Bernard Villers, hand werpen, re-enactment ICC performances 1979 & 1980 (with Monolithe Noir)
Contemporary artists often have a close relationship with music: they listen to music, are fans, deal with it as part of popular culture. They make music themselves, incorporate music and sound in individual or collective installations and performances. This presentation is part of a series examining the programming and legacy of the ICC. In this part we look back at some artists that pioneered a discipline in which many media meet, and in which sound is closer to visual art than to music.
As part of an ongoing reflection on the origins and identity of the Museum of Contemporary Art Antwerp (M HKA), a series of exhibitions brings to light different aspects of its history, particularly around its predecessor institution, the International Cultural Centre (ICC). The ICC, founded in 1969 and closed in 1998, was the first institution for contemporary art in Flanders, housed in the imposing Royal Palace in the center of Antwerp. At a time when traditional museums did not meet the needs of contemporary art in the 1970s and 1980s, the ICC offered a platform for the production and presentation of various disciplines and crossovers between different art forms. The program focused on local and international contemporary artists, and many conceptual artists and their installations were exhibited there.
The second part of this program is devoted to sound art. In performances and concerts at ICC, artists have explored the possibilities of sound as a complement to their visual practices. Here, these experiments are presented in an installation that includes musical instruments, sound recordings, video recordings, and documentation by artists such as Vito Acconci, Laurie Anderson, Connie Beckley, Jacques Charlier, Maurizio Nannucci, Charlemagne Palestine, George Smits, Ben Vautier, and Bernard Villers.
Dans le cadre de A NON-U-MENTAL HISTORY OF M HKA
Part 2: What must be heard
M HKA Leuvenstraat 32, 2000 Antwerpen