{"billboards":[{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2019-06-21/2019-09-20"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q98106321","@type":"Agent","label":{"value":"Cox, Ines","language":"nl"}}}]}],"MensgemaaktObject.titel":"Show","MensgemaaktObject.beschrijving":[{"@value":"Feeds glide before our eyes, fingertips tap-dance on glass surfaces and while we scroll deeply into an endless universe, we view, tag, like and comment. Publishing became posting and posts appear on walls and in groups. The vocabulary, with which the software on our computers and phones talks to us, is full of metaphors related to the physical world. A story can mean different things now.\n\nInes Cox (°1987) is a Belgian graphic designer running her own independent studio in Antwerp. In 2009 she graduated from Luca School of Arts (Ghent, BE) and continued studying for a second Master course at Werkplaats Typografie (Arnhem, NL). She has been collaborating with a wide variety of artists, institutions and brands on both printed and digital matter. In her practice, commissioned projects run parallel to self-initiated autonomous work and research. Once a week Ines teaches Typography at the Graphic Design department of the Royal Academy in Antwerp and from January 2017 until the end of 2018 she has also been a researcher there.","@language":"en"},{"@value":"Feeds schuiven voor onze ogen, vingertoppen spelen tikkertje op glazen oppervlakken en we bekijken, taggen, liken en reageren terwijl we diep in een eindeloos universum scrollen. Publiceren werd posten en posts verschijnen op muren en in groepen. De woordenschat waarmee de software op onze computers en telefoons met ons praat, zit vol met metaforen die betrekking hebben op de fysieke wereld. Een verhaal kan nu verschillende dingen betekenen.\n\nInes Cox (°1987) is een Belgische grafisch ontwerpster die haar eigen onafhankelijke studio runt in Antwerpen. In 2009 studeerde ze af aan de Luca School of Arts (Gent, BE) en volgde daarna een tweede masteropleiding aan de Werkplaats Typografie (Arnhem, NL). Ze werkte samen met een grote verscheidenheid aan kunstenaars, instellingen en merken op het gebied van zowel drukwerk als digitaal materiaal. In haar praktijk lopen projecten in opdracht synchroon met zelf geïnitieerd autonoom werk en onderzoek.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Show","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BB_DMG_SHARE_001LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2019-11-15/2020-01-24"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q98106369","@type":"Agent","label":{"value":"De Bondt, Sara","language":"nl"}}}]}],"MensgemaaktObject.titel":"Off The Grid","MensgemaaktObject.beschrijving":[{"@value":"This billboard depicts sixteen logos created by seven graphic designers during the 1960s and 1970s in Belgium. Made for banks, restaurants, theatres, paint companies, museums and others, they are all pictograms with a reference to nature. Aimed at the many Christmas shoppers and tourists that walk past the museum every day, the selection’s subliminal message is a call for more awareness of our planet.\n\nProduced on the occasion of the exhibition Off the Grid. Belgian Graphic Design from the 1960s and 1970s as Seen by Sara De Bondt at Design Museum Gent.","@language":"en"},{"@value":"Dit billboard toont zestien logo’s die door zeven grafisch ontwerpers zijn gemaakt in de jaren zestig en zeventig in België. Het zijn logo’s voor banken, restaurants, theaters, verfbedrijven, musea en andere instellingen met een verwijzing naar de natuur. De subliminale boodschap van het billboard, dat gericht is op de vele kerstshoppers en toeristen die dagelijks langs het museum lopen, is een oproep tot meer bewustzijn van onze planeet.\n\nGeproduceerd ter gelegenheid van de tentoonstelling Off the Grid. Belgisch grafisch ontwerp uit de jaren 60 en 70 door de ogen van Sara De Bondt in Design Museum Gent.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Off The Grid","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_BB_DMG_SDB_002_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2017-10-27/2017-12-15"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q59624061","@type":"Agent","label":{"value":"Jan en Randoald","language":"nl"}}}]}],"MensgemaaktObject.titel":"JUR","MensgemaaktObject.beschrijving":[{"@value":"JUR\nRobots of the world! The power of man has fallen!\nA new world has arisen: the Rule of Jobot und Robot!\nMarch!\n\nACT I\nCentral office of the factory of JUR\n\nEntrance on the right. The windows on the front wall look out on the rows of factory chimneys. On the left more managing departments. JOBOT is sitting in the revolving chair at a large American writing table. On the left-hand wall large maps showing steamship and railroad routes. On the righthand wall are fastened printed placards. (JOBOT UND ROBOT’s Cheapest Labor etc.) In contrast to these wall fittings, the floor is covered with a splendid Turkish carpet, a sofa, leather armchair, and filing cabinets. At a desk near the windows ROBOT is typing letters.\n\nJOBOT (dictating)\nReady?\n\nROBOT\nYes.","@language":"en"},{"@value":"JUR\nRobots van de wereld! De menselijke macht is gevallen!\nEen nieuwe wereld is verrezen, onder heerschappij van Jobot und Robot!\nVoorwaarts, mars!\n\nACT I\nHoofdkantoor van de fabriek van JUR\n\nIngang rechts. De ramen in de muur vooraan kijken uit op rijen fabrieksschoorstenen. Aan de linkerkant meer managementafdelingen. JOBOT zit in een draaistoel aan een grote Amerikaanse schrijftafel. Tegen de muur links tonen enorme kaarten de zeevaart- en spoorweglijnen. Op de muur rechts zijn bedrukte affiches bevestigd. (JOBOT UND ROBOT’s Cheapest Labor enz.). Als contrast met deze wandelementen is de vloer bedekt met een prachtig Turks tapijt, sofa, leren leunstoel en dossierkasten. Aan een bureau bij de ramen typt ROBOT brieven.\n\nJOBOT (dicteert)\nKlaar?\n\nROBOT\nJa.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: JUR","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/mdc_019_bbdm_jr_001_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2018-04-06/2018-05-18"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107507487","@type":"Agent","label":{"value":"Meganck, Ine","language":"nl"}}}]}],"MensgemaaktObject.titel":"Ghost (Family) Paintings","MensgemaaktObject.beschrijving":[{"@value":"As graphic designer, Ine Meganck is fascinated by ghost families who often return within advertising. She collects, analyses and tries to reveal changes and patterns within these artificial families. For this billboard, Ine presents an enlarged winter advertisement of the brand ‘Tommy Hilfiger’. Some characters — the mother and father for example — always return through many years of different campaigns. But the art-directors have fewer problems with changing and replacing children and pets throughout the seasons. Although there is a lot of attention spent to produce absurd details such as the paintings in the background. These are custom-made to present the family tree as convincing as possible. This again contrasts with the fact that both grandmother, mother and grandchild are portrayed with almost the same youthfulness and style.\n\nIne stripped the family of their literal brand references and had the image painted on canvas, in this case by a trained Indian ‘paint-on-demand’ portrait painter. Ending up (again) with a dislocated family portrait that, because of its location and dimensions, seeks duality again with the world of advertising.","@language":"en"},{"@value":"Als grafisch ontwerpster is Ine Meganck gefascineerd door spookfamilies die vaak terugkeren in reclame. Ze verzamelt, analyseert en probeert veranderingen en patronen binnen deze artificiële families bloot te leggen. Op dit uithangbord toont Ine een uitvergrote winteradvertentie van het merk Tommy Hilfiger. Sommige personages — de moeder en vader bijvoorbeeld — komen door de jaren heen altijd terug in campagnes. Maar art directors hebben er minder problemen mee om kinderen en huisdieren te vervangen op het ritme van de seizoenen. Toch zijn er met veel aandacht absurde details gecreëerd, zoals de schilderijen op de achtergrond die speciaal gemaakt zijn om het multigenerationele gezin zo overtuigend mogelijk neer te zetten. Dit contrasteert dan weer met het gegeven dat de grootmoeder, moeder én kleinkind geportretteerd worden met nagenoeg dezelfde jeugdigheid en stijl. Ine stripte de familie van letterlijke merkreferenties en liet het beeld op doek schilderen, in dit geval door een geschoolde, commerciële Indische portretschilder. Zo eindigen we (alweer) met een ontwricht familieportret dat, door zijn locatie en afmetingen, terugkeert naar het dualisme in de reclamewereld.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Ghost (Family) Paintings","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BB_IM_002_HR_PS_VALLY-833x1024@2x.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2022-10-24/2022-12-23"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116453906","@type":"Agent","label":{"value":"SYNDICAT","language":"nl"}}}]}],"MensgemaaktObject.titel":"TOOLS","MensgemaaktObject.beschrijving":[{"@value":" With TOOLS, Syndicat continues its fascination with production and reproduction techniques by combining their own archive (themselves reproduced from Scènes d’Annonciation) with printed reproductions of tools for creating PCBs (Printed Circuit Boards). The lack of any scale relationship between the forms used contrasts with the billboard’s disproportionate size.\n\nSacha Léopold and François Havegeer have been working together as Syndicat since 2012. Their cross–disciplinary practice, taking in both self–initiated projects and design commissions, focuses on issues of originality, reproduction and reproducibility in today’s art context. They use their expansive knowledge of print and manufacturing techniques when designing books, creating visual identities or curating exhibitions. Syndicat has actively collaborated with contemporary artists and art centres to create one–of–a–kind visual identity programmes, publications, monographs and artist books, leading to the creation of Empire, their own publishing imprint, in 2015. Alongside their design activities, they have curated several exhibitions exploring the process of printing techniques. (source: 019)","@language":"en"},{"@value":" Syndicat borduurt met TOOLS voort op hun fascinatie voor productie– en reproductietechnieken door hun eigen archief (zelf gereproduceerd uit Scènes d’Annonciation) te combineren met gedrukte reproducties van gereedschappen voorhet maken van PCB’s (Printed Circuit Boards) of printplaten. Het ontbreken van enige schaalrelatie tussen de gebruikte vormen contrasteert met het buitenproportionele formaat van het billboard.\n\nSacha Léopold en François Havegeer werken sinds 2012 samen als Syndicat. Hun interdisciplinaire praktijk, met zowel zelfgeïnitieerde projecten als ontwerpopdrachten, richt zich op kwesties van authenticiteit, reproductie en reproduceerbaarheid in de kunstcontext van vandaag. Ze gebruiken hun uitgebreide kennis van druk– en productietechnieken bij het ontwerpen van boeken, het creëren van visuele identiteiten of het cureren van tentoonstellingen. Syndicat heeft actief samengewerkt met hedendaagse kunstenaars en kunstcentra om unieke visuele identiteitsprogramma’s, publicaties, monografieën en kunstenaarsboeken te creëren, wat in 2015 leidde tot de oprichting van Empire, hun eigen uitgeverij–imprint. Naast hun ontwerpactiviteiten hebben ze verschillende tentoonstellingen gecureerd die het proces van druktechnieken onderzoeken. (bron: 019)","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: TOOLS","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2022/11/MDC_019_BB_DMG_Syndicat_001_LR-1667x2048.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2017-05-18/2017-06-22"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q98163937","@type":"Agent","label":{"value":"Küng, Moritz","language":"nl"}}}]}],"MensgemaaktObject.titel":"Selección Natural – This is the Cover of the Book","MensgemaaktObject.beschrijving":[{"@value":"The exhibition Selección Natural – This is the Cover of the Book presents sixty-six books published by artists, photographers, academics and curators, all of them involved in artists’ book publishing. The selection of books released in the past five decades doesn’t pretend to give a historical overview on the contemporary art production in this field, but rather puts in evidence a tautological, self-referential and witty play in regard of visual, conceptual and content based correspondences.\n\nThe title quotes two books that could be considered as parenthesis or strategic references. The seminal work Book by American Fluxus artist George Brecht, made in 1964 and published in 1972 in an edition of only 50 copies (see fig. 1) reduces the object and content of the printed matter to its bare essence. While the clothbound cover states in embossed uppercase This is the Cover of the Book, the interior contains on 28 pages eighteen sober descriptions that explain the nature of each single page: [verso front cover – p. 1] These are the end papers of the book [verso front cover; [p. 3] This is the page before the title page of the book that tells you what the title is or was, or is going to be; [p. 5] This is the title page; etc…\n\nIn contrast to this self-referential work, the publication by Peruvian Sandra Gamarra, Selección Natural (2009), embodies a critical appropriation (see fig. 33). The artist cloned the 640 pages anthology Art Now. 137 Artists at the Rise of the New Millenium in her painterly style and reduced its content to only 28 pages – the number of represented women artists. Here, the book becomes a socio-cultural and political manifest that questions gender inequality and the rules of the art market. \n\nAll books in this exhibition are presented by pairs and displayed in custom made frames to highlight their status as works of art. The numerous combinations suggest different analogies in visual communication and conceptual approaches, to the point where the book reaches a Meta statute. Even though this formula may at first seem restricted, limited and introspective, in fact it opens up a wide panorama of distinctions in the realm of self-representation, appropriation, imitation and repetition. The book(s) on these covers as well the combined book covers become alter egos –agents, so to speak– that promote themselves and their very existence as artists’ books. (source: 019)","@language":"en"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Selección Natural – This is the Cover of the Book","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_MOMP_1805_060_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2017-06-29/2017-07-30"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q3193071","@type":"Agent","label":{"value":"Martens, Karel","language":"nl"}}}]}],"MensgemaaktObject.titel":"Motion","MensgemaaktObject.beschrijving":[{"@value":"Karel Martens has ten hands for every finger. He’s an artist, a typographer, a graphic designer, a bookmaker, and an educator. He co-founded a school. He’s influenced thousands.\nMotion will afford a compound view on an expansive practice, and chart a road map. Yet while all of that spans over 50 years of Martens inter-disciplinary activity, the exhibition will remain grounded firmly in the present (and future).\nOf course, the exhibition will include some representative works – mono-prints of and on found materials, paper reliefs, videos, modular wallpapers, kinetic sculptures, a very early optical work. Consider all of that a contextual substrate that corroborates Marten’s responsive and systematic approach to color, format, type, and material. And his immense influence as an educator will also be centrally positioned within the exhibition, with a selection of publications by his former students displayed on tables Martens designed for the Werkplaats Typografie in Arnhem, NL (the school he co-founded in 1998). Consider all of that a demonstrative charting of influence. The primary focus will be on Martens’ most recent work, with several new commissions – wallpaper made up of multicolored icons, interactive video projections and a massive abstract clock. These works were produced for the exhibition, which was initially organized by Kunstverein München in Munich, while other existing works are being specially reconfigured. It will be immersive – with colour inversions over entire spaces, multiplied by real-time mirroring and attuned with technique, systematic seriality, conceptual operations and a multi-functional zone. \nIn other words, Motion is not intended to display Martens’ practice, but instead as an embodied demonstration of his method. (source: 019)","@language":"en"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Motion","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_MOMP_2706_097-833x1024@2x-1.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2020-01-24/2020-03-03"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q4233718","@type":"Agent","label":{"value":"Talking Letterheads","language":"nl"}}}]}],"MensgemaaktObject.titel":"Phantom Radio","MensgemaaktObject.beschrijving":[{"@value":"An interview marathon by Phantom Radio with contemporary Belgian graphic designers, hosted by Gerard Herman & Dylan Belgrado. Coordinated by Sara De Bondt, Ronny Duquenne, Valentijn Goethals, Ine Meganck and Jeroen Wille. Part of the exhibition Off the Grid. Belgian Graphic Design from the 1960s and 1970s as Seen by Sara De Bondt.","@language":"en"},{"@value":"Een marathon van radio-interviews met hedendaagse Belgische grafische ontwerpers door Phantom Radio. Onder leiding van Gerard Herman & Dylan Belgrado. Gecoördineerd door Sara De Bondt, Ronny Duquenne, Valentijn Goethals, Ine Meganck en Jeroen Wille. Deel van de tentoonstelling Off the Grid. Belgisch grafisch ontwerp uit de jaren 60 en 70 door de ogen van Sara De Bondt.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Phantom Radio","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BBDMG_talkingletterheads_001_LR-1.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2021-05-04/2021-07-05"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116453877","@type":"Agent","label":{"value":"Mahieu, Corbin","language":"nl"}}},{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116453889","@type":"Agent","label":{"value":"Van Den Bossche, Lennart","language":"nl"}}}]}],"MensgemaaktObject.titel":"Typographical Orgy","MensgemaaktObject.beschrijving":[{"@value":"This billboard shows different typographic creations Lennart and Corbin sketched in their practice over the years. The forms are merging and overlapping each other in a fixed area of space, creating new unreadable characters. The billboard includes the typefaces Weimar, Monolog, Transport is Phuture and Oftest.","@language":"en"},{"@value":"Dit billboard toont verschillende typografische creaties die Lennart en Corbin in de loop der jaren in hun praktijk hebben geschetst. De vormen smelten samen en overlappen elkaar in een vast kader, waardoor nieuwe onleesbare tekens ontstaan. Het billboard omvat de lettertypes Weimar, Monolog, Transport is Phuture en Oftest.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Typographical Orgy","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2021/05/MDC_BB_DMG_mei2020_LR-1667x2048.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2018-01-08/2018-03-22"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107507469","@type":"Agent","label":{"value":"Eatock, Daniel","language":"nl"}}}]}],"MensgemaaktObject.titel":"Visible Vehicle Repair","MensgemaaktObject.beschrijving":[{"@value":"British artist and designer Daniel Eatock, known for astute observations and obsessive collecting, creates works which whimsically celebrate the mundane and question accepted convention. By capturing auto repairs where a part is substituted by one from another vehicle of the same model but of a different colour, Eatock’s photographs focus on a practice in plain sight, on economic and transparent fixes. Recognising a connection with art conservation — where repairs are meant to be visible rather than camouflaged — as well as with the Japanese art form of kintsugi, where pottery repairs are illuminated rather than hidden, Eatock elevates a thrifty practice to a place where it can be considered and appreciated as an aesthetic choice. Are these repaired vehicles richer, more valuable and better as a result of accident and repair?","@language":"en"},{"@value":"De Britse kunstenaar en ontwerper Daniel Eatock, bekend om zijn scherpzinnige observaties en obsessieve verzameldrang, creëert werken die een absurd eerbetoon brengen aan het alledaagse en die aanvaarde conventies in vraag stellen. Eatock fotografeert herstelde auto’s waarin een onderdeel vervangen is door een stuk uit eenzelfde automodel, maar met een andere kleur en focust zo op de flagrante praktijk van goedkope en duidelijk zichtbare herstellingen. Dankzij de link met kunstconservatie — waar herstellingen eerder zichtbaar horen te zijn dan gecamoufleerd — en ook met de Japanse kunstvorm kintsugi — die aardewerkherstellingen in de verf zet in plaats van ze te verbergen — verheft Eatock een zuinige praktijk tot een esthetische keuze om te bezichtigen en te appreciëren. Zijn deze herstelde voertuigen rijker, waardevoller en beter als gevolg van een ongeval en reparaties?","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Visible Vehicle Repair","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_Eatock_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2018-08-06/2018-10-06"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107507671","@type":"Agent","label":{"value":"Amado, Bráulio","language":"nl"}}}]}],"MensgemaaktObject.titel":"≃01:05:24","MensgemaaktObject.beschrijving":[{"@value":"Bráulio Amado is a graphic designer and illustrator from Portugal, currently living in New York City. Previously, he worked as a designer at Pentagram NYC and then joined Bloomberg Businessweek as an art director before moving to the New York office of Wieden+Kennedy. Today, he runs his own studio, BAD Studio — Braulio Amado Design Studio.","@language":"en"},{"@value":"Bráulio Amado is een grafisch ontwerper en illustrator uit Portugal die momenteel in New York City woont. Hij werkte reeds als ontwerper bij Pentagram NYC en als artdirector bij Bloomberg Bus, om daarna aan de slag te gaan bij het New Yorkse kantoor van Wieden+Kennedy. Vandaag heeft hij zijn eigen studio, BAD Studio — Braulio Amado Design Studio.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: ≃01:05:24","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BB_DM_BA_002_LR-1.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2020-05-20/2020-07-20"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q95215510","@type":"Agent","label":{"value":"Jiri Mocek: Jiri Mocek","language":"nl"}}}]}],"MensgemaaktObject.titel":"Nothing Ever Lasts Forever","MensgemaaktObject.beschrijving":[{"@value":"Political promises. Possible power. Manipulated altruism. Fake help. Possible changes. True dangers. Neverending speculations. Forced suggestions. Unfortunate consequences.\nWho wants to rule the world nowadays? Its important more than ever to keep in mind that nothing ever lasts forever, as one great old lyrics says… ","@language":"en"},{"@value":"Politieke beloftes. Mogelijke macht. Gemanipuleerd altruïsme. Neppe hulp. Mogelijke veranderingen. Echte gevaren. Oneindige speculaties. Geforceerde suggesties. Ongelukkige gevolgen. Wie wil er nu over de wereld heersen? Belangrijker dan ooit om in gedachten te houden: nothing ever lasts forever, zoals Tears For Fears ooit zong.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Nothing Ever Lasts Forever","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/05/MDC_019_DMG_BB_JiriMocek_001_LR-1667x2048.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2018-08-06/2018-08-06"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107507560","@type":"Agent","label":{"value":"Criel, Bieke","language":"nl"}}}]}],"MensgemaaktObject.titel":"Mylar Silver 5,7 X 7,3","MensgemaaktObject.beschrijving":[{"@value":"One day billboard by Bieke Criel.","@language":"en"},{"@value":"Een billboard voor één dag door Bieke Criel.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Mylar Silver 5,7 X 7,3","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BB_BC_002_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2021-02-16/2021-04-18"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116453900","@type":"Agent","label":{"value":"Langdon, James","language":"nl"}}}]}],"MensgemaaktObject.titel":"Female head, Cypriot, early 5th century B.C., rendered in limestone pixels\n","MensgemaaktObject.beschrijving":[{"@value":"James Langdon is an independent graphic designer and writer and professor for Communication Design at the Hochschule für Gestaltung Karlsruhe.","@language":"en"},{"@value":"James Langdon is zelfstandig grafisch ontwerper en schrijver en professor Communicatiedesign aan de Hochschule für Gestaltung Karlsruhe.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Female head, Cypriot, early 5th century B.C., rendered in limestone pixels\n","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2021/03/MDC_019_BB_DMG_20210302_LR-1667x2048.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2018-10-21/2018-11-21"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116449371","@type":"Agent","label":{"value":"Werkplaats Typografie","language":"nl"}}}]}],"MensgemaaktObject.titel":"Moriz Oberberger","MensgemaaktObject.beschrijving":[{"@value":"Here you meet Herta, an old lady. This fictional character is for Moriz Oberberger an intimate partner for conversations. Herta brought her daily life actions to perfection. She is the personification of the present. Her life experiences brought her to this point. Herta’s life is unscheduled, although she has absolutely no spare time. Every movement leads simply to the next one. It makes her aware of the essential creature of herself.\nFor the occasion of this billboard Herta is in the WT building, more specifically in the kitchen. The kitchen is the heart of this school. It is the social meeting point for the first coffee of the day, for communal lunches, discussions and games. It is a space where new ideas occur. This scene is therefore a snapshot of a typical situation during a WT day, where the environment constantly transforms, gives new input for the work and where you occasionally will come across traces of other participants.\n\nMoriz Oberberger is an Italian graphic designer and illustrator currently a participant at Werkplaats Typografie (WT), a design school in Arnhem, Netherlands. In his work, Moriz explores the interaction between the insignificance and significance of daily life activities. He focuses on mundane everyday actions, the ordinary objects people use and the settings they are placed in. Subtle observations evolve into a manifold of hidden stories from parallel worlds captured with a playful tone of voice. These narratives are exercised in different mediums, ranging from drawings, stories, books and games. (source: 019)","@language":"en"},{"@value":"Maak kennis met Herta, een oude dame. Dit fictieve personage is een intieme gesprekspartner voor Moriz Oberberger. Herta perfectioneerde haar dagelijkse handelingen. Zij is de personificatie van het heden. Haar levenservaringen brachten haar tot dit punt. Herta’s leven is ongepland, maar desondanks heeft ze absoluut geen vrije tijd. Elke beweging leidt simpelweg tot de volgende. Het maakt haar bewust van haar essentiële zelve.\n\nVoor dit billboard staat Herta in het WT-gebouw, meer bepaald in de keuken. De keuken is het hart van deze school. Het is het sociale ontmoetingspunt voor de eerste koffie van de dag, voor gemeenschappelijke lunches, discussies en spelletjes. Het is een ruimte waar nieuwe ideeën ontstaan. Deze scène is dan ook een momentopname van een typische situatie tijdens een WT-dag, waar de omgeving voortdurend transformeert, nieuwe input geeft voor het werk en waar je af en toe de sporen van andere deelnemers tegenkomt.\n\nMoriz Oberberger is een Italiaans grafisch ontwerper en illustrator die momenteel deelnemer is aan Werkplaats Typografie (WT), een designschool in Arnhem, Nederland. In zijn werk onderzoekt Moriz de interactie tussen de onbelangrijkheid en het belang van het dagelijks leven. Hij focust op alledaagse handelingen, de alledaagse voorwerpen die mensen gebruiken en de omgevingen waarin ze worden geplaatst. Subtiele observaties evolueren naar een veelvoud aan verborgen verhalen uit parallelle werelden die op een speelse manier worden vastgelegd. Deze verhalen worden verteld in verschillende media, gaande van tekeningen, verhalen en boeken tot spelletjes.\n\nDe Werkplaats Typografie (WT), onderdeel van de ArtEZ hogeschool voor de kunsten, is een tweejarig grafisch ontwerp masterprogramma, opgericht in 1998. Het doel van de opleiding is om getalenteerde studenten een onafhankelijke ontwerppraktijk te laten opzetten. Er wordt aan artistieke, discursieve en praktische kwaliteiten gewerkt door middel van zelfgeorganiseerde groepsprojecten, opdrachten van externe opdrachtgevers, individuele projecten en diverse workshops.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Moriz Oberberger","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BBD_WP_001_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2020-07-25/2020-01-10"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107508200","@type":"Agent","label":{"value":"Specht, Stephanie","language":"nl"}}}]}],"MensgemaaktObject.titel":"Location Does Not Matter.","MensgemaaktObject.beschrijving":[{"@value":"Stephanie Specht (°1982) is an Antwerp-based graphic designer who graduated from the Royal Academy of Fine Arts (Antwerp) in 2004. Having lived and worked pretty much everywhere in her 14-year career (Cape Town, Brussels, Princeton, New York, Antwerp), every single one of these experiences shaped her as a creative person. The pattern of her billboard, titled Location Does Not Matter, consists of several illustrations of houses based on some of her drawings when she was a child. As a symbol of the many places where she has lived, they were strongly compressed to emphasize the full feeling. The whole becomes very abstract from a distance, almost a haze - the depth disappears, just as memories of the details of the houses gradually disappear and only an atmosphere remains. The integration of intuition in her work has recently become increasingly significant to Specht. The ability to reinvent herself from time to time is of high importance; when the need for change is there she wants to act upon it.","@language":"en"},{"@value":"Stephanie Specht (°1982) is een Antwerpse grafisch ontwerper die in 2004 afstudeerde aan de Koninklijke Academie voor Schone Kunsten (Antwerpen). Ze heeft in haar 14-jarige carrière vrijwel overal gewoond en gewerkt (Kaapstad, Brussel, Princeton, New York, Antwerpen), en al deze ervaringen hebben haar gevormd als een creatief persoon. Het patroon van haar billboard, getiteld Location Does Not Matter, bestaat uit verschillende illustraties van huizen die gebaseerd zijn op enkele van haar kindertekeningen. Als symbool voor de vele plaatsen waar ze heeft gewoond, werden ze samengeperst om net dat gevoel te benadrukken. Het geheel lijkt vanop een afstand heel abstract, bijna een waas - de diepte verdwijnt, net zoals de herinneringen aan de details van de huizen geleidelijk aan verdwijnen en er alleen nog maar een sfeer overblijft. De integratie van intuïtie in haar werk is de laatste tijd steeds belangrijker geworden voor Specht. Het vermogen om zichzelf af en toe opnieuw uit te vinden is van groot belang; als er behoefte is aan verandering wil ze daarnaar handelen. Vrijheid is het meest vitale element in haar leven.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Location Does Not Matter.","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/08/MDC_019_DMG_BB_aug2020_LR-1667x2048.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2019-09-21/2019-11-15"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q1819619","@type":"Agent","label":{"value":"Dujardin, Filip","language":"nl"}}}]}],"MensgemaaktObject.titel":"Memorial IV","MensgemaaktObject.beschrijving":[{"@value":"The photo collage memorial IV is part of a continuously expanding series of memorials, in which Filip Dujardin examines art-historical archetypes, incorporating them in new image compositions. Architectural fragments are extricated from their geographical context and time frame, and rebuilt in a new spatial environment. By combining elements of different architectural origins, he compresses (the architecture of) art history, creating new tensions.\n\nmemorial IV depicts a gigantic pile of rubble with fragments, shards, and crushed or hacked construction materials.\n\nThe image compels you to contemplate it before you become aware of the improbability of what you are seeing. Fragments of demolished 18th century town houses, crumbled marble Corinthian columns from a Greek temple, and reinforcement steel from modernist high-rises with concrete frames and precast concrete units are all piled onto a large concentrated unit in the pixel heap. A mountain as a remnant or a memorial to a demolished imaginary construct. (source: 019)","@language":"en"},{"@value":"De fotografische collage memorial IV maakt deel uit van de nog steeds uitbreidende reeks ‘memorials’ waarbij Filip Dujardin kunsthistorische archetypes bevraagt en verwerkt tot nieuwe beeldcomposities. Architecturale fragmenten worden uit hun tijdfase en geografische context gelicht en herbouwd in een nieuwe ruimtelijke omgeving. Door elementen van verschillende architecturale origine samen te brengen comprimeert hij de architecturale kunstgeschiedenis en laat hij nieuwe spanningen ontstaan.\n\nmemorial IV toont een puinhoop van bouwafval met stukken, scherven, afgekapt en vermorzeld constructiemateriaal.\n\nHet beeld vraagt een moment van aandacht vooraleer de onwaarschijnlijkheid van het geheel zichtbaar wordt. Brokstukken van gesloopte 18e-eeuwse herenhuizen, afgebrokkelde volmarmeren Korintische zuilen afkomstig uit een Griekse tempel, wapeningsstaal van modernistische hoogbouw met hun betonlijsten en prefab-elementen worden gestapeld tot een geconcentreerd geheel in de pixelpuinhoop. Een berg als restant of aandenken aan een gesloopte imaginaire constructie.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Memorial IV","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BB_DMG_FD_001_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2018-05-18/2018-07-31"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q77353508","@type":"Agent","label":{"value":"Experimental Jetset","language":"nl"}}}]}],"MensgemaaktObject.titel":"You are Here / You are Now","MensgemaaktObject.beschrijving":[{"@value":"The design of Experimental Jetset (a graphic design collective, Amsterdam, NL) refers to public instructions in an urban setting, such as city maps, floor plans, charts, road signs, etc. The graphic representation of the location also serves to indicate time, creating a map of time and space. The design is also based on an existing diagram, taken from a book called The Nature of the Physical World (1927). While this project looks very functional, it is also quite mysterious.","@language":"en"},{"@value":"Het ontwerp van Experimental Jetset (grafisch ontwerpcollectief, Amsterdam, NL) refereert aan publieke instructies in een stedelijke context, zoals stadskaarten, plattegronden, tabellen, verkeersborden, … De grafische plaatsaanduiding is tegelijk ook een tijdsaanduiding; een landkaart van tijd en ruimte. Het ontwerp is tevens gebaseerd op een bestaand diagram uit het boek The Nature of the Physical World (1927). Het geheel ziet er functioneel uit, maar heeft tegelijk ook een raadselachtig karakter.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: You are Here / You are Now","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_bb_EJ_LR-1.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2020-03-03/2020-05-20"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116453912","@type":"Agent","label":{"value":"Bray, Kévin","language":"nl"}}}]}],"MensgemaaktObject.titel":"It Is an Imbroglio","MensgemaaktObject.beschrijving":[{"@value":"Kévin Bray’s work oscillates between several media – namely video, graphic design, and sound design – through which he questions the existence of the image and its (modes of) production. To what extent is a still image time-related? How do media and format interact and influence each other? He tries to understand how the form and language of a particular medium are visualised and manipulated, in order to impose those codes onto another medium. His interest lies in playing with the possible porosity created by confrontation and through this methodology he aims to open and diversify a language while exploring the edges of its possibilities.","@language":"en"},{"@value":"Het werk van Kévin Bray beweegt zich tussen verschillende media – namelijk video, grafisch ontwerp en sound design – waarmee hij het bestaan van het beeld en de (productie)modi ervan in vraag stelt. In hoeverre is een stilstaand beeld tijdsgebonden? Hoe werken media en formaat op elkaar in en beïnvloeden ze elkaar? Hij probeert te begrijpen hoe de vorm en de taal van een bepaald medium gevisualiseerd en gemanipuleerd worden, om die codes op te leggen aan een ander medium. Hij is geïnteresseerd in het spelen met de mogelijke poreusheid die ontstaat door confrontatie. Door deze methodiek wil hij een taal openen en diversifiëren terwijl hij de grenzen van haar mogelijkheden verkent.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: It Is an Imbroglio","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_BB_DMG_032020_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2021-12-23/2022-02-23"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116922386","@type":"Agent","label":{"value":"Pyl, Josse","language":"nl"}}}]}],"MensgemaaktObject.titel":"Too Many Thoughts, Too Little Teeth","MensgemaaktObject.beschrijving":[{"@value":"Josse Pyl explores the hierarchies between the tools of speech, communication, the body, and decision-making. How words pass through human and other bodies, how language and speech are formed and disintegrate. Pyl tries to understand this intertwined system without hierarchy and through the making of drawings, sculptures, and environments where language and stories are formed, where they move and are lost. \n\nToo Many Thoughts, Too Little Teeth sets an eye towards the machinery that hides behind those signs and symbols that connect one person to another. Pyl created a stone relief as a basis for the work, by using oil sticks and paper the drawing emerges out of the object it means to represent. A letter turns into a character and gets lost among images and thoughts and exists somewhere between image and text, between looking and reading. Sight and visual language are superimposed and lead to a world amidst reality and imagination.","@language":"en"},{"@value":"Josse Pyl onderzoekt de hiërarchieën tussen de instrumenten van spraak, communicatie, het lichaam, en het nemen van beslissingen. Hoe woorden en teksten zich door menselijke en andere lichamen bewegen, hoe taal en spraak worden gevormd en uiteenvallen. Pyl probeert dit verstrengelde systeem te begrijpen zonder hiërarchie, door middel van objecten, organen en omgevingen waar woorden worden gevormd, waar ze bewegen en waar ze verloren gaan.\n\nToo Many Thoughts, Too Little Teeth richt je blik op de machinerie die schuilgaat achter die tekens en symbolen die de ene mens met de andere verbinden. Pyl maakte een stenen reliëf als basis voor het werk. Door oliestiften op papier te gebruiken komt de tekening tevoorschijn uit het object dat het moet voorstellen. Een letter verandert in een teken, verdwaalt tussen beelden en gedachten en bestaat ergens tussen beeld en tekst, tussen kijken en lezen. Zicht en beeldtaal worden over elkaar heen gelegd en leiden tot een wereld tussen realiteit en verbeelding.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Too Many Thoughts, Too Little Teeth","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2022/01/MDC_019_BB_DMG_JPyl_001_LR-834x1024.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2017-09-01/2017-09-01"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q55236231","@type":"Agent","label":{"value":"De Cleene, Michiel","language":"nl"}}}]}],"MensgemaaktObject.titel":"Two explanted pacemakers taking each other for a heart","MensgemaaktObject.beschrijving":[{"@value":"A. Low pressure sodium carousel projector\n\nB. Two explanted pacemakers taking each other for a heart\n\nC. The restored masts of the San Juan Bautista\n\nReference Guide is a collection of entries, connected and fueled by cross-references. These not only determine the characteristics of the encyclopaedia and its use, but they are also the mechanism behind its expansion. All* entries are transcripts of moments when objects and technologies challenge the strict boundaries that apply to them and emphasize their transitory nature.\n\n*Although the main focus of Reference Guide lies within these moments of technological candour, the encyclopaedia demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.\n\nAlong with Reference Guide, MDC shows photographs from -scope (2015): a series on viewpoints as a multiple intervention in the landscape.\n\nOn September 17, the book F#1-13 by Arnout and Michiel De Cleene (published by Art Paper Editions) will be launched and presented in the Museum Of Moving Practice.\nReference Guide is a reserach project at School Of Arts/KASK, Ghent (source: 019)","@language":"en"},{"@value":"Een billboard door Michiel De Cleene in het kader van zijn project Reference Guide.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Two explanted pacemakers taking each other for a heart","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_MOMP_2009_222_HR-833x1024@2x-1.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2020-10-28/2021-01-07"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107508178","@type":"Agent","label":{"value":"De Baets, Bart","language":"nl"}}}]}],"MensgemaaktObject.titel":"x! (Composition with lost signs and pencils)","MensgemaaktObject.beschrijving":[{"@value":"Bart de Baets (Knokke BE, 1979) graduated from the graphic design department of the Gerrit Rietveld academy in 2003. He has since then been living and working in Amsterdam. De Baets designs graphic identities for lecture programs, exhibitions and performance events. In addition, he designs books and record covers. In 2016/17, Bart was a guest professor at the Communication design department of the Hochschule für Gestaltung in Karlsruhe. He has been teaching design at the Gerrit Rietveld academy in Amsterdam and at the Royal Academy of Arts in The Hague since 2009.","@language":"en"},{"@value":"Bart de Baets (Knokke BE, 1979) studeerde in 2003 af aan de afdeling grafische vormgeving van de Gerrit Rietveld Academie. Sindsdien woont en werkt hij in Amsterdam. De Baets ontwerpt grafische identiteiten voor lezingenprogramma’s, tentoonstellingen en voorstellingen. Daarnaast ontwerpt hij boeken en platenhoezen. In 2016/17 was Bart gastdocent bij de afdeling Communicatiedesign van de Hochschule für Gestaltung in Karlsruhe. Sinds 2009 geeft hij grafisch ontwerp aan de Gerrit Rietveld Academie in Amsterdam en aan de Koninklijke Academie van Beeldende Kunsten in Den Haag.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: x! (Composition with lost signs and pencils)","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/10/MDC_019_BBDMG_BDB_001_LR-1667x2048.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2021-10-20/2021-12-20"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q15991118","@type":"Agent","label":{"value":"Auerbach, Tauba","language":"nl"}}}]}],"MensgemaaktObject.titel":"SINUSOIDAL - AFTER SPILHAUS","MensgemaaktObject.beschrijving":[{"@value":"This work is part of a series of unusual world maps made using custom software created for Tauba Auerbach by programmer Jason Davies. The software was originally created to generate source material for a series of paintings and GIFs. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth.\n\nThis map was made using a sinusoidal projection, and the technique of cutting along coastlines rather than slicing through the middle of an ocean or a continent to unpeel the surface of the earth — The idea was first articulated by geophysicist and oceanographer Athelstan Spilhaus in the 1940s. This type of map keeps the oceans intact as a continuous body of water. In this particular rotation, the Southern Hemisphere is prioritized.","@language":"en"},{"@value":"Dit werk is onderdeel van een reeks ongewone wereldkaarten die werden gegenereerd met een op maat gemaakte software. Die werd oorspronkelijk ontwikkeld door programmeur Jason Davies om bronmateriaal te genereren voor een serie schilderijen en GIF's van de beeldend kunstenaar Tauba Auerbach. De software maakt het mogelijk om de aarde in elke richting te draaien en vlak te maken met behulp van een breed scala aan projecties. Op die manier worden er ongewone, maar wiskundig nauwkeurige vormen van de aarde gegenereerd.\n\nDeze kaart is gemaakt met behulp van een sinusoïdeprojectie en de techniek die langs kustlijnen snijdt in plaats van midden door een oceaan of een continent te snijden om het aardoppervlak af te pellen - Dat idee werd voor het eerst geopperd door geofysicus en oceanograaf Athelstan Spilhaus in de jaren 40. Dit type kaart houdt de oceanen intact als een ononderbroken watermassa, in dit geval met focus op het zuidelijk halfrond.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: SINUSOIDAL - AFTER SPILHAUS","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2021/10/MDC_019_DMG_BB_TAuerbach_LR-834x1024.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2017-08-10/2017-08-26"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q98163946","@type":"Agent","label":{"value":"Debeer, Lydia","language":"nl"}}}]}],"MensgemaaktObject.titel":"Absence Makes The Heart Grow Fonder","MensgemaaktObject.beschrijving":[{"@value":"Lydia Debeer’s work is often ambiguous. The images she uses evoke a reality that is susceptible to more than one explanation. Her work poses the issue of the reliability of perception and the interpretation of reality. Does reality determine what we perceive, or is it the other way around, and does our perception determine reality? Only by means of perception and experience (that consists of repeated acts of perception), are we capable of building up a world view that coincides with our intuitions, such as our sense of gravity and balance, the difference between up and down, light and dark, front and back, left, right, space and movement, etc.\n\nEvery one of Debeer’s works contains a secret that only allows itself to be unravelled along the way. Her work is apparently simple and usually it looks as if there is little or nothing going on. The image is static and apparently without development. There is no conclusion, solution, release, and there is no good or bad ending.Every work by Debeer can be seen as a closed circle. Ending and beginning pass into one another, unnoticed, like an endless repetition of the same pattern. And yet nothing stays the same, because the viewer of the work sets out to look for something to hold onto, for hidden meanings, for the significance of what has been seen. The viewer recreates the work in the context of his own experience and the work obtains—as a new experience—a place in the viewer’s worldview. As such the continuous repetition of the same does not equal a predictable future, but it can signify an enrichment of the viewer’s own development.  — Frank Lubbers (source: 019)","@language":"en"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Absence Makes The Heart Grow Fonder","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/20988363_1525383367518959_9128160793851769480_o.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2022-08-11/2022-09-10"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q116922450","@type":"Agent","label":{"value":"Vereecken, Boy","language":"nl"}}}]}],"MensgemaaktObject.titel":"Disclaimer (satire & parody)","MensgemaaktObject.beschrijving":[{"@value":"Almost every film or book in recent history includes some variation of the sentence: \"This is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental.\" This is usually followed by a line or two declaring that what follows is indeed what it claims to be, a fiction, and that any resemblance to the ‘real world’ is entirely coincidental. These short texts are called ‘disclaimers’ and are part of the legal apparatus (copyrights, content warnings, and the like) accompanying movies or literary works. They limit the liability of writers or filmmakers and insist on the total autonomy of fiction from the actual world.\n\nOriginally, the term ‘disclaimer’ was coined for feudal tenants who wished to dispute their terms of service: hence it means the repudiation of any legal claim. The first disclaimer texts appear in the 18th century, when copyright law made its appearance in the literary world. Playwrights and novelists of this period, fearing retaliation from their audiences, offered a variation on the disclaimer we know today, declaring that their work was something other than fiction: ‘novels’ were categorised as histories, biographies, travelogues, or collections of allegedly authentic letters. As such, early fiction writers fictionalised their fictions into facts.\n\nBy the early 20th century, fiction was understood as fiction and fact as fact, with little accepted convergence between the two. The disclaimer was therefore introduced as a legal obstacle to shield the creator from accusations of defamation. It also marked where ‘reality’ began and ended. The disclaimer can thus be understood as a means of playing with the unstable boundaries between fact and fiction in works of art.\n\nSource\nBill McDonald, The Literary Disclaimer: Law, Fiction, and the Real, 2001, The Fortnightly Club","@language":"en"},{"@value":"Bijna elke film of boek in de recente geschiedenis bevat een variatie op de zin: \"Dit is een fictief werk. Elke gelijkenis met werkelijke personen, levend of dood, of werkelijke gebeurtenissen berust op louter toeval.\" Daarop volgt meestal nog een regel of twee waarin wordt verklaard dat wat volgt inderdaad is wat het beweert te zijn, een fictie, en dat elke gelijkenis met de ‘echte wereld’ geheel toevallig is. Deze korte teksten worden ‘disclaimers’ genoemd en maken deel uit van het juridische apparaat (auteursrechten, inhoudswaarschuwingen en dergelijke) bij films of literaire werken. Ze beperken de aansprakelijkheid van schrijvers of filmmakers en dringen aan op de totale autonomie van fictie ten opzichte van de feitelijke wereld.\n\nOorspronkelijk werd de term ‘disclaimer’ bedacht voor feodale pachters die hun contractvoorwaarden wilden betwisten: het betekent dus de afwijzing van een wettelijke aanspraak. De eerste disclaimerteksten duiken op in de 18e eeuw, toen het auteursrecht zijn intrede deed in de literaire wereld. Toneel- en romanschrijvers uit deze periode, die represailles van hun publiek vreesden, boden een variant op de disclaimer die we vandaag kennen, waarin ze verklaarden dat hun werk iets anders was dan fictie: ‘romans’ werden gecategoriseerd als geschiedenissen, biografieën, reisverslagen, of verzamelingen van zogenaamd authentieke brieven. Als zodanig fictionaliseerden de vroege fictieschrijvers hun ficties tot feiten.\n\nAan het begin van de 20e eeuw werd fictie als fictie opgevat en feit als feit, met weinig aanvaardbare convergentie tussen de twee. De disclaimer werd daarom ingevoerd als een wettelijk obstakel om de schepper te beschermen tegen beschuldigingen van smaad. Tevens werd aangegeven waar de ‘werkelijkheid’ begon en ophield. De disclaimer kan dus worden opgevat als een middel om te spelen met de onstabiele grenzen tussen feit en fictie in kunstwerken.\n\nSource\nBill McDonald, The Literary Disclaimer: Law, Fiction, and the Real, 2001, The Fortnightly Club","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Disclaimer (satire & parody)","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2022/08/MDC_019_BB_DMG_Aug2022_LR-834x1024.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2019-02-10/2019-05-10"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q19267078","@type":"Agent","label":{"value":"Kurant, Agnieszka","language":"nl"}}}]}],"MensgemaaktObject.titel":"The Half Life of Facts","MensgemaaktObject.beschrijving":[{"@value":"Conceptual interdisciplinary artist, Agnieszka Kurant explores how complex social, economic and cultural systems can operate in ways that confuse distinctions between fiction and reality or nature and culture. She investigates ‘the economy of the invisible’, in which immaterial and imaginary entities, fictions, phantoms and emergent processes influence political and economic systems. Kurant probes the ‘unknown unknowns’ of knowledge and the speculations and exploits of capitalism by integrating elements of science and philosophy, and analysing certain phenomena — collective intelligence, emergence, virtual capital, immaterial and digital labour, evolution of memes, civilisations and social movements, artificial societies, energy circuits and the editing process — as political acts. She explores the hybrid and shifting status of objects in relation to value, aura, authorship, production and circulation. Many of her works emulate nature and behave like living organisms, self-organised complex systems or bachelor machines.","@language":"en"},{"@value":"Conceptuele, interdisciplinaire kunstenares Agnieszka Kurant bestudeert hoe complexe sociale, economische en culturele systemen op zo’n manier functioneren dat het onderscheid tussen fictie en realiteit, natuur en cultuur vertroebelt. Ze onderzoekt ‘de economie van het onzichtbare’ waarin immateriële en denkbeeldige entiteiten, ficties, schimmen en emergente processen de politieke en economische systemen beïnvloeden. Kurant peilt naar de ‘onbekende onbekenden’ van kennis en naar kapitalistische speculatie en exploitatie, door wetenschappelijke en filosofische elementen te integreren en bepaalde fenomenen — collectieve intelligentie, nieuwe verschijnselen, virtueel kapitaal, immateriële en digitale arbeid, de evolutie van memes, beschavingen en sociale bewegingen, kunstmatige samenlevingen, energiecircuits en het redactieproces — te analyseren als politieke handelingen. Ze onderzoekt de hybride en verschuivende status van objecten in relatie tot waarde, aura, auteurschap, productie en circulatie. Veel van haar werken bootsen de natuur na en gedragen zich als levende organismen, zelforganiserende complexe systemen en autonome machines.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: The Half Life of Facts","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2020/04/MDC_019_BBDM_AK2_LR.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2021-07-13/2021-09-13"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q107547942","@type":"Agent","label":{"value":"Verhelst, Victor","language":"nl"}}}]}],"MensgemaaktObject.titel":"The Floor is Lava","MensgemaaktObject.beschrijving":[{"@value":"Victor Verhelst studied Graphic Design at LUCA school of arts in Ghent after which he engaged himself in commissioned and autonomous work as a designer and artist. As a (graphic) designer, illustrator and typographer, he is obsessed with colours and their healing power. \n\nThe distortion and juxtaposition of 2D and 3D image planes in the creation of figurative colour combinations characterises his graphic work. Printed matter – from digital to 3D, from risography to textile – forms his starting point, always working with the relationship of the materiality to the pre-made (digital) image. \n\nOverarching digital works remain a constant in his oeuvre, such as this billboard from his ongoing series called TRIPPY VEGAS: his conception of a growing digital city consisting of virtual cityscapes and buildings. \n\nAlso did Verhelst found earlier this year his own publishing house and lab called Moriso where he wants to investigate and connect forms of aesthetics together with other designers and artists.","@language":"en"},{"@value":"Victor Verhelst studeerde grafische vormgeving aan de LUCA School of Arts in Gent waarna hij als ontwerper en kunstenaar zowel in opdracht als autonoom aan de slag ging. Als (grafisch) vormgever, illustrator en typograaf is hij geobsedeerd door kleuren en hun helende kracht.\n\nHet vervormen en naast elkaar plaatsen van 2D en 3D beeldvlakken in het creëren van figuratieve kleurcombinaties kenmerkt zijn grafisch werk. Drukwerk - van digitaal tot 3D, van risografie tot textiel - vormt zijn uitgangspunt, waarbij hij altijd werkt met de relatie van de materialiteit tot het vooraf gemaakte (digitale) beeld.\n\nDigitale werken blijven een constante in zijn oeuvre, zoals dit billboard uit zijn doorlopende serie genaamd TRIPPY VEGAS: zijn visie op een groeiende digitale stad bestaande uit virtuele stadslandschappen en gebouwen.\n\nOok richtte Verhelst eerder dit jaar zijn eigen uitgeverij en lab op, genaamd Moriso, waar hij samen met andere ontwerpers en kunstenaars vormen van esthetiek wil onderzoeken en verbinden.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: The Floor is Lava","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2021/08/MDC_019_BB_DMG_Zomer2021_001_LR-834x1024.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2023-01-20/2023-03-24"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q111971434","@type":"Agent","label":{"value":"Peeters, Julie","language":"nl"}}}]}],"MensgemaaktObject.titel":"Billboard","MensgemaaktObject.beschrijving":[{"@value":"“Inge Grognard (Belgian make-up artist) has been on my mind for a long time. I came across her work for Martin Margiela (Belgian fashion designer, artist and founder of Maison Margiela) as a teenager and instantly felt an intense connection with the way she expresses herself. Before I understood what graphic design really was, I wanted to do what Inge does: create a visual world without restraints, and be free of any pre-existing visual language. The sequence of eyes in BILL4 are open, closed, looking away and looking at you. Inge’s hand is present in each eye, and her own eye is what unites them.” (Julie Peeters, 2022)\n\nThis billboard features a detail from the back cover of BILL4. BILL is a magazine without words, founded and edited by Belgian graphic designer Julie Peeters. The close-up of the eye is part of a look created by make-up artist Inge Grognard for the Alyx SS19 runway show.\n\nInge Grognard is a Belgian make-up artist. Her career started in the mid-80s when she collaborated with designers including Martin Margiela, Dries Van Noten and An Demeulemeester, and she is credited with having a considerable influence on the Antwerp Six. She worked closely with Martin Margiela for 20 years on 40 collections until his departure from the fashion house in 2009. Grognard's work has been featured in publications including System Magazine, Purple, Vogue, i-D, Dazed and Confused, and Beauty Papers.\n\nJulie Peeters is a graphic designer, editor and educator based in Brussels. She has been running her studio since 2006 and she is the founder of BILL magazine.","@language":"en"},{"@value":"“Inge Grognard (Belgische make-upartiest) is al lang een inspiratiebron. Ik kwam als tiener in aanraking met haar werk voor Martin Margiela (Belgische modeontwerper, kunstenaar en oprichter van Maison Margiela) en voelde meteen een intense connectie met haar artistieke praktijk. Voordat ik begreep wat grafisch ontwerp eigenlijk was, wilde ik hetzelfde doen als Inge: een visuele wereld creëren zonder beperkingen en vrij zijn van elke reeds bestaande beeldtaal. De reeks ogen in BILL4 zijn open, gesloten, kijken weg en kijken je aan. Inges hand is in elk oog aanwezig, en haar eigen oog is wat ze verenigt.” (Julie Peeters, 2022)\n\nOp dit billboard staat een detail van de achterflap van BILL4. BILL is een magazine zonder tekst, opgericht en uitgegeven door de Belgische grafisch ontwerper Julie Peeters. De close-up van het oog maakt deel uit van een look die make-upartiest Inge Grognard creëerde voor de Alyx SS19 modeshow.\n\nInge Grognard is een Belgische make-upartiest. Haar carrière begon midden jaren 80 toen ze samenwerkte met ontwerpers als Martin Margiela, Dries Van Noten en An Demeulemeester, en ze heeft een aanzienlijke invloed gehad op de Antwerpse Zes. Ze werkte gedurende 20 jaar nauw samen met Martin Margiela aan 40 collecties, tot zijn vertrek uit het modehuis in 2009. Grognards werk is verschenen in magazines zoals System Magazine, Purple, Vogue, i-D, Dazed and Confused en Beauty Papers.\n\nJulie Peeters is grafisch ontwerper, redacteur en docent, gevestigd in Brussel. Ze heeft een eigen studio sinds 2006 en is de oprichter van BILL magazine.","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Billboard","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2023/02/MDC_019_feb23_009_LR-1-834x1024.jpg","@type":"DigitalObject"}},{"@type":"Activiteit","context":["https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-object-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/persoon-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/cultureel-erfgoed-event-ap.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/organisatie-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/generiek-basis.jsonld","https://apidg.gent.be/opendata/adlib2eventstream/v1/context/dossier.jsonld",{"la":"https://linked.art/ns/terms/","cest":"https://www.projectcest.be/wiki/Publicatie:Invulboek_objecten/Veld/","foaf":"http://xmlns.com/foaf/0.1/","prov":"http://www.w3.org/ns/prov#","skos":"http://www.w3.org/2004/02/skos/core#","cidoc":"http://www.cidoc-crm.org/cidoc-crm/","label":"http://www.w3.org/2000/01/rdf-schema#label","inhoud":"http://www.cidoc-crm.org/cidoc-crm/P190_has_symbolic_content","foaf:page":{"@type":"@id"},"opmerking":"http://www.w3.org/2004/02/skos/core#note","equivalent":{"@id":"la:equivalent","@type":"@id"},"dcterms:isVersionOf":{"@type":"@id"}}],"Entiteit.type":{"@id":"http://vocab.getty.edu/aat/300417531","skos.prefLabel":{"@value":"tentoonstelling","@language":"nl"}},"Gebeurtenis.tijd":{"@type":"http://id.loc.gov/datatypes/edtf/EDTF","@value":"2022-05-01/2022-07-15"},"Gebeurtenis.plaats":{"@type":"Plaats","equivalent":{"@id":"https://www.wikidata.org/entity/Q1809071","skos.prefLabel":{"@value":"Design Museum Gent","language":"nl"}}},"Activiteit.gebruiktObject":{"@type":"MensgemaaktObject","MaterieelDing.productie":[{"Activiteit.uitgevoerdDoor":[{"@type":"Agent","equivalent":{"@id":"https://www.wikidata.org/entity/Q52495652","@type":"Agent","label":{"value":"Ketelers, Inge","language":"nl"}}}]}],"MensgemaaktObject.titel":"Act","MensgemaaktObject.beschrijving":[{"@value":"#VariousProblems #NoWords #JustActions\n\nInge Ketelers is a Belgian graphic designer running her own independent studio. She has been collaborating with a wide variety of artists, museums and institutions on printed matter; with a major focus on books. Alongside her studio practice she teaches at the Graphic Design department of LUCA School of Arts in Ghent and is responsible for Grafische Cel since its founding in 2011.\n\n#ClimateChange #FaceTheClimateEmergency #UniteBehindTheScience #TreesForTheFuture #SaveTrees #StopFakeRenewables #BreakFreeFromPlastic #PeopleNotProfit #FossilFuels #PlasticPollution #StopPlastic #Earth #SaveTheEarth #ProtectThePlanet #LovePlanetEarth #HelpTheEarth #ClimateFacts #ClimateReality #Health #EnvironmentalJustice #Capitalism #Overconsumption #Wars #StopAgression…\n\nTypeface: William by Maria Doreuli @contrastfoundry","@language":"en"},{"@value":"#VariousProblems #NoWords #JustActions\n\nInge Ketelers is een Belgisch grafisch ontwerper die haar eigen studio runt. Ze werkt in binnen- en buitenland samen met kunstenaars, musea en instellingen; met een belangrijke focus op boeken. Naast haar studiopraktijk doceert ze aan de afdeling Grafisch Ontwerp van LUCA School of Arts in Gent en is ze verantwoordelijk voor Grafische Cel sinds de oprichting ervan in 2011.\n\n#ClimateChange #FaceTheClimateEmergency #UniteBehindTheScience #TreesForTheFuture #SaveTrees #StopFakeRenewables #BreakFreeFromPlastic #PeopleNotProfit #FossilFuels #PlasticPollution #StopPlastic #Earth #SaveTheEarth #ProtectThePlanet #LovePlanetEarth #HelpTheEarth #ClimateFacts #ClimateReality #Health #EnvironmentalJustice #Capitalism #Overconsumption #Wars #StopAgression…\n\nLettertype: William door Maria Doreuli @contrastfoundry","@language":"nl"}]},"cidoc:P1_is_identified_by":[[{"@type":"cidoc:E33_E41_Linguistic_Appellation","inhoud":{"@value":"billboardseries: Act","@language":"nl"}}]],"Entiteit.isHetOnderwerpVan":{"@id":"https://019-ghent.org/wp-content/uploads/2022/05/MDC_019_bbvl_mei2022_001_LR-834x1024.jpg","@type":"DigitalObject"}}]}