{"id":13862,"title":"Geprojecteerde gevoelens tegenover iets of iemand / Projected Feelings Toward Something or Somebody ","dimensions":"","date_begin":"1974-01-01","material":"dia-projection ","art_status_id":13,"legal_status_id":84,"category_id":23,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Estate Hugo Roelandt, Antwerp","cached_tag_list":"Hugo Roelandt","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0575_0009","stream_count_app":77,"permalink":"gevoelens-feelings","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/094/069/medium_500/DSC_9029.jpg?1741266175","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":true,"category":{"en":"Photography","nl":"Fotografie","fr":"Photographie"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/859/large/2025__Hugo_Roelandt_TEN_F030.jpeg?1739459639","poster_credits":"© Estate Hugo Roelandt","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eFrom the\u0026nbsp;beginning he [Roelandt]\u0026nbsp;wasn’t interested in traditional narrative art photography, but in\u0026nbsp;manipulating the reality in front of the camera.\u0026nbsp;In 1974 he made a\u0026nbsp;remarkable series of self-portraits entitled\u003ci\u003e Feelings\u003c/i\u003e,\u0026nbsp;in which he photographed his own face expressing, often in an exaggerated\u0026nbsp;manner, a wide range of emotions.\u0026nbsp;Around the same time he also made\u0026nbsp;a series of photographic self-portraits in which he adopted, dressed in\u0026nbsp;women’s clothes, provoking and seductive\u0026nbsp;postures. These early examples\u0026nbsp;of what we would now call ‘transgender awareness’ were made more or\u0026nbsp;less simultaneously with self-portraits in drag by\u0026nbsp;artists like Jürgen Klauke\u0026nbsp;(whose work Roelandt knew thanks to Roger D’Hondt of the New Reform\u0026nbsp;Gallery). But they also refer to the procession of the ‘Voil\u0026nbsp;Jeanetten’ (men in\u0026nbsp;women’s clothing) during the carnival in his home town of Aalst – a carnival\u0026nbsp;he attended every year of his life. (Marc Holthof, 2016)\u003c/p\u003e\u003cblockquote\u003e\u003cp style=\"margin-left:0px;text-align:justify;\"\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e“At the time I made photographs, but I refused to photograph what was in front of me, what is out there. What interested me was to change in a very conscious way certain situations and to record this. Photography was a suitable medium for that. In the long run changing things became more important than photography itself and thus it is a small step to turn to 'live' events. (…)” \u0026nbsp;\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e—\u0026nbsp;\u0026nbsp;Interview with Hugo Roelandt by Luc Mishalle, in CET-Bulletin, 1980, nr.5, p. 4 - 6\u003c/p\u003e\u003c/blockquote\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eVanaf het begin was hij [Roelandt] niet geïnteresseerd in traditionele narratieve\u0026nbsp;kunstfotografie, maar in het veranderen van de realiteit voor de camera.\u0026nbsp;In 1974 maakte hij een opmerkelijke reeks van fotografische \u003ci\u003eGevoelens\u003c/i\u003e.\u0026nbsp;Het is een serie zelfportretten waarin hij zijn eigen gezicht fotografeerde dat\u0026nbsp;verschillende, vaak erg overdreven, gevoelens uitdrukte. Hij maakte ook een\u0026nbsp;serie zelfportretten waarin hij in vrouwenkleren provocerende en verleidelijke\u0026nbsp;poses aannam. Deze vroege voorbeelden van wat wij nu als ‘transgender\u0026nbsp;awareness’ zouden bestempelen ontstonden ongeveer gelijktijdig met de\u0026nbsp;zelfportretten in vrouwenkleren van kunstenaars als Jürgen Klauke (wiens\u0026nbsp;werk Hugo kende via Roger D’Hondt van New Reform). Maar ze refereren ook\u0026nbsp;naar de optocht van ‘Voil Jeanetten’ tijdens het Carnaval in zijn geboortestad\u003cbr\u003eAalst. Carnaval dat Hugo – ook al woonde hij lang in Antwerpen – zijn leven\u0026nbsp;lang bijwoonde. (Marc Holthof, 2016)\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e“Vroeger maakte ik foto’s maar ik weigerde foto’s te maken van wat ik voor me zag, van wat er buiten te zien was. Ik vond het interessant om op een bijzonder bewuste manier bepaalde situaties te veranderen en dat proces op te nemen. Fotografie was daar een geschikt medium voor. Na een tijdje werd het veranderen van dingen belangrijker dan de fotografie zelf zodat de stap naar ‘live’ gebeurtenissen snel gezet werd. (…)”\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e\u003ci\u003e\u0026nbsp;\u003c/i\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e \u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e—\u0026nbsp;\u0026nbsp;Interview met Hugo Roelandt door Luc Mishalle, in CET-Bulletin, 1980, nr.5, p. 4 - 6\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eFrom the\u0026nbsp;beginning he [Roelandt]\u0026nbsp;wasn’t interested in traditional narrative art photography, but in\u0026nbsp;manipulating the reality in front of the camera.\u0026nbsp;In 1974 he made a\u0026nbsp;remarkable series of self-portraits entitled \u003ci\u003eFeelings\u003c/i\u003e,\u0026nbsp;in which he photographed his own face expressing, often in an exaggerated\u0026nbsp;manner, a wide range of emotions.\u0026nbsp;Around the same time he also made\u0026nbsp;a series of photographic self-portraits in which he adopted, dressed in\u0026nbsp;women’s clothes, provoking and seductive\u0026nbsp;postures. These early examples\u0026nbsp;of what we would now call ‘transgender awareness’ were made more or\u0026nbsp;less simultaneously with self-portraits in drag by\u0026nbsp;artists like Jürgen Klauke\u0026nbsp;(whose work Roelandt knew thanks to Roger D’Hondt of the New Reform\u0026nbsp;Gallery). But they also refer to the procession of the ‘Voil\u0026nbsp;Jeanetten’ (men in\u0026nbsp;women’s clothing) during the carnival in his home town of Aalst – a carnival\u0026nbsp;he attended every year of his life. (Marc Holthof, 2016)\u003c/p\u003e\u003cblockquote\u003e\u003cp style=\"text-align:justify;\"\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003e“A ce moment j'ai pris des photos mais j'ai refusé de photographier ce qui était devant moi, ce qui était là. Ce qui m'intéressait, c'était de transformer tout à fait consciemment certaines situations et de les consigner. La photographie était un bon moyen d'y parvenir. A terme, changer les choses est devenu plus important que la photographie elle-même et il en faut donc peu pour passer à des événement 'en direct'. (…)”\u003c/strong\u003e\u003c/i\u003e\u003c/span\u003e\u003ci\u003e \u003c/i\u003e—\u0026nbsp;\u0026nbsp;Interview avec Hugo Roelandt par Luc Mishalle, dans CET-Bulletin, 1980, n°5, p. 4- 6\u003c/p\u003e\u003c/blockquote\u003e\u003cp style=\"text-align:justify;\"\u003e\u0026nbsp;\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"}}]}