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Deze klinkt scherper dan nylonkoord, maar maakt erg onaangename geluiden wanneer zijn aangeraakt wordt met een hard voorwerp. Best kan ze bespeeld worden met een strijkstok voor draad met een diameter tot 0.7 mm. Dikke snaren worden met de hand, zachte trommelstokken, of isomo-voorwerpen beroerd. De staaldraad bestaat in twee uitvoeringen: al of niet roestvrij. De roestvrije soort is minder elastisch, en blinkt als chroomstaal in de dunne soorten.\u0026quot; (George Smits, \u003cem\u003eIsomopolis\u003c/em\u003e, 1981)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13198,"title":"Slagvoorwerpen uit natuur","dimensions":"variable dimensions","date_begin":"1981-01-01","material":"wreck wood, sticks, cords, elastic bands","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Estate George Smits, 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1981)","dimensions":"30.5 x 22.2 cm, loose-leaf, language : Dutch, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen ","date_begin":"1981-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthor : George Smits.\u003c/p\u003e\r\n\r\n\u003cp\u003eEvent : ICC/Internationaal Cultureel Centrum, Antwerpen (24.4.1981).\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":"Artist publication ; Artist catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 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7/7/77 multimedia event at Ercola (Antwerp).\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAffiches voor multimediaal evenement bij Ercola (Antwerpen) naar aanleiding van 7/7/77.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eAffiches pour un \u0026eacute;v\u0026eacute;nement multim\u0026eacute;dia \u0026agrave; Ercola (Anvers) \u0026agrave; l\u0026rsquo;occasion du 7/7/77.\u003c/p\u003e"}]},{"id":13352,"title":"Stop Thinking","dimensions":"","date_begin":"1969-01-01","material":"zeefdruk","short_description":"\u003cp\u003eMAFprint\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits MAFprint","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"stop-thinking","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/000/030/007/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx24_stop.jpg?1450703992","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13353,"title":"Thalamus","dimensions":"","date_begin":"1970-01-01","material":"zeefdruk affiche","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits MAFprint","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"thalamus","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":"George Smits","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/000/030/006/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx24_thala.jpg?1450703964","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eIn 1970 George Smits was involved in a club in Brussels called Thalamus. He designed posters, but was also in charge of creating a permanent light show with his light installations and liquid projections.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eThalamus was een club in het Brusselse waar George Smits in 1970 zich engageerde. Hij ontwierp affiches, maar verzorgde er ook de permanente light show met zijn lichtinstallaties en vloeistofprojecties.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eThalamus \u0026eacute;tait un club bruxellois pour lequel George Smits s\u0026rsquo;est engag\u0026eacute; dans les ann\u0026eacute;es\u0026nbsp;70. Il a con\u0026ccedil;u des affiches et y a assur\u0026eacute; un spectacle de lumi\u0026egrave;re permanent \u0026agrave; travers une installation lumineuse et des projections de liquides.\u003c/p\u003e\r\n"}]},{"id":13354,"title":"Koppeke","dimensions":"","date_begin":"1969-01-01","material":"stempel, amulet","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits MAFprint","publishing_process_id":1,"annotation":"","date_end":"1970-01-01","reference":"","stream_count_app":13,"permalink":"koppeke","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/000/030/033/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx29.jpg?1450704071","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eThis stamped tag appears where MAFprint has been active.\u003c/p\u003e\u003cp\u003eGeorge Smits writes: \u0026quot;Multipletje (little multiple), nicknamed the \u003cem\u003eKoppeke\u003c/em\u003e, multiplication game in time and space of one motif. Research into the power of repeating a sign that represents nothing. Results: vacuum is filled by imagination with a strong urge for myth creation. Been stopped. \u0026quot;\u003c/p\u003e\u003cp\u003eHowever this \u0026#39;meaningless\u0026#39; motive is nothing less than a self-portrait of the artist. \u003cem\u003eKoppeke \u003c/em\u003ealso bears a striking resemblance to the hallucinogenic peyote cactus.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDeze gestempelde \u0026lsquo;tag\u0026rsquo; duikt overal op waar MAFprint actief is geweest.\u003c/p\u003e\u003cp\u003eGeorge Smits schrijft hierover: \u0026ldquo;Multipletje, bijgenaamd het \u003cem\u003eKoppeke\u003c/em\u003e, vermenigvuldigingsspel in tijd en ruimte van 1 motief. Onderzoek naar de kracht van herhaling bij het blijven opduiken van een teken dat echter niets vertegenwoordigt. Resultaten: vacu\u0026uuml;m wordt opgevuld door fantasie met een sterke drang tot mythevorming. Stopgezet.\u0026rdquo;\u003c/p\u003e\u003cp\u003eNochtans is dit \u0026lsquo;betekenisloze\u0026rsquo; motief niets minder dan een zelfportret van de kunstenaar. Bovendien vertoont \u003cem\u003eKoppeke\u003c/em\u003e opvallende gelijkenis met de hallucinogene peyote cactus.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eCe \u0026laquo;\u0026nbsp;graffiti\u0026nbsp;\u0026raquo; appara\u0026icirc;t partout o\u0026ugrave; MAFprint a \u0026eacute;t\u0026eacute; actif.\u003c/p\u003e\u003cp\u003eGeorge Smits \u0026eacute;crit \u0026agrave; ce propos\u0026nbsp;: \u0026laquo;\u0026nbsp;Le petit multiple, baptis\u0026eacute; \u003cem\u003eKoppeke, est un jeu de multiplication dans le temps et dans l\u0026rsquo;espace \u0026agrave; un seul motif. Une \u0026eacute;tude de la force de la r\u0026eacute;p\u0026eacute;tition d\u0026rsquo;un signe qui reste \u0026eacute;merger et ne repr\u0026eacute;sente pourtant rien. R\u0026eacute;sultats\u0026nbsp;: le vide est rempli par la fantaisie et fait preuve d\u0026rsquo;un ardent d\u0026eacute;sir de cr\u0026eacute;ation de mythes. J\u0026rsquo;y ai mis fin.\u0026nbsp;\u0026raquo;\u003c/em\u003e\u003c/p\u003e\u003cp\u003eN\u0026eacute;anmoins, ce motif \u0026laquo;\u0026nbsp;insignifiant\u0026nbsp;\u0026raquo; n\u0026rsquo;est rien de moins que l\u0026rsquo;autoportrait de l\u0026rsquo;artiste. Qui plus est, \u003cem\u003eKoppeke pr\u0026eacute;sente une analogie notable avec le peyotl, un cactus hallucinog\u0026egrave;ne.\u003c/em\u003e\u003c/p\u003e"}]},{"id":13355,"title":"Zonder titel","dimensions":"","date_begin":"1972-01-01","material":"zeefdruk, day-glo verf","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"zonder-titel","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/000/030/005/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx23.jpg?1450703041","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLight and colour\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn 1980, George Smits cites the following quote from Aldous Huxley\u0026#39;s 1956 essay \u003cem\u003eHeaven and Hell\u003c/em\u003e, by way of elucidating his own thoughts and realizations regarding light and colour:\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026ldquo;In visions one experiences an overload of what Ezekiel terms \u0026lsquo;Stones of fire\u0026rsquo;, or what Weir Mitchell calls \u0026lsquo;transparent fruit\u0026rsquo;. These things are self-illuminated, possessing extraterrestrial colour radiance and extraterrestrial meaning.\u0026nbsp; The material objects most similar to these sources of otherworldly brilliance are gemstones.\u0026quot;\u003c/em\u003e\u003c/p\u003e\u003cp\u003eWhether it now concerns dazzling fluorescent silkscreen prints, light installations with brilliant colour-spectra or deep, glossy colours of oil paint, all of George Smits\u0026#39; pictorial work has but a single and sole aim: to evoke a concrete \u0026#39;heavenly\u0026#39; experience for the viewer.\u003c/p\u003e\u003cp\u003eThe fluorescent day-glo paint intesifies the sensory experience of the viewer.\u0026nbsp;This technique experiments with paint colour combinations applied freely with a sieve, rather than working with an exposed image.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLicht en kleur\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn 1980 citeerde George Smits uit het essay \u003cem\u003eHeaven and Hell \u003c/em\u003e(1956) van Aldous Huxley om zijn idee\u0026euml;n en realisaties i.v.m. licht en kleur toe te lichten:\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026ldquo;In visioenen ervaart men een overvloed van wat Ezechi\u0026euml;l noemt \u0026lsquo;Stenen van vuur\u0026rsquo;, of van wat Weir Mitchell noemt \u0026lsquo;transparant fruit\u0026rsquo;. Deze dingen zijn zelf-verlicht, bezitten een buitenaardse kleurschittering en een buitenaardse betekenis. De materi\u0026euml;le voorwerpen die het meest op deze bronnen van bovenaardse schittering gelijken, zijn edelstenen.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\u003cp\u003eOf het nu gaat om oogverblindende fluo-zeefdrukken, lichtinstallaties met schitterende spectrumkleuren of diepe, glanzende kleuren van olieverf, al het picturale werk van George Smits heeft \u0026eacute;\u0026eacute;n gemeenschappelijk doel: hier en nu deze concrete \u0026lsquo;hemelse\u0026rsquo; ervaring opwekken bij de toeschouwer.\u003c/p\u003e\u003cp\u003eDe fluorescerende day-glo verf versterkt de zintuiglijke ervaring van de toeschouwer.\u0026nbsp;Met deze techniek wordt niet met een belicht beeld gewerkt, maar wordt ge\u0026euml;xperimenteerd met kleurcombinaties van verf, vrij aangebracht op de zeef.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong style=\"line-height:1.6\"\u003eLumi\u0026egrave;re et couleur\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eEn 1980, George Smits cite un passage d\u0026rsquo;un essai d\u0026rsquo;Aldous Huxley, \u003cem\u003eHeaven and Hell \u003c/em\u003e(\u003cem\u003eCiel et Enfer\u003c/em\u003e, 1956) pour expliciter ses id\u0026eacute;es sur la lumi\u0026egrave;re et la couleur et illustrer ses r\u0026eacute;alisations\u0026nbsp;:\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;En vision, on per\u0026ccedil;oit une profusion de ce qu\u0026rsquo;\u0026Eacute;z\u0026eacute;chiel appelait des \u0026ldquo;pierres de feu\u0026rdquo;, ou ce que Weir Mitchell d\u0026eacute;crit comme des \u0026ldquo;fruits transparents\u0026rdquo;. Ces choses sont phosphorescentes, poss\u0026egrave;dent une brillance de couleur et une signification surnaturelles. Les objets mat\u0026eacute;riels qui ressemblent le plus \u0026agrave; ces sources de brillance surnaturelle sont les pierres pr\u0026eacute;cieuses.\u0026nbsp;\u0026raquo; (Traduction libre)\u003c/p\u003e\u003cp\u003eQu\u0026rsquo;il s\u0026rsquo;agisse de s\u0026eacute;rigraphies fluorescentes aveuglantes, d\u0026rsquo;installations lumineuses aux chatoyantes couleurs du spectre ou de couleurs profondes et brillantes de peinture \u0026agrave; l\u0026rsquo;huile, l\u0026rsquo;int\u0026eacute;gralit\u0026eacute; de l\u0026rsquo;\u0026oelig;uvre de George Smits est sous-tendue par un objectif commun\u0026nbsp;: \u0026eacute;veiller ici et maintenant une exp\u0026eacute;rience \u0026laquo;\u0026nbsp;c\u0026eacute;leste\u0026nbsp;\u0026raquo; concr\u0026egrave;te chez le spectateur.\u003c/p\u003e\u003cp\u003eLa peinture fluorescente Day-Glo offre une exp\u0026eacute;rience sensorielle au spectateur. Cette technique n\u0026rsquo;utilise pas d\u0026rsquo;image \u0026eacute;clair\u0026eacute;e, mais exp\u0026eacute;rimente les combinaisons chromatiques de peinture librement appos\u0026eacute;es sur la trame.\u003c/p\u003e"}]},{"id":13356,"title":"Zelfportret, 17/12/’93","dimensions":"","date_begin":"1993-01-01","material":"Olieverf op paneel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"zelfpotret-17-12-93","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/000/030/004/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx19_2.jpg?1450702881","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13357,"title":"Zelfportret, 18/12/’93","dimensions":"","date_begin":"1993-01-01","material":"Olieverf op paneel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"zelfprotret-18-12-93","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/000/030/003/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx19_3.jpg?1450702843","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eDuring the 1990s George Smits paints a series of self portraits. With this he consciously associates himself with an ancient tradition in painting. This almost obsessive form of introspection is a common theme in Smits\u0026#39; work, long before he had become truly acquainted with his historical predecessors.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThe cartoon character \u003cem\u003eJan \u003c/em\u003eis his alter ego and his stamp \u003cem\u003eKoppeke \u003c/em\u003eis\u0026nbsp;a disguised self-portrait. He includes implicite facial features in many of his paintings. The mood ranges from inquisitive to threatening and dark to silly or clownish.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eTijdens de jaren 1990 schilderde George Smits een hele reeks zelfportretten. Daarmee sluit hij bewust aan bij een eeuwenoude traditie in de schilderkunst. Maar deze bijna dwangmatige vorm van introspectie vormde een rode draad in Smits\u0026rsquo; werk, al lang v\u0026oacute;\u0026oacute;r hij goed en wel kennis had gemaakt met zijn historische voorgangers.\u003c/p\u003e\u003cp\u003eZo is het stripfiguur \u003cem\u003eJan\u003c/em\u003e zijn alter ego en is zijn stempelfiguur \u003cem\u003eKoppeke \u003c/em\u003eeen verdoken zelfportret. In vele schilderijen passeren zelfs impliciet zijn gelaatstrekken. De stemming varieert van onderzoekend over dreigend en duister tot wat dwaas of clownesk.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eAu cours des ann\u0026eacute;es\u0026nbsp;90, George Smits a peint toute une s\u0026eacute;rie d\u0026rsquo;autoportraits. Il s\u0026rsquo;inscrit ainsi d\u0026eacute;lib\u0026eacute;r\u0026eacute;ment dans le sillage d\u0026rsquo;une tradition picturale s\u0026eacute;culaire. Mais cette forme d\u0026rsquo;introspection quasi compulsive constitue un fil rouge \u0026agrave; travers toute l\u0026rsquo;\u0026oelig;uvre de Smits, m\u0026ecirc;me bien avant d\u0026rsquo;avoir d\u0026eacute;couvert et \u0026eacute;tudi\u0026eacute; en profondeur ses illustres pr\u0026eacute;d\u0026eacute;cesseurs.\u003c/p\u003e\u003cp\u003eAinsi le personnage de bande dessin\u0026eacute;e Jan est son alter ego et son effigie \u003cem\u003eKoppeke\u003c/em\u003e (petite t\u0026ecirc;te) est un autoportrait dissimul\u0026eacute;. Sur bon nombre de toiles, il brosse implicitement les traits de son visage. L\u0026rsquo;atmosph\u0026egrave;re varie, allant d\u0026rsquo;une d\u0026eacute;marche analytique \u0026agrave; une ambiance mena\u0026ccedil;ante et obscure ou frivole et clownesque.\u003c/p\u003e"}]},{"id":13358,"title":"Zelfportret","dimensions":"","date_begin":"1993-01-01","material":"Olieverf op paneel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"zelfpotret","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/000/030/002/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx19_1.jpg?1450702811","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eThe many self portraits of George Smits are a way of expressing a constant need for introspection.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe vele zelfportretten van George Smits zijn een uiting van zijn voortdurende nood aan introspectie.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eLes multiples autoportraits de Georges Smits sont \u0026eacute;galement une expression de son besoin permanent d\u0026rsquo;introspection.\u003c/p\u003e"}]},{"id":13359,"title":"Inspiration","dimensions":"","date_begin":"1995-01-01","material":"Olieverf en tempera op doek","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"inspiration","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/000/030/001/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx21.jpg?1450702997","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eIn 1975 George Smits turns aways from pop and happenings and focuses on painting. Smits is looking for a more sober communication between artist and viewer. In contrast to trend at the time.\u003c/p\u003e\u003cp\u003eSmits continues to paint and make sound installations till his death. Style, colours and format evolve, but he remains true to the painting techniques of the Old Flemish Masters. He experiments\u0026nbsp;with age-old paint formulations and classical glazes.\u003c/p\u003e\u003cp\u003eThe psychedelic MAFprint style replete with little figures created using\u0026nbsp;\u003cem\u003e\u0026eacute;criture automatique\u003c/em\u003e\u0026nbsp;and free association, now take shape in tempera and oils.\u003c/p\u003e\u003cp\u003eIn 1975, George Smits turns his back on pop and happenings. He now focuses on painting,\u0026nbsp; looking for a more subdued communication between artist and spectator \u0026ndash; fully in contrast with the then dominant trend.\u003c/p\u003e\u003cp\u003eUntil the end of his days, and parallel to his sound projects, he continues to paint. Style, colours and format will evolve, but Smits remains faithful to the painting techniques that brought the old Flemish masters eternal fame. He experiments with their centuries proven paint recipes and classic glazing techniques.\u003c/p\u003e\u003cp\u003eThe psychedelic MAFprint style, with plenty of little figures, that emerged from automatic writing and free association, is now taking shape in tempera and oil painting.\u003c/p\u003e\u003cp\u003eNotes from George Smits\u0026#39;s log,\u0026nbsp;published in \u003cem\u003eGeorge Smits \u0026ndash; MAFprint\u003c/em\u003e,\u0026nbsp;catalogue\u0026nbsp;of the\u0026nbsp;exhibition in de Warande, Turnhout (BE), 1981\u0026nbsp;:\u003c/p\u003e\u003cp\u003e\u0026#39;If there\u0026#39;s egg in the paint, the brush\u0026#39;s marten will smell chicken. It gave\u0026nbsp;him goosebumps.\u0026#39;\u0026nbsp;[The Dutch expression literally translates as: \u0026#39;It gave him \u003cem\u003echicken skin.\u003c/em\u003e\u0026#39;]\u003c/p\u003e\u003cp\u003e\u0026#39;The still life. Seeing now: arrived at oil painting to be able to represent deep colours of projected light. So: study of oil painting technique. And those Old Masters (when I stop being a Young Artist, I\u0026#39;ll become myself an Old Master) then say that those pure strong layers of glaze on top of each other are glassy, vulgar, fragile; that they make impossible the \u0026ldquo;ton local\u0026rdquo; et cetera. So, what now? Therefore: doing those deep thingies in screen print, because \u003cem\u003ethere\u003c/em\u003e, there are no Old Masters yet. With acrylic, these latter can be circumvented too. Oil knowledge, when it\u0026#39;s complete, can then be transferred to acrylic. For later.\u0026#39;\u003c/p\u003e\u003cp\u003e\u0026#39;The painting likes literary shoes best.\u0026#39;\u003c/p\u003e\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn 1975 keert George Smits de pop en happenings de rug toe. Hij focust nu op het schilderen. Op zoek naar een meer ingetogen communicatie tussen kunstenaar en toeschouwer. Helemaal in tegenstelling met de toenmalige trend.\u0026nbsp;\u003c/p\u003e\u003cp\u003eTot het einde van zijn dagen blijft hij schilderen parallel met zijn geluidsprojecten. Stijl, kleurenpalet en formaat zullen evolueren, maar hij blijft steeds trouw aan de schildertechnieken die de Oude Vlaamse Meesters eeuwige roem verschaften.\u0026nbsp;Hij experimenteert met hun sinds eeuwen beproefde verfrecepten en klassieke glacistechnieken.\u003c/p\u003e\u003cp\u003eDe psychedelische MAFprint-stijl vol figuurtjes, ontstaan uit \u0026eacute;criture automatique en vrije associatie, krijgt nu vorm in tempera en olieverf.\u003c/p\u003e\u003cp\u003eAantekeningen uit het logboek van George Smits (gepubliceerd in de cataloog\u0026nbsp;\u003cem\u003eGeorge Smits \u0026ndash; MAFprint\u003c/em\u003e, tentoonstelling in de Warande, Turnhout, 1981.)\u003c/p\u003e\u003cp\u003e\u0026ldquo;Als er ei is in de verf, zal de marter van het penseel kip ruiken. Hij kreeg er kippenvlees van.\u0026rdquo;\u003c/p\u003e\u003cp\u003e\u0026ldquo;Het stilleven. Nu inzien: tot olieverf gekomen om diepe kleuren van geprojecteerd licht te kunnen weergeven. Dus: studie van olieverftechniek. En die Oude Meesters (wanneer ik ophoud met Jong Kunstenaar te zijn, zal ik zelf een Oude Meester worden) zeggen dan dat die zuivere, straffe glacis tegeneen glasachtig zijn, vulgair, fragiel, de \u0026lsquo;ton local\u0026rsquo; onmogelijk maken enzovoort. Wat nu gezongen? Dus: die diepe dinges in zeefdruk doen, want daar zijn nog geen Oude Meesters. Met acryl kunnen deze laatsten ook omzeild worden. Oliekennis, wanneer ze volledig is, kan dan overgeheveld worden naar acryl. Voor later.\u0026rdquo;\u003c/p\u003e\u003cp\u003e\u0026ldquo;Het schilderij heeft liefst van al literaire schoenen.\u0026rdquo;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eEn 1975, George Smits tourne le dos au pop art et aux happenings pour se concentrer sur la peinture. En qu\u0026ecirc;te d\u0026rsquo;un mode de communication plus r\u0026eacute;serv\u0026eacute; entre artiste et spectateur et \u0026agrave; contre-courant absolu de la tendance de l\u0026rsquo;\u0026eacute;poque.\u003c/p\u003e\u003cp\u003eJusqu\u0026rsquo;\u0026agrave; la fin de sa vie, il continue \u0026agrave; peindre parall\u0026egrave;lement \u0026agrave; ses projets d\u0026rsquo;installations sonores. Si son style, sa palette et ses formats \u0026eacute;voluent sans cesse, il reste toujours fid\u0026egrave;le aux techniques picturales qui ont valu une gloire \u0026eacute;ternelle aux anciens ma\u0026icirc;tres flamands. Smits exp\u0026eacute;rimente ainsi leurs recettes picturales et leurs techniques classiques s\u0026eacute;culaires du glacis.\u003c/p\u003e\u003cp\u003eLe style psych\u0026eacute;d\u0026eacute;lique de MAFprint, \u0026eacute;maill\u0026eacute; de petits personnages n\u0026eacute;s de l\u0026rsquo;\u0026eacute;criture automatique\u0026nbsp;et de l\u0026rsquo;association libre, adopte \u0026agrave; pr\u0026eacute;sent la technique de la tempera et la peinture \u0026agrave; l\u0026rsquo;huile.\u003c/p\u003e\u003cp\u003eDes annotations du journal de George Smits (publi\u0026eacute; dans \u003cem\u003eGeorge Smits \u0026ndash; MAFprint\u003c/em\u003e, exposition \u0026agrave; De Warande, Turnhout, 1981)\u0026nbsp;:\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;S\u0026rsquo;il y a de l\u0026rsquo;\u0026oelig;uf dans la peinture, les poils de martre du pinceau vont flairer la poule. J\u0026rsquo;en ai la chair de poule\u0026nbsp;!\u0026nbsp;\u0026raquo;\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;La nature morte. \u0026Agrave; pr\u0026eacute;sent, comprendre\u0026nbsp;: j\u0026rsquo;ai opt\u0026eacute; pour la peinture \u0026agrave; l\u0026rsquo;huile pour pouvoir rendre les couleurs profondes de la lumi\u0026egrave;re projet\u0026eacute;e. Il m\u0026rsquo;a donc fallu \u0026eacute;tudier la technique de la peinture \u0026agrave; l\u0026rsquo;huile. Et ces anciens ma\u0026icirc;tres (quand j\u0026rsquo;arr\u0026ecirc;terai d\u0026rsquo;un \u0026ecirc;tre un jeune artiste, je serai moi-m\u0026ecirc;me un ma\u0026icirc;tre ancien) disent alors que ces glacis purs et rigoureux sont vitreux, vulgaires, fragiles et emp\u0026ecirc;chent le \u0026ldquo;ton local\u0026rdquo;. Et maintenant, que faire\u0026nbsp;? R\u0026eacute;aliser les choses profondes en s\u0026eacute;rigraphie, parce qu\u0026rsquo;il n\u0026rsquo;y a pas d\u0026rsquo;anciens ma\u0026icirc;tres dans le domaine. Ceux-ci peuvent \u0026ecirc;tre \u0026eacute;lud\u0026eacute;s avec de l\u0026rsquo;acrylique. Quand elle est compl\u0026egrave;te, la connaissance de l\u0026rsquo;huile peut \u0026ecirc;tre transmise \u0026agrave; l\u0026rsquo;acrylique. Pour plus tard.\u0026nbsp;\u0026raquo;\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;Le tableau affiche une pr\u0026eacute;dilection pour des chaussures litt\u0026eacute;raires.\u0026nbsp;\u0026raquo;\u003c/p\u003e"}]},{"id":13360,"title":"De Verhalen van Jan","dimensions":"","date_begin":"1970-01-01","material":"Oost-Indische inkt, calqueerpapier","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":"1978-01-01","reference":"","stream_count_app":16,"permalink":"de-verhalen-van-jan","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/000/030/014/large/IMG_1110.JPG?1448557693","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eUnderground comics: \u003cem\u003eDe Verhalen van Jan\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn 1971 members of ERCOLA started an underground comic, a \u0026quot;monthly guy\u0026#39;s magazine\u0026quot; called \u003cem\u003eSpruit\u003c/em\u003e. De \u003cem\u003eVerhalen van Jan\u003c/em\u003e (The Tales of Jan), totally in-line with MAFprint\u0026#39;s bent for absurdist humour.\u0026nbsp;\u003c/p\u003e\u003cp\u003eHere \u0026#39;Jan\u0026#39; is a dog, as well as being the alter ego of George Smits. Jan roams through a psychedelic \u0026#39;underground\u0026#39;, peopled by beings right out of Bosch. Both brash and gullible, he winds up time after time amidst the most hallucinating adventures. If it\u0026#39;s not petty predators trying to lead him astray, then it\u0026#39;s the catty \u003cem\u003efemme fatale\u003c/em\u003e attempting to inveigle him. But have no fear... a \u0026quot;happy ending\u0026quot; is inevitably assured.\u003c/p\u003e\u003cp\u003e\u0026quot;We\u0026#39;ll draw a few more people. They might be the last.\u0026quot;\u003c/p\u003e\u003cp\u003eThese comics were published in the following magazines:\u003c/p\u003e\u003cp\u003eAloha, Amsterdam, No. 21, 25 to 37, 1970\u003c/p\u003e\u003cp\u003eSpruit, Antwerpen, No. 0-4, 1970-1972\u003c/p\u003e\u003cp\u003eDing, Mechelen, 1970-1972\u003c/p\u003e\u003cp\u003eGimmick\u003cem\u003e,\u0026nbsp;\u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eSuperstar,\u003cem\u003e\u0026nbsp;\u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eImpacts International\u003cem\u003e,\u0026nbsp;\u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eSpuit (Gekkenkrant), No. 1-4\u003c/p\u003e\u003cp\u003eStripgids,\u003cem\u003e\u0026nbsp;\u003c/em\u003enr. 17-18, Year 5, No. 2-3, 1978\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eUnderground comics: \u003cem\u003eDe Verhalen van Jan\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn 1971 starten de ERCOLA-leden met de underground comic \u0026ldquo;maandelijks mannekensblad\u0026rdquo; \u003cem\u003eSpruit\u003c/em\u003e. De \u003cem\u003eVerhalen van Jan\u003c/em\u003e door MAFprint drijven op absurde humor.\u003c/p\u003e\u003cp\u003eJan is een hond \u0026eacute;n het maffe alter ego van George Smits. Jan dwaalt door een psychedelische \u0026lsquo;underground\u0026rsquo;, bevolkt met Boschiaanse wezentjes. Onbezonnen en onnozel belandt hij keer op keer in de meest hallucinante avonturen. Zijn het geen bekrompen belagers die hem bij zijn lange neus nemen, dan heeft de kattige \u003cem\u003efemme fatale\u003c/em\u003e hem wel bij zijn pietje. Maar niet gevreesd: een \u0026lsquo;happy end\u0026rsquo; is steeds verzekerd.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026ldquo;We zullen nog maar wat mensen tekenen. Het zijn misschien de laatsten.\u0026rdquo;\u003c/p\u003e\u003cp\u003eDe comics werden gepubliceerd in :\u003c/p\u003e\u003cp\u003eAloha, Amsterdam, nr 21, 25 tot 37, 1970\u003c/p\u003e\u003cp\u003eSpruit, Antwerpen, nrs. 0-4, 1970-1972\u003c/p\u003e\u003cp\u003eDing, Mechelen, 1970-1972\u003c/p\u003e\u003cp\u003eGimmick\u003cem\u003e, \u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eSuperstar,\u003cem\u003e \u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eImpacts International\u003cem\u003e, \u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eSpuit (Gekkenkrant), nrs 1-4\u003c/p\u003e\u003cp\u003eStripgids,\u003cem\u003e \u003c/em\u003enr. 17-18, Jaargang 5, nr. 2-3, 1978\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eBande dessin\u0026eacute;e d\u0026rsquo;avant-garde\u0026nbsp;: \u003cem\u003eDe Verhalen van Jan\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eEn 1971, les membres d\u0026rsquo;E.R.C.O.L.A. publient le magazine de bande dessin\u0026eacute;e d\u0026rsquo;avant-garde \u003cem\u003emaandelijks\u003c/em\u003e \u003cem\u003emannekensblad\u003c/em\u003e \u003cem\u003eSpruit\u003c/em\u003e (gazette mensuelle Rejeton). La rubrique de M.A.F.print, intitul\u0026eacute;e \u003cem\u003eDe Verhalen van Jan \u003c/em\u003e(les r\u0026eacute;cits de Jan), surfe sur l\u0026rsquo;humour absurde.\u003c/p\u003e\u003cp\u003eLe chien Jan est l\u0026rsquo;alter ego un peu fou de George Smits. Jan erre dans le milieu de l\u0026rsquo;underground psych\u0026eacute;d\u0026eacute;lique, peupl\u0026eacute; de cr\u0026eacute;atures qui rappellent l\u0026rsquo;univers de J\u0026eacute;r\u0026ocirc;me Bosch. Sans r\u0026eacute;fl\u0026eacute;chir et de mani\u0026egrave;re stupide, il lui arrive coup sur coup les aventures les plus hallucinantes\u0026nbsp;: quand ce ne sont pas des assaillants mesquins qui le m\u0026egrave;nent par le bout du nez, c\u0026rsquo;est une femme fatale f\u0026eacute;line qui le tient par la queue. Mais heureusement, cela se termine toujours par un d\u0026eacute;nouement heureux.\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;Dessinons encore quelques \u0026ecirc;tres humains. Ce sont peut-\u0026ecirc;tre les derniers.\u0026nbsp;\u0026raquo;\u003c/p\u003e\u003cp\u003eLes bandes dessin\u0026eacute;es furent publi\u0026eacute;es en\u0026nbsp;:\u003c/p\u003e\u003cp\u003eAloha, Amsterdam, no 21, 25 \u0026agrave; 37, 1970\u003c/p\u003e\u003cp\u003eSpruit, Antwerpen, no. 0-4, 1970-1972\u003c/p\u003e\u003cp\u003eDing, Mechelen, 1970-1972\u003c/p\u003e\u003cp\u003eGimmick\u003cem\u003e,\u0026nbsp;\u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eSuperstar,\u003cem\u003e\u0026nbsp;\u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eImpacts International\u003cem\u003e,\u0026nbsp;\u003c/em\u003e1970-1972\u003c/p\u003e\u003cp\u003eSpuit (Gekkenkrant), no 1-4\u003c/p\u003e\u003cp\u003eStripgids,\u003cem\u003e\u0026nbsp;\u003c/em\u003eno. 17-18, L\u0026#39;Ann\u0026eacute;e 5, no. 2-3, 1978\u003c/p\u003e"}]},{"id":13361,"title":"1 Droom van Jan","dimensions":"","date_begin":"1974-01-01","material":"Oost-Indische inkt, witte verf, Bristol papier","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"1-droom-van-jan","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/000/030/000/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx14_2.jpg?1450703430","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e1 Droom van Jan\u003c/em\u003e (\u003cem\u003e1 Dream of Jan\u003c/em\u003e) is without a doubt the highlight of the MAFprint comics. The confident style of drawing, drawings worked out in meticulous detail unify the composition and narration. The mast of the ship splits scenes into frames and provides a strong overall picture. Early on MAFprint plays with quotes. Suddenly Lambik appears and - without Suske en Wiske there - is caught in compromising situations.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e1 Droom van Jan\u003c/em\u003e is zonder twijfel het hoogtepunt van de MAFprint comics. De trefzekere tekenstijl, tekeningen tot in elk detail uitgewerkt, bladindeling die beeldcompositie en vertelling verenigd. De mast van het schip deelt het tafereel in kaders op en levert tegelijk een sterk totaalbeeld op. Al heel vroeg gaat MAFprint ook met citaten spelen. Zo duikt Lambik plots op en laat zich, zonder Suske en Wiske erbij, op zijn duistere kantjes betrappen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003e1 Droom van Jan\u003c/em\u003e (1 R\u0026ecirc;ve de Jan) est sans aucun doute l\u0026rsquo;apog\u0026eacute;e des bandes dessin\u0026eacute;es de MAFprint. Un style pr\u0026eacute;cis, travaill\u0026eacute; jusque dans les plus petits d\u0026eacute;tails, une mise en page qui r\u0026eacute;unit la composition visuelle et la narration. Le m\u0026acirc;t du bateau divise la sc\u0026egrave;ne en cadres et cr\u0026eacute;e en m\u0026ecirc;me temps une image globale puissante. Tr\u0026egrave;s vite, MAFprint se met \u0026agrave; jouer avec les citations et les r\u0026eacute;f\u0026eacute;rences. Ainsi, Lambique appara\u0026icirc;t soudain, sans Bob ni Bobette, et d\u0026eacute;voile sa part d\u0026rsquo;ombre.\u003c/p\u003e"}]},{"id":13362,"title":"Zonder titel","dimensions":"","date_begin":"1976-01-01","material":"Olieverf op paneel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":"1997-01-01","reference":"","stream_count_app":12,"permalink":"zonder-titel-3b5fe57f-aff7-42d0-bef1-ad76f6d6745c","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/000/029/999/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx20.jpg?1450702912","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eIntimacy is small \u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAt the outset, he resolutely opts for the small format: 24 x 18 cm. - so striving for a more intimate communication between art work and viewer, artist and art work, artist and viewer.\u003c/p\u003e\u003cp\u003eGeorge Smits would keep on painting right up to his death, with his style and the formats of his work continually evolving.\u003c/p\u003e\u003cp\u003eIn 1979 Smits wrote the following:\u003c/p\u003e\u003cp\u003e\u0026quot;Returns in 74\u0026#39;75, after wandering through more public-oriented media, to painting as old-fashioned but achievable communication method between people. Finds that a painting will speak for itself and a viewer should meet it halfway to form their own idea based on the visual signs and echoes. The ambiguity between the figurative and the abstract offers an opportunity for creative viewing. The works are small in size so they can express any fleeting emotion. The reintroduction of failure, the indispensable \u0026#39;tragic\u0026#39; aspect that a lot of modern art is missing.\u0026quot;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eIntimiteit is klein\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAanvankelijk kiest George Smits resoluut voor een klein formaat: 24 x 18 cm, op zoek naar een meer intieme communicatie tussen kunstwerk en toeschouwer, kunstenaar en kunstwerk, kunstenaar en toeschouwer.\u0026nbsp;\u003c/p\u003e\u003cp\u003eTot aan zijn dood blijft George Smits schilderen. Zijn stijl en de formaten van de werken evolueren verder.\u0026nbsp;\u003c/p\u003e\u003cp\u003eDit schreef Smits in 1979:\u003c/p\u003e\u003cp\u003e\u0026quot;Keert in 74\u0026#39;75, na omzwerving door meer publiekgerichte media terug tot schilderij als ouderwets maar realiseerbaar communicatiemiddel van persoon tot persoon. Vindt dat een schilderij voor zichzelf spreekt en dat de toeschouwer halfweg moet komen om zichzelf een beeld te vormen vanuit de visuele tekens en echo\u0026#39;s. De dubbelzinnigheid tussen figuratie en abstract als mogelijkheid tot creatief kijken van de toeschouwer. De werken zijn klein van formaat omdat ze zo van elke vluchtige emotie uiting konden geven. De wederinvoering van de mislukking, het onmisbare \u0026#39;tragische\u0026#39; aspect dat zo menig modern kunstwerk ontbreekt.\u0026quot;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eL\u0026rsquo;intimit\u0026eacute; est petite\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAu d\u0026eacute;but, il opte r\u0026eacute;solument pour un format r\u0026eacute;duit\u0026nbsp;: 24 x\u0026nbsp;18\u0026nbsp;cm, en qu\u0026ecirc;te d\u0026rsquo;une communication plus intime entre l\u0026rsquo;\u0026oelig;uvre et le spectateur, l\u0026rsquo;artiste et l\u0026rsquo;\u0026oelig;uvre, l\u0026rsquo;artiste et le spectateur.\u0026nbsp;\u003c/p\u003e\u003cp\u003eGeorge Smits va peindre jusqu\u0026rsquo;\u0026agrave; sa mort, et tout au long, son style et ses formats vont continuer \u0026agrave; \u0026eacute;voluer.\u003c/p\u003e\u003cp\u003eEn 1979, Smits \u0026eacute;crit\u0026nbsp;:\u003c/p\u003e\u003cp\u003e\u0026laquo;\u0026nbsp;En 1974-1975, apr\u0026egrave;s un d\u0026eacute;tour par les m\u0026eacute;dias plus orient\u0026eacute;s sur le public, je reviens \u0026agrave; la peinture comme moyen de communication interpersonnelle d\u0026eacute;su\u0026egrave;te, mais r\u0026eacute;alisable. Je trouve qu\u0026rsquo;un tableau en dit long et que le spectateur doit faire l\u0026rsquo;effort de se forger une id\u0026eacute;e \u0026agrave; partir des signes et des \u0026eacute;chos visuels. L\u0026rsquo;ambivalence entre la figuration et abstraction en tant que possibilit\u0026eacute; pour le spectateur de regarder de mani\u0026egrave;re cr\u0026eacute;ative. Les formats des \u0026oelig;uvres sont petits, parce qu\u0026rsquo;ils peuvent ainsi exprimer chaque \u0026eacute;motion \u0026eacute;ph\u0026eacute;m\u0026egrave;re. La r\u0026eacute;introduction de l\u0026rsquo;\u0026eacute;chec, de l\u0026rsquo;indispensable aspect \u0026ldquo;tragique\u0026rdquo; absent de tant d\u0026rsquo;\u0026oelig;uvres d\u0026rsquo;art moderne.\u0026nbsp;\u0026raquo;\u003c/p\u003e"}]},{"id":13372,"title":"The Colour Company","dimensions":"","date_begin":"1970-01-01","material":"Super 8 films, lichtinstallaties","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":22,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits","publishing_process_id":1,"annotation":"","date_end":"1973-01-01","reference":"","stream_count_app":8,"permalink":"the-colour-company","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/000/030/013/large/IMG_1105.JPG?1448557617","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLight installations\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDuring the 1970s George Smits received recognition (Jeune Peinture Belge) with his light installations \u003cem\u003eThe Colour Company\u003c/em\u003e, attempting to define space using light as his medium. He experiments with light beams, making the entire rainbow spectrum of colour visible, and having these reflect so as to define the respective space. For this, Smits employed simple means, like a slide projector, perforated slides, prisms, mirror mats and bamboo sticks.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLichtinstallaties\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn de jaren 1970 krijgt George Smits ook erkenning (Jeune Peinture Belge) met zijn lichtinstallaties \u003cem\u003eThe Colour Company\u003c/em\u003e, waarmee hij met licht ruimtes wil defini\u0026euml;ren. Hij experimenteert met het breken van lichtstralen, waardoor alle kleuren van het lichtspectrum \u0026ndash; de regenboog \u0026ndash;zichtbaar worden, in de ruimte reflecteren en zo de ruimte gaan defini\u0026euml;ren. Hiervoor gebruikt Smits eenvoudige middelen, zoals een diaprojector, geperforeerde dia\u0026rsquo;s, prisma\u0026rsquo;s, spiegelmatten en bamboestokken.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eInstallations lumineuses\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026Agrave; cette \u0026eacute;poque, George Smits obtient une reconnaissance (Jeune Peinture Belge) pour ses installations lumineuses \u003cem\u003eThe Colour Company\u003c/em\u003e avec lesquelles il souhaite d\u0026eacute;finir l\u0026rsquo;espace par la lumi\u0026egrave;re. Il m\u0026egrave;ne des exp\u0026eacute;riences avec la diffraction des rayons lumineux \u0026ndash; ce qui rend le spectre optique, c.-\u0026agrave;-d. l\u0026rsquo;arc-en-ciel, apparent \u0026ndash; qui se refl\u0026egrave;tent dans l\u0026rsquo;espace et le d\u0026eacute;termine de la sorte. Pour ce faire, Smits utilise des moyens simples, comme un projecteur, des diapositives perfor\u0026eacute;es, des prismes, des tapis \u0026agrave; facettes r\u0026eacute;fl\u0026eacute;chissantes et des tiges de bambou.\u003c/p\u003e"}]},{"id":13350,"title":"Ercola, Vrije Inkom","dimensions":"","date_begin":"1973-01-01","material":"zeefdruk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"INBOX George Smits MAFprint","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"ercola-vrije-inkom","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":"George Smits","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/000/030/009/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx22_2.jpg?1450704929","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eMAFprint\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIn George Smits\u0026rsquo; own words from 1981: \u003cem\u003e\u0026ldquo;The second part of myself was devoted to MAFprint\u0026quot;.\u0026nbsp; Here we present a number of works from this idiosyncratic designer, silkscreen printer and comic book maker, predominantly from the period 1968-1975 and brought together under the motto: \u0026quot;Yesterday bonkers, today amazing, tomorrow banal.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eInspired by Pop Art, George Smits founds MAFprint (Mad Artist Foundation)\u0026nbsp;in 1968: a \u003cem\u003e\u0026quot;one-man association\u0026quot; to promote affordable art forms for a broad public: posters, comics, events with an experimental mobile silkscreen studio.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1969 MAFprint joins forces with ERCOLA \u0026ndash; Experimental Research Center of Liberal Arts \u0026ndash; and in the early 1970s it grow into an important hub of Antwerp\u0026#39;s artistic milieu.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eMAFprint\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIn George Smits\u0026rsquo; eigen woorden uit 1981: \u003cem\u003e\u0026ldquo;Het tweede deel van mezelf is dan MAFprint\u0026quot;. Van deze ontwerper, zeefdrukker en buitenbeen-striptekenaar wordt een aantal werken getoond, vooral uit de periode 1968-1975, bijeengebracht onder het motto: \u0026ldquo;Gisteren waanzinnig, vandaag geniaal, morgen banaal\u0026rdquo;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eGe\u0026iuml;nspireerd door de Pop Art richt Smits in 1968 MAFprint op, de Mad Artist Foundation: een \u003cem\u003e\u0026ldquo;\u0026eacute;\u0026eacute;nmansvereniging ter bevordering van goedkope kunstvormen, kunstvormen voor breder publiek: affiches, strips, actie\u0026#39;s met experimenteel mobiel zeefdrukatelier\u003c/em\u003e\u0026rdquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1969 trekt MAFprint in bij ERCOLA \u0026ndash; Experimental Research Center of Liberal Arts \u0026ndash; dat in de prille jaren 1970 uitgroeit tot een knooppunt in het Antwerpse artistieke milieu.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eM.A.F.print\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eGeorge Smits en 1981\u0026nbsp;: \u0026laquo;\u0026nbsp;La seconde partie de moi-m\u0026ecirc;me est \u003cem\u003eM.A.F.print\u003c/em\u003e. Des \u0026oelig;uvres de ce cr\u0026eacute;ateur, s\u0026eacute;rigraphe et b\u0026eacute;d\u0026eacute;iste original, principalement de la p\u0026eacute;riode 1968-1975, sont r\u0026eacute;unies et expos\u0026eacute;es sous la devise \u0026laquo;\u0026nbsp;Fou hier, g\u0026eacute;nial aujourd\u0026rsquo;hui, banal demain\u0026rdquo;.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1968, inspir\u0026eacute; par le pop art, Smits cr\u0026eacute;e M.A.F.print \u0026ndash; Mad Artist Foundation\u0026nbsp;: une \u0026laquo;\u0026nbsp;association unipersonnelle pour la promotion de formes d\u0026rsquo;art bon march\u0026eacute;, \u0026agrave; l\u0026rsquo;attention d\u0026rsquo;un vaste public, sous forme d\u0026rsquo;un atelier de s\u0026eacute;rigraphie mobile et exp\u0026eacute;rimental qui produit des affiches, des bandes dessin\u0026eacute;es et autres actions.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1969, \u003cem\u003eM.A.F.print \u003c/em\u003es\u0026rsquo;installe dans les ateliers d\u0026rsquo;E.R.C.O.L.A. \u0026ndash; Experimental Research Center of Liberal Arts \u0026ndash;, qui devient d\u0026egrave;s le d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;70 une plaque tournante du milieu artistique anversois.\u003c/p\u003e\r\n"}]},{"id":13349,"title":"Ave Dollar","dimensions":"100 x 100 cm","date_begin":"1972-01-01","material":"zeefdruk op acetaat, ingekleurd en gepresenteerd voor aluminiumfolie","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"George Smits INBOX MAFprint","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"ave-dollar-c5980f0f-72fd-4872-aeba-ffc27c44ac9c","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":"George Smits","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/000/030/010/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx25_2.jpg?1450704317","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLight and colour\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eWith his screen prints, light installations and paintings, George Smits strives for only one\u0026nbsp;goal: for the viewer to experience a two-way traffic from \u0026#39;heaven\u0026#39; to\u0026nbsp;his own soul and back. This description is perhaps a bit woolly, but by looking oneself and enjoying the light and colour radiance, that experience becomes very concrete.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1980, George Smits wrote an elucidation to his ideas and realisations concerning light\u0026nbsp;and colour:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026#39;3 years ago, I published a series of works, produced according to this process.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn a piece of transparent acetate, transparent colours\u0026nbsp;were printed and painted. A sheet was presented in front of\u0026nbsp;a crumpled piece of aluminium foil and got illuminated \u0026ndash; all at once or bit by bit \u0026ndash; with a small yet powerful spotlight. I did like the effect, but I really had doubts about the value of the materials and started something else. By chance, I had recently read Aldous Huxley\u0026#39;s \u003ca href=\"http://ensembles.mhka.be/items/ave-dollar-c5980f0f-72fd-4872-aeba-ffc27c44ac9c/assets/30038?locale=nl\"\u003e\u003cem\u003eHeaven \u0026amp; Hell\u003c/em\u003e\u003c/a\u003e\u0026nbsp;and in the book, I found the meaning\u0026nbsp;of this kind of work explained, which I could not put into words myself. This has encouraged me to start a new series. Again, it\u0026#39;s \u0026ldquo;paintings\u0026rdquo; (...).\u003c/p\u003e\r\n\r\n\u003cp\u003eFollowing\u0026nbsp;is a passage from the aforementioned book, as an introduction to viewing this work:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Most paradises are adorned with buildings, and, like the trees, the waters, the hills and the fields, these buildings are bright with gems. [\u0026hellip;]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSimilar descriptions are to be found in the eschatological literature of Hinduism, Buddhism\u0026nbsp;and Islam. Heaven is always a place of gems.\u0026nbsp;Why should this be the case? [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMen have spent enormous amounts of time, energy and money on the finding, mining and cutting of colored pebbles. Why? The utilitarian can offer no explanation for such fantastic behavior. But as soon as we take into account the facts of visionary experience, everything becomes clear. In vision, men perceive a profusion of what Ezekiel calls \u0026#39;stones of fire,\u0026#39; of what Weir Mitchell describes as \u0026#39;transparent fruit.\u0026#39; These things are self-luminous, exhibit a preternatural brilliance of colour and possess a preternatural significance. The material objects which most nearly resemble these sources of visionary illumination are gem stones. To acquire such a stone is to acquire something whose preciousness is guaranteed by the fact that it exists in the Other World. [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIn other words, precious stones are precious because they bear a faint resemblance to the glowing marvels seen with the inner eye of the visionary. \u0026#39;The view of that world,\u0026#39; says Plato, \u0026#39;is a vision of blessed beholders\u0026#39;; for to see things \u0026#39;as they are in themselves\u0026#39; is bliss unalloyed and inexpressible.[...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eAnd this return to the source is not merely symbolical; it is also a matter of immediate experience. For the traffic between our Old World and its antipodes, between Here and Beyond, travels along a two-way street. Gems, for example, come from the soul\u0026#39;s visionary heaven; but they also lead the soul back to that heaven. Contemplating them, men find themselves (as the phrase goes) transported - carried away toward that Other Earth of the Platonic dialogue, that magical place where every pebble is a precious stone. And the same effects may be produced by artifacts of glass and metal, by tapers burning in the dark, by brilliantly colored images and ornaments; by flowers, shells and feathers; by landscapes seen, as Shelley from the Euganean Hills saw Venice, in the transfiguring light of dawn or sunset.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cem\u003e\u003cem\u003e\u0026ldquo;There is something so different in\u0026nbsp;Venice from any other place in\u0026nbsp;the world, that you leave at\u0026nbsp;once all accustomed habits and\u0026nbsp;everyday sights to enter\u0026nbsp;\u003c/em\u003ean\u0026nbsp;enchanted garden.\u0026rdquo;\u003c/em\u003e\u0026nbsp;\u0026#39;\u003c/em\u003e\u003cem\u003eLines Written among the Euganean Hills\u0026#39;\u0026nbsp;\u003c/em\u003eBy Percy Bysshe Shelley.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eWhether it\u0026#39;s dazzling fluorescent screen printing, the rainbow colours of the light spectrum or the deep oil paint shades,\u0026nbsp;all George Smits\u0026#39;s pictorial work has one common goal: to arouse, here and now, this concrete \u0026#39;heavenly\u0026#39; experience.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLicht en kleur\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eMet zijn zeefdrukken, lichtinstallatie en schilderijen streeft George Smits slechts \u0026eacute;\u0026eacute;n en hetzelfde doel na: dat de toeschouwer een tweerichtingsverkeer ervaart van de \u0026lsquo;hemel\u0026rsquo; naar\u0026nbsp; zijn eigen ziel en terug. Deze beschrijving is misschien aan de zweverige kant, maar door zelf te kijken en te genieten van de licht- en kleurschittering, wordt die ervaring heel concreet.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1980 schreef George Smits een toelichting bij zijn idee\u0026euml;n en realisaties i.v.m. licht en kleur:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;3 jaar geleden bracht ik een reeks werken uit, vervaardigd volgens dit proced\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eEen stuk transparant acetaat werd met transparante kleuren bedrukt en beschilderd. Een blad werd gepresenteerd voor een verkreukeld stuk aluminiumpapier en belicht, ineens of stukje voor stukje, met een krachtig spotje. Het effect vond ik wel mooi, maar ik twijfelde erg over de waarde van de gebruikte materialen en begon iets anders. Toevallig las ik laatst \u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/ave-dollar-c5980f0f-72fd-4872-aeba-ffc27c44ac9c/assets/30038?locale=nl\"\u003eHeaven \u0026amp; Hell\u003c/a\u003e \u003c/em\u003evan Aldous Huxley en hierin vond ik de verklaring van de bedoeling van dit soort werk, die ik zelf niet onder woorden kon brengen. Dit heeft me aangezet een nieuwe reeks te beginnen. Het zijn opnieuw \u0026lsquo;schilderijen\u0026rsquo; (\u0026hellip;).\u003c/p\u003e\r\n\r\n\u003cp\u003e[Hier] volgt een passage uit voornoemde boek als inleiding tot het bekijken van dit werk:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;Het paradijs schijnt, volgens christendom, hindoe\u0026iuml;sme, boedhisme of islam, vol te zijn met gebouwen, die evenals bomen, de waters, heuvels en bergen, flonkeren van de edelstenen. De Hemel is een plaats van edelgesteente. Hoezo? \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe mens heeft enorm veel tijd, geld en energie over voor het zoeken naar gekleurde stenen. Waarom? Het utilitaire voordeel van deze materie niet dit fantastische gedrag. Zo gauw we echter de eigenschappen van visionaire ervaringen beschouwen, wordt alles klaar.\u0026nbsp;\u003c/em\u003e\u003cem\u003eIn visioenen ervaart men een overvloed van wat Ezechi\u0026euml;l noemt \u0026lsquo;Stenen van vuur\u0026rsquo;, of van wat Weir Mitchell noemt \u0026lsquo;transparant fruit\u0026rsquo;. Deze dingen zijn zelf-verlicht, bezitten een buitenaardse kleurschittering en een buitenaardse betekenis. De materi\u0026euml;le voorwerpen die het meest op deze bronnen van bovenaardse schittering gelijken, zijn edelstenen. Zulk een steen bezitten is iets bezitten waarvan de waarde is aangetoond door het feit dat het bestaat in de \u0026lsquo;Andere Wereld\u0026rsquo;. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePrecieuze stenen zijn zo precieus, omdat ze een flauwe afspiegeling zijn van de flonkerende wonderen, gezien door het innerlijk oog van de ziener \u0026lsquo;Het gezicht van die wereld\u0026rsquo;, zegt Plato: \u0026ldquo;is een zicht voor gezegenden, want het is een zegen om de dingen te kunnen zien zoals ze zijn. [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe terugkeer naar die bron is niet louter symbolisch; het is ook een kwestie van onmiddellijke ervaring. Want het verkeer tussen onze oude wereld en z\u0026rsquo;n antipode, tussen \u0026lsquo;Hier\u0026rsquo; en \u0026lsquo;Ginds\u0026rsquo; loopt langs een tweerichtingsbaan. Edelstenen, bijvoorbeeld, komen uit de visionaire hemel van de ziel maar ze leiden de ziel ook terug naar die hemel. Door ze te beschouwen voelt men zich \u0026lsquo;transported\u0026rsquo; (vervoerd) - weggedragen naar die \u0026lsquo;Andere Aarde\u0026rsquo; uit de Platonische dialoog, de magische plek waar iedere kei een edelsteen is.\u0026nbsp;En dezelfde effecten kunnen geproduceerd worden door artefacten van glas en metaal, door lonten die in het donker branden, door briljant gekleurde afbeeldingen en ornamenten; door bloemen, schelpen, veren; of door landschappen, gezien \u0026ndash; zoals Shelley Veneti\u0026euml; zag vanaf de Euganische Heuvels \u0026ndash; in het transfigurerende licht van dageraad of zonsondergang.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cem\u003e\u003cem\u003e\u0026ldquo;There is something so different in\u0026nbsp;Venice from any other place in\u0026nbsp;the world, that you leave at\u0026nbsp;once all accustomed habits and\u0026nbsp;everyday sights to enter \u003c/em\u003ean\u0026nbsp;enchanted garden.\u0026rdquo;\u003c/em\u003e\u0026nbsp;\u0026#39;\u003c/em\u003e\u003cem\u003eLines Written among the Euganean Hills\u0026#39;\u0026nbsp;\u003c/em\u003eBy Percy Bysshe Shelley.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eOf het nu gaat om oogverblindende fluorescerende zeefdruk, de regenboogkleuren van het lichtspectrum of de diepe olieverftinten. Al het picturale werk van George Smits heeft \u0026eacute;\u0026eacute;n gemeenschappelijk doel: hier en nu deze concrete \u0026lsquo;hemelse\u0026rsquo; ervaring opwekken.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLumi\u0026egrave;re et couleur\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAvec ses s\u0026eacute;rigraphies, ses installations lumineuses et ses peintures, George Smits ne poursuit qu\u0026rsquo;un seul et m\u0026ecirc;me objectif\u0026nbsp;: faire vivre au spectateur une exp\u0026eacute;rience \u0026agrave; double sens, du \u0026laquo;\u0026nbsp;ciel\u0026nbsp;\u0026raquo; \u0026agrave; son \u0026acirc;me et inversement. Cette description peut para\u0026icirc;tre un peu \u0026eacute;th\u0026eacute;r\u0026eacute;e, mais pour qui contemple et prend plaisir \u0026agrave; l\u0026rsquo;\u0026eacute;clat de la lumi\u0026egrave;re et de la couleur, elle devient tr\u0026egrave;s concr\u0026egrave;te.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1980, George Smits r\u0026eacute;dige un commentaire explicatif de ses id\u0026eacute;es et r\u0026eacute;alisations autour de la lumi\u0026egrave;re et de la couleur.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;\u0026nbsp;Il y a trois ans, j\u0026rsquo;ai r\u0026eacute;alis\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres selon ce proc\u0026eacute;d\u0026eacute;. Sur de l\u0026rsquo;ac\u0026eacute;tate transparent, j\u0026rsquo;ai imprim\u0026eacute; ou peint des couleurs. Une feuille, pr\u0026eacute;sent\u0026eacute;e devant un morceau de papier aluminium d\u0026eacute;color\u0026eacute;, est \u0026eacute;clair\u0026eacute;e de mani\u0026egrave;re soudaine ou progressive par un spot puissant. J\u0026rsquo;ai trouv\u0026eacute; que l\u0026rsquo;effet \u0026eacute;tait beau, mais j\u0026rsquo;ai h\u0026eacute;sit\u0026eacute; quant \u0026agrave; la valeur des mat\u0026eacute;riaux utilis\u0026eacute;s et j\u0026rsquo;ai entam\u0026eacute; autre chose. Par hasard, j\u0026rsquo;ai lu l\u0026rsquo;ouvrage \u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/ave-dollar-c5980f0f-72fd-4872-aeba-ffc27c44ac9c/assets/30038?locale=nl\"\u003eHeaven \u0026amp; Hell\u003c/a\u003e \u003c/em\u003ed\u0026rsquo;Aldous Huxley dans lequel j\u0026rsquo;ai trouv\u0026eacute; l\u0026rsquo;explication de l\u0026rsquo;objectif d\u0026rsquo;une telle \u0026oelig;uvre, une explication que je ne pouvais pas formuler moi-m\u0026ecirc;me. Cela m\u0026rsquo;a incit\u0026eacute; \u0026agrave; entreprendre une nouvelle s\u0026eacute;rie. Ce sont \u0026agrave; nouveau des \u0026ldquo;symboles\u0026rdquo; (\u0026hellip;).\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eCi-dessous, un passage du livre cit\u0026eacute; pr\u0026eacute;c\u0026eacute;demment comme introduction \u0026agrave; la contemplation de cette \u0026oelig;uvre\u0026nbsp;:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;Le paradis semble, selon le christianisme, l\u0026rsquo;hindouisme, le bouddhisme ou l\u0026rsquo;islam, \u0026ecirc;tre rempli d\u0026rsquo;immeubles, qui scintillent de pierres pr\u0026eacute;cieuses, \u0026agrave; l\u0026rsquo;instar des arbres, des cours d\u0026rsquo;eau, des collines et des montagnes. Le ciel est-il un lieu de pierreries\u0026nbsp;? Comment cela\u0026nbsp;? L\u0026rsquo;\u0026ecirc;tre humain consacre \u0026eacute;norm\u0026eacute;ment de temps, d\u0026rsquo;argent et d\u0026rsquo;\u0026eacute;nergie \u0026agrave; la qu\u0026ecirc;te de pierres pr\u0026eacute;cieuses. Pourquoi\u0026nbsp;? L\u0026rsquo;avantage utilitaire de cette mati\u0026egrave;re n\u0026rsquo;explique pas ce comportement fantastique. Cependant, d\u0026egrave;s que l\u0026rsquo;on consid\u0026egrave;re les propri\u0026eacute;t\u0026eacute;s des exp\u0026eacute;riences visionnaires, tout s\u0026rsquo;explique.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEn vision, on per\u0026ccedil;oit une profusion de ce qu\u0026rsquo;\u0026Eacute;z\u0026eacute;chiel appelait des \u0026ldquo;pierres de feu\u0026rdquo;, ou ce que Weir Mitchell d\u0026eacute;crit comme des \u0026ldquo;fruits transparents\u0026rdquo;. Ces choses sont phosphorescentes, poss\u0026egrave;dent une brillance de couleur et une signification surnaturelles. Les objets mat\u0026eacute;riels qui ressemblent le plus \u0026agrave; ces sources de brillance surnaturelle sont les pierres pr\u0026eacute;cieuses. Poss\u0026eacute;der une telle pierre signifie poss\u0026eacute;der quelque chose dont la valeur est d\u0026eacute;montr\u0026eacute;e par le fait qu\u0026rsquo;elle existe dans un \u0026ldquo;autre monde\u0026rdquo;. Les pierres pr\u0026eacute;cieuses sont si pr\u0026eacute;cieuses parce qu\u0026rsquo;elles sont un p\u0026acirc;le reflet des miracles flamboyants vus par l\u0026rsquo;\u0026oelig;il int\u0026eacute;rieur de l\u0026rsquo;observateur. \u0026ldquo;Le visage du monde\u0026rdquo; dit Platon \u0026ldquo;est une vision pour bienheureux, car c\u0026rsquo;est une b\u0026eacute;n\u0026eacute;diction de pouvoir voir les choses comme elles sont.\u0026rdquo;\u0026nbsp;\u0026raquo; (traduction libre)\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eCe retour \u0026agrave; la source n\u0026rsquo;est pas purement symbolique\u0026nbsp;; il s\u0026rsquo;agit \u0026eacute;galement d\u0026rsquo;une question d\u0026rsquo;exp\u0026eacute;rience directe. Le trafic entre notre ancien monde et ses antipodes, entre \u0026laquo;\u0026nbsp;ici\u0026nbsp;\u0026raquo; et \u0026laquo;\u0026nbsp;l\u0026agrave;-bas\u0026nbsp;\u0026raquo;, est \u0026agrave; double sens. Les pierres pr\u0026eacute;cieuses, par exemple, proviennent du ciel visionnaire de l\u0026rsquo;\u0026acirc;me, mais ram\u0026egrave;nent aussi l\u0026rsquo;\u0026acirc;me au ciel. On se sent \u0026laquo;\u0026nbsp;transport\u0026eacute;\u0026nbsp;\u0026raquo; vers cette \u0026laquo;\u0026nbsp;autre terre\u0026nbsp;\u0026raquo; du dialogue platonicien, le lieu magique o\u0026ugrave; tout caillou est pierre pr\u0026eacute;cieuse.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOn atteint le m\u0026ecirc;me effet avec des \u0026oelig;uvres en verre, en m\u0026eacute;tal, avec du feu d\u0026rsquo;artifice dans l\u0026rsquo;obscurit\u0026eacute;, avec des repr\u0026eacute;sentations aux couleurs \u0026eacute;tincelantes et avec des joyeux, des fleurs, des coquillages, des plumes ou des paysages vus comme Shelley voyait Venise baign\u0026eacute;e dans l\u0026rsquo;extraordinaire lumi\u0026egrave;re du lever et du coucher du soleil qui modifie tout.\u0026nbsp;\u003c/em\u003e\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cem\u003e\u003cem\u003e\u0026ldquo;There is something so different in\u0026nbsp;Venice from any other place in\u0026nbsp;the world, that you leave at\u0026nbsp;once all accustomed habits and\u0026nbsp;everyday sights to enter\u0026nbsp;\u003c/em\u003ean\u0026nbsp;enchanted garden.\u0026rdquo;\u003c/em\u003e\u0026nbsp;\u0026#39;\u003c/em\u003e\u003cem\u003eLines Written among the Euganean Hills\u0026#39;\u0026nbsp;\u003c/em\u003eBy Percy Bysshe Shelley.\u0026nbsp;[\u0026laquo;\u0026nbsp;Venise a quelque chose de si diff\u0026eacute;rent de tout autre lieu dans le monde que l\u0026rsquo;on y abandonne d\u0026rsquo;un coup toutes ses habitudes et visions quotidiennes pour entrer dans un jardin enchant\u0026eacute;.\u0026nbsp;\u0026raquo;] (traduction libre)\u003c/p\u003e\r\n\r\n\u003cp\u003eQu\u0026rsquo;il s\u0026rsquo;agisse de s\u0026eacute;rigraphies fluorescentes aveuglantes, d\u0026rsquo;installations lumineuses aux couleurs chatoyantes du spectre ou de couleurs profondes de peinture \u0026agrave; l\u0026rsquo;huile, l\u0026rsquo;int\u0026eacute;gralit\u0026eacute; de l\u0026rsquo;\u0026oelig;uvre de George Smits est sous-tendue par un objectif commun\u0026nbsp;: \u0026eacute;veiller ici et maintenant une exp\u0026eacute;rience \u0026laquo;\u0026nbsp;c\u0026eacute;leste\u0026nbsp;\u0026raquo; concr\u0026egrave;te chez le spectateur.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003c!--[if !supportAnnotations]--\u003e\u003c!--[endif]--\u003e\u003c/p\u003e\r\n"}]},{"id":13348,"title":"Ave Dollar","dimensions":"","date_begin":"1972-01-01","material":"silkscreen; ink on paper","short_description":"\u003cp\u003eMAFprint\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Estate George Smits, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"ave-dollar","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":"George Smits","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/000/030/011/large/2015_Georges_Smit_Inbox_deel_2_photoM_HKA_clinckx25_1.jpg?1450704352","poster_credits":"Courtesy of the Estate George Smits, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":19971,"title":"Zelfportret","dimensions":"41 x 34 cm","date_begin":"1995-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1996-01-01","reference":"","stream_count_app":9,"permalink":"zelfportret-f395fef8-2ce0-47f6-8a3a-5da0a68cabcf","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/000/041/618/medium_500/20180709_ercola_0027.jpg?1536661708","cached_actor_names":"George Smits","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/000/041/618/large/20180709_ercola_0027.jpg?1536661708","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21312,"title":"Boek met proefdrukken en kleurstudies voor café De Schipper","dimensions":"67 x 51 cm","date_begin":"1973-01-01","material":"Cardboard, paper, silkscreen","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":131,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private collection","cached_tag_list":"George Smits","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"boek-met-proefdrukken-en-kleurstudies-voor-cafe-de-schipper","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/000/045/591/medium_500/Amberes_photo_M_HKA_cc_2019_cc__18.jpg?1559816411","cached_actor_names":"George Smits","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/000/045/591/large/Amberes_photo_M_HKA_cc_2019_cc__18.jpg?1559816411","poster_credits":"Private collection, image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFor George Smits, the creation of prosaic artforms for a broader public, served \u0026lsquo;a greater purpose\u0026rsquo; than the bourgeois artworld. The extreme integrity with which he pursued this goal is the connecting thread that runs through his diverse body of work. He was a fixture of Antwerp\u0026rsquo;s underground art scene, affiliated with the Ercola group, and preferred to describe himself as a beatnik.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1973, Smits created several graphic wallpaper and mirror designs intended for the nautical themed cafe \u003cem\u003eDe\u003c/em\u003e \u003cem\u003eSchipper\u003c/em\u003e in the centre of Antwerp, whose interior architecture was created by Luc Deleu. Smits designs are vivid and hallucinogenic, reflecting his alternative approach to life and work.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1970, Smits designed posters and created a permanent light show with light installations and liquid projections for Thalamus, a caf\u0026eacute; famed for its nightlife in Brussels that he frequented and occasionally worked in. Thalamus was also a favourite haunt of artist-poet Sophie Podolski, whose work Roberto Bola\u0026ntilde;o greatly admired.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoor George Smits diende het cre\u0026euml;ren van proza\u0026iuml;sche kunstvormen voor een breder publiek een \u0026#39;hoger doel\u0026#39; dan de bourgeois kunstwereld. De extreme integriteit waarmee hij dit doel nastreefde vormt de rode draad doorheen zijn diverse oeuvre. Hij was een vaste waarde in de Antwerpse \u003cem\u003eunderground\u003c/em\u003e kunstsc\u0026egrave;ne, verbonden met de Ercola-groep, en gaf er de voorkeur aan zichzelf als een beatnik te omschrijven.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1973 maakte Smits een aantal grafische behang- en spiegelontwerpen voor het caf\u0026eacute; De Schipper in het centrum van Antwerpen, waarvan het interieurarchitectuur in zeevaartstijl werd gecre\u0026euml;erd door Luc Deleu. De ontwerpen van Smits zijn levendig en hallucinatoir en weerspiegelen zijn alternatieve benadering van leven en werk.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1970 ontwierp Smits posters en cre\u0026euml;erde een permanente lichtshow met lichtinstallaties en vloeistofprojecties voor Thalamus, een bekend caf\u0026eacute; in het Brusselse nachtleven waar hij regelmatig kwam en soms werkte. Thalamus was ook een favoriet trefpunt van kunstenaar-dichter Sophie Podolski, wiens werk Roberto Bola\u0026ntilde;o zeer bewonderde.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePour George Smits, la cr\u0026eacute;ation de formes d\u0026rsquo;art prosa\u0026iuml;ques pour un large public sert un objectif plus vaste que celui du seul monde de l\u0026rsquo;art bourgeois. L\u0026rsquo;int\u0026eacute;grit\u0026eacute; extr\u0026ecirc;me avec laquelle il a poursuivi ce but est le fil conducteur qui parcourt l\u0026rsquo;ensemble du corpus diversifi\u0026eacute; de son \u0026oelig;uvre. Pilier de la sc\u0026egrave;ne underground anversoise, affili\u0026eacute; au groupe Ercola, il pr\u0026eacute;f\u0026eacute;rait se d\u0026eacute;crire comme un beatnik.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1973, Smits cr\u0026eacute;e plusieurs motifs graphiques de papier peint et de miroir pour le th\u0026egrave;me nautique du caf\u0026eacute; De Schipper (le marin) au centre-ville d\u0026rsquo;Anvers, dont l\u0026rsquo;int\u0026eacute;rieur \u0026eacute;tait sign\u0026eacute; de Luc Deleu. Les projets color\u0026eacute;s et hallucinatoires de Smits refl\u0026egrave;tent son approche alternative de la vie et du travail.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1970, Smits a con\u0026ccedil;u des affiches, cr\u0026eacute;\u0026eacute; une installation lumineuse permanente et des projections liquides pour le Thalamus, un caf\u0026eacute; bruxellois c\u0026eacute;l\u0026egrave;bre aupr\u0026egrave;s des noctambules qu\u0026rsquo;il fr\u0026eacute;quentait et o\u0026ugrave; il travaillait de temps \u0026agrave; autre. Le Thalamus \u0026eacute;tait aussi le lieu de pr\u0026eacute;dilection de l\u0026rsquo;artiste et po\u0026eacute;tesse Sophie Podolski, dont Roberto Bola\u0026ntilde;o admirait profond\u0026eacute;ment l\u0026rsquo;\u0026oelig;uvre.\u003c/p\u003e\r\n"}]},{"id":21314,"title":"2 spiegels Skipper","dimensions":"60 x 50 cm","date_begin":"1973-01-01","material":"2 mirrors","short_description":"\u003cp\u003eIn 1973, Smits created several graphic wallpaper and mirror designs intended for the nautical themed cafe \u003cem\u003eDe\u003c/em\u003e \u003cem\u003eSchipper\u003c/em\u003e in the centre of Antwerp, whose interior architecture was created by Luc Deleu. Smits designs are vivid and hallucinogenic, reflecting his alternative approach to life and work.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Luc Deleu","cached_tag_list":"George Smits Luc Deleu","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"2-spiegels-skipper","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eIn 1973 maakte Smits een aantal grafische behang- en spiegelontwerpen voor het caf\u0026eacute; De Schipper in het centrum van Antwerpen, waarvan het interieurarchitectuur in zeevaartstijl werd gecre\u0026euml;erd door Luc Deleu. De ontwerpen van Smits zijn levendig en hallucinatoir en weerspiegelen zijn alternatieve benadering van leven en werk.\u003c/p\u003e\r\n","short_description_fr":"\u003cp\u003eEn 1973, Smits cr\u0026eacute;e plusieurs motifs graphiques de papier peint et de miroir pour le th\u0026egrave;me nautique du caf\u0026eacute; De Schipper (le marin) au centre-ville d\u0026rsquo;Anvers, dont l\u0026rsquo;int\u0026eacute;rieur \u0026eacute;tait sign\u0026eacute; de Luc Deleu. Les projets color\u0026eacute;s et hallucinatoires de Smits refl\u0026egrave;tent son approche alternative de la vie et du travail.\u003c/p\u003e\r\n","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/000/045/589/medium_500/Amberes_photo_M_HKA_cc_2019_cc__16.jpg?1559816298","cached_actor_names":"Luc Deleu, George Smits","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/000/045/589/large/Amberes_photo_M_HKA_cc_2019_cc__16.jpg?1559816298","poster_credits":"Courtesy Luc Deleu, image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFor George Smits, the creation of prosaic artforms for a broader public, served \u0026lsquo;a greater purpose\u0026rsquo; than the bourgeois artworld. The extreme integrity with which he pursued this goal is the connecting thread that runs through his diverse body of work. He was a fixture of Antwerp\u0026rsquo;s underground art scene, affiliated with the Ercola group, and preferred to describe himself as a beatnik.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1973, Smits created several graphic wallpaper and mirror designs intended for the nautical themed cafe \u003cem\u003eDe\u003c/em\u003e \u003cem\u003eSchipper\u003c/em\u003e in the centre of Antwerp, whose interior architecture was created by Luc Deleu. Smits designs are vivid and hallucinogenic, reflecting his alternative approach to life and work.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1970, Smits designed posters and created a permanent light show with light installations and liquid projections for Thalamus, a caf\u0026eacute; famed for its nightlife in Brussels that he frequented and occasionally worked in. Thalamus was also a favourite haunt of artist-poet Sophie Podolski, whose work Roberto Bola\u0026ntilde;o greatly admired.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoor George Smits diende het cre\u0026euml;ren van proza\u0026iuml;sche kunstvormen voor een breder publiek een \u0026#39;hoger doel\u0026#39; dan de bourgeois kunstwereld. De extreme integriteit waarmee hij dit doel nastreefde vormt de rode draad doorheen zijn diverse oeuvre. Hij was een vaste waarde in de Antwerpse \u003cem\u003eunderground\u003c/em\u003e kunstsc\u0026egrave;ne, verbonden met de Ercola-groep, en gaf er de voorkeur aan zichzelf als een beatnik te omschrijven.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1973 maakte Smits een aantal grafische behang- en spiegelontwerpen voor het caf\u0026eacute; De Schipper in het centrum van Antwerpen, waarvan het interieurarchitectuur in zeevaartstijl werd gecre\u0026euml;erd door Luc Deleu. De ontwerpen van Smits zijn levendig en hallucinatoir en weerspiegelen zijn alternatieve benadering van leven en werk.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1970 ontwierp Smits posters en cre\u0026euml;erde een permanente lichtshow met lichtinstallaties en vloeistofprojecties voor Thalamus, een bekend caf\u0026eacute; in het Brusselse nachtleven waar hij regelmatig kwam en soms werkte. Thalamus was ook een favoriet trefpunt van kunstenaar-dichter Sophie Podolski, wiens werk Roberto Bola\u0026ntilde;o zeer bewonderde.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePour George Smits, la cr\u0026eacute;ation de formes d\u0026rsquo;art prosa\u0026iuml;ques pour un large public sert un objectif plus vaste que celui du seul monde de l\u0026rsquo;art bourgeois. L\u0026rsquo;int\u0026eacute;grit\u0026eacute; extr\u0026ecirc;me avec laquelle il a poursuivi ce but est le fil conducteur qui parcourt l\u0026rsquo;ensemble du corpus diversifi\u0026eacute; de son \u0026oelig;uvre. Pilier de la sc\u0026egrave;ne underground anversoise, affili\u0026eacute; au groupe Ercola, il pr\u0026eacute;f\u0026eacute;rait se d\u0026eacute;crire comme un beatnik.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1973, Smits cr\u0026eacute;e plusieurs motifs graphiques de papier peint et de miroir pour le th\u0026egrave;me nautique du caf\u0026eacute; De Schipper (le marin) au centre-ville d\u0026rsquo;Anvers, dont l\u0026rsquo;int\u0026eacute;rieur \u0026eacute;tait sign\u0026eacute; de Luc Deleu. Les projets color\u0026eacute;s et hallucinatoires de Smits refl\u0026egrave;tent son approche alternative de la vie et du travail.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1970, Smits a con\u0026ccedil;u des affiches, cr\u0026eacute;\u0026eacute; une installation lumineuse permanente et des projections liquides pour le Thalamus, un caf\u0026eacute; bruxellois c\u0026eacute;l\u0026egrave;bre aupr\u0026egrave;s des noctambules qu\u0026rsquo;il fr\u0026eacute;quentait et o\u0026ugrave; il travaillait de temps \u0026agrave; autre. Le Thalamus \u0026eacute;tait aussi le lieu de pr\u0026eacute;dilection de l\u0026rsquo;artiste et po\u0026eacute;tesse Sophie Podolski, dont Roberto Bola\u0026ntilde;o admirait profond\u0026eacute;ment l\u0026rsquo;\u0026oelig;uvre.\u003c/p\u003e\r\n"}]},{"id":27134,"title":"Invite Id'A Screen Machine","dimensions":"ca. 10 x 10 cm","date_begin":"1986-01-01","material":"paper, ink (printing)","short_description":"\u003cp\u003eInvitation\u0026nbsp; by Screen Machine\u0026nbsp; to a party in connection with \u0026quot;Initiatief d\u0026#39;Amis\u0026quot; in the Vooruit, Gent - JL did an installation in the Majolicazaal\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":84,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"Mail Art Graphic art pamflet publication","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"invite-id-a-screen-machine","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/000/060/710/medium_500/ssBlue2JL048.jpg?1598271778","cached_actor_names":"Jef Lambrecht, Dominique Grégoire , Jacques Lizène, Jacques Charlier, George Smits, Baudouin Oosterlynck, Hugo Roelandt","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/000/060/710/large/ssBlue2JL048.jpg?1598271778","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eInvitation\u0026nbsp; by Screen Machine\u0026nbsp; to a party in connection with \u0026quot;Initiatief d\u0026#39;Amis\u0026quot; in the Vooruit, Gent - JL did an installation in the Majolicazaal\u0026nbsp; -\u0026nbsp; initially a BIWA project but the scene of the first major breakup of the collaboration until 1988...\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eUitnodiging door Screen Machine voor een party ivm \u0026quot;Intitiatief d\u0026#39;Amis\u0026quot; in het Vooruit, Gent, JL deed daar een installatie in de Majolicazaal... het moest een BIWA optreden zijn maar was in feiter de eerste \u0026#39;breuk\u0026#39; tussen de directeuren (tot 1988)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":30634,"title":"Isomopolis","dimensions":"00:20:00","date_begin":"1981-01-01","material":"Video","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"isomopolis","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/000/074/969/medium_500/Smits_Still.jpg?1632230751","cached_actor_names":"George Smits","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/000/074/969/large/Smits_Still.jpg?1632230751","poster_credits":"Still: George Smits, Collection M HKA / Collection Flemish Community","translations":[{"locale":"en","description":"\u003cp\u003eVideo ICC Antwerpen, all installations, compositions copyright 1981 by George Smits\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]