{"id":13259,"title":"Lenin was a Mushroom - Moving Images in the 1990s","date_begin":"2022-06-03T00:00:00.000+02:00","date_end":"2022-08-21T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/212/large/1997_dial_H-I-S-T-O-R-Y_JohanGrimonprez_three_hijacked_jets_on_desert_airstrip_Amman_Jordan_1970_september_12.jpg?1654086228","poster_credits":"(c)Johan Grimonprez"},"translations":[{"locale":"en","name":"Lenin was a Mushroom - Moving Images in the 1990s","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eAMVK\u003c/strong\u003e, \u003cstrong\u003eAernout Mik\u003c/strong\u003e, \u003cstrong\u003eAmar Kanwar\u003c/strong\u003e, \u003cstrong\u003eAndrea Fraser\u003c/strong\u003e, \u003cstrong\u003eArtūras Raila\u003c/strong\u003e, \u003cstrong\u003eDavid Claerbout\u003c/strong\u003e, \u003cstrong\u003eGianni Motti\u003c/strong\u003e, \u003cstrong\u003eGillian Wearing\u003c/strong\u003e, \u003cstrong\u003eH\u0026auml;nzel \u0026amp; Gretzel\u003c/strong\u003e, \u003cstrong\u003eJohan Grimonprez\u003c/strong\u003e, \u003cstrong\u003eNedko Solakov\u003c/strong\u003e, \u003cstrong\u003ePipilotti Rist\u003c/strong\u003e, \u003cstrong\u003eRosalind Nashashibi\u003c/strong\u003e, \u003cem\u003e\u003cstrong\u003eRos\u0026acirc;ngela Renn\u0026oacute;\u003c/strong\u003e\u003c/em\u003e\u003cem\u003e, \u003cstrong\u003eŞener \u0026Ouml;zmen\u003c/strong\u003e\u003c/em\u003e \u003cstrong\u003eand \u003c/strong\u003e\u003cem\u003e\u003cstrong\u003eErkan \u0026Ouml;zgen\u003c/strong\u003e\u003c/em\u003e\u003cem\u003e, \u003c/em\u003e\u003cstrong\u003eSergey Kuryokhin\u003c/strong\u003e \u003cstrong\u003eand \u003c/strong\u003e\u003cstrong\u003eSergey Sholokhov,\u003c/strong\u003e \u003cstrong\u003eShilpa Gupta\u003c/strong\u003e, \u003cstrong\u003eStan Douglas\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eWe can say that the 1990s were \u0026ndash; to use three contentious terms \u0026ndash; the era of globalisation, deregulation and democratisation. Titled after Sergey Kuryokhin and Sergey Sholokhov\u0026#39;s absurd 1991 mockumentary from the last days of the Soviet Union, the exhibition \u003cem\u003eLenin Was a Mushroom\u003c/em\u003e examines the 1990s \u0026ndash; which we might define here as the period between the end of the Cold War and the beginning of the \u0026#39;War on Terror\u0026rsquo;. During the transition towards a supposed unipolar world, and in simultaneity with new international attitudes in the artistic sphere, film and video art of the 1990s broadened perspectives of the visual kind.\u003c/p\u003e\r\n\r\n\u003cp\u003eWith wider accessibility of both video hardware and editing software, the 1990s were a key period for the development and proliferation of film and video art. \u003cem\u003eLenin Was a Mushroom\u003c/em\u003e \u0026nbsp;looks at moving images that offered reflections of the era but also new modes and means for image-making through the technological advancements adopted by artists. \u0026nbsp;Video art, on the one hand derided by some at the time for facilitating a homogenous \u0026#39;visual Esperanto\u0026#39; adopted by artists for depicting social realities globally, is on the other hand recognised for opening up new aesthetic practices, as well as display and distribution possibilities.\u003c/p\u003e\r\n\r\n\u003cp\u003eWe can see that the influx of video art in the 1990s provided the means for broadening artistic languages, including new conceptual practices, socio-political engagement, sampling and televisual reflexivity, synthesised or \u0026#39;post-media\u0026#39; forms \u0026ndash; as well as for dismantling narrative structure. We can also consider some of the practices of this time for reflecting on societal transformations in telematic and mediatic consciousness that have come to dominate today\u0026#39;s media landscape, oscillating between individual positions and mass psychology.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe eclecticism of these artistic concerns can be seen as characteristic of the post-modern condition, and given space here for critical reflection. Thus, rather than being an exhaustive survey, \u003cem\u003eLenin Was a Mushroom\u003c/em\u003e will present a selection of artworks that offer insights into the manifold artistic interests and modalities of the day. Instead of defining a generation, the exhibition\u0026nbsp; will be deliberately inter-generational \u0026ndash; looking at artists who were working at their artistic peak alongside others who were producing their formative works \u0026ndash; in order to provide a unique perspective upon moving image practices in the last decade of the 20\u003csup\u003eth\u003c/sup\u003e century.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","name":"Lenin was a Mushroom - Moving Images in the 1990s","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eAMVK\u003c/strong\u003e, \u003cstrong\u003eAernout Mik\u003c/strong\u003e, \u003cstrong\u003eAmar Kanwar\u003c/strong\u003e, \u003cstrong\u003eAndrea Fraser\u003c/strong\u003e, \u003cstrong\u003eArtūras Raila\u003c/strong\u003e, \u003cstrong\u003eDavid Claerbout\u003c/strong\u003e, \u003cstrong\u003eGianni Motti\u003c/strong\u003e, \u003cstrong\u003eGillian Wearing\u003c/strong\u003e, \u003cstrong\u003eH\u0026auml;nzel \u0026amp; Gretzel\u003c/strong\u003e, \u003cstrong\u003eJohan Grimonprez\u003c/strong\u003e, \u003cstrong\u003eNedko Solakov\u003c/strong\u003e, \u003cstrong\u003ePipilotti Rist\u003c/strong\u003e, \u003cstrong\u003eRosalind Nashashibi\u003c/strong\u003e, \u003cstrong\u003eRos\u0026acirc;ngela Renn\u0026oacute;\u003c/strong\u003e, \u003cstrong\u003eŞener \u0026Ouml;zmen\u003c/strong\u003e \u003cstrong\u003een\u003c/strong\u003e \u003cstrong\u003eErkan \u0026Ouml;zgen\u003c/strong\u003e, \u003cstrong\u003eSergey Kuryokhin\u003c/strong\u003e \u003cstrong\u003een\u003c/strong\u003e \u003cstrong\u003eSergey Sholokhov,\u003c/strong\u003e \u003cstrong\u003eShilpa Gupta\u003c/strong\u003e, \u003cstrong\u003eStan Douglas\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eWe kunnen stellen dat \u0026ndash; om drie controversi\u0026euml;le termen te gebruiken \u0026ndash; de jaren 1990 het tijdperk was van globalisering, deregulering en democratisering. De tentoonstelling is getiteld naar Sergei Kuryokhin en Sergei Sholokhov\u0026rsquo;s absurde tv-mockumentaire uit 1991, toen het post-communistische tijdperk net was ingezet. Ze werpt een blik op de jaren 1990 \u0026ndash; die we zouden kunnen defini\u0026euml;ren als de periode tussen het einde van de Koude Oorlog en het begin van de \u0026#39;war on terror\u0026#39;. Film- en videokunst verbreidden zich tijdens de overgang naar een veronderstelde unipolaire wereld, parallel met nieuwe internationale perspectieven in de kunst en visuele perspectieven die steeds breder werden.\u003c/p\u003e\r\n\r\n\u003cp\u003eMet zowel videohardware als montagesoftware die breder toegankelijk werden, waren de jaren 1990 een belangrijke periode voor de ontwikkeling en verspreiding van film- en videokunst. \u003cem\u003eLenin was een paddenstoel\u003c/em\u003e kijkt naar films en video\u0026#39;s die het tijdperk weerspiegelen, maar ook naar hoe kunstenaar nieuwe manieren vonden om beelden te maken, dankzij technologische innovaties. Videokunst wordt aan de ene kant geridiculiseerd omdat ze een homogeen \u0026#39;visueel Esperanto\u0026#39; cre\u0026euml;ert, dat geadopteerd wordt door kunstenaars om de sociale realiteit wereldwijd te representeren. Aan de andere kant wordt de kunstvorm erkend voor zijn rol in het mogelijk maken van nieuwe esthetische praktijken en weergave- en distributiemogelijkheden.\u003c/p\u003e\r\n\r\n\u003cp\u003eZo kunnen we vaststellen dat de toestroom van videokunst in de jaren 1990 de middelen bood voor het verbreden van artistieke talen en van een televisie-esthetiek, voor nieuwe conceptuele praktijken, sociaal-politieke betrokkenheid, sampling, synthese- of \u0026#39;post-media\u0026#39;-kunstvormen en nieuwe analysemethoden \u0026ndash; en voor het ontmantelen van narratieve structuren. We kunnen de praktijken van de jaren 1990 ook aangrijpen voor een reflectie op de transformaties in telematica- en media-bewustzijn \u0026ndash; praktijken die het hedendaagse medialandschap, dat schommelt tussen individuele posities en massapsychologie, zijn gaan domineren.\u003c/p\u003e\r\n\r\n\u003cp\u003eWe kunnen stellen dat dit dit eclecticisme kenmerkend is voor de postmoderne toestand, en in de context van deze tentoonstelling kan het ruimte scheppen voor kritische reflectie. Zo zal \u003cem\u003eLenin was een paddenstoel\u003c/em\u003e, in plaats van een uitputtend overzicht te bieden, een selectie kunstwerken presenteren die inzicht bieden in de vele zorgen en besognes van de dag. In plaats van een generatie te defini\u0026euml;ren, is de selectie bewust intergenerationeel \u0026ndash; waarbij gekeken wordt naar kunstenaars die op dat moment hun artistieke piek beleven, naast anderen die in de beginjaren van hun carri\u0026egrave;re zitten \u0026ndash; om zo een uniek perspectief te bieden op film- en videopraktijken in het laatste decennium van de 20\u003csup\u003ee\u003c/sup\u003e eeuw.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","name":"Lenin was a Mushroom - Moving Images in the 1990s","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eAMVK\u003c/strong\u003e, \u003cstrong\u003eAernout Mik\u003c/strong\u003e, \u003cstrong\u003eAmar Kanwar\u003c/strong\u003e, \u003cstrong\u003eAndrea Fraser\u003c/strong\u003e, \u003cstrong\u003eArtūras Raila\u003c/strong\u003e, \u003cstrong\u003eDavid Claerbout\u003c/strong\u003e, \u003cstrong\u003eGianni Motti\u003c/strong\u003e, \u003cstrong\u003eGillian Wearing\u003c/strong\u003e, \u003cstrong\u003eH\u0026auml;nzel \u0026amp; Gretzel\u003c/strong\u003e, \u003cstrong\u003eJohan Grimonprez\u003c/strong\u003e, \u003cstrong\u003eNedko Solakov\u003c/strong\u003e, \u003cstrong\u003ePipilotti Rist\u003c/strong\u003e, \u003cstrong\u003eRosalind Nashashibi\u003c/strong\u003e, \u003cem\u003e\u003cstrong\u003eRos\u0026acirc;ngela Renn\u0026oacute;\u003c/strong\u003e, \u003cstrong\u003eŞener \u0026Ouml;zmen\u003c/strong\u003e\u003c/em\u003e \u003cstrong\u003eet\u003c/strong\u003e \u003cem\u003e\u003cstrong\u003eErkan \u0026Ouml;zgen\u003c/strong\u003e, \u003c/em\u003e\u003cstrong\u003eSergey Kuryokhin\u003c/strong\u003e \u003cstrong\u003eet\u003c/strong\u003e \u003cstrong\u003eSergey Sholokhov,\u003c/strong\u003e \u003cstrong\u003eShilpa Gupta\u003c/strong\u003e, \u003cstrong\u003eStan Douglas\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eOn peut dire \u0026ndash; pour utiliser trois termes controvers\u0026eacute;s \u0026ndash; que les ann\u0026eacute;es\u0026nbsp;90 ont \u0026eacute;t\u0026eacute; l\u0026rsquo;\u0026egrave;re de la mondialisation, de la d\u0026eacute;r\u0026eacute;gulation et de la d\u0026eacute;mocratisation. Intitul\u0026eacute;e d\u0026rsquo;apr\u0026egrave;s le \u0026laquo;\u0026nbsp;documenteur\u0026nbsp;\u0026raquo; absurde r\u0026eacute;alis\u0026eacute; par Sergey Kuryokhin et Sergey Sholokhov en 1991, dans l\u0026rsquo;imm\u0026eacute;diate \u0026egrave;re post-communiste, l\u0026rsquo;exposition \u003cem\u003eL\u0026eacute;nine \u0026eacute;tait un champignon\u003c/em\u003e appr\u0026eacute;hende les ann\u0026eacute;es\u0026nbsp;90, que l\u0026rsquo;on pourrait d\u0026eacute;finir comme la p\u0026eacute;riode comprise entre la fin de la guerre froide et le d\u0026eacute;but de la guerre contre le terrorisme. Le cin\u0026eacute;ma et l\u0026rsquo;art vid\u0026eacute;o ont prolif\u0026eacute;r\u0026eacute; au cours de cette transition vers un monde suppos\u0026eacute; unipolaire, en parall\u0026egrave;le de nouveaux horizons internationaux dans l\u0026rsquo;art et de l\u0026rsquo;extension des perspectives visuelles.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvec l\u0026rsquo;accessibilit\u0026eacute; accrue au mat\u0026eacute;riel vid\u0026eacute;o et aux logiciels de montage, les ann\u0026eacute;es\u0026nbsp;90 se sont r\u0026eacute;v\u0026eacute;l\u0026eacute;es une p\u0026eacute;riode essentielle pour le d\u0026eacute;veloppement et la prolif\u0026eacute;ration du cin\u0026eacute;ma et de l\u0026rsquo;art vid\u0026eacute;o. L\u0026rsquo;exposition \u003cem\u003eL\u0026eacute;nine \u0026eacute;tait un champignon\u003c/em\u003e se focalise sur les images en mouvement offrant une r\u0026eacute;flexion sur l\u0026rsquo;\u0026eacute;poque, mais aussi sur les nouveaux modes et moyens de cr\u0026eacute;ation d\u0026rsquo;images, \u0026agrave; la faveur des avanc\u0026eacute;es technologiques que les artistes se sont empress\u0026eacute;s d\u0026rsquo;adopter. L\u0026rsquo;art vid\u0026eacute;o, d\u0026rsquo;une part tourn\u0026eacute; en d\u0026eacute;rision pour avoir facilit\u0026eacute; un \u0026laquo;\u0026nbsp;esp\u0026eacute;ranto visuel\u0026nbsp;\u0026raquo; homog\u0026egrave;ne que les artistes ont adopt\u0026eacute; pour d\u0026eacute;peindre des r\u0026eacute;alit\u0026eacute;s sociales \u0026agrave; l\u0026rsquo;\u0026eacute;chelle mondiale, est d\u0026rsquo;autre part reconnu pour avoir ouvert de nouvelles pratiques esth\u0026eacute;tiques, ainsi que des possibilit\u0026eacute;s de pr\u0026eacute;sentation et de distribution.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn peut observer que l\u0026rsquo;afflux d\u0026rsquo;art vid\u0026eacute;o dans les ann\u0026eacute;es\u0026nbsp;90 a procur\u0026eacute; les moyens d\u0026rsquo;\u0026eacute;tendre des langages artistiques, une esth\u0026eacute;tique t\u0026eacute;l\u0026eacute;visuelle, de nouvelles pratiques conceptuelles, un engagement socio-politique, de l\u0026rsquo;\u0026eacute;chantillonnage, des formes synth\u0026eacute;tis\u0026eacute;es ou \u0026laquo;\u0026nbsp;post-m\u0026eacute;diatiques\u0026nbsp;\u0026raquo;, de nouveaux modes d\u0026rsquo;analyse et un d\u0026eacute;mant\u0026egrave;lement des structures narratives. On pourrait aussi examiner les pratiques des ann\u0026eacute;es\u0026nbsp;90 en vue de r\u0026eacute;fl\u0026eacute;chir aux transformations de la conscience t\u0026eacute;l\u0026eacute;matique et m\u0026eacute;diatique \u0026ndash; des pratiques qui en sont venues \u0026agrave; dominer le paysage m\u0026eacute;diatique actuel, oscillant entre positions individuelles et psychologie de masse.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;\u0026eacute;clectisme de ces pr\u0026eacute;occupations peut \u0026ecirc;tre consid\u0026eacute;r\u0026eacute; comme caract\u0026eacute;ristique de la condition post-moderne, et dans le contexte de cette exposition, il peut cr\u0026eacute;er un espace de r\u0026eacute;flexion critique. Par cons\u0026eacute;quent, plut\u0026ocirc;t qu\u0026rsquo;une r\u0026eacute;trospective exhaustive, \u003cem\u003eLenin Was a Mushroom\u003c/em\u003e pr\u0026eacute;sente une s\u0026eacute;lection d\u0026rsquo;\u0026oelig;uvres d\u0026rsquo;art offrant un aper\u0026ccedil;u des multiples pr\u0026eacute;occupations et modalit\u0026eacute;s de l\u0026rsquo;\u0026eacute;poque. Au lieu de d\u0026eacute;finir une g\u0026eacute;n\u0026eacute;ration, la s\u0026eacute;lection est d\u0026eacute;lib\u0026eacute;r\u0026eacute;ment interg\u0026eacute;n\u0026eacute;rationnelle \u0026ndash; tourn\u0026eacute;e vers des artistes \u0026agrave; leur apog\u0026eacute;e artistique \u0026agrave; c\u0026ocirc;t\u0026eacute; d\u0026rsquo;autres qui, \u0026agrave; l\u0026rsquo;\u0026eacute;poque, produisaient leurs \u0026oelig;uvres formatrices \u0026ndash; afin d\u0026rsquo;offrir une perspective unique sur les pratiques de l\u0026rsquo;image en mouvement dans la derni\u0026egrave;re d\u0026eacute;cennie du XX\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle.\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":"\u003cp\u003e\u003cstrong\u003eAMVK\u003c/strong\u003e, \u003cstrong\u003eAernout Mik\u003c/strong\u003e, \u003cstrong\u003eAmar Kanwar\u003c/strong\u003e, \u003cstrong\u003eAndrea Fraser\u003c/strong\u003e, \u003cstrong\u003eArtūras Raila\u003c/strong\u003e, \u003cstrong\u003eDavid Claerbout\u003c/strong\u003e, \u003cstrong\u003eGianni Motti\u003c/strong\u003e, \u003cstrong\u003eGillian Wearing\u003c/strong\u003e, \u003cstrong\u003eH\u0026auml;nzel \u0026amp; Gretzel\u003c/strong\u003e, \u003cstrong\u003eJohan Grimonprez\u003c/strong\u003e, \u003cstrong\u003eNedko Solakov\u003c/strong\u003e, \u003cstrong\u003ePipilotti Rist\u003c/strong\u003e, \u003cstrong\u003eRosalind Nashashibi\u003c/strong\u003e, \u003cem\u003e\u003cstrong\u003eRos\u0026acirc;ngela Renn\u0026oacute;\u003c/strong\u003e\u003c/em\u003e\u003cem\u003e, \u003cstrong\u003eŞener \u0026Ouml;zmen\u003c/strong\u003e\u003c/em\u003e \u003cstrong\u003eand \u003c/strong\u003e\u003cem\u003e\u003cstrong\u003eErkan \u0026Ouml;zgen\u003c/strong\u003e\u003c/em\u003e\u003cem\u003e, \u003c/em\u003e\u003cstrong\u003eSergey Kuryokhin\u003c/strong\u003e \u003cstrong\u003eand \u003c/strong\u003e\u003cstrong\u003eSergey Sholokhov,\u003c/strong\u003e \u003cstrong\u003eShilpa Gupta\u003c/strong\u003e, \u003cstrong\u003eStan Douglas\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eArchitectural design: Samyra Moumouh\u003c/strong\u003e.\u003c/p\u003e\r\n"},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[{"id":255,"name":"David Claerbout","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/681/large/claerbout.jpg?1370417537","poster_credits":null}},{"id":739,"name":"Pipilotti Rist","assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/592/large/800px-Pipilotti_Rist_at_Fundaci%C3%B3_Joan_Mir%C3%B3_in_Barcelona.jpg?1370250310","poster_credits":"(c)image: Pere Pratdesaba, Fundació Joan Miró, 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