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.

Deaf Ted, 2014

Sculpture, 130 x 80 x 70 cm.

©Nadia Naveau - image: Base Alpha Gallery, Antwerp

Collection: Stad Antwerpen, in langdurige bruikleen in M HKA (Inv. no. SCA0010-002).

Luc Tuymans chooses three sculptures with a certain baroque air, not only formally as sculpture, but also as suggestions of indeterminateness. They are contemporary interpretations with an upturned antique element. Whether modelled in clay or cast in plaster, the power of her work always lies in her imagination. She uses fragments of references that refer to an invisible past, while subtly creating a new time period in the material of the sculpture. Aside from clay and plaster, she also uses porcelain, tin, wood and even plasticine. The versatility of her practice always arises from the material itself, which also determines the power and language of the image. Often, the same material is utilised in the pedestal, so it becomes part of the sculpture, or becomes an autonomous part of the installation. The way in which she adds new elements to the classical statue refers directly to the practice of ‘visible restoration’, which is often used in archaeological sites or historical buildings. Gaps and missing parts are visibly filled in with different materials to make the intervention visible and thus add a reference point as a time stamp. The artist applies this technique to the most diverse images and memories from her childhood. Moulded white sculptures go hand in hand with baroque sculpted portraits or animalistic wood carvings. Her fairy-tale world is populated by a strange mixture of soldiers, philosophers, astronauts and cartoon characters, but also animals, slaves and outcasts.

Text: Hans Willemse
Translations: Michael Meert

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Artist

> Nadia Naveau.

Nadia Naveau studies sculpture at the Koninklijke Academie and trains at the Higher Institute for Fine Arts,

Exhibitions & Ensembles

> Exhibition: Sanguine/Bloedrood. Luc Tuymans on Baroque. M HKA, Antwerpen, 01 June 2018 - 16 September 2018.

> Exhibition: The City Collection: IN/SIGHT. M HKA, Antwerp, 16 May 2024 - 06 January 2025.

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> Ensemble: An Architecture for Art - Nadia Naveau.

> Ensemble: The City Collection / De Stadscollectie / La collection municipale.

Related Items

>Nadia Naveau, Roi, je t'attends à Babylone, 2014.Sculpture, plaster, plasticine, 180 x 120 x 130 cm.

>Nadia Naveau, Figaro’s Triumph, 2014.Sculpture, plaster, 160 x 80 x 80 cm.

>Nadia Naveau, Deaf Ted, Danoota (and me), 2014-2021.Sculpture, drie witte bustes van gips en plasticine, te tonen op hoge sokkels, Variabele installatie op sokkels, beelden: 120 × 180 × 130 cm, 130 × 90 × 60 cm, 160 × 80 × 80 cm.