[{"id":2236,"title":"235 Belangrijke en Minder Belangrijke Foto's van de 2de helft van de 20e Eeuw. [235 Important and Less Important Photos from the 2nd half of the 20th Century.]","dimensions":"235 x ( 26 x 19 cm)","date_begin":"1986-01-01","material":"photo, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"photography photo-installation","publishing_process_id":1,"annotation":"","date_end":"1995-01-01","reference":"BK6927","stream_count_app":52,"permalink":"235-belangrijke-en-minder-belangrijke-foto-s-van-de-2de-helft-van-de-20e-eeuw-235-important-and-less-important-photos-from-the-2nd-half-of-the-20th-century","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/890/large/Bijl,%20235%20belangrijke%20en%20minder%20belangrijke%20foto's%20%28detail%29p%5EhotoM%20HKAclinckx.jpg?1315232779","poster_credits":"(c)image: M HKA/CC","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e235 Important and Less Important Photographs from the Second Half of the 20th Century\u003c/em\u003e\u0026nbsp;show images of reality and deal with ordinary subjects. There are smaller series within the larger whole. They often show banal subjects such as a dog in a bath, people dancing at a party, Indians in a shop, and so on. Bijl devotes a lot of attention to the presentation of the photographs. All their frames are the same and they are all the same size. Some of the older photos are discoloured and the pictures were taken from various angles: from a distance, from close up, from below and from above. In many cases one can only see a part of the people in the photos. Bijl shows every facet of our society, and the changes in fashions and interests in the second half of the twentieth century. Leisure, travel, various cultures, sport, dogs and food all make their appearance. He has made a visual inventory of our time and his favourite subject is all things average. He shows us our era and our civilisation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eZoals de titel al doet vermoeden, bestaat deze reeks uit 235 foto\u0026rsquo;s uit de tweede helft van de twintigste eeuw. De foto\u0026rsquo;s tonen beelden uit de realiteit en behandelen alledaagse onderwerpen. Binnen de grote reeks foto\u0026rsquo;s bestaan er kleinere reeksen. Deze tonen vaak banale onderwerpen zoals een hond in een bad, dansende mensen op een feest, Indi\u0026euml;rs in een winkel, \u0026hellip; Bijl besteedt hier veel aandacht aan de presentatie van de 235 foto\u0026rsquo;s. Ze zitten allemaal in eenzelfde kader en ze zijn van gelijke grootte. Sommige oudere foto\u0026rsquo;s zijn verkleurd en de afbeeldingen zijn genomen vanuit verschillende standpunten: van ver, van dichtbij, van boven en van onder. De personen op de foto\u0026rsquo;s zijn vaak maar voor een deel te zien. Bijl toont hier onze maatschappij in al zijn facetten, en de verandering van modes en interesses gedurende de tweede helft van de twintigste eeuw. Ontspanning, reizen, verschillende culturen, sport, honden, eten: het komt allemaal aan bod. Hij maakt hier een visuele inventaris van onze tijd waarbij zijn lievelingsonderwerp het modale is. Het is een serie waarin hij ons tijdperk en onze beschaving toont.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eComme le titre de la deuxi\u0026egrave;me \u0026oelig;uvre de Bijl le laisse pr\u0026eacute;sumer, cette s\u0026eacute;rie de photos se compose de 235 photographies de la seconde moiti\u0026eacute; du XXe si\u0026egrave;cle, qui nous montrent des images de la r\u0026eacute;alit\u0026eacute; et traitent de la vie quotidienne. La grande s\u0026eacute;rie est \u0026agrave; son tour subdivis\u0026eacute;e en plus petites s\u0026eacute;ries, qui montrent souvent des sc\u0026egrave;nes banales, comme un chien dans un bain, des personnes qui dansent \u0026agrave; une f\u0026ecirc;te, des Indiens dans un magasin. Bijl accorde beaucoup d\u0026rsquo;attention \u0026agrave; la pr\u0026eacute;sentation des photographies ; elles sont toutes encadr\u0026eacute;es \u0026agrave; l\u0026rsquo;identique et ont \u0026agrave; peu pr\u0026egrave;s la m\u0026ecirc;me taille. Certaines photos plus anciennes sont d\u0026eacute;color\u0026eacute;es, et les images sont prises \u0026agrave; partir d\u0026rsquo;angles de vue diff\u0026eacute;rents : de loin, de pr\u0026egrave;s, par au-dessus, par en dessous. Souvent, les personnages sur les photos sont seulement partiellement visibles. Bijl montre la soci\u0026eacute;t\u0026eacute; sous toutes ses facettes : les \u0026eacute;volutions de la mode et de ce qui int\u0026eacute;resse le public au cours de la seconde moiti\u0026eacute; du XXe si\u0026egrave;cle. Loisirs, voyages, cultures diverses, sport, chiens, alimentation, etc. : tout y est abord\u0026eacute;. Cette s\u0026eacute;rie, par le biais de laquelle Bijl cherche \u0026agrave; repr\u0026eacute;senter notre \u0026eacute;poque et notre civilisation, constitue un inventaire visuel de notre \u0026egrave;re, domin\u0026eacute; par le registre favori de l\u0026rsquo;artiste, \u0026agrave; savoir l\u0026rsquo;aspect ordinaire, commun, courant des sujets pr\u0026eacute;sent\u0026eacute;s.\u003c/p\u003e\r\n"}]},{"id":3139,"title":"Neuer Supermarkt","dimensions":"81 x 71.5 cm","date_begin":"1990-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7590_08","stream_count_app":14,"permalink":"neuer-supermarkt","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIch zeige meine Zeit. Ich mache solche Inszenierungen, dass die Wirklichkeit, f\u0026uuml;r einen Augenblick, ebenfalls als eine Inszenierung betrachtet werden kann.\u0026quot;\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eGuillaume Bijl\u003c/strong\u003e\u0026nbsp;glaubt in den K\u0026uuml;nstler, der sich in die Welt einmischt und der unser Verst\u0026auml;ndnis von der Welt verbessert. Er schaut aufmerksam auf die Welt und macht eine Bewegung (wenn er eine Kunstgalerie in eine Fahrschule verwandelt), er nimmt einen Wechsel vor, die unser Verst\u0026auml;ndnis verbessert, indem unsere Wahrnehmung verbessert wird. Guillaume Bijl ist todernst und sogar realistisch; er entfremdet uns durch das Gew\u0026ouml;hnliche; macht gew\u0026ouml;hnliche Gesten und entfremdet uns vom Gew\u0026ouml;hnlichen, indem er sie gew\u0026ouml;hnlicher macht; h\u0026auml;lt die spezifische Mikrobedeutung vor. Indem das Gew\u0026ouml;hnliche noch gew\u0026ouml;hnlicher im naturalistischen Unternehmen gemacht wird. Es ist nachhaltig, weil er glaubt, dass es funktioniert. Es geht um die Unterdr\u0026uuml;ckung von allem, was das Banale weniger banal macht. Alle seine Arbeiten handeln von einer Bewegung, einer tats\u0026auml;chlichen Geste, die banal bleibt, komplett immanent. Gab es eine Beziehung mit Marcel Broodthaers? Bei Broodthaers geht es mehr um die M\u0026ouml;glichkeit der Transzendenz durch Poetik und Trauer \u0026uuml;ber den Verlust von Magie. Die Werke von Guillaume Bijl sind vielmehr naturalistisch beschreibende Unternehmungen.\u003c/p\u003e\r\n","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":"Guillaume Bijl","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/000/009/691/large/BK7590_B.jpg?1340018617","poster_credits":"(c)image: Ulli Lindmayr","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026#39;I show my time. I make sets in such a way that reality, for a moment, can also be seen as a set.\u0026quot;\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eGuillaume Bijl\u003c/strong\u003e\u0026nbsp;believes in the artist that interferes in the world and that enhances understanding of this world. He looks attentively at the world and he makes a move (when he turns an art-gallery into a car-driving school), he makes a shift which enhances our understanding by enhancing our perception. Guillaume Bijl is bloody serious even realistic; he is alienating us by the ordinary; making gestures in the ordinary and alienation us from the ordinary by making it more ordinary; withholding the specific micro-meaning. Making the ordinary even more ordinary as in naturalist enterprise. It is sustainable because he beliefs it, it works. It\u0026rsquo;s about suppressing everything that can make the banal less banal. All of his works are about making a move, a factual gesture which stays in banality, complete immanence. Was there a relationship with Marcel Broodthaers? Broodthaers is more about the possibility of transcendence by poetics and mourning the loss of magic. The works of Guillaume Bijl are more naturalist descriptive enterprises.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;Je montre mon \u0026eacute;poque. Je cr\u0026eacute;e des d\u0026eacute;cors de telle mani\u0026egrave;re que la r\u0026eacute;alit\u0026eacute; puisse \u0026eacute;galement \u0026ecirc;tre prise pour un d\u0026eacute;cor pendant un moment.\u0026nbsp;\u0026raquo;\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eGuillaume Bijl\u003c/strong\u003e\u0026nbsp;croit en l\u0026#39;artiste qui interf\u0026egrave;re dans le monde et qui am\u0026eacute;liore la compr\u0026eacute;hension de ce monde. Il observe attentivement le monde et il fait un mouvement (lorsqu\u0026#39;il transforme une galerie d\u0026#39;art en auto-\u0026eacute;cole), il effectue un d\u0026eacute;placement qui am\u0026eacute;liore notre compr\u0026eacute;hension en am\u0026eacute;liorant notre perception. Guillaume Bijl est terriblement s\u0026eacute;rieux, voire r\u0026eacute;aliste. Il nous ali\u0026egrave;ne par l\u0026#39;ordinaire en faisant des gestes dans l\u0026#39;ordinaire et en nous \u0026eacute;loignant de l\u0026#39;ordinaire en le rendant plus ordinaire, retenant la micro-signification sp\u0026eacute;cifique. Rendre l\u0026#39;ordinaire encore plus ordinaire, comme dans une entreprise naturaliste. C\u0026#39;est durable parce qu\u0026#39;il y croit, cela fonctionne. Il est question ici de supprimer tout ce qui peut rendre le banal moins banal. Toutes ses oeuvres tournent autour du geste, un geste factuel qui reste dans la banalit\u0026eacute;, une totale immanence. Y avait-il une relation avec Marcel Broodthaers ? Broodthaers s\u0026#39;int\u0026eacute;resse plus \u0026agrave; la possibilit\u0026eacute; de transcendance par la po\u0026eacute;sie et le deuil de la perte de la magie. Les oeuvres de Guillaume Bijl sont des entreprises de description plus naturalistes.\u003c/p\u003e\r\n"}]},{"id":3117,"title":"10 kleurenfoto’s van installaties","dimensions":"31 x 49 cm","date_begin":"1979-01-01","material":"photographs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eCollection Foundation Gordon Matta-Clark\u003c/p\u003e\r\n","date_end":"1985-01-01","reference":"S0085","stream_count_app":30,"permalink":"10-colour-photographs-of-installations","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/000/071/700/medium_500/2021_04_30_MHKA_-034-bewerkt-15.jpg?1620306299","cached_actor_names":"Guillaume Bijl","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/000/071/700/large/2021_04_30_MHKA_-034-bewerkt-15.jpg?1620306299","poster_credits":"Courtesy Guillaume Bijl, image: (c) We Document Art, Collection M HKA, Foundation Gordon Matta-Clark","translations":[{"locale":"en","description":"\u003cp\u003eThe ten photographs are recordings of installations by Guillaume Bijl. The artist provides a complete metamorphosis to galleries, museums and art fairs. He has built exhibition spaces into a driving school, a showroom for second-hand cars, a shoe store, lighting store, hair salon, health club, gym and Oriental rug emporium. In total, he has carried out around fifty of these transformation-operations, of which only a few have a museum as final destination.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe tien foto\u0026rsquo;s zijn registraties van installaties van Guillaume Bijl. De kunstenaar liet ruimtes in galerijen, musea en kunstbeurzen een volledige metamorfose ondergaan. Hij bouwde de tentoonstellingsruimtes om tot autorijschool, toonzaal van occasie-wagens, schoenwinkel, verlichtingszaak, ziekenzaal, kapsalon, fitnesszaal, turnzaal of Oosterse tapijtenwinkel. In totaal realiseerde hij een vijftigtal van deze transformatie-operaties, waarvan enkele ook een definitieve museumbestemming kregen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":3119,"title":"TV-Quiz decor [TV Quiz Show Decor]","dimensions":"1300 x 900 x 400 cm","date_begin":"1993-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"M HKA Collection, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK6880","stream_count_app":29,"permalink":"tv-quiz-decor-tv-quiz-show-decor","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/710/medium_500/Bijl__Guillaume__TV-Quiz_Dekor__1993_foto_Syb%27l._S._-_Pictures.jpg?1340020484","cached_actor_names":"Guillaume Bijl","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/000/009/710/large/Bijl__Guillaume__TV-Quiz_Dekor__1993_foto_Syb'l._S._-_Pictures.jpg?1340020484","poster_credits":"(c)image: Syb'l S'Pictures","translations":[{"locale":"en","description":"\u003cp\u003e*\u0026ldquo;I show my time. I make d\u0026eacute;cors in a way that for a moment reality too may be seen as d\u0026eacute;cor. We live in a d\u0026eacute;cor, and I make people aware of that.\u0026rdquo;* *TV-Quiz Decor* from 1993 is a perfect illustration of Bijl\u0026rsquo;s worldview where, stimulated by advertising and the media, a shift occurs from reality to fiction and then back again. We see a minutely detailed reconstruction of a TV studio, complete with podium and flickering lights on the steps, two desks with score panels, cameras and a grand prize in the form of a shiny red car. All this in a darkened space, ready for showtime. *TV-Quiz Decor* straddles the interface between culture and commerce. Does a museum room stop being such when it\u0026rsquo;s transformed this way into a TV studio? With the text displayed on the giant monitor, \u0026#39;Le Jeu de l\u0026#39;Art\u0026#39;, Bijl makes literal reference to the current art scene, which according to him is evermore becoming a show tent.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026ldquo;Ik toon mijn tijd. Ik maak decors op zo\u0026#39;n manier dat de realiteit \u0026eacute;\u0026eacute;n moment ook als decor kan bekeken worden. We leven in een decor, en daar maak ik de mensen van bewust.\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;TV-Quiz Decor\u0026nbsp;\u003c/em\u003euit 1993 is een perfecte illustratie van Bijls kijk op een wereld waarin, gestimuleerd door publiciteit en media, een verschuiving plaatsvindt van realiteit naar fictie en omgekeerd. We zien een tot in de puntjes nagebouwde televisiestudio, inclusief podium met flikkerende traplichtjes, twee desks met puntenscherm, camera\u0026rsquo;s en een hoofdprijs in de vorm van een blinkende rode auto. Dit alles in een verduisterde ruimte die klaar lijkt voor opname. \u003cem\u003eTV-Quiz Decor\u003c/em\u003e\u0026nbsp;situeert zich op het raakvlak tussen cultuur en commercie. Houdt een museumzaal die op deze manier getransformeerd wordt tot televisiestudio niet op een museumzaal te zijn? Met de tekst op de reuzenmonitor \u0026#39;Le Jeu de l\u0026#39;Art\u0026#39; verwijst Bijl letterlijk naar de actuele kunstsc\u0026egrave;ne die, volgens hem, meer en meer een spektakeltent wordt.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":3124,"title":"Project m.b.t. Kunstliquidatie","dimensions":"80 x 60 cm","date_begin":"1977-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7589_4","stream_count_app":24,"permalink":"project-m-b-t-kunstliquidatie--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/706/medium_500/BK7589_D.jpg?1340020118","cached_actor_names":"Guillaume Bijl","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/706/large/BK7589_D.jpg?1340020118","poster_credits":"(c)image: Ulli Lindmayr","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":397,"title":"Projecten [Projects]","dimensions":"13 x (30 x 40 cm)","date_begin":"1977-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7591","stream_count_app":71,"permalink":"projecten-projects--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/805/large/BK7591_A.jpg?1346354873","poster_credits":"(c)image: Ulrike Lindmayr","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Social determination, political indoctrination, mass conditioning, generally unconscious, masturbation cultural, scientific aggression, zelfzekerdheid (sic) on basic social status, are elements that frequently recur in my work. Some \u0026quot;narrative\u0026quot; works, but sizeable projects (in the form of streets, museums and gallery transformations) testify to this. I try in these projects, as close as possible to reality contiguous situation or system (see series of treatments), devoid of aesthetics, material strip, and symbolism recreated, where the spectator (participant) directly into gekonfonteerd is. A certain element of humor creates a tragicomic effect and a necessary relativation without agitation target limit.\u0026quot;\u003c/em\u003e\u0026nbsp;(Gillaume\u0026nbsp;Bijl)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Sociale determinatie, politieke indoctrinatie, massaconditionering, algemeen onbewustzijn, culturele masturbatie, wetenschappelijke agressie, zelfzekerdheid (sic) op maatschappelijke status-basis; zijn elementen die regelmatig terugkomen in mijn werk. Enkele \u0026ldquo;narrative\u0026rdquo; werken, maar vooral vrij omvangrijke projecten (in de vorm van straat-, musea-, en galerijtransformaties) getuigen hiervan. Ik tracht in deze projecten, een zo dicht mogelijk bij de realiteit aansluitende situatie of systeem (zie reeks behandelingen), wars van estetiek, materietrip, en symboliek te herschapen, waar de toeschouwer (deelnemer) rechtstreeks mee gekonfonteerd wordt. Een zeker humorelement zorgt voor een tragikomisch effect en een noodzakelijke relativatie, zonder het agitatiedoel te beperken.\u0026quot;\u003c/em\u003e (Guillaume Bijl)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5217,"title":"CHAUSSURES Icécé","dimensions":"","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"installation","publishing_process_id":1,"annotation":"\u003cp\u003eJune 1980, Antwerp, ICC, Meir 50, 2000 Antwerp\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":21,"permalink":"chaussures-icece--2","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/000/009/670/large/Guillaume_Bijl__Chaussures_Ic%C3%A9c%C3%A9_%281980%29.jpg?1340013272","poster_credits":"(c)image: ICC Archive ","translations":[{"locale":"en","description":"\u003cp\u003eGuillaume Bijl rebuilds the ICC to create a realistic-looking shoestore. Passersby went into the store, but waited in vain for a seller.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eGuillaume Bijl bouwt het ICC om tot een realistisch ogende schoenwinkel. Toevallige voorbijgangers gingen de winkel binnen, maar wachtten er vergeefs op een verkoper.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5215,"title":"CHAUSSURES Icécé","dimensions":"variable dimensions","date_begin":"1980-01-01","material":"ink, paper, paint, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"photography object","publishing_process_id":1,"annotation":"\u003cp\u003ephotographic documentation\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":16,"permalink":"chaussures-icece","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":"Guillaume Bijl","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/849/large/Guillaume_Bijl_Chaussures_Ic%C3%A8c%C3%A8.JPG?1349356901","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eGuillaume Bijl realizes a shoe shop called *Chaussures Icécé* for the exhibition ‘1980’ in the ICC-exhibition space. The inspiration for this work comes from the posh shoe shops on the Meir in Antwerp. *Chaussures Icécé* is Bijl’s third transformation-installation and the first, that in the context of the art-liquidation projects, is not a so called government initiative.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eGuillaume Bijl realiseert voor de tentoonstelling ‘1980’ een schoenenzaak *Chaussures Icécé* in een salon op de gelijkvloerse verdieping van de ICC-tentoonstellingsruimte (in het Bisschoppelijk Paleis op de Meir). Daarbij laat hij zich inspireren door de chique schoenenzaken op de Meir. Chaussures Icécé is Bijls derde transformatie-installatie en de eerste die, nog steeds in het kader van de kunst-liquidatieprojecten, uitbesteed wordt aan een 'particulier' (en dus geen zogenaamd overheidsinitiatief meer is).\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":5942,"title":"Project - notities [Project Notes]","dimensions":"","date_begin":"1969-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1975-01-01","reference":"BK7592","stream_count_app":30,"permalink":"project-notities-project-notes","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/288/large/Afbeelding1.jpg?1346940124","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"From 1969 to 1970 Guillaume Bijl briefly follows  theater and film studies that result in some experiments, among other things this series *Project - Notes (1969-1975)*. The projects consist of a description of plastic compositions and project proposals. They are diary wise typed on graph paper, and form the origin of his later [*Situation-Installations*](http://ensembles.mhka.be/ensembles/situatie-installaties-situation-installations).\r\n\r\n"},{"locale":"nl","description":"Van 1969 tot 1970 volgt Guillaume Bijl kortstondig theater- en filmstudies die resulteren in enkele experimenten, onder ander in de start van deze reeks *Project - notities (1969- 1975)*. De projecten bestaan uit een beschrijving van plastische composities en projectvoorstellen. Ze zijn dagboekgewijs uitgetypt op ruitjespapier, en vormen de oorsprong van zijn latere [*Situatie-Installaties*](http://ensembles.mhka.be/ensembles/situatie-installaties-situation-installations)."},{"locale":"fr","description":""}]},{"id":5941,"title":"Affiches","dimensions":"variable dimensions","date_begin":null,"material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":126,"platform_id":1,"deleted":false,"asset_count":19,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7590","stream_count_app":52,"permalink":"affiches","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/096/large/BK7590_A.jpg?1346355962","poster_credits":"(c)image: Ulrike Lindmayr","translations":[{"locale":"en","description":"\u003cp\u003eSome of the posters are related to installations that Guillaum Bijl made. He (co-)designed them himself and sees them as graphical extensions of his art practice. The posters are usually shown in the city, so that the man in the street gets involved (the name \u0026lsquo;Guillaume Bijl\u0026rsquo; is added very small at the side of the posters, as a copyright). Then there are the posters that accompany the Guillaume Bijl expostions, like the expo in S.M.A.K. or in Graz. Here Bijl also always tries to be involved with the design. He doesn\u0026rsquo;t trust graphic designers too much.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026#39;Bij sommige installaties was ik in de gelegenheid om een affiche te maken zoals bv. De Caravanshow in Grenoble of een antiekzaak in het M HKA, die sluiten aan bij de transformatie-installaties. Ik heb er zo een stuk of 15 gemaakt, die zullen tentoongesteld worden. Ik heb ze allemaal zelf mee gedesigned, in feite is dat een grafisch verlengstuk van mijn kunstpraktijk. Gewoonlijk hangen die in de stad, die worden verdeeld en de gewone man in de straat wordt er zo bij betrokken (waarbij ik de naam \u0026lsquo;Guillaume Bijl\u0026rsquo; heel klein opzij zet, als copyright). En dan zijn er affiches, gewoon bij Guillaume Bijl-tentoonstellingen, zoals in het S.M.A.K. een paar jaar geleden of in Graz. Dat houd ik ook een beetje in het oog, wat ze daarmee doen, ik probeer zowel de publicaties als bij affiches die nauw betrokken zijn bij een tentoonstelling grafisch op te volgen. Ik vertrouw veel designers niet.\u0026#39;\u0026nbsp;\u003c/em\u003e - Guillaume Bijl\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5851,"title":"Guillaume Bijl","dimensions":"23 x 31,5 cm, 136p., publisher : Museum van Hedendaagse Kunst, Antwerpen, ISBN : 90-72828-02-X","date_begin":"1996-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1995/217","stream_count_app":10,"permalink":"guillaume-bijl","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/312/large/__Photo_M_HKA__56.jpg?1458556256","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Lilian Dewachter (Curator MuHKA)\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Stephan Berg, Florent Bex (Director MuHKA), Guillaume Bijl, Frank Vande Veire.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition travelled to : Kunstverein Freiburg (D), Kunstverein Hannover (D), Stedelijk Museum Het Domein Sittard (NL), Arken Museum for Moderne Kunst Ish\u0026oslash;j (DE), Mus\u0026eacute;e d\u0026#39;Art Contemporain de Montr\u0026eacute;al (CAN) \u0026amp; Neue Galerie am Landesmuseum Joanneum, Graz (AU).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditor : Lilian Dewachter (Curator MuHKA)\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Stephan Berg, Florent Bex (Director MuHKA), Guillaume Bijl, Frank Vande Veire.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition travelled to : Kunstverein Freiburg (D), Kunstverein Hannover (D), Stedelijk Museum Het Domein Sittard (NL), Arken Museum for Moderne Kunst Ish\u0026oslash;j (DE), Mus\u0026eacute;e d\u0026#39;Art Contemporain de Montr\u0026eacute;al (CAN) \u0026amp; Neue Galerie am Landesmuseum Joanneum, Graz (AU).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditor : Lilian Dewachter (Curator MuHKA)\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Stephan Berg, Florent Bex (Director MuHKA), Guillaume Bijl, Frank Vande Veire.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis exhibition travelled to : Kunstverein Freiburg (D), Kunstverein Hannover (D), Stedelijk Museum Het Domein Sittard (NL), Arken Museum for Moderne Kunst Ish\u0026oslash;j (DE), Mus\u0026eacute;e d\u0026#39;Art Contemporain de Montr\u0026eacute;al (CAN) \u0026amp; Neue Galerie am Landesmuseum Joanneum, Graz (AU).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":5989,"title":"Project Pleasures","dimensions":"6 x (80 x 60 cm)","date_begin":"1977-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7589","stream_count_app":28,"permalink":"project-pleasures","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/282/large/BK7589_C.jpg?1346938079","poster_credits":"(c)image: Ulrike Lindmayr","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eProject-Pleasures\u003c/em\u003e\u0026nbsp;are a series of white drawings and texts on black cardboard, with a wink to Jim Dine \u003cem\u003ePainting Pleasures\u003c/em\u003e. The \u003cem\u003eProject Pleasures\u003c/em\u003e\u0026nbsp;represent small interventions in reality. Bijl sees them as the precursors of his later \u0026lsquo;situation-installations\u0026rsquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe \u003cem\u003eProject-Pleasures\u003c/em\u003e\u0026nbsp;vormen een reeks van witte tekeningen en witte teksten op zwart karton, met een knipoog naar Jim Dine\u0026#39;s \u003cem\u003ePainting Pleasure\u003c/em\u003es\u0026nbsp;van rond 1969. De \u003cem\u003eProject-Pleasures\u003c/em\u003e\u0026nbsp;stellen kleine interventies in het weefsel van de realiteit voor. Bijl omschrijft ze als de voorlopers van de latere \u0026#39;situatie-installaties\u0026#39;.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes \u003cem\u003eProject-Pleasures\u003c/em\u003e\u0026nbsp;constituent une s\u0026eacute;rie de dessins blancs et de textes blancs sur carton noir, avec un clin d\u0026#39;\u0026oelig;il aux \u003cem\u003ePainting Pleasure\u003c/em\u003es\u0026nbsp;de Jim Dine aux alentours de 1969. Les \u003cem\u003eProject-Pleasures\u003c/em\u003e\u0026nbsp;placent de petites interventions dans le tissu de la r\u0026eacute;alit\u0026eacute;. Bijl se d\u0026eacute;crit comme le pr\u0026eacute;curseur des \u0026#39;installations de situation\u0026#39; ult\u0026eacute;rieures.\u003c/p\u003e\r\n"}]},{"id":6073,"title":"Behandelingen","dimensions":"6 x (80 x 60 cm)","date_begin":"1975-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eAquisition on behalf of the Flemish Community. Elaborate scripts in word and image.\u003c/p\u003e\r\n","date_end":"1979-01-01","reference":"BK7802_M506","stream_count_app":30,"permalink":"behandelingen","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/000/012/850/medium_500/2012_Zaalzicht_Bijl.JPG?1349357036","cached_actor_names":"Guillaume Bijl","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/000/012/850/large/2012_Zaalzicht_Bijl.JPG?1349357036","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eGuillaume Bijl\u0026#39;s \u003cem\u003eBehandelingen\u003c/em\u003e [\u003cem\u003eTreatments\u003c/em\u003e] are purposeful, detailed scripts played out in both words and images; these also form the basis of Bijls\u0026#39; later \u0026ldquo;transformative installations\u0026rdquo;. For the \u003cem\u003eBehandelingen\u003c/em\u003e Bijl designs a number of concrete and detailed interactive pathways that lead the visitor through the different stages of a key (but nevertheless mundane) event. For example, his treatments include a variety of topics: Church, Education, Army, Travel, Building, Ambition, Sex, Psychiatry and the \u0026#39;Sleur van een alledaags Arbeidersleven\u0026#39; [The daily grind of the average blue-collar worker]. Bijl digs into his own personal experiences acquired during his studies and work as a source of inspiration; however, personal experience is not the only thing he draws from. He also employs the know-how he has accumulated in various fields (visual arts, literature, film and theatre).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBehandelingen\u003c/em\u003e\u0026nbsp;zijn meer doelgerichte en uitgewerkte scripts in woord en beeld. Deze\u0026nbsp;\u003cem\u003eBehandelingen\u003c/em\u003e\u0026nbsp;zijn meer ingrijpend. Ze liggen aan de basis van Bijls latere \u0026#39;transformatie-installaties\u0026#39;. Voor de \u003cem\u003eBehandelingen\u003c/em\u003e\u0026nbsp;ontwerpt Bijl immers een aantal concrete en gedetailleerde ervaringsparcours die de bezoeker / deelnemer doorheen de verschillende stadia van een cruciaal (maar banaal) gebeuren leiden. Zo zijn er de behandelingen Kerk, Onderwijs, Leger, Reizen, Bouwen, Arrivisme, Sex, Psychiatrie en \u0026#39;Sleur van een alledaags Arbeidersleven\u0026#39;. Hiervoor put Bijl uit zijn persoonlijke ervaringen, opgedaan tijdens studies en werk. Tegelijkertijd zet hij zijn op diverse gebieden vergaarde knowhow (beeldende kunst, literatuur, film en theater) in. \u003cem\u003eBehandeling Leger\u003c/em\u003e\u0026nbsp;(1976) wordt door Bijl als volgt samengevat: \u0026quot;De tentoonstellingsruimte wordt hier omgevormd tot een actief belevingsveld voor de deelnemende \u0026#39;toeschouwers\u0026#39;, die elk afzonderlijk tijdens een circa 6 uur durende \u0026#39;rondgang\u0026#39; een militair \u0026#39;gedwongen\u0026#39; avontuur beleven, bijgestaan door \u0026#39;begeleiders\u0026#39;.\u0026quot;\u0026nbsp;Bijls driedimensionale hyperrealisme vertaalt zich in de precisie en de detaillering waarmee hij te werk gaat, een werkwijze die hem ook vandaag kenmerkt. De \u0026#39;kamerstructuur\u0026#39; van het Turnhoutse Beroepsherori\u0026euml;ntatie-centrum (1980) en de Psychiatrische Instelling die Bijl het jaar daarop in het PSK realiseert, vloeien rechtstreeks uit de \u0026#39;omgevormde tentoonstellingsruimte\u0026#39; van de \u003cem\u003eBehandelingen\u0026nbsp;\u003c/em\u003evoort.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTraitements\u003c/em\u003e\u0026nbsp;ce sont des sc\u0026eacute;narios en mot et en image plus cibl\u0026eacute;s et d\u0026eacute;velopp\u0026eacute;s. Les \u003cem\u003eTraitements\u003c/em\u003e\u0026nbsp;sont plus radicaux. Ils sont \u0026agrave; la base des \u0026#39;installations de transformation\u0026#39; ult\u0026eacute;rieurs de Bijls. En effet, pour les \u003cem\u003eTraitements,\u003c/em\u003e\u0026nbsp;Bijl cr\u0026eacute;e un certain nombre de parcours d\u0026#39;exp\u0026eacute;rience concrets et d\u0026eacute;taill\u0026eacute;s qui guident le visiteur / participant au fil des diff\u0026eacute;rents stades d\u0026#39;un \u0026eacute;v\u0026eacute;nement crucial (mais banal). Citons ainsi les traitements \u0026Eacute;glise, Enseignement, Arm\u0026eacute;e, Voyages, Construction, Arrivisme, Sexe, Psychiatrie et \u0026#39;Train-train quotidien de la Vie d\u0026#39;Ouvrier\u0026#39;. Pour ce faire, Bijl a puis\u0026eacute; dans ses exp\u0026eacute;riences personnelles, v\u0026eacute;cues pendant ses \u0026eacute;tudes et sa vie professionnelle. En m\u0026ecirc;me temps, il utilise le savoir-faire acquis dans divers domaines (Beaux-Arts, litt\u0026eacute;rature, cin\u0026eacute;ma et th\u0026eacute;\u0026acirc;tre). \u003cem\u003eTraitement Arm\u0026eacute;e\u003c/em\u003e\u0026nbsp;(1976) est r\u0026eacute;sum\u0026eacute; comme suit par Bijl : L\u0026#39;espace d\u0026#39;exposition est transform\u0026eacute; ici en champ d\u0026#39;exp\u0026eacute;rience actif pour les \u0026#39;spectateurs\u0026#39; participants qui vivent chacun isol\u0026eacute;ment, pendant une \u0026#39;tourn\u0026eacute;e\u0026#39; de 6 heures environ, une aventure militaire \u0026#39;forc\u0026eacute;e\u0026#39; avec l\u0026#39;assistance \u0026#39;d\u0026#39;accompagnateurs\u0026#39;. L\u0026#39;hyperr\u0026eacute;alisme en trois dimensions de Bijls se traduit par la pr\u0026eacute;cision et les d\u0026eacute;tails avec lesquels il travaille, une m\u0026eacute;thode qui le caract\u0026eacute;rise aujourd\u0026#39;hui encore. La \u0026#39;structure de chambre\u0026#39; du centre d\u0026#39;orientation professionnelle de Turnhout (1980) et l\u0026#39;Institut psychiatrique r\u0026eacute;alis\u0026eacute;s par Bijl l\u0026#39;ann\u0026eacute;e pr\u0026eacute;c\u0026eacute;dente au PSK d\u0026eacute;coulent directement de \u0026#39;l\u0026#39;espace d\u0026#39;exposition transform\u0026eacute;\u0026#39; des \u003cem\u003eTraitements\u003c/em\u003e.\u003c/p\u003e\r\n"}]},{"id":3118,"title":"Composition Trouvée (à l'affiche / prochainement)","dimensions":"100 x 180 x 6 cm","date_begin":"1993-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK6136","stream_count_app":21,"permalink":"composition-trouvee-a-l-affiche-prochainement","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":"Guillaume Bijl","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/000/012/639/large/Bijl__Guillaume__Compositions__Trouv%C3%A9__1993.jpg?1348736857","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAn example of a \u003cem\u003eComposition trouv\u0026eacute;e\u003c/em\u003e are these two display cases with posters and photos from old films from 1993. In contrast to Bijl\u0026#39;s \u003cem\u003eTransformation Installations\u003c/em\u003e, only a piece of reality is shown here. It concerns consciously composed recognisable compositions that do not attempt to evoke a complete set. Not just ordinary objects are shown here, but also the display of those objects is shown (the display cases). The photos and posters are therefore not taken out of their familiar context, the artist also shows (part of) the decor. This leads to a reconstruction of highly recognisable forms of presentation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoorbeeld van een *composition trouv\u0026eacute;e* zijn deze twee vitrinekasten met affiches en foto\u0026rsquo;s van oude films uit 1993. In tegenstelling tot Bijls \u0026lsquo;Transformatie-installaties\u0026rsquo; wordt hier maar een stukje van de realiteit getoond. Het gaat om bewust samengestelde herkenbare composities die geen volledig decor trachten te evoceren. Niet enkel gewone voorwerpen, hier foto\u0026rsquo;s en posters, worden getoond, maar ook het tonen van die voorwerpen wordt getoond (de vitrinekasten). De foto\u0026rsquo;s en affiches worden dus niet uit hun vertrouwde context gehaald, de kunstenaar laat ook (een deel van) het decor zien. Dit leidt tot een reconstructie van zeer herkenbare presentatievormen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":167,"title":"Autorijschool Z [Car - driving school Z]","dimensions":"260 x 535 x 1024 cm","date_begin":"1979-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1989-01-01","reference":"S0032","stream_count_app":62,"permalink":"autorijschool-z-car-driving-school-z","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/000/048/344/medium_500/Scan_Origineel_GB_Autorijschool_V3.jpg?1567156909","cached_actor_names":"Guillaume Bijl","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/000/000/294/large/Bijl,%200004%20Guillaume,%20Autorijschool%20Z,%20%201979-1989%20photo%20Syb'l%20S%20Pictures.jpg?1300283984","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 1979 Guillaume Bijl wrote a fictional pamphlet in which he stated that the government had decided that art was socially irrelevant and that art spaces should be converted into places of benefit to society. The first work of art in this \u0026lsquo;Art Liquidation Project\u0026rsquo; was the installation *Driving School Z *(1979). Bijl closed the Ruimte Z gallery in Antwerp and transformed it into a socially beneficial institution, a driving school. He fitted out the space with all the accessories associated with a driving school and so created a perfect imitation of reality. Over the front window hangs a sign saying Autorijschool Z (\u0026lsquo;Driving School Z\u0026rsquo;). The scene was set so meticulously that chance passers-by assumed the gallery had become a driving school. The illusion was perfect. The artist also realised that when assembling the installation he was acting as a sculptor in his choice and arrangement of the objects. *\u0026lsquo;Every installation I create is actually thoroughly well-considered. What I make is always like a stage set. It is composed in a deliberate, reasoned way so as to portray reality\u0026rsquo;*\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1979 schrijft de kunstenaar Guillaume Bijl een fictief pamflet waarin hij de overheid laat besluiten dat kunst maatschappelijk irrelevant is en dat kunstruimtes dan ook omgevormd moeten worden tot ruimten met een sociaal nut. Het eerste kunstwerk in dit \u0026lsquo;Kunstliquidatieproject\u0026rsquo; is de installatie *Autorijschool Z*(1979). Bijl sluit fictief de Antwerpse galerie Ruimte Z en transformeert ze in een nuttige maatschappelijke instelling, namelijk een autorijschool. De ruimte wordt ingericht met attributen die verband hebben met een rijschool en wordt zo een perfecte nabootsing van de werkelijkheid. Aan de etalage hangt een bord waarop \u0026lsquo;Autorijschool Z\u0026rsquo; te lezen staat. De enscenering was zo precies uitgevoerd dat toevallige voorbijgangers veronderstelden dat de galerie een autorijschool was geworden. Er waren zelfs mensen die zich wilden laten inschrijven. De illusie was perfect. Tenslotte realiseerde de kunstenaar zich dat hij bij het maken van de installatie als beeldhouwer handelde in de keuze en ordening van de objecten. *\u0026ldquo;In feite is elke installatie die ik maak zeer beredeneerd. Het blijft een decor dat ik maak. Het is op een bewuste, beredeneerde manier samengesteld om de realiteit weer te geven\u0026rdquo;*.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 1979, l\u0026rsquo;artiste Guillaume Bijl r\u0026eacute;dige un pamphlet fictif dans lequel les autorit\u0026eacute;s publiques d\u0026eacute;clarent que l\u0026rsquo;art n\u0026rsquo;ayant aucune pertinence sociale, elles ont d\u0026eacute;cid\u0026eacute; de transformer les espaces d\u0026rsquo;art en lieux d\u0026rsquo;utilit\u0026eacute; sociale. La premi\u0026egrave;re \u0026oelig;uvre r\u0026eacute;alis\u0026eacute;e dans le cadre de ce projet de \u0026laquo; Liquidation de l\u0026rsquo;Art \u0026raquo; est l\u0026rsquo;installation *Autorijschool Z*(1979). Bijl ferme fictivement la galerie anversoise Ruimte Z et la transforme en institution d\u0026rsquo;utilit\u0026eacute; publique, \u0026agrave; savoir une auto-\u0026eacute;cole. L\u0026rsquo;espace est am\u0026eacute;nag\u0026eacute; avec les attributs habituels d\u0026rsquo;une auto-\u0026eacute;cole et devient ainsi une imitation parfaite de la r\u0026eacute;alit\u0026eacute;. \u0026Agrave; l\u0026rsquo;\u0026eacute;talage, un panneau indique Autorijschool Z (Auto-\u0026Eacute;cole Z). La reconstitution \u0026eacute;tait tellement m\u0026eacute;ticuleuse que certains passants pensaient que la galerie avait de fait ferm\u0026eacute; ses portes pour c\u0026eacute;der la place \u0026agrave; une auto-\u0026eacute;cole. L\u0026rsquo;illusion \u0026eacute;tait parfaite. Pour finir, l\u0026rsquo;artiste se rend compte qu\u0026rsquo;en r\u0026eacute;alisant cette installation, il a proc\u0026eacute;d\u0026eacute; en tant que sculpteur dans le choix et la disposition des objets. *\u0026laquo; En fait, chacune de mes installations est tr\u0026egrave;s r\u0026eacute;fl\u0026eacute;chie. Cela demeure un d\u0026eacute;cor que je compose de mani\u0026egrave;re consciente et raisonn\u0026eacute;e pour reconstituer la r\u0026eacute;alit\u0026eacute;. \u0026raquo;*\u003c/p\u003e\r\n"}]},{"id":3116,"title":"Composition Trouvée (Rommelmarkt)","dimensions":"75 x 220 x 230 cm","date_begin":"1988-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5714_M75","stream_count_app":37,"permalink":"composition-trouvee-rommelmarkt","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003e\u0026Omicron;\u0026iota;\u003cem\u003e \u0026Tau;\u0026upsilon;\u0026chi;\u0026alpha;ί\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026theta;έ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;\u003c/em\u003e\u003cem\u003e \u0026tau;\u0026omicron;\u0026upsilon; \u0026Beta;\u0026epsilon;\u0026lambda; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026tau;\u0026rho;\u0026iota;\u0026sigma;\u0026delta;\u0026iota;ά\u0026sigma;\u0026tau;\u0026alpha;\u0026tau;\u0026alpha; \u0026kappa;\u0026omicron;\u0026lambda;ά\u0026zeta; \u0026tau;\u0026upsilon;\u0026chi;\u0026alpha;ί\u0026omega;\u0026nu; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;έ\u0026nu;\u0026omega;\u0026nu; \u0026sigma;\u0026epsilon; \u0026iota;\u0026delta;\u0026iota;\u0026alpha;ί\u0026tau;\u0026epsilon;\u0026rho;\u0026alpha; \u0026epsilon;\u0026pi;\u0026epsilon;\u0026xi;\u0026epsilon;\u0026rho;\u0026gamma;\u0026alpha;\u0026sigma;\u0026mu;έ\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026theta;έ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026omicron;ύ\u0026nu; \u0026mu;\u0026iota;\u0026kappa;\u0026rho;ά \u0026sigma;ύ\u0026nu;\u0026omicron;\u0026lambda;\u0026alpha; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf;, \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026nu;ή\u0026theta;\u0026omega;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026iota;ά\u0026zeta;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron; \u0026pi;\u0026lambda;\u0026alpha;ί\u0026sigma;\u0026iota;\u0026omicron; \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026mu;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026epsilon;ί\u0026omicron;\u0026upsilon;. Έ\u0026tau;\u0026sigma;\u0026iota; \u0026pi;\u0026omicron;\u0026upsilon; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026alpha;\u0026pi;\u0026omicron;\u0026mu;\u0026omicron;\u0026nu;ώ\u0026sigma;\u0026epsilon;\u0026iota; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026sigma;\u0026upsilon;\u0026nu;\u0026eta;\u0026theta;\u0026iota;\u0026sigma;\u0026mu;έ\u0026nu;\u0026omicron; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026beta;ά\u0026lambda;\u0026lambda;\u0026omicron;\u0026nu; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026alpha;\u0026upsilon;\u0026tau;ά \u0026tau;\u0026alpha; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha;, \u0026omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026pi;\u0026iota;\u0026tau;\u0026upsilon;\u0026gamma;\u0026chi;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026alpha;\u0026rho;\u0026kappa;\u0026epsilon;\u0026tau;ά \u0026pi;\u0026alpha;\u0026rho;ά\u0026delta;\u0026omicron;\u0026xi;\u0026eta; \u0026epsilon;\u0026nu;\u0026tau;ύ\u0026pi;\u0026omega;\u0026sigma;\u0026eta;, \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026nu;ί\u0026zeta;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron;\u0026nu; \u0026alpha;\u0026nu;\u0026theta;\u0026rho;\u0026omega;\u0026pi;\u0026omicron;\u0026gamma;\u0026epsilon;\u0026nu;ή \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;ή\u0026rho;\u0026alpha; \u0026alpha;\u0026upsilon;\u0026tau;ώ\u0026nu; \u0026tau;\u0026omega;\u0026nu; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026upsilon;\u0026eta;\u0026mu;ά\u0026tau;\u0026omega;\u0026nu; \u0026tau;\u0026eta;\u0026sigmaf; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026phi;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026sigma;ί\u0026alpha;\u0026sigmaf;. \u0026Eta; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026epsilon;\u0026mu;\u0026phi;\u0026alpha;\u0026nu;ί\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026omega;\u0026sigmaf; \u0026kappa;ά\u0026tau;\u0026iota; \u0026mu;\u0026eta; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό, ή \u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026eta;\u0026tau;ό.\u003c/em\u003e\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/755/large/Bijl__Guillaume__Compositions_Trouv%C3%A9__1993%281%29.JPG?1340633621","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eBijl\u0026rsquo;s \u003cem\u003eCompositions Trouv\u0026eacute;es\u003c/em\u003e\u0026nbsp;are carefully composed montages of found objects. They are little pieces of reality, which are usually displayed in a museum context. As the artist has removed these objects from their usual settings, the overall impression created is rather odd and the man-made, fantastic character of the work is accentuated. Reality appears as something unreal or artificial.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe \u003cem\u003eCompositions Trouv\u0026eacute;es\u003c/em\u003e\u0026nbsp;van Bijl zijn zorgvuldig gecomponeerde assemblages van gevonden voorwerpen. Het zijn kleine sneden uit de realiteit, die meestal in een museale context worden getoond. Doordat de kunstenaar deze voorwerpen uit hun vertrouwde omgeving haalt, krijgt het geheel een vreemde uitstraling en valt het gemaakte en fantastische karakter op. De werkelijkheid verschijnt als iets onwerkelijks, als iets artificieel.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLes \u003cem\u003eCompositions Trouv\u0026eacute;es\u003c/em\u003e\u0026nbsp;de Guillaume Bijl sont des assemblages d\u0026rsquo;objets trouv\u0026eacute;s que l\u0026rsquo;artiste compose avec minutie. Il s\u0026rsquo;agit de petites tranches de r\u0026eacute;alit\u0026eacute;, g\u0026eacute;n\u0026eacute;ralement montr\u0026eacute;es dans un contexte mus\u0026eacute;al. Retir\u0026eacute;s de leur contexte familier, ces objets constituent un ensemble qui d\u0026eacute;gage quelque chose d\u0026rsquo;\u0026eacute;trange et dont le caract\u0026egrave;re fabriqu\u0026eacute; et fantastique frappe. La r\u0026eacute;alit\u0026eacute; para\u0026icirc;t irr\u0026eacute;elle, voire artificielle.\u003c/p\u003e\r\n"}]},{"id":13172,"title":"Guillaume Bijl - Passages - \"An intro to creative visualization\"","dimensions":"21 x 14.9 cm, 59 p., published by Stichting Kunst en Projecten vzw, Zedelgem, series : Passages, nr. 3/1, idea/concept/layout by Guillaume Bijl","date_begin":"1989-01-01","material":"Ink, paper","short_description":"","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 book","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2027/164","stream_count_app":6,"permalink":"guillaume-bijl-passages-an-intro-to-creative-visualization","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/325/large/artistbooks_7_36_26_44.jpg?1453213645","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7065,"title":"Guillaume Bijl 'Four American Artists (Janet Fleisch, William Hall, Sam Roberts, Rick Tavares)'","dimensions":"25.9 x 20.9 cm, 11p., language : English, concept catalogue : Guillaume Bijl, publisher : Museum am Ostwall, Dortmund ","date_begin":"1988-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist book ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/55","stream_count_app":16,"permalink":"guillaume-bijl-four-american-artists-janet-fleisch-william-hall-sam-roberts-rick-tavares","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/195/large/DSC_5348.jpg?1366022552","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3126,"title":"Project m.b.t. Kunstliquidatie","dimensions":"80 x 60 cm","date_begin":"1977-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7589_6","stream_count_app":20,"permalink":"project-m-b-t-kunstliquidatie","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/704/medium_500/BK7589_F.jpg?1340019889","cached_actor_names":"Guillaume Bijl","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/704/large/BK7589_F.jpg?1340019889","poster_credits":"(c)image: Ulli Lindmayr","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3115,"title":"Mon Chalet [My Chalet]","dimensions":"310 x 310 x 230 cm","date_begin":"1987-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"\u003cp\u003ewooden chalet with accesories, 4 wooden walls with door and 2 roof supports, 3 chalet decks, 2 lanters with plastic plants, sign \u0026#39;chalet\u0026#39;, ax, clothesline with socks, 2 little cabines, 1 chair, 1 children\u0026#39;s rocking chair, coat G. Bijl, garden basket, 2 bags with leaves, curtains, 2 little paintings, 2 extra wooden poles, umbrella, 6 roofpanels, 6 corrugated plates\u003c/p\u003e\r\n","date_end":null,"reference":"BK6054_M114","stream_count_app":30,"permalink":"mon-chalet-my-chalet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/668/large/Byl__Guillaume.jpg?1340009721","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eMon Chalet\u003c/em\u003e\u0026nbsp;is the first work that Guillaume Bijl realized in the series \u0026#39;Situation-Installations\u0026#39; intended for the open air. It is a pre-fab chalet with typical furnishings. Guillaume Bijl calls his \u0026#39;Situation-Installations\u0026#39; \u0026lsquo;a non-reality within a reality\u0026rsquo;. These are small, image-disturbing interventions in the everyday environment \u0026ndash; or, in the present case, in the museum space. With the installation \u003cem\u003eMon Chalet\u003c/em\u003e, Bijl creates a new reality which vis-\u0026agrave;-vis true reality comes over as absurdist and surreal. He makes it clear that art resides in a domain that falls between reality and fiction and, by definition, contains an estranging dimension.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eMon Chalet\u003c/em\u003e\u0026nbsp;is het eerste werk dat Guillaume Bijl realiseerde in de reeks \u0026#39;Situatie-Installaties\u0026#39; voor openlucht. Het betreft een prefab-chalet met typische binnenhuisinrichting. Guillaume Bijl noemt zijn \u0026#39;Situatie-Installaties\u0026#39; \u0026#39;een niet-werkelijkheid in een werkelijkheid\u0026#39;. Het zijn kleine, beeldverstorende ingrepen in de alledaagse omgeving - of, in het huidige geval, in de museumruimte. Met de installatie\u003cem\u003e Mon Chalet\u0026nbsp;\u003c/em\u003ecre\u0026euml;ert Bijl een nieuwe werkelijkheid die ten opzichte van de echte realiteit overkomt als surre\u0026euml;el en absurdistisch. Hij maakt duidelijk dat kunst zich ophoudt in een gebied tussen werkelijkheid en fictie en per definitie een vervreemdend aspect in zich heeft.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eMon Chalet\u003c/em\u003e\u0026nbsp;est la premi\u0026egrave;re oeuvre que Guillaume Bijl a r\u0026eacute;alis\u0026eacute;e dans la s\u0026eacute;rie \u0026#39;Situation-Installations\u0026#39; pour le plein-air. Il s\u0026#39;agit d\u0026#39;un chalet pr\u0026eacute;fabriqu\u0026eacute; avec un am\u0026eacute;nagement int\u0026eacute;rieur typique. Guillaume Bijl fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; sa s\u0026eacute;rie \u0026#39;Situation-Installations\u0026#39; comme \u0026agrave; \u0026#39;une non-r\u0026eacute;alit\u0026eacute; dans une r\u0026eacute;alit\u0026eacute;\u0026#39;. Il s\u0026#39;agit de petites interventions qui perturbent l\u0026#39;image dans l\u0026#39;environnement quotidien ou, dans le cas pr\u0026eacute;sent, dans le mus\u0026eacute;e. Avec l\u0026#39;installation\u003cem\u003e Mon Chalet\u003c/em\u003e, Bijl cr\u0026eacute;e une nouvelle r\u0026eacute;alit\u0026eacute; qui para\u0026icirc;t surr\u0026eacute;aliste et absurde par rapport \u0026agrave; la r\u0026eacute;alit\u0026eacute; vraie. Il fait comprendre clairement que l\u0026#39;art s\u0026#39;en tient \u0026agrave; un domaine situ\u0026eacute; entre la r\u0026eacute;alit\u0026eacute; et la fiction et, par d\u0026eacute;finition, comporte un aspect de distanciation.\u003c/p\u003e\r\n"}]},{"id":15514,"title":"Sorry (Paddestoelen)","dimensions":"","date_begin":"2016-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK2017_001","stream_count_app":19,"permalink":"sorry-paddestoelen","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":"Guillaume Bijl","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/035/141/large/GB_Sorry_Paddestoelen.png?1490363711","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37090,"title":"Sorry","dimensions":"170,5 x 39 x 39 cm","date_begin":"2024-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Guillaume Bijl Estate","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"sorry-96b96568-f8ed-4b7b-b869-fd83d31a5367","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/307/medium_500/Guillaume_Bijl.jpg?1764253138","cached_actor_names":"Guillaume Bijl","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/307/large/Guillaume_Bijl.jpg?1764253138","poster_credits":"© Guillaume Bijl Estate","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15507,"title":"Sorry","dimensions":"35 x 35 x 40 cm","date_begin":"2014-01-01","material":"1 glass ice cream bowl, 2 champagne glasses and 1 ceramic coffee cup in a display cabinet (ed. 12 + 3 A.P.)","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":"M HKA,  Antwerp","cached_tag_list":"Guillaume Bijl Sorry Multiple","publishing_process_id":1,"annotation":"\u003cp\u003e\u003ci\u003e\u003cstrong\u003e\"I show my time. I make sets in such a way that reality, for a moment, can also be seen as a set.\"\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e«\u0026nbsp;Je montre mon époque. Je crée des décors de telle manière que la réalité puisse également être prise pour un décor pendant un moment.\u0026nbsp;»\u003c/i\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGuillaume Bijl started compiling his absurd assemblages from existing objects in 1987. Because he felt as though he was being ‘unfaithful’ to his realistic form, he called the works ‘Sorries’. By collecting objects related to our consumer society he assess mass culture and challenges the viewer’s sense of judgement. Aren’t we too easily led astray by the dazzling banality of consumer products?\u003c/strong\u003e\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eGuillaume Bijl\u0026nbsp;believes in the artist that interferes in the world and that enhances understanding of this world. He looks attentively at the world and he makes a move (when he turns an art-gallery into a car-driving school), he makes a shift which enhances our understanding by enhancing our perception. Guillaume Bijl is bloody serious even realistic; he is alienating us by the ordinary; making gestures in the ordinary and alienation us from the ordinary by making it more ordinary; withholding the specific micro-meaning. Making the ordinary even more ordinary as in naturalist enterprise. It is sustainable because he beliefs it, it works. It’s about suppressing everything that can make the banal less banal. All of his works are about making a move, a factual gesture which stays in banality, complete immanence. Was there a relationship with Marcel Broodthaers? Broodthaers is more about the possibility of transcendence by poetics and mourning the loss of magic. The works of Guillaume Bijl are more naturalist descriptive enterprises.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003cstrong\u003eGuillaume Bijl\u003c/strong\u003e\u0026nbsp;croit en l'artiste qui interfère dans le monde et qui améliore la compréhension de ce monde. Il observe attentivement le monde et il fait un mouvement (lorsqu'il transforme une galerie d'art en auto-école), il effectue un déplacement qui améliore notre compréhension en améliorant notre perception. Guillaume Bijl est terriblement sérieux, voire réaliste. Il nous aliène par l'ordinaire en faisant des gestes dans l'ordinaire et en nous éloignant de l'ordinaire en le rendant plus ordinaire, retenant la micro-signification spécifique. Rendre l'ordinaire encore plus ordinaire, comme dans une entreprise naturaliste. C'est durable parce qu'il y croit, cela fonctionne. Il est question ici de supprimer tout ce qui peut rendre le banal moins banal. Toutes ses oeuvres tournent autour du geste, un geste factuel qui reste dans la banalité, une totale immanence. Y avait-il une relation avec Marcel Broodthaers ? Broodthaers s'intéresse plus à la possibilité de transcendance par la poésie et le deuil de la perte de la magie. Les oeuvres de Guillaume Bijl sont des entreprises de description plus naturalistes.\u003c/p\u003e","date_end":null,"reference":"M00228","stream_count_app":32,"permalink":"sorry-b63b1c48-2e93-4dc5-a890-e149e987b631","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eIch zeige meine Zeit. Ich mache solche Inszenierungen, dass die Wirklichkeit, für einen Augenblick, ebenfalls als eine Inszenierung betrachtet werden kann.\"\u003c/i\u003e\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003cstrong\u003eGuillaume Bijl\u003c/strong\u003e\u0026nbsp;glaubt in den Künstler, der sich in die Welt einmischt und der unser Verständnis von der Welt verbessert. Er schaut aufmerksam auf die Welt und macht eine Bewegung (wenn er eine Kunstgalerie in eine Fahrschule verwandelt), er nimmt einen Wechsel vor, die unser Verständnis verbessert, indem unsere Wahrnehmung verbessert wird. Guillaume Bijl ist todernst und sogar realistisch; er entfremdet uns durch das Gewöhnliche; macht gewöhnliche Gesten und entfremdet uns vom Gewöhnlichen, indem er sie gewöhnlicher macht; hält die spezifische Mikrobedeutung vor. Indem das Gewöhnliche noch gewöhnlicher im naturalistischen Unternehmen gemacht wird. Es ist nachhaltig, weil er glaubt, dass es funktioniert. Es geht um die Unterdrückung von allem, was das Banale weniger banal macht. Alle seine Arbeiten handeln von einer Bewegung, einer tatsächlichen Geste, die banal bleibt, komplett immanent. Gab es eine Beziehung mit Marcel Broodthaers? Bei Broodthaers geht es mehr um die Möglichkeit der Transzendenz durch Poetik und Trauer über den Verlust von Magie. Die Werke von Guillaume Bijl sind vielmehr naturalistisch beschreibende Unternehmungen.\u003c/p\u003e","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/969/medium_500/Guillaume_Bijl_Sorry_Multiple.jpg?1487327316","cached_actor_names":"Guillaume Bijl","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/034/969/large/Guillaume_Bijl_Sorry_Multiple.jpg?1487327316","poster_credits":"© Guillaume Bijl/SABAM Belgium","translations":[{"locale":"en","description":"\u003cp\u003eEach work in Guillaume Bijl’s ‘Sorry’ series is a surreal, absurd and humorous assemblage of found objects. By extracting kitsch elements from everyday reality and reframing them as art, Bijl interrogates the values of mass culture. This work is constructed from plastic consumer goods and refers to a world that runs (wildly) on sugar, coffee and alcohol.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eElk werk uit de reeks ‘Sorry’ van Guillaume Bijl is een surrealistische, absurde en humoristische assemblage van gevonden voorwerpen. Door kitschelementen uit de realiteit te plukken en als kunstwerk te tonen, neemt Bijl de massacultuur op de korrel. Dit werk is opgebouwd consumptiemiddelen uit plastic en verwijst naar een wereld die (dol)draait op suiker, koffie en alcohol.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eChaque œuvre de la série « Sorry » de Guillaume Bijl est un assemblage surréaliste, absurde et humoristique d’objets trouvés. En prélevant des éléments kitsch de la réalité pour les présenter comme des œuvres d’art, Bijl s’en prend à la culture de masse. Cette œuvre est composée de produits de consommation en plastique et fait référence à un monde qui tourne (à toute vitesse) au sucre, au café et à l’alcool.\u0026nbsp;\u003c/p\u003e"}]}]