{"id":4302,"title":"Playtime","dimensions":"120 x 122 cm","date_begin":"2005-01-01","material":"cibachroom, aluminium, plexiglas","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BR07_DB11","stream_count_app":16,"permalink":"playtime","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Charif Benhelima","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Photography","nl":"Fotografie","fr":"Photographie"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/731/large/Benhelima__Charif___Playtime__2005.jpg?1343636591","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eThese photographs belongs to the series\u0026nbsp;\u003cem\u003eBlack-Out\u003c/em\u003e\u0026nbsp;made by photographer Charif Benhelima. These pictures are all blown-up polaroids. The white fog into which the images in this series seem to disappear, is a direct result of the use of this medium: Benhelima prolongs the camera\u0026rsquo;s shutter speed so that the film is exposed to light longer than usual, and the resulting image is then still just barely recognizable. In this way only the clearest forms and contours remain visible. In this series Benhelima has us reflect upon the visual essence of the things around us. What are the limits of formal lines in terms of conveying meaning? But it is not only the physical aspects of an object that create meaning, the viewer as well is responsible for its observation and interpretation. It is this subjective relationship between people and their surroundings, between spectator and image, that is called into question in\u0026nbsp;\u003cem\u003eBlack-Out\u003c/em\u003e. These questions concerning the autonomy of an object and the relationship of man to his environment illustrate a recurring concern that runs throughout the work of Benhelima.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":""},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eCes photographies font partie de la s\u0026eacute;rie \u0026nbsp;\u003cem\u003eBlack-Out\u003c/em\u003e\u0026nbsp;r\u0026eacute;alis\u0026eacute;e par le photographe Charif Benhelima. Ces images sont toutes des polaro\u0026iuml;ds agrandis. La brume blanche dans laquelle les images de cette s\u0026eacute;rie semblent dispara\u0026icirc;tre est un r\u0026eacute;sultat direct de l\u0026#39;utilisation de ce support : Benhelima prolonge la vitesse d\u0026#39;obturation de l\u0026#39;appareil photo afin que le film soit expos\u0026eacute; \u0026agrave; la lumi\u0026egrave;re plus longtemps que d\u0026#39;habitude et l\u0026#39;image qui en r\u0026eacute;sulte est alors \u0026agrave; peine reconnaissable. Ainsi, seuls les formes et les contours les plus clairs demeurent visibles. Dans cette s\u0026eacute;rie, Benhelima nous pousse \u0026agrave; r\u0026eacute;fl\u0026eacute;chir sur l\u0026#39;essence visuelle des choses qui nous entourent. Quelles sont les limites des lignes formelles en termes de transmission d\u0026#39;un message ? Cependant, ce ne sont pas seulement les aspects physiques d\u0026#39;un objet qui cr\u0026eacute;ent du sens. Le spectateur est \u0026eacute;galement responsable de son observation et de son interpr\u0026eacute;tation. C\u0026#39;est cette relation subjective entre les gens et leur entourage, entre le spectateur et l\u0026#39;image, qui est mise en question dans\u0026nbsp;\u003cem\u003eBlack-Out\u003c/em\u003e. Ces questions concernant l\u0026#39;autonomie d\u0026#39;un objet et la relation de l\u0026#39;homme avec son environnement illustrent une pr\u0026eacute;occupation r\u0026eacute;currente qui se retrouve dans l\u0026#39;ensemble de l\u0026#39;oeuvre de Benhelima.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eDiese Fotografien geh\u0026ouml;ren zur Reihe\u0026nbsp;\u003cem\u003eBlack-Out\u003c/em\u003e\u0026nbsp;des Fotografen Charif Benhelima. Diese Bilder sind alle Polaroids. Der wei\u0026szlig;e Nebel, in dem die Bilder dieser Reihe zu verschwinden scheinen, ist ein unmittelbares Ergebnis dieses Mediums: Benhelima verl\u0026auml;ngert die Belichtungszeit der Kamera, sodass der Film l\u0026auml;nger als \u0026uuml;blich dem Licht ausgesetzt ist, und das resultierende Bild ist dann kaum zu erkennen. Auf diese Weise bleiben nur die klarsten Formen und Konturen sichtbar. In dieser Reihe l\u0026auml;sst Benhelima uns \u0026uuml;ber die visuelle Bedeutung der Dinge um uns herum nachdenken. Was sind die Grenzen von formalen Linien in Bezug auf Bedeutungs\u0026uuml;bertragung? Aber es sind nicht nur die physischen Aspekte eines Objekts, die Bedeutung schaffen k\u0026ouml;nnen, der Beobachter ist ebenfalls verantwortlich f\u0026uuml;r seine Beobachtung und Interpretation. Es ist diese subjektive Beziehung zwischen Menschen und ihren Umgebungen, zwischen Zuschauer und Bild, die in\u0026nbsp;\u003cem\u003eBlack-Out\u003c/em\u003e infrage gestellt wird. Diese Fragen \u0026uuml;ber die Autonomie eines Gegenstands und die Beziehung von Menschen und ihrer Umgebung illustrieren eine wiederkehrende Sorge, die sich durch die Arbeit von Benhelima zieht.\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":158,"name":"Charif Benhelima","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}