EN
EXHIBITION
RIA PACQUÉE THEY ARE LOOKING AT US, WE ARE LOOKING AT THEM 25.05–22.09.2019
RIA PACQUÉE THEY ARE LOOKING AT US, WE ARE LOOKING AT THEM 25.05 – 22.09.2019 No stranger to the Middelheim Museum, Antwerp artist Ria Pacquée has been invited to present new and recent work in an extensive solo show. Venturing into the field of sculptural installations in the open air, Ria Pacquée, who initially made fame as a performance artist, for the first time shows her work within the context of contemporary sculpture. The presentation also includes video works and performances, most of them specifically created for this exhibition. About ten years ago, Ria Pacquée wanted to head in a new direction and began investigating the possibilities of sculpture. It soon became clear that it would not be a traditional sculpture practice. Gradually she developed a group of installations based upon material found in the public space. She is fascinated by the ways in which people use that space and by the objects resulting from that use, such as a megaphone on a pole or an improvised sales booth. It is not her intention to create new forms: she interprets what she sees in fleeting but extremely precise work. Her installations allow us to look at our environment and at ourselves, just as her video works and performances do. Pacquée unravels the mechanisms in our society and invites us to reflect about the systems that we use unconsciously, each day, and about who we are and how we shape our identity and our reality. During the exhibition, visitors have the opportunity to see the artist at work. For the entire month of June, Ria Pacquée installs a workspace on the islet in the park pond, where she devises and executes actions, and in July and August she presents four performances. Never before has an artist been actively present in the museum for such a lengthy period of time.
Pacquée also invites contributions by guest artists. A work by Joëlle Tuerlinckx is included in the exhibition, and in the summer, additional performances are scheduled by Suchan Kinoshita, Tsubasa Hori, Lilibeth Cuenca Rasmussen and Minja Gu. Furthermore, her work enters into a dialogue with pieces from the Middelheim Museum collection by Luc Deleu, John Körmeling and Louise Lawler.
way to travels through Africa, the Middle East and Asia as an artistic strategy. For Pacquée, borrowing elements from other cultures (cultural appropriation) does not equal meaningless copy. On the contrary, it is a search for similarities and connections, a fundamental way to achieve an exchange between different cultures. She actively seeks to improve the contact with the other. PHYSICAL IDENTITY
IDENTITY AS A CENTRAL THEME The work of Ria Pacquée is poetic and layered, and addresses various themes. In this exhibition, together with curator Pieter Boons, she investigates the importance and role of identity in her art. They distinguish three perspectives: artistic identity, cultural identity and physical identity. ARTISTIC IDENTITY
CULTURAL IDENTITY
The artistic identity of Ria Pacquée is defined by non-conformism: she goes her own way, regardless of the expectations of the art world or the public. Stubborn and autonomous, she constantly questions her artistic identity, based on a desire to continuously nurture her artistic practice. She works alone, but also interacts: the solo exhibition that is not a solo. She is a performance artist, but still produces photographs, videos and sculptural installations: the performer who becomes a sculptor. She shows her work on and off the official art circuit: she is inside and outside at the same time. She presents performances, but simultaneously turns our focus towards objects and situations in the public space: the artist both present and absent. According to Ria Pacquée, identity is an open and therefore variable construction in dialogue with the outside world. It explains why she freely uses various cultural elements in her oeuvre. By questioning the boundaries between men and women, the religious and the secular, East and West, she searches for connections. Non-Western civilization has become an important focus: personal observations on the migration background of many Antwerp residents in her own neighbourhood gave
The body plays an important role in the works of Ria Pacquée. It is her means of expression, in the grand tradition of figurative sculpture, where the human body also occupies central stage. Using her body she develops a universal image to which each of us can relate. If she appears herself, it is in disguise or as an abstract representation of herself or the ‘other’, and therefore potentially of each of us. In that respect, her work is neither personal nor impersonal. Man, woman and everything in between is able to identify with it. The same applies to the human interactions and situations that she portrays. It’s not about her but about us.
THEY ARE LOOKING AT US, WE ARE LOOKING AT THEM: Sometimes when travelling, if Pacquée sees something she cannot photograph or film, she tries to capture the feeling in a short memo. The title of this exhibition is taken from one of these notes jotted down during a journey through Yemen. As a Western woman, you are quite noticeable among the veiled locals: you look at them and they look at you. But we all look at each other all the time: different generations, cultures, genders, religions, professions. On the street, on the tram, at a party, on social media. The idea applies to performance art as well, where artist and spectator also observe each other. We define ourselves in contact with the other and at the same time, because of that contact, we are no longer the same. The artworks of Ria Pacquée are therefore never conclusions, but always invitations.
BIOGRAPHY RIA PACQUÉE RIA PACQUÉE IS A PERFORMER
Ria Pacquée (°1954, Merksem) starts to develop her own performance pieces in the mid-seventies, when this new art form is creating a furore in Belgium. She is young and did not go to art school, but performance art hits a nerve: it is something she feels and understands. The freedom of the elusive appeals to her. She spontaneously undertakes her first action: she waits for 12 hours at an Antwerp tram terminal. She quickly becomes a familiar face in the Antwerp art scene, but also works in Paris and New York. Her performances in this first period are very physical: she explores the limits of her body. In the eighties and the early nineties two characters come to the fore: ‘Madame’ and ‘It’. Photography is becoming increasingly important in her work. She sets out on long walks in Belgium and abroad, where she captures the surroundings in photo, video and sound recordings: streetramblings as she calls them. The link with performance art is in the physical activity of walking, observing and registering, and in the attention to the attitude and behaviour of the people in front of her lens. Today her work is a combination of photos and videos based on these streetramblings, the resulting installations, and a return to physical performance. A Ria Pacquée performance has no script and is not rehearsed, but is preceded by some preparation. Nevertheless, intuition and coincidence play a major role when performing. The volatility of the art form intrigues her: Pacquée has always been fascinated by temporality, by the fact that life is short and by the question of why we are here on earth. The performance offers her the opportunity to further investigate this temporality. She will therefore rarely, if ever, repeat the same thing twice.
PERFORMANCE: Within the visual arts we define performance as an action by an artist (or representative) in which time, space, the body of the performer, and a relationship between performer and audience are key features. It can contain elements of visual arts, music and theatre, but is not a classical theatre piece. A performance can be worked out down to the very last detail, or largely based upon coincidence, intuition and improvisation at the moment itself, or a combination of both. Usually there is an audience, and sometimes that audience is expected to participate. Performances can take place in an art context (museum, gallery...), but just as easily on the street, where the performance rather ‘happens to’ the audience, or in nature, where there is nobody watching at all. Some performances can be very short, others last for days on end. The relationship of performance artists with photo, video or film recording varies widely. At the far end of the scale we find those who exclude recordings because they put the temporality of the performance, the direct experience of the audience and/or the interaction with that same audience first. It is a vision that Ria Pacquée shared in the past: she usually chose not to have her performances filmed, and there is very little physical evidence left of them. Nowadays she prefers to document them with photos. She also records her work on video, such as in Running Around 7 , and can now be seen to be leaning more in the other direction: artists who film their performances (or have them filmed), whereby the film is at least as important as the performance itself. Sometimes no one is even present and the relationship with the audience is built up later through the film. This is the case with Ana Mendieta (cf. exhibition in the Braem Pavilion): she often created her work
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in isolation, and her photos and films have their own artistic significance; they are more than documentation. There were precursors, but performance art only really began to thrive in the mid-sixties and seventies. The artists of the time challenged their audience to look and think differently; they rebelled against conventional art forms and cultural norms. They questioned what art is. In Antwerp, the Wide White Space gallery was already staging performances in the late sixties, and in the seventies the Internationaal Cultureel Centrum on Meir set up a program dedicated to performance. International artists such as Joseph Beuys, James Lee Byars, Laurie Anderson and Ana Mendieta served as an inspiration to their Belgian counterparts, which saw this art form flourish in our country too.
ARTWORKS PARCOURS
MIDDELHEIM HOOG – ISLET 1
“In this project the spectator is very important to me.”
2 BUBBLE BURST, 2019
Ria Pacquée, 2019
WHILE DOGS BARK, FISH PISS AND BIRDS FLY, THE ARTIST BLENDS INTO THE SCENERY, 2019
The islet in the park pond occupies a central place in the exhibition. There are 30 niches in the wall on the island, one for every day that Ria Pacquée stays here in June, from noon to 6 pm. She marks each day with a memento left in one of these niches. The wall is a visual reference to altars in Bangkok and to cemeteries here in Belgium; the process of filling the niches shows the passage of time. At the end of the month, when the wall is completely filled, the artist disappears from view and spectators will be allowed to enter the islet. Until then, it is the exclusive domain of the artist. She crosses the water to concentrate and work. Sometimes it may seem that not much is happening, but at the same time it offers a unique insight into artistry: artists do not create out of the blue, some ideas lurk under the surface for years until they suddenly result in a work. The spectator witnesses both the incubation and the elaboration. It is almost as if Ria Pacquée is exhibiting the artist: the thinking artist, the creating artist, the pausing artist... It is a way to experience and show her artistry and to investigate her artistic identity. Pacquée creates smaller and larger works on the islet, which grow organically from her stay. She works with what nature offers her; she plays with the wind. Maybe we should consider her residence one big performance? She doesn’t come unprepared: she brings a chair and a table, buckets, poles with helmets, a sound system and sound recordings. She also presents T-shirts specially created for this project, with observations she made during her walks through the park: White lines in the sky, Dogs bark in the park, Fish pissing in the water, Moles in holes… She comes full circle: by wearing these T-shirts, the artist blends into her environment. It’s not about her, but about making connections between the spectators and the greater whole.
The words bubble burst have been whitewashed on the lawn in front of the island. Say the words and feel the rhythm, the powerful sequence of b’s. It is a slam poetry quote by Ria Pacquée from 2014. In slam poetry words and texts are ‘thrown’ at the audience, but it is more refined than it sounds: content, form and recitation are important. In June you can expect the occasional bit of slam to resonate from the island. For Ria Pacquée it’s just one of the forms that her performances can take on. The temporality of the paint on the grass is a reference to the volatility of the performance (and a link to the work of Joëlle Tuerlinckx 9 . In slam there is an important focus on social issues. Using her own observations and emotions, Ria Pacquée touches on challenges such as climate, gender, capitalism and migration, without moralizing. The bubble bursting in the original piece was a reference to the financial world, but it applies to many more social situations. The spectator is welcome to project his or her own reality onto it.
MIDDELHEIM HOOG – SPREAD OVER THE PARK 3 THE SUN IS MOVING, THE CLOCK TICKING, THE EARTH SINKING, 2019
You walk through the forest and you come across a clock, similar to walking through the city and seeing the dial on the church tower, or the digital time display on the facade of the pharmacy – time is a concept in public space. All the clocks indicate the correct time. Not only do they tell you what time it is, time also sets the pace. The sun rises and the sun sets. Office hours and leisure time. Nobody can escape it. We all experience time in a different way, influenced by our biological clock, age, cultural background, activities... Time and temporality are related to performance art, but also to sculpture: a spectator needs time to circle a sculpture, sculptures can be made in sustainable materials or not made to last at all. The clocks also refer to Ria Pacquée’s journeys. During her long walks (streetramblings), she makes photos, videos and
sound recordings. This is how her archive grows, organized into categories such as ‘twins’, ‘spheres’, ‘lines’, ‘text’, ‘people who rest’. This work features photos illustrating the creative use of trees: with a mirror attached to it for a barber’s shop, as a carrier for news reports, as a coat rack, bearing a clock. Pacquée combines elements from her own and other cultures to reflect on universal issues.
5 DELETE, WIPE OUT ALL AT ONCE. THIS CONTENT HAS BEEN BLOCKED FOR YOUR PROTECTION, 2019
“I’m a sponge. I need to absorb new experiences and environments. I have to be stimulated by other things; otherwise I am completely empty.”
This construction wouldn’t look any more out of place in the public space than Pacquée’s creatively used trees do in the previous work. Ria Pacquée’s interest in temporality is apparent in her fascination for the sort of fast and functional constructions often found on allotments, at markets and during sporting events. Striking examples in this exhibition are the shelter on the island 1 and the sales booth from Up to the sky down to the ground 12 , as well as these election panels. She not only recycles the image, but also the materials, the simplicity, the emphasis on the practical at the expense of the aesthetic. Her works are never taken directly from reality.
Ria Pacquée, 2018
4 THE WIND WILL BLOW AWAY THE SMELL OF THE BOYFRIEND WHO LEFT FOR NO REASON, 2019
Pacquée loves these panels and considers them to be beautiful objects; by painting them black, it is easier to appreciate the shape. This not only emphasizes the form, but also draws attention to what is missing: the message. It gives the work an abstract quality, or perhaps it is a call for new perspectives. Image and title interact in a humorous way. Pacquée’s work raises pertinent questions, without spelling out the answer to the spectator.
This tree resembles a giant clothes hanger, on which someone is airing the clothes of a lover who suddenly left. The installation is connected to The sun is moving ... 3 , because it is based upon the same series of photos. It is also a nod to older work such as Souvenirs of the Men I’ve Loved (1985) and The Girl Who Was Never Asked to Marry (1988). These works are not innocent: humorous, but nevertheless critical of the roles that women and men play in love and in society.
“An election panel is a beautiful sculpture in itself, the heads make it ugly.” Ria Pacquée, 2019
Clothing is important to Ria Pacquée, as a disguise, but also as an element that can change reality. It fascinates her because we all use it to express our identity, or even create or manipulate it. Our clothing choices express how we see ourselves in terms of gender, profession, outlook on life, etc. Show me your wardrobe and I will tell you who you are. Therefore it is not surprising that Pacquée’s work often contains costumes, disguises, T-shirts with slogans... ‘Clothing’ is also a category in her photo archive.
6 LESS IS LESS, 2013-2019, VIDEO
We witness Ria Pacquée spraying graffiti somewhere in Antwerp. But it is more complex than that. In 2013, Luc Deleu graffitied the very same text, Ria Pacquée recorded his performance and Rufus Michielsen edited the film. At the time, Deleu released a limited edition multiple including a spray can, a USB-stick and a certificate. Pacquée has bought such an edition and used the spray can to re-spray the graffiti, this time with Michielsen behind the camera. The result is on display inside one of Deleu’s sculptures (Orbino, 2004, collection Middelheim Museum). Talk about an ambiguous artistic identity and shared authorship...
Text plays a major role in this work, just as in Bubble Burst 2 . Text is important to the artist: observations, personal concerns and media quotes find their way into her slam poetry, travel notes, T-shirt slogans, graffiti... Her titles also bear witness to her fine feeling for words. She employs them to evoke a powerful image, often with a smile. Even a laconic statement such as ‘less is less’ is proof of her social commitment. For architect Luc Deleu, it is a call to produce and consume less, a personal answer to Mies van der Rohes’s design philosophy ‘less is more’.
MEETING: LUC DELEU Deleu and Pacquée have been partners in crime for a long time: in 1987, at the opening of M HKA, the Museum of Contemporary Art in Antwerp, they sprayed ‘met dank aan de generale bank’ (‘thanks to Generale Bank’) on the facade of the new museum. The urban space and the way in which we use and experience it is for both artists a preferred field of activity. For Luc Deleu from his point of view as an architect, for Ria Pacquée out of an almost sociological or anthropological interest.
7 RUNNING AROUND, 2015, VIDEO 11’59”
Ria Pacquée walks circles in her hometown Antwerp. It seems like a ritual, incantatory act, in which she explores the limits of her body. By circling elements in the public urban space that we usually ignore (a manhole cover, planter, kiosk, etc.), she makes them very present. Unlike an Urban Run, which leads the runners past so-called places of interest, Pacquée tries to make everyday things visible again: the poetry of the ordinary. With her action she charges the space with energy. Walking in circles is at the same time an investigation into the beginning and the end of the circle, and into circular processes that never come to a conclusion. ‘Circles’ is yet another category in her photo archive.
MEETING: JOHN KÖRMELING It is no coincidence that Running Around is presented in John Körmeling’s Artiesteningang (Artists’ Entrance, 2004-2012, collection Middelheim Museum): it enters into a dialogue with the curved shapes of the pavilion. The use of text, humour and the petrol pump as an example of public architecture also find echoes in Pacquée’s work.
8 9 EASY STEPS TO A HAPPIER LIFE, 2019
Nine steps to a happier life: breathe, relax, meditate... Ria Pacquée invites us to calm down and relax, following yoga instructions, in the cylinders that she has installed. Once inside, however, the opposite happens: the raging traffic beneath your feet is not conducive to a balanced mind. She inserted them over the ventilation shafts of the Craeybeckx tunnel, through which the highway runs. Pacquée attaches particular importance to spirituality but notices that it can become an empty fashion. She brings a critical note on adopting elements from other cultures – and puts things in perspective. Not many visitors know that the Craeybeckx tunnel and the park of the Middelheim Museum are inextricably linked. Part of the park is laid out on top of the tunnel and the water in the park is the water that is pumped up to keep the tunnel dry. Few artists experience this zone as inspiring, but Ria Pacquée wanted to accentuate the tunnel route: it offers a different perspective on jogging and meditation in this (not so natural) park environment. “Temporality and coincidence will play an even greater role than usual. Weather and nature are unpredictable and will influence the works, perhaps even prematurely end them. It’s my first open-air exhibition, and I’m pretty excited about it.” Ria Pacquée, 2019
9 JOËLLE TUERLINCKX, LE TAG (200M), 2017
Joëlle Tuerlinckx’s white line echoes the colourful line of Pacquée’s cylinders. Ria Pacquée is fascinated by lines just as she is fascinated by circles, and she notices that Tuerlinckx thinks in a similar way. Tuerlinckx created this work in 2017 for Skulptur Projekte Münster, a ten-yearly sculpture exhibition in the German city of Münster. Pacquée has invited her to present the same work here in the park, another example of the many dialogues she incorporates into her solo exhibition. The whitewashed line is the result of a performance, because it is drawn every single day by a museum employee, as a ritual action. The title – Tag – is German for ‘day’ but the word also refers to graffiti: a tag is a graffiti artist’s signature or symbol. The line is long: walking consciously along the entire 200meter line activates the visitor’s body, like a performance artist does during an action. The line connects and divides, makes the length and surface of the plot visible and tangible, and lets us look differently at the sculptures nearby. (Border) lines are not only basic principles in the visual arts, they also belong to the basic vocabulary of the public space, on roads and sports fields for example, where they are used to steer and control human behaviour.
HORTIFLORA 10 STREETRAMBLINGS, PUMPKINS AND SOIL IN NEED OF WATER, 2019
Instead of bird scaring devices or empty seed packets, there are photos attached to the posts in this vegetable garden. Snapshots from her streetramblings – from Athens over Kathmandu and Ostend to Jerusalem. On her walks, Ria Pacquée observes and records everything that happens around her. She collects images from the public space, but is primarily interested in the users of that space. In her earlier works the urban decor is recognizably Antwerp, but nowadays it is more difficult to find out whether it is Borgerhout or Bangkok; there are Buddhist monks in Antwerp too. It is primarily about people and human (inter)action. About the stories that (can) connect the images.
Vegetable gardens are another favourite of Pacquée because of their appearance, often messy and improvised, their changeability and therefore temporariness. In this work the artist creates a tension between the manmade lines (the rows and sticks) and the proliferation of nature. The fast-growing pumpkin may force the sticks to lean over, or eventually overgrow the photos altogether. The temporary nature of the snapshots is mirrored by the finiteness of this installation. Ultimately, only pumpkin soup remains. The artwork evolves in the same way our identity can change, due to the influence of encounters, new insights, life.
11 PUBLIC SPEAKING APPS, 2019
We associate high pillars with flagpoles, obelisks and memorial columns – all signs of honour in a way: marks of respect, dignity and power. But Ria Pacquée attaches a megaphone to her poles, more reminiscent of football commentaries, demonstration slogans, market vendors extolling the virtues of their goods. Pacquée invites visitors to interact: to bring a message of respect, to comment, to express an opinion, to declare love... as they see fit. It is an invitation to publicly exercise your right to free speech and to activate the work physically, with your voice. You share your private thoughts and feelings loud and clear, but the sheltered arrangement within the hedged spaces of the Hortiflora keeps you hidden from your audience. Pacquée examines presence/absence in various works; in Running Around 7 for example, where she constantly appears and disappears by walking around an object. In Public Speaking Apps, other aspects of her work come together: performance (by the viewer as well as the artist herself), text, lines, a photo of something she saw on her travels as a source of inspiration.
12 UP TO THE SKY DOWN TO THE GROUND, 2019
The installation refers to the stands selling birdseed you find in many tourist destinations. It is reminiscent of a performance: the transaction between the seller and the tourist, the tourist who lures the birds and tries to seduce them to sit on his or her shoulders, arms and even head, then posing for a photo. Artist edition birdseed bags have been issued to accompany this exhibition. They are for sale in the museum shop. If you were to feed the birds in the park (but please don’t because in Antwerp it is forbidden to do so in the public space!), you shouldn’t be surprised to find yourself surrounded by hungry ring-necked parakeets. Due to global warming, the winters are milder, which means that exotic birds such as these parakeets can survive here – and expel native birds from their nests. The artwork is therefore also a reflection on the climate. In addition, birds symbolize long journeys, migration and connections between North and South or East and West.
MEETING: LOUISE LAWLER In Het Huis you can listen to Birdcalls by Louise Lawler (1983, long-term loan). Like a parrot, she repeats, in an endless loop, the names of male Western artists who in the past received (and often still do) preferential treatment in museums around the world. Not only does Lawler’s birdcall perfectly fit the following two works of art, we also recognize Birdcalls’ humour and message in several works by Pacquée.
13 AS LONG AS I SEE BIRDS FLYING I KNOW I AM ALIVE, 2015, VIDEO 14’05”
This video is a key work in Ria Pacquée’s recent oeuvre. It includes recordings from different years and different places: Paris, Ostend, Kathmandu, Athens, Istanbul, Bruges, New York, Varanasi and Antwerp. The work takes us beyond cultural and religious boundaries. Pacquée is interested in religious rituals and what they ‘do’: they unite people and enable them to transcend their everyday life. It is striking how each religion embraces similar rituals and similar principles, but is at the same time very distinctive and crucial for one’s identity. Ria Pacquée goes in search of what connects us, rather than what divides. Her work has the potential to unite people or to connect them to their world. According to Pacquée, this video is a memento mori: don’t forget that you are mortal (and remember to live well). The numerous religious rituals shown in this piece are all depictions of death. But the gravity of death contrasts with the freedom of the birds and the lightness of smoke and wind. And so the title of the work is a spontaneous reflection of the artist on the images.
Curator: Pieter Boons Text: Marijke Van Eeckhaut
PERFORMANCE PROGRAMME In July and August, performances take place every Sunday, alternately by Ria Pacquée and other artists invited by her. These artists emphasize a number of key points in her own oeuvre: four women who embody the encounter between East and West by their origin, journey and/or work: they were born in the East (Japan, Philippines and South Korea), but have a clear connection to the West. The opposite is true for Pacquée: Antwerp is her home, but her travels regularly take her to the East, often for extended periods. The five artists share a similar mentality in their search for connections but their work is highly individualistic and hyper-personal, and therefore very different. Ria Pacquée allows her guests complete freedom in developing their performance, its duration, and the choice of location in the Middelheim Museum. SUNDAY 7/7 Suchan Kinoshita (°1960, Tokyo, lives and works in Brussels) often focuses on how we experience time and space, which changes throughout art disciplines and cultures. SUNDAY 14/7 Ria Pacquée SUNDAY 21/7 Tsubasa Hori (°1976, Kyoto, lives and works in Antwerp) seeks connection with the visual and performing arts through her very physical ‘music performances’. SUNDAY 28/7 Ria Pacquée SUNDAY 4/8 Lilibeth Cuenca Rasmussen (°1970, Manila, lives and works in Copenhagen) approaches themes such as identity, culture and religion in a humorous yet critical manner. SUNDAY 11/8 Ria Pacquée SUNDAY 18/8 Minja Gu (°1977, South Korea, lives and works in Seoul after an education in Ghent) produces works focused on process and intention, which are very close to everyday life. SUNDAY 25/8 Ria Pacquée We gather at 2 pm, at the steps of the Middelheim Castle. Consult the museum site or the information boards for the latest information about the programme.
AVAILABLE TO THE PUBLIC
INTRODUCTORY FILM On Ria Pacquée: in the entry hall of the Middelheim Castle, NL/ENG, also available on www.middelheimmuseum.be On Ana Mendieta: in the Braem Pavilion, NL/ENG GUIDED TOURS Free tours for individual visitors, no reservation required, in NL Please present yourself at the reception in the Middelheim Castle on Sunday 9/6, 14/7, 11/8 and 8/9, from 2 pm to 4 pm for adults and families with children aged 6 to 12 on Thursday 20/6, 18/7 and 15/8, from 6 pm to 8 pm for adults Group visits to the exhibitions in NL, FR, Eng, D, Sp, It. for schools and associations / organisations Paid activity, reservation required via Visit Antwerpen T: 03 232 01 03 E: tickets@visitantwerpen.be, at least three weeks before the activity. WORKSHOP BEELDTANKEN Wat doen rituelen? (What is the effect of rituals?): workshop to accompany the Ria Pacquée and the Ana Mendieta exhibition, in NL, for adults on Friday 16/8 in MAS, on Saturday 17/8 in the Middelheim Museum, both from 1 pm to 5 pm Paid activity, reservation required: all info on www.middelheimmuseum.be LECTURE on Ria Pacquée, Ana Mendieta and performance art, in NL, for adults on Saturday 1/6, from 2 pm to 4 pm on Sunday 1/09, from 11 am to 1 pm Free, no reservation required Please present yourself at the reception in the Middelheim Castle
MORE INFO ON OUR PUBLIC SERVICES DEPARTMENT E: greet.stappaerts@antwerpen.be or T: 03 288 33 79 E: bard.neeus@antwerpen.be or T: 03 288 33 76 PRACTICAL INFORMATION
Middelheimmuseum Middelheimlaan 61, 2020 Antwerpen T: 03 288 33 60 E: middelheimmuseum@antwerpen.be www.middelheimmuseum.be FREE ADMISSION ACCESSIBILITY Free use of electric cart and wheelchairs upon reservation OPENING HOURS May & August: 10 am – 8 pm June & July: 10 am – 9 pm September: 10 am – 7 pm Visitors are admitted until 30 minutes before closing time. CLOSING DAYS Closed on Mondays (open on Whit Monday) and on Thursday 30 May (Ascension Day)
RIA PACQUÉE, THEY ARE LOOKING AT US, WE ARE LOOKING AT THEM
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9 Joëlle Tuerlinckx, Le Tag (200m), 2017 (on loan)
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8 9 Easy Steps To A Happier Life, 2019
10 Streetramblings, pumpkins and soil in need of water, 2019
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7 Running Around, 2015, video 11’59” (on loan)
EXHIBITION
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3 The sun is moving, the clock ticking, the earth sinking, 2019
6 Less is less, 2013-2019, video
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2 Bubble Burst, 2019
5 Delete, wipe out all at once. This content has been blocked for your protection, 2019
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1 While dogs bark, fish piss and birds fly, the artist blends into the scenery, 2019
4 The wind will blow away the smell of the boyfriend who left for no reason, 2019
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