"Syncing 2268"
Retrieving: https://ouk-apw.adlibhosting.com/webapi/wwwopac.ashx?database=collect&search=priref='2268'
Added or Updated: Path (2268)
SimpleXMLElement {#386
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0 => """
Antonio Obá's installatie raakt aan de geschiedenis van Nederlands-Brazilië. Onlosmakelijk is de geschiedenis van de Oude Kerk verbonden aan de koloniale geschiedenis, ook die van Brazilië. Zo werd de Brabantse zeeman Hendrick Corneliszoon Lonck (1568-1634) in de kerk begraven (de exacte locatie is onbekend). Zijn militaire optreden als kapitein-generaal van de West-Indische Compagnie maakte de vestiging van de Nederlandse kolonie in 1630 in het noordoosten van Brazilië mogelijk. Zeelieden en bestuurders van de WIC (en VOC) waren frequente bezoekers van de Oude Kerk. Sommigen dienden als kerkwacht, anderen werden hier begraven. Path belicht en bevraagt deze gedeelde geschiedenis.\n
\n
De installatie bestond uit sculpturen en schilderijen die als vertellingen stonden opgesteld op symbolische plekken in het midden van de kerk. Obá speelde hierin met de betekenis van religieuze iconen en rituelen en reflecteerde hij op de versmelting van culturele tradities als gevolg van onder andere de koloniale geschiedenis.\n
\n
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\n
Iron Garden vormde een kunstmatig veld van bloemen in het Hoogkoor. Het bestond uit twee rijen met zwiepende stokken waaraan 2400 klokjes waren bevestigd. Obá nodigt bezoekers uit over het tien meter lange pad te lopen en het 'veld' met de hand in beweging te zetten. De klokken verwijzen naar liturgische klokken, maar ook naar de signaalfunctie van kerklokken om naderend gevaar aan te kondigen. Deze dubbelzinnigheid vond je ook terug in de andere werken. Twee schilderijen hingen aan het uiteinde tussen de pilaren en verbeeldden intieme, fantasierijke en tegelijkertijd verontrustende scènes. \n
\n
Voor het Hoogkoor, in het midden van de kerk, hing het werk Suspended Children. Een spiraalvormig werk dat bestond uit spiegelende panelen en met de hand beschilderde vaandels met spelende kinderen. De spiegels vermenigvuldigden de vaandels en speelden zo met de ruimtelijke waarneming. Zonder context leken de figuren te zweven. De spiegels refereerden aan een oude West-Afrikaanse religieuze traditie om spiegels en flessen aan bomen te hangen. Een traditie die zich na de Trans-Atlantische slavenhandel voortzette in Amerika. \n
\n
Helemaal aan de andere kant stond het drieluik Malungo opgesteld, onder het orgel. Het werk reflecteerde op de macht van het christendom en de overheersing van de katholieken in Brazilië. Tot slaafgemaakten, die gedwongen migreerde van Afrika naar Zuid-Amerika, moesten niet alleen hun thuis achterlaten maar ook hun eigen religieuze en culturele tradities. Twee schilderijen met zwarte figuren hingen aan goud vergulde panelen en namen zo een ereplaats in boven de zwart geblakerde heiligenbeelden, die in de bakken ervoor lagen. Een gouden kelk en een fles cachaça stond centraal op het altaar.\n
\n
Aan de muur in de Collegekamer hingen drie witte canvassen waarop stalen spijkers vierkanten vormden. De titel Pregação verwees zowel naar de betekenis van dit woord in het Portugees, ‘preken’, als naar het werkwoord ‘pregar’: vastzetten of vasthouden met spijkers. In dezelfde ruimte was als een achtergebleven spoor van gebed een houten sculptuur opgesteld. Kaarsen waren tot verschillende hoogtes opgebrand.
"""
1 => """
Antonio Obá’s installation touches on the history of Dutch-Brazil. The Oude Kerk has a direct relationship to this colonial rule. For example, the Brabant sailor Hendrick Corneliszoon Lonck (1568-1634) was buried in the church (the exact location is unknown). His military action as captain general of the West India Company allowed the establishment of the Dutch colony in northeastern Brazil in 1630. Sailors and administrators of the WIC (and VOC) were frequent visitors to Oude Kerk. Some served as churchwardens, others were buried here. Obá’s Path highlights and questions this shared history.\n
\n
The installation includes sculptures and paintings. The works are located in symbolic places in the centre of the church, including in the High Choir and under the Vater-Müller organ. In Path, Obá played with the meaning of religious icons and rituals and reflected on the fusion of cultural traditions as a result of, among other things, colonial history. \n
\n
Iron Garden formed an artificial field of flowers in the High Choir. It consisted of two rows of swinging sticks to which 2,400 bells were attached. Obá invited visitors to walk along the 10-metre path and set the 'field' in motion by hand. The bells refer to liturgical bells, but also to the signalling function of church bells to announce approaching danger. This ambiguity was also found in the other works. Two paintings hung at the end between the pillars and depicted intimate, imaginative, and at the same time disturbing scenes. \n
\n
In front of the High Choir, in the middle of the church, the work Suspended Children was to be found. A spiralling work that consisted of mirrored panels and hand-painted banners depicting children playing. The mirrors multiplied the banners, playing with spatial perception. Without context, the figures seemed to be floating in midair. The mirrors referred to an old West-African religious tradition of hanging mirrors and bottles on trees. A tradition that continued in the Americas after the Transatlantic slave trade. \n
\n
On the very opposite side, right under the organ, the triptych Malungo was displayed. The work reflected on the power of Christianity and the domination of Catholics in Brazil. Enslaved people who forcibly migrated from Africa to South America had to leave behind not only their homes but also their own religious and cultural traditions. Two paintings with black figures hung from gold-plated panels, taking a place of honour above the blackened statues of saints, which lay in the bins in front of them. A golden chalice and a bottle of cachaça took centre stage on the altar.\n
\n
On the walls in the Collegekamer, three white canvases were placed. On them, steel nails formed squares. The title Pregação referred both to the meaning of the word in Portuguese, 'preach', and to 'pregar': to secure or hold something with nails. In the same room, a wooden sculpture had been set up as a trailing trace of prayer. In this work, Totem, Candles had been burnt down to various heights.
"""
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