[{"id":602,"title":"Helicopter","dimensions":"","date_begin":"1978-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0387","stream_count_app":24,"permalink":"helicopter","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/431/large/Matthys,%200059%20Danny,%20Helicopter,%201978%20photo%20clinckx.jpg?1306131468","poster_credits":"(c)image: M HKA/CC","translations":[{"locale":"en","description":"\u003cp\u003eIn the early 1980s Matthys\u0026rsquo;s work undergoes a remarkable change. His image constructions are no longer systematic and comprehensive. The visual narrative is divided into a composition of fragments and offers an abundance of information. Matthys appropriates images from the world around him, but also from his own work. He transforms them and returns them to us in a new context and a new form. \u003cem\u003eHelicopter\u003c/em\u003e\u0026nbsp;is an early example of this new form of composition. The structure of the work is still reminiscent of the horizontal mode of reading typical of his polaroid period. There is still a system in the arrangement, but the sequencing of the images becomes less significant and offers no real support for our understanding. As we look we zigzag from image to image, performing many small comparisons across the surface of the image. The idea of type takes shape in front of our eyes. We don\u0026rsquo;t perceive a particular helicopter, but the way in which helicopters are perceived.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBegin jaren 1980 is er een kentering in Matthys\u0026rsquo; werken. De beeldconstructies zijn niet meer systematisch en overzichtelijk. Het verhaal versplintert in een geheel van fragmenten en biedt een overdaad van informatie. Matthys eigent zich beelden toe uit de omringende wereld, maar ook uit zijn eigen werk. Hij transformeert ze, geeft ze terug in een nieuwe context en een nieuwe vorm. \u003cem\u003eHelicopter\u003c/em\u003e\u0026nbsp;is een vroeg voorbeeld van deze nieuwe samenstellingsvorm. De opbouw van het werk sluit nog aan bij de lezing in horizontale stroken die typerend is voor de polaroidperiode. Er is nog altijd een systematiek in de schikken. Die volgorde wordt bij het bekijken echter secundair. Ze functioneert niet meer als dusdanig en is slechts een houvast voor de realisatie. Tijdens het kijken zigzagt je blik van voorstelling naar voorstelling. Van daaruit dwaal je over het oppervlak in vele, kleine vergelijkingen. Een type-idee krijgt vorm in een welbepaalde clich\u0026eacute;-formulering. Men zit niet een helikopter maar wel een manier waarop helikopters worden weergegeven.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu d\u0026eacute;but des ann\u0026eacute;es 1980, les \u0026oelig;uvres de Matthys connaissent un revirement. Les constructions d\u0026#39;images ne sont plus syst\u0026eacute;matiques et claires. Le r\u0026eacute;cit \u0026eacute;clate en un ensemble de fragments et offre une mine d\u0026#39;informations. Matthys s\u0026#39;approprie les images du monde qui l\u0026#39;entoure mais aussi de sa propre \u0026oelig;uvre. Il la transforme, la restitue dans un nouveau contexte et une nouvelle forme. \u003cem\u003eHelicopter\u003c/em\u003e\u0026nbsp;est un exemple pr\u0026eacute;coce de cette nouvelle forme de composition. La structure de l\u0026#39;\u0026oelig;uvre correspond encore \u0026agrave; la lecture en bandes horizontales caract\u0026eacute;ristique de la p\u0026eacute;riode des polaro\u0026iuml;ds. Il y a toujours un syst\u0026eacute;matique dans la disposition. Cependant, cet ordre devient secondaire lorsque l\u0026#39;on regarde l\u0026#39;\u0026oelig;uvre. Elle ne fonctionne plus en tant que telle et elle est seulement un point d\u0026#39;appui pour la r\u0026eacute;alisation. Pendant que vous observez, votre regard zigzague de pr\u0026eacute;sentation en pr\u0026eacute;sentation. A partir de l\u0026agrave;, vous d\u0026eacute;ambulez sur la surface en de nombreuses petites comparaisons. Une id\u0026eacute;e type prend forme dans une certaine formulation clich\u0026eacute;. Nous ne voyons pas un h\u0026eacute;licopt\u0026egrave;re mais une mani\u0026egrave;re de repr\u0026eacute;senter les h\u0026eacute;licopt\u0026egrave;res.\u003c/p\u003e\r\n"}]},{"id":599,"title":"Terras [Terrace]","dimensions":"6 x ( 51.5 x 41.7 cm )","date_begin":"1974-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0386","stream_count_app":26,"permalink":"terras-terrace","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/428/large/Matthys,%200007%20Danny,%20Terras,%201974%20photo%20clinckx%203.jpg?1305901280","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;dates from the period when Matthys was experimenting with photography, polaroid and video. A central concern was his quest for the possibilities and limitations of perception. He takes stock of physical space, studies and systematises it. \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;consists of a series of black-and-white photographs in a white frame. They were taken by Matthys himself and are presented as a horizontal sequence, inviting a reading from left to right, like a text. Each of the photographs shows a small table an four chairs. It appears to be the same image every time, but always with a minimal change of position. When we look more carefully the degree of decay in the chairs reveals that all these ensembles are different. Also the little hedge in the background and the reflections in the water are different on each photograph. By comparing the photographs and viewing the series as one unified image the differences and similarities are foregrounded. The organisation of the images as a series teases out new relations. Each image is read in relation to a whole. The overall context yields more meaning than the sum of the information given separately in each image. From a strictly formal point of view \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;shows a dynamic rhythm, a geometrical play of horizontals, verticals and diagonals, a staccato of chairs, tables, hedges. A movement in still photographic imaging.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;dateert uit de periode dat Matthys experimenteert met fotografie, polaroid en video. Centraal staat de zoektocht naar de mogelijkheden en beperkingen van de waarneming. Hij tast de omgeving, de fysieke ruimte af, bekijkt, analyseert en systematiseert ze. \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;bestaat uit een reeks van vijf zwart-witfoto\u0026rsquo;s in een witte lijst. Ze zijn genomen door de kunstenaar en worden op een horizontale lijn gepresenteerd. Ze nodigen uit tot een lezing van links naar rechts, zoals een tekst. Elk van de foto\u0026rsquo;s toont een tafeltje en vier stoelen. Het lijkt steeds hetzelfde beeld, met telkens een minimale positieverandering. Wanneer men echter aandachtiger kijkt, verraadt de graad van verwering van de stoelen dat het telkens om een ander ensemble gaat. Ook het hekje op de achtergrond en de reflecties in het water zijn op elke foto verschillend. Door de foto\u0026rsquo;s te vergelijken en de reeks als \u0026eacute;\u0026eacute;n geheel te aanschouwen, treden zowel de verschillen als de gelijkenissen naar voor. Het rangschikken van de beelden in een reeks doet nieuwe relaties ontstaan. Elk beeld wordt gelezen in de context van het geheel. De samenhang levert meer betekenis dan de som van de informatie van elk beeld afzonderlijk. Louter vormelijk bekeken, toont \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;een dynamisch ritme, een geometrisch spel van horizontalen, verticalen en diagonalen, een staccato van stoelen, tafels, hekjes. Een beweging in de stilstaande fotografische beelden.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;date de la p\u0026eacute;riode pendant laquelle Matthys exp\u0026eacute;rimente la photographie, les polaro\u0026iuml;ds et la vid\u0026eacute;o. La recherche des possibilit\u0026eacute;s et des limites de la perception occupent une place centrale. Il t\u0026acirc;tonne l\u0026#39;environnement, l\u0026#39;espace physique, il observe, analyse et syst\u0026eacute;matise. \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;se compose d\u0026#39;une s\u0026eacute;rie de cinq photos en noir et blanc dans un cadre blanc. Elles ont \u0026eacute;t\u0026eacute; prises par l\u0026#39;artiste et sont pr\u0026eacute;sent\u0026eacute;es sur une ligne horizontale. Elles invitent \u0026agrave; une lecture de gauche \u0026agrave; droite, comme un texte. Chacune des photos montre une petite table et quatre chaises. L\u0026#39;image semble \u0026ecirc;tre toujours la m\u0026ecirc;me, avec \u0026agrave; chaque fois un changement de position minime. Cependant, si nous y regardons de plus pr\u0026egrave;s, le degr\u0026eacute; d\u0026#39;alt\u0026eacute;ration des chaises sugg\u0026egrave;re qu\u0026#39;il s\u0026#39;agit \u0026agrave; chaque fois d\u0026#39;un ensemble diff\u0026eacute;rent. La cl\u0026ocirc;ture \u0026agrave; l\u0026#39;arri\u0026egrave;re-plan et les reflets dans l\u0026#39;eau sont \u0026eacute;galement diff\u0026eacute;rents sur chaque photo. En comparant les photos et en consid\u0026eacute;rant la s\u0026eacute;rie comme un seul ensemble, les diff\u0026eacute;rences et les ressemblances sont mises en avant. Le classement des images dans une s\u0026eacute;rie fait na\u0026icirc;tre de nouvelles relations. Chaque image est lue dans le contexte de l\u0026#39;ensemble. La coh\u0026eacute;sion offre plus de sens que la somme des informations de chaque image isol\u0026eacute;ment. D\u0026#39;un point de vue purement formel, \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;pr\u0026eacute;sente un rythme dynamique, un jeu g\u0026eacute;om\u0026eacute;trique d\u0026#39;horizontales, de verticales et de diagonales, un staccato de chaises, de tables, de cl\u0026ocirc;tures. Un mouvement dans les photos immobiles.\u003c/p\u003e\r\n"}]},{"id":6168,"title":"Golf, St-Malo","dimensions":"23 x 53 cm","date_begin":"1975-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0325","stream_count_app":11,"permalink":"golf-st-malo","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/126/large/Matthys__Danny__golf__St._Malo__1975.png?1425635584","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre includes diverse media such as photography, installation art, video, painting, assemblage and sculpture.\u0026nbsp; In his work he reconnoiters his surrounding environment.\u0026nbsp; He explores and analyzes this milieu, in the broadest sense of the word.\u0026nbsp; He scans the physical space; he studies and systematizes it.\u0026nbsp; The laying bare of structures is, however, always more important than the aesthetic characteristics.\u0026nbsp; Matthys wishes the viewer to become aware of the complexity of our ways of seeing.\u0026nbsp; From this vantage point, the work may be seen as a formalized investigation into the process of perception.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eThe piece \u003cem\u003eWave,\u003cem\u003e Saint Malo \u003c/em\u003e\u003c/em\u003eplays with the apparent contradiction between photography as a snapshot and the capturing of a time interval.\u0026nbsp; Looking at the work of Danny Matthys can best be described as a \u0026#39;reading\u0026#39; process.\u0026nbsp; It invites a left-to-right reading, like a text.\u0026nbsp; Then we see an oncoming wave that engulfs a palette.\u0026nbsp; But if we change the direction of our reading, the series becomes much less unequivocal.\u0026nbsp; The readability of Danny Matthys\u0026#39; work is always paired with an awareness of structures.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre omvat uiteenlopende media zoals fotografie, installatie, video, schilderkunst, assemblage en sculptuur. In zijn werk verkent hij de omgeving die hem omringt. Hij exploreert en analyseert zijn leefruimte, in de breedste zin van het woord. Hij tast de fysieke ruimte af, bestudeert en systematiseert ze. Het blootleggen van structuren is steeds belangrijker dan de esthetische kwaliteiten. Matthys wil de toeschouwer bewust maken van de complexiteit van onze perceptie. Op die manier kan je het werk zien als een geformaliseerd onderzoek naar de waarneming.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eHet werk\u0026nbsp;\u003cem\u003eGolf St-Malo\u003c/em\u003e\u0026nbsp;speelt met de schijnbare tegenstelling tussen de fotografie als momentopname en het vastleggen van een tijdsverloop. Het werk van Danny Matthys bekijken kan nog het best als \u0026#39;lezen\u0026#39; omschreven worden. Het werk nodigt uit tot een lezing van links naar rechts, zoals een tekst. Dan zien we een opkomende golf die een pallet overspoelt. Maar als we de leesrichting veranderen, wordt de reeks veel minder eenduidig. De leesbaarheid van het werk van Danny Matthys gaat steeds gepaard met een bewustwording van structuren.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":6172,"title":"Venezia y Cultura [Venice and Culture]","dimensions":"225 x 22.5 x 7 cm","date_begin":"1984-01-01","material":"photographs, neon light","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"collage","publishing_process_id":1,"annotation":"","date_end":"1988-01-01","reference":"S0460_19","stream_count_app":17,"permalink":"venezia-y-cultura-venice-and-culture","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/526/large/Matthys__Danny__Veneziae_Cultura_s.d.JPG?1354795453","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn the mid-1980s Danny Matthys made a long trip to Australia followed by a period of reflection. Many of his early photo mosaics get a definite shape in the following years. \u003cem\u003eVenezia e Cultura\u003c/em\u003e\u0026nbsp;originates from this period. Photos, including from Venice and from Matthys\u0026#39; own environment, are integrated into a larger whole. Neon lights above the various photo sets enhance the coherence, while rendering details harder to read. The coherence is further enhanced by covering certain areas with semi-opaque paint or ink, creating cohesive entities.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn het midden van de jaren 1980 maakte Danny Matthys een lange reis naar Australi\u0026euml; en volgt er een periode van reflectie. Talrijke vroegere fotomoza\u0026iuml;eken krijgen de volgende jaren een definitieve vorm. \u003cem\u003eVenezia e Cultura\u003c/em\u003e\u0026nbsp;ontstaat in deze periode. Foto\u0026rsquo;s, onder andere van Veneti\u0026euml; en uit Matthys\u0026rsquo; eigen omgeving, zijn ge\u0026iuml;ntegreerd in een groter geheel. Neonlichten boven de verschillende fotoreeksen versterken de samenhang, terwijl ze tegelijk details moeilijker leesbaar maken. De samenhang wordt nog verder door gevoerd door zones te bedekken met niet volledig dekkende verf of inkt, zodat samenhangende partijen ontstaan.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu milieu des ann\u0026eacute;es 1980, Danny Matthys a fait un long voyage en Australie, suivi par une p\u0026eacute;riode de r\u0026eacute;flexion. De nombreuses mosa\u0026iuml;ques de photos anciennes obtiendront une forme d\u0026eacute;finitive pendant les ann\u0026eacute;es suivantes. \u003cem\u003eVenezia e Cultura\u003c/em\u003e a vu le jour dans cette p\u0026eacute;riode. Des photos, entre autres de Venise et des environs de Matthys, sont int\u0026eacute;gr\u0026eacute;es dans un ensemble plus large. Des lumi\u0026egrave;res au n\u0026eacute;on au-dessus des diff\u0026eacute;rentes s\u0026eacute;ries de photos renforcent la coh\u0026eacute;rence, alors qu\u0026rsquo;en m\u0026ecirc;me temps, elles rendent \u0026eacute;galement les d\u0026eacute;tails moins lisibles. On renforce encore davantage la coh\u0026eacute;rence en couvrant des zones par de la peinture pas enti\u0026egrave;rement couvrante ou par de l\u0026rsquo;encre. De ce fait, des parties coh\u0026eacute;rentes apparaissent.\u003c/p\u003e\r\n"}]},{"id":6171,"title":"Z.T. (Massive Gold)","dimensions":"157 x 185 x 4 cm","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"collage","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"S0460_20","stream_count_app":6,"permalink":"z-t-massive-gold","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/179/large/Danny_Matthys_Massive_Gold_photo_M_HKAclinckx.jpg?1464949009","poster_credits":"Collectie M HKA / Donation from the artist","translations":[{"locale":"en","description":"\u003cp\u003eDuring his career, Danny Matthys made several trips to Australia, where he drew on the old and new art of the aboriginals. Based on these influences, he developed a very personal pointillist technique, which he uses to rework older Polaroid art series and create more recent collages, applying the various ancient and contemporary aboriginal techniques.\u003c/p\u003e\r\n\r\n\u003cp\u003eSince the early 90s, he makes what can be best described as a large, monumental mosaics out of tile shards. This process (which builds on older monumental collage work and his later pointillist technique) reveals a pronounced sense of indestructible timelessness.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys maakte gedurende zijn carri\u0026egrave;re diverse reizen naar Australi\u0026euml;. Daar liet hij zich inspireren door de oude en nieuwe kunst van de aboriginals. Vanuit deze invloeden ontwikkelde hij een zeer persoonlijke pointillistische techniek, waarmee hij zowel oudere Polaroid-kunstreeksen herwerkt als recenter collagewerk cre\u0026euml;ert en waarbij hij zich de verschillende oude en hedendaagse aboriginal-technieken eigen maakt.\u003c/p\u003e\r\n\r\n\u003cp\u003eSinds begin jaren negentig maakt hij wat men het best kan omschrijven als grote, monumentale \u0026lsquo;tegelscherven-moza\u0026iuml;ek\u0026rsquo;. Dit proced\u0026eacute; (dat hij ook laat aansluiten bij ouder monumentaal collagewerk en zijn recentere pointillistische techniek) geeft een uitgesproken gevoel van onverwoestbare tijdloosheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDanny Matthys a fait plusieurs voyages en Australie au cours de sa carri\u0026egrave;re. L\u0026agrave;, il a \u0026eacute;t\u0026eacute; inspir\u0026eacute; par l\u0026#39;art ancien et nouveau des aborig\u0026egrave;nes. A partir de ces influences, il a d\u0026eacute;velopp\u0026eacute; une technique pointilliste tr\u0026egrave;s personnelle, avec laquelle il retravaille \u0026agrave; la fois des s\u0026eacute;ries d\u0026rsquo;art plus anciennes de Polaroid et il cr\u0026eacute;e des collages plus r\u0026eacute;cents et o\u0026ugrave; il assimile les diff\u0026eacute;rentes techniques aborig\u0026egrave;nes anciennes et contemporaines.\u003c/p\u003e\r\n\r\n\u003cp\u003eDepuis le d\u0026eacute;but des ann\u0026eacute;es nonante, il fait ce qui peut \u0026ecirc;tre le mieux d\u0026eacute;crit comme une grande mosa\u0026iuml;que monumentale de morceaux de carrelage. Ce proc\u0026eacute;d\u0026eacute; (qu\u0026#39;il aligne \u0026eacute;galement avec des travaux monumentaux plus anciens et avec sa technique pointilliste plus r\u0026eacute;cente) donne un sentiment clair d\u0026rsquo;intemporalit\u0026eacute; indestructible.\u003c/p\u003e\r\n"}]},{"id":6163,"title":"Sint-Bavopad","dimensions":"","date_begin":"1974-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0321","stream_count_app":13,"permalink":"sint-bavopad","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/172/large/Matthys__0056_Danny__Sint_Bavopad__1974.jpg?1352713874","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre includes diverse media such as photography, installation art, video, painting, assemblage and sculpture.\u0026nbsp; In his work he reconnoiters his surrounding environment.\u0026nbsp; He explores and analyzes this milieu, in the broadest sense of the word.\u0026nbsp; He scans the physical space; he studies and systematizes it.\u0026nbsp; The laying bare of structures is, however, always more important than the aesthetic characteristics.\u0026nbsp; Matthys wishes the viewer to become aware of the complexity of our ways of seeing.\u0026nbsp; From this vantage point, the work may be seen as a formalized investigation into the process of perception.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eThe work\u0026nbsp;\u003cem\u003eSint-Bavopad\u003c/em\u003e\u0026nbsp;[Sint-Bavo footpath]\u0026nbsp;abandons a strict horizontal, serial structure.\u0026nbsp; The images are constructed like a triangle; with the apex and in the separate photographs as well, there is a certain verticality.\u0026nbsp; Alongside his interest in the structures of various media, Danny Matthys handles structures in a more general sense.\u0026nbsp; Structures created from out of a social situation, things that we\u0026#39;re confronted by daily, like a footpath that one decides to follow... or forsake.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre omvat uiteenlopende media zoals fotografie, installatie, video, schilderkunst, assemblage en sculptuur. In zijn werk verkent hij de omgeving die hem omringt. Hij exploreert en analyseert zijn leefruimte, in de breedste zin van het woord. Hij tast de fysieke ruimte af, bestudeert en systematiseert ze. Het blootleggen van structuren is steeds belangrijker dan de esthetische kwaliteiten. Matthys wil de toeschouwer bewust maken van de complexiteit van onze perceptie. Op die manier kan je het werk zien als een geformaliseerd onderzoek naar de waarneming.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eHet werk\u0026nbsp;\u003cem\u003eSint-Bavopad\u003c/em\u003e\u0026nbsp;stapt af van een strikt horizontale, seri\u0026euml;le structuur. De beelden zijn opgebouwd als een driehoek met de punt naar boven en ook in de afzonderlijke foto\u0026rsquo;s is er sprake van een zekere verticaliteit. Naast zijn interesse in de opbouw van verschillende media, gaat Danny Matthys de confrontatie aan met structuren in de algemene zin. Structuren die voortvloeien vanuit een leefsituatie, dingen waar we dagelijks met geconfronteerd worden, zoals een wandelpad dat we kunnen besluiten te volgen\u0026hellip; of te verlaten.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":6164,"title":"Balken, wegberm in Dworp","dimensions":"34 x 40.5 cm","date_begin":"1975-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0322","stream_count_app":11,"permalink":"balken-wegberm-in-dworp","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/173/large/Matthys__0064_Danny__Balken__wegberm_in_Dworp__1975.jpg?1352714098","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre includes diverse media such as photography, installation art, video, painting, assemblage and sculpture.\u0026nbsp; In his work he reconnoiters his surrounding environment.\u0026nbsp; He explores and analyzes this milieu, in the broadest sense of the word.\u0026nbsp; He scans the physical space; he studies and systematizes it.\u0026nbsp; The laying bare of structures is, however, always more important than the aesthetic characteristics.\u0026nbsp; Matthys wishes the viewer to become aware of the complexity of our ways of seeing.\u0026nbsp; From this vantage point, the work may be seen as a formalized investigation into the process of perception.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eThe piece \u003cem\u003eBalken, wegberm in Dworp\u003c/em\u003e\u0026nbsp;[Beams, roadside verge in Dworp], plays with the concepts of order and measure.\u0026nbsp; The number, as symbol for indicating a place, a unit of time or the measure of a certain quantity, occupies an important role in the oeuvre of Danny Matthys. \u0026nbsp;\u003cem\u003eBeams, roadside verge in Dworp\u003c/em\u003e\u003cem\u003e, comprises\u003c/em\u003e 36 photographs, just fitting on one small roll of film - similarly to the different beams that also seem to be parts of a larger whole.\u0026nbsp; Danny Matthys\u0026nbsp;tries to penetrate and fathom the notion of series, and so come to an understanding of particular structures.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre omvat uiteenlopende media zoals fotografie, installatie, video, schilderkunst, assemblage en sculptuur. In zijn werk verkent hij de omgeving die hem omringt. Hij exploreert en analyseert zijn leefruimte, in de breedste zin van het woord. Hij tast de fysieke ruimte af, bestudeert en systematiseert ze. Het blootleggen van structuren is steeds belangrijker dan de esthetische kwaliteiten. Matthys wil de toeschouwer bewust maken van de complexiteit van onze perceptie. Op die manier kan je het werk zien als een geformaliseerd onderzoek naar de waarneming.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eHet werk\u0026nbsp;\u003cem\u003eBalken, wegberm in Dworp\u003c/em\u003e\u0026nbsp;speelt met de begrippen orde en maat. Het getal, als symbool om een plaats, een tijdseenheid of een bepaalde hoeveelheid aan te duiden, speelt een belangrijke rol binnen het oeuvre van Danny Matthys.\u0026nbsp;\u003cem\u003eBalken, wegberm in Dworp\u0026nbsp;\u003c/em\u003ebestaat uit 36 foto\u0026rsquo;s, die net op \u0026eacute;\u0026eacute;n filmrolletje passen. Net zoals de verschillende balken ook deel lijken uit te maken van een groter geheel. Danny Matthys probeert om reeksen te doorgronden en zo achter bepaalde structuren te komen.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":6166,"title":"Brabantdam 59, Gent, Downstairs-Upstairs","dimensions":"","date_begin":"1975-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp, Schenking van de kunstenaar","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0324","stream_count_app":19,"permalink":"brabantdam-59-gent-downstairs-upstairs","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/066/large/2016_Van_Broodthaers_tot_Braeckman__8_4.jpg?1475507064","poster_credits":"Image: (c) M HKA, Collectie M HKA, Schenking van de kunstenaar","translations":[{"locale":"en","description":"\u003cp\u003eBoth \u003cem\u003eBrabantdam 59, Ghent, Stairs, Ground Floor, First and Second Floor\u003c/em\u003e and this work explore the possibilities of the photo series. In the first work the building is surveyed top to bottom and vice versa, in \u003cem\u003eBrabantdam 59, Ghent, Downstairs-Upstairs\u003c/em\u003e a sectional view of the building\u0026rsquo;s staircase is presented.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBrabantdam 59, Ghent, Downstairs-Upstairs\u003c/em\u003e consists of a double row of photographs. The upper row shows the trajectory from the bottom to the top floor, while the lower row shows the opposite trajectory. A figure can be seen in both rows, one climbing up, the other descending. At the halfway mark the two figures meet.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn these series the experience of time and place is the actual subject of the work.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eZowel \u003cem\u003eBrabantdam 59, Gent, trap, gelijkvloers, eerste en tweede verdieping\u003c/em\u003e als dit werk onderzoeken de mogelijkheden van de fotoseries. In het eerste werk wordt een gebouw van boven naar onder en omgekeerd bekeken, in \u003cem\u003eBrabantdam 59, Gent, Downstairs-Upstairs\u003c/em\u003e krijg je een doorsnede van de trap het \u0026nbsp;gebouw te zien.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBrabantdam 59, Gent, Downstairs-Upstairs\u003c/em\u003e bestaat uit een dubbele rij met foto\u0026rsquo;s. De bovenste rij toont het traject van de benedenverdieping tot boven, de onderste rij toont het tegengestelde parcours. Een figuur klimt in beide rijen, een naar boven en een naar beneden. Halverwege komen de twee elkaar tegen.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn deze reeksen staat de ervaring van tijd en ruimte centraal.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAussi bien \u003cem\u003eBrabantdam\u0026nbsp;59, Ghent, Stairs, Ground Floor, First and Second Floor\u003c/em\u003e que cette \u0026oelig;uvre-ci explorent les possibilit\u0026eacute;s des s\u0026eacute;ries photographiques. Dans la premi\u0026egrave;re \u0026oelig;uvre, le b\u0026acirc;timent est pass\u0026eacute; en revue de haut en bas et vice versa\u0026nbsp;; \u003cem\u003eBrabantdam\u0026nbsp;59, Ghent, Downstairs-Upstairs\u003c/em\u003e, pr\u0026eacute;sente quant \u0026agrave; elle une vue en coupe de l\u0026rsquo;escalier du b\u0026acirc;timent.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBrabantdam\u0026nbsp;59, Ghent, Downstairs-Upstairs\u003c/em\u003e consiste en une double rang\u0026eacute;e de photographies. La rang\u0026eacute;e du haut montre la trajectoire de l\u0026rsquo;\u0026eacute;tage du bas \u0026agrave; l\u0026rsquo;\u0026eacute;tage sup\u0026eacute;rieur, tandis que la rang\u0026eacute;e du bas montre la trajectoire oppos\u0026eacute;e. Dans les deux rang\u0026eacute;es de photographies, un personnage est visible, l\u0026rsquo;un monte, l\u0026rsquo;autre descend et ils se rencontrent \u0026agrave; mi-chemin.\u003c/p\u003e\r\n\r\n\u003cp\u003eDans ces s\u0026eacute;ries, le v\u0026eacute;ritable sujet de l\u0026rsquo;\u0026oelig;uvre est l\u0026rsquo;exp\u0026eacute;rience du temps et du lieu.\u003c/p\u003e\r\n"}]},{"id":12677,"title":"Lange golfbreker","dimensions":"24 x 76 cm","date_begin":"1974-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp.","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0320","stream_count_app":8,"permalink":"lange-golfbreker","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/138/large/Danny_Matthys__Lange_Golfbreker__1974_photo_M_HKAclinckx.png?1425640781","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre includes diverse media such as photography, installation art, video, painting, assemblage and sculpture.\u0026nbsp; In his work he reconnoiters his surrounding environment.\u0026nbsp; He explores and analyzes this milieu, in the broadest sense of the word.\u0026nbsp; He scans the physical space; he studies and systematizes it.\u0026nbsp; The laying bare of structures is, however, always more important than the aesthetic characteristics.\u0026nbsp; Matthys wishes the viewer to become aware of the complexity of our ways of seeing.\u0026nbsp; From this vantage point, the work may be seen as a formalized investigation into the process of perception.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eThe work\u0026nbsp;\u003cem\u003eLange golfbreker\u003c/em\u003e\u0026nbsp;[Long Breakwater]\u0026nbsp;is an example of the artist\u0026#39;s quest for a form that renders visible the time- and space dimensions of our perception.\u0026nbsp; In this way, for instance, a photograph is by definition a flat representation of a frozen moment, and thus throws open the conundrum of time and space.\u0026nbsp; \u003cem\u003eLong Breakwater\u003c/em\u003e can be read from left to right, and thereby presents us with subtle differences in the image.\u0026nbsp; Is the camera following the breakwater over a distance in space, or is the camera still, and thus witness to the passage of time?\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre omvat uiteenlopende media zoals fotografie, installatie, video, schilderkunst, assemblage en sculptuur. In zijn werk verkent hij de omgeving die hem omringt. Hij exploreert en analyseert zijn leefruimte, in de breedste zin van het woord. Hij tast de fysieke ruimte af, bestudeert en systematiseert ze. Het blootleggen van structuren is echter belangrijker dan de esthetische kwaliteiten. Matthys wil de toeschouwer bewust maken van de complexiteit van onze perceptie. Op die manier kan je het werk zien als een geformaliseerd onderzoek naar de waarneming.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eHet werk\u0026nbsp;\u003cem\u003eLange golfbreker\u003c/em\u003e\u0026nbsp;is een voorbeeld van de zoektocht van de kunstenaar naar een vorm die de tijds- en ruimtedimensies van de waarneming zichtbaar maakt. Zo is een foto bijvoorbeeld per definitie een vlakke weergave van een bevroren moment, waarbij zich het probleem van tijd en ruimte stelt.\u0026nbsp;\u003cem\u003eLange golfbreker\u0026nbsp;\u003c/em\u003ekan gelezen worden van links naar rechts, waarbij er steeds subtiele verschillen in het beeld optreden. Volgt de camera de golfbreker over een afstand af in de ruimte, of staat de camera stil en is hij getuige van het verlopen van de tijd?\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12678,"title":"Paaltje bij lager gelegen weiland","dimensions":"23 x 64 cm","date_begin":"1973-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"paaltje-bij-lager-gelegen-weiland","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/140/large/Danny_Matthys__Paaltjes_bij_lager_gelegen_weiland__1973__photo_M_HKAclinckx.png?1425640980","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre includes diverse media such as photography, installation art, video, painting, assemblage and sculpture.\u0026nbsp; In his work he reconnoiters his surrounding environment.\u0026nbsp; He explores and analyzes this milieu, in the broadest sense of the word.\u0026nbsp; He scans the physical space; he studies and systematizes it.\u0026nbsp; The laying bare of structures is, however, always more important than the aesthetic characteristics.\u0026nbsp; Matthys wishes the viewer to become aware of the complexity of our ways of seeing.\u0026nbsp; From this vantage point, the work may be seen as a formalized investigation into the process of perception.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eThe work\u0026nbsp;\u003cem\u003ePaaltje bij lager gelegen weiland\u003c/em\u003e\u0026nbsp;[Poles at lower lying pasture]\u003cem\u003e\u0026nbsp;\u003c/em\u003eis part of a series looking into the potentialities and the limitations of (Polaroid) photography and our perception.\u0026nbsp; Both the medium and the title are used by the artist as neutrally as possible.\u0026nbsp; The formal sensing of the borders of photography is reflected here in following a pasture\u0026#39;s physical boundaries.\u0026nbsp; In this way the traditional differentiation between form and content evaporates.\u0026nbsp; Moreover, the content of Matthys\u0026#39; work is found precisely in this making visible by way of the medium-imposed form.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre omvat uiteenlopende media zoals fotografie, installatie, video, schilderkunst, assemblage en sculptuur. In zijn werk verkent hij de omgeving die hem omringt. Hij exploreert en analyseert zijn leefruimte, in de breedste zin van het woord. Hij tast de fysieke ruimte af, bestudeert en systematiseert ze. Het blootleggen van structuren is steeds belangrijker dan de esthetische kwaliteiten. Matthys wil de toeschouwer bewust maken van de complexiteit van onze perceptie. Op die manier kan je het werk zien als een geformaliseerd onderzoek naar de waarneming.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eHet werk\u0026nbsp;\u003cem\u003ePaaltje bij lager gelegen weiland\u003c/em\u003e\u0026nbsp;kadert in een reeks onderzoeken naar de mogelijkheden en de beperkingen van de (polaroid-)fotografie en van onze waarneming. Zowel het medium, als de titel gebruikt de kunstenaar zo neutraal mogelijk. Het formeel aftasten van de grenzen van de fotografie wordt hier weerspiegeld in het volgen van de fysieke grenzen van een weiland. Op die manier vervalt het traditionele onderscheid tussen vorm en inhoud. De inhoud van Matthys\u0026rsquo; werk is dan ook net het zichtbaar maken van de door het medium opgedrongen vorm.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":14010,"title":"Beneficio Guatemala","dimensions":"","date_begin":"2010-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA / Donation from the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0460_01","stream_count_app":6,"permalink":"beneficio-guatemala","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/178/large/Danny_Matthys_Beneficio_Guatemale_photo_M_HKAclinckx.jpg?1464948404","poster_credits":"Collectie M HKA / Donation from the artist","translations":[{"locale":"en","description":"\u003cp\u003eDuring his career, Danny Matthys made several trips to Australia, where he drew on the old and new art of the aboriginals. Based on these influences, he developed a very personal pointillist technique, which he uses to rework older Polaroid art series and create more recent collages, applying the various ancient and contemporary aboriginal techniques.\u003c/p\u003e\r\n\r\n\u003cp\u003eSince the early 90s, he makes what can be best described as a large, monumental mosaics out of tile shards. This process (which builds on older monumental collage work and his later pointillist technique) reveals a pronounced sense of indestructible timelessness.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys maakte gedurende zijn carri\u0026egrave;re diverse reizen naar Australi\u0026euml;. Daar liet hij zich inspireren door de oude en nieuwe kunst van de aboriginals. Vanuit deze invloeden ontwikkelde hij een zeer persoonlijke pointillistische techniek, waarmee hij zowel oudere Polaroid-kunstreeksen herwerkt als recenter collagewerk cre\u0026euml;ert en waarbij hij zich de verschillende oude en hedendaagse aboriginal-technieken eigen maakt.\u003c/p\u003e\r\n\r\n\u003cp\u003eSinds begin jaren negentig maakt hij wat men het best kan omschrijven als grote, monumentale \u0026lsquo;tegelscherven-moza\u0026iuml;ek\u0026rsquo;. Dit proced\u0026eacute; (dat hij ook laat aansluiten bij ouder monumentaal collagewerk en zijn recentere pointillistische techniek) geeft een uitgesproken gevoel van onverwoestbare tijdloosheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDanny Matthys a fait plusieurs voyages en Australie au cours de sa carri\u0026egrave;re. L\u0026agrave;, il a \u0026eacute;t\u0026eacute; inspir\u0026eacute; par l\u0026#39;art ancien et nouveau des aborig\u0026egrave;nes. A partir de ces influences, il a d\u0026eacute;velopp\u0026eacute; une technique pointilliste tr\u0026egrave;s personnelle, avec laquelle il retravaille \u0026agrave; la fois des s\u0026eacute;ries d\u0026rsquo;art plus anciennes de Polaroid et il cr\u0026eacute;e des collages plus r\u0026eacute;cents et o\u0026ugrave; il assimile les diff\u0026eacute;rentes techniques aborig\u0026egrave;nes anciennes et contemporaines.\u003c/p\u003e\r\n\r\n\u003cp\u003eDepuis le d\u0026eacute;but des ann\u0026eacute;es nonante, il fait ce qui peut \u0026ecirc;tre le mieux d\u0026eacute;crit comme une grande mosa\u0026iuml;que monumentale de morceaux de carrelage. Ce proc\u0026eacute;d\u0026eacute; (qu\u0026#39;il aligne \u0026eacute;galement avec des travaux monumentaux plus anciens et avec sa technique pointilliste plus r\u0026eacute;cente) donne un sentiment clair d\u0026rsquo;intemporalit\u0026eacute; indestructible.\u003c/p\u003e\r\n"}]},{"id":14327,"title":"032303 + 6 Polaroid Black \u0026 White prints","dimensions":"57.5 x 38.5 cm","date_begin":"1977-01-01","material":"Black-and-white Polaroids, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Schenking van de kunstenaar","cached_tag_list":"Danny Matthys Polaroid 032303 Fotografie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"montreal","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/911/large/2016_Van_Broodthaers_tot_Braeckman__9_1.jpg?1475749460","poster_credits":"Image: (c) M HKA, Collectie M HKA, Schenking van de kunstenaar","translations":[{"locale":"en","description":"\u003cp\u003ePhotography has been an important medium for Danny Matthys from his debut at the end of the 1960s onwards. Like many (conceptual) artists at the time, Matthys was interested in the concepts of place and time. In his early photo series, in which he would for example present a roundabout from four corners, he evokes the experience of time and space. This evocation culminates in Matthys\u0026rsquo; polaroid works, often created \u0026lsquo;in situ\u0026rsquo;, starting from the mid 1970s. At different locations (for example at the Van Abbe Museum in Eindhoven) he created polaroid-works on a door: a polaroid shot of a door is attached to the door and photographed again. This process continues until the door is filled with polaroids. The passage of time is made apparent throughout the series of photos. \u003cem\u003e032303\u003c/em\u003e was created in this manner. Except the object of multiple recording isn\u0026rsquo;t a door, but an invitation which the artist received to take part in an exhibition in Montreal. As his contribution to the exhibition Matthys created a triple, tautological record of the invitation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVan bij zijn debuut eind jaren 1960 is fotografie een belangrijk medium voor Danny Matthys, die zoals veel (conceptuele) kunstenaars in die periode ge\u0026iuml;nteresseerd is in de concepten van plaats en tijd. In vroege fotoreeksen, waarin bijvoorbeeld een rondpunt vanuit 4 hoeken wordt weergegeven, evoceert hij de ervaring van tijd en ruimte. Deze evocatie culmineert in Matthys\u0026rsquo; polaroid werken vanaf het midden van de jaren 1970, die vaak \u0026lsquo;in situ\u0026rsquo; worden gerealiseerd. Zo maakte hij op verschillende plaatsen (o.a. in het Van Abbe museum) een polaroid-werk van een deur: een polaroid opname van de deur wordt op de deur vastgehecht en wederom gefotografeerd. Die foto wordt terug op de deur, naast de vorige polaroid gehangen, en de deur wordt opnieuw gefotografeerd. Dit proces houdt aan totdat de deur vol polaroids hangt. Doorheen de verschillende foto\u0026rsquo;s is het verloop van de tijd merkbaar. Via dezelfde methode realiseerde hij \u003cem\u003e032303\u003c/em\u003e. Hier is niet een deur het object van een meervoudige opname, maar wel een uitnodiging die de kunstenaar ontving om deel te nemen aan een tentoonstelling in Montreal. Als bijdrage aan de tentoonstelling maakte Matthys een drievuldige, tautologische opnamen van de invitatie.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14423,"title":"+-0","dimensions":"","date_begin":"1976-01-01","material":"Tijdschrift","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Verzameling M-P Gildemyn","cached_tag_list":"+-0 Tijdschrift Danny Matthys","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"0","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/909/large/2016_Van_Broodthaers_tot_Braeckman__9_5.jpg?1475748481","poster_credits":"image: (c) M HKA, Verzameling M-P Gildemyn","translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys creates an \u0026ldquo;in situ\u0026rdquo; work for the twelfth edition (February 1976) of the art journal \u003cem\u003e+-0\u003c/em\u003e. He creates a supplement\u0026nbsp;to the journal, which includes photo reproductions of all the pages from the journal.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys\u0026rsquo; name is not mentioned in the supplement. Only when edition \u0026ldquo;12 bis\u0026rdquo; (May-June 1976) is distributed, to which Matthys adds another multiple, is his identity revealed through the signature on the multiple.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoor de twaalfde editie (februari 1976) van het kunsttijdschrift \u003cem\u003e+-0 \u003c/em\u003emaakt Danny Matthys een \u0026ldquo;in situ\u0026rdquo; werk. Hij cre\u0026euml;ert een bijlage bij het tijdschrift met daarin fotoreproducties van alle pagina\u0026rsquo;s uit het tijdschrift.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe naam van Matthys wordt niet vermeld in de bijlage. Pas in de uitgave \u0026ldquo;12 bis\u0026rdquo; \u0026nbsp;(mei-juni 1976), waarin Matthys nog een tweede multiple toevoegt, ondertekent Matthys de multiples en onthult daarmee de identiteit van de kunstenaar.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDanny Matthys cr\u0026eacute;e une \u0026oelig;uvre in situ pour la douzi\u0026egrave;me \u0026eacute;dition (f\u0026eacute;vrier\u0026nbsp;1976) de la revue d\u0026rsquo;art \u003cem\u003e+\u0026nbsp;-0\u003c/em\u003e. Il r\u0026eacute;alise un suppl\u0026eacute;ment qui inclut des reproductions photographiques de toutes les pages de la revue.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe nom de Matthys n\u0026rsquo;est pas mentionn\u0026eacute; dans le suppl\u0026eacute;ment. Ce n\u0026rsquo;est que quand est distribu\u0026eacute;e l\u0026rsquo;\u0026eacute;dition \u0026laquo;\u0026nbsp;12 bis\u0026nbsp;\u0026raquo; de la revue (mai-juin 1976), \u0026agrave; laquelle Matthys ajoute un autre multiple, que son identit\u0026eacute; est r\u0026eacute;v\u0026eacute;l\u0026eacute;e par la signature sur le multiple.\u003c/p\u003e\r\n"}]},{"id":16695,"title":"Ping-Pang","dimensions":"","date_begin":"1985-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0555","stream_count_app":8,"permalink":"ping-pang","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/606/large/Danny_Matthys_1985_web2.jpg?1507823131","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18385,"title":"Daniël Matthys 1978 - 1982 : Van Rubens tot Van Eyck","dimensions":"21 x 29.5 cm, language : Dutch, French, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1982-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Glenn Van Looy.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Glenn Van Looy, Monique Schrans \u0026amp; Paul Willemarck.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (1982).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/970","stream_count_app":7,"permalink":"daniel-matthys-1978-1982-van-rubens-tot-van-eyck","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/996/medium_500/20180313130002066_0001.jpg?1520942525","cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/996/large/20180313130002066_0001.jpg?1520942525","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":399,"title":"Vertikalen, begrenzing van een weiland [Verticals, Limits of a Meadow]","dimensions":"24 x 84 cm","date_begin":"1974-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"photography photo-installation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0318_001","stream_count_app":34,"permalink":"vertikalen-begrenzing-van-een-weiland-verticals-limits-of-a-meadow","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/429/large/Matthys,%200055%20Danny,%20Vertikalen,%20begrenzing%20van%20weiland,%201974.jpg?1305901622","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys\u0026rsquo; oeuvre includes diverse media such as photography, installation art, video, painting, assemblage and sculpture.\u0026nbsp; In his work he reconnoiters his surrounding environment.\u0026nbsp; He explores and analyzes this milieu, in the broadest sense of the word.\u0026nbsp; He scans the physical space; he studies and systematizes it.\u0026nbsp; The laying bare of structures is, however, always more important than the aesthetic characteristics.\u0026nbsp; Matthys wishes the viewer to become aware of the complexity of our ways of seeing.\u0026nbsp; From this vantage point, the work may be seen as a formalized investigation into the process of perception.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAs a visual artist, Danny Matthys focuses on a typically visual problem: the quest for a form that makes the time- and space dimensions of perception visible.\u0026nbsp; So, for example, a photograph is by definition a flat reproduction of a frozen moment, and inherent here is the proposition of the space-time problematic.\u0026nbsp; In \u003cem\u003eVertikalen, begrenzing van een weiland\u003c/em\u003e\u0026nbsp;[Verticals, Limits of a Meadow], as well, the artist sets out to create a design that will render these dimensions readable.\u003c/p\u003e\r\n\r\n\u003cp\u003eHis work can also be seen as a systematic search for a design-structure that specifically connects with the medium used for perception.\u0026nbsp; So doing, the traditional distinction between form and content melts away.\u0026nbsp; The content of Matthys\u0026#39; work is found precisely in this making visible of the medium-\u0026#39;imposed\u0026#39; form.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn zijn werk verkent Danny Matthys de omgeving die hem omringt. Hij exploreert en analyseert zijn leefruimte, in de breedste zin van het woord. Hij tast de fysieke ruimte af, bestudeert en systematiseert ze. Het blootleggen van structuren is echter steeds belangrijker dan de esthetische kwaliteiten. Matthys wil de toeschouwer bewust maken van de complexiteit van onze perceptie. Op die manier kan je het werk zien als een geformaliseerd onderzoek naar de waarneming.\u003c/p\u003e\r\n\r\n\u003cp\u003eAls beeldend kunstenaar stelt Danny Matthys een typisch beeldend probleem: de zoektocht naar een vorm die de tijds- en ruimtedimensies van de waarneming zichtbaar maakt. Zo is een foto bijvoorbeeld per definitie een vlakke weergave van een bevroren moment, waarbij zich het probleem van tijd en ruimte stelt. Ook in \u003cem\u003eVertikalen, begrenzing van een weiland\u003c/em\u003e is de kunstenaar erop uit om die dimensies afleesbaar te maken\u0026nbsp; uit de vormgeving.\u003c/p\u003e\r\n\r\n\u003cp\u003eZijn werk kan ook gezien worden als een systematische zoektocht naar een vormgevingsstructuur die aansluit bij het voor de waarneming gebruikte medium. Op die manier vervalt het traditionele onderscheid tussen vorm en inhoud. De inhoud van Matthys\u0026rsquo; werk is dan ook net het zichtbaar maken van de door het medium opgedrongen vorm.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":177,"title":"Vivre d'Abord [To Live, Above All]","dimensions":"","date_begin":"1979-01-01","material":"b/w photo","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"photography installation","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cem\u003e\u0026lsquo;Vivre d\u0026rsquo;Abord/Living first, 1979\u003c/em\u003e\u0026rsquo; is an assemblage of pictures nudes of the early \u0026lsquo;30\u0026rsquo;s (before the WOII);we depict naturists movements, how people felt, try to feel their body in the 30s. This is a thematization from factual observation to cultural observation dealing with proto \u0026ndash; nazi body ; these images give a anecdotally cultivated way of looking how this bodily dream was. On the border of eroticism and the so-called innocence of naturism countered by baby\u0026rsquo;s, children and a women working on a harvester. This work reflects on how they dealt with this in the 30s. In the early work of Danny Matthys we encounter the ideas of measurement, of counting and of equivalence; a typical and important premise for Belgian art in the 60s and 70\u0026rsquo;s. What may be seen is an ironic relationship to Bernd \u0026amp; Hilla Becher and to a lot of systems in photography and conceptual art of \u0026rsquo;60s and \u0026lsquo;70s obsessed with counting in a grandiose, heroic manner whereas he is photographing little \u0026lsquo;trivia\u0026rsquo; and playing with different configurations referring to Ren\u0026eacute; Magritte and Marcel Broodthaers. Danny Matthys has obviously taken the possibility of art and the possibility of the grid as a support and he is interested in the intensity of the real that undoes that grid. If he takes the high-rise in \u0026lsquo;Building of 19 floors, 1975\u0026rsquo;, your view goes up and that\u0026rsquo;s it; you don\u0026rsquo;t go anywhere. It\u0026rsquo;s making a relation between the absoluteness of a system and the real. In \u0026rsquo;16 x black \u0026amp; white\u0026rsquo; Danny Matthys takes miserable, humble trees, willows. Not as the big and heroic threes in the works of Rodney Graham but similar to the trees in drawings of Rembrandt. He is expressing a belief in detail, in specificity to gain understanding. He is pointing this out in synthetic manner as in \u0026lsquo;Helicopter, 1978\u0026rsquo;. These serial works of Danny Matthys are models of prototypical sequential analysis of the organisation you find in the environment you encounter. (trees, piers, chairs,\u0026hellip;) A reflection on how the image is working.\u003c/p\u003e\r\n","date_end":null,"reference":"BK007573","stream_count_app":43,"permalink":"vivre-d-abord-to-live-above-all","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Sigma;\u0026epsilon; \u0026omicron;\u0026lambda;ό\u0026kappa;\u0026lambda;\u0026eta;\u0026rho;\u0026eta; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026iota;\u0026kappa;ή \u0026pi;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ή \u0026tau;\u0026omicron;\u0026upsilon;, \u0026omicron; \u0026Nu;\u0026tau;ά\u0026nu;\u0026iota; \u0026Mu;\u0026alpha;\u0026tau;έ\u0026sigmaf; \u0026sigma;\u0026tau;\u0026alpha;\u0026theta;\u0026epsilon;\u0026rho;ά \u0026delta;\u0026iota;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026upsilon;\u0026nu;ά \u0026tau;\u0026iota;\u0026sigmaf; \u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026omicron;\u0026rho;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026gamma;\u0026kappa;έ\u0026nu;\u0026tau;\u0026rho;\u0026omega;\u0026sigma;\u0026eta;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026gamma;\u0026nu;ώ\u0026sigma;\u0026eta;\u0026sigmaf; \u0026mu;\u0026epsilon; \u0026omicron;\u0026pi;\u0026tau;\u0026iota;\u0026kappa;ά \u0026mu;έ\u0026sigma;\u0026alpha;. \u0026Pi;\u0026iota;\u0026sigma;\u0026tau;\u0026epsilon;ύ\u0026epsilon;\u0026iota; ό\u0026tau;\u0026iota; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;ί \u0026kappa;ά\u0026pi;\u0026omicron;\u0026iota;\u0026omicron;\u0026sigmaf; \u0026nu;\u0026alpha; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota; \u0026gamma;\u0026nu;ώ\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026upsilon; \u0026mu;έ\u0026sigma;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;ί\u0026alpha; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026omega;\u0026nu;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026iota;\u0026sigmaf; έ\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026nu;\u0026alpha;\u0026kappa;ύ\u0026pi;\u0026tau;\u0026omicron;\u0026upsilon;\u0026nu; \u0026pi;\u0026iota;\u0026omicron; \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026zeta;\u0026eta;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026alpha;\u0026tau;έ\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026eta; \u0026tau;ά\u0026xi;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026mu;έ\u0026tau;\u0026rho;\u0026eta;\u0026sigma;\u0026eta;, \u0026eta; \u0026alpha;\u0026nu;ά\u0026lambda;\u0026upsilon;\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026sigma;\u0026upsilon;\u0026sigma;\u0026tau;\u0026eta;\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta;. \u0026Omicron;\u0026iota; έ\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026upsilon;\u0026tau;έ\u0026sigmaf; \u0026beta;\u0026rho;ί\u0026sigma;\u0026kappa;\u0026omicron;\u0026upsilon;\u0026nu; \u0026epsilon;\u0026phi;\u0026alpha;\u0026rho;\u0026mu;\u0026omicron;\u0026gamma;ή \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026iota;\u0026tau;\u0026iota;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026eta;\u0026mu;έ\u0026nu;\u0026eta;, \u0026epsilon;\u0026pi;\u0026epsilon;\u0026xi;\u0026epsilon;\u0026rho;\u0026gamma;\u0026alpha;\u0026sigma;\u0026mu;έ\u0026nu;\u0026eta;, \u0026sigma;\u0026chi;\u0026epsilon;\u0026delta;ό\u0026nu; \u0026kappa;\u0026lambda;\u0026alpha;\u0026sigma;\u0026iota;\u0026kappa;ή \u0026sigma;ύ\u0026nu;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u003ci\u003eVivre d\u0026#39;abord\u003c/i\u003e\u003cb\u003e \u003c/b\u003e[\u0026Pi;\u0026rho;ώ\u0026tau;\u0026alpha; \u0026alpha;\u0026pi;\u0026#39; ό\u0026lambda;\u0026alpha;, \u0026nu;\u0026alpha; \u0026zeta;ή\u0026sigma;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon;], \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026pi;\u0026alpha;\u0026lambda;\u0026iota;έ\u0026sigmaf; \u0026alpha;\u0026sigma;\u0026pi;\u0026rho;ό\u0026mu;\u0026alpha;\u0026upsilon;\u0026rho;\u0026epsilon;\u0026sigmaf; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf;, \u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026iota;\u0026sigmaf; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026pi;\u0026iota;\u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026alpha;\u0026tau;ί\u0026sigma;\u0026epsilon;\u0026iota; \u0026omicron; ί\u0026delta;\u0026iota;\u0026omicron;\u0026sigmaf; \u0026omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Omicron;\u0026iota; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;\u0026epsilon;ί \u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026omicron;ύ\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026kappa;\u0026upsilon;\u0026rho;ί\u0026omega;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta; \u0026delta;\u0026epsilon;\u0026kappa;\u0026alpha;\u0026epsilon;\u0026tau;ί\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; 1930. \u0026Tau;\u0026omicron; \u0026gamma;\u0026upsilon;\u0026mu;\u0026nu;ό \u0026alpha;\u0026nu;\u0026theta;\u0026rho;ώ\u0026pi;\u0026iota;\u0026nu;\u0026omicron; \u0026sigma;ώ\u0026mu;\u0026alpha; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026pi;\u0026alpha;\u0026nu;\u0026tau;\u0026omicron;ύ. \u0026Omicron;\u0026iota; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf; \u0026delta;\u0026epsilon;ί\u0026chi;\u0026nu;\u0026omicron;\u0026upsilon;\u0026nu; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026mu;\u0026mu;\u0026omicron;\u0026nu;ή \u0026mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026pi;\u0026iota;\u0026delta;ί\u0026omega;\u0026xi;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026eta; \u0026delta;\u0026epsilon;\u0026kappa;\u0026alpha;\u0026epsilon;\u0026tau;ί\u0026alpha; \u0026epsilon;\u0026kappa;\u0026epsilon;ί\u0026nu;\u0026eta;, \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026rho;\u0026omicron;\u0026pi;\u0026omicron;\u0026lambda;\u0026epsilon;\u0026mu;\u0026iota;\u0026kappa;ή \u0026nu;\u0026omicron;\u0026omicron;\u0026tau;\u0026rho;\u0026omicron;\u0026pi;ί\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026sigma;\u0026upsilon;\u0026nu;έ\u0026delta;\u0026epsilon;\u0026epsilon; \u0026tau;\u0026eta; \u0026sigma;\u0026omega;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026gamma;\u0026nu;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026mu;\u0026epsilon; \u0026tau;\u0026eta; \u0026delta;\u0026iota;\u0026alpha;\u0026nu;\u0026omicron;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ή. \u0026Omicron; \u0026Mu;\u0026alpha;\u0026tau;έ\u0026sigmaf; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;ύ\u0026pi;\u0026tau;\u0026epsilon;\u0026iota; \u0026alpha;\u0026upsilon;\u0026tau;ή \u0026tau;\u0026eta; \u0026gamma;\u0026epsilon;\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026nu;\u0026tau;ί\u0026lambda;\u0026eta;\u0026psi;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u003ci\u003e\u0026nbsp;Freik\u0026ouml;rper-Kultur, \u003c/i\u003e\u0026tau;\u0026eta;\u0026sigmaf; \u0026lambda;\u0026alpha;\u0026tau;\u0026rho;\u0026epsilon;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026lambda;\u0026epsilon;ύ\u0026theta;\u0026epsilon;\u0026rho;\u0026omicron;\u0026upsilon; \u0026sigma;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026sigmaf;, \u0026omega;\u0026sigmaf; \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026kappa;ό \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026nu;\u0026alpha;\u0026zeta;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026kappa;\u0026omicron;\u0026upsilon;\u0026lambda;\u0026tau;\u0026omicron;ύ\u0026rho;\u0026alpha;\u0026sigmaf;. \u0026Tau;\u0026omicron; \u003ci\u003e\u0026Pi;\u0026rho;ώ\u0026tau;\u0026alpha; \u0026alpha;\u0026pi;\u0026#39; ό\u0026lambda;\u0026alpha;, \u0026nu;\u0026alpha; \u0026zeta;ή\u0026sigma;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon;\u003c/i\u003e, ό\u0026mu;\u0026omega;\u0026sigmaf;, \u0026pi;\u0026eta;\u0026gamma;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026pi;\u0026omicron;\u0026lambda;ύ \u0026pi;\u0026iota;\u0026omicron; \u0026pi;έ\u0026rho;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026alpha;\u0026upsilon;\u0026tau;ή \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026rho;\u0026nu;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ή \u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026rho;\u0026iota;\u0026kappa;ή \u0026epsilon;\u0026kappa;\u0026delta;\u0026omicron;\u0026chi;ή \u0026sigma;\u0026omega;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf;. \u0026Pi;\u0026rho;ό\u0026kappa;\u0026epsilon;\u0026iota;\u0026tau;\u0026alpha;\u0026iota;, \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;, \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026sigma;\u0026sigma;ό\u0026tau;\u0026epsilon;\u0026rho;\u0026omicron; \u0026gamma;\u0026iota;\u0026alpha; \u0026mu;\u0026iota;\u0026alpha; \u0026alpha;\u0026xi;\u0026iota;\u0026omicron;\u0026lambda;ό\u0026gamma;\u0026eta;\u0026sigma;\u0026eta; ό\u0026lambda;\u0026omega;\u0026nu; \u0026tau;\u0026omega;\u0026nu; \u0026epsilon;\u0026kappa;\u0026delta;\u0026omicron;\u0026chi;ώ\u0026nu; \u0026tau;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026nu;\u0026theta;\u0026rho;ώ\u0026pi;\u0026iota;\u0026nu;\u0026omicron;\u0026upsilon; \u0026sigma;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026sigmaf; (\u0026alpha;\u0026theta;\u0026lambda;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ά, \u0026pi;\u0026alpha;\u0026iota;\u0026delta;\u0026iota;ά\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026alpha;, \u0026alpha;\u0026rho;\u0026sigma;\u0026epsilon;\u0026nu;\u0026iota;\u0026kappa;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026theta;\u0026eta;\u0026lambda;\u0026upsilon;\u0026kappa;ά \u0026sigma;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;, ό\u0026lambda;\u0026alpha; \u0026kappa;ά\u0026nu;\u0026omicron;\u0026upsilon;\u0026nu; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026mu;\u0026phi;ά\u0026nu;\u0026iota;\u0026sigma;ή \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf;), \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; \u0026eta; \u0026omicron;\u0026mu;\u0026omicron;\u0026rho;\u0026phi;\u0026iota;ά \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; ά\u0026rho;\u0026rho;\u0026eta;\u0026kappa;\u0026tau;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026epsilon;\u0026delta;\u0026epsilon;\u0026mu;έ\u0026nu;\u0026eta; \u0026mu;\u0026epsilon; \u0026tau;\u0026eta; \u0026theta;\u0026nu;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;. \u0026Omicron;\u0026iota; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf; \u0026mu;ά\u0026sigmaf; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026epsilon;\u0026lambda;\u0026kappa;ύ\u0026omicron;\u0026upsilon;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026mu;\u0026alpha;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026omega;\u0026theta;\u0026omicron;ύ\u0026nu; \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026alpha;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Omicron;\u0026iota; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026kappa;\u0026pi;έ\u0026mu;\u0026pi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026sigma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026iota;\u0026sigma;\u0026theta;ή\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026epsilon;\u0026lambda;\u0026pi;ί\u0026delta;\u0026alpha;\u0026sigmaf; \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;\u0026epsilon;\u0026lambda;\u0026pi;\u0026iota;\u0026sigma;ί\u0026alpha;\u0026sigmaf;, \u0026delta;ύ\u0026nu;\u0026alpha;\u0026mu;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026mu;ί\u0026alpha;\u0026sigmaf;, \u0026sigma;\u0026epsilon; \u0026alpha;\u0026tau;\u0026omicron;\u0026mu;\u0026iota;\u0026kappa;ό \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026lambda;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;ό \u0026epsilon;\u0026pi;ί\u0026pi;\u0026epsilon;\u0026delta;\u0026omicron;. \u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026delta;\u0026iota;\u0026alpha;\u0026pi;\u0026nu;έ\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026epsilon;\u0026pi;ί\u0026sigma;\u0026eta;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026mu;\u0026iota;\u0026alpha; \u0026alpha;\u0026delta;\u0026iota;ό\u0026rho;\u0026alpha;\u0026tau;\u0026eta; \u0026mu;\u0026epsilon;\u0026lambda;\u0026alpha;\u0026gamma;\u0026chi;\u0026omicron;\u0026lambda;ί\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha;\u0026nu; \u0026epsilon;\u0026upsilon;\u0026alpha;ί\u0026sigma;\u0026theta;\u0026eta;\u0026tau;\u0026omicron;, \u0026lambda;\u0026epsilon;\u0026pi;\u0026tau;ό \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026alpha; \u0026chi;\u0026omega;\u0026rho;ί\u0026sigmaf; \u0026epsilon;\u0026lambda;\u0026pi;ί\u0026delta;\u0026alpha; \u0026alpha;\u0026iota;\u0026sigma;\u0026theta;\u0026eta;\u0026sigma;\u0026iota;\u0026alpha;\u0026sigma;\u0026mu;ό.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/430/large/vivredabord.jpg?1473419619","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThroughout his oeuvre, Danny Matthys has always explored the possibilities and limitations of amassing knowledge by visual means. He believes one can obtain an insight into the world by creating images.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSome of the concepts that arise most commonly when discussing Matthys\u0026rsquo;s work are order and measurement, analysis and systematisation. These concepts can also be applied to the reasoned, considered and almost classical-looking composition of \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e, which comprises old black and white photos, some of which the artist himself has tinted.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe photos he uses originate mainly from the thirties. The naked human body is everywhere. The photos show the dogged pursuit of perfection in that decade, and the pre-war mentality whose aim was to link physical purity with mental purity. Matthys unmasks this German Freik\u0026ouml;rper-Kultur as a major part of the Nazi visual culture. But \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e goes much further than this negative, historical version of physicality. The work is in fact more an evaluation of every aspect of the human body (athletic, childlike, male and female bodies all make their appearance), in which beauty is inseparably linked to mortality. The photos attract and repel us at the same time.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe pictures radiate feelings of hope and despair, power and powerlessness, the individual and the collective. The work also expresses a certain melancholy and a sensitive, subtle and at the same time hopeless sensuality.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDoorheen heel zijn \u0026oelig;uvre tast Danny Matthys de mogelijkheden en de beperkingen van het vergaren van kennis via het visuele af. Hij gelooft dat men door het maken van beelden tot inzicht in de wereld kan komen. \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e stamt uit een periode waarin Matthys de betekenisgeving van beeldmateriaal onderzocht.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOrde en maat, analyse en systematisering zijn veel voorkomende begrippen bij de bespreking van Matthys\u0026rsquo; werk. Deze begrippen zijn dan ook zeer toepasbaar op de uitgekiende, doordachte en bijna klassiek aandoende compositie van \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e, dat bestaat uit oude zwart-wit foto\u0026rsquo;s die door de kunstenaar zijn ingekleurd. Niet alleen het werk in zijn geheel, maar ook de bovenste foto is opgebouwd als een driehoek. Tevens streeft Matthys met een klassiek ensemble van verlenging en herhaling in de lijnvoering van de figuren naar evenwicht. De gebruikte grijstinten doen denken aan fotodruk tradities van voor de jaren zestig, voor deze werden gestandaardiseerd. Op die manier hergebruikt Matthys een oud mechanisme in een nieuw kader.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe gebruikte foto\u0026rsquo;s stammen hoofdzakelijk uit de jaren dertig van vorige eeuw. Het naakte menselijke lichaam is alomtegenwoordig. De foto\u0026rsquo;s tonen het verbeten streven naar perfectie in de jaren dertig, de vooroorlogse mentaliteit die lichamelijke zuiverheid aan geestelijke zuiverheid wilde koppelen. Matthys ontmaskert deze Duitse Freik\u0026ouml;rper-Kultur als een belangrijk onderdeel van de nazistische beeldcultuur. Maar \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e gaat veel verder dan deze negatieve, historische invulling van lichamelijkheid. Het werk is dan ook eerder een evaluatie van het menselijk lichaam in al zijn aspecten [zowel het atletische, het kinderlijke, het mannelijke en het vrouwelijke lichaam komen aan bod], waarbij schoonheid onlosmakelijk verbonden is aan vergankelijkheid. De foto\u0026rsquo;s trekken ons aan en stoten ons tegelijkertijd af.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe beelden ademen gevoelens van hoop en wanhoop, macht en onmacht, het individuele en het collectieve\u0026hellip; Uit het werk spreekt tevens een zekere melancholie en een gevoelige, subtiele en tegelijkertijd hopeloze sensualiteit.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":2244,"title":"Vivre d'Abord [To Live, Above All]","dimensions":"71 x 129 cm, 115 x 135 cm, 74.5 x 122.5 cm","date_begin":"1979-01-01","material":"photo, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":23,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0315a","stream_count_app":49,"permalink":"vivre-d-abord-to-live-above-all--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/592/medium_500/_WIM7785.jpg?1662471637","cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/897/large/toliveaboveall.jpg?1473419512","poster_credits":"(c)image: M HKA/CC","translations":[{"locale":"en","description":"\u003cp\u003eThroughout his oeuvre, Danny Matthys has always explored the possibilities and limitations of amassing knowledge by visual means. He believes one can obtain an insight into the world by creating images. Some of the concepts that arise most commonly when discussing Matthys\u0026rsquo;s work are order and measurement, analysis and systematisation. These concepts can also be applied to the reasoned, considered and almost classical-looking composition of \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e, which comprises old black and white photos, some of which the artist himself has tinted. The photos he uses originate mainly from the thirties. The naked human body is everywhere. The photos show the dogged pursuit of perfection in that decade, and the pre-war mentality whose aim was to link physical purity with mental purity. Matthys unmasks this German Freik\u0026ouml;rper-Kultur as a major part of the Nazi visual culture. But \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e goes much further than this negative, historical version of physicality. The work is in fact more an evaluation of every aspect of the human body (athletic, childlike, male and female bodies all make their appearance), in which beauty is inseparably linked to mortality. The photos attract and repel us at the same time. The pictures radiate feelings of hope and despair, power and powerlessness, the individual and the collective. The work also expresses a certain melancholy and a sensitive, subtle and at the same time hopeless sensuality.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDoorheen heel zijn \u0026oelig;uvre tast Danny Matthys de mogelijkheden en de beperkingen van het vergaren van kennis via het visuele af. Hij gelooft dat men door het maken van beelden tot inzicht in de wereld kan komen. \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e stamt uit een periode waarin Matthys de betekenisgeving van beeldmateriaal onderzocht. Orde en maat, analyse en systematisering zijn veel voorkomende begrippen bij de bespreking van Matthys\u0026rsquo; werk. Deze begrippen zijn dan ook zeer toepasbaar op de uitgekiende, doordachte en bijna klassiek aandoende compositie van \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e, dat bestaat uit oude zwart-wit foto\u0026rsquo;s die door de kunstenaar zijn ingekleurd. Niet alleen het werk in zijn geheel, maar ook de bovenste foto is opgebouwd als een driehoek. Tevens streeft Matthys met een klassiek ensemble van verlenging en herhaling in de lijnvoering van de figuren naar evenwicht. De gebruikte grijstinten doen denken aan fotodruk tradities van voor de jaren zestig, voor deze werden gestandaardiseerd. Op die manier hergebruikt Matthys een oud mechanisme in een nieuw kader. De gebruikte foto\u0026rsquo;s stammen hoofdzakelijk uit de jaren dertig van vorige eeuw. Het naakte menselijke lichaam is alomtegenwoordig. De foto\u0026rsquo;s tonen het verbeten streven naar perfectie in de jaren dertig, de vooroorlogse mentaliteit die lichamelijke zuiverheid aan geestelijke zuiverheid wilde koppelen. Matthys ontmaskert deze Duitse Freik\u0026ouml;rper-Kultur als een belangrijk onderdeel van de nazistische beeldcultuur. Maar \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e gaat veel verder dan deze negatieve, historische invulling van lichamelijkheid. Het werk is dan ook eerder een evaluatie van het menselijk lichaam in al zijn aspecten [zowel het atletische, het kinderlijke, het mannelijke en het vrouwelijke lichaam komen aan bod], waarbij schoonheid onlosmakelijk verbonden is aan vergankelijkheid. De foto\u0026rsquo;s trekken ons aan en stoten ons tegelijkertijd af. De beelden ademen gevoelens van hoop en wanhoop, macht en onmacht, het individuele en het collectieve\u0026hellip; Uit het werk spreekt tevens een zekere melancholie en een gevoelige, subtiele en tegelijkertijd hopeloze sensualiteit.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026Agrave; travers toute son \u0026oelig;uvre, Danny Matthys explore les limites et les possibilit\u0026eacute;s d\u0026rsquo;acquisition de connaissance par le biais du visuel. Il pense qu\u0026rsquo;\u0026agrave; travers la cr\u0026eacute;ation d\u0026rsquo;images, on peut obtenir une vision compr\u0026eacute;hensive du monde. Ordre et mesure, analyse et syst\u0026eacute;matisation sont des concepts r\u0026eacute;currents dans les textes et expos\u0026eacute;s sur l\u0026rsquo;\u0026oelig;uvre de Matthys. Ces concepts sont \u0026eacute;galement applicables \u0026agrave; la composition tr\u0026egrave;s \u0026eacute;tudi\u0026eacute;e, r\u0026eacute;fl\u0026eacute;chie et \u0026agrave; l\u0026rsquo;aspect quasi classique de l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eVivre d\u0026rsquo;Abord\u003c/em\u003e, faite d\u0026rsquo;anciennes photographies en noir et blanc que l\u0026rsquo;artiste a coloris\u0026eacute;es pour certaines. Les photos dont il se sert proviennent principalement des ann\u0026eacute;es 30. Le corps humain nu y est omnipr\u0026eacute;sent. Les photos montrent l\u0026rsquo;aspiration acharn\u0026eacute;e \u0026agrave; la perfection de ces ann\u0026eacute;es d\u0026rsquo;avant-guerre, o\u0026ugrave; la mentalit\u0026eacute; avait tendance \u0026agrave; associer la puret\u0026eacute; du corps et de l\u0026rsquo;esprit. Matthys d\u0026eacute;masque la culture allemande du \u0026laquo; corps libre \u0026raquo; (Frei-K\u0026ouml;rper-Kultur) comme un \u0026eacute;l\u0026eacute;ment important de la culture visuelle nazie. Mais \u003cem\u003eVivre d\u0026rsquo;Abord \u003c/em\u003eva bien plus loin que cette interpr\u0026eacute;tation historique n\u0026eacute;gative de la corporalit\u0026eacute;. L\u0026rsquo;\u0026oelig;uvre constitue plut\u0026ocirc;t une \u0026eacute;valuation du corps humain sous tous ses aspects, et souligne le lien indissociable entre la beaut\u0026eacute; et l\u0026rsquo;\u0026eacute;ph\u0026eacute;m\u0026eacute;rit\u0026eacute;. Les photos exercent \u0026agrave; la fois attirance et r\u0026eacute;pulsion sur le spectateur ; elles respirent l\u0026rsquo;espoir et le d\u0026eacute;sespoir, l\u0026rsquo;individuel et le collectif\u0026hellip; L\u0026rsquo;\u0026oelig;uvre fait \u0026eacute;galement transpara\u0026icirc;tre une certaine m\u0026eacute;lancolie ainsi qu\u0026rsquo;une sensualit\u0026eacute; subtile, sensible et d\u0026eacute;sesp\u0026eacute;r\u0026eacute;e.\u003c/p\u003e\r\n"}]},{"id":6165,"title":"Brabantdam 59, Gent, trap, gelijkvloers, eerste en tweede verdieping","dimensions":"108 x 24 cm","date_begin":"1975-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0323","stream_count_app":8,"permalink":"brabantdam-59-gent-trap-gelijkvloers-eerste-en-tweede-verdieping","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/174/large/DM_Brabantdam__59__Gent_trap__gelijkvloers___1975.jpg?1467285634","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12676,"title":"Terras","dimensions":"","date_begin":"1974-01-01","material":"","short_description":"\u003cp\u003eScale-model, black-and white contact prints series. related to big prints of \u0026quot;Terras \u0026quot;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":12,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0386_01","stream_count_app":11,"permalink":"terras","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/139/large/Danny_Matthys__Terras__1974__photo_M_HKAclinckx.png?1425640812","poster_credits":"(c) image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;dates from the period of Matthys\u0026#39; experimentation with photography, Polaroids and video.\u0026nbsp; Central here, are his investigations into perception and its possibilities and limitations.\u0026nbsp; He explores his physical surroundings - observing, analyzing and systematizing it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eTerras\u0026nbsp;\u003c/em\u003econsists of a series of five black-and-white photographs in a white frame.\u0026nbsp; Presented on a horizontal line, they invite one to read from left to right, like a text.\u0026nbsp; Each of the photographs shows a table and four chairs.\u0026nbsp; It looks like the same image is being presented, albeit with minimal changes of position between each.\u0026nbsp; When we look more closely, however, we see from the wear of the chairs that these ensembles are all different.\u0026nbsp; Furthermore, the little fence in the background and the reflections in the water are each time distinctive. In comparing the individual photographs and contemplating the series as a single whole, both their similarities and their differences come to the fore.\u0026nbsp; The arrangement of the images in a series engenders new relationships, and each image is read within the context of the whole.\u0026nbsp; This coherence provides more meaning than the sum of information contained in the images separately.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eConsidered purely in terms of form, \u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;exhibits a dynamic rhythm, a geometric play of horizontals, verticals and diagonals, a staccato of chairs, tables, and fences.\u0026nbsp; Movement in the frozen photographic images.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;dateert uit de periode dat Matthys experimenteert met fotografie, polaroid en video. Centraal staat de zoektocht naar de mogelijkheden en beperkingen van de waarneming. Hij tast de omgeving, de fysieke ruimte af, bekijkt, analyseert en systematiseert ze.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eTerras\u0026nbsp;\u003c/em\u003ebestaat uit een reeks van vijf zwart-witfoto\u0026rsquo;s in een witte lijst. Ze zijn genomen door de kunstenaar en worden op een horizontale lijn gepresenteerd. Ze nodigen uit tot een lezing van links naar rechts, zoals een tekst. Elk van de foto\u0026rsquo;s toont een tafeltje en vier stoelen. Het lijkt steeds hetzelfde beeld, met telkens een minimale positieverandering. Wanneer men echter aandachtiger kijkt, verraadt de graad van verwering van de stoelen dat het telkens om een ander ensemble gaat. Ook het hekje op de achtergrond en de reflecties in het water zijn op elke foto verschillend.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoor de foto\u0026rsquo;s te vergelijken en de reeks als \u0026eacute;\u0026eacute;n geheel te aanschouwen, treden zowel de verschillen als de gelijkenissen naar voor. Het rangschikken van de beelden in een reeks doet nieuwe relaties ontstaan. Elk beeld wordt gelezen in de context van het geheel. De samenhang levert meer betekenis dan de som van de informatie van elk beeld afzonderlijk.\u0026nbsp;Louter vormelijk bekeken, toont\u0026nbsp;\u003cem\u003eTerras\u003c/em\u003e\u0026nbsp;een dynamisch ritme, een geometrisch spel van horizontalen, verticalen en diagonalen, een staccato van stoelen, tafels, hekjes. Een beweging in de stilstaande fotografische beelden.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14011,"title":"Close reading","dimensions":"","date_begin":"2011-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA / Donation from the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0460_02","stream_count_app":8,"permalink":"close-reading","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/180/large/Danny_Matthys_Close_Reading_photo_M_HKAclinckx.jpg?1464949216","poster_credits":"Collectie M HKA / Donation from the artist","translations":[{"locale":"en","description":"\u003cp\u003eDuring his career, Danny Matthys made several trips to Australia, where he drew on the old and new art of the aboriginals. Based on these influences, he developed a very personal pointillist technique, which he uses to rework older Polaroid art series and create more recent collages, applying the various ancient and contemporary aboriginal techniques.\u003c/p\u003e\r\n\r\n\u003cp\u003eSince the early 90s, he makes what can be best described as a large, monumental mosaics out of tile shards. This process (which builds on older monumental collage work and his later pointillist technique) reveals a pronounced sense of indestructible timelessness.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys maakte gedurende zijn carri\u0026egrave;re diverse reizen naar Australi\u0026euml;. Daar liet hij zich inspireren door de oude en nieuwe kunst van de aboriginals. Vanuit deze invloeden ontwikkelde hij een zeer persoonlijke pointillistische techniek, waarmee hij zowel oudere Polaroid-kunstreeksen herwerkt als recenter collagewerk cre\u0026euml;ert en waarbij hij zich de verschillende oude en hedendaagse aboriginal-technieken eigen maakt.\u003c/p\u003e\r\n\r\n\u003cp\u003eSinds begin jaren negentig maakt hij wat men het best kan omschrijven als grote, monumentale \u0026lsquo;tegelscherven-moza\u0026iuml;ek\u0026rsquo;. Dit proced\u0026eacute; (dat hij ook laat aansluiten bij ouder monumentaal collagewerk en zijn recentere pointillistische techniek) geeft een uitgesproken gevoel van onverwoestbare tijdloosheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDanny Matthys a fait plusieurs voyages en Australie au cours de sa carri\u0026egrave;re. L\u0026agrave;, il a \u0026eacute;t\u0026eacute; inspir\u0026eacute; par l\u0026#39;art ancien et nouveau des aborig\u0026egrave;nes. A partir de ces influences, il a d\u0026eacute;velopp\u0026eacute; une technique pointilliste tr\u0026egrave;s personnelle, avec laquelle il retravaille \u0026agrave; la fois des s\u0026eacute;ries d\u0026rsquo;art plus anciennes de Polaroid et il cr\u0026eacute;e des collages plus r\u0026eacute;cents et o\u0026ugrave; il assimile les diff\u0026eacute;rentes techniques aborig\u0026egrave;nes anciennes et contemporaines.\u003c/p\u003e\r\n\r\n\u003cp\u003eDepuis le d\u0026eacute;but des ann\u0026eacute;es nonante, il fait ce qui peut \u0026ecirc;tre le mieux d\u0026eacute;crit comme une grande mosa\u0026iuml;que monumentale de morceaux de carrelage. Ce proc\u0026eacute;d\u0026eacute; (qu\u0026#39;il aligne \u0026eacute;galement avec des travaux monumentaux plus anciens et avec sa technique pointilliste plus r\u0026eacute;cente) donne un sentiment clair d\u0026rsquo;intemporalit\u0026eacute; indestructible.\u003c/p\u003e\r\n"}]},{"id":14326,"title":"88 polaroidprints, installatie Meerseniersstraat","dimensions":"174.5 x 102.5 cm","date_begin":"1976-01-01","material":"Black-and-white photos, prints of Polaroid negatives","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp - Donation by the Artist","cached_tag_list":"Danny Matthys","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cspan style=\"line-height: 1.6;\"\u003e88 polaroidprints, installatie Meerseniersstraat\u003c/span\u003e\u003cfont style=\"line-height: 1.6;\"\u003e, souvenir shape, edition, 1976, zwart-wit foto\u0026#39;s, prints van Polaroid negatieven, 174,5 x 102,5 cm\u003c/font\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"S0518_2","stream_count_app":18,"permalink":"88-polaroidprints-installatie-meerseniersstraat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Danny Matthys","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/904/large/1_7.jpg?1475240641","poster_credits":"image: (c) M HKA, Courtesy van de kunstenaar ","translations":[{"locale":"en","description":"\u003cp\u003eDanny Matthys sees each work as part of a larger process. This way, each individual work can always be reused to create another work.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys is one of the first artists to use Polaroid photography, exploring the many possibilities the medium has to offer.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys tries to break through the limitations of time/space perception. This research takes shape in a series of photographs, Polaroid structures and video installations. He uses these\u0026nbsp; media as neutral as possible. Uncovering structures takes precedence over aesthetics. It is Matthys\u0026#39;s objective to make the viewer clearly aware of the (complexity of) visual perception.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDanny Matthys ziet elk werk als onderdeel van een groter proces, zo kan elk individueel werk steeds hergebruikt worden om een ander werk te maken.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys is een van de eerste kunstenaars die gebruikmaakt van Polaroidfotografie en hij verkent de vele mogelijkheden die het medium hem bieden.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys probeert de beperktheid van de waarneming in tijd en ruimte te doorbreken. Dit onderzoek krijgt vorm in fotoreeksen, Polaroidstructuren en video-installaties. De media hanteert hij zo neutraal mogelijk. Het blootleggen van structuren primeert op het esthetische. Het doel is dat de toeschouwer zich duidelijker bewust wordt van de (complexiteit van de)\u0026nbsp;visuele perceptie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDanny Matthys consid\u0026egrave;re chaque \u0026oelig;uvre comme faisant partie d\u0026rsquo;un plus grand processus. Ainsi, chaque \u0026oelig;uvre individuelle peut toujours \u0026ecirc;tre r\u0026eacute;utilis\u0026eacute;e pour cr\u0026eacute;er une autre \u0026oelig;uvre.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys est un des premiers \u0026agrave; se servir de la photographie Polaro\u0026iuml;d et \u0026agrave; explorer les nombreuses possibilit\u0026eacute;s que lui offre le m\u0026eacute;dia.\u003c/p\u003e\r\n\r\n\u003cp\u003eMatthys tente de rompre la limitation de la perception dans le temps et dans l\u0026rsquo;espace. Cette recherche prend forme dans des s\u0026eacute;ries de photographies, des structures Polaro\u0026iuml;d et des installations vid\u0026eacute;o. Il manie le m\u0026eacute;dia de la mani\u0026egrave;re la plus neutre possible. La mise \u0026agrave; nu des structures prend le dessus sur l\u0026rsquo;esth\u0026eacute;tique. L\u0026rsquo;objectif est que le spectateur prenne bien conscience [de la complexit\u0026eacute;] de la perception visuelle.\u003c/p\u003e\r\n"}]},{"id":34116,"title":"Kunst \u0026 Leven: 80 KUNSTENAARS schenken een werk voor een POLIO-VRIJE WERELD","dimensions":"29,7 x 21 cm","date_begin":"1989-01-01","material":"Print on paper","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":218,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":53,"permalink":"kunst-leven-80-kunstenaars-schenken-een-werk-voor-een-polio-vrije-wereld","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/817/medium_500/198904_001.jpg?1682501508","cached_actor_names":"Maurice Wyckaert, Roger Wittevrongel , Pierre Vlerick , Erik Verhal , Willy Van Sompel, Dan Van Severen, Paul Van Rafelghem, Philip Van Isacker, Ludwig Vandevelde, Philippe Vandenberg, Rik Slabbinck, Raoul Servais, Pjeroo Roobjee, Rita Reychler, Roger Raveel, Luc Peire, Jozef Mees, Danny Matthys, Frans Masereel, Marcel Maeyer, Marc Maet, Octave Landuyt, Jean-Jacques Gailliard, Jean-Michel Folon, James Ensor , Lili Dujourie, Karel Dierickx, Yves De Smet, Paul Delvaux, Raoul De Keyser, Franky DC, Leo Copers, Willem Cole, Jacques Charlier, Jan Burssens, Bram Bogart, Jean Bilquin, Pierre Alechinsky, Francky Cane ","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/817/large/198904_001.jpg?1682501508","poster_credits":"Scan: CKV","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]