{"id":11586,"title":"EURASIA − A Landscape of Mutability","date_begin":"2021-10-08T00:00:00.000+02:00","date_end":"2022-01-23T00:00:00.000+01:00","location":{"readable":"Antwerp","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/026/large/Eurasia1.jpg?1624879842","poster_credits":"Courtesy of the artists"},"translations":[{"locale":"en","name":"EURASIA − A Landscape of Mutability","short_description":"","description":"\u003cp\u003eAlighiero Boetti, Anatoly Osmolovsky, Babi Badalov, Basir Mahmood, C. K. Rajan, Cevdet Erek, Damian Le Bas, Deimantas Narkevičius, Elena Vorobyeva \u0026amp; Viktor Vorobyev, Etel Adnan, Evgeny Antufiev, Femmy Otten, Goshka Macuga, Gulnara Kasmalieva \u0026amp; Muratbek Djumaliev, Haegue Yang, H\u0026uuml;seyin Bahri Alptekin, Ieva Rojūtė, Ilya \u0026amp; Emilia Kabakov, Ives Maes, Izmail Efimov, Janek Simon, Jimmie Durham, Joseph Beuys, K. P. Krishnakumar, Koka Ramishvili, Lee Bul, Lin May Saeed, Metahaven, Mich\u0026egrave;le Matyn, Nam June Paik, Oleg Kulik, Pedro G. Romero, Qiu Zhijie, Ria Pacqu\u0026eacute;e, Sara Sejin Chang (Sara van der Heide), Shigeko Kubota, Slavs and Tatars, Suchan Kinoshita, Taus Makhacheva, Thea Gvetadze, Ulay, Vlad Monroe, Yayoi Kusama/Harrie Verstappen, Zheng Mahler, plus items from Stichting Egress Foundation founded by Seth Siegelaub (including textiles, books and film by\u0026nbsp;Rini Hurkmans).\u003c/p\u003e\r\n\r\n\u003cp\u003eResearch projects:\u003c/p\u003e\r\n\r\n\u003cp\u003eDina Akhmadeeva with works\u0026nbsp;by\u0026nbsp;Andrius Arutiunian, Bazarbai Jumaniyazov, Farida Kudasheva, Kyzyl Tractor, Camille Norment, Dina Nurpeisova, Natalia Papaeva, Flera Suleymanova, UMPU.\u003c/p\u003e\r\n\r\n\u003cp\u003ePejvak\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSpecial project: Grace Tjang (Grace Ellen Barkey) \u0026amp; Needcompany.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.decinema.be/themas/silk-road-sideways\"\u003eFilm programme at De Cinema developed in collaboration with Electric Shadows.\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition architecture: Samyra Moumouh.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe concept of Eurasia evokes myriad different ideas across geological, ideological, cultural, racial and artistic paradigms. Housing three quarters of the world\u0026rsquo;s population (as well as three quarters of the world\u0026rsquo;s energy resources), the Eurasian supercontinent is also home to a great plurality of cultures. It is a space where historical, contemporary and futuristic visions coexist, interact and mutate. From the ancient world to the cultural horizons to come, Eurasia has hosted the free-flow of exchanges, and possesses more capacity than ever for trans- or rather supranational thinking and cultural transformation superseding artificial distinctions of \u0026ldquo;Asia\u0026rdquo; and \u0026ldquo;Europe\u0026rdquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eEurasia shows us how our perceptions of the world are in flux. Once the harbinger of globalisation, the Silk Road was the lifeblood of cultural and economic interaction between \u0026ldquo;East\u0026rdquo; and \u0026ldquo;West\u0026rdquo; for almost two millennia. The conquering of the Americas then made the world and apprehensions of humanity bigger. And now, following the rapid failure of the unipolar world and related \u0026lsquo;new globalism\u0026rsquo; after 1989, and with a new balance of power emerging, Eurasia once again becomes a new horizon. In contrast to nation states, Eurasia is ambiguous, home to a growing number of new modernities and spheres of influence. We can become aware of the historical notions of Eurasia, Eurasians and Eurasianism, in all their utopian and dystopian forms, but we should also look to seize their futurity.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe exhibition \u003cem\u003eEURASIA\u003c/em\u003e \u003cem\u003e\u0026ndash; A Landscape of Mutability \u003c/em\u003eseeks to map innovative practices and exchanges that reflect the plurality of cultures, collaborations and conceptions of Eurasia, with all its innovations and frictions. Inspired by the artistic imagination of artists, it will consider Eurasia as a landscape of mutability. \u003cem\u003eEURASIA\u003c/em\u003e will explore the transformations and growing mutipolarity of the supercontinent, reflecting the flux of cultural practices, communication and exchanges. It will ask: How has Eurasia inspired artists and thinkers historically, and how has this varied across the supercontinent? What can be its artistic potential, and what spaces for speculation does it offer? What new networks of exchange and mutability can be established? And what creative friction can be found at its parameters? We will look at Eurasia as a cultural and geo-political space in the making. With methodology embodying content, \u003cem\u003eEURASIA\u003c/em\u003e will be an exhibition of mutability.\u003c/p\u003e\r\n\r\n\u003cp\u003eWith references ranging from the exchanges between Nam June Paik and Joseph Beuys (whose long-term dialogue was titled \u003cem\u003eEUR-ASIA\u003c/em\u003e), to the most famous travelogue of the Medieval era dictated by Marco Polo to Rustichello da Pisa, the lyricism of Marina Tsvetaeva\u0026rsquo;s poetry, the influence of the artistic and intellectual community of Santiniketan, the epic of Gilgamesh, textile and mercantile histories, and the machinations of George Orwell\u0026rsquo;s \u003cem\u003e1984\u003c/em\u003e, we look across the contemporary Eurasian landscape. We consider the work of artists who reflect the mutability of culture, and who have developed experimental practices for inventing new forms of communication and circuits of exchange. Alongside exploring the tension between utopian and dystopic visions, \u003cem\u003eEURASIA\u003c/em\u003e seeks transdisciplinary, transcultural and dialogical perspectives for considering the wealth of artistic intelligence across the supercontinent.\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eM HKA\u0026rsquo;s natural consciousness is that of multipolarity, with Eurasia as its cultural and conceptual space. In fact, Eurasia has been a key part of M HKA\u0026rsquo;s artistic trajectory and self-image for more than fifteen years. This landmass of the \u0026lsquo;old world\u0026rsquo; that predates constructs of \u0026lsquo;Europe\u0026rsquo; and \u0026lsquo;Asia\u0026rsquo;, has nurtured the exchanges of objects, practices, people and ideas for millennia, leading to great philosophical and cultural advancement. M HKA has engaged with artists from the former-Soviet States, much of Asia and the Middle-East, as well as within its immediate locality in Europe and the \u0026lsquo;Eurocore\u0026rsquo; region. Including a selection of works from the M HKA collection, this project looks to consolidate M HKA\u0026rsquo;s long-term engagement with the plurality of culture to be found in Eurasia.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEURASIA \u0026ndash;\u0026nbsp;A Landscape of Mutability\u003c/em\u003e is part of \u0026lsquo;Our Many Europes\u0026rsquo;, a project of the confederation \u0026lsquo;L\u0026rsquo;Internationale\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEURASIA \u0026ndash;\u0026nbsp;A Landscape of Mutability\u003c/em\u003e is curated by:\u003c/p\u003e\r\n\r\n\u003cp\u003eJoanna Zielińska, Senior Curator, M HKA\u003c/p\u003e\r\n\r\n\u003cp\u003eNav Haq, Associate Director, M HKA\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eL\u0026rsquo;Internationale\u003c/strong\u003e\u003cbr /\u003e\r\n\u003ca href=\"https://www.internationaleonline.org/\"\u003eL\u0026#39;Internationale\u003c/a\u003e is a confederation of seven modern and contemporary art institutions. L\u0026#39;Internationale proposes a space for art within a non-hierarchical and decentralised internationalism, based on the values of difference and horizontal exchange among a constellation of cultural agents, locally rooted and globally connected. It brings together seven major European art institutions: Moderna galerija (MG+MSUM, Ljubljana, Slovenia); Museo Nacional Centro de Arte Reina Sof\u0026iacute;a (MNCARS, Madrid, Spain); Museu d\u0026#39;Art Contemporani de Barcelona (MACBA, Barcelona, Spain); Muzeum Sztuki Nowoczesnej w Warszawie, (MSN, Warsaw, Poland); Museum van Hedendaagse Kunst Antwerpen (M\u0026nbsp;HKA, Antwerp, Belgium); SALT (Istanbul and Ankara, Turkey) and Van Abbemuseum (VAM, Eindhoven, the Netherlands), and its partners are HDK-Valand Academy (Gothenburg, Sweden) and the National College of Art and Design (NCAD, Dublin, Ireland).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAbout \u0026lsquo;Our Many Europes\u0026rsquo;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.internationaleonline.org/programmes/\"\u003e\u0026lsquo;Our Many Europes\u0026rsquo;\u003c/a\u003e is a four-year programme (2018\u0026ndash;22) comprising exhibitions, public programming, heritage exchange and institutional experimentation across the Internationale confederation. The programme takes the 1990s as a starting point when our current Europe was born. It aims to think speculatively about the role of culture as a driving force in showing who and how we are in the world.\u003c/p\u003e\r\n\r\n\u003cp\u003eM HKA\u0026rsquo;s engagement with Eurasia has developed over time through projects including: \u003cem\u003eAll Under Heaven\u003c/em\u003e (2004), \u003cem\u003eEurope at Large \u0026ndash; Art From the Former USSR \u003c/em\u003e(2009-2011), \u003cem\u003eAngels of History \u0026ndash; Moscow Conceptualism and its Influence (2005)\u003c/em\u003e, \u003cem\u003eSanthal Family\u003c/em\u003e \u0026ndash; \u003cem\u003ePositions Around an Indian Sculpture\u003c/em\u003e (2008), as well as several external projects undertaken by M HKA team members, such as \u003cem\u003eHow to Gather? Acting in a Centre in a City in the Heart of \u003cem\u003eEurasia\u003c/em\u003e\u003c/em\u003e \u0026ndash; \u003cem\u003ethe\u003c/em\u003e \u003cem\u003e6\u003csup\u003eth\u003c/sup\u003e Moscow Biennial\u003c/em\u003e \u0026shy; (2015) led by Bart De Baere, and the \u003cem\u003e9\u003csup\u003eth\u003c/sup\u003e International Art Festival Alanica\u003c/em\u003e, Vladikavkaz, North Ossetia (2015) convened by Nav Haq, and not to mention many engagements, projects and acquisitions from individual artists.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e3D Scan:\u003c/strong\u003e\u003cbr /\u003e\r\nPlease enjoy the 3D scan of the exhibition \u003ca href=\"https://mpembed.com/show/?m=3u6ZAh4F62g\u0026amp;mpu=621\" target=\"_blank\"\u003ehere\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","name":"EURAZIË − Een landschap van veranderlijkheid ","short_description":"","description":"\u003cp\u003eAlighiero Boetti, Anatoly Osmolovsky, Babi Badalov, Basir Mahmood, C. K. Rajan, Cevdet Erek, Damian Le Bas, Deimantas Narkevičius, Elena Vorobyeva \u0026amp; Viktor Vorobyev, Etel Adnan, Evgeny Antufiev, Femmy Otten, Goshka Macuga, Gulnara Kasmalieva \u0026amp; Muratbek Djumaliev, Haegue Yang, H\u0026uuml;seyin Bahri Alptekin, Ieva Rojūtė, Ilya \u0026amp; Emilia Kabakov, Ives Maes, Izmail Efimov, Janek Simon, Jimmie Durham, Joseph Beuys, K. P. Krishnakumar, Koka Ramishvili, Lee Bul, Lin May Saeed, Metahaven, Mich\u0026egrave;le Matyn, Nam June Paik, Oleg Kulik, Pedro G. Romero, Qiu Zhijie, Ria Pacqu\u0026eacute;e, Sara Sejin Chang (Sara van der Heide), Shigeko Kubota, Slavs and Tatars, Suchan Kinoshita, Taus Makhacheva, Thea Gvetadze, Ulay, Vlad Monroe, Yayoi Kusama/Harrie Verstappen, Zheng Mahler, plus items van Stichting Egress Foundation opgericht door Seth Siegelaub (met o.a. textiel, boeken en film door\u0026nbsp;Rini Hurkmans).\u003c/p\u003e\r\n\r\n\u003cp\u003eOnderzoeksprojecten:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDina Akhmadeeva met werk van Andrius Arutiunian, Bazarbai Jumaniyazov, Farida Kudasheva, Kyzyl Tractor, Camille Norment, Dina Nurpeisova, Natalia Papaeva, Flera Suleymanova, UMPU.\u003c/p\u003e\r\n\r\n\u003cp\u003ePejvak\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSpecial project: Grace Tjang (Grace Ellen Barkey) \u0026amp; Needcompany.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.decinema.be/themas/silk-road-sideways\"\u003eFilmprogramma in De Cinema, samengesteld in samenwerking met Electric Shadows\u003c/a\u003e.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTentoonstellingsarchitectuur: Samyra Moumouh.\u003c/p\u003e\r\n\r\n\u003cp\u003eSpecifiek project: Grace Tjang (Grace Ellen Barkey) \u0026amp; Needcompany.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet begrip Eurazi\u0026euml; roept talloze verschillende idee\u0026euml;n op die betrekking hebben op verschillende geologische, ideologische, culturele, raciale en artistieke paradigma\u0026#39;s. Het Euraziatische supercontinent herbergt driekwart van de wereldbevolking (en driekwart van \u0026lsquo;s werelds energiebronnen), maar ook een grote verscheidenheid aan culturen. Het is een ruimte waar historische, hedendaagse en futuristische visies naast elkaar bestaan, op elkaar inwerken en muteren. Eurazi\u0026euml; heeft, vanaf de Oudheid tot de toekomstige culturele tijdshorizonten, een vrije stroom van uitwisselingen op gang gebracht en bezit meer potentieel voor trans- of eerder supranationaal denken en culturele transformatie dan ooit tevoren, en vervangt daarbij het kunstmatig onderscheid tussen \u0026ldquo;Azi\u0026euml;\u0026rdquo; en \u0026ldquo;Europa\u0026rdquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eEurazi\u0026euml; laat ons zien hoe onze perceptie van de wereld aan verandering onderhevig is. De Zijderoute, ooit de voorbode van de globalisering, was bijna twee millennia lang de levensader van de culturele en economische interactie tussen \u0026lsquo;Oost\u0026rsquo; en \u0026lsquo;West\u0026rsquo;. Met de verovering van de Amerika\u0026#39;s werden de wereld en de opvattingen over de mensheid groter. En nu, na de voortijdige ineenstorting van de unipolaire wereld en het daarmee samenhangende \u0026quot;nieuwe globalisme\u0026quot; van na 1989, en de totstandkoming van een nieuw machtsevenwicht, wordt Eurazi\u0026euml; opnieuw een nieuwe horizon. In tegenstelling tot natiestaten is Eurazi\u0026euml; meerduidig, de thuisbasis van een groeiend aantal nieuwe moderniteiten en invloedssferen. Wij kunnen vertrouwd raken met de historische noties van Eurazi\u0026euml;, de Eurazi\u0026euml;rs en het Eurazianisme, in al hun utopische en dystopische vormen, maar moeten ook proberen hun futuriteit te vatten.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe tentoonstelling \u003cem\u003eEURAZI\u0026Euml; \u0026ndash; Een landschap van veranderlijkheid \u003c/em\u003ewil vernieuwende praktijken en uitwisselingen in kaart brengen die de pluraliteit van culturen, samenwerkingsverbanden en opvattingen over Eurazi\u0026euml;, met al zijn vernieuwingen en wrijvingen, weerspiegelen. De tentoonstelling wil, ge\u0026iuml;nspireerd door de artistieke verbeelding van kunstenaars, Eurazi\u0026euml; beschouwen als een landschap van veranderlijkheid. \u003cem\u003eEURAZI\u0026Euml; \u003c/em\u003ewil de transformaties en de groeiende mutipolariteit van het supercontinent onderzoeken, en de stroom van culturele praktijken, communicatie en uitwisselingen weergeven. Daarbij worden de volgende vragen vooropgesteld: Hoe heeft Eurazi\u0026euml; doorheen de geschiedenis kunstenaars en denkers ge\u0026iuml;nspireerd, en op welke verschillende wijzen vond dit plaats binnen het supercontinent zelf? Welk artistiek potentieel kan het in zich dragen, en welke ruimte voor speculatie biedt het? Welke nieuwe netwerken van uitwisseling en verandering kunnen tot stand worden gebracht? En welke creatieve spanningen ontstaan er rond zijn grenzen? De tentoonstelling wil Eurazi\u0026euml; onderzoeken als een culturele en geopolitieke ruimte in wording. Via een methodologie die inhoud belichaamt, wil \u003cem\u003eEURAZI\u0026Euml;\u003c/em\u003e een tentoonstelling van veranderlijkheid zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003eMet referenties gaande van de uitwisselingen tussen Nam June Paik en Joseph Beuys (wiens langlopende dialoog de titel \u003cem\u003eEUR-ASIA\u003c/em\u003e meekreeg), tot het beroemdste reisverslag van de Middeleeuwen gedicteerd door Marco Polo aan Rustichello da Pisa, de lyriek van Marina Tsvetaeva\u0026#39;s po\u0026euml;zie, de invloed van de artistieke en intellectuele gemeenschap van Santiniketan, het epos van Gilgamesj, textiel- en handelsgeschiedenissen en de machinaties van George Orwell\u0026#39;s \u003cem\u003e1984\u003c/em\u003e, werpen we een blik op het hedendaagse Euraziatische landschap. We besteden aandacht aan het werk van kunstenaars die de veranderlijkheid van de cultuur tot uitdrukking brengen en experimentele praktijken hebben ontwikkeld voor het realiseren van nieuwe vormen van communicatie en netwerken voor uitwisseling. Naast het verkennen van de spanning tussen utopische en dystopische visies, zoekt EURASIA naar transdisciplinaire, transculturele en dialogische perspectieven om de schat aan artistieke intelligentie op het supercontinent te beschouwen.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn zijn opzet omarmt het M HKA multipolariteit, waarbij Eurazi\u0026euml; als zijn culturele en conceptuele ruimte fungeert. Eurazi\u0026euml; vormt in feite al meer dan vijftien jaar een essentieel onderdeel van het artistieke traject en de identiteit van het M HKA. Deze oudwereldse landmassa die constructies als \u0026lsquo;Europa\u0026rsquo; en \u0026lsquo;Azi\u0026euml;\u0026rsquo; voorafgaat, heeft millennia lang de uitwisseling van voorwerpen, praktijken, mensen en idee\u0026euml;n bevorderd, wat tot grote filosofische en culturele vooruitgang heeft geleid. Het M HKA bracht kunstenaars samen uit de voormalige Sovjetstaten, uit een groot deel van Azi\u0026euml; en het Midden-Oosten, maar ook uit zijn onmiddellijke omgeving in Europa en de \u0026#39;Eurocore\u0026#39;-regio, inclusief een selectie werken uit de M HKA-collectie. Met dit project wil het M HKA zijn langetermijnengagement met de culturele pluraliteit in Eurazi\u0026euml; bestendigen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEURAZI\u0026Euml; \u0026ndash;\u0026nbsp;Een landschap van veranderlijkheid \u003c/em\u003emaakt deel uit van \u0026#39;Our Many Europes\u0026#39;, een project van de confederatie \u0026#39;L\u0026#39;Internationale\u0026#39;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEURAZI\u0026Euml; \u0026ndash;\u0026nbsp;Een landschap van veranderlijkheid \u003c/em\u003ewordt gecureerd door:\u003c/p\u003e\r\n\r\n\u003cp\u003eJoanna Zielińska, Senior Curator, M HKA\u003c/p\u003e\r\n\r\n\u003cp\u003eNav Haq, Associate Director, M HKA\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eL\u0026rsquo;Internationale\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.internationaleonline.org/\"\u003eL\u0026#39;Internationale\u003c/a\u003e is een confederatie van zeven moderne en hedendaagse kunstinstellingen. L\u0026#39;Internationale wil een ruimte voor kunst cre\u0026euml;ren binnen een niet-hi\u0026euml;rarchisch en gedecentraliseerd internationalisme, gebaseerd op waarden van verschil en horizontale uitwisseling tussen een groep culturele agenten die lokaal geworteld en wereldwijd met elkaar verbonden zijn Het brengt zeven grote Europese kunstinstellingen samen: Moderna galerija (MG+MSUM, Ljubljana, Sloveni\u0026euml;); Museo Nacional Centro de Arte Reina Sof\u0026iacute;a (MNCARS, Madrid, Spanje); Museu d\u0026#39;Art Contemporani de Barcelona (MACBA, Barcelona, Spanje); Muzeum Sztuki Nowoczesnej w Warszawie, (MSN, Warschau, Polen); Museum van Hedendaagse Kunst Antwerpen (M HKA, Antwerpen, Belgi\u0026euml;); SALT (Istanbul en Ankara, Turkije) en Van Abbemuseum (VAM, Eindhoven, Nederland). Partners zijn HDK-Valand Academy (G\u0026ouml;teborg, Zweden) en het National College of Art and Design (NCAD, Dublin, Ierland).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eOver \u0026lsquo;Our Many Europes\u0026rsquo;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.internationaleonline.org/programmes/\"\u003e\u0026lsquo;Our Many Europes\u0026rsquo; \u003c/a\u003eis een vierjarig programma (2018-22) dat tentoonstellingen, openbare programmatie, uitwisseling van erfgoed en institutionele experimenten doorheen de hele Internationale Confederatie omvat.\u0026nbsp; Het programma neemt de jaren 1990 \u0026ndash; toen ons huidige Europa geboren werd \u0026ndash; als uitgangspunt. Het wil speculatief nadenken over de rol van cultuur als een drijvende kracht achter het zichtbaar maken van wie we zijn en hoe we in de wereld staan.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet engagement van het M HKA voor Eurazi\u0026euml; heeft zich in de loop van de tijd ontwikkeld door middel van projecten, waaronder: \u003cem\u003eAll Under Heaven\u003c/em\u003e (2004), \u003cem\u003eEurope at Large \u0026ndash; Art From the Former USSR\u003c/em\u003e (2009-2011), \u003cem\u003eAngels of History \u0026ndash; Moscow Conceptualism and its Influence\u003c/em\u003e (2005), \u003cem\u003eSanthal Family \u0026ndash; Positions Around an Indian Sculpture\u003c/em\u003e (2008), samen met verschillende externe projecten van M HKA-teamleden, zoals \u003cem\u003eHow to Gather?\u003c/em\u003e \u003cem\u003eActing in a Centre in a City in the Heart of \u003cem\u003eEurasia\u003c/em\u003e\u003c/em\u003e \u0026ndash; \u003cem\u003ethe\u003c/em\u003e \u003cem\u003e6\u003csup\u003eth\u003c/sup\u003e Moscow Biennial\u003c/em\u003e \u0026shy;(2015) onder leiding van Bart De Baere, en \u003cem\u003e9\u003csup\u003eth\u003c/sup\u003e International Art Festival Alanica\u003c/em\u003e, Vladikavkaz, Noord-Osseti\u0026euml; (2015) onder leiding van Nav Haq, en vele opdrachten, projecten en aanwinsten van individuele kunstenaars.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e3D Scan:\u003c/strong\u003e\u003cbr /\u003e\r\nOntdek \u003ca href=\"https://mpembed.com/show/?m=3u6ZAh4F62g\u0026amp;mpu=621\" target=\"_blank\"\u003ehier \u003c/a\u003ede 3D scan van de presentatie.\u003c/p\u003e\r\n"},{"locale":"fr","name":"l’Eurasie - Un paysage de mutabilité ","short_description":"","description":"\u003cp\u003eAlighiero Boetti, Anatoly Osmolovsky, Babi Badalov, Basir Mahmood, C. K. Rajan, Cevdet Erek, Damian Le Bas, Deimantas Narkevičius, Elena Vorobyeva \u0026amp; Viktor Vorobyev, Etel Adnan, Evgeny Antufiev, Femmy Otten, Goshka Macuga, Gulnara Kasmalieva \u0026amp; Muratbek Djumaliev, Haegue Yang, H\u0026uuml;seyin Bahri Alptekin, Ieva Rojūtė, Ilya \u0026amp; Emilia Kabakov, Ives Maes, Izmail Efimov, Janek Simon, Jimmie Durham, Joseph Beuys, K. P. Krishnakumar, Koka Ramishvili, Lee Bul, Lin May Saeed, Metahaven, Mich\u0026egrave;le Matyn, Nam June Paik, Oleg Kulik, Pedro G. Romero, Qiu Zhijie, Ria Pacqu\u0026eacute;e, Sara Sejin Chang (Sara van der Heide), Shigeko Kubota, Slavs and Tatars, Suchan Kinoshita, Taus Makhacheva, Thea Gvetadze, Ulay, Vlad Monroe, Yayoi Kusama/Harrie Verstappen, Zheng Mahler, plus des articles de Stichting Egress Foundation fond\u0026eacute; par Seth Siegelaub (y compris les textiles, les livres et les films de Rini Hurkmans).\u003c/p\u003e\r\n\r\n\u003cp\u003eProjets de recherche :\u003c/p\u003e\r\n\r\n\u003cp\u003eDina Akhmadeeva avec des \u0026oelig;uvres de\u0026nbsp;Andrius Arutiunian, Bazarbai Jumaniyazov, Farida Kudasheva, Kyzyl Tractor, Camille Norment, Dina Nurpeisova, Natalia Papaeva, Flera Suleymanova, UMPU.\u003c/p\u003e\r\n\r\n\u003cp\u003ePejvak\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDina Akhmadeeva\u0026nbsp;(incluant des \u0026oelig;uvres sonores de: Andrius Arutiunian, Emnoyumno\u0026nbsp;Collective, Bazarbai Jumaniyazov, Farida Kudasheva, Kyzyl Tractor, Dina Nurpeisova, Natalia Papaeva,\u0026nbsp;Camille Norment and Saodat Ismailova, Flera Suleymanova).\u003c/p\u003e\r\n\r\n\u003cp\u003eProjet sp\u0026eacute;cifique\u0026nbsp;: Grace Tjang (Grace Ellen Barkey) \u0026amp; Needcompany.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.decinema.be/themas/silk-road-sideways\"\u003eProgramme de films \u0026agrave; De Cinema d\u0026eacute;velopp\u0026eacute; en collaboration avec Electric Shadows.\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eArchitecture de l\u0026rsquo;exposition\u0026nbsp;: Samyra Moumouh.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLe concept d\u0026rsquo;Eurasie \u0026eacute;voque une myriade d\u0026rsquo;id\u0026eacute;es diff\u0026eacute;rentes concernant des paradigmes g\u0026eacute;ologiques, id\u0026eacute;ologiques, culturels, raciaux et artistiques. Abritant les trois quarts de la population mondiale (ainsi que les trois quarts des ressources \u0026eacute;nerg\u0026eacute;tiques de la plan\u0026egrave;te), le supercontinent eurasien est \u0026eacute;galement le foyer d\u0026rsquo;une grande pluralit\u0026eacute; de cultures. Il s\u0026rsquo;agit d\u0026rsquo;un espace o\u0026ugrave; les visions historiques, contemporaines et futuristes coexistent, interagissent et mutent. De l\u0026rsquo;antiquit\u0026eacute; aux horizons culturels \u0026agrave; venir, l\u0026rsquo;Eurasie a accueilli la libre circulation des \u0026eacute;changes, et poss\u0026egrave;de plus que jamais une capacit\u0026eacute; de r\u0026eacute;flexion et de transformation culturelle transnationale ou plut\u0026ocirc;t supranationale, rempla\u0026ccedil;ant les distinctions artificielles \u0026laquo; d\u0026rsquo;Asie \u0026raquo; et \u0026laquo; d\u0026rsquo;Europe \u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;Eurasie nous montre \u0026agrave; quel point nos perceptions du monde fluctuent. Pr\u0026eacute;sage de la mondialisation bien avant la lettre, la route de la soie fut pr\u0026egrave;s de deux mill\u0026eacute;naires durant le moteur et l\u0026rsquo;\u0026acirc;me de l\u0026rsquo;interaction culturelle et \u0026eacute;conomique entre l\u0026rsquo;Orient et l\u0026rsquo;Occident. La conqu\u0026ecirc;te des Am\u0026eacute;riques et les appr\u0026eacute;hensions de l\u0026#39;humanit\u0026eacute; a ensuite \u0026eacute;tendu le monde. Aujourd\u0026rsquo;hui, suite \u0026agrave; l\u0026rsquo;\u0026eacute;chec rapide du monde unipolaire d\u0026rsquo;apr\u0026egrave;s 1989 et du \u0026laquo;\u0026nbsp;nouveau mondialisme\u0026nbsp;\u0026raquo; corollaire, l\u0026rsquo;\u0026eacute;mergence d\u0026rsquo;un nouvel \u0026eacute;quilibre des pouvoirs d\u0026eacute;ploie un nouvel horizon pour l\u0026rsquo;Eurasie. Contrairement aux \u0026Eacute;tats-nations, l\u0026rsquo;Eurasie est ambigu\u0026euml;, elle abrite un nombre croissant de nouvelles modernit\u0026eacute;s et de sph\u0026egrave;res d\u0026rsquo;influence. Si nous pouvons r\u0026eacute;trospectivement prendre conscience des notions historiques d\u0026rsquo;Eurasie, d\u0026rsquo;eurasianit\u0026eacute; et d\u0026rsquo;eurasianisme, sous toutes leurs formes utopiques et dystopiques, nous devrions \u0026eacute;galement chercher \u0026agrave; saisir leur dimension d\u0026rsquo;avenir.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;exposition \u003cem\u003eEURASIE \u0026ndash; Un paysage de mutabilit\u0026eacute;\u003c/em\u003e cherche \u0026agrave; cartographier les pratiques et les \u0026eacute;changes innovateurs qui refl\u0026egrave;tent la pluralit\u0026eacute; des cultures, des coop\u0026eacute;rations et des conceptions de l\u0026rsquo;Eurasie, avec toutes ses innovations et ses frictions. Inspir\u0026eacute;e par l\u0026rsquo;imagination des artistes, l\u0026rsquo;exposition envisagera l\u0026rsquo;Eurasie comme un paysage de mutabilit\u0026eacute;. \u003cem\u003eEURASIE \u003c/em\u003eexplorera les transformations et la multipolarit\u0026eacute; croissante du supercontinent, refl\u0026eacute;tant le flux de pratiques, de communications et d\u0026rsquo;\u0026eacute;changes culturels. Elle posera les questions suivantes\u0026nbsp;: comment l\u0026rsquo;Eurasie a-t-elle inspir\u0026eacute; les artistes et les penseurs au cours de l\u0026rsquo;histoire et quelles variations observe-t-on \u0026agrave; travers le supercontinent\u0026nbsp;? Quel peut \u0026ecirc;tre son potentiel artistique et quels espaces de sp\u0026eacute;culation offre-t-elle\u0026nbsp;? Quels nouveaux r\u0026eacute;seaux d\u0026rsquo;\u0026eacute;change et de mutabilit\u0026eacute; peuvent \u0026ecirc;tre \u0026eacute;tablis\u0026nbsp;? Et quelles frictions cr\u0026eacute;atives peut-on trouver dans ses param\u0026egrave;tres\u0026nbsp;? Nous consid\u0026eacute;rerons l\u0026rsquo;Eurasie comme un espace culturel et g\u0026eacute;opolitique en devenir. \u0026Agrave; travers une m\u0026eacute;thodologie incarnant son contenu, \u003cem\u003eEURASIE\u003c/em\u003e sera une exposition de la mutabilit\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvec des r\u0026eacute;f\u0026eacute;rences allant des \u0026eacute;changes entre Nam June Paik et Joseph Beuys (dont le dialogue \u0026agrave; long terme s\u0026rsquo;intitulait \u003cem\u003eEUR-ASIA\u003c/em\u003e), aux explorations de Marco Polo, au lyrisme de la po\u0026eacute;sie de Marina Tsvetaeva, \u0026agrave; la combinaison de g\u0026eacute;ographie naturelle et d\u0026rsquo;anarchisme de Piotr Kropotkine, et aux machinations de \u003cem\u003e1984\u003c/em\u003e de George Orwell, nous nous penchons sur le paysage eurasien contemporain. Nous examinons le travail d\u0026rsquo;artistes qui refl\u0026egrave;tent la mutabilit\u0026eacute; de la culture et qui ont d\u0026eacute;velopp\u0026eacute; des pratiques exp\u0026eacute;rimentales pour inventer de nouvelles formes de communication et de circuits d\u0026rsquo;\u0026eacute;change. Tout en explorant la tension entre visions utopiques et dystopiques, \u003cem\u003eEURASIE\u003c/em\u003e recherche des perspectives transdisciplinaires, transculturelles et dialogiques pour prendre en consid\u0026eacute;ration la profusion d\u0026rsquo;intelligence artistique \u0026agrave; travers le supercontinent.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa conscience naturelle du M\u0026nbsp;HKA est celle de la multipolarit\u0026eacute;, avec l\u0026rsquo;Eurasie comme espace culturel et conceptuel. De fait, l\u0026rsquo;Eurasie constitue un \u0026eacute;l\u0026eacute;ment cl\u0026eacute; de la trajectoire artistique et de l\u0026rsquo;image du M\u0026nbsp;HKA depuis plus de quinze ans. Ce bloc continental de \u0026laquo;\u0026nbsp;l\u0026rsquo;ancien monde\u0026nbsp;\u0026raquo; qui pr\u0026eacute;c\u0026egrave;de les notions \u0026laquo;\u0026nbsp;d\u0026rsquo;Europe\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;d\u0026rsquo;Asie\u0026nbsp;\u0026raquo; a nourri les \u0026eacute;changes d\u0026rsquo;objets, de pratiques, de personnes et d\u0026rsquo;id\u0026eacute;es pendant des mill\u0026eacute;naires, menant \u0026agrave; de grandes avanc\u0026eacute;es philosophiques et culturelles. Le M\u0026nbsp;HKA a pris des engagements envers des artistes des anciens \u0026Eacute;tats sovi\u0026eacute;tiques, d\u0026rsquo;une grande partie de l\u0026rsquo;Asie et du Moyen-Orient, ainsi que de son environnement imm\u0026eacute;diat, l\u0026rsquo;Europe et la r\u0026eacute;gion \u0026laquo;\u0026nbsp;Eurocore\u0026nbsp;\u0026raquo;. Ce projet vise \u0026agrave; consolider l\u0026rsquo;engagement \u0026agrave; long terme du M\u0026nbsp;HKA envers la pluralit\u0026eacute; de la culture qu\u0026rsquo;on trouve en Eurasie.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEURASIE \u0026ndash; Un paysage de mutabilit\u0026eacute; \u003c/em\u003efait partie du projet \u0026lsquo;Our Many Europes\u0026rsquo; de la conf\u0026eacute;d\u0026eacute;ration \u0026lsquo;L\u0026rsquo;Internationale\u0026rsquo;, qui r\u0026eacute;unit sept institutions d\u0026rsquo;art moderne et contemporain.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEURASIE \u0026ndash; Un paysage de mutabilit\u0026eacute; \u003c/em\u003eest organis\u0026eacute;e par\u0026nbsp;:\u003c/p\u003e\r\n\r\n\u003cp\u003eJoanna Zielińska, commissaire d\u0026rsquo;expositions, M HKA\u003c/p\u003e\r\n\r\n\u003cp\u003eNav Haq, directeur associ\u0026eacute;, M HKA\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eL\u0026rsquo;Internationale\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.internationaleonline.org/\"\u003eL\u0026rsquo;Internationale \u003c/a\u003eest une conf\u0026eacute;d\u0026eacute;ration de sept institutions d\u0026rsquo;art moderne et contemporain. L\u0026rsquo;Internationale propose un espace pour l\u0026rsquo;art au sein d\u0026rsquo;un internationalisme non hi\u0026eacute;rarchique et d\u0026eacute;centralis\u0026eacute;, fond\u0026eacute; sur les valeurs de la diff\u0026eacute;rence et de l\u0026rsquo;\u0026eacute;change horizontal entre une constellation d\u0026rsquo;agents culturels, \u0026agrave; l\u0026rsquo;enracinement local, mais reli\u0026eacute;s au niveau global. L\u0026rsquo;Internationale r\u0026eacute;unit sept grandes institutions artistiques europ\u0026eacute;ennes\u0026nbsp;: Moderna galerija (MG+MSUM, Ljubljana, Slov\u0026eacute;nie)\u0026nbsp;; Museo Nacional Centro de Arte Reina Sof\u0026iacute;a (MNCARS, Madrid, Espagne)\u0026nbsp;; Museu d\u0026rsquo;Art Contemporani de Barcelona (MACBA, Barcelone, Espagne)\u0026nbsp;; Muzeum Sztuki Nowoczesnej w Warszawie, (MSN, Varsovie, Pologne)\u0026nbsp;; Museum van Hedendaagse Kunst Antwerpen (M\u0026nbsp;HKA, Anvers, Belgique)\u0026nbsp;; SALT (Istanbul et Ankara, Turquie)\u0026nbsp;; Van Abbemuseum (VAM, Eindhoven, Pays-Bas), et les institutions partenaires HDK-Valand Academy (G\u0026ouml;teborg, Su\u0026egrave;de) et le National College of Art and Design (NCAD, Dublin, Irlande).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u0026Agrave; propos d\u0026rsquo;Our Many Europes\u0026rsquo;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://www.internationaleonline.org/programmes/\"\u003eOur Many Europes\u003c/a\u003e est un programme quadriennal (2018-2022) qui se compose d\u0026rsquo;expositions, de programmes publics, d\u0026rsquo;\u0026eacute;changes culturels et patrimoniaux et d\u0026rsquo;exp\u0026eacute;rimentation institutionnelle \u0026agrave; travers la conf\u0026eacute;d\u0026eacute;ration L\u0026rsquo;Internationale. Le programme prend pour point de d\u0026eacute;part les ann\u0026eacute;es\u0026nbsp;90, la p\u0026eacute;riode qui a vu na\u0026icirc;tre notre Europe actuelle. Il vise \u0026agrave; r\u0026eacute;fl\u0026eacute;chir de mani\u0026egrave;re sp\u0026eacute;culative sur le r\u0026ocirc;le de la culture comme force motrice pour mettre en lumi\u0026egrave;re qui nous sommes et comment nous nous rapportons au monde.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026#39;engagement du M HKA avec l\u0026#39;Eurasie s\u0026#39;est d\u0026eacute;velopp\u0026eacute; au fil du temps \u0026agrave; travers des projets tels que : \u003cem\u003eAll Under Heaven\u003c/em\u003e (2004), \u003cem\u003eEurope at Large \u0026ndash; Art From the Former USSR\u003c/em\u003e (2009-2011), \u003cem\u003eAngels of History \u0026ndash; Moscow Conceptualism and its Influence\u003c/em\u003e (2005), \u003cem\u003eSanthal Family \u0026ndash; Positions Around an Indian Sculpture \u003c/em\u003e(2008), ainsi que plusieurs projets externes men\u0026eacute;s par les membres de l\u0026#39;\u0026eacute;quipe du M HKA, comme \u003cem\u003eHow to Gather? Acting in a Center in a City in the Heart of Eurasia \u0026ndash; la 6e Biennale de Moscou \u0026not;\u003c/em\u003e (2015) dirig\u0026eacute;e par Bart De Baere, et \u003cem\u003e9\u003csup\u003eth\u003c/sup\u003e International Art Festival Alanica\u003c/em\u003e, Vladikavkaz, Oss\u0026eacute;tie du Nord (2015) convoqu\u0026eacute;s par Nav Haq, et non mentionnent de nombreux engagements, projets et acquisitions d\u0026#39;artistes individuels.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://mpembed.com/show/?m=3u6ZAh4F62g\u0026amp;mpu=621\" target=\"_blank\"\u003eScan 3D\u003c/a\u003e de l\u0026#39;exposition.\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":19,"name":"Ilya \u0026 Emilia Kabakov ","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/714/large/Kabakovs_portrait_by_roman_mensing_.jpeg?1366723275","poster_credits":"(c)image: Roman Mensing"}},{"id":59,"name":"Anatoly Osmolovsky","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/220/large/438px-Osmolovsky.jpg?1363013544","poster_credits":null}},{"id":68,"name":"Oleg Kulik","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/370/large/Kulik-Oleg.jpg?1360319087","poster_credits":null}},{"id":70,"name":"Vladislav (Vlad) Mamyshev-Monroe ","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/875/large/2_.jpg?1362152736","poster_credits":null}},{"id":76,"name":"Gulnara Kasmalieva \u0026 Muratbek Djumaliev ","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/237/large/Gulnara_Kasmalieva_and_Muratbek_Djumaliev_Trans_Siberian_Amazons__2005-2.JPG?1363017401","poster_credits":"(c)image: M HKA"}},{"id":78,"name":"Koka Ramishvili","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/247/large/KokaRamishvili.jpg?1367922733","poster_credits":"©"}},{"id":80,"name":"Babi Badalov","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/014/371/large/Beforeafterbb.jpg?1360681698","poster_credits":null}},{"id":150,"name":"Joseph Beuys","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/430/large/598px-Joseph_Beuys_Filtz_TV_by_Lothar_Wolleh.jpg?1507805974","poster_credits":"(c)SABAM België, 2017 - photo: Lothar Wolleh, CC-BY-SA-3.0 via Wikimedia Commons"}},{"id":161,"name":"Yelena Vorobyeva \u0026 Viktor Vorobyev","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/864/large/vorobyevs1999bw.jpg?1371040764","poster_credits":"(c)image: Vorobyev Archives"}},{"id":167,"name":"C K Rajan","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/686/large/CKRajan.jpg?1370421447","poster_credits":null}},{"id":171,"name":"Ria Pacquée","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/258/large/PerformanceRiaPacquee2011ArtsBirthdayphotoM_HKAclinckx2.jpg?1465901988","poster_credits":"©image: M HKA, 2011"}},{"id":198,"name":"Pedro G. 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