M HKA gaat digitaal

Met M HKA Ensembles zetten we onze eerste échte stappen in het digitale landschap. Ons doel is met behulp van nieuwe media de kunstwerken nog beter te kaderen dan we tot nu toe hebben kunnen doen.

We geven momenteel prioriteit aan smartphones en tablets, m.a.w. de in-museum-ervaring. Maar we zijn evenzeer hard aan het werk aan een veelzijdige desktop-versie. Tot het zover is vind je hier deze tussenversie.

M HKA goes digital

Embracing the possibilities of new media, M HKA is making a particular effort to share its knowledge and give art the framework it deserves.

We are currently focusing on the experience in the museum with this application for smartphones and tablets. In the future this will also lead to a versatile desktop version, which is now still in its construction phase.


©image: M HKA

The work of Jan Vercruysse is characterized by his razor-sharp vision and very focused approach to its central themes. Vercruysse mostly works in series, of which the individual works have many formal similarities, as if they are variations on the same theme. Vercruysse sees this differently, though: "There is no theme. There is a content and then there are works; both together necessitate other works." Like other conceptual artists, Vercruysse considers content as preceding the formal presence of a work. Nonetheless, for Vercruysse the formal presence of the work is as important as its concept: "for art to be in the mind it first has to be in the world." His most important sculptural series are the Rooms (1983-1986), the Atopies (1985-1986), the Eventails (1986-1987), the Tombeaux (1987-1994), Les Paroles (1993-1998) and Places (2005-present).

In a sense, Vercruysse has already organized and categorized his oeuvre himself. Still, there is a sense of coherence and overlap between the different series as well. This makes a further thematic organization of Vercruysse's oeuvre simultaneously easy and challenging. The categorization of M HKA Ensembles should be regarded as a suggestion, an attempt at reaching deeper understanding of Vercruysse's work. Three themes are identified as rising above the individual series: absence and loss, the place versus the non-place, and, more general, the position of art and the artist. Additionally, M HKA Ensembles pays special attention for Vercruysse's affinity for language and poetry, which is particularly apparent in his editions.

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Themes & Categories

>De Historiek van Kamer (III) [The History of Room (III)].

>Plaatsen en niet-plaatsen [Places and non-places].

>De positie van kunst en de kunstenaar [The position of art and the artist].

>Poëzie, taal en woordspelingen [Poetry, language, and wordplay].

>Verlies en afwezigheid [Loss and Absence].


>Jan Vercruysse, Ile de France, 1974.Print, 57 x 37 cm.

>Jan Vercruysse, Sic, 1975.Print, 57 x 73 cm.

>Jan Vercruysse, A Valérie, Pour la Vie, 1975-1990.Print, paper (vélin d'arches), 10.1 x 51 cm.

>Jan Vercruysse, Jan Vercruysse, 1978.Book, ink, paper, 29.7 x 21 cm, language : Dutch, French, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen.

>Jan Vercruysse, La Feinte [The Sham], 1982.Photography, wood, iron, marbles, 220 x 180 x 130 cm.

>Jan Vercruysse, Spleen de Hambourg, 1985.Print, paper, 30 x 20 cm.

>Jan Vercruysse, Kamer (III) [Chamber (III)], 1985.Installation, wood, mirror, neon lamp, 390 x 170 x 250 cm.

>Jan Vercruysse, Atopies (VIII), 1986.Installation, mahogany veneer on wood, steel, 396 x 380 x 30 cm.

>Jan Vercruysse, Narcisse, 1987-1989.Print, paper (old dutch), 32 x 12 cm.

>Jan Vercruysse, Diwan, 1987-1990.Print, paper (vélin d'arches), 2 x (88 x 44.5).

>Jan Vercruysse, The Art of Typewriting, 1987-1988.Print, paper (old dutch).

>Jan Vercruysse, Baudrillards are dollars, 1988.Print, paper (vélin d'arches), 68.5 x 98 cm.

>Jan Vercruysse, Agnes Sorel ou les Avant-Gardes, 1988.Print, paper (vélin d'arches), 89 x 58 cm.

>Jan Vercruysse, Facile à faire, 1989.Print, paper (vélin d'arches), 60 x 74.5 cm.

>Jan Vercruysse, Gay Nineties, 1990.Print, paper (vélin d'arches), 24 x 48.5 cm.

>Jan Vercruysse, Moderne, 1991.Print, paper (vélin d'arches), 60 x 74.5 cm.

>Jan Vercruysse, Q, 1991.Print, paper (hanemühle), 59 x 64 cm.

>Jan Vercruysse, Fontaine/Lustre, 1991.Print, ink, paper (vélin d'arches), 750 x 480 mm.

>Jan Vercruysse, Cinéma Cinéma, 1991.Print, paper vélin d'arches, 68 x 98 cm.

>Jan Vercruysse, Je veux bien, 1991.Print, paper (vélin d'arches).

>Jan Vercruysse, 9 ontwerpen voor het omslag van een tijdschrift in 8+1 afleveringen, 1992.Print, paper.

>Jan Vercruysse, M (M1), 1992.Sculpture, wood, gypsum, blue glass, white pigment, 54 x 200 x 155 cm.

>Jan Vercruysse, Labyrinth & Pleasure Garden, 1994-2001.Print, ink, paper (rivoli), 12 x (66 x 49 cm).

>Jan Vercruysse, Les Paroles (III), 1994.Sculpture, wood, iron, paint, 130 x 220 x 180 cm.

>Jan Vercruysse, Places (III.5), 2006.Sculpture, galvanized steel, 130 x 78 x 1.5 cm.

>Jan Vercruysse, Places (II.8), 2006.Sculpture, cor-ten steel, 300 x 285 x 2 cm.

>Jan Vercruysse, De Reconstructie van Kamer (III) [The Reconstruction of Room (III)], 2010.Other.

>Jan Vercruysse, Dans l'air.Print, paper (moulin du gué), 45.5 x 36 cm.

>Jan Vercruysse, Extrait de Journal (1e 5 avril 1984).Print, pape (japanese), 50 x 67 cm.