Jenny Holzer in Guggenheim Bilbao

Gepubliceerd op: 20 June 2019

‘Men don’t protect you anymore’ is de ambivalente boodschap op de verpakking van een condoom. Het frulletje, uitgestald onder plexiglas, is één van die typische actie-kunstwerken van Jenny Holzer. De ‘condition humaine’ vervat in scherpe woorden. Reflecties over macht(smisbruik), geweld, verdriet, pijn, herinneringen, liefde, seks en dood doorspekken al 40 jaar haar werk. Haar plastisch-sociaal oeuvre vertolkt zich in diverse materialen: T-shirts, koffiekopjes, schilderijen, installaties, lichtprojecties, poëzie gebeiteld in marmer, slogans in LED-lampen, … Kijkers moeten hun eigen oordeel vormen over thema’s als de vluchtelingencrisis, geweld tegen vrouwen, mensenrechten... 

Eliane VAN DEN ENDE 

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Keywords

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‘Men don’t protect you anymore’ is de ambivalente boodschap op de verpakking van een condoom. Het frulletje, uitgestald onder plexiglas, is één van die typische actie-kunstwerken van Jenny Holzer. De ‘condition humaine’ vervat in scherpe woorden. Reflecties over macht(smisbruik), geweld, verdriet, pijn, herinneringen, liefde, seks en dood doorspekken al 40 jaar haar werk. Haar plastisch-sociaal oeuvre vertolkt zich in diverse materialen: T-shirts, koffiekopjes, schilderijen, installaties, lichtprojecties, poëzie gebeiteld in marmer, slogans in LED-lampen, … Kijkers moeten hun eigen oordeel vormen over thema’s als de vluchtelingencrisis, geweld tegen vrouwen, mensenrechten... 

Eliane VAN DEN ENDE 

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Hij zegt het met een achteloosheid die je de haren ten berge doen rijzen: “Ik verzamelde na een aanval de kogels, zoals alle kinderen gewoon waren in die tijd.” De Libanees-Amerikaanse kunstenaar Walid Raad is aan het woord. Hij beschrijft aan een groepje journalisten hoe hij de gevonden kogels determineerde en ze als gekleurde rondjes aanbracht op foto’s. De kleuren verwijzen naar type en herkomst: onder de landen die wapens verhandelden aan Libanon bevonden zich onder meer België, het Verenigd Koninkrijk, de Verenigde Staten. Raad zegt het niet hardop, maar je denkt het wel: dood en verderf in Libanon werd stevig gevoed door de landen van het Vrije Westen. 

Walid Raad, ooit lid van The Atlas Group, begon zijn loopbaan als fotograaf. Fotografie is nog steeds de basis van zijn werk. Zijn foto’s zijn zakelijk, alsof hij fotografeerde voor een catalogus, of met de documentaire, zwart-wit werkmethode van Bernd en Hilla Becher in het achterhoofd. Raads oogst bestaat uit kapotgeschoten straten, allemaal doodlopend, allemaal vastgelegd vanuit eenzelfde, ogenschijnlijk feitelijk perspectief. Eronder kriebelt commentaar in kleine letters: ‘On this street in 1981 I was passionately kissed by a girl I liked. Three weeks later she moved to Cyprus.’  

Machteld LEIJ

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Walid Raad, ‘Lets be honest, the weather helped’ tot 13 oktober in Stedelijk Museum, Sandbergplein 1, Amsterdam, NL. Open ma-zo van 10-18 u., vr tot 21 u. www.stedelijk.nl

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H ART magazine en Pompidou | Klara presenteren: 'De Biennale van Venetië: een gebruiksaanwijzing.'

Een handige gids voor uw bezoek aan de oudste en mooiste biennale ter wereld. U vindt er alle uitleg bij de grote tentoonstelling 'May you live in interesting times', met de tien meest opvallende paviljoenen, en met alle andere tentoonstellingen die je in de stad niet mag overslaan én boekentips. Alleen voor de spritz moet u zelf zorgen. Gratis als extra bijlage bij H ART #193 en online op www.klara.be

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https://klara.be/gebruiksaanwijzingbiennale2019

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