"Syncing 2080"
Retrieving: https://ouk-apw.adlibhosting.com/webapi/wwwopac.ashx?database=collect&search=priref='2080'
Added or Updated: Anastasis (2080)
SimpleXMLElement {#386
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0 => """
Giorgio Andreotta Calò veranderde het interieur van de kerk drastisch. Tijdens de zomermaanden baadden bezoekers van de kerk in een oceaan van rood licht, een onnavolgbare ervaring. Laat in de avond kwam het rode licht uit de kerk, dat samensmolt met het rode lamplicht van de overvloedige bordelen en prostitutie ramen rondom de kerk. De kerk deelde de hele zomer in dit licht en schaduw: binnen en buiten circuleren om en door elkaar heen, op het ritme van het zonlicht en de inversie ervan.\n
\n
Met het rode licht bracht Calò de rooms-katholieke beeldtaal terug in het gebouw en reflecteerde hij op de Beeldenstorm van 1566 en de revolutie in het religieus denken. Tijdens de tentoonstelling gebruikte de kunstenaar afbeeldingen van het enige overgebleven katholieke glas-in-loodraam, een afbeelding van de dood van de Maagd Maria, als uitgangspunt voor een nieuw fotografisch werk. Het rode licht heeft geen invloed op het onontwikkelde beeld en biedt dezelfde omstandigheden als in een fotografische donkere kamer. De kerk deed dienst als atelier en donkere kamer. Het fotografische werk reisde later naar Milaan (Triennale Museum) en Rome (MAXXI Museum).
"""
1 => """
Giorgio Andreotta Calò drastically altered the the church’s interior. During the summer months of 2018, visitors were bathed in an ocean of red light, an inimitable experience. In the evening, the red light emitted from the church, coalescing with the red lights of the plentiful brothels and prostitution windows surrounding the building. Throughout the summer, the church was split between these moments of light and shade: its interior and exterior circulated around each other, to the rhythm of sunlight and its imminent inversion.\n
\n
With his red light, Calò brought the Roman Catholic visual idiom back into the building and reflected on the Iconoclastic Fury of 1566 and the revolution in religious thinking. During the exhibition, the artist used images of the only surviving Catholic stained-glass window, a depiction of the Death of the Virgin Mary, as the point of departure for a new photographic work, to which the Rijksakademie (the Dutch State Academy of Fine Arts) was also contributing. The red light did not effect the undeveloped image and provided the same conditions as in a photographic darkroom. The church served as studio and darkroom. Afterwards, the photographic work travelled to Milano (Triennale Museum) and Rome (MAXXI Museum).
"""
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4 => SimpleXMLElement {#463
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+"input.time": "11:39:12"
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