \u003cstrong\u003eStephen Willats\u003c/strong\u003e\u0026nbsp;(\u0026deg;1943, Angleterre). L\u0026rsquo;exposition comprenait \u0026eacute;galement du mat\u0026eacute;riel visuel et textuel provenant des quatre archives culturelles de la Flandre\u0026nbsp;:\u003cstrong\u003e Amsab\u003c/strong\u003e\u0026nbsp;et\u0026nbsp;\u003cstrong\u003eLiberaal Archief\u003c/strong\u003e\u0026nbsp;\u0026agrave; Gand,\u0026nbsp;\u003cstrong\u003eKADOC\u003c/strong\u003e\u0026nbsp;\u0026agrave; Louvain et \u003cstrong\u003eADVN\u003c/strong\u003e\u0026nbsp;\u0026agrave; Anvers.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":""},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":560,"name":"Stephen Willats","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/049/large/Stephen_Willats_photo_M_HKAcc2.jpg?1432822850","poster_credits":"(c)image: M HKA"}},{"id":857,"name":"Róza El-Hassan","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/623/large/elhassan.jpg?1370337000","poster_credits":"(c)image: AP Photo/keystone/ Georgios Kefalas"}},{"id":1472,"name":"Anne-Mie Van Kerckhoven / AMVK","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/282/large/place_is_where_the_mind_is.jpg?1571990393","poster_credits":"(c)image: AMVK"}},{"id":2472,"name":"Donna Kukama","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/024/003/large/2014-Standard-Bank-Young-Artist-for-Performance-Art-Donna-Kukama.-pic-Timmy-Henny-28_2.jpg?1402574514","poster_credits":"(c)image: Timmy Henny"}},{"id":2643,"name":"Francisco Camacho Herrera","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/033/large/francisco_camacho_herrera2_web.jpg?1432817405","poster_credits":"(c)image: M HKA"}},{"id":2644,"name":"Josef  Dabernig","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/031/large/m-ikOn-2011-11-28-0018JozefDabernig.JPG?1432814798","poster_credits":null}},{"id":2645,"name":"Kasja Dahlberg","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/035/large/Kajsa_Dahlberg_photo_M_HKAcc_web.jpg?1432818872","poster_credits":"(c)image: M HKA"}},{"id":2646,"name":"Artūras  Raila 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