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Iconography --- Sculpture --- families [kinship groups] --- sculpting --- Alechinsky, Pierre --- Reinhoud --- Belgium
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In April 2019, Sophie Nys presented the solo exhibition Family Nexus at KIOSK. In psychology, a family nexus stands for a vision that is shared by the majority of family members, often unconsciously and for several generations long, and is upheld in the context of events both within the family and in its relationship to the world. Among other, the monumental, stretched out net in the dome space was a symbol of this family dynamic. Two years later, the theme is still working its way through the above mentioned heads. The shared interest of Nys, Gourdon, Aerts and Peacock leads to a collaboration in the form of a book that, just like the exhibition, can be read as a net of (un)coherent intrigues and knots in which no position can be neutral. They set up a network of characters. Together they represent all kinds of (human) connections. Family Nexus is a story about everyone and no one in particular. Who in this book is playing the role of the Nobody, the household’s so-called 'identified patient', or scapegoat, and which pots and pans has slipped through this character’s fingers? Co-production: KIOSK and BOEKS.
Art --- art [discipline] --- families [kinship groups] --- Nys, Sophie --- Peacock, Leila
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Iconography --- Sculpture --- families [kinship groups] --- studio ceramics --- acrobatics --- sculpting --- mothers --- Caille, Pierre
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Iconography --- Sculpture --- Applied arts. Arts and crafts --- families [kinship groups] --- studio ceramics --- sculpting --- parents --- Caille, Pierre
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Iconography --- Sculpture --- outdoor sculpture --- families [kinship groups] --- sculpting --- kleinsculptuur --- parents --- vier seizoenen --- Hepworth, Barbara --- Great Britain
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Art --- assemblages [sculpture] --- painting [image-making] --- families [kinship groups] --- Christianity --- sculpting --- Indiaan --- Marisol
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Lara Bongard inherited a 100 year old Shabbat tablecloth, the only surviving heirloom from the vanished world of her ancestors, with which her great-grandfather Mordko Bongard crossed the river of his shtetl in 1911 and never returned. He left his family and community, to escape the pogroms that swept the regions. Lara embarked on an extensive research into the scattered history of her family in the previous Russian Empire (present-day Ukraine). She retraced family members, collected testimonies, photographs, letters and archival material, researched Yiddish tales, symbols and mythologies — in order to reconstruct her own image of the past. The tablecloth grew into a symbol of life: sharing food with family across time, connecting East with West, the generations, and diversity of cultures we as a family represent. Gradually, dislocation became a portable home.‘The Girl Who Crossed the River with a Tablecloth’ is a multidimensional work and dynamic space of memory, in which fictional stories about the lives of her ancestors are written in conjunction with the ancient Hebrew lunar calendar, travel stories and memories, photographs and illustrations. The project contributes to generating new connecting narratives about the fluid meaning of being 'at home' in our contemporary world and reframing perspectives on multiple histories and identity.
Art --- families [kinship groups] --- storytelling --- food --- textile art [visual works] --- narrative art --- Bongard, Lara
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families --- Painting --- mothers --- Iconography --- painting [image-making] --- Homo sapiens [species] --- Mammel, Dieter --- Germany --- families [kinship groups] --- human figures [visual works]
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Iconography --- Drawing --- Painting --- drawing [image-making] --- painting [image-making] --- joy --- families [kinship groups] --- Julien, René --- anno 1900-1999 --- Belgium
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Iconography --- Sculpture --- Drawing --- drawing [image-making] --- families [kinship groups] --- heads [representations] --- labor --- sculpting --- musicians --- Gutfreund, Otto --- Czechoslovakia
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