[{"id":4373,"title":"Travelling sur un mur (je ne procréerai pas)","dimensions":" 00:02:56","date_begin":"1971-01-01","material":"8 mm film transferred to DVD","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","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e8 mm film transferred to DVD, duration: 00:02:56\u003c/p\u003e\r\n","date_end":null,"reference":"M00134","stream_count_app":16,"permalink":"travelling-sur-un-mur-je-ne-procreerai-pas--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/780/medium_500/Liz%C3%A8ne__Jaqcues_TravellingSurUnMur3.jpg?1343649061","cached_actor_names":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/780/large/Liz%C3%A8ne__Jaqcues_TravellingSurUnMur3.jpg?1343649061","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4375,"title":"Interruption de lumière","dimensions":"00:03:39","date_begin":"1971-01-01","material":"8 mm film transferred to dvd ","short_description":"\u003cp\u003eInitially intended as a colour film where the camera, in close-up, shoots the electric plug of the projector lighting the very scene and after 3 minutes the director\u0026rsquo;s hand jerks the plug out and plunges the rest of the film into darkness, the project was finally made in 1974 but in black \u0026amp; white video. According to Liz\u0026egrave;ne : \u0026ldquo;has hopes of being boring, not bad at all!\u0026rdquo;. (source: Argos)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e8 mm film transferred to dvd, without sound. Duration: 00:03:39\u003c/p\u003e\r\n","date_end":null,"reference":"M00136","stream_count_app":34,"permalink":"interruption-de-lumiere","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/000/011/782/medium_500/Liz%C3%A8ne__Jaqcues_InterruptionDeLumiere2.jpg?1343649440","cached_actor_names":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/781/large/Liz%C3%A8ne__Jaqcues_InterruptionDeLumiere.jpg?1343649282","poster_credits":"(c)Jacques Lizène. image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4378,"title":"Caméra à hauteur des yeux, du sexe, des pieds","dimensions":"","date_begin":"1971-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"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\u003e8 mm film transferred to dvd, without sound. Duration: 00:04:31\u003c/p\u003e\r\n","date_end":null,"reference":"M00139","stream_count_app":17,"permalink":"camera-a-hauteur-des-yeux-du-sexe-des-pieds","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/000/011/786/medium_500/Liz%C3%A8ne_Jacques_Camera_a_hauteur_des_yeux.jpg?1343649859","cached_actor_names":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/786/large/Liz%C3%A8ne_Jacques_Camera_a_hauteur_des_yeux.jpg?1343649859","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4374,"title":"Tentative de dressage d'une caméra suivi d'une tentative d'échapper à la surveillance d'une caméra.1971.","dimensions":" 00:02:00","date_begin":null,"material":"portapack transferred to dvd, with sound.","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eportapack transferred to dvd, with sound. Duration: 00:02:00\u003c/p\u003e\r\n","date_end":null,"reference":"M00135","stream_count_app":26,"permalink":"tentative-de-dressage-d-une-camera-suivi-d-une-tentative-d-echapper-a-la-surveillance-d-une-camera-1971","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/000/009/243/medium_500/Lizene_Jacques__Tentative_De_Dressage_still2.jpg?1336737401","cached_actor_names":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/243/large/Lizene_Jacques__Tentative_De_Dressage_still2.jpg?1336737401","poster_credits":"© image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4377,"title":"Filmer le bas des murs au cours d'une longue promenade urbaine","dimensions":"00:04:53","date_begin":"1971-01-01","material":"8 mm film transferred to dvd, without sound.","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"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\u003e8 mm film transferred to dvd, without sound. Duration: 00:04:53\u003c/p\u003e\r\n","date_end":null,"reference":"M00138","stream_count_app":22,"permalink":"filmer-le-bas-des-murs-au-cours-d-une-longue-promenade-urbaine","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/000/011/785/medium_500/Liz%C3%A8ne__Jaqcues_Filmer_de_Bas_de_Mur3.jpg?1343649724","cached_actor_names":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/783/large/Liz%C3%A8ne__Jaqcues_Filmer_de_Bas_de_Mur1971.jpg?1343649574","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14322,"title":"Personnage photographié regardant le spectateur d'une photo. Personnage photographié essayant de se dérober au regard d'un spectateur d'une photo","dimensions":"","date_begin":"1971-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie Guy Jungblut - Andrée Blavier","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"personnage-photographie-regardant-le-spactateur-d-une-photo-personnage-photographie-essayant-de-se-derober-au-regard-d-un-spectateur-d-une-photo","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/000/033/022/large/JacquesLiz%C3%A8ne_.jpg?1475506795","poster_credits":"image: (c) M HKA, Collectie Guy Jungblut - Andrée Blavier","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eCharacter photographed as he looks at the spectator of a picture. Character photographed while trying to escape the gaze of the spectator of a picture\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026quot;How can you speak in earnest about someone who doesn\u0026#39;t want to be earnest? What kind of approach do you take then, since the artist thus shows his true colours and in doing so neutralises any criticism in advance? (...) Liz\u0026egrave;ne has expressed himself through all genres and techniques. His style comes down to a humorous attitude that quite often messes around with decency and common norms, in an equally stunning and amazement-inspiring way. His mocking attitude, however, leads to glory because, as he debunks myths, his own myth is being reinforced. (...)\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eFlorent Bex, in cat. \u003cem\u003eMade in Belgium\u003c/em\u003e, p. 12, Casino, Knokke, 1986\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;Hoe kan je in alle ernst spreken over iemand die van geen ernst wil weten? Wat voor invalshoek neem je dan aan, vermits de kunstenaar aldus kleur bekent en daardoor bij voorbaat alle kritiek neutraliseert? (\u0026hellip;) Liz\u0026egrave;ne heeft zich aan de hand van alle genres en technieken uitgedrukt. Zijn stijl komt neer op een humoristische ingesteldheid die behoorlijk vaak het fatsoen en de gangbare normen overhoop haalt, op een net zo prachtige als verbijstering wekkende manier. Zijn spottende houding leidt evenwel naar de glorie, want naarmate hij mythen ontkracht wordt zijn eigen mythe meer kracht bijgezet. (\u0026hellip;)\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eFlorent Bex, in cat. \u003cem\u003eMade in Belgium\u003c/em\u003e, p. 12, Casino, Knokke, 1986\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Comment peut-on parler avec gravit\u0026eacute; de quelqu\u0026rsquo;un qui refuse d\u0026rsquo;\u0026ecirc;tre s\u0026eacute;rieux\u0026nbsp;? Quel point de vue faut-il alors adopter, \u0026eacute;tant donn\u0026eacute; que l\u0026rsquo;artiste annonce ainsi la couleur et neutralise d\u0026rsquo;embl\u0026eacute;e toute critique de la sorte\u0026nbsp;?\u0026nbsp;\u0026raquo; [\u0026hellip;] Liz\u0026egrave;ne s\u0026rsquo;est exprim\u0026eacute; au moyen de tous les genres et techniques. Son style \u0026eacute;quivaut \u0026agrave; un \u0026eacute;tat d\u0026rsquo;esprit humoristique qui \u0026eacute;branle souvent la d\u0026eacute;cence et les normes usuelles de mani\u0026egrave;re aussi magnifique que stup\u0026eacute;fiante. Son attitude narquoise m\u0026egrave;ne cependant \u0026agrave; la gloire, car \u0026agrave; mesure qu\u0026rsquo;il infirme des mythes, il consolide son propre mythe. [\u0026hellip;]\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eFlorent Bex, dans\u0026nbsp;cat. \u003cem\u003eMade in Belgium\u003c/em\u003e, p. 12, Casino, Knokke, 1986\u003c/p\u003e\r\n"}]},{"id":722,"title":"Chaise découpée [Cut-Up Chair]","dimensions":"83 x 40 x 35 cm","date_begin":"1964-01-01","material":"wood, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"object","publishing_process_id":1,"annotation":"","date_end":"2008-01-01","reference":"M00144","stream_count_app":54,"permalink":"chaise-decoupee-cut-up-chair","description_ru":"","description_de":"\u003cp\u003eDer Stuhl nimmt im Werk von Jacques Liz\u0026egrave;ne, dem selbsterkl\u0026auml;rten \u0026lsquo;kleinen Meister aus L\u0026uuml;ttich\u0026rsquo; eine besondere Rolle an. Liz\u0026egrave;ne liebt es, die (Kunst-)Welt auf den Kopf zu setzen. F\u0026uuml;r ihn sind Kunst und das Leben eng miteinander verbunden. Daneben ist es nicht die Form des Kunstwerks, sondern eher die Haltung des K\u0026uuml;nstlers, die wichtig ist. Das Werk von Liz\u0026egrave;ne stellt auf kritische Weise den Platz des K\u0026uuml;nstlers, der Kunst und der Kunstwelt in Frage.\u003c/p\u003e\r\n\r\n\u003cp\u003eSt\u0026uuml;hle sind ein beliebtes Medium von Liz\u0026egrave;ne, weil sie perfekt geeignet sind, um zahlreiche Formen und Funktionen anzunehmen. Es sind sowohl K\u0026ouml;rper als auch Ger\u0026uuml;ste: sitzende, ruhende, l\u0026auml;dierte Einheiten, aber auch Tr\u0026auml;ger, Tragbahren, Rahmen und Strukturen. Diese zwei geteilte Identit\u0026auml;t schlie\u0026szlig;t an zwei Elemente aus dem Werk von Liz\u0026egrave;ne an: Genetik und der Tod.\u003c/p\u003e\r\n\r\n\u003cp\u003eIndem Liz\u0026egrave;ne zwei verschiedene St\u0026uuml;hle aufschneidet und erneut montiert, schafft er ein skulpturales Objekt. In diesen Skulpturen wird deutlich die Verbindung zur Genetik geschaffen, das Zusammenbringen von zwei Strukturen, um eine neue Form zu bilden. Die St\u0026uuml;hle waren mal banale, allt\u0026auml;gliche Gegenst\u0026auml;nde; indem sie neu formuliert und verschmolzen werden, bilden diese Hybride mehr als die Summe ihre Einzelteile.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Omicron; \u0026Zeta;\u0026alpha;\u0026kappa; \u0026Lambda;\u0026iota;\u0026zeta;έ\u0026nu; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026pi;\u0026iota;\u0026phi;\u0026upsilon;\u0026lambda;ά\u0026sigma;\u0026sigma;\u0026epsilon;\u0026iota; \u0026sigma;\u0026upsilon;\u0026nu;\u0026epsilon;\u0026chi;ώ\u0026sigmaf; \u0026epsilon;\u0026kappa;\u0026pi;\u0026lambda;ή\u0026xi;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Alpha;\u0026rho;έ\u0026sigma;\u0026kappa;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026epsilon;\u0026nu;\u0026epsilon;\u0026rho;\u0026gamma;\u0026epsilon;ί \u0026omega;\u0026sigmaf; \u0026laquo;\u0026sigma;\u0026upsilon;\u0026sigma;\u0026kappa;\u0026epsilon;\u0026upsilon;ή \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;ώ\u0026lambda;\u0026upsilon;\u0026sigma;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026pi;\u0026iota;\u0026kappa;\u0026omicron;\u0026iota;\u0026nu;\u0026omega;\u0026nu;\u0026iota;ώ\u0026nu;\u0026raquo; \u0026mu;\u0026epsilon; \u0026sigma;\u0026tau;ό\u0026chi;\u0026omicron; \u0026nu;\u0026alpha; \u0026phi;έ\u0026rho;\u0026nu;\u0026epsilon;\u0026iota; \u0026tau;\u0026alpha; \u0026pi;ά\u0026nu;\u0026omega; \u0026kappa;ά\u0026tau;\u0026omega; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron; (\u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf;).\u0026nbsp; \u0026Gamma;\u0026iota;\u0026#39; \u0026alpha;\u0026upsilon;\u0026tau;ό\u0026nu;, \u0026zeta;\u0026omega;ή \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026alpha;\u0026lambda;\u0026lambda;\u0026eta;\u0026lambda;έ\u0026nu;\u0026delta;\u0026epsilon;\u0026tau;\u0026epsilon;\u0026sigmaf;.\u0026nbsp; \u0026Sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026sigma;ί\u0026alpha; \u0026delta;\u0026epsilon;\u0026nu; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026eta; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026tau;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf;, \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026eta; \u0026sigma;\u0026tau;ά\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;.\u0026nbsp; \u0026Mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026rho;\u0026iota;\u0026tau;\u0026iota;\u0026kappa;ή \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;\u0026alpha;\u0026tau;\u0026iota;ά, \u0026delta;\u0026iota;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026upsilon;\u0026nu;ά \u0026tau;\u0026eta; \u0026theta;έ\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;, \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026upsilon; \u0026tau;\u0026eta;\u0026sigmaf;.\u0026nbsp; \u0026Omicron; \u0026Lambda;\u0026iota;\u0026zeta;έ\u0026nu; \u0026alpha;\u0026upsilon;\u0026tau;\u0026omicron;\u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;\u0026epsilon;ί\u0026tau;\u0026alpha;\u0026iota; \u0026laquo;έ\u0026nu;\u0026alpha;\u0026sigmaf; \u0026delta;\u0026alpha;\u0026sigma;\u0026kappa;\u0026alpha;\u0026lambda;ά\u0026kappa;\u0026omicron;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026eta; \u0026Lambda;\u0026iota;έ\u0026gamma;\u0026eta;\u0026raquo; \u0026kappa;\u0026alpha;\u0026iota; \u0026upsilon;\u0026iota;\u0026omicron;\u0026theta;\u0026epsilon;\u0026tau;\u0026epsilon;ί \u0026tau;\u0026eta; \u0026sigma;\u0026tau;ά\u0026sigma;\u0026eta; \u0026mu;\u0026iota;\u0026alpha;\u0026sigmaf; \u0026laquo;\u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026mu;\u0026epsilon;\u0026tau;\u0026rho;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf;\u0026raquo;.\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":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/988/large/2017_SUPERDEMOCRATIE_Senaat_photo_M_HKA_6_38.jpg?1506686700","poster_credits":"image: (c) M HKA, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe chair takes on a special role in the oeuvre of Jacques Liz\u0026egrave;ne, the self-proclaimed \u0026#39;Minor Master of Li\u0026egrave;ge\u0026#39;. Liz\u0026egrave;ne likes to turn the (art) world upside-down. According to him, art and life are intertwined. In addition, it is not the form of the artwork, but rather the attitude of the artist that is important. Liz\u0026egrave;ne\u0026rsquo;s work critically questions the place of the artist, art, and the art world.\u003c/p\u003e\r\n\r\n\u003cp\u003eChairs are one of Liz\u0026egrave;ne\u0026rsquo;s preferred mediums, because they are able to adopt numerous forms and functions. They are both bodies and frameworks: seated, resting, damaged entities, but also carriers, stretchers, frames and structures. This dual identity closely correlates with two elements from Liz\u0026egrave;ne\u0026#39;s work: genetics and death.\u003c/p\u003e\r\n\r\n\u003cp\u003eBy cutting and reassembling two different chairs, Liz\u0026egrave;ne creates a sculptural object. In these sculptures a link is clearly established with genetics, the bringing together of two structures to create a new shape. The chairs were once ordinary, everyday objects; by reformulating and fusing them, these hybrids become more than the sum of their parts.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cdiv\u003e\r\n\u003cp\u003eDe stoel neemt een speciale rol aan in het oeuvre van Jacques Liz\u0026egrave;ne, de zelfverklaarde \u0026lsquo;kleine meester uit Luik\u0026rsquo;. Liz\u0026egrave;ne houdt ervan de (kunst)wereld op zijn kop te zetten. Voor hem zijn kunst en het leven nauw met elkaar verweven. Daarnaast is het niet de vorm van het kunstwerk, maar eerder de houding van de kunstenaar die belangrijk is. Het werk van Liz\u0026egrave;ne stelt op een kritische manier de plaats van de kunstenaar, van de kunst en de kunstwereld in vraag.\u003c/p\u003e\r\n\r\n\u003cp\u003eStoelen zijn een geliefd medium van Liz\u0026egrave;ne, net omdat ze zich goed lenen om talrijke vormen en functies aan te nemen. Het zijn zowel lichamen als geraamten: zittende, rustende, gehavende entiteiten, maar ook dragers, brancards, kaders en structuren. Deze tweeledige identiteit sluit nauw aan bij twee elementen uit het werk van Liz\u0026egrave;ne: genetica en de dood.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoor twee verschillende stoelen te versnijden en opnieuw te monteren, cre\u0026euml;ert Liz\u0026egrave;ne een sculpturaal object. In deze sculpturen wordt duidelijk de link gelegd met de genetica, het samenbrengen van twee structuren om een nieuwe vorm te maken. De stoelen waren ooit banale, alledaagse objecten; door ze te herformuleren en versmelten worden deze hybriden meer dan de som van hun delen.\u003c/p\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCette chaise joue un r\u0026ocirc;le particulier dans l\u0026rsquo;\u0026oelig;uvre de Jacques Liz\u0026egrave;ne, qui s\u0026rsquo;est autoproclam\u0026eacute; \u0026laquo;\u0026nbsp;le petit ma\u0026icirc;tre de Li\u0026egrave;ge\u0026nbsp;\u0026raquo;.\u0026nbsp; Liz\u0026egrave;ne aime bouleverser le monde (de l\u0026rsquo;art). Pour lui, l\u0026rsquo;art et la vie sont intimement li\u0026eacute;s.\u0026nbsp; En outre, ce n\u0026rsquo;est pas la forme de l\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;art, mais plut\u0026ocirc;t l\u0026rsquo;attitude de l\u0026rsquo;artiste qui importe. L\u0026rsquo;\u0026oelig;uvre de Liz\u0026egrave;ne questionne de mani\u0026egrave;re critique le positionnement de l\u0026rsquo;artiste, l\u0026rsquo;art et le monde de l\u0026rsquo;art.\u003c/p\u003e\r\n\r\n\u003cp\u003eLiz\u0026egrave;ne aime utiliser les chaises comme medium, car elles se pr\u0026ecirc;tent \u0026agrave; l\u0026rsquo;incarnation de nombreuses formes et fonctions.\u0026nbsp; Elles sont corps et squelettes\u0026nbsp;: des entit\u0026eacute;s assises, au repos, mises \u0026agrave; mal, mais aussi des supports, des brancards, des cadres et des structures. Cette double identit\u0026eacute; est proche de deux \u0026eacute;l\u0026eacute;ments du travail de Liz\u0026egrave;ne\u0026nbsp;: la g\u0026eacute;n\u0026eacute;tique et la mort.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn d\u0026eacute;coupant et en remontant deux chaises diff\u0026eacute;rentes, Liz\u0026egrave;ne cr\u0026eacute;e un objet sculptural. Ses sculptures \u0026eacute;tablissent un lien clair avec la g\u0026eacute;n\u0026eacute;tique, la fusion de deux structures dont r\u0026eacute;sulte une nouvelle forme. Ces chaises \u0026eacute;taient autrefois des objets banals, quotidiens\u0026nbsp;; en les reformulant et en les fusionnant, ces hybrides sont plus que la somme de leurs parties.\u003c/p\u003e\r\n"}]},{"id":1765,"title":"Peinture à la manière fécale, 1977. Dessin mediocre d'art syncretique, 1964. Olivier croisé sapin croisé palmier croisé cactus. Remake 2010 et projection vidéo. ","dimensions":"200 x 150 cm","date_begin":"1964-01-01","material":"mixed media, canvas, video projection","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"M00147","stream_count_app":23,"permalink":"peinture-a-la-maniere-fecale-1977-dessin-mediocre-d-art-syncretique-1964-olivier-croise-sapin-croise-palmier-croise-cactus-remake-2010-et-projection-video","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":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/263/large/Liz%C3%A8ne,%20Jacques,%20%20.jpg?1310626717","poster_credits":"(c)image: Nadja Vilenne, Liège","translations":[{"locale":"en","description":"\u003cp\u003e[Painting in the Fecal Style, 1977. Mediocre Drawing of Syncretic Art, 1964. Olive Tree Crossed with Fir Tree Crossed with Palm Tree Crossed with Cactus. Remake 2010 and Video Projection]\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1761,"title":"Etre son propre tube de couleur. Peinture à la manière fécale. Peinture analitique (sans y). Remake 1995. En remake 2010. [To be Your Own Paint Tube. Painting in the Fecal Style. Analitic Painting (without y). Remake 1995, as a Remake 2010]","dimensions":"100 x 80 cm","date_begin":"1977-01-01","material":"mixed media, canvas","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2010-01-01","reference":"M00147","stream_count_app":33,"permalink":"entre-son-propre-tube-de-couleur-peinture-a-la-maniere-fecale-peinture-analitique-sans-y-remake-1995-en-remake-2010-to-be-your-own-paint-tube-painting-in-the-fecal-style-analitic-painting-without-y-remake-1995-as-a-remake-2010","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/000/043/245/medium_500/JacquesLizene_2019_Arts_Birthday_photo_M_HKAcc.jpg?1548163530","cached_actor_names":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/245/large/JacquesLizene_2019_Arts_Birthday_photo_M_HKAcc.jpg?1548163530","poster_credits":"Collection M HKA, Antwerp, image: (c) M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14484,"title":"Contraindre le corps à s’inscrire dans le cadre de la photo","dimensions":"76 x 89 cm","date_begin":"1971-01-01","material":"30 zwart-wit foto's","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Nadja Vilenne","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"contraindre-le-corps-a-s-inscrire-dans-le-cadre-de-la-photo","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/940/large/Lizene_Containdrelecorps_1971_Vilenne_2.jpg?1473412844","poster_credits":"image: (c) M HKA, Courtesy Nadja Vilenne","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;[Petit ma\u0026icirc;tre (\u003cem\u003eSmall Master)\u003c/em\u003e] is a desire to place myself materially in relation to the history of art. I would like art history to remember my name as a singularity. Because it\u0026#39;s an \u0026ndash; almost inaccessible \u0026ndash; goal which allows me to play. It\u0026#39;s a tease. It\u0026#39;s also an important thing... for the history of art.\u003c/p\u003e\r\n\r\n\u003cp\u003eTrying to inscribe myself into the history of art, while the approach is a questioning of judgment, trying to get mediocrity accepted, it\u0026#39;s a goal that can fill my days.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne in\u0026nbsp;: Que reste-t-il \u0026hellip;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;[Kleinmeester\u0026nbsp;:] ik wil me materieel situeren ten opzichte van de kunstgeschiedenis. Graag had ik gezien dat de kunstgeschiedenis mijn naam zou onthouden als een eigenaardigheid. Want het is een \u0026ndash; bijna onbereikbaar \u0026ndash; doel dat me in staat stelt te spelen. Het is een plagerij. Het is ook een belangrijke zaak\u0026hellip; voor de kunstgeschiedenis.\u003cbr /\u003e\r\nZich een plaats in de kunstgeschiedenis proberen te verwerven terwijl die poging een invraagstelling is van de beoordeling, trachten de middelmatigheid te doen aanvaarden, dat is het doel dat mij kan bezighouden.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eJacques Liz\u0026egrave;ne in\u0026nbsp;: Que reste-t-il \u0026hellip;\u003c/p\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;[Petit ma\u0026icirc;tre\u0026nbsp;:] c\u0026rsquo;est une volont\u0026eacute; de me situer mat\u0026eacute;riellement par rapport \u0026agrave; l\u0026rsquo;histoire de l\u0026rsquo;art. Je voudrais que l\u0026rsquo;histoire de l\u0026rsquo;art retienne mon nom comme une singularit\u0026eacute;. Parce que c\u0026rsquo;est un but \u0026ndash; presque inaccessible \u0026ndash; qui me permet de jouer. C\u0026rsquo;est une taquinerie. C\u0026rsquo;est aussi une chose importante\u0026hellip; pour l\u0026rsquo;histoire de l\u0026rsquo;art.\u003cbr /\u003e\r\nEssayer de s\u0026rsquo;inscrire dans l\u0026rsquo;histoire de l\u0026rsquo;art, alors que la d\u0026eacute;marche est une remise en question du jugement, essayer de faire accepter la m\u0026eacute;diocrit\u0026eacute;, c\u0026rsquo;est un but qui peut occuper mes journ\u0026eacute;es.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne dans\u0026nbsp;: Que reste-t-il \u0026hellip;\u003c/p\u003e\r\n"}]},{"id":14494,"title":"144 tentatives de sourire... mais l'on sait le vécu quotidien de la plupart des individus, Accompagné de 881 tentatives de rire enregistrés sur cassette, tout d'une traite","dimensions":"9 x 73 x 61 cm ","date_begin":"1974-01-01","material":"135 photographies NB, tirage argentique, marouflées sur carton, et CD audio","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Nadja Vilenne","cached_tag_list":"Jacques Lizène tentatives de sourire Fotografie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"144-tentatives-de-sourire-mais-l-on-sait-le-vecu-quotidien-de-la-plupart-des-individus-accompagne-de-881-tentatives-de-rire-enregistres-sur-cassette-tout-d-une-traite","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":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/988/large/JacquesLiz%C3%A8ne_144_tentatives_de_sourier_1.jpg?1475239337","poster_credits":"image: (c) M HKA, Courtesy Nadja Vilenne","translations":[{"locale":"en","description":"\u003cp\u003eJacques Liz\u0026egrave;ne, an artist of the school of mediocrity and unimportance (attitudinal art) whose artistic approach, although not lacking in humour, is not the mockery of different forms of current art or of the currently fashionable artistic milieu\u0026hellip; but is an attitude (attitudinal art) which strives to introduce \u0026ldquo;mediocrity in the history of art\u0026rdquo; by pressing for its consecration in art. In a way, we are in the presence here of a confrontation with normal imperialism still existing in the world of art.\u003cbr /\u003e\r\nImperialism of talent in art was, even before 1970, the preoccupation of Jacques Liz\u0026egrave;ne\u0026rsquo;s work, as shown in the position he adopted in \u0026ldquo;art without talent\u0026rdquo; and later on in the 1970\u0026rsquo;s, the fact that he called himself \u0026ldquo;a lesser Li\u0026eacute;geois painter of the second half of the 20th century\u0026rdquo; (in the pejorative sense) or \u0026ldquo;the artist of mediocrity and unimportance\u0026rdquo; (which is obviously of great importance in modern art, ah ah ah ah ah!). Jacques Liz\u0026egrave;ne practices \u0026ldquo;the art of mediocrity\u0026rdquo; in all its forms\u0026hellip; \u0026ldquo;irritating\u0026rdquo; video (1971-74-79-82), small pitiable drawings (1966-1980), \u0026ldquo;bad\u0026rdquo; painting and that of faecal matter (1966-1977-1980), mediocre song (shabby music-hall) (1970-1980-82), very ordinary performances (1970-1980), \u0026ldquo;academic approaches\u0026rdquo;, non-sculpture (1970-84) and other creations \u0026ndash; new/non-abstraction (1980-85) which he defined as \u0026ldquo;uninteresting, but of the greatest importance\u0026rdquo; (ah ah ah ah!), Outskirts of art.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eWodek Majewski,\u0026nbsp;Marc Renwart, \u003cem\u003eAnimal and\u0026nbsp; vegetable in contemporary Belgian art,\u003c/em\u003e Brussels, Atelier 340, 1985, p. 265\u003c/p\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eJacques Liz\u0026egrave;ne, kunstenaar van het onbenullige en het onbelangrijke (art d\u0026rsquo;attitude). De artistieke houding van Jacques Liz\u0026egrave;ne is, alhoewel ze niet gespeend is van enige humor, niet bedoeld om de diverse actuele kunstvormen of de gangbare artistieke middens belachelijk te maken, maar een houding (art d\u0026rsquo;attitude), die de onbenulligheid in de kunstgeschiedenis wil invoeren, door aan te dringen op de bevestiging ervan. In zekere zin is het een protest tegen het heersende ordinair imperialisme in de kunst. Reeds van voor 1970 reageert Jacques Liz\u0026egrave;ne met zijn oeuvre tegen het imperialisme van het talent in de kunst, door te pleiten voor een \u0026ldquo;kunst zonder talent\u0026rdquo; en door zich vervolgens, in de jaren zeventig \u0026ldquo;de Kleine Luikse Meester van de tweede helft van de Twintigste Eeuw\u0026rdquo; (in de pejoratieve betekenis) te noemen, of \u0026ldquo;de kunstenaar van het onbenullige en het onbelangrijke\u0026rdquo; (hetgeen uiteraard zeer belangrijk is in de moderne kunst, ha, ha, ha ha!).\u003cbr /\u003e\r\nJacques Liz\u0026egrave;ne beoefent de \u0026ldquo;onbenullige kunst\u0026rdquo; in al z\u0026rsquo;n vormen: de \u0026ldquo;ergerlijke\u0026rdquo; video (1971-74-79-82), de kleine ellendige tekeningen (1966-1980), de \u0026ldquo;slechte\u0026rdquo; schilderijen met uitwerpselen (1966-1977-1980), het middelmatige lied (de middelmatige music-hall) (1970-1980-1982), de om-het-even-welke performances (1970-1980), de academische ondernemingen, de nulsculptuur (1970-1984) en andere producties (de nieuwe nul-abstractie, 1980-1985), die door hem gedefinieerd worden als \u0026ldquo;zonder betekenis, maar van het hoogste belang\u0026rdquo; (ha, ha, ha, ha!), de sloppenwijken van de kunst.\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne (kunstcriticus)\u003c/p\u003e\r\n\r\n\u003cp\u003eWodek Majewski,\u0026nbsp;Marc Renwart, \u003cem\u003eHet dierlijke en plantaardige in de hedendaagse Belgische kunst\u003c/em\u003e, Brussel, Atelier 340, 1985, p. 264\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eJacques Liz\u0026egrave;ne, artiste de la m\u0026eacute;diocrit\u0026eacute; et de la sans-importance (art d\u0026rsquo;attitude). La d\u0026eacute;marche artistique de Jacques Liz\u0026egrave;ne, bien que non d\u0026eacute;pourvue d\u0026rsquo;humour, n\u0026rsquo;est pas la d\u0026eacute;rision des diff\u0026eacute;rentes\u0026nbsp; formes d\u0026rsquo;art actuel ou du milieu artistique \u0026agrave; la mode\u0026hellip; mais une attitude (art d\u0026rsquo;attitude) qui consiste \u0026agrave; vouloir introduire la \u0026laquo;\u0026nbsp;m\u0026eacute;diocrit\u0026eacute; dans l\u0026rsquo;histoire de l\u0026rsquo;art\u0026nbsp;\u0026raquo; en insistant sur la cons\u0026eacute;cration de celle-ci. En quelque sorte, il s\u0026rsquo;agit d\u0026rsquo;une opposition \u0026agrave; l\u0026rsquo;imp\u0026eacute;rialisme ordinaire ayant cours dans le monde de l\u0026rsquo;art. L\u0026rsquo;imp\u0026eacute;rialisme du talent en art \u0026eacute;tant, d\u0026egrave;s avant 1970, la pr\u0026eacute;occupation de l\u0026rsquo;\u0026oelig;uvre de Jacques Liz\u0026egrave;ne, cela avec sa prise de position pour \u0026laquo;\u0026nbsp;l\u0026rsquo;art sans talent\u0026nbsp;\u0026raquo; et, par la suite, dans les ann\u0026eacute;es 70, le fait de s\u0026rsquo;intituler \u0026laquo;\u0026nbsp;Petit-ma\u0026icirc;tre li\u0026egrave;geois de la seconde moiti\u0026eacute; du XX\u0026egrave;me si\u0026egrave;cle\u0026nbsp;\u0026raquo; (dans le sens p\u0026eacute;joratif) ou \u0026laquo;\u0026nbsp;l\u0026rsquo;artiste de la m\u0026eacute;diocrit\u0026eacute; et de la sans-importance\u0026nbsp;\u0026raquo; (ce qui est \u0026eacute;videmment tr\u0026egrave;s important dans l\u0026rsquo;art moderne, ah ah ah ah\u0026nbsp;!).\u003cbr /\u003e\r\nJacques Liz\u0026egrave;ne exerce \u0026laquo;\u0026nbsp;l\u0026rsquo;art de la m\u0026eacute;diocrit\u0026eacute;\u0026nbsp;\u0026raquo; sous toutes ses formes\u0026hellip; la vid\u0026eacute;o \u0026laquo;\u0026nbsp;aga\u0026ccedil;cante\u0026nbsp;\u0026raquo; (1971-74-79-82), les petits dessins minables (1966-1980), la peinture \u0026laquo;\u0026nbsp;mauvaise\u0026nbsp;\u0026raquo;et celle \u0026agrave; la mati\u0026egrave;re f\u0026eacute;cale (1966-1977-1980), la chanson m\u0026eacute;diocre (le minable music-hall) (1970-1980-1982), les performances quelconques (1970-1980), les \u0026laquo;\u0026nbsp;d\u0026eacute;marches acad\u0026eacute;miques\u0026nbsp;\u0026raquo;, la sculpture nulle (1970-84) et autres productions (la nouvelle-abstraction-nulle) (1980-85) d\u0026eacute;finies par lui comme \u0026laquo;\u0026nbsp;sans int\u0026eacute;r\u0026ecirc;t, mais de la plus haute importance\u0026nbsp;\u0026raquo; (ah ah ah ah ah\u0026nbsp;!), la Banlieue de l\u0026rsquo;art.\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne (critique d\u0026rsquo;art)\u003c/p\u003e\r\n\r\n\u003cp\u003eWodek Majewski,\u0026nbsp;Marc Renwart, \u003cem\u003eDe l\u0026#39;animal et du v\u0026eacute;g\u0026eacute;tal dans l\u0026#39;art belge contemporain\u003c/em\u003e, Brussel, Atelier 340, 1985, p. 264\u003c/p\u003e\r\n"}]},{"id":14495,"title":"Contraindre le corps à s’inscrire dans le cadre","dimensions":"","date_begin":"1971-01-01","material":"7 dia","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Nadja Vilenne","cached_tag_list":"Jacques Lizène Contraindre le corps Fotografie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"contraindre-le-corps-a-s-inscrire-dans-le-cadre","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/000/033/101/large/2016_Van_Broodthaers_tot_Braeckman__9_12.jpg?1475747624","poster_credits":"Image: (c) M HKA, Courtesy Nadja Vilenne","translations":[{"locale":"en","description":"\u003cp\u003e\u0026#39;[Being almost futile] means \u0026#39;trying\u0026#39; to be futile. Being futile is a performance that is far removed from being mediocre. Being nothing strictly means doing nothing interesting. \u0026#39;As good as\u0026#39; futile, is more mediocre, is playing the game, making small efforts but never go to the extreme, propose lame things. That suits my artistic approach better than mediocrity as behavioural art. I can make mediocre or even very bad works but they can also be masterpieces, by referring to them, of course, as mediocrity art. This is a work based on the concept of judgment, which is also a part of humour. Humour is a very important dimension of my approach. My approach takes precedence over the object. Ridicule is needed to save the rearguard. Actually, it is, although I do not like that word, extremely progressivistic.\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne in\u0026nbsp;: Que reste-t-il \u0026hellip;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026nbsp;\u0026ldquo;[Bijna onbenullig zijn,] dat betekent \u0026ldquo;proberen\u0026rdquo; onbenullig te zijn. Onbenullig zijn, is een prestatie die ver staat van het middelmatig zijn. Niks zijn, betekent strikt niets interessants doen. \u0026ldquo;Zo goed als\u0026rdquo; onbenullig, is middelmatiger, dat is het spel spelen, kleine inspanninkjes leveren, maar nooit tot het uiterste gaan, manke dingen voorstellen. Dat past beter bij mijn kunstenaarsaanpak van middelmatigheid als gedragskunst. Ik kan middelmatige of zelfs heel slechte werken maken, maar het kunnen ook meesterwerken zijn door ze uiteraard aan te duiden als middelmatigheidskunst. Dat wordt een werk op basis van het concept van beoordeling, wat ook deel uitmaakt van humor. Humor is een heel belangrijke dimensie in mijn benadering. Mijn benadering heeft voorrang op het voorwerp. Spot is nodig om de achterhoede te redden. Eigenlijk is het, alhoewel ik niet van dat woord houd, uiterst progressistisch.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eJacques Liz\u0026egrave;ne in\u0026nbsp;: Que reste-t-il \u0026hellip;\u003c/p\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;[Entre quasiment nul,] cela veut dire \u0026laquo;\u0026nbsp;essayer\u0026nbsp;\u0026raquo; d\u0026rsquo;\u0026ecirc;tre nul. Etre nul, voil\u0026agrave; une performance qui est loin d\u0026rsquo;\u0026ecirc;tre m\u0026eacute;diocre. Etre nul, c\u0026rsquo;est ne strictement rien faire d\u0026rsquo;int\u0026eacute;ressant. \u0026laquo;\u0026nbsp;Quasiment\u0026nbsp;\u0026raquo; nul, c\u0026rsquo;est plus m\u0026eacute;diocre, c\u0026rsquo;est jouer le jeu, faire de petits efforts sans jamais aller jusque\u0026rsquo;au bout, pr\u0026eacute;senter des choses boiteuses\u0026nbsp;; cela s\u0026rsquo;int\u0026egrave;gre mieux dans ma d\u0026eacute;marche d\u0026rsquo;artiste de la m\u0026eacute;diocrit\u0026eacute; comme art d\u0026rsquo;attitude.\u003cbr /\u003e\r\nJe peux faire des \u0026oelig;uvres m\u0026eacute;diocres ou m\u0026ecirc;me tr\u0026egrave;s mauvaises mais \u0026eacute;galement des chefs-d\u0026rsquo;\u0026oelig;uvres (sic) en les signifiant \u0026eacute;videmment comme \u0026eacute;tant de l\u0026rsquo;art de la m\u0026eacute;diocrit\u0026eacute;. Cela devient un travail sur l\u0026rsquo;id\u0026eacute;e de jugement, qui appartient aussi \u0026agrave; l\u0026rsquo;humour. L\u0026rsquo;humour est une dimension tr\u0026egrave;s importante dans ma d\u0026eacute;marche \u0026ndash; ma d\u0026eacute;marche prime par rapport \u0026agrave; l\u0026rsquo;objet. La d\u0026eacute;rision sert \u0026agrave; sauver ses arri\u0026egrave;res. C\u0026rsquo;est en fait, quoique je n\u0026rsquo;aime pas le mot, excessivement progressiste.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne dans\u0026nbsp;: Que reste-t-il \u0026hellip;\u003c/p\u003e\r\n"}]},{"id":52,"title":"Documents rapportés d’un voyage au coeur de la civilization banlieue, 1973, 74 et 75","dimensions":"variable dimensions","date_begin":"1973-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"assemblage","publishing_process_id":1,"annotation":"\u003cp\u003e1 reeks van 24 z/w foto\u0026#39;s 18 x 24 cm, achteraan genummerd van 1 t/m 24 met als onderwerp \u0026quot; D\u0026eacute;cor de la civilisation banlieue\u0026quot;; 1 z/w foto 18 x 24 cm met onderaan getypte tekst en achteraan vermelding PHOTO B; 1 z/w foto 29 x 39 cm gekleefd met achteraan vermelding PHOTO A - Accompagnant la texte 3 en gesigneerd Liz\u0026egrave;ne 1971; 5 getypte teksten 21 x 27 cm op papier - waarvan 1 titelblad gesigneerd en gedateerd en 4 blz. genummerd 1 - 4\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection Foundation Gordon Matta-Clark\u003c/p\u003e\r\n","date_end":"1975-01-01","reference":"S0171","stream_count_app":52,"permalink":"documents-rapportes-d-un-voyage-au-coeur-de-la-civilization-banlieue-1973-74-et-75-documents-and-reports-on-a-journey-to-the-core-of-suburban-culture-1973-74-and-75","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":"Jacques Lizène","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/067/large/JacquesLiz%C3%A8ne_1.jpg?1475507303","poster_credits":"Image: (c) M HKA, Collectie M HKA, Schenking van de kunstenaar","translations":[{"locale":"en","description":"\u003cp\u003eCalling himself the \u0026ldquo;mediocre little master from Li\u0026egrave;ge\u0026rdquo; \u0026ndash; a Belgian twist to Filliou\u0026rsquo;s \u0026ldquo;genius without talent\u0026rdquo; \u0026ndash; Liz\u0026egrave;ne donated a key work to the Gordon Matta-Clark Foundation in 1980: \u003cem\u003eDocuments rapport\u0026eacute;s d\u0026rsquo;un voyage au coeur de la civilization banlieue 1973, 74 et 75\u003c/em\u003e. The work consists of two parts: a narrative framework on the one hand, whose rigorous black-and-white aesthetic resembles the standardized documentary tropes of much \u0026ldquo;information art\u0026rdquo; \u0026ndash; more concretely Robert Smithson\u0026rsquo;s parodic travelogue [\u0026ldquo;\u003ca href=\"https://gd1studio2011.files.wordpress.com/2011/09/smithson-monuments-of-passaic.pdf\" target=\"_blank\"\u003eA Tour of the Monuments of Passaic, New Jersey\u003c/a\u003e\u0026rdquo;], with Smithson\u0026rsquo;s original post-industrial wasteland here being replaced with the banlieue li\u0026egrave;gois. On the other hand, a crass reminder of the pertinence of the body in all overly intellectualized art \u0026ndash; a quasi-monochrome white bed sheet displaying the near-invisible traces of the artist\u0026rsquo;s nocturnal masturbatory activity. When this work was first shown at the ICC in the late seventies, a local censor actually ordered the removal of the piece from the exhibition. Tellingly, censorship was no longer an issue when a far more graphic exhibition of Liz\u0026egrave;ne\u0026rsquo;s work was organized at the museum in the spring of 2009.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe dada\u0026iuml;st Liz\u0026egrave;ne profileert zichzelf graag als \u0026ldquo;de middelmatige kleine Luikse meester\u0026rdquo;. Via de Stichting Gordon Matta-Clark bezit het M HKA van hem het seminale fotowerk\u003cem\u003e Documents rapport\u0026eacute;es d\u0026rsquo;un voyage au c\u0026oelig;ur de la civilisation Banlieue, 1973, 74 et 75\u003c/em\u003e. Het werk bestaat uit twee delen: enerzijds is er het verhalende kader, dat met de typische strenge zwart/wit-esthetiek van de kritische conceptuele kunst speelt, en aan Robert Smithsons parodische pseudo-documentaire [\u0026ldquo;\u003ca href=\"https://gd1studio2011.files.wordpress.com/2011/09/smithson-monuments-of-passaic.pdf\" target=\"_blank\"\u003eA Tour of the Monuments of Passaic, New Jersey\u003c/a\u003e\u0026rdquo;]\u0026nbsp;herinnert \u0026ndash; Passaic maakt in Liz\u0026egrave;nes travelogue echter plaats voor het desolate niemandsland van de Luikse banlieu. Deze \u0026lsquo;documentaristische\u0026rsquo; reflex (en dito reflectie) wordt echter brutaal aan de pertinentie van onze lichamelijkheid herinnerd in een tweede component, een quasi monochroom beddenlaken waarop de nauwelijks zichtbare sporen van een moment van masturbatie te zien zijn. Toen dit werk midden jaren \u0026rsquo;70 in het ICC werd tentoongesteld, werd dit laken door de censor van dienst \u0026ndash; in casu de hoogste gezagsdrager van de provincie \u0026ndash; in de ban geslagen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eSe qualifiant lui-m\u0026ecirc;me de \u0026laquo;\u0026nbsp;m\u0026eacute;diocre petit-ma\u0026icirc;tre de Li\u0026egrave;ge\u0026nbsp;\u0026raquo; \u0026ndash; une tournure belge du \u0026laquo;\u0026nbsp;g\u0026eacute;nie sans talent\u0026nbsp;\u0026raquo; de Filliou \u0026ndash;, Liz\u0026egrave;ne a offert une pi\u0026egrave;ce majeure \u0026agrave; la Fondation Gordon Matta-Clark en 1980\u0026nbsp;: \u003cem\u003eDocuments rapport\u0026eacute;s d\u0026rsquo;un voyage au c\u0026oelig;ur de la civilisation banlieue\u0026nbsp;1973, 74 et 75\u003c/em\u003e. L\u0026rsquo;\u0026oelig;uvre se compose de deux parties\u0026nbsp;: une structure narrative dont l\u0026rsquo;esth\u0026eacute;tique rigoureuse en noir et blanc ressemble aux figures de style standardis\u0026eacute;es et documentaires que l\u0026rsquo;on retrouve dans une grande part de \u0026laquo;\u0026nbsp;l\u0026rsquo;art de l\u0026rsquo;information\u0026nbsp;\u0026raquo; \u0026ndash; ou plus concr\u0026egrave;tement, le carnet de voyage parodique de Robert Smithson \u003cu\u003e(\u003c/u\u003e\u003ca href=\"https://gd1studio2011.files.wordpress.com/2011/09/smithson-monuments-of-passaic.pdf\" target=\"_blank\"\u003e\u003cem\u003eA Tour of the Monuments of Passaic, New Jersey\u003c/em\u003e\u003c/a\u003e), dans lequel les friches post-industrielles originales de Smithson sont remplac\u0026eacute;es par la banlieue li\u0026eacute;geoise. Et d\u0026rsquo;autre part, un rappel grossier de la pertinence du corps dans tout art exag\u0026eacute;r\u0026eacute;ment intellectualis\u0026eacute; \u0026ndash; notamment, un drap de lit blanc quasi monochrome ne pr\u0026eacute;sentant que des traces presque invisibles de l\u0026rsquo;activit\u0026eacute; nocturne onaniste de l\u0026rsquo;artiste. Lorsque cette \u0026oelig;uvre a \u0026eacute;t\u0026eacute; expos\u0026eacute;e pour la premi\u0026egrave;re fois \u0026agrave; l\u0026rsquo;ICC, \u0026agrave; la fin des ann\u0026eacute;es\u0026nbsp;70, un censeur local l\u0026rsquo;a retir\u0026eacute;e de l\u0026rsquo;exposition. Fait r\u0026eacute;v\u0026eacute;lateur, au printemps\u0026nbsp;2009, lors d\u0026rsquo;une exposition au M\u0026nbsp;HKA contenant d\u0026rsquo;une \u0026oelig;uvre de Liz\u0026egrave;ne bien plus explicite, il n\u0026rsquo;a plus \u0026eacute;t\u0026eacute; question de censure.\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":25946,"title":"Facteur Cheval (expo)","dimensions":"50 x 40  cm","date_begin":"1986-01-01","material":"paper, ink (printing)","short_description":"\u003cp\u003ePoster for a group exhibition of Mail Art at the \"Palais Ideal\" of the Facteur Cheval in Hautrives (F) organized by the MAMAC, Liège\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":84,"category_id":126,"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","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"facteur-cheval-expo","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eAffiche voor een groepstentoonstelling van Mail Art aan\u0026nbsp;het\u0026nbsp;'Palais Ideal' van de Facteur Cheval in Hautrives (F) organiseeerd door het MAMAC van Luik\u003c/p\u003e","short_description_fr":"\u003cp\u003eAffiche pour une exposition collective de Mail Art au \"Palais Idéal\" du Facteur Cheval à Hautrives (F) organisée par le MAMAC, Liège\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","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/000/057/416/medium_500/Im464JL002.jpg?1590659831","cached_actor_names":"Jef Lambrecht, Guy Bleus, Maria Thereza Alves, Guy Rombouts, Monica Droste, Jacques Lizène, Luc Deleu, Johan van Geluwe","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/416/large/Im464JL002.jpg?1590659831","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAffiche voor een groepstentoonstelling van Mail Art aan\u0026nbsp;het\u0026nbsp;'Palais Ideal' van de Facteur Cheval in Hautrives (F) organiseeerd door het MAMAC van Luik\u003c/p\u003e\u003cp\u003enote that Jef Lambrecht is represented three times, as himself, as Yo Picasso and as La Lanterne de Lantin\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAffiche voor een groepstentoonstelling van Mail Art aan\u0026nbsp;het\u0026nbsp;'Palais Ideal' van de Facteur Cheval in Hautrives (F) organiseeerd door het MAMAC van Luik -\u003c/p\u003e\u003cp\u003eJef Lambrecht is drie keer vermeld: als zichzelf, als Yo Picasso en als La Lanterne de Lantin\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eAffiche pour une exposition collective de Mail Art au \"Palais Idéal\" du Facteur Cheval à Hautrives (F) organisée par le MAMAC, Liège A noter que Jef Lambrecht est représenté trois fois - comme lui-même, La Lanterne de Lantin et 'Yo Picasso'\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]}]