M HKA gaat digitaal

Met M HKA Ensembles zetten we onze eerste échte stappen in het digitale landschap. Ons doel is met behulp van nieuwe media de kunstwerken nog beter te kaderen dan we tot nu toe hebben kunnen doen.

We geven momenteel prioriteit aan smartphones en tablets, m.a.w. de in-museum-ervaring. Maar we zijn evenzeer hard aan het werk aan een veelzijdige desktop-versie. Tot het zover is vind je hier deze tussenversie.

M HKA goes digital

Embracing the possibilities of new media, M HKA is making a particular effort to share its knowledge and give art the framework it deserves.

We are currently focusing on the experience in the museum with this application for smartphones and tablets. In the future this will also lead to a versatile desktop version, which is now still in its construction phase.

Ensemble: COLONIALISM

Colonialism 
The term colony comes from the Latin word colonus, meaning farmer. Colonialism is a practice of domination, involving the subjugation of one people by another, generally with the aim of economic dominance. In the process of colonisation, colonisers may impose their cultural practices, religion, labour conditions and language on indigenous peoples. The coloniser seeks to benefit from the colonised region’s people and resources. Colonialism is strongly associated with the European colonial period beginning in the 15th century. At first, European colonising countries followed policies of mercantilism, aiming to strengthen the home-nation economy, so agreements usually restricted the colonies to trading only with the colonising nation. However, by the mid-19th century, the British Empire gave up mercantilism and adopted the principle of free trade. Belgium controlled the Belgian Congo (today the Democratic Republic of Congo) from 1908 to 1960, and Ruanda-Urundi (Rwanda and Burundi) from 1922 to 1962. The Belgian Congo originated as the personal property of the king Leopold II, before sovereignty was transferred to the Belgian state in 1908. European slave traders, primarily the Portuguese, Spanish, British, Dutch and French empires brought large numbers of African slaves to the Americas. The European colonial system took between 10 to 12 million Africans to the Caribbean and to North and South America as slaves. Christian missionaries were active in most of the European-controlled colonies. It is estimated that by 1914, colonisers had gained control of 84% of the globe. Following the Second World War, colonial powers were forced to retreat, and between 1945–1975, nearly all colonies gained independence, entering into postcolonial relations.

Colonial Exhibitions and the Human Zoo
Exposition Internationale Coloniale, Maritime et d'Art Flamand, Antwerpen, 1930

Apartheid

Hide this description

Themes & Categories

>MONOCULTURE – Exposition Internationale Coloniale, Maritime et d'Art Flamand, Antwerpen, 1930.

>MONOCULTURE – Human Zoo.

No image

>MONOCULTURE – Apartheid.

Works

>Jardin d'Acclimatation. Village Achanti − Joueurs Indigènes − Le Coiffeur. Paris, 1887, 1887.Postcard, collotype, 14 x 9 cm.

>Guide de la Section de L'Etat Indépendant du Congo à l'Exposition de Bruxelles − Tervuren, 1897.Book, 16,3 x 24,5 x 3,3 cm.

>Exposition Coloniale: Chef Foulah (Guinée), 1907, 1907.Postcard, postcard, 9 x 14 cm.

>Exposition Coloniale: Idole Cambodgienne, 1907, 1907.Postcard, 9 x 14 cm.

>Exposition Coloniale: Caïma et Type Berbères, 1907, 1907.Postcard, postcard, 14 x 9 cm.

>Postcard Exposition Coloniale. Village Congolais (France, 1907), 1907.Postcard, postcard, 14 x 9 cm.

>Carl Hagenbeck's Tierpark, Stellingen-Hamburg. Singhalesentruppe des Ceylindorfes, 1908.Postcard, postcard, 14 x 9 cm.

>Exposition Universelle de Bruxelles de 1910. Village Sénégalais. Jeunes Femmes et Jeunes Filles, 1910.Postcard, collotype, 9 x 14 cm.

>Carl Hagenbeck's Grosse Schaustellung "Indien", 1910.Postcard, postcard, 14 x 9 cm.

>Carl Hagenbeck's Grosse Schaustellung "Indien" , 1910.Postcard, postcard, 14 x 9 cm.

>Carl Hagenbeck, Stellingen-Hamburg Tierpark, Circus, Völkerschau, 1910.Other, postcard, 14 x 9 cm.

>Livre d'Or de L'Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930, 1930.Book, 16 x 23,9 .

>Règlement Général. Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930, 1930.Book, 15,8 x 23,7 x 0,9 cm.

>Rapport Général. Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930, 1930.Book, 16,3 x 24,7 x 3,3 cm.

>Palais du Congo Belge Guide Officiel. Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930, 1930.Book, 13,3 x 20,2 x 0,9 cm.

>Règlement Général. Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930, 1930.Leaflet.

>Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930, 1930.Book, paper, 22,2 x 28,2 x 0,5 cm.

>Manuel de L'Exposition Coloniale Internationale, Paris 1931, 1931.Book, book, 13,4 x 21 x 0,5 cm.

>Op die Horison. Kwartaalblad van die Nederduitse Gereformeerde Kerk in Suid-Afrika, 1940-1970.Periodical, ink, paper, 15.5 x 24.1 x 0.3 cm.

>Non aux Oranges Outspan d'Afrique du Sud, 1980.Other, ink, paper.

>Karel Schoetens, Jef Lambrecht, Déclaration De Dépendance de la Belgique au Zaire BIWA, 1989.Performance.

>Vincent Meessen, The Intruder, 2005.Video.

>Ibrahim Mahama, On Monumental Silences, 2018.Sculpture, rubber, 210 x 60 x 80 cm.

>Vincent Meessen, How to Spin a Bad Yarn, 2020.Installation, cotton, wood, (4x) 305 x 70 cm.

>Carl Hagenbeck's Tierpark in Stellingen. Samojeden mit Renntierschlitten.Postcard, postcard, 14 x 8,5 cm.