{"id":4603,"title":"Behind the image","dimensions":"292 x 350 x 610 cm","date_begin":"1996-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1996-01-01","reference":"S0243","stream_count_app":18,"permalink":"behind-the-image","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/713/medium_500/Oursler__Tony__Behind_the_image__1996_photo.jpg?1342093761","cached_actor_names":"Tony Oursler","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":"Installation","nl":"Installatie","fr":"Installation"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/010/713/large/Oursler__Tony__Behind_the_image__1996_photo.jpg?1342093761","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eTony Oursler has made innovative use of the medium of video since the 1990s, like here in this installation. He projects his moving images not onto a screen, but rather onto a doll of sorts. In other installations, for example, he uses flowers and giant eyeballs as \u0026lsquo;screens\u0026rsquo;. This way of working has become Oursler\u0026rsquo;s trademark. Oftentimes his tragi-comic protagonists find themselves in sticky situations: they are pressed together under benches, chair legs, closed up in suitcases and crates or hung from the ceiling. They are given an apparently living face (of Oursler himself, a friend or an actor) by way of video projections and with the penetrating voice they articulate their complaints, or just rattle. They are made of fabric, their body often consists of no more than some rags, but they seem alive nonetheless. Oursler focuses on the face because, as he himself says, it is the face that always fascinates us the most. The principles of the \u003cem\u003elaterna magica\u003c/em\u003e\u0026nbsp;from the 19th century lie at the basis of Oursler\u0026rsquo;s manner of working. The result of this technique is a whacky puppet theatre, where the atmosphere and feelings unleashed by the installation stands central. The contrast between the motionless, \u0026lsquo;dead\u0026rsquo; body of the puppet and the aggressive, often vulgar language fired at you, is very confrontational and underlines the work\u0026rsquo;s ominous atmosphere and dramatic power.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eTony Oursler gebruikt het medium \u0026#39;video\u0026#39; sinds de jaren negentig, onder andere in deze installatie, op een vernieuwende manier. Hij projecteert zijn bewegende beelden niet op een scherm, maar op een pop. In andere installaties gebruikt hij bijvoorbeeld bloemen en reusachtige oogballen als \u0026lsquo;scherm\u0026rsquo;. Deze manier van werken is zijn handelsmerk geworden. Vaak bevinden zijn tragikomische figuren zich in een penibele situatie: ze zijn samengedrukt onder banken, stoelpoten en matrassen, opgesloten in koffers en kisten of opgehangen aan het plafond. Ze krijgen een schijnbaar levendig gezicht (van Oursler zelf, een vriend of een acteur) door de videoprojecties en met indringende stem klagen ze, doen hun beklag of rochelen alleen maar. Ze zijn van stof, hun lichaam bestaat vaak uit niet meer dan wat vodden, maar lijken te leven. Oursler focust op het gezicht omdat, zoals hij zelf zegt, het gezicht de mensen steeds het meest fascineert. De principes van de \u003cem\u003elaterna magica\u003c/em\u003e\u0026nbsp;uit de negentiende eeuw liggen aan de basis van Ourslers manier van werken. Het resultaat van deze techniek is een vreemdsoortig poppentheater, waarbij de sfeer en het gevoel die de installatie losweekt bij de toeschouwer centraal staan. Het contrast tussen het onbeweeglijke, \u0026lsquo;dode\u0026rsquo; lichaam van de pop en de agressieve, vaak vulgaire taal die op je wordt afgevuurd, is erg confronterend en versterkt de onheilspellende sfeer en de dramatische kracht van het werk.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":732,"name":"Tony Oursler","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}