[{"id":162,"title":"The Intellectual Murderer Shoes","dimensions":"23 x 33 x 13 cm","date_begin":"1975-01-01","material":"fabric, shoes","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 / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eThese overshoes evoke an image of hospital hygiene or even army-soldiers. This symbolic act, a blind fold which stands for a spiritual performance or a mental possibility/opening; it\u0026rsquo;s not about the gesture of covering shoes but about the subject. James Lee Byars points out to the different perception of the signs and the symbolic meaning. Within the interest of texture and detail he leads the attention of the participant to a new generated qualified contextual space.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"BK7671_M426","stream_count_app":82,"permalink":"the-intellectual-murderer-shoes","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJames Lee Byars\u0026rsquo; Kunst ist eine intellektuelle Kunst, eine \u0026Auml;sthetik des Denkens, die in einer spirituellen Atmosph\u0026auml;re badet. Er verwirft ausdr\u0026uuml;cklich die Idee, Kunstwerke zu interpretieren in Funktion des schon Bekannten, weil dies dem freien Denkprozess im Wege steht. Das gilt auch f\u0026uuml;r \u003ci\u003eThe Intellectual Murderer Shoes\u003c/i\u003e (dt. Die Schuhe des intellektuellen M\u0026ouml;rders). Die Realit\u0026auml;t des Objekts, in Kombination mit dem Titel, kann Bilder von Mordszenen mit Kriminalbeamten in verpackten Schuhen, oder von Byars als Mystiker und Alchimist, der regelm\u0026auml;\u0026beta;ig in einem goldenen Anzug mit schwarzem Zaubererhut und Schuhen geh\u0026uuml;llt war, aufrufen. Trotzdem sieht Byars Kunstwerke als Bilder an sich. Der pers\u0026ouml;nliche Wortschatz und Bildersprache Byars\u0026rsquo; ist jedoch un\u0026uuml;bersehbar anwesend in seinem Werk. Das monochrome Schwarz, der Sinn f\u0026uuml;r Materialit\u0026auml;t, und der Einfalt des Ganzes legen das Paradox zwischen Byars\u0026rsquo; extremem Perfektionsstreben, und dem ephemeren Charakter seines Werks, frei.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Eta; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026epsilon;\u0026gamma;\u0026kappa;\u0026epsilon;\u0026phi;\u0026alpha;\u0026lambda;\u0026iota;\u0026kappa;ή, \u0026mu;\u0026iota;\u0026alpha; \u0026alpha;\u0026iota;\u0026sigma;\u0026theta;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ή \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026kappa;έ\u0026psi;\u0026eta;\u0026sigmaf;, \u0026beta;\u0026upsilon;\u0026theta;\u0026iota;\u0026sigma;\u0026mu;έ\u0026nu;\u0026eta; \u0026sigma;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026epsilon;\u0026xi;\u0026alpha;ϋ\u0026lambda;\u0026omega;\u0026mu;έ\u0026nu;\u0026eta; \u0026alpha;\u0026tau;\u0026mu;ό\u0026sigma;\u0026phi;\u0026alpha;\u0026iota;\u0026rho;\u0026alpha;. \u0026Alpha;\u0026pi;\u0026omicron;\u0026rho;\u0026rho;ί\u0026pi;\u0026tau;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026mu;\u0026phi;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ά \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026nu;\u0026tau;ί\u0026lambda;\u0026eta;\u0026psi;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026rho;\u0026mu;\u0026eta;\u0026nu;\u0026epsilon;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omega;\u0026nu; έ\u0026rho;\u0026gamma;\u0026omega;\u0026nu; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026upsilon;\u0026pi;ό \u0026tau;\u0026omicron; \u0026pi;\u0026rho;ί\u0026sigma;\u0026mu;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; ή\u0026delta;\u0026eta; \u0026gamma;\u0026nu;\u0026omega;\u0026sigma;\u0026tau;\u0026omicron;ύ, \u0026alpha;\u0026phi;\u0026omicron;ύ \u0026kappa;ά\u0026tau;\u0026iota; \u0026tau;έ\u0026tau;\u0026omicron;\u0026iota;\u0026omicron; \u0026epsilon;\u0026mu;\u0026pi;\u0026omicron;\u0026delta;ί\u0026zeta;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta; \u0026delta;\u0026iota;\u0026alpha;\u0026delta;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;ί\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026kappa;έ\u0026psi;\u0026eta;\u0026sigmaf;. \u0026Eta; \u0026iota;\u0026delta;έ\u0026alpha; \u0026alpha;\u0026upsilon;\u0026tau;ή \u0026delta;\u0026iota;\u0026alpha;\u0026pi;\u0026nu;έ\u0026epsilon;\u0026iota; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u003cem\u003eThe Intellectual Murderer Shoes\u003c/em\u003e [\u0026Tau;\u0026alpha;\u003cem\u003e \u0026pi;\u003c/em\u003e\u003cem\u003e\u0026alpha;\u0026pi;\u0026omicron;ύ\u0026tau;\u0026sigma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026delta;\u0026iota;\u0026alpha;\u0026nu;\u0026omicron;\u0026omicron;ύ\u0026mu;\u0026epsilon;\u0026nu;\u0026omicron;\u0026upsilon; \u0026delta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026phi;ό\u0026nu;\u0026omicron;\u0026upsilon;]\u003c/em\u003e\u003cem\u003e.\u003c/em\u003e \u0026Eta; \u0026alpha;\u0026pi;\u0026tau;ή \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;\u0026iota;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon;, \u0026sigma;\u0026epsilon; \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;\u0026alpha;\u0026sigma;\u0026mu;ό \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026nu; \u0026tau;ί\u0026tau;\u0026lambda;\u0026omicron;, \u0026phi;έ\u0026rho;\u0026nu;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026nu;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;ό\u0026pi;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026epsilon;\u0026gamma;\u0026kappa;\u0026lambda;\u0026eta;\u0026mu;ά\u0026tau;\u0026omega;\u0026nu;, \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026iota;\u0026kappa;\u0026omicron;ύ\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;ή\u0026mu;\u0026alpha;\u0026nu;\u0026sigma;\u0026eta;\u0026sigmaf; \u0026mu;\u0026epsilon; \u0026tau;\u0026alpha; \u0026pi;\u0026alpha;\u0026pi;\u0026omicron;ύ\u0026tau;\u0026sigma;\u0026iota;\u0026alpha; \u0026tau;\u0026upsilon;\u0026lambda;\u0026iota;\u0026gamma;\u0026mu;έ\u0026nu;\u0026alpha; \u0026sigma;\u0026epsilon; \u0026epsilon;\u0026iota;\u0026delta;\u0026iota;\u0026kappa;ά \u0026kappa;\u0026alpha;\u0026lambda;ύ\u0026mu;\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;, ή \u0026tau;\u0026omicron;\u0026nu; ί\u0026delta;\u0026iota;\u0026omicron; \u0026tau;\u0026omicron;\u0026nu; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026iota;\u0026sigma;\u0026tau;ή ή \u0026alpha;\u0026lambda;\u0026chi;\u0026eta;\u0026mu;\u0026iota;\u0026sigma;\u0026tau;ή, \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026phi;\u0026omicron;\u0026rho;ώ\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron; \u0026chi;\u0026rho;\u0026upsilon;\u0026sigma;ό \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026omicron;\u0026sigma;\u0026tau;\u0026omicron;ύ\u0026mu;\u0026iota;, \u0026tau;\u0026omicron; \u0026kappa;\u0026alpha;\u0026pi;έ\u0026lambda;\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026alpha; \u0026pi;\u0026alpha;\u0026pi;\u0026omicron;ύ\u0026tau;\u0026sigma;\u0026iota;\u0026alpha; \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026theta;\u0026iota;\u0026alpha;\u0026sigma;ώ\u0026tau;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026mu;\u0026alpha;ύ\u0026rho;\u0026eta;\u0026sigmaf; \u0026mu;\u0026alpha;\u0026gamma;\u0026epsilon;ί\u0026alpha;\u0026sigmaf;. \u0026Omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026theta;\u0026epsilon;\u0026omega;\u0026rho;\u0026omicron;ύ\u0026sigma;\u0026epsilon; \u0026tau;\u0026alpha; έ\u0026rho;\u0026gamma;\u0026alpha; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026alpha;\u0026upsilon;\u0026tau;ό\u0026nu;\u0026omicron;\u0026mu;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf;, \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026omega;\u0026sigmaf; \u0026sigma;ύ\u0026mu;\u0026beta;\u0026omicron;\u0026lambda;\u0026alpha; \u0026sigma;\u0026tau;\u0026epsilon;\u0026rho;\u0026omicron;ύ\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026kappa;ά\u0026theta;\u0026epsilon; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf;. \u0026Tau;\u0026omicron; \u0026nu;\u0026alpha; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026pi;\u0026alpha;\u0026theta;\u0026omicron;ύ\u0026mu;\u0026epsilon; \u0026nu;\u0026alpha; \u0026mu;\u0026alpha;\u0026nu;\u0026tau;έ\u0026psi;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026gamma;\u0026omega;\u0026gamma;ή \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026theta;\u0026alpha; \u0026sigma;ή\u0026mu;\u0026alpha;\u0026iota;\u0026nu;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026tau;\u0026alpha;\u0026xi;\u0026iota;\u0026nu;ό\u0026mu;\u0026eta;\u0026sigma;\u0026eta;\u0026sigmaf;, \u0026pi;\u0026rho;ά\u0026gamma;\u0026mu;\u0026alpha; ά\u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026tau;\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026tau;\u0026tau;ό. \u0026Tau;\u0026omicron; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026omega;\u0026pi;\u0026iota;\u0026kappa;ό \u0026lambda;\u0026epsilon;\u0026xi;\u0026iota;\u0026lambda;ό\u0026gamma;\u0026iota;\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ό \u0026iota;\u0026delta;ί\u0026omega;\u0026mu;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026epsilon;\u0026upsilon;\u0026delta;\u0026iota;ά\u0026kappa;\u0026rho;\u0026iota;\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u003cem\u003e\u0026Tau;\u0026alpha;\u003c/em\u003e \u003cem\u003e\u0026Pi;\u0026alpha;\u0026pi;\u0026omicron;ύ\u0026tau;\u0026sigma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026delta;\u0026iota;\u0026alpha;\u0026nu;\u0026omicron;\u0026omicron;ύ\u0026mu;\u0026epsilon;\u0026nu;\u0026omicron;\u0026upsilon; \u0026delta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026phi;ό\u0026nu;\u0026omicron;\u0026upsilon;\u003c/em\u003e. \u0026Tau;\u0026omicron; \u0026mu;\u0026omicron;\u0026nu;\u0026omicron;\u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό \u0026mu;\u0026alpha;ύ\u0026rho;\u0026omicron;, \u0026eta; \u0026alpha;ί\u0026sigma;\u0026theta;\u0026eta;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026upsilon;\u0026lambda;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026alpha;\u0026pi;\u0026lambda;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026sigma;\u0026upsilon;\u0026nu;ό\u0026lambda;\u0026omicron;\u0026upsilon; \u0026upsilon;\u0026pi;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026mu;\u0026mu;ί\u0026zeta;\u0026omicron;\u0026upsilon;\u0026nu; \u0026pi;ό\u0026sigma;\u0026omicron; \u0026pi;\u0026alpha;\u0026rho;ά\u0026delta;\u0026omicron;\u0026xi;\u0026omicron; \u0026phi;\u0026alpha;\u0026nu;\u0026tau;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026kappa;\u0026upsilon;\u0026nu;ή\u0026gamma;\u0026iota; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026iota;\u0026delta;\u0026omega;\u0026mu;έ\u0026nu;\u0026omicron; \u0026sigma;\u0026epsilon; \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026nu; \u0026epsilon;\u0026phi;ή\u0026mu;\u0026epsilon;\u0026rho;\u0026omicron; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;ή\u0026rho;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron;\u0026upsilon;.\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":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/300/large/Byars,%20James%20Lee,%20The%20intellectual%20Murder%20Shoes,%201975%20photo%20Bo%20Bex.jpg?1300359666","poster_credits":"(c)image: Bo Bex","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eByars\u0026rsquo; art is a cerebral art, an aesthetics of thought immersed in an atmosphere of immateriality. He emphatically rejects the idea of interpreting works of art in the light of what is already known, as this hampers the process of free thinking. This idea is also present in \u003cem\u003eThe Intellectual Murderer Shoes\u003c/em\u003e. The reality of the object, in combination with the title, can evoke images of murder scenes with experts in enveloped shoes, or of Byars as a mystic and alchemist who frequently dressed up in a gold suit and a black magician\u0026rsquo;s hat and shoes. Byars regarded works of art as images in themselves, as objects which as a symbol are cut off from any sort of reference. Guessing their origin would signify a form of classification and this is useless and wasteful. Byars\u0026rsquo; personal vocabulary and visual idiom is also unmistakable in \u003cem\u003eThe Intellectual Murderer Shoes\u003c/em\u003e. The monochrome blackness, the sense of materiality and the simplicity of the whole reveal the paradox between Byars\u0026rsquo; pursuit of perfection and the ephemeral character of his work.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJames Lee Byars\u0026rsquo; kunst is een cerebrale kunst, een esthetica van het denken die baadt in een sfeer van het immateri\u0026euml;le. Hij verwerpt uitdrukkelijk de idee om kunstwerken te interpreteren in functie van het reeds gekende, daar dit het vrije denkproces in de weg staat. Ook voor \u003cem\u003eThe Intellectual Murderer Shoes\u003c/em\u003e gaat die gedachte op. De realiteit van het object in combinatie met de titel kan beelden oproepen van moordsc\u0026egrave;nes met rechercheurs in verpakte schoenen, of van Byars als mysticus en alchemist die geregeld gehuld ging in een gouden pak met zwarte tovenaarshoed en schoenen. Toch zijn kunstwerken voor Byars beelden op zich. De persoonlijke woordenschat en beeldentaal van Byars is evenwel onmiskenbaar aanwezig in dit werk. De monochrome zwartheid, de zin voor materialiteit en de eenvoud van het geheel leggen de paradox bloot tussen Byars\u0026rsquo; extreme streven naar perfectie, en het efemere karakter van zijn werk.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;art de Byars est un art mental, une esth\u0026eacute;tique de la pens\u0026eacute;e qui baigne dans une atmosph\u0026egrave;re d\u0026rsquo;immat\u0026eacute;rialit\u0026eacute;. Il rejette r\u0026eacute;solument l\u0026rsquo;id\u0026eacute;e d\u0026rsquo;interpr\u0026eacute;ter les \u0026oelig;uvres d\u0026rsquo;art en fonction de ce que l\u0026rsquo;on conna\u0026icirc;t, car cela perturbe la libert\u0026eacute; du processus de pens\u0026eacute;e. Il en va de m\u0026ecirc;me pour \u003cem\u003eThe Intellectual Murderer Shoes\u003c/em\u003e. La r\u0026eacute;alit\u0026eacute; de l\u0026rsquo;objet combin\u0026eacute;e au titre peut \u0026eacute;voquer des images de sc\u0026egrave;nes de crime peupl\u0026eacute;es d\u0026rsquo;experts, ou de Byars en tant que mystique et alchimiste qui se promenait r\u0026eacute;guli\u0026egrave;rement rev\u0026ecirc;tu d\u0026rsquo;atours dor\u0026eacute;s et portait un chapeau et des chaussures de magicien. Pourtant, les \u0026oelig;uvres d\u0026rsquo;art de Byars sont des images en soi. Le vocabulaire et le langage imag\u0026eacute; propres \u0026agrave; Byars sont aussi ind\u0026eacute;niablement pr\u0026eacute;sents dans l\u0026rsquo;oeuvre. La noirceur monochrome, le sens de la mat\u0026eacute;rialit\u0026eacute; et la simplicit\u0026eacute; de l\u0026rsquo;ensemble mettent \u0026agrave; nu le paradoxe entre la tendance extr\u0026ecirc;me de Byars vers la perfection et le caract\u0026egrave;re \u0026eacute;ph\u0026eacute;m\u0026egrave;re de son \u0026oelig;uvre.\u003c/p\u003e\r\n"}]},{"id":998,"title":"Moonbook (Stonebooks)","dimensions":"3.7 x 41.3 x 29.4 cm, 175.5 x 146 x 46 cm","date_begin":"1980-01-01","material":"artist book, sandstone in display case","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 VAM, Eindhoven","cached_tag_list":"vitrine","publishing_process_id":1,"annotation":"","date_end":null,"reference":"1541","stream_count_app":19,"permalink":"moonbook-stonebooks","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/000/001/555/medium_500/2018_James_Lee_Byars_Photo_M_HKA_4.jpg?1538664810","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/555/large/2018_James_Lee_Byars_Photo_M_HKA_4.jpg?1538664810","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3779,"title":"Extra Terrestrial (Shadow of an Extraterrestrial Man)","dimensions":"","date_begin":"1976-01-01","material":"ink, paper","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"photo documentation ICC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"UFO_0098","stream_count_app":34,"permalink":"extra-terrestrial-shadow-of-an-extraterrestrial-man--4","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":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/454/large/Byars_Essen_2.jpg?1369333235","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eJames Lee Byars was intensely occupied with raising philosophical questions and addressing them in his work, but without ever providing any pat answers. In works such as \u003cem\u003eExtra Terrestrial\u003c/em\u003e, also known as \u003cem\u003eThe Antwerp Giant\u003c/em\u003e, he does however provide viewers with a few suggestions. This piece is inspired by the Antwerp folk-legend, the giant called Lange Wapper. Byars represents him as an endlessly long, primitive human figure in black tulle. In something of a ritual during the opening of his 1976 exhibition at Antwerp\u0026rsquo;s Internationaal Cultureel Centrum, he had those present help unfurl the transparent dark figure on the Meir (the adjacent thoroughfare). W. Van Mulders described this act as a procession where the participating public warily unfolded the black tulle like an immense reliquary. Afterwards, the giant was included in the \u0026lsquo;inside\u0026rsquo; exhibition as an airy black mass.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe act of unfolding, in the presence of the public, was essential for Byars. It was only during this act that the \u0026lsquo;Antwerp Giant\u0026rsquo; really became present again. Once back in the exhibition, the viewer is again consigned to a certain distance, and what remains is a pile of black tulle. Byars was fascinated by paradoxes: the giant versus a mass of black cloth, the material quality of the tulle versus the immateriality of the Lange Wapper folk-figure. The artist admired enduring continuity and immutability, but his works tended to go \u0026lsquo;lost\u0026rsquo; (among other reasons, due to the fragility of materials used) or remain to us only as fragments of their former selves.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eJames Lee Byars houdt zich zeer intens bezig met filosofische vraagstellingen, zonder echter antwoorden te formuleren. In zijn werk, zoals \u003cem\u003eExtra Terrestria\u003c/em\u003el, ook wel \u003cem\u003eThe Antwerp Giant\u003c/em\u003e\u0026nbsp;genoemd, reikt hij de toeschouwer enkel suggesties aan. Het werk is ge\u0026iuml;nspireerd op de Antwerpse volkslegende van de reus Lange Wapper. Byars stelt hem voor als een eindeloos lange primitieve menselijke figuur in zwarte tule. Als een ritueel laat hij de doorschijnende zwarte figuur door de aanwezigen op de opening van zijn tentoonstelling in het Antwerpse Internationaal Cultureel Centrum (1976) openplooien op de Meir. W. van Mulders omschrijft deze actie als een processie waar de processiegangers de zwarte tule als een immense relikwie behoedzaam openplooien. Daarna is de reus als een luchtige zwarte massa in de tentoonstelling opgenomen.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe handeling van het openvouwen, in aanwezigheid van het publiek, is essentieel voor Byars. Enkel op het moment van de actie was de \u0026lsquo;Antwerpse reus\u0026rsquo; even echt aanwezig. Eens terug in de tentoonstelling is de toeschouwer opnieuw op een afstand geplaatst, wat overblijft is een hoopje zwarte tule. Byars is gefascineerd door paradoxen: de reus versus het hoopje zwarte stof, het materi\u0026euml;le van de tulen figuur versus het immateri\u0026euml;le van de sprookjesfiguur Lange Wapper. De kunstenaar heeft bewondering voor duurzame continu\u0026iuml;teit en onbeweeglijkheid, maar zijn werken gaan verloren (onder andere omwille van de fragiliteit van het gebruikte materiaal) of blijven slechts fragmentarisch bestaan.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4720,"title":"The Perfect Philosophy","dimensions":"","date_begin":"1975-01-01","material":"gold","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"pin","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0389_02","stream_count_app":43,"permalink":"the-perfect-philosophy","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003e\u0026Omicron;\u0026iota; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;ή\u0026rho;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; έ\u0026gamma;\u0026rho;\u0026alpha;\u0026psi;\u0026epsilon; \u0026mu;\u0026epsilon; \u0026mu;\u0026omicron;\u0026lambda;ύ\u0026beta;\u0026iota; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026omicron;\u0026delta;\u0026omicron;\u0026nu;\u0026tau;\u0026omicron;\u0026gamma;\u0026lambda;\u0026upsilon;\u0026phi;ί\u0026delta;\u0026alpha; \u0026omicron; \u0026Tau;\u0026zeta;έ\u0026iota;\u0026mu;\u0026sigmaf; \u0026Lambda;\u0026iota; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026omicron;ύ\u0026nu; \u0026sigma;\u0026tau;\u0026omicron;\u003cem\u003e The First Totally Interrogative Philosophy \u003c/em\u003e\u003cem\u003e[\u003c/em\u003e\u0026Eta; \u0026pi;\u0026rho;ώ\u0026tau;\u0026eta; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026alpha; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;\u0026eta;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ή \u0026phi;\u0026iota;\u0026lambda;\u0026omicron;\u0026sigma;\u0026omicron;\u0026phi;ί\u0026alpha;]. \u0026Sigma;ύ\u0026mu;\u0026phi;\u0026omega;\u0026nu;\u0026alpha; \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026nu; \u0026alpha;\u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026kappa;\u0026alpha;\u0026nu;ό \u0026gamma;\u0026lambda;ύ\u0026pi;\u0026tau;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf;, \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026epsilon;ί έ\u0026nu;\u0026alpha; \u0026pi;\u0026epsilon;\u0026delta;ί\u0026omicron; \u0026sigma;\u0026tau;\u0026omicron;\u0026chi;\u0026alpha;\u0026sigma;\u0026mu;\u0026omicron;ύ, ό\u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026iota;\u0026omicron; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;ό \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026rho;\u0026omega;\u0026tau;ά\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;ά \u0026nu;\u0026alpha; \u0026delta;ί\u0026nu;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026alpha;\u0026nu;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026theta;\u0026epsilon;\u0026omega;\u0026rho;\u0026epsilon;ί \u0026tau;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026alpha;\u0026nu;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026iota;\u0026delta;\u0026epsilon;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026sigma;\u0026kappa;\u0026epsilon;\u0026upsilon;έ\u0026sigmaf;, \u0026omega;\u0026sigmaf; \u0026lambda;ύ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;\u0026omicron;ύ\u0026nu; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026xi;\u0026alpha;\u0026phi;ά\u0026nu;\u0026iota;\u0026sigma;\u0026eta; \u0026nu;έ\u0026omega;\u0026nu; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;\u0026eta;\u0026mu;ά\u0026tau;\u0026omega;\u0026nu;. \u0026Sigma;\u0026tau;\u0026omicron; \u003cem\u003eTH FI TO IN PH\u003c/em\u003e, \u0026alpha;\u0026pi;\u0026alpha;\u0026nu;\u0026tau;ά \u0026sigma;\u0026epsilon; ά\u0026sigma;\u0026chi;\u0026epsilon;\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026mu;\u0026epsilon; ά\u0026lambda;\u0026lambda;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026alpha;\u0026gamma;\u0026omega;\u0026nu;ί\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026alpha;\u0026pi;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026theta;\u0026epsilon;\u0026rho;ώ\u0026sigma;\u0026epsilon;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026epsilon;\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026omicron;\u0026rho;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf;, \u0026alpha;\u0026nu;\u0026omicron;ί\u0026gamma;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; έ\u0026tau;\u0026sigma;\u0026iota; \u0026tau;\u0026omicron;\u0026nu; \u0026delta;\u0026rho;ό\u0026mu;\u0026omicron; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026omicron;. \u0026Epsilon;\u0026tau;\u0026omicron;ύ\u0026tau;\u0026eta; \u0026eta; \u0026chi;\u0026rho;\u0026upsilon;\u0026sigma;ή \u0026kappa;\u0026alpha;\u0026rho;\u0026phi;ί\u0026tau;\u0026sigma;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026omicron;\u0026delta;\u0026omicron;\u0026nu;\u0026tau;\u0026omicron;\u0026gamma;\u0026lambda;\u0026upsilon;\u0026phi;ί\u0026delta;\u0026alpha; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026omicron;ύ\u0026nu; \u0026nu;\u0026alpha; \u0026iota;\u0026delta;\u0026omega;\u0026theta;\u0026omicron;ύ\u0026nu; \u0026omega;\u0026sigmaf; \u0026sigma;ύ\u0026mu;\u0026beta;\u0026omicron;\u0026lambda;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026omicron;\u0026upsilon;. \u0026Omicron; \u0026sigma;\u0026upsilon;\u0026gamma;\u0026kappa;\u0026epsilon;\u0026kappa;\u0026rho;\u0026iota;\u0026mu;έ\u0026nu;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026iota;\u0026delta;\u0026iota;\u0026alpha;ί\u0026tau;\u0026epsilon;\u0026rho;\u0026eta; \u0026alpha;\u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026mu;ί\u0026alpha; \u0026sigma;\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026theta;\u0026eta;\u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026nu;ά \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha;, \u0026tau;\u0026alpha; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; ό\u0026mu;\u0026omega;\u0026sigmaf; \u0026alpha;\u0026nu;ά\u0026gamma;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026phi;\u0026alpha;ί\u0026rho;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ. \u0026Mu;\u0026epsilon; ά\u0026lambda;\u0026lambda;\u0026alpha; \u0026lambda;ό\u0026gamma;\u0026iota;\u0026alpha;, \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026kappa;\u0026omicron;\u0026sigma;\u0026mu;\u0026iota;\u0026kappa;έ\u0026sigmaf; έ\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026pi;\u0026nu;\u0026epsilon;\u0026upsilon;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;. \u0026Mu;\u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026tau;ά \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026gamma;\u0026alpha;\u0026lambda;ά\u0026zeta;\u0026iota;\u0026omicron; \u0026phi;ό\u0026nu;\u0026tau;\u0026omicron;, \u0026eta; \u0026kappa;\u0026alpha;\u0026rho;\u0026phi;ί\u0026tau;\u0026sigma;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026omicron;\u0026delta;\u0026omicron;\u0026nu;\u0026tau;\u0026omicron;\u0026gamma;\u0026lambda;\u0026upsilon;\u0026phi;ί\u0026delta;\u0026alpha; \u0026alpha;\u0026nu;\u0026alpha;\u0026delta;ύ\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026omega;\u0026sigmaf; \u0026mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026eta;\u0026rho;\u0026iota;\u0026alpha;\u0026kappa;έ\u0026sigmaf; \u0026omicron;\u0026nu;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026epsilon;\u0026sigmaf;.\u0026nbsp; \u0026Tau;\u0026omicron; \u0026mu;ό\u0026tau;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Tau;\u0026zeta;έ\u0026iota;\u0026mu;\u0026sigmaf; \u0026Lambda;\u0026iota; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf;, \u0026laquo;\u003ci\u003e\u0026Gamma;ί\u0026nu;\u0026epsilon; \u0026pi;\u0026rho;\u0026omicron;ά\u0026gamma;\u0026gamma;\u0026epsilon;\u0026lambda;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; ώ\u0026sigma;\u0026pi;\u0026omicron;\u0026upsilon; \u0026nu;\u0026alpha; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026omega;\u0026theta;\u0026epsilon;ί\u003c/i\u003e\u0026raquo;, \u0026beta;\u0026rho;ί\u0026sigma;\u0026kappa;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026tau;έ\u0026lambda;\u0026epsilon;\u0026iota;\u0026alpha; \u0026epsilon;\u0026phi;\u0026alpha;\u0026rho;\u0026mu;\u0026omicron;\u0026gamma;ή \u0026tau;\u0026omicron;\u0026upsilon; \u0026sigma;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ά \u0026tau;\u0026alpha; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha;.\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":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/434/large/Byars__James_Lee__Gouden_speld_en_tandenstoker__schenking_Flor_Bex%282%29.jpg?1333552484","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe letters that James Lee Byars wrote in pencil on a toothpick stand for \u003cem\u003eThe First Totally Interrogative Philosophy\u003c/em\u003e. According to this American sculptor and performance artist, his work opens up a space for reflection, a place where it is more important to ask questions than to provide answers. Byars regards answers as ideological constructions, as solutions that make new questions disappear. In \u003cem\u003eTH FI TO IN PH\u003c/em\u003e he answers unrelated questions with further questions. Byars strives to liberate conceptual images from their constraints, and so create an openness for the absolute. This golden pin and toothpick can be seen as symbols of the absolute. Byars likes to work with everyday objects, but places them in a mystical sphere. In other words, he combines earthly matters and spirituality. Against the dark background, the pin and toothpick emerge as mysterious entities, and we can enjoy moments of unexpected perfection in their contemplation. This aspect is something that Byars often strived for: one of his uncompleted projects was for a nail, 333-meters long, which he wanted to place in Berlin. The gigantic work was intended to reach the clouds, but at the same time could be described as a light-ray from the heavens descending down upon us. James Lee Byars\u0026#39; motto \u003cstrong\u003e\u0026quot;announce the perfect until it happens\u0026quot; \u003c/strong\u003ecan most certainly be applied to these objects as well. With Byars\u0026rsquo; toothpick and pin \u0026ndash; the latter of which is the smallest object in the M HKA collection \u0026ndash; he attempts to make the impossible possible.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe letters die James Lee Byars met potlood op de tandenstoker heeft geschreven, staan voor: \u003cem\u003eThe First Totally Interrogative Philosophy\u003c/em\u003e (de eerste volledig vragende filosofie). Volgens deze Amerikaanse beeldhouwer en performance kunstenaar opent zijn werk een ruimte voor bezinning, een plaats waar het stellen van vragen belangrijker is dan het geven van antwoorden. Byars beschouwt antwoorden als ideologische constructies, als oplossingen die nieuwe vragen doen verdwijnen. Met \u003cem\u003eTH FI TO IN PH\u003c/em\u003e beantwoordt hij onafhankelijke vragen dan ook telkens met andere vragen. Op die manier wil de kunstenaar conceptuele beelden bevrijden van hun grenzen en een openheid cre\u0026euml;ren voor het absolute. Ook deze gouden speld en tandenstoker kunnen gezien worden als symbolen van het absolute. Byars werkte graag met alledaagse voorwerpen, maar plaatste ze in een mystieke sfeer. Met andere woorden: hij combineerde aardse zaken met spiritualiteit. Tegen de donkere achtergrond treden de speld en tandenstoker als mysterieuze entiteiten naar voren. Hierdoor kunnen we momenten van onverwachte perfectie beleven. Dit laatste is een kenmerk dat Byars vaker heeft nagestreefd: \u0026eacute;\u0026eacute;n van zijn onvoltooide projecten is een 333 meter lange naald, die hij in Berlijn wilde plaatsten. Dit gigantische werk zou tot in de wolken moeten reiken, maar zou tegelijkertijd kunnen worden beschouwd als een lichtstraal die uit de hemel op ons neerdaalt. James Lee Byars\u0026#39; motto \u003cstrong\u003e\u0026quot;announce the perfect until it happens\u0026quot;\u003c/strong\u003e kan dus zeker ook op deze voorwerpen toegepast worden. Met deze objecten - waarvan de speld het kleinste object uit de collectie van het M HKA is - probeerde hij het onmogelijke mogelijk te maken.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLes lettres que James Lee Byars a \u0026eacute;crites au crayon sur un cure-dent correspondent \u0026agrave;\u0026nbsp;: \u003cem\u003eThe First Totally Interrogative Philosophy\u003c/em\u003e [La premi\u0026egrave;re philosophie totalement interrogative]. Selon ce sculpteur et artiste de la performance \u0026eacute;tats-unien, son \u0026oelig;uvre offre un espace \u0026agrave; la r\u0026eacute;flexion, un lieu o\u0026ugrave; poser des questions est plus important que donner des r\u0026eacute;ponses. Pour Byars, les r\u0026eacute;ponses sont des constructions id\u0026eacute;ologiques, des solutions qui \u0026eacute;liminent de nouvelles questions. Avec \u003cem\u003eTH FI TO IN PH\u003c/em\u003e, il r\u0026eacute;pond \u0026agrave; des questions autonomes par d\u0026rsquo;autres questions. L\u0026rsquo;artiste souhaite ainsi lib\u0026eacute;rer les images conceptuelles de leurs contraintes et cr\u0026eacute;er une ouverture \u0026agrave; l\u0026rsquo;absolu. Cette aiguille en or et ce cure-dent peuvent aussi \u0026ecirc;tre vus comme des symboles de l\u0026rsquo;absolu. Byars aimait travailler avec des objets quotidiens, mais les pla\u0026ccedil;ait dans une sph\u0026egrave;re mystique. En d\u0026rsquo;autres mots\u0026nbsp;: il combinait le temporel et le spirituel. Sur leur fond noir, l\u0026rsquo;aiguille et le cure-dent \u0026eacute;mergent comme des entit\u0026eacute;s myst\u0026eacute;rieuses. De ce fait, nous pouvons \u0026ecirc;tre t\u0026eacute;moins de moments inattendus de perfection, ce qui caract\u0026eacute;rise l\u0026rsquo;aspiration de Byars\u0026nbsp;: un de ses projets inachev\u0026eacute;s est une aiguille de 333 m\u0026egrave;tres de long qu\u0026rsquo;il d\u0026eacute;sirait installer \u0026agrave; Berlin. Cette \u0026oelig;uvre gigantesque devait s\u0026rsquo;\u0026eacute;lever jusqu\u0026rsquo;aux nuages, mais devait \u0026agrave; la fois \u0026ecirc;tre consid\u0026eacute;r\u0026eacute;e comme un rayon lumineux qui descend du ciel. La devise de James Lee Byars \u003cem\u003e\u0026laquo;\u0026nbsp;announce the perfect until it happens\u0026nbsp;\u0026raquo; \u003c/em\u003e[Annoncez la perfection jusqu\u0026rsquo;\u0026agrave; ce que celle-ci se produise] peut certainement s\u0026rsquo;appliquer \u0026agrave; ces objets \u0026ndash; dont l\u0026rsquo;aiguille constitue la plus petite pi\u0026egrave;ce de la collection du M\u0026nbsp;HKA \u0026ndash; \u0026agrave; travers lesquels Byars a tent\u0026eacute; de rendre l\u0026rsquo;impossible possible.\u003c/p\u003e\r\n"}]},{"id":4719,"title":"TH FI TO IN PH","dimensions":"5.6 x 0.2 cm","date_begin":"1975-01-01","material":"wooden toothpick","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"needle toothpick JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0389_01","stream_count_app":61,"permalink":"th-fi-to-in-ph","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDie Buchstaben, die James Lee Byars mit Bleistift auf den Zahnstocher geschrieben hat, stehen f\u0026uuml;r \u003cem\u003eThe First Interrogative Philosophy\u003c/em\u003e (dt. Die erste vollst\u0026auml;ndig fragende Philosophie). Laut diesem amerikanischen Bildhauer und Performancek\u0026uuml;nstler \u0026ouml;ffnet sein Werk einen Besinnungsraum, einen Raum, in dem Fragen stellen wichtiger ist, als sie zu beantworten. Byars betrachtet Antworten als ideologische Konstruktionen, als L\u0026ouml;sungen, die neue Fragen verschwinden lasen. Mit \u003cem\u003eTH FI TO IN PH\u003c/em\u003e beantwortet er unabh\u0026auml;ngige Fragen denn auch immer wieder mit anderen Fragen. Auf diese Weise will der K\u0026uuml;nstler konzeptuelle Bilder befreien von ihren Grenzen und eine Offenheit kreieren f\u0026uuml;r das Absolute. Auch diese goldene Nadel und Zahnstocher kann man als Symbole f\u0026uuml;r das Absolute interpretieren. Byars arbeitete gerne mit allt\u0026auml;glichen Objekten, aber er hat sie in eine mysteri\u0026ouml;se Atmosph\u0026auml;re gestellt, beziehungsweise, er kombinierte irdische Sachen mit Spiritualit\u0026auml;t. Gegen den dunklen Hintergrund treten die Nadel und der Zahnstocher als mysteri\u0026ouml;se Entit\u0026auml;ten nach vorne. Dadurch k\u0026ouml;nnen wir Momente von unerwarteter Perfektion erleben. Letzteres ist ein Merkmal, dem Byars \u0026ouml;fter nachgestrebt hat: Eine von seinen unvollendeten Projekten ist eine 333 Meter lange Nadel, die er in Berlin aufstellen wollte. Dieses gigantische Werk sollte bis in die Wolken reichen m\u0026uuml;ssen, aber w\u0026uuml;rde zugleich betrachtet werden k\u0026ouml;nnen als ein Lichtstrahl, der aus dem Himmel auf uns niedersteigt. James Lee Byars\u0026rsquo; Leitspruch \u0026ldquo;announce the perfect until it happens\u0026rdquo; (dt. K\u0026uuml;ndige das Perfekte an, bis es geschieht) kann man also sicher auch auf diese Objekte anwenden. Mit diesen Objekten \u0026ndash; wovon die Nadel das kleinste Objekt aus der Kollektion des M HKAs ist \u0026ndash; hat er versucht, das Unm\u0026ouml;gliche m\u0026ouml;glich zu machen.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Omicron;\u0026iota; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;ή\u0026rho;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; έ\u0026gamma;\u0026rho;\u0026alpha;\u0026psi;\u0026epsilon; \u0026mu;\u0026epsilon; \u0026mu;\u0026omicron;\u0026lambda;ύ\u0026beta;\u0026iota; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026omicron;\u0026delta;\u0026omicron;\u0026nu;\u0026tau;\u0026omicron;\u0026gamma;\u0026lambda;\u0026upsilon;\u0026phi;ί\u0026delta;\u0026alpha; \u0026omicron; \u0026Tau;\u0026zeta;έ\u0026iota;\u0026mu;\u0026sigmaf; \u0026Lambda;\u0026iota; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026omicron;ύ\u0026nu; \u0026sigma;\u0026tau;\u0026omicron;\u003cem\u003e The First Totally Interrogative Philosophy \u003c/em\u003e\u003cem\u003e[\u003c/em\u003e\u0026Eta; \u0026pi;\u0026rho;ώ\u0026tau;\u0026eta; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026alpha; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;\u0026eta;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ή \u0026phi;\u0026iota;\u0026lambda;\u0026omicron;\u0026sigma;\u0026omicron;\u0026phi;ί\u0026alpha;]. \u0026Sigma;ύ\u0026mu;\u0026phi;\u0026omega;\u0026nu;\u0026alpha; \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026nu; \u0026alpha;\u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026kappa;\u0026alpha;\u0026nu;ό \u0026gamma;\u0026lambda;ύ\u0026pi;\u0026tau;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf;, \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026epsilon;ί έ\u0026nu;\u0026alpha; \u0026pi;\u0026epsilon;\u0026delta;ί\u0026omicron; \u0026sigma;\u0026tau;\u0026omicron;\u0026chi;\u0026alpha;\u0026sigma;\u0026mu;\u0026omicron;ύ, ό\u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026iota;\u0026omicron; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;ό \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026rho;\u0026omega;\u0026tau;ά\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;ά \u0026nu;\u0026alpha; \u0026delta;ί\u0026nu;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026alpha;\u0026nu;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026theta;\u0026epsilon;\u0026omega;\u0026rho;\u0026epsilon;ί \u0026tau;\u0026iota;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026alpha;\u0026nu;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026iota;\u0026delta;\u0026epsilon;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026sigma;\u0026kappa;\u0026epsilon;\u0026upsilon;έ\u0026sigmaf;, \u0026omega;\u0026sigmaf; \u0026lambda;ύ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;\u0026omicron;ύ\u0026nu; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026xi;\u0026alpha;\u0026phi;ά\u0026nu;\u0026iota;\u0026sigma;\u0026eta; \u0026nu;έ\u0026omega;\u0026nu; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;\u0026eta;\u0026mu;ά\u0026tau;\u0026omega;\u0026nu;. \u0026Sigma;\u0026tau;\u0026omicron; \u003cem\u003eTH FI TO IN PH\u003c/em\u003e, \u0026alpha;\u0026pi;\u0026alpha;\u0026nu;\u0026tau;ά \u0026sigma;\u0026epsilon; ά\u0026sigma;\u0026chi;\u0026epsilon;\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026mu;\u0026epsilon; ά\u0026lambda;\u0026lambda;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026rho;\u0026omega;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026alpha;\u0026gamma;\u0026omega;\u0026nu;ί\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026alpha;\u0026pi;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026theta;\u0026epsilon;\u0026rho;ώ\u0026sigma;\u0026epsilon;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026epsilon;\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026omicron;\u0026rho;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf;, \u0026alpha;\u0026nu;\u0026omicron;ί\u0026gamma;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; έ\u0026tau;\u0026sigma;\u0026iota; \u0026tau;\u0026omicron;\u0026nu; \u0026delta;\u0026rho;ό\u0026mu;\u0026omicron; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026omicron;. \u0026Epsilon;\u0026tau;\u0026omicron;ύ\u0026tau;\u0026eta; \u0026eta; \u0026chi;\u0026rho;\u0026upsilon;\u0026sigma;ή \u0026kappa;\u0026alpha;\u0026rho;\u0026phi;ί\u0026tau;\u0026sigma;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026omicron;\u0026delta;\u0026omicron;\u0026nu;\u0026tau;\u0026omicron;\u0026gamma;\u0026lambda;\u0026upsilon;\u0026phi;ί\u0026delta;\u0026alpha; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026omicron;ύ\u0026nu; \u0026nu;\u0026alpha; \u0026iota;\u0026delta;\u0026omega;\u0026theta;\u0026omicron;ύ\u0026nu; \u0026omega;\u0026sigmaf; \u0026sigma;ύ\u0026mu;\u0026beta;\u0026omicron;\u0026lambda;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026omicron;\u0026upsilon;. \u0026Omicron; \u0026sigma;\u0026upsilon;\u0026gamma;\u0026kappa;\u0026epsilon;\u0026kappa;\u0026rho;\u0026iota;\u0026mu;έ\u0026nu;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026iota;\u0026delta;\u0026iota;\u0026alpha;ί\u0026tau;\u0026epsilon;\u0026rho;\u0026eta; \u0026alpha;\u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026mu;ί\u0026alpha; \u0026sigma;\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026theta;\u0026eta;\u0026mu;\u0026epsilon;\u0026rho;\u0026iota;\u0026nu;ά \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha;, \u0026tau;\u0026alpha; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; ό\u0026mu;\u0026omega;\u0026sigmaf; \u0026alpha;\u0026nu;ά\u0026gamma;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026phi;\u0026alpha;ί\u0026rho;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ. \u0026Mu;\u0026epsilon; ά\u0026lambda;\u0026lambda;\u0026alpha; \u0026lambda;ό\u0026gamma;\u0026iota;\u0026alpha;, \u0026sigma;\u0026upsilon;\u0026nu;\u0026delta;\u0026upsilon;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026kappa;\u0026omicron;\u0026sigma;\u0026mu;\u0026iota;\u0026kappa;έ\u0026sigmaf; έ\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026pi;\u0026nu;\u0026epsilon;\u0026upsilon;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;. \u0026Mu;\u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026tau;ά \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026gamma;\u0026alpha;\u0026lambda;ά\u0026zeta;\u0026iota;\u0026omicron; \u0026phi;ό\u0026nu;\u0026tau;\u0026omicron;, \u0026eta; \u0026kappa;\u0026alpha;\u0026rho;\u0026phi;ί\u0026tau;\u0026sigma;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026omicron;\u0026delta;\u0026omicron;\u0026nu;\u0026tau;\u0026omicron;\u0026gamma;\u0026lambda;\u0026upsilon;\u0026phi;ί\u0026delta;\u0026alpha; \u0026alpha;\u0026nu;\u0026alpha;\u0026delta;ύ\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026omega;\u0026sigmaf; \u0026mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026eta;\u0026rho;\u0026iota;\u0026alpha;\u0026kappa;έ\u0026sigmaf; \u0026omicron;\u0026nu;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026epsilon;\u0026sigmaf;.\u0026nbsp; \u0026Tau;\u0026omicron; \u0026mu;ό\u0026tau;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Tau;\u0026zeta;έ\u0026iota;\u0026mu;\u0026sigmaf; \u0026Lambda;\u0026iota; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf;, \u0026laquo;\u003ci\u003e\u0026Gamma;ί\u0026nu;\u0026epsilon; \u0026pi;\u0026rho;\u0026omicron;ά\u0026gamma;\u0026gamma;\u0026epsilon;\u0026lambda;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; ώ\u0026sigma;\u0026pi;\u0026omicron;\u0026upsilon; \u0026nu;\u0026alpha; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026omega;\u0026theta;\u0026epsilon;ί\u003c/i\u003e\u0026raquo;, \u0026beta;\u0026rho;ί\u0026sigma;\u0026kappa;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026tau;έ\u0026lambda;\u0026epsilon;\u0026iota;\u0026alpha; \u0026epsilon;\u0026phi;\u0026alpha;\u0026rho;\u0026mu;\u0026omicron;\u0026gamma;ή \u0026tau;\u0026omicron;\u0026upsilon; \u0026sigma;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ά \u0026tau;\u0026alpha; \u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026epsilon;ί\u0026mu;\u0026epsilon;\u0026nu;\u0026alpha;.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/433/medium_500/2018_James_Lee_Byars_Photo_M_HKA_27.jpg?1538663835","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/433/large/2018_James_Lee_Byars_Photo_M_HKA_27.jpg?1538663835","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe letters that James Lee Byars wrote in pencil on a toothpick stand for \u003cem\u003eThe First Totally Interrogative Philosophy\u003c/em\u003e. According to this American sculptor and performance artist, his work opens up a space for reflection, a place where it is more important to ask questions than to provide answers. Byars regards answers as ideological constructions, as solutions that make new questions disappear. In \u003cem\u003eTH FI TO IN PH\u003c/em\u003e he answers unrelated questions with further questions. Byars strives to liberate conceptual images from their constraints, and so create an openness for the absolute.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis golden pin and toothpick can be seen as symbols of the absolute. Byars likes to work with everyday objects, but places them in a mystical sphere. In other words, he combines earthly matters and spirituality. Against the dark background, the pin and toothpick emerge as mysterious entities, and we can enjoy moments of unexpected perfection in their contemplation. This aspect is something that Byars often strived for: one of his uncompleted projects was for a nail, 333-meters long, which he wanted to place in Berlin. The gigantic work was intended to reach the clouds, but at the same time could be described as a light-ray from the heavens descending down upon us. James Lee Byars\u0026#39; motto \u003cstrong\u003e\u0026quot;announce the perfect until it happens\u0026quot;\u003c/strong\u003e can most certainly be applied to these objects as well. With Byars\u0026rsquo; toothpick and pin \u0026ndash; the latter of which is the smallest object in the M HKA collection \u0026ndash; he attempts to make the impossible possible.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe letters die James Lee Byars met potlood op de tandenstoker heeft geschreven, staan voor: \u003cem\u003eThe First Totally Interrogative Philosophy\u003c/em\u003e (de eerste volledig vragende filosofie). Volgens deze Amerikaanse beeldhouwer en performance kunstenaar opent zijn werk een ruimte voor bezinning, een plaats waar het stellen van vragen belangrijker is dan het geven van antwoorden. Byars beschouwt antwoorden als ideologische constructies, als oplossingen die nieuwe vragen doen verdwijnen. Met \u003cem\u003eTH FI TO IN PH\u003c/em\u003e beantwoordt hij onafhankelijke vragen dan ook telkens met andere vragen. Op die manier wil de kunstenaar conceptuele beelden bevrijden van hun grenzen en een openheid cre\u0026euml;ren voor het absolute.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOok deze gouden speld en tandenstoker kunnen gezien worden als symbolen van het absolute. Byars werkte graag met alledaagse voorwerpen, maar plaatste ze in een mystieke sfeer. Met andere woorden: hij combineerde aardse zaken met spiritualiteit. Tegen de donkere achtergrond treden de speld en tandenstoker als mysterieuze entiteiten naar voren. Hierdoor kunnen we momenten van onverwachte perfectie beleven. Dit laatste is een kenmerk dat Byars vaker heeft nagestreefd: \u0026eacute;\u0026eacute;n van zijn onvoltooide projecten is een 333 meter lange naald, die hij in Berlijn wilde plaatsten. Dit gigantische werk zou tot in de wolken moeten reiken, maar zou tegelijkertijd kunnen worden beschouwd als een lichtstraal die uit de hemel op ons neerdaalt. James Lee Byars\u0026#39; motto\u003cstrong\u003e \u0026quot;announce the perfect until it happens\u0026quot;\u003c/strong\u003e kan dus zeker ook op deze voorwerpen toegepast worden. Met deze objecten - waarvan de speld het kleinste object uit de collectie van het M HKA is - probeerde hij het onmogelijke mogelijk te maken.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLes lettres que James Lee Byars a \u0026eacute;crites au crayon et au cure-dents sont l\u0026rsquo;abr\u0026eacute;viation de \u003cem\u003eThe First Totally Interrogative Philosophy\u003c/em\u003e\u0026nbsp;(la premi\u0026egrave;re philosophie enti\u0026egrave;rement interrogative). Selon le sculpteur et artiste de performance \u0026eacute;tats-unien, son \u0026oelig;uvre invite \u0026agrave; la r\u0026eacute;flexion et constitue un lieu o\u0026ugrave; le fait de poser des questions a priorit\u0026eacute; sur celui d\u0026rsquo;offrir des r\u0026eacute;ponses. Byars consid\u0026egrave;re les r\u0026eacute;ponses comme des constructions id\u0026eacute;ologiques, comme des solutions qui effacent de nouvelles questions. Avec \u003cem\u003eTH FI TO IN PH\u003c/em\u003e, il r\u0026eacute;pond \u0026agrave; des questions ind\u0026eacute;pendantes par d\u0026rsquo;autres questions.\u003c/p\u003e\r\n"}]},{"id":6974,"title":"The Perfect Place ( is on Top of Your Head) ","dimensions":"","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie ICC Antwerpen","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"the-perfect-place-is-on-top-of-your-head","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/742/large/Untitled122.jpg?1364290453","poster_credits":"(c)image: ICC Archive","translations":[{"locale":"en","description":"\u003cp\u003ePerformance by James Lee Byars during the Extra Terrestrial exhibition in the I.C.C. *The Perfect Place ( is on Top of Your Head)* is a short action in front of a select group of people where Byars placed a white orchid on the head of Lieve De Deyne, I.C.C. director Flor Bex\u0026#39; Wife. The performance was meticulously prepared, for instance, the orchid had to be especially imported from Brazil and Lieve her black dress was exclusively bought for this occasion. It is striking that such a carefully prepared action lasted only a few seconds, but for the artist, this was a perfect moment.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003ePerformance door James Lee Byars tijdens de Extra Terrestrial tentoonstelling in het I.C.C. *The Perfect Place ( is on Top of Your Head)* is een korte actie voor een selecte groep mensen, waar Byars een witte orchidee op het hoofd van Lieve De Deyne, de vrouw van I.C.C. directeur Flor Bex Plaatste. De actie werd nauwgezet voorbereid, zo werd het kleed van Lieve speciaal voor deze gelegenheid gekocht en moest de orchidee speciaal uit Brazili\u0026euml; komen. Het is frappant dat zulk een zorgvuldig geplande performance slechts enkele ogenblikken duurde, maar voor Byars was dit \u0026#39;a perfect moment\u0026#39;.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":6975,"title":"A Halo around the ICC ","dimensions":"","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collectie ICC Antwerpen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"a-halo-around-the-icc","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/015/743/large/Untitled180.jpg?1364292417","poster_credits":"(c)image: ICC Archive","translations":[{"locale":"en","description":"\u003cp\u003eAction by James Lee byars in front of the I.C.C. on the Meir, Antwerps\u0026#39; busiest shopping street. The proportional analogy between the width of the facade of the I.C.C. and the width of the street, inspired James Lee Byars for this action. Under the watchfull eye of Byars, I.C.C. director Flor Bex starts with the painting of a semicircle on the street in front of the building. The original plan was to give a performance at the exact centre of the halo, but Bex was caught red handed and arrested by a patrol of the Antwerp police. Byars, who had gone \u0026quot;missing\u0026quot; when the boys in blue arrived, eventually gave his performance, under the form of a reception in an unfinished halo.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eActie van James Lee Byars voor het I.C.C. op de Antwerpse Meir. De proportionele analogie tussen de breedte van de gevel van het I.C.C. en de breedte van de straat inspireerde de kunstenaar voor deze onderneming. Onder het waakzame oog van Byars begint directeur Flor Bex met het schilderen van een halve cirkel in gouden verf op de straat voor het gebouw. Het oorspronkelijke plan was om een performance te geven, precies in het midden van de cirkel, maar Bex werd op heterdaad betrapt door een politiepatrouille. Byars die nergens te bespeuren was toen de politie Bex arresteerde, gaf zijn performance, onder de vorm van een receptie uiteindelijk in een onafgewerkte halo.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":7286,"title":"James Lee Byars","dimensions":"24 cm x 24,3 cm, language : German, English, publisher : Westfälischer Kunstverein, Münster, authors : James Lee Byars \u0026 Thomas Deecke ","date_begin":"1982-01-01","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":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist catalogue ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/300","stream_count_app":20,"permalink":"james-lee-byars--3","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/763/large/DSC_5351.jpg?1366959295","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7265,"title":"James Lee Byars - The Palace of Good Luck","dimensions":"22.5 x 17 cm, 187 p., language : Italian, English, publisher : Castello di Rivoli - Museo d'arte contemporanea, Rivoli (Torino), authors : Rudi Fuchs, James Lee Byars and Gianni Vattimo","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":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication; Artist book; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1996/804","stream_count_app":11,"permalink":"james-lee-byars-the-palace-of-good-luck","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/005/large/DSC_5937.jpg?1367831036","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003ePublication with gold cover and gilt leaf margins.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13158,"title":"The Letter Reading Society of James Lee Byars","dimensions":"20.5 x 14 cm, publisher : Galerie des Beaux-Arts, Brussel","date_begin":"1987-01-01","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":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist book; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1996/803","stream_count_app":8,"permalink":"the-letter-reading-society-of-james-lee-byars","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/302/large/artistbooks_7_36_26_20.jpg?1453209240","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17038,"title":"Beuys 2017 - Broodthaers 2018 - Byars 2019 in Antwerpen (Over drie komende tentoonstellingen in M HKA - Museum van Hedendaagse Kunst Antwerpen","dimensions":"28.7 x 20.1 cm, 27 p., language : English, publisher : M HKA Museum van Hedendaagse Kunst, Antwerpen, ISBN : 978-907-282-8569","date_begin":"2017-01-01","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 2028/732","stream_count_app":7,"permalink":"beuys-2017-broodthaers-2018-byars-2019-in-antwerpen-over-drie-komende-tentoonstellingen-in-m-hka-museum-van-hedendaagse-kunst-antwerpen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/824/large/20171025145055768_0003.jpg?1508937279","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor :\u0026nbsp;Antony Hudek.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts by : Anny De Decker, Marcel Broodthaers, Maria Gilissen Broodthaers, Isi Fiszman, Jef Cornelis \u0026amp; Florent Bex.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvailable in the M HKA bookshop.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17073,"title":"The Name of the Artist","dimensions":"140 x 42.5 cm, 2 x (Ø 42.5 cm)","date_begin":"1974-01-01","material":"3 double-sided pieces, black wrinkled tissue paper, glass, wooden frame","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":"Viehof Collection, formerly Speck Collection, Cologne","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"the-name-of-the-artist","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/895/medium_500/2018_James_Lee_Byars_Photo_M_HKA_51.jpg?1538669239","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/895/large/2018_James_Lee_Byars_Photo_M_HKA_51.jpg?1538669239","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17079,"title":"Satie wrote nothing as light as his name","dimensions":"77.5 x 58 cm","date_begin":"1977-01-01","material":"gold pencil on photograph","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":"Speck Collection, Cologne","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"satie-wrote-nothing-as-light-as-his-name","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/000/042/054/medium_500/2018_James_Lee_Byars_Photo_M_HKA_82.jpg?1538669295","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/054/large/2018_James_Lee_Byars_Photo_M_HKA_82.jpg?1538669295","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17084,"title":"Both","dimensions":"275 x 138 x 5 cm","date_begin":"1978-01-01","material":"marble with engraved gilded text","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":"Speck Collection, Cologne","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"both","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Hug me Joseph / make it a new / The Ghost of JLB / Habit? Hug / Hug incessantly / Love / JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/894/medium_500/2018_James_Lee_Byars_Photo_M_HKA_109.jpg?1538666304","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/894/large/2018_James_Lee_Byars_Photo_M_HKA_109.jpg?1538666304","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Hug me Joseph / make it a new / The Ghost of JLB / Habit? Hug / Hug incessantly / Love / JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Hug me Joseph / make it a new / The Ghost of JLB / Habit? Hug / Hug incessantly / Love / JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Hug me Joseph / make it a new / The Ghost of JLB / Habit? Hug / Hug incessantly / Love / JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\u003c/p\u003e\r\n"}]},{"id":997,"title":"Hear TH FI TO IN PH Around This Chair","dimensions":"357 x 355 x 366 cm","date_begin":"1977-01-01","material":"chair, carpets, black silk tent","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 Van Abbemuseum, Eindhoven","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"1121","stream_count_app":25,"permalink":"hear-th-fi-ti-in-ph-around-this-chair","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is so mysterious. Someone once said to me that gold is the color from nowhere. The reactions of the people are either like that, very mysterious, or they think it is very decadent or very meaningless. (ugh) But for me, not, because gold takes me more into the infinitely mystical. I rarely think of gold as being decorative. I see it more as spiritual.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom an interview with James Lee Byars by Wolf G\u0026uuml;nter Thiel (1995), in: \u0026lsquo;James Lee Byars - The White Mass\u0026rsquo;, Keulen 2004\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/556/medium_500/2018_James_Lee_Byars_Photo_M_HKA_23.jpg?1538663899","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/556/large/2018_James_Lee_Byars_Photo_M_HKA_23.jpg?1538663899","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is so mysterious. Someone once said to me that gold is the color from nowhere. The reactions of the people are either like that, very mysterious, or they think it is very decadent or very meaningless. (ugh) But for me, not, because gold takes me more into the infinitely mystical. I rarely think of gold as being decorative. I see it more as spiritual.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom an interview with James Lee Byars by Wolf G\u0026uuml;nter Thiel (1995), in: \u0026lsquo;James Lee Byars - The White Mass\u0026rsquo;, Keulen 2004\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is so mysterious. Someone once said to me that gold is the color from nowhere. The reactions of the people are either like that, very mysterious, or they think it is very decadent or very meaningless. (ugh) But for me, not, because gold takes me more into the infinitely mystical. I rarely think of gold as being decorative. I see it more as spiritual.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom an interview with James Lee Byars by Wolf G\u0026uuml;nter Thiel (1995), in: \u0026lsquo;James Lee Byars - The White Mass\u0026rsquo;, Keulen 2004\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is so mysterious. Someone once said to me that gold is the color from nowhere. The reactions of the people are either like that, very mysterious, or they think it is very decadent or very meaningless. (ugh) But for me, not, because gold takes me more into the infinitely mystical. I rarely think of gold as being decorative. I see it more as spiritual.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom an interview with James Lee Byars by Wolf G\u0026uuml;nter Thiel (1995), in: \u0026lsquo;James Lee Byars - The White Mass\u0026rsquo;, Keulen 2004\u003c/p\u003e\r\n"}]},{"id":17061,"title":" If you don’t wash your own you stay dirty","dimensions":"25 x 17.5 cm","date_begin":"1960-01-01","material":"typewritten on Japanese note paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Michael Werner, Märkisch Wilmersdorf, Cologne and New York","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"if-you-don-t-wash-your-own-you-stay-dirty","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me. The writings of great poets like Issa or the paintings of great priests or such things as I mentioned: \u0026quot;like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning.\u0026quot;\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/897/medium_500/2018_James_Lee_Byars_Photo_M_HKA_113.jpg?1538662605","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/897/large/2018_James_Lee_Byars_Photo_M_HKA_113.jpg?1538662605","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me. The writings of great poets like Issa or the paintings of great priests or such things as I mentioned: \u0026quot;like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning.\u0026quot;\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me. The writings of great poets like Issa or the paintings of great priests or such things as I mentioned: \u0026quot;like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning.\u0026quot;\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me. The writings of great poets like Issa or the paintings of great priests or such things as I mentioned: \u0026quot;like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning.\u0026quot;\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"}]},{"id":17062,"title":"A White Paper will Blow Through the Streets","dimensions":"Ø 63 cm","date_begin":"1967-01-01","material":"offset lithograph printed in black on a white circular paper sheet","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Speck Collection, Cologne","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"a-white-paper-will-blow-down-the-street","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I use the streets mostly in New York because the streets are more elegant than the buildings, I think generally, and also there are great scales and there is a natural audience and that\u0026rsquo;s important to me. I have used natural landscape a great deal, like I have mentioned I wrote a hundred propositions of the geographical centre of America in 64. But I generally prefer an urban circumstance. Most of my life is mental life and it\u0026rsquo;s very exciting to be in Manhattan where there are a great number of very thoughtful people, where communication is at a very high speed and just to have so many intelligent people in a small restricted area is in itself interesting I think geographically. Like in New York I think people are half excited all the time, and so I mean there are many things\u0026hellip; the problems of living themselves are exciting, and then when they are very sensitive to the development of ideas that appear infrequent to them or unusual, they are extremely sensitive to that, and that is landscape to me.\u0026quot; -\u003c/em\u003e James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/896/medium_500/2018_James_Lee_Byars_Photo_M_HKA_63.jpg?1538662685","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/896/large/2018_James_Lee_Byars_Photo_M_HKA_63.jpg?1538662685","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I use the streets mostly in New York because the streets are more elegant than the buildings, I think generally, and also there are great scales and there is a natural audience and that\u0026rsquo;s important to me. I have used natural landscape a great deal, like I have mentioned I wrote a hundred propositions of the geographical centre of America in 64. But I generally prefer an urban circumstance. Most of my life is mental life and it\u0026rsquo;s very exciting to be in Manhattan where there are a great number of very thoughtful people, where communication is at a very high speed and just to have so many intelligent people in a small restricted area is in itself interesting I think geographically. Like in New York I think people are half excited all the time, and so I mean there are many things\u0026hellip; the problems of living themselves are exciting, and then when they are very sensitive to the development of ideas that appear infrequent to them or unusual, they are extremely sensitive to that, and that is landscape to me.\u0026quot; -\u003c/em\u003e James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik gebruik in New York vooral de straten, omdat de straten eleganter zijn dan de gebouwen. De schaal is groot en ook de natuurlijke aanwezigheid van een publiek is belangrijk voor mij. Ik heb ook wel eens met natuurlandschappen gewerkt, zoals bijvoorbeeld mijn 100 voorstellen voor het geografische midden van de Verenigde Staten, in 1964. Maar ik heb toch liever een stadsmilieu. New York is een opwindende stad, heel ontvankelijk voor nieuwe idee\u0026euml;n.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBron: Interview door Geert Bekaert en Walter Van Dijk in Streven, jaargang 22\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I use the streets mostly in New York because the streets are more elegant than the buildings, I think generally, and also there are great scales and there is a natural audience and that\u0026rsquo;s important to me. I have used natural landscape a great deal, like I have mentioned I wrote a hundred propositions of the geographical centre of America in 64. But I generally prefer an urban circumstance. Most of my life is mental life and it\u0026rsquo;s very exciting to be in Manhattan where there are a great number of very thoughtful people, where communication is at a very high speed and just to have so many intelligent people in a small restricted area is in itself interesting I think geographically. Like in New York I think people are half excited all the time, and so I mean there are many things\u0026hellip; the problems of living themselves are exciting, and then when they are very sensitive to the development of ideas that appear infrequent to them or unusual, they are extremely sensitive to that, and that is landscape to me.\u0026quot;\u0026nbsp;-\u003c/em\u003e James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"}]},{"id":17087,"title":"The Golden Tower with Changing Tops","dimensions":"340 cm, Ø 80 cm","date_begin":"1982-01-01","material":"gold-plated bronze, 2 parts","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Viehof Collection, formerly Speck Collection, Cologne","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"the-golden-tower-with-changing-tops","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I won a grant to go to Berlin, the DAAD grant, and my project was to try to build a golden tower. Actually a very tall one, I wanted it to be as high as cloud height in Berlin. And it was to be built at the kkkdfkdk. And as the years have gone by various things have happened with this project. And now at documenta in the main hall, I have one step of the tower constructed and it\u0026rsquo;s three meters by eighty centimetres or so and it is covered by gold. And now in title I have imaginatively accomplished the idea again in another way, by calling it the world\u0026rsquo;s tallest golden tower with changing tops. And by changing tops my primary intention in Berlin had been for a person to be there. And another time it could be another shape or halve sphere or a sphere or some other pure shape or sound. And so now I leave it to the imagination to imagine what the changing tops are.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at Documenta 7 at \u003cem\u003eThe Golden Tower.\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/893/medium_500/2018_James_Lee_Byars_Photo_M_HKA_76.jpg?1538666583","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/893/large/2018_James_Lee_Byars_Photo_M_HKA_76.jpg?1538666583","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I won a grant to go to Berlin, the DAAD grant, and my project was to try to build a golden tower. Actually a very tall one, I wanted it to be as high as cloud height in Berlin. And it was to be built at the kkkdfkdk. And as the years have gone by various things have happened with this project. And now at documenta in the main hall, I have one step of the tower constructed and it\u0026rsquo;s three meters by eighty centimetres or so and it is covered by gold. And now in title I have imaginatively accomplished the idea again in another way, by calling it the world\u0026rsquo;s tallest golden tower with changing tops. And by changing tops my primary intention in Berlin had been for a person to be there. And another time it could be another shape or halve sphere or a sphere or some other pure shape or sound. And so now I leave it to the imagination to imagine what the changing tops are.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at Documenta 7 at \u003cem\u003eThe Golden Tower.\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I won a grant to go to Berlin, the DAAD grant, and my project was to try to build a golden tower. Actually a very tall one, I wanted it to be as high as cloud height in Berlin. And it was to be built at the kkkdfkdk. And as the years have gone by various things have happened with this project. And now at documenta in the main hall, I have one step of the tower constructed and it\u0026rsquo;s three meters by eighty centimetres or so and it is covered by gold. And now in title I have imaginatively accomplished the idea again in another way, by calling it the world\u0026rsquo;s tallest golden tower with changing tops. And by changing tops my primary intention in Berlin had been for a person to be there. And another time it could be another shape or halve sphere or a sphere or some other pure shape or sound. And so now I leave it to the imagination to imagine what the changing tops are.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at Documenta 7 at \u003cem\u003eThe Golden Tower.\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I won a grant to go to Berlin, the DAAD grant, and my project was to try to build a golden tower. Actually a very tall one, I wanted it to be as high as cloud height in Berlin. And it was to be built at the kkkdfkdk. And as the years have gone by various things have happened with this project. And now at documenta in the main hall, I have one step of the tower constructed and it\u0026rsquo;s three meters by eighty centimetres or so and it is covered by gold. And now in title I have imaginatively accomplished the idea again in another way, by calling it the world\u0026rsquo;s tallest golden tower with changing tops. And by changing tops my primary intention in Berlin had been for a person to be there. And another time it could be another shape or halve sphere or a sphere or some other pure shape or sound. And so now I leave it to the imagination to imagine what the changing tops are.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at Documenta 7 at \u003cem\u003eThe Golden Tower.\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":17092,"title":"Einstein, Stein and Wittgenstein","dimensions":"8 x 20 x 13.5 cm, 12 x 14 x 12 cm, 10.5 x 23.5 x 16.5 cm","date_begin":"1984-01-01","material":"gold-painted Furka stones","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":"Kunstmusem Luzern, Schenkung Sammlung Toni Gerber","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":"1989-01-01","reference":"","stream_count_app":14,"permalink":"einstein-stein-and-wittgenstein","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;People like Wittgenstein, Stein, and Einstein are formidable. Now take Gertrude Stein: \u0026#39;thank you for all thoughts\u0026#39;, \u0026#39;how do you find what you have\u0026#39;, \u0026#39;beware of the next star\u0026#39;,\u0026nbsp;\u0026#39;giving it away, not giving it away, is there any difference?\u0026#39;, \u0026#39;If I told him he would like it would he like it if I told him\u0026#39;. That has a great power of expression. In Japan, I taught English and there I worked with that kind of sentences.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/890/medium_500/2018_James_Lee_Byars_Photo_M_HKA_73.jpg?1538669548","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/890/large/2018_James_Lee_Byars_Photo_M_HKA_73.jpg?1538669548","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;People like Wittgenstein, Stein, and Einstein are formidable. Now take Gertrude Stein: \u0026#39;thank you for all thoughts\u0026#39;, \u0026#39;how do you find what you have\u0026#39;, \u0026#39;beware of the next star\u0026#39;,\u0026nbsp;\u0026#39;giving it away, not giving it away, is there any difference?\u0026#39;, \u0026#39;If I told him he would like it would he like it if I told him\u0026#39;. That has a great power of expression. In Japan, I taught English and there I worked with that kind of sentences.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Mensen als Wittgenstein, Stein, en Einstein zijn formidabel. Neem nu Gertrude Stein: \u0026lsquo;dank je voor alle gedachten\u0026rsquo;, \u0026lsquo;hoe vind je wat je hebt\u0026rsquo;, \u0026lsquo;pas op voor de volgende ster\u0026rsquo;, \u0026lsquo;giving it away, not giving it away, is there any difference?\u0026rsquo;, \u0026lsquo;if I told him would he like it would he like it if I told him\u0026rsquo;. Dat heeft een geweldige zeggingskracht. In Japan doceerde ik Engels en ik werkte daar met dat soort zinnen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eBron: interview door Geert Bekaert en Walter Van Dijk in Streven, jaargang 22\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;People like Wittgenstein, Stein, and Einstein are formidable. Now take Gertrude Stein: \u0026#39;thank you for all thoughts\u0026#39;, \u0026#39;how do you find what you have\u0026#39;, \u0026#39;beware of the next star\u0026#39;,\u0026nbsp;\u0026#39;giving it away, not giving it away, is there any difference?\u0026#39;, \u0026#39;If I told him he would like it would he like it if I told him\u0026#39;. That has a great power of expression. In Japan, I taught English and there I worked with that kind of sentences.\u0026quot;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\u003c/p\u003e\r\n"}]},{"id":17069,"title":"100 Minds","dimensions":"15.7 x 22 cm","date_begin":"1970-01-01","material":"cut from 16mm celluloid","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 Depot Isi Fiszman, Brussels","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"\u003cul id=\"detailTableCaptionData\"\u003e\r\n\t\u003cli\u003eJames Lee Byars\u003c/li\u003e\r\n\t\u003cli\u003e\r\n\t\u003ch2\u003e100 MINDS,\u0026nbsp;1970-1971\u003c/h2\u003e\r\n\t\u003c/li\u003e\r\n\t\u003cli\u003eSchwarzweiss- Fotografie\u003c/li\u003e\r\n\t\u003cli\u003e15.7 x 22 cm\u003c/li\u003e\r\n\t\u003cli\u003enicht bezeichnet\u003c/li\u003e\r\n\t\u003cli\u003eKunstmuseum Luzern, Schenkung Sammlung Toni Gerber\u003c/li\u003e\r\n\t\u003cli\u003eInv.-Nr.\u0026nbsp;2009.43:20q\u003c/li\u003e\r\n\t\u003cli\u003e\u0026copy;\u0026nbsp;Estate of James Lee Byars, Courtesy Galerie Michael Werner Berlin, K\u0026ouml;ln und New York\u003c/li\u003e\r\n\u003c/ul\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"100-minds","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I had hundred people lying down on the grass, and we shot it from up above, and we had twenty-five people in a line. I did it as a one-frame movie with black fade-in and fade-out. It was simply called 100 Minds, but I did it as a horizontal movie theater. I lined the people up in four rows on the floor with their eyes facing forward, and then I simply had one or two people in the audience say, \u0026ldquo;A hundred minds\u0026rdquo; as a title of the movie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by David Sewell\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/928/medium_500/2018_James_Lee_Byars_Photo_M_HKA_38.jpg?1538664326","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/928/large/2018_James_Lee_Byars_Photo_M_HKA_38.jpg?1538664326","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I had hundred people lying down on the grass, and we shot it from up above, and we had twenty-five people in a line. I did it as a one-frame movie with black fade-in and fade-out. It was simply called 100 Minds, but I did it as a horizontal movie theater. I lined the people up in four rows on the floor with their eyes facing forward, and then I simply had one or two people in the audience say, \u0026ldquo;A hundred minds\u0026rdquo; as a title of the movie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by David Sewell\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I had hundred people lying down on the grass, and we shot it from up above, and we had twenty-five people in a line. I did it as a one-frame movie with black fade-in and fade-out. It was simply called 100 Minds, but I did it as a horizontal movie theater. I lined the people up in four rows on the floor with their eyes facing forward, and then I simply had one or two people in the audience say, \u0026ldquo;A hundred minds\u0026rdquo; as a title of the movie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by David Sewell\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I had hundred people lying down on the grass, and we shot it from up above, and we had twenty-five people in a line. I did it as a one-frame movie with black fade-in and fade-out. It was simply called 100 Minds, but I did it as a horizontal movie theater. I lined the people up in four rows on the floor with their eyes facing forward, and then I simply had one or two people in the audience say, \u0026ldquo;A hundred minds\u0026rdquo; as a title of the movie.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by David Sewell\u003c/p\u003e\r\n"}]},{"id":17482,"title":"Tribute to the New Generation","dimensions":"Ø 1.8 cm","date_begin":"1991-01-01","material":"a disc of golden cardboard, with an embossed spiral on one side","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA / Collection Flemish Community","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"tribute-to-the-new-generation","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/889/medium_500/2018_James_Lee_Byars_Photo_M_HKA_102.jpg?1538667275","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/889/large/2018_James_Lee_Byars_Photo_M_HKA_102.jpg?1538667275","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18273,"title":"Selfportrait","dimensions":"161.5 x 33 x 199 cm","date_begin":"1959-01-01","material":"painted wood, black paper ball (in six parts)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Michael Werner, Köln / New York","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"selfportrait","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/000/042/031/medium_500/2018_James_Lee_Byars_Photo_M_HKA_66.jpg?1538662501","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/031/large/2018_James_Lee_Byars_Photo_M_HKA_66.jpg?1538662501","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18276,"title":"The Wings for Writing","dimensions":"2 x (48 x 88 cm)","date_begin":"1972-01-01","material":"red silk cuffs with feathers","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Michael Werner, Märkisch Wilmersdorf, Cologne and New York","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"the-wings-for-writing","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/863/medium_500/2018_James_Lee_Byars_Photo_M_HKA_74.jpg?1538669045","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/863/large/2018_James_Lee_Byars_Photo_M_HKA_74.jpg?1538669045","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18277,"title":"The Black German Flag","dimensions":"250 x 470 cm","date_begin":"1974-01-01","material":"black silk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Michael Werner, Märkisch Wilmersdorf, Cologne and New York","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"the-black-german-flag","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/862/medium_500/2018_James_Lee_Byars_Photo_M_HKA_108.jpg?1538665977","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/862/large/2018_James_Lee_Byars_Photo_M_HKA_108.jpg?1538665977","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18278,"title":"The Tomb of James Lee Byars","dimensions":"100 x 100 x 100 cm","date_begin":"1986-01-01","material":"globe consisted of lime sand brick","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Michael Werner, Märkisch Wilmersdorf, Cologne and New York","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"the-tomb-of-james-lee-byars","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Well, I like beauty. I mean I do not have Plato\u0026rsquo;s definition before me now, but the sphere was one of the things he used in talking about it. If you have an interest and time, if you look into Plato you will see this magnificent definition of the beauty of the sphere where all points are equidistant in the mathematics of the sphere. The surface is smooth and the surface is polished. He holds this up as one of the great examples of beauty and then goes through the cosmological idea of the earth and the religious interpretation. I am very susceptible to such ideas of beauty.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Wolf-G\u0026uuml;nter Thiel on 6 March 1995.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/861/medium_500/James_Lee_Byars_2018__M_HKA_photoM_HKAclinckx_0.jpg?1538670323","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/861/large/James_Lee_Byars_2018__M_HKA_photoM_HKAclinckx_0.jpg?1538670323","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Well, I like beauty. I mean I do not have Plato\u0026rsquo;s definition before me now, but the sphere was one of the things he used in talking about it. If you have an interest and time, if you look into Plato you will see this magnificent definition of the beauty of the sphere where all points are equidistant in the mathematics of the sphere. The surface is smooth and the surface is polished. He holds this up as one of the great examples of beauty and then goes through the cosmological idea of the earth and the religious interpretation. I am very susceptible to such ideas of beauty.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Wolf-G\u0026uuml;nter Thiel on 6 March 1995.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Well, I like beauty. I mean I do not have Plato\u0026rsquo;s definition before me now, but the sphere was one of the things he used in talking about it. If you have an interest and time, if you look into Plato you will see this magnificent definition of the beauty of the sphere where all points are equidistant in the mathematics of the sphere. The surface is smooth and the surface is polished. He holds this up as one of the great examples of beauty and then goes through the cosmological idea of the earth and the religious interpretation. I am very susceptible to such ideas of beauty.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Wolf-G\u0026uuml;nter Thiel on 6 March 1995.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Well, I like beauty. I mean I do not have Plato\u0026rsquo;s definition before me now, but the sphere was one of the things he used in talking about it. If you have an interest and time, if you look into Plato you will see this magnificent definition of the beauty of the sphere where all points are equidistant in the mathematics of the sphere. The surface is smooth and the surface is polished. He holds this up as one of the great examples of beauty and then goes through the cosmological idea of the earth and the religious interpretation. I am very susceptible to such ideas of beauty.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Wolf-G\u0026uuml;nter Thiel on 6 March 1995.\u003c/p\u003e\r\n"}]},{"id":18281,"title":"Untitled","dimensions":"317.5 x 251.5 cm","date_begin":"1959-01-01","material":"ink on Japanese paper on scroll","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Sandra Lang and Robert Landsman","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"untitled-feccaada-f215-4942-9010-7a4a10920a45","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;James is a little underestimated there. Very early on, he did things someone like Richard Serra has done after him. There are early untitled drawings in Japanese ink that show similarities with Serra\u0026#39;s works on paper. He also did things in Japan of which one thinks: I wouldn\u0026#39;t\u0026nbsp;recognise JLB in that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource:\u0026nbsp;unpublished interview with Patrick Verelst\u003cem\u003e.\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/860/medium_500/James_Lee_Byars_2018__M_HKA_photoM_HKAclinckx_2_6.jpg?1538662384","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/860/large/James_Lee_Byars_2018__M_HKA_photoM_HKAclinckx_2_6.jpg?1538662384","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;James is a little underestimated there. Very early on, he did things someone like Richard Serra has done after him. There are early untitled drawings in Japanese ink that show similarities with Serra\u0026#39;s works on paper. He also did things in Japan of which one thinks: I wouldn\u0026#39;t\u0026nbsp;recognise JLB in that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource:\u0026nbsp;unpublished interview with Patrick Verelst\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Daar wordt James een beetje onderschat. Hij heeft heel vroeg zaken gedaan die bijvoorbeeld Richard Serra na hem heeft gedaan. Er zijn vroege tekeningen zonder titel in Japanse inkt die gelijkenissen vertonen met werken op papier van Serra. In Japan heeft hij dingen gedaan waarvan dat je zegt: daar zou ik JLB niet in herkennen.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eBron: ongepubliceerd interview met Patrick Verelst\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;James is a little underestimated there. Very early on, he did things someone like Richard Serra has done after him. There are early untitled drawings in Japanese ink that show similarities with Serra\u0026#39;s works on paper. He also did things in Japan of which one thinks: I wouldn\u0026#39;t\u0026nbsp;recognise JLB in that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource:\u0026nbsp;unpublished interview with Patrick Verelst\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":18295,"title":"Two in a Hat, Mask and Dress","dimensions":"ca. 12 m","date_begin":"1969-01-01","material":"red silk","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":"Private Collection","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"two-in-a-hat-mask-and-dress","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I imagine: \u0026#39;two people in a mask\u0026#39;, that can be interesting as an object. In a class for example, that would be effective, if a teacher would put on such a mask. How do you talk from a distance? How does distance influence communicability? Anyway, I am now being interviewed in a 33 meters mask, which makes the interview very different.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e[\u0026hellip;]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI divided the show in the \u0026#39;Institute\u0026#39; [Wide White Space Gallery] into different parts. First there was the hat, in which the heads were fixed, and at the bottom the two students in the mask, who were meant purely as an ornament.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol. 22.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/854/medium_500/2018_James_Lee_Byars_Photo_M_HKA_performance4.jpg?1538676756","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/854/large/2018_James_Lee_Byars_Photo_M_HKA_performance4.jpg?1538676756","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I imagine: \u0026#39;two people in a mask\u0026#39;, that can be interesting as an object. In a class for example, that would be effective, if a teacher would put on such a mask. How do you talk from a distance? How does distance influence communicability? Anyway, I am now being interviewed in a 33 meters mask, which makes the interview very different.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e[\u0026hellip;]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI divided the show in the \u0026#39;Institute\u0026#39; [Wide White Space Gallery] into different parts. First there was the hat, in which the heads were fixed, and at the bottom the two students in the mask, who were meant purely as an ornament.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol. 22.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik stel me voor: \u0026lsquo;twee mensen in een masker\u0026rsquo;, dat kan belangwekkend zijn als object. In een klas bijvoorbeeld, dat zou wel effect geven, als een leraar een van zijn leerlingen zo\u0026#39;n masker om zou doen. Hoe praat je vanop afstand? Hoe werkt afstand op communicabiliteit? Hoe dan ook, ik word nu ge\u0026iuml;nterviewd in een masker van 33 meter, dat maakt het interview heel anders. [\u0026hellip;] De show in het \u0026lsquo;Institute\u0026rsquo; [Wide White Space Gallery] heb ik in verschillende delen verdeeld. Eerst was er de hoed, waarin de hoofden vastzaten, en beneden de twee studenten in het masker, die zuiver ornamenteel bedoeld waren.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e- James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp\u003eUit: Interview door Geert Bekaert en Walter Van Dijk in Streven, jaargang 22\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I imagine: \u0026#39;two people in a mask\u0026#39;, that can be interesting as an object. In a class for example, that would be effective, if a teacher would put on such a mask. How do you talk from a distance? How does distance influence communicability? Anyway, I am now being interviewed in a 33 meters mask, which makes the interview very different.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e[\u0026hellip;]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI divided the show in the \u0026#39;Institute\u0026#39; [Wide White Space Gallery] into different parts. First there was the hat, in which the heads were fixed, and at the bottom the two students in the mask, who were meant purely as an ornament.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol. 22.\u003c/p\u003e\r\n"}]},{"id":18296,"title":"75 in a Hat","dimensions":"13.5 m x 30.5 cm","date_begin":"1969-01-01","material":"red silk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"75-in-a-hat","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;My interest first was in the plural structure, just to, I don\u0026rsquo;t know exactly why that I should make things that men and women can wear at the same time, that\u0026rsquo;s very interesting socially I think. That in the history of\u0026hellip; At least I don\u0026rsquo;t know of structures where men and women wear the same structure, that people are undifferentiated, their heads stick out or their heads are covered up, this calls a new kind of experience to people, what is clothing? What does clothing mean? What is the legality of a man and a woman wearing the same structure down a New York street. If there are four people in a disc, sixteen feet in diameter, to go into the museum, are you one or are you four? Or if they were 75 in a hat, are you one or are you 75?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/853/medium_500/2018_James_Lee_Byars_Photo_M_HKA_perfoamnce_1_4.jpg?1538676854","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/853/large/2018_James_Lee_Byars_Photo_M_HKA_perfoamnce_1_4.jpg?1538676854","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;My interest first was in the plural structure, just to, I don\u0026rsquo;t know exactly why that I should make things that men and women can wear at the same time, that\u0026rsquo;s very interesting socially I think. That in the history of\u0026hellip; At least I don\u0026rsquo;t know of structures where men and women wear the same structure, that people are undifferentiated, their heads stick out or their heads are covered up, this calls a new kind of experience to people, what is clothing? What does clothing mean? What is the legality of a man and a woman wearing the same structure down a New York street. If there are four people in a disc, sixteen feet in diameter, to go into the museum, are you one or are you four? Or if they were 75 in a hat, are you one or are you 75?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;My interest first was in the plural structure, just to, I don\u0026rsquo;t know exactly why that I should make things that men and women can wear at the same time, that\u0026rsquo;s very interesting socially I think. That in the history of\u0026hellip; At least I don\u0026rsquo;t know of structures where men and women wear the same structure, that people are undifferentiated, their heads stick out or their heads are covered up, this calls a new kind of experience to people, what is clothing? What does clothing mean? What is the legality of a man and a woman wearing the same structure down a New York street. If there are four people in a disc, sixteen feet in diameter, to go into the museum, are you one or are you four? Or if they were 75 in a hat, are you one or are you 75?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;My interest first was in the plural structure, just to, I don\u0026rsquo;t know exactly why that I should make things that men and women can wear at the same time, that\u0026rsquo;s very interesting socially I think. That in the history of\u0026hellip; At least I don\u0026rsquo;t know of structures where men and women wear the same structure, that people are undifferentiated, their heads stick out or their heads are covered up, this calls a new kind of experience to people, what is clothing? What does clothing mean? What is the legality of a man and a woman wearing the same structure down a New York street. If there are four people in a disc, sixteen feet in diameter, to go into the museum, are you one or are you four? Or if they were 75 in a hat, are you one or are you 75?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"}]},{"id":18297,"title":"5 in a Dress","dimensions":"200 x 500 cm","date_begin":"1969-01-01","material":"pink silk","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":"Private Collection","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"5-in-a-dress","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/852/medium_500/James_Lee_Byars_2018_M_HKA_photoM_HKAcc_2_8.jpg?1538677179","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/852/large/James_Lee_Byars_2018_M_HKA_photoM_HKAcc_2_8.jpg?1538677179","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eIk maak die structuren meestal van zijde omdat dat een fijn materiaal is, licht en luchtig. Het is de meest gewichtloze suggestie van verbondenheid. En het is praktisch: ik vlieg veel, en het kan allemaal mee in een kleine tas.\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview door Geert Bekaert en Walter Van Dijk in Streven, jaargang 22\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":18330,"title":"Untitled","dimensions":"38 x 35 x 8.5 cm","date_begin":null,"material":"6 oysters","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"oysters","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/822/medium_500/2018_James_Lee_Byars_Photo_M_HKA_24.jpg?1538664525","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/822/large/2018_James_Lee_Byars_Photo_M_HKA_24.jpg?1538664525","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18349,"title":"The Chair of the Artist at Harvard","dimensions":"⌀ 1.5 cm","date_begin":"1980-01-01","material":"paper confetti","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"the-chair-of-the-artist-at-harvard-q","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/811/medium_500/2018_James_Lee_Byars_Photo_M_HKA_28.jpg?1538664158","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/811/large/2018_James_Lee_Byars_Photo_M_HKA_28.jpg?1538664158","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18350,"title":"Beauty Goes Avantgarde","dimensions":"52.5 x 38.2 cm","date_begin":"1986-01-01","material":"print on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"beauty-goes-avantgarde","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/806/medium_500/2018_James_Lee_Byars_Photo_M_HKA_65.jpg?1538669941","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/806/large/2018_James_Lee_Byars_Photo_M_HKA_65.jpg?1538669941","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18298,"title":"Please limit all talking to the sound of O, as preview given by W.W.S. Antwerp to This is the Ghost of James Lee Byars Calling","dimensions":"34 x 94 cm","date_begin":"1969-01-01","material":"print on paper, golden frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"please-limit-all-talking-to-the-sound-of-o-w-w-s","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/851/medium_500/2018_James_Lee_Byars_Photo_M_HKA_58.jpg?1538663016","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/851/large/2018_James_Lee_Byars_Photo_M_HKA_58.jpg?1538663016","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;\u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"}]},{"id":18359,"title":"100,000 Minutes or the Big Sample of Byars or 1/2 an Autobiography or the First Paper of Philosophy","dimensions":"26.8 x 20.8 cm","date_begin":"1969-01-01","material":"artist book","short_description":"\u003cp\u003eArtist book, 200 pages copies of Byars\u0026#39; handwriting on pink paper, published by Wide White Space Antwerp\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"100-000-minutes-or-the-big-sample-of-byars-or-1-2-an-autobiography-or-the-first-paper-of-philosophy","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;However, the main work of my exhibition here is writing my autobiography. I just turned 37. According to statistics, with 36, you are halfway. That\u0026#39;s why I\u0026#39;m writing the first half of my autobiography now. I have four titles: \u0026#39;Half a biography\u0026#39;, \u0026#39;One hundred thousand minutes\u0026#39;, \u0026#39;The Big Sample of Byars\u0026#39;, \u0026#39;The First Paper of Byars\u0026#39;. If I ever become 72, I\u0026#39;ll write the second part. Actually, I should have written an autobiography when I was 10, then one on my 20\u003csup\u003eth\u003c/sup\u003e, one on my 30\u003csup\u003eth b\u003c/sup\u003eirthday: now th\u0026agrave;t would only have been interesting. I once gave a blank book to a woman who was just pregnant. In it, every day she had to record what her child felt or thought, what she felt or thought herself. Then she had to give that book with nine months of thought to her child. That\u0026#39;s a kind of work that I love. I once exhibited nine months of a policeman\u0026#39;s memory.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe idea of that autobiography I got through Wittgenstein. I have long thought that philosophy was a systematic doctrine around things, about things. When I proclaimed something, the professors always asked me: how did you get that idea? \u0026ndash; in order to be able to trace that idea back to something that they\u0026#39;d read before. For a beginning student, it\u0026#39;s terrible, I think, when they keep saying: prove what you say there, who thought that before you? I was very frustrated by it. When I left school, I started to read Wittgenstein and suddenly I saw that philosophy is actually a fantastic description of a person\u0026#39;s life. He describes his own mind in its development. That is how I experience all literature. I see Shakespeare as someone who describes his own brilliance. My autobiography is an arbitrary segment of so many pages about things, thoughts or wishes that I have found important in my life. For example, on one of the pages\u0026nbsp;it says: \u0026#39;Baby Baudelaire\u0026#39;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI found that in Brussels. I was talking about poetry with Marcel Broodthaers and suddenly I said: \u0026#39;Baby Baudelaire\u0026#39;. It\u0026#39;s nothing more than a charming combination, but it typifies my way of thinking. On another page, there\u0026#39;s a poem by a Chinese priest-painter: \u0026#39;Like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning was his 8\u003csup\u003eth\u003c/sup\u003e name\u0026#39;. Every time he reached a new level of consciousness, he changed his name, which I think is fantastic. Another page\u0026nbsp;tells us that we once flew Santa Claus\u0026nbsp;from New York to Tokyo, in 1963. The airline thought my idea was great, they changed the whole timetable, so on Christmas night, we flew over the Arctic at exactly twelve o\u0026#39;clock.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNumbers fascinate me. Especially numbers with zeros. O is the first letter of the Chinese alphabet, the beginning of everything. \u0026#39;One hundred thousand minutes\u0026#39;, for example, that\u0026#39;s a beautiful number. That does not mean that my autobiography is about one hundred thousand minutes, neither is it a story. I also love words. I once dreamed that I had the complete Oxford edition of the English Dictionary. Just the idea that you have a million words with you, that you can live with all the English words that exist! That is a material thing that I would like to possess.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI wrote that autobiography in Antwerp as part of the exhibition, to show how that works, writing an autobiography. Maybe it could only be one sentence, but maybe that\u0026#39;s exactly why I need many pages. Before I started, I wanted to create a list of all the \u0026#39;no\u0026#39;s\u0026#39; I already had to face: my \u0026#39;no-list\u0026#39;. The autobiography and the way it is created have a lot to do with the idea that people are interconnected. Our world of thought and our life itself are more bound than we suspect. What is memory actually? How is it that I come up with a new idea and that many people suddenly understand it? That kind of questions I find important. Plus the fact that it is probably the first time that a gallery exhibits someone writing his autobiography. And by the way, through such an autobiography I learn a lot from others. I think open people are fantastic, people who are not suspicious or skeptical, but who believe that everything is possible. Everything is possible. I can not always do everything. I need a response. No answers, but questions. I don\u0026#39;t believe in answers. But I think it\u0026#39;s super to meet someone who asks questions, there are not that many people like that. Or people who can handle questions intelligently, without approaching them dogmatically, people who are openly speculative. If I had a religion, be for me that would: one big question, the question.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"\u003cp\u003eKunstenaarsboek, 200 pp. kopies van Byars\u0026#39; handschrift op roos papier, uitgegeven door Wide White Space Antwerpen\u003c/p\u003e\r\n","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/805/medium_500/2018_James_Lee_Byars_Photo_M_HKA_57.jpg?1538663216","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/805/large/2018_James_Lee_Byars_Photo_M_HKA_57.jpg?1538663216","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;However, the main work of my exhibition here is writing my autobiography. I just turned 37. According to statistics, with 36, you are halfway. That\u0026#39;s why I\u0026#39;m writing the first half of my autobiography now. I have four titles: \u0026#39;Half a biography\u0026#39;, \u0026#39;One hundred thousand minutes\u0026#39;, \u0026#39;The Big Sample of Byars\u0026#39;, \u0026#39;The First Paper of Byars\u0026#39;. If I ever become 72, I\u0026#39;ll write the second part. Actually, I should have written an autobiography when I was 10, then one on my 20\u003csup\u003eth\u003c/sup\u003e, one on my 30\u003csup\u003eth b\u003c/sup\u003eirthday: now th\u0026agrave;t would only have been interesting. I once gave a blank book to a woman who was just pregnant. In it, every day she had to record what her child felt or thought, what she felt or thought herself. Then she had to give that book with nine months of thought to her child. That\u0026#39;s a kind of work that I love. I once exhibited nine months of a policeman\u0026#39;s memory.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe idea of that autobiography I got through Wittgenstein. I have long thought that philosophy was a systematic doctrine around things, about things. When I proclaimed something, the professors always asked me: how did you get that idea? \u0026ndash; in order to be able to trace that idea back to something that they\u0026#39;d read before. For a beginning student, it\u0026#39;s terrible, I think, when they keep saying: prove what you say there, who thought that before you? I was very frustrated by it. When I left school, I started to read Wittgenstein and suddenly I saw that philosophy is actually a fantastic description of a person\u0026#39;s life. He describes his own mind in its development. That is how I experience all literature. I see Shakespeare as someone who describes his own brilliance. My autobiography is an arbitrary segment of so many pages about things, thoughts or wishes that I have found important in my life. For example, on one of the pages\u0026nbsp;it says: \u0026#39;Baby Baudelaire\u0026#39;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI found that in Brussels. I was talking about poetry with Marcel Broodthaers and suddenly I said: \u0026#39;Baby Baudelaire\u0026#39;. It\u0026#39;s nothing more than a charming combination, but it typifies my way of thinking. On another page, there\u0026#39;s a poem by a Chinese priest-painter: \u0026#39;Like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning was his 8\u003csup\u003eth\u003c/sup\u003e name\u0026#39;. Every time he reached a new level of consciousness, he changed his name, which I think is fantastic. Another page\u0026nbsp;tells us that we once flew Santa Claus\u0026nbsp;from New York to Tokyo, in 1963. The airline thought my idea was great, they changed the whole timetable, so on Christmas night, we flew over the Arctic at exactly twelve o\u0026#39;clock.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNumbers fascinate me. Especially numbers with zeros. O is the first letter of the Chinese alphabet, the beginning of everything. \u0026#39;One hundred thousand minutes\u0026#39;, for example, that\u0026#39;s a beautiful number. That does not mean that my autobiography is about one hundred thousand minutes, neither is it a story. I also love words. I once dreamed that I had the complete Oxford edition of the English Dictionary. Just the idea that you have a million words with you, that you can live with all the English words that exist! That is a material thing that I would like to possess.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI wrote that autobiography in Antwerp as part of the exhibition, to show how that works, writing an autobiography. Maybe it could only be one sentence, but maybe that\u0026#39;s exactly why I need many pages. Before I started, I wanted to create a list of all the \u0026#39;no\u0026#39;s\u0026#39; I already had to face: my \u0026#39;no-list\u0026#39;. The autobiography and the way it is created have a lot to do with the idea that people are interconnected. Our world of thought and our life itself are more bound than we suspect. What is memory actually? How is it that I come up with a new idea and that many people suddenly understand it? That kind of questions I find important. Plus the fact that it is probably the first time that a gallery exhibits someone writing his autobiography. And by the way, through such an autobiography I learn a lot from others. I think open people are fantastic, people who are not suspicious or skeptical, but who believe that everything is possible. Everything is possible. I can not always do everything. I need a response. No answers, but questions. I don\u0026#39;t believe in answers. But I think it\u0026#39;s super to meet someone who asks questions, there are not that many people like that. Or people who can handle questions intelligently, without approaching them dogmatically, people who are openly speculative. If I had a religion, be for me that would: one big question, the question.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;However, the main work of my exhibition here is writing my autobiography. I just turned 37. According to statistics, with 36, you are halfway. That\u0026#39;s why I\u0026#39;m writing the first half of my autobiography now. I have four titles: \u0026#39;Half a biography\u0026#39;, \u0026#39;One hundred thousand minutes\u0026#39;, \u0026#39;The Big Sample of Byars\u0026#39;, \u0026#39;The First Paper of Byars\u0026#39;. If I ever become 72, I\u0026#39;ll write the second part. Actually, I should have written an autobiography when I was 10, then one on my 20\u003csup\u003eth\u003c/sup\u003e, one on my 30\u003csup\u003eth b\u003c/sup\u003eirthday: now th\u0026agrave;t would only have been interesting. I once gave a blank book to a woman who was just pregnant. In it, every day she had to record what her child felt or thought, what she felt or thought herself. Then she had to give that book with nine months of thought to her child. That\u0026#39;s a kind of work that I love. I once exhibited nine months of a policeman\u0026#39;s memory.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe idea of that autobiography I got through Wittgenstein. I have long thought that philosophy was a systematic doctrine around things, about things. When I proclaimed something, the professors always asked me: how did you get that idea? \u0026ndash; in order to be able to trace that idea back to something that they\u0026#39;d read before. For a beginning student, it\u0026#39;s terrible, I think, when they keep saying: prove what you say there, who thought that before you? I was very frustrated by it. When I left school, I started to read Wittgenstein and suddenly I saw that philosophy is actually a fantastic description of a person\u0026#39;s life. He describes his own mind in its development. That is how I experience all literature. I see Shakespeare as someone who describes his own brilliance. My autobiography is an arbitrary segment of so many pages about things, thoughts or wishes that I have found important in my life. For example, on one of the pages\u0026nbsp;it says: \u0026#39;Baby Baudelaire\u0026#39;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI found that in Brussels. I was talking about poetry with Marcel Broodthaers and suddenly I said: \u0026#39;Baby Baudelaire\u0026#39;. It\u0026#39;s nothing more than a charming combination, but it typifies my way of thinking. On another page, there\u0026#39;s a poem by a Chinese priest-painter: \u0026#39;Like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning was his 8\u003csup\u003eth\u003c/sup\u003e name\u0026#39;. Every time he reached a new level of consciousness, he changed his name, which I think is fantastic. Another page\u0026nbsp;tells us that we once flew Santa Claus\u0026nbsp;from New York to Tokyo, in 1963. The airline thought my idea was great, they changed the whole timetable, so on Christmas night, we flew over the Arctic at exactly twelve o\u0026#39;clock.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNumbers fascinate me. Especially numbers with zeros. O is the first letter of the Chinese alphabet, the beginning of everything. \u0026#39;One hundred thousand minutes\u0026#39;, for example, that\u0026#39;s a beautiful number. That does not mean that my autobiography is about one hundred thousand minutes, neither is it a story. I also love words. I once dreamed that I had the complete Oxford edition of the English Dictionary. Just the idea that you have a million words with you, that you can live with all the English words that exist! That is a material thing that I would like to possess.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI wrote that autobiography in Antwerp as part of the exhibition, to show how that works, writing an autobiography. Maybe it could only be one sentence, but maybe that\u0026#39;s exactly why I need many pages. Before I started, I wanted to create a list of all the \u0026#39;no\u0026#39;s\u0026#39; I already had to face: my \u0026#39;no-list\u0026#39;. The autobiography and the way it is created have a lot to do with the idea that people are interconnected. Our world of thought and our life itself are more bound than we suspect. What is memory actually? How is it that I come up with a new idea and that many people suddenly understand it? That kind of questions I find important. Plus the fact that it is probably the first time that a gallery exhibits someone writing his autobiography. And by the way, through such an autobiography I learn a lot from others. I think open people are fantastic, people who are not suspicious or skeptical, but who believe that everything is possible. Everything is possible. I can not always do everything. I need a response. No answers, but questions. I don\u0026#39;t believe in answers. But I think it\u0026#39;s super to meet someone who asks questions, there are not that many people like that. Or people who can handle questions intelligently, without approaching them dogmatically, people who are openly speculative. If I had a religion, be for me that would: one big question, the question.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;However, the main work of my exhibition here is writing my autobiography. I just turned 37. According to statistics, with 36, you are halfway. That\u0026#39;s why I\u0026#39;m writing the first half of my autobiography now. I have four titles: \u0026#39;Half a biography\u0026#39;, \u0026#39;One hundred thousand minutes\u0026#39;, \u0026#39;The Big Sample of Byars\u0026#39;, \u0026#39;The First Paper of Byars\u0026#39;. If I ever become 72, I\u0026#39;ll write the second part. Actually, I should have written an autobiography when I was 10, then one on my 20\u003csup\u003eth\u003c/sup\u003e, one on my 30\u003csup\u003eth b\u003c/sup\u003eirthday: now th\u0026agrave;t would only have been interesting. I once gave a blank book to a woman who was just pregnant. In it, every day she had to record what her child felt or thought, what she felt or thought herself. Then she had to give that book with nine months of thought to her child. That\u0026#39;s a kind of work that I love. I once exhibited nine months of a policeman\u0026#39;s memory.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe idea of that autobiography I got through Wittgenstein. I have long thought that philosophy was a systematic doctrine around things, about things. When I proclaimed something, the professors always asked me: how did you get that idea? \u0026ndash; in order to be able to trace that idea back to something that they\u0026#39;d read before. For a beginning student, it\u0026#39;s terrible, I think, when they keep saying: prove what you say there, who thought that before you? I was very frustrated by it. When I left school, I started to read Wittgenstein and suddenly I saw that philosophy is actually a fantastic description of a person\u0026#39;s life. He describes his own mind in its development. That is how I experience all literature. I see Shakespeare as someone who describes his own brilliance. My autobiography is an arbitrary segment of so many pages about things, thoughts or wishes that I have found important in my life. For example, on one of the pages\u0026nbsp;it says: \u0026#39;Baby Baudelaire\u0026#39;.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI found that in Brussels. I was talking about poetry with Marcel Broodthaers and suddenly I said: \u0026#39;Baby Baudelaire\u0026#39;. It\u0026#39;s nothing more than a charming combination, but it typifies my way of thinking. On another page, there\u0026#39;s a poem by a Chinese priest-painter: \u0026#39;Like a dream, like a vision, like a bubble, like a shadow, like dew, like lightning was his 8\u003csup\u003eth\u003c/sup\u003e name\u0026#39;. Every time he reached a new level of consciousness, he changed his name, which I think is fantastic. Another page\u0026nbsp;tells us that we once flew Santa Claus\u0026nbsp;from New York to Tokyo, in 1963. The airline thought my idea was great, they changed the whole timetable, so on Christmas night, we flew over the Arctic at exactly twelve o\u0026#39;clock.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eNumbers fascinate me. Especially numbers with zeros. O is the first letter of the Chinese alphabet, the beginning of everything. \u0026#39;One hundred thousand minutes\u0026#39;, for example, that\u0026#39;s a beautiful number. That does not mean that my autobiography is about one hundred thousand minutes, neither is it a story. I also love words. I once dreamed that I had the complete Oxford edition of the English Dictionary. Just the idea that you have a million words with you, that you can live with all the English words that exist! That is a material thing that I would like to possess.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI wrote that autobiography in Antwerp as part of the exhibition, to show how that works, writing an autobiography. Maybe it could only be one sentence, but maybe that\u0026#39;s exactly why I need many pages. Before I started, I wanted to create a list of all the \u0026#39;no\u0026#39;s\u0026#39; I already had to face: my \u0026#39;no-list\u0026#39;. The autobiography and the way it is created have a lot to do with the idea that people are interconnected. Our world of thought and our life itself are more bound than we suspect. What is memory actually? How is it that I come up with a new idea and that many people suddenly understand it? That kind of questions I find important. Plus the fact that it is probably the first time that a gallery exhibits someone writing his autobiography. And by the way, through such an autobiography I learn a lot from others. I think open people are fantastic, people who are not suspicious or skeptical, but who believe that everything is possible. Everything is possible. I can not always do everything. I need a response. No answers, but questions. I don\u0026#39;t believe in answers. But I think it\u0026#39;s super to meet someone who asks questions, there are not that many people like that. Or people who can handle questions intelligently, without approaching them dogmatically, people who are openly speculative. If I had a religion, be for me that would: one big question, the question.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview by Geert Bekaert and Walter Van Dijk in Streven, Vol.22.\u003c/p\u003e\r\n"}]},{"id":18316,"title":"Releasing 'O?'","dimensions":"3.8 x 8.5 cm, 2.5 x 2.5 cm","date_begin":"1972-01-01","material":"envelope and typewritten on transparent paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Depot Isi Fiszman, Brussels","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"releasing-o-n-y","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The perfect sound? \u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/828/medium_500/2018_James_Lee_Byars_Photo_M_HKA_25.jpg?1538663758","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/828/large/2018_James_Lee_Byars_Photo_M_HKA_25.jpg?1538663758","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The perfect sound? \u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The perfect sound? \u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;The perfect sound? \u0026ldquo;O.\u0026rdquo; A sound that someone would like. The vowel sounds I think are very beautiful. The \u0026lsquo;a\u0026rsquo;, \u0026lsquo;e\u0026rsquo;, \u0026lsquo;I\u0026rsquo;, \u0026lsquo;o\u0026rsquo;, \u0026lsquo;u\u0026rsquo;. Anyone of those sounds. The \u0026lsquo;o\u0026rsquo; sound is beautiful.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"}]},{"id":18314,"title":"666","dimensions":"","date_begin":null,"material":"crushed egg shell","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"666-999","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;And around the corner there was a small workman\u0026rsquo;s type of restaurant and there was a German immigrant woman in there and I was very quiet in the atmosphere and I usually dressed in simple black or grey at that time, so I looked like one of the normal residents of the community as long as I didn\u0026rsquo;t speak about my interests very much. And I would go in there every morning to have eggs, and I became very interested in how to cook eggs, over and up and poached and so forth. At that time I was experimenting with the egg just, just cooked to a medium degree and just turned over. And so there was a young Puerto Rican boy waiting on the counter with all these very tough truck drivers and people you know. But I asked him the first day if he could make the egg just over and medium and with toast and he understood perfectly and he\u0026hellip; much like the donut girl had fantastic equanimity and was able to go up and down the counter making eggs and toast and serving coffee and all of these things in a beautifully coordinated way. And for 21 days he made the most beautiful eggs I\u0026rsquo;ve ever eaten and on the 21st or 22nd day I said \u0026#39;you make the most beautiful eggs I\u0026rsquo;ve ever eaten in my life\u0026#39; and from then on he became self-conscious and the next day the eggs were overcooked or undercooked or overcooked and many times he would throw them away and start again and by the end of the month he was so embarrassed and I felt terrible, by the end of the month he refused to take any money.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/830/medium_500/2018_James_Lee_Byars_Photo_M_HKA_37.jpg?1538664584","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/830/large/2018_James_Lee_Byars_Photo_M_HKA_37.jpg?1538664584","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;And around the corner there was a small workman\u0026rsquo;s type of restaurant and there was a German immigrant woman in there and I was very quiet in the atmosphere and I usually dressed in simple black or grey at that time, so I looked like one of the normal residents of the community as long as I didn\u0026rsquo;t speak about my interests very much. And I would go in there every morning to have eggs, and I became very interested in how to cook eggs, over and up and poached and so forth. At that time I was experimenting with the egg just, just cooked to a medium degree and just turned over. And so there was a young Puerto Rican boy waiting on the counter with all these very tough truck drivers and people you know. But I asked him the first day if he could make the egg just over and medium and with toast and he understood perfectly and he\u0026hellip; much like the donut girl had fantastic equanimity and was able to go up and down the counter making eggs and toast and serving coffee and all of these things in a beautifully coordinated way. And for 21 days he made the most beautiful eggs I\u0026rsquo;ve ever eaten and on the 21st or 22nd day I said \u0026#39;you make the most beautiful eggs I\u0026rsquo;ve ever eaten in my life\u0026#39; and from then on he became self-conscious and the next day the eggs were overcooked or undercooked or overcooked and many times he would throw them away and start again and by the end of the month he was so embarrassed and I felt terrible, by the end of the month he refused to take any money.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Al moet je daar ook weer mee oppassen. In New York, waar ik in die krant woonde, dat was een arme buurt, en om de hoek was een eethuisje, met een Duitse Inhaberin. Ik droeg toen nog gewoon zwarte pakken, dus viel ik helemaal niet op, zolang ik mijn mond maar hield over mijn idee\u0026euml;n. Iedere morgen ging ik daar een eitje eten. Eieren kun je op wel dertig verschillende manieren eten, maar ik zat toen juist in een periode van het juist-op-punt-gekookte eitje. Als ober was er een jonge Portoricaan, tussen al die zware vrachtrijders en zo. De eerste keer vroeg ik hem of hij mijn ei precies kon maken zoals ik het graag had en hij begreep het perfect, 21 dagen lang maakte hij me de meest sublieme eieren die ik ooit gegeten heb. En de 22e dag zeg ik hem: \u0026lsquo;jij maakt de beste eieren die ik ooit gegeten heb\u0026rsquo;. En van toen af werd hij zelfbewust. De volgende dagen was mijn ei te hard, of te zacht, soms moest hij het gewoon weggooien en opnieuw beginnen, en op het eind van de maand was hij helemaal de kluts kwijt. Hij weigerde mijn geld voor de eieren. Zie je, hoe sta je tegenover iemand die iets perfect kan maken? Wat moet je doen om zo\u0026#39;n mens normaal te laten blijven, om hem niet te enerveren? Het zelfbewustzijn kan de onschuld wel eens kapot maken. Ik had die jonge Portoricaan zijn eikookkunst volledig geru\u0026iuml;neerd. Het is allemaal zo delicaat.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eBron: Interview door Geert Bekaert en Walter Van Dijk in Streven, jaargang 22\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;And around the corner there was a small workman\u0026rsquo;s type of restaurant and there was a German immigrant woman in there and I was very quiet in the atmosphere and I usually dressed in simple black or grey at that time, so I looked like one of the normal residents of the community as long as I didn\u0026rsquo;t speak about my interests very much. And I would go in there every morning to have eggs, and I became very interested in how to cook eggs, over and up and poached and so forth. At that time I was experimenting with the egg just, just cooked to a medium degree and just turned over. And so there was a young Puerto Rican boy waiting on the counter with all these very tough truck drivers and people you know. But I asked him the first day if he could make the egg just over and medium and with toast and he understood perfectly and he\u0026hellip; much like the donut girl had fantastic equanimity and was able to go up and down the counter making eggs and toast and serving coffee and all of these things in a beautifully coordinated way. And for 21 days he made the most beautiful eggs I\u0026rsquo;ve ever eaten and on the 21st or 22nd day I said \u0026#39;you make the most beautiful eggs I\u0026rsquo;ve ever eaten in my life\u0026#39; and from then on he became self-conscious and the next day the eggs were overcooked or undercooked or overcooked and many times he would throw them away and start again and by the end of the month he was so embarrassed and I felt terrible, by the end of the month he refused to take any money.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"}]},{"id":18322,"title":"The Golden Tower","dimensions":"192 x 60.3 cm","date_begin":"1974-01-01","material":"silkscreen on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Marie-Puck Broodthaers","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"the-golden-tower-ef42e544-3cd1-4f56-b42a-6529f7462116","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is religious and it\u0026rsquo;s alchemical. There\u0026rsquo;s a very beautiful sentence: Gold is the colour of love. I think it\u0026rsquo;s interesting. It\u0026rsquo;s such an abstract and unusual colour to experience in a very large scale. [\u0026hellip;] Gold is one of the most supernatural types of experiences for people.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 at The Golden Tower.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/824/medium_500/2018_James_Lee_Byars_Photo_M_HKA_80.jpg?1538666050","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/824/large/2018_James_Lee_Byars_Photo_M_HKA_80.jpg?1538666050","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is religious and it\u0026rsquo;s alchemical. There\u0026rsquo;s a very beautiful sentence: Gold is the colour of love. I think it\u0026rsquo;s interesting. It\u0026rsquo;s such an abstract and unusual colour to experience in a very large scale. [\u0026hellip;] Gold is one of the most supernatural types of experiences for people.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 at The Golden Tower.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is religious and it\u0026rsquo;s alchemical. There\u0026rsquo;s a very beautiful sentence: Gold is the colour of love. I think it\u0026rsquo;s interesting. It\u0026rsquo;s such an abstract and unusual colour to experience in a very large scale. [\u0026hellip;] Gold is one of the most supernatural types of experiences for people.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 at The Golden Tower.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Gold is religious and it\u0026rsquo;s alchemical. There\u0026rsquo;s a very beautiful sentence: Gold is the colour of love. I think it\u0026rsquo;s interesting. It\u0026rsquo;s such an abstract and unusual colour to experience in a very large scale. [\u0026hellip;] Gold is one of the most supernatural types of experiences for people.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 at The Golden Tower.\u003c/p\u003e\r\n"}]},{"id":18323,"title":"Letter to Walter Van Dyck (World's Largest Flag)","dimensions":"","date_begin":"1969-01-01","material":"postcard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private collection","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"world-s-largest-flag","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/000/087/996/medium_500/JLB_WVD_Image000.jpg?1665500637","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/996/large/JLB_WVD_Image000.jpg?1665500637","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Walter Van Dyck\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003c/p\u003e\r\n\r\n\u003cp\u003eRead the page after \u0026ldquo;Int. Cel. Int. Cor.\u0026rdquo;?\u003co:p\u003e\u003c/o:p\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Walter Van Dyck\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003c/p\u003e\r\n\r\n\u003cp\u003eRead the page after \u0026ldquo;Int. Cel. Int. Cor.\u0026rdquo;?\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":18315,"title":"Byars at the MET ...invisibly, NY","dimensions":"4.8 x 7.4 cm, 2.7 x 2.7 cm","date_begin":"1970-01-01","material":"pink envelope, two squared papers","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0406_001","stream_count_app":14,"permalink":"byars-at-the-met-invisibly-n-y","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026#39;It says, \u0026ldquo;Byars at the Met\u0026hellip; invisibly.\u0026rdquo;\u0026#39;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;Beautiful. What year was that?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;1971\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;And this goes in envelope?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;Yes, if you like. What was wonderful about it was that I was wearing a red satin and I had North-South make a big bamboo pole so I looked like twenty-one feet tall and had a ball on the top with a red veil and high heels, and I could run in front of the Met like that, chasing the public, giving them invisibility.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by\u0026nbsp;David Sewell\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/829/medium_500/2018_James_Lee_Byars_Photo_M_HKA_45.jpg?1538664417","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/829/large/2018_James_Lee_Byars_Photo_M_HKA_45.jpg?1538664417","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026#39;It says, \u0026ldquo;Byars at the Met\u0026hellip; invisibly.\u0026rdquo;\u0026#39;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;Beautiful. What year was that?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;1971\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;And this goes in envelope?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;Yes, if you like. What was wonderful about it was that I was wearing a red satin and I had North-South make a big bamboo pole so I looked like twenty-one feet tall and had a ball on the top with a red veil and high heels, and I could run in front of the Met like that, chasing the public, giving them invisibility.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by\u0026nbsp;David Sewell\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026#39;It says, \u0026ldquo;Byars at the Met\u0026hellip; invisibly.\u0026rdquo;\u0026#39;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;Beautiful. What year was that?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;1971\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;And this goes in envelope?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;Yes, if you like. What was wonderful about it was that I was wearing a red satin and I had North-South make a big bamboo pole so I looked like twenty-one feet tall and had a ball on the top with a red veil and high heels, and I could run in front of the Met like that, chasing the public, giving them invisibility.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by\u0026nbsp;David Sewell\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026#39;It says, \u0026ldquo;Byars at the Met\u0026hellip; invisibly.\u0026rdquo;\u0026#39;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;Beautiful. What year was that?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;1971\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDS: \u003cem\u003e\u0026quot;And this goes in envelope?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJLB: \u003cem\u003e\u0026quot;Yes, if you like. What was wonderful about it was that I was wearing a red satin and I had North-South make a big bamboo pole so I looked like twenty-one feet tall and had a ball on the top with a red veil and high heels, and I could run in front of the Met like that, chasing the public, giving them invisibility.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Interview by\u0026nbsp;David Sewell\u003c/p\u003e\r\n"}]},{"id":18351,"title":"The 5 Continent Documenta 7","dimensions":"110 x 48 cm, 2.5 x 2,5 cm","date_begin":"1979-01-01","material":"black silk paper and white square","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie Nicole Daled-Verstraeten","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"the-5-continental-documenta-7-167fa689-c225-4138-8ef7-d1542b70a213","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Here Joseph\u0026rsquo;s the new great Documenta / Invitation to \u0026ldquo;The 5 Continent Documenta 7 / I hope you\u0026rsquo;ll participate / Let\u0026rsquo;s do it / by artists / one of sev. / for each / continent / I want China You / ? Lov. Ans. / please B. / How\u0026rsquo;s your heart? I kno. You\u0026rsquo;re much better on / the phone with / me than by / letter I\u0026rsquo;ll be / in Antwerp / soon maybe / I can visit / you for a brief / hour sometime / in late Jan. in / Du. Hope you / are fine Love B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/807/medium_500/2018_James_Lee_Byars_Photo_M_HKA_77.jpg?1538666382","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/807/large/2018_James_Lee_Byars_Photo_M_HKA_77.jpg?1538666382","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Here Joseph\u0026rsquo;s the new great Documenta / Invitation to \u0026ldquo;The 5 Continent Documenta 7 / I hope you\u0026rsquo;ll participate / Let\u0026rsquo;s do it / by artists / one of sev. / for each / continent / I want China You / ? Lov. Ans. / please B. / How\u0026rsquo;s your heart? I kno. You\u0026rsquo;re much better on / the phone with / me than by / letter I\u0026rsquo;ll be / in Antwerp / soon maybe / I can visit / you for a brief / hour sometime / in late Jan. in / Du. Hope you / are fine Love B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Here Joseph\u0026rsquo;s the new great Documenta / Invitation to \u0026ldquo;The 5 Continent Documenta 7 / I hope you\u0026rsquo;ll participate / Let\u0026rsquo;s do it / by artists / one of sev. / for each / continent / I want China You / ? Lov. Ans. / please B. / How\u0026rsquo;s your heart? I kno. You\u0026rsquo;re much better on / the phone with / me than by / letter I\u0026rsquo;ll be / in Antwerp / soon maybe / I can visit / you for a brief / hour sometime / in late Jan. in / Du. Hope you / are fine Love B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Here Joseph\u0026rsquo;s the new great Documenta / Invitation to \u0026ldquo;The 5 Continent Documenta 7 / I hope you\u0026rsquo;ll participate / Let\u0026rsquo;s do it / by artists / one of sev. / for each / continent / I want China You / ? Lov. Ans. / please B. / How\u0026rsquo;s your heart? I kno. You\u0026rsquo;re much better on / the phone with / me than by / letter I\u0026rsquo;ll be / in Antwerp / soon maybe / I can visit / you for a brief / hour sometime / in late Jan. in / Du. Hope you / are fine Love B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: Letters to Joseph Beuys\u003c/p\u003e\r\n"}]},{"id":18346,"title":"The Perfect Kiss, Antwerp 1976","dimensions":"29.5 x 21 cm","date_begin":"1976-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA / Collection Flemish Community","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"invitation-the-perfect-kiss","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Leo Dohmen had a \u0026ndash; well, is it art deco or Jugendstil? \u0026ndash; house in Berchem. That house is still there. Byars wanted to do something there because it was still an original Jugendstil decor, the walls and everything. I think twenty people turned up. The Perfect Kiss. That was just James standing on a small shelf. [...] Those were things that he did here and there, that was not a one-off thing. It is perhaps the shortest statement he made: standing on a podium and moving his lips for a moment, barely visible.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: unpublished interview with Patrick Verelst.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Patrick Verhelst performed The Perfect Kiss at Leo Dohmen, Generaal van Merlenstraat 44, in that Art Nouveau quarter in Antwerp, close to the Cogels-Osylei: there is a kind of diamond-shaped square, the four houses are the four seasons and one of the four was inhabited by Leo Dohmen. That interior was beautifully preserved. Byars must have found that wonderful. One\u0026nbsp;performance\u0026nbsp;was organised in 1976. The first Perfect Kiss was in 1974, but after that he still performed it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: unpublished interview with Yves Gevaert\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/816/medium_500/2018_James_Lee_Byars_Photo_M_HKA_103.jpg?1538667062","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/816/large/2018_James_Lee_Byars_Photo_M_HKA_103.jpg?1538667062","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Leo Dohmen had a \u0026ndash; well, is it art deco or Jugendstil? \u0026ndash; house in Berchem. That house is still there. Byars wanted to do something there because it was still an original Jugendstil decor, the walls and everything. I think twenty people turned up. The Perfect Kiss. That was just James standing on a small shelf. [...] Those were things that he did here and there, that was not a one-off thing. It is perhaps the shortest statement he made: standing on a podium and moving his lips for a moment, barely visible.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: unpublished interview with Patrick Verelst.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Patrick Verhelst performed The Perfect Kiss at Leo Dohmen, Generaal van Merlenstraat 44, in that Art Nouveau quarter in Antwerp, close to the Cogels-Osylei: there is a kind of diamond-shaped square, the four houses are the four seasons and one of the four was inhabited by Leo Dohmen. That interior was beautifully preserved. Byars must have found that wonderful. One\u0026nbsp;performance\u0026nbsp;was organised in 1976. The first Perfect Kiss was in 1974, but after that he still performed it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: unpublished interview with Yves Gevaert\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Leo Dohmen had een, is het nu art deco of Jugendstil, huis in Berchem. Dat huis staat er nog. Byars wou daar graag iets doen omdat het nog een origineel Jugendstil decor was, de muren en alles. Ik denk dat er twintig man is gekomen. The Perfect Kiss. Dat was gewoon James die op een plankje stond. [\u0026hellip;] Dat waren dingen die hij hier en daar deed, dat was niet iets eenmalig. Het is misschien het kortste statement dat hij heeft gemaakt: op een podium gaan staan en even zijn lippen bewegen, nauwelijks zichtbaar.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eBron: ongepubliceerd interview met Patrick Verelst\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Patrick Verhelst heeft The Perfect Kiss\u0026nbsp;uitgevoerd bij Leo Dohmen, Generaal van Merlenstraat 44, in dat Art Nouveau kwartier in Antwerpen, dicht bij de Cogels-Osylei, daar is een soort ruitvormig plein, de vier huizen zijn de vier jaargetijden en \u0026eacute;\u0026eacute;n van de vier was bewoond door Leo Dohmen. Dat interieur was prachtig bewaard. Byars zal dat prachtig gevonden hebben. Daar is een uitvoering van die performance georganiseerd in 1976. De eerste Perfect Kiss was in 1974, maar daarna heeft hij dat nog uitgevoerd.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eBron: ongepubliceerd interview met Yves Gevaert\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Leo Dohmen had a \u0026ndash; well, is it art deco or Jugendstil? \u0026ndash; house in Berchem. That house is still there. Byars wanted to do something there because it was still an original Jugendstil decor, the walls and everything. I think twenty people turned up. The Perfect Kiss. That was just James standing on a small shelf. [...] Those were things that he did here and there, that was not a one-off thing. It is perhaps the shortest statement he made: standing on a podium and moving his lips for a moment, barely visible.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: unpublished interview with Patrick Verelst.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Patrick Verhelst performed The Perfect Kiss at Leo Dohmen, Generaal van Merlenstraat 44, in that Art Nouveau quarter in Antwerp, close to the Cogels-Osylei: there is a kind of diamond-shaped square, the four houses are the four seasons and one of the four was inhabited by Leo Dohmen. That interior was beautifully preserved. Byars must have found that wonderful. One\u0026nbsp;performance\u0026nbsp;was organised in 1976. The first Perfect Kiss was in 1974, but after that he still performed it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: unpublished interview with Yves Gevaert\u003c/p\u003e\r\n"}]},{"id":18309,"title":"A and B you ready to do some Fant. Show?, Wide White Space Gallery, Antwerp 1973","dimensions":"12 x 15.7 cm","date_begin":"1973-01-01","material":"paper invitation card","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Depot Isi Fiszman, Brussels","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"invitation-wide-white-space-a-and-b-you-ready-to-do-some-fant-show","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;I\u0026rsquo;m interested in fantasy and I\u0026rsquo;m interested in dreams and things of that type and it\u0026rsquo;s very difficult to tell what is and what isn\u0026rsquo;t, I mean like that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Interested in fantasy, so why do you want people to ask direct questions?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;Well I like both, that\u0026rsquo;s one thing that interests me, but I\u0026rsquo;m interested in as much ration as people can have too. But like the airplane (a pink silk airplane for 100) to me is a great fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Just fantasy?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;No not just fantasy, but fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/844/medium_500/2018_James_Lee_Byars_Photo_M_HKA_47.jpg?1538669135","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/844/large/2018_James_Lee_Byars_Photo_M_HKA_47.jpg?1538669135","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;I\u0026rsquo;m interested in fantasy and I\u0026rsquo;m interested in dreams and things of that type and it\u0026rsquo;s very difficult to tell what is and what isn\u0026rsquo;t, I mean like that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Interested in fantasy, so why do you want people to ask direct questions?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;Well I like both, that\u0026rsquo;s one thing that interests me, but I\u0026rsquo;m interested in as much ration as people can have too. But like the airplane (a pink silk airplane for 100) to me is a great fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Just fantasy?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;No not just fantasy, but fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;I\u0026rsquo;m interested in fantasy and I\u0026rsquo;m interested in dreams and things of that type and it\u0026rsquo;s very difficult to tell what is and what isn\u0026rsquo;t, I mean like that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Interested in fantasy, so why do you want people to ask direct questions?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;Well I like both, that\u0026rsquo;s one thing that interests me, but I\u0026rsquo;m interested in as much ration as people can have too. But like the airplane (a pink silk airplane for 100) to me is a great fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Just fantasy?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;No not just fantasy, but fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;I\u0026rsquo;m interested in fantasy and I\u0026rsquo;m interested in dreams and things of that type and it\u0026rsquo;s very difficult to tell what is and what isn\u0026rsquo;t, I mean like that.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Interested in fantasy, so why do you want people to ask direct questions?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;Well I like both, that\u0026rsquo;s one thing that interests me, but I\u0026rsquo;m interested in as much ration as people can have too. But like the airplane (a pink silk airplane for 100) to me is a great fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eW.V.D.: \u003cem\u003e\u0026quot;Just fantasy?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eJ.L.B.: \u003cem\u003e\u0026quot;No not just fantasy, but fantasy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"}]},{"id":18305,"title":"I’m collecting questions. Please list yours and send to Byars (Temp. Art. in Res.) Hud. Inst. Croton, N.Y. 10520","dimensions":"43.2 x 28 cm","date_begin":"1969-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Depot Isi Fiszman, Brussels","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"i-m-collecting-questions-please-list-yours-and-send-to-byars-temp-art-in-res-hud-inst-croton-n-y","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;So running the World Question Center I tried many things. I tried as I said street-tests, I went to schools. My biggest amazement wa Columbia where I managed to hand out probably 1000 of the questionnaires which said, were regular size paper simply saying at the top \u0026ldquo;I\u0026rsquo;m collecting Questions. List yours.\u0026rdquo; And the return address of the Hudson Institute and so forth and then the numbers one to one-hundred down the side. On the reverse side there was a small \u0026lsquo;?\u0026rsquo; in the middle of the page. It is interesting that I got only one return from Columbia. One questionnaire. But people dislike paper, I expect a lot of prejudice for that. So I don\u0026rsquo;t know if that\u0026rsquo;s a reasonable statistic or not.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTranscribed tape of presentation by James Lee Byars, Nova Scotia College of Art and Design, April 21, 1970\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/848/medium_500/2018_James_Lee_Byars_Photo_M_HKA_26.jpg?1538663660","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/848/large/2018_James_Lee_Byars_Photo_M_HKA_26.jpg?1538663660","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;So running the World Question Center I tried many things. I tried as I said street-tests, I went to schools. My biggest amazement wa Columbia where I managed to hand out probably 1000 of the questionnaires which said, were regular size paper simply saying at the top \u0026ldquo;I\u0026rsquo;m collecting Questions. List yours.\u0026rdquo; And the return address of the Hudson Institute and so forth and then the numbers one to one-hundred down the side. On the reverse side there was a small \u0026lsquo;?\u0026rsquo; in the middle of the page. It is interesting that I got only one return from Columbia. One questionnaire. But people dislike paper, I expect a lot of prejudice for that. So I don\u0026rsquo;t know if that\u0026rsquo;s a reasonable statistic or not.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTranscribed tape of presentation by James Lee Byars, Nova Scotia College of Art and Design, April 21, 1970\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;So running the World Question Center I tried many things. I tried as I said street-tests, I went to schools. My biggest amazement wa Columbia where I managed to hand out probably 1000 of the questionnaires which said, were regular size paper simply saying at the top \u0026ldquo;I\u0026rsquo;m collecting Questions. List yours.\u0026rdquo; And the return address of the Hudson Institute and so forth and then the numbers one to one-hundred down the side. On the reverse side there was a small \u0026lsquo;?\u0026rsquo; in the middle of the page. It is interesting that I got only one return from Columbia. One questionnaire. But people dislike paper, I expect a lot of prejudice for that. So I don\u0026rsquo;t know if that\u0026rsquo;s a reasonable statistic or not.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTranscribed tape of presentation by James Lee Byars, Nova Scotia College of Art and Design, April 21, 1970\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;So running the World Question Center I tried many things. I tried as I said street-tests, I went to schools. My biggest amazement wa Columbia where I managed to hand out probably 1000 of the questionnaires which said, were regular size paper simply saying at the top \u0026ldquo;I\u0026rsquo;m collecting Questions. List yours.\u0026rdquo; And the return address of the Hudson Institute and so forth and then the numbers one to one-hundred down the side. On the reverse side there was a small \u0026lsquo;?\u0026rsquo; in the middle of the page. It is interesting that I got only one return from Columbia. One questionnaire. But people dislike paper, I expect a lot of prejudice for that. So I don\u0026rsquo;t know if that\u0026rsquo;s a reasonable statistic or not.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTranscribed tape of presentation by James Lee Byars, Nova Scotia College of Art and Design, April 21, 1970\u003c/p\u003e\r\n"}]},{"id":18304,"title":"Wide White Space has been renamed the Institute for the Advanced Study of James Lee Byars, Antwerpen 1969","dimensions":"Ø 11.5 m","date_begin":"1969-01-01","material":"paper star","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Depot Isi Fiszman, Brussels","cached_tag_list":"James Lee Byars","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"wide-white-space-has-been-renamed-the-institute-for-the-advanced-study-of-james-lee-byars","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/849/medium_500/2018_James_Lee_Byars_Photo_M_HKA_59.jpg?1538662916","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/849/large/2018_James_Lee_Byars_Photo_M_HKA_59.jpg?1538662916","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eAlles waaraan ik kan denken of dat ik me kan inbeelden, zie ik als potentieel materiaal voor \u0026lsquo;werk\u0026rsquo;. Iets een naam geven of iets veranderen vind ik een werk. Zo heb ik bijvoorbeeld, toen ik hier in Antwerpen arriveerde, de Wide White Space Gallery omgedoopt in \u0026lsquo;Institute for the Advanced Study of James Lee Byars\u0026rsquo;. Alle bezoekers van de galerie kregen een ster - ik hou veel van sterren - met die naam erop.\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview door Geert Bekaert en Walter Van Dijk in Streven, jaargang 22\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20113,"title":"GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster, Jrg.9, nr.1, 1 januari 1990","dimensions":"57.7 x 41.7 cm, 2 p., ill., language : Dutch, publisher : Galerij van de Akademie Van Waasmunster.","date_begin":"1990-01-01","material":"ink, paper","short_description":"\u003cp\u003eArtikelen :\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e- James Lee Byars : Tentoonstelling\u0026nbsp; (Toni Gerber, James Lee Byars, Howard Junker)\u003c/p\u003e\r\n\r\n\u003cp\u003e- Joris Ivens \u0026#39;Une Histoire de Vent\u0026#39; : Filmvoorstelling (Marie Peeters)\u003c/p\u003e\r\n\r\n\u003cp\u003e- Baudouin Oosterlynck : 2 Muzikale performances + tentoonstelling (Baudouin Oosterlynck \u0026amp; Guy Schraenen)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"T \u0026 P/GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster","stream_count_app":19,"permalink":"ga-tijdschrift-van-de-galerij-van-de-akademie-van-waasmunster-jrg-9-nr-1-1-januari-1990","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/000/043/119/medium_500/Image00076.jpg?1546513395","cached_actor_names":"Wilfried Huet, James Lee Byars, Baudouin Oosterlynck, Joris Ivens ","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/119/large/Image00076.jpg?1546513395","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20287,"title":"The Letter Reading Society of James Lee Byars","dimensions":"18 x 353 cm","date_begin":"1987-01-01","material":"two 17th century chairs and framed title in gold pencil on black silk paper","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":"","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"the-letter-reading-society-of-james-lee-byars-galerie-des-beaux-arts-brussels-00f6b4b9-5f47-46fc-b00b-28e7bd0b2356","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/944/medium_500/2018_James_Lee_Byars_Photo_M_HKA_30.jpg?1538664720","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/944/large/2018_James_Lee_Byars_Photo_M_HKA_30.jpg?1538664720","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20295,"title":"James Lee Byars interviewed by Paul De Vree at Documenta 7 in front of 'The Golden Tower'","dimensions":"00:10:05","date_begin":"1982-01-01","material":"audio fragment from 'Kroniek'","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":80,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy VRT - Archief- en Documentbeheer","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"james-lee-byars-interviewed-by-paul-de-vree-at-documenta-7-in-front-of-the-golden-tower","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/000/042/045/medium_500/2018_James_Lee_Byars_Photo_M_HKA_78.jpg?1538666666","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/045/large/2018_James_Lee_Byars_Photo_M_HKA_78.jpg?1538666666","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20297,"title":"Untitled","dimensions":"⌀ 100 cm","date_begin":"1994-01-01","material":"glass and paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy M V collection Belgium","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"untitled-5527f52f-754a-4b17-b3ce-48b809af1a38","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/967/medium_500/2018_James_Lee_Byars_Photo_M_HKA_100.jpg?1538667409","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/967/large/2018_James_Lee_Byars_Photo_M_HKA_100.jpg?1538667409","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20302,"title":"Extra-Terrestrial, ICC Antwerp","dimensions":"29.5 x 21 cm, 29.5 x 42.5 cm","date_begin":"1976-01-01","material":"one-page catalogue, white paper in black cover","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA / Collection Flemish Community","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"extra-terrestrial-icc-antwerp","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;He was always looking for perfection. [...] When we made this exhibition, I wanted to make a catalogue raisonn\u0026eacute; with an overview of everything he had done so far. Lieve had started to collect all the material. She spent a few months doing that. When James came, he said, \u0026#39;Yes, but I want a one-page catalogue.\u0026#39; I had written a text, but it had to be reduced to a small square. It drove Lieve crazy. Typically James.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview with Flor Bex and Lieve De Deyne by Els Hoek.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/971/medium_500/2018_James_Lee_Byars_Photo_M_HKA_67.jpg?1538667735","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/971/large/2018_James_Lee_Byars_Photo_M_HKA_67.jpg?1538667735","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;He was always looking for perfection. [...] When we made this exhibition, I wanted to make a catalogue raisonn\u0026eacute; with an overview of everything he had done so far. Lieve had started to collect all the material. She spent a few months doing that. When James came, he said, \u0026#39;Yes, but I want a one-page catalogue.\u0026#39; I had written a text, but it had to be reduced to a small square. It drove Lieve crazy. Typically James.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: interview with Flor Bex and Lieve De Deyne by Els Hoek.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Hij was altijd op zoek naar de perfectie. [\u0026hellip;] Toen we die tententoonstelling gemaakt hebben, wou ik een catalogue raisonn\u0026eacute; maken met een overzicht van al wat hij tot dan toe had gedaan. Lieve was begonnen met al het materiaal te verzamelen. Daar is ze een paar maanden zoet mee geweest. Toen James kwam, zei hij: \u0026ldquo;Ja, maar ik wil een one page catalogue.\u0026rdquo; Ik had een tekst geschreven, maar die moest verkleind worden tot een klein vierkantje. Lieve werd gek. Typisch James.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview met Flor Bex en Lieve De Deyne door Els Hoek\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;He was always looking for perfection. [...] When we made this exhibition, I wanted to make a catalogue raisonn\u0026eacute; with an overview of everything he had done so far. Lieve had started to collect all the material. She spent a few months doing that. When James came, he said, \u0026#39;Yes, but I want a one-page catalogue.\u0026#39; I had written a text, but it had to be reduced to a small square. It drove Lieve crazy. Typically James.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview with Flor Bex and Lieve De Deyne by Els Hoek.\u003c/p\u003e\r\n"}]},{"id":20300,"title":"Autobiography","dimensions":"00:10:00","date_begin":"1970-01-01","material":"16 mm film transferred onto video, black and white","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":"Galerie Michael Werner, Märkisch Wilmersdorf, Cologne and New York","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"autobiography-28c86219-d91f-43c7-a098-927373f13b1a","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maybe the complete autobiography could be one sentence, I don\u0026rsquo;t know but just arbitrarily in this instance I have many pages and I would\u0026hellip; I think that the autobiography and the process of arriving at it is very related to the idea of the connectedness of people. I think that our consciousness and our existence is more connected than we generally perceive. What is memory for example? What does memory mean? How is it that I can come with an idea like the airplane and many people understand this. Does everyone know everything already, I don\u0026rsquo;t know. How do you find out something fresh? How do you understand that this could be important?\u0026quot;\u003c/em\u003e - James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp\u003e(From: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969)\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/969/medium_500/autobio.png?1538473803","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/969/large/autobio.png?1538473803","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maybe the complete autobiography could be one sentence, I don\u0026rsquo;t know but just arbitrarily in this instance I have many pages and I would\u0026hellip; I think that the autobiography and the process of arriving at it is very related to the idea of the connectedness of people. I think that our consciousness and our existence is more connected than we generally perceive. What is memory for example? What does memory mean? How is it that I can come with an idea like the airplane and many people understand this. Does everyone know everything already, I don\u0026rsquo;t know. How do you find out something fresh? How do you understand that this could be important?\u0026quot;\u003c/em\u003e - James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp\u003e(From: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maybe the complete autobiography could be one sentence, I don\u0026rsquo;t know but just arbitrarily in this instance I have many pages and I would\u0026hellip; I think that the autobiography and the process of arriving at it is very related to the idea of the connectedness of people. I think that our consciousness and our existence is more connected than we generally perceive. What is memory for example? What does memory mean? How is it that I can come with an idea like the airplane and many people understand this. Does everyone know everything already, I don\u0026rsquo;t know. How do you find out something fresh? How do you understand that this could be important?\u0026quot;\u003c/em\u003e - James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp\u003e(From: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969)\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Maybe the complete autobiography could be one sentence, I don\u0026rsquo;t know but just arbitrarily in this instance I have many pages and I would\u0026hellip; I think that the autobiography and the process of arriving at it is very related to the idea of the connectedness of people. I think that our consciousness and our existence is more connected than we generally perceive. What is memory for example? What does memory mean? How is it that I can come with an idea like the airplane and many people understand this. Does everyone know everything already, I don\u0026rsquo;t know. How do you find out something fresh? How do you understand that this could be important?\u0026quot;\u003c/em\u003e - James Lee Byars\u003c/p\u003e\r\n\r\n\u003cp\u003e(From: James Lee Byars / Antwerp 18 April-7 May 1969, Jef Cornelis, First broadcast: VRT 1, 28/11/1969)\u003c/p\u003e\r\n"}]},{"id":20305,"title":"Halo around the ICC, Antwerp","dimensions":"29.5 x 21 cm","date_begin":"1976-01-01","material":"white paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"halo-around-the-icc-antwerp","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/973/medium_500/2018_James_Lee_Byars_Photo_M_HKA_69.jpg?1538668116","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/973/large/2018_James_Lee_Byars_Photo_M_HKA_69.jpg?1538668116","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eJames Lee Byars had ontdekt dat de lengte van de gevel van het Koninklijk Paleis op de Meir exact \u0026ndash; op een centimeter na \u0026ndash; even lang was als de breedte van de straat. Dus hij wilde een cirkel maken, met de ingang als middelpunt, beginnend aan het rechtse uiteinde van de gevel, de gevels aan de overkant rakend en uitkomend precies aan het linker einde van het paleis. En hij zei tegen mij: \u0026ldquo;Ik wil dat je een gouden halo schildert.\u0026rdquo; Omdat ik wist dat ik van de stad sowieso geen toelating zou krijgen, heb ik niets aangevraagd. Ik ben na elf uur \u0026rsquo;s avonds samen met BB, de partner van Byars, de cirkel gaan schilderen. We hebben twee lijnen getrokken met een koord en dan zijn we het beginnen inschilderen met goudverf. De Meir was in die tijd \u0026rsquo;s avonds totaal verlaten, dus ik was gerust dat er niemand zou komen. Maar ik zei tegen Byars: \u0026ldquo;Let jij op en verwittig ons als er iets aan de hand is.\u0026rdquo; Op een gegeven moment voel ik een hand op mijn schouder, van een politieagent. James was verdwenen, hij had ons niet verwittigd. Ik ben aangehouden en opgesloten tot de volgende ochtend. Dan hebben we twee dagen later een receptie gegeven op de stoep voor de hoofdingang van het ICC in een halve cirkel.\u003c/p\u003e\r\n\r\n\u003cp\u003eUit: Ongepubliceerd interview met Flor Bex\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20281,"title":"Q","dimensions":"⌀ 1.5 cm","date_begin":"1980-01-01","material":"small paper confetti","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"q-835fb664-8d01-4a7e-89f3-7c4939afd71e","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Sometimes they are very small, but again I think it depends on the reference to it. For example, to show the perfect question or the symbol \u0026lsquo;Q\u0026rsquo; on a tiny printed cart the size of your fingertip, the size is transcended by the idea.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/935/medium_500/2018_James_Lee_Byars_Photo_M_HKA_28.jpg?1538664235","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/935/large/2018_James_Lee_Byars_Photo_M_HKA_28.jpg?1538664235","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Sometimes they are very small, but again I think it depends on the reference to it. For example, to show the perfect question or the symbol \u0026lsquo;Q\u0026rsquo; on a tiny printed cart the size of your fingertip, the size is transcended by the idea.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Sometimes they are very small, but again I think it depends on the reference to it. For example, to show the perfect question or the symbol \u0026lsquo;Q\u0026rsquo; on a tiny printed cart the size of your fingertip, the size is transcended by the idea.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Sometimes they are very small, but again I think it depends on the reference to it. For example, to show the perfect question or the symbol \u0026lsquo;Q\u0026rsquo; on a tiny printed cart the size of your fingertip, the size is transcended by the idea.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSource: James Lee Byars interviewed by Paul De Vree at documenta 7 in front of \u003cem\u003eThe Golden Tower\u003c/em\u003e, 1982, Audio fragment from \u0026lsquo;Kroniek\u0026rsquo;, 10\u0026rsquo;05\u0026rdquo;\u003c/p\u003e\r\n"}]},{"id":20335,"title":"Letter to Isi Fiszman (if the critical questions were gathered would you then have a picture of the contemporary problems of earth people?)","dimensions":"2 x (48.5 x 71 cm)","date_begin":"1969-01-01","material":"two sheets of white silk paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"letter-to-isi-fiszman-5978e63d-13a8-47e6-aa76-81efd6a1b56c","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi of all my projects \u0026ndash; question artist \u0026ndash; is the most provocative \u0026ndash; I didn\u0026rsquo;t realize the importance of question (either in \u0026rsquo;63 when I gave away 10,000 tiny (1/16\u0026rdquo;sq.) ?\u0026rsquo;s in clear inflated Bags on strings) or just at Oxford, I\u0026rsquo;ve just come from the Princeton Institute for Ad. Stud. meeting Freeman Dyson whose question is (we\u0026rsquo;re receiving red light from the solar system (nobody knows what the hell it is) and he\u0026rsquo;s making a hypothetical star (most regular stars can\u0026rsquo;t produce red light) on paper (How to?) A Marvelous question - Anyway I\u0026rsquo;d like to collect the 100 most imp. ?\u0026rsquo;s in the world and for my week show in Europe - a poll system of T.V. etc. would be excellent - I\u0026rsquo;ve suggested it to Cladders please relay your understanding of my request to him. What questions exist in all of Germany - Can they be gathered in the museum - Can he set me up with a telephone system to poll the country for a week of question collecting ?? White\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003epush button phones \u0026ndash; lang. people - speakerphone system (very simple, in NYC $1,50 per month rent) which allow the voice to be heard out in the room (so spectators could listen) ???????????? Please ask him? If he can\u0026rsquo;t then \u003cu\u003ecan you at Antwerp\u003c/u\u003e and C Jeff on T.W.V. or just T.V. as a program \u003cu\u003eand to ask all of Europe\u003c/u\u003e for your institute? It\u0026rsquo;s a fabulous program and if the critical questions were gathered would you then have a picture of the contemporary problems of earth people? It is a difficult process to get people to give you what question they have but a very fantastic effort. \u0026ndash; Answer immediately? James Lee Byars P.S. Another good question is \u0026ldquo;Which questions have disappeared?\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/011/medium_500/JLB_IF_017_A.jpg?1538656414","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/011/large/JLB_IF_017_A.jpg?1538656414","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi of all my projects \u0026ndash; question artist \u0026ndash; is the most provocative \u0026ndash; I didn\u0026rsquo;t realize the importance of question (either in \u0026rsquo;63 when I gave away 10,000 tiny (1/16\u0026rdquo;sq.) ?\u0026rsquo;s in clear inflated Bags on strings) or just at Oxford, I\u0026rsquo;ve just come from the Princeton Institute for Ad. Stud. meeting Freeman Dyson whose question is (we\u0026rsquo;re receiving red light from the solar system (nobody knows what the hell it is) and he\u0026rsquo;s making a hypothetical star (most regular stars can\u0026rsquo;t produce red light) on paper (How to?) A Marvelous question - Anyway I\u0026rsquo;d like to collect the 100 most imp. ?\u0026rsquo;s in the world and for my week show in Europe - a poll system of T.V. etc. would be excellent - I\u0026rsquo;ve suggested it to Cladders please relay your understanding of my request to him. What questions exist in all of Germany - Can they be gathered in the museum - Can he set me up with a telephone system to poll the country for a week of question collecting ?? White push button phones \u0026ndash; lang. people - speakerphone system (very simple, in NYC $1,50 per month rent) which allow the voice to be heard out in the room (so spectators could listen) ???????????? Please ask him? If he can\u0026rsquo;t then \u003cu\u003ecan you at Antwerp\u003c/u\u003e and C Jeff on T.W.V. or just T.V. as a program \u003cu\u003eand to ask all of Europe\u003c/u\u003e for your institute? It\u0026rsquo;s a fabulous program and if the critical questions were gathered would you then have a picture of the contemporary problems of earth people? It is a difficult process to get people to give you what question they have but a very fantastic effort. \u0026ndash; Answer immediately? James Lee Byars P.S. Another good question is \u0026ldquo;Which questions have disappeared?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi of all my projects \u0026ndash; question artist \u0026ndash; is the most provocative \u0026ndash; I didn\u0026rsquo;t realize the importance of question (either in \u0026rsquo;63 when I gave away 10,000 tiny (1/16\u0026rdquo;sq.) ?\u0026rsquo;s in clear inflated Bags on strings) or just at Oxford, I\u0026rsquo;ve just come from the Princeton Institute for Ad. Stud. meeting Freeman Dyson whose question is (we\u0026rsquo;re receiving red light from the solar system (nobody knows what the hell it is) and he\u0026rsquo;s making a hypothetical star (most regular stars can\u0026rsquo;t produce red light) on paper (How to?) A Marvelous question - Anyway I\u0026rsquo;d like to collect the 100 most imp. ?\u0026rsquo;s in the world and for my week show in Europe - a poll system of T.V. etc. would be excellent - I\u0026rsquo;ve suggested it to Cladders please relay your understanding of my request to him. What questions exist in all of Germany - Can they be gathered in the museum - Can he set me up with a telephone system to poll the country for a week of question collecting ?? White\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003epush button phones \u0026ndash; lang. people - speakerphone system (very simple, in NYC $1,50 per month rent) which allow the voice to be heard out in the room (so spectators could listen) ???????????? Please ask him? If he can\u0026rsquo;t then \u003cu\u003ecan you at Antwerp\u003c/u\u003e and C Jeff on T.W.V. or just T.V. as a program \u003cu\u003eand to ask all of Europe\u003c/u\u003e for your institute? It\u0026rsquo;s a fabulous program and if the critical questions were gathered would you then have a picture of the contemporary problems of earth people? It is a difficult process to get people to give you what question they have but a very fantastic effort. \u0026ndash; Answer immediately? James Lee Byars P.S. Another good question is \u0026ldquo;Which questions have disappeared?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi of all my projects \u0026ndash; question artist \u0026ndash; is the most provocative \u0026ndash; I didn\u0026rsquo;t realize the importance of question (either in \u0026rsquo;63 when I gave away 10,000 tiny (1/16\u0026rdquo;sq.) ?\u0026rsquo;s in clear inflated Bags on strings) or just at Oxford, I\u0026rsquo;ve just come from the Princeton Institute for Ad. Stud. meeting Freeman Dyson whose question is (we\u0026rsquo;re receiving red light from the solar system (nobody knows what the hell it is) and he\u0026rsquo;s making a hypothetical star (most regular stars can\u0026rsquo;t produce red light) on paper (How to?) A Marvelous question - Anyway I\u0026rsquo;d like to collect the 100 most imp. ?\u0026rsquo;s in the world and for my week show in Europe - a poll system of T.V. etc. would be excellent - I\u0026rsquo;ve suggested it to Cladders please relay your understanding of my request to him. What questions exist in all of Germany - Can they be gathered in the museum - Can he set me up with a telephone system to poll the country for a week of question collecting ?? White\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003epush button phones \u0026ndash; lang. people - speakerphone system (very simple, in NYC $1,50 per month rent) which allow the voice to be heard out in the room (so spectators could listen) ???????????? Please ask him? If he can\u0026rsquo;t then \u003cu\u003ecan you at Antwerp\u003c/u\u003e and C Jeff on T.W.V. or just T.V. as a program \u003cu\u003eand to ask all of Europe\u003c/u\u003e for your institute? It\u0026rsquo;s a fabulous program and if the critical questions were gathered would you then have a picture of the contemporary problems of earth people? It is a difficult process to get people to give you what question they have but a very fantastic effort. \u0026ndash; Answer immediately? James Lee Byars P.S. Another good question is \u0026ldquo;Which questions have disappeared?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20339,"title":"Letter to Isi Fiszman (La Monte Young)","dimensions":"21.5 x 27.9 cm","date_begin":"1969-01-01","material":"sheet of pink paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"letter-to-isi-fiszman-93747a12-a92f-4135-af0f-15a14bf15aa5","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi congrats. on Lamonte Young\u0026rsquo;s week\u0026nbsp;\u003cbr /\u003e\r\nplease let me hear from you about sept.?\u003cbr /\u003e\r\nJB\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/013/medium_500/JLB_IF_004.jpg?1538656591","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/013/large/JLB_IF_004.jpg?1538656591","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi congrats. on Lamonte Young\u0026rsquo;s week\u0026nbsp;\u003cbr /\u003e\r\nplease let me hear from you about sept.?\u003cbr /\u003e\r\nJB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi congrats. on Lamonte Young\u0026rsquo;s week\u0026nbsp;\u003cbr /\u003e\r\nplease let me hear from you about sept.?\u003cbr /\u003e\r\nJB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi congrats. on Lamonte Young\u0026rsquo;s week\u0026nbsp;\u003cbr /\u003e\r\nplease let me hear from you about sept.?\u003cbr /\u003e\r\nJB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20344,"title":"Telegram to Isi Fiszman","dimensions":"14.2 x 20 cm","date_begin":"1969-01-01","material":"sheet of paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"telegram-to-isi-fiszman","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eTelegram to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;THRILLED WILL ARRIVE 10.20 AM ON SEPT. 26 AT BXL AIRPORT FLIGHT 548 BYARS\u0026quot;\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/014/medium_500/JLB_IF_006.jpg?1538656646","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/014/large/JLB_IF_006.jpg?1538656646","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eTelegram to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;THRILLED WILL ARRIVE 10.20 AM ON SEPT. 26 AT BXL AIRPORT FLIGHT 548 BYARS\u0026quot;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eTelegram aan\u0026nbsp;Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;THRILLED WILL ARRIVE 10.20 AM ON SEPT. 26 AT BXL AIRPORT FLIGHT 548 BYARS\u0026quot;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eTelegram to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u0026quot;THRILLED WILL ARRIVE 10.20 AM ON SEPT. 26 AT BXL AIRPORT FLIGHT 548 BYARS\u0026quot;\u003c/p\u003e\r\n"}]},{"id":20332,"title":"Letter to Isi Fiszman (exciting information on A)","dimensions":"487 x 10-0.2 cm","date_begin":"1969-01-01","material":"strip of red paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"letter-to-isi-fiszman-37e469d1-66f2-4e60-82b1-d672895e888e","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi - I\u0026#39;m happy to continue to get the exciting information on A* - I\u0026#39;ve proposed several ? \u003cu\u003eshows\u003c/u\u003e etc. to Cladders but no answer so? \u003cu\u003eis my trip off? please let me know\u003c/u\u003e? I\u0026#39;m finished with Hudson now and am planning my retrospective for California - \u003cu\u003eIsi I would appreciate hearing from you\u003c/u\u003e - I\u0026#39;m working on \u0026quot;50 single sentence Autobiographies\u0026quot; will you give me yours? It could make a fantastic film - Please send double letters to me at 249 CPW plus c/o Butler in L.A fondy J.\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/983/medium_500/JLB_IF_014_B.jpg?1538589514","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/982/large/JLB_IF_014_A.jpg?1538589295","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi - I\u0026#39;m happy to continue to get the exciting information on A* - I\u0026#39;ve proposed several ? \u003cu\u003eshows\u003c/u\u003e etc. to Cladders but no answer so? \u003cu\u003eis my trip off? please let me know\u003c/u\u003e? I\u0026#39;m finished with Hudson now and am planning my retrospective for California - \u003cu\u003eIsi I would appreciate hearing from you\u003c/u\u003e - I\u0026#39;m working on \u0026quot;50 single sentence Autobiographies\u0026quot; will you give me yours? It could make a fantastic film - Please send double letters to me at 249 CPW plus c/o Butler in L.A fondy J.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi - I\u0026#39;m happy to continue to get the exciting information on A* - I\u0026#39;ve proposed several ? \u003cu\u003eshows\u003c/u\u003e etc. to Cladders but no answer so? \u003cu\u003eis my trip off? please let me know\u003c/u\u003e? I\u0026#39;m finished with Hudson now and am planning my retrospective for California - \u003cu\u003eIsi I would appreciate hearing from you\u003c/u\u003e - I\u0026#39;m working on \u0026quot;50 single sentence Autobiographies\u0026quot; will you give me yours? It could make a fantastic film - Please send double letters to me at 249 CPW plus c/o Butler in L.A fondy J.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi - I\u0026#39;m happy to continue to get the exciting information on A* - I\u0026#39;ve proposed several ? \u003cu\u003eshows\u003c/u\u003e etc. to Cladders but no answer so? \u003cu\u003eis my trip off? please let me know\u003c/u\u003e? I\u0026#39;m finished with Hudson now and am planning my retrospective for California - \u003cu\u003eIsi I would appreciate hearing from you\u003c/u\u003e - I\u0026#39;m working on \u0026quot;50 single sentence Autobiographies\u0026quot; will you give me yours? It could make a fantastic film - Please send double letters to me at 249 CPW plus c/o Butler in L.A fondy J.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20325,"title":"Letter to Isi Fiszman (Gertrude Stein went to Antwerp first)","dimensions":"3 x (24 x 10.5 cm)","date_begin":"1969-01-01","material":"envelope and three sheets of pink paper","short_description":"\u003cp\u003eJune 1969\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"letter-to-isi-fiszman-fbf23b6e-9580-4219-b69b-aab13f766514","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi \u0026ndash; your instit. sounds marvelous \u0026ndash; with excitement I\u0026rsquo;ll do all I can \u0026ndash; sent the telegram to Beuys (OK?) what\u0026rsquo;s happening there now? \u003cu\u003eDuss\u003c/u\u003e. was an exciting last day in Europe \u0026ndash; Please send me the other \u003cu\u003e5\u003c/u\u003e as\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nsoon as poss. (no one has paid me at Hudson yet) sorry to ask but \u0026ndash; saw Harten the other night in NYC \u0026ndash; he seemed upset about the airplane in the street, but still invitational for the fall \u0026ndash; wrote Cladders asking about T.V. time etc.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003emaybe Jeff could hook up with the mus. week? Please mention \u0026ndash; hope my film is good \u0026ndash; would love to see it \u0026ndash; send word? \u0026ndash; \u003cu\u003emy best to Anny and Bernd\u003c/u\u003e with fondest memories J.B.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eP.S. Just learned that Gertrude Stein went to Antwerp first\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"\u003cp\u003eJune 1969\u003c/p\u003e\r\n","short_description_fr":"\u003cp\u003eJune 1969\u003c/p\u003e\r\n","short_description_ru":"","short_description_de":"\u003cp\u003eJune 1969\u003c/p\u003e\r\n","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/000/042/006/medium_500/JLB_IF_013_A.jpg?1538656057","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/006/large/JLB_IF_013_A.jpg?1538656057","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi \u0026ndash; your instit. sounds marvelous \u0026ndash; with excitement I\u0026rsquo;ll do all I can \u0026ndash; sent the telegram to Beuys (OK?) what\u0026rsquo;s happening there now? \u003cu\u003eDuss\u003c/u\u003e. was an exciting last day in Europe \u0026ndash; Please send me the other \u003cu\u003e5\u003c/u\u003e as soon as poss. (no one has paid me at Hudson yet) sorry to ask but \u0026ndash; saw Harten the other night in NYC \u0026ndash; he seemed upset about the airplane in the street, but still invitational for the fall \u0026ndash; wrote Cladders asking about T.V. time etc.\u003c/em\u003e\u003cem\u003e maybe Jeff could hook up with the mus. week? Please mention \u0026ndash; hope my film is good \u0026ndash; would love to see it \u0026ndash; send word? \u0026ndash; \u003cu\u003emy best to Anny and Bernd\u003c/u\u003e with fondest memories J.B.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eP.S. Just learned that Gertrude Stein went to Antwerp first\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi \u0026ndash; your instit. sounds marvelous \u0026ndash; with excitement I\u0026rsquo;ll do all I can \u0026ndash; sent the telegram to Beuys (OK?) what\u0026rsquo;s happening there now? \u003cu\u003eDuss\u003c/u\u003e. was an exciting last day in Europe \u0026ndash; Please send me the other \u003cu\u003e5\u003c/u\u003e as soon as poss. (no one has paid me at Hudson yet) sorry to ask but \u0026ndash; saw Harten the other night in NYC \u0026ndash; he seemed upset about the airplane in the street, but still invitational for the fall \u0026ndash; wrote Cladders asking about T.V. time etc.\u003c/em\u003e\u003cem\u003e maybe Jeff could hook up with the mus. week? Please mention \u0026ndash; hope my film is good \u0026ndash; would love to see it \u0026ndash; send word? \u0026ndash; \u003cu\u003emy best to Anny and Bernd\u003c/u\u003e with fondest memories J.B.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eP.S. Just learned that Gertrude Stein went to Antwerp first\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;isi \u0026ndash; your instit. sounds marvelous \u0026ndash; with excitement I\u0026rsquo;ll do all I can \u0026ndash; sent the telegram to Beuys (OK?) what\u0026rsquo;s happening there now? \u003cu\u003eDuss\u003c/u\u003e. was an exciting last day in Europe \u0026ndash; Please send me the other \u003cu\u003e5\u003c/u\u003e as\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nsoon as poss. (no one has paid me at Hudson yet) sorry to ask but \u0026ndash; saw Harten the other night in NYC \u0026ndash; he seemed upset about the airplane in the street, but still invitational for the fall \u0026ndash; wrote Cladders asking about T.V. time etc.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003emaybe Jeff could hook up with the mus. week? Please mention \u0026ndash; hope my film is good \u0026ndash; would love to see it \u0026ndash; send word? \u0026ndash; \u003cu\u003emy best to Anny and Bernd\u003c/u\u003e with fondest memories J.B.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eP.S. Just learned that Gertrude Stein went to Antwerp first\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20320,"title":"Letter to Isi Fiszman (Thanks)","dimensions":"7 x 16 cm","date_begin":"1969-01-01","material":"pink envelope and pink paper","short_description":"\u003cp\u003eMay 1969\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"letter-to-isi-fiszman-797f708b-ac01-4295-b088-e93e0beeea91","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003e\u0026quot;Thanks\u0026quot;\u003c/i\u003e\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"\u003cp\u003eMay 1969\u003c/p\u003e\r\n","short_description_fr":"\u003cp\u003eMay 1969\u003c/p\u003e\r\n","short_description_ru":"","short_description_de":"\u003cp\u003eMay 1969\u003c/p\u003e\r\n","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/978/medium_500/JLB_IF_009_A.jpg?1538587782","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/978/large/JLB_IF_009_A.jpg?1538587782","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003e\u0026quot;Thanks\u0026quot;\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003e\u0026quot;Thanks\u0026quot;\u003c/i\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003e\u0026quot;Thanks\u0026quot;\u003c/i\u003e\u003c/p\u003e\r\n"}]},{"id":20312,"title":"Letter to Anny De Decker and Bernd Lohaus","dimensions":"219 x 26.8 cm","date_begin":"1969-01-01","material":"red paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"letter-to-anny-de-decker-and-bernd-lohaus","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Anny De Decker and Bernd Lohaus\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;A \u0026amp; B\u003cbr /\u003e\r\ndelighted\u003cbr /\u003e\r\nFor press just say \u003cu\u003eW.W.S. is showing Mr. Byars\u003c/u\u003e and list my 12 facts and suggest calling daily for scheduling. I will open with \u0026ldquo;50 in a hat\u0026rdquo; and bring the airplane and write my autobio. in \u0026ldquo;1000 minutes\u0026rdquo; and do other things if possible -\u003cbr /\u003e\r\n\u003cu\u003eit is exciting to just show me\u003c/u\u003e and what circumstances I can invent \u0026ndash; I hope to leave on the 15th? I will be in NYC till then. Thank you very much for the Phd. fic. presentation and the hatting.\u003cbr /\u003e\r\nLook forward to Europe. It will be my first time. \u0026ldquo;Byars in Antwerp\u0026rdquo; sounds fantastic already. Please send the ticket\u003cbr /\u003e\r\nas soon as possible. I am ready to leave any time after the 10th \u0026ndash; with great appreciation to you both \u0026ndash;\u003cbr /\u003e\r\nfondly JLB\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/991/medium_500/JLB_ADD_image.jpg?1665499870","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/991/large/JLB_ADD_image.jpg?1665499870","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Anny De Decker and Bernd Lohaus\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;A \u0026amp; B\u003cbr /\u003e\r\ndelighted\u003cbr /\u003e\r\nFor press just say \u003cu\u003eW.W.S. is showing Mr. Byars\u003c/u\u003e and list my 12 facts and suggest calling daily for scheduling. I will open with \u0026ldquo;50 in a hat\u0026rdquo; and bring the airplane and write my autobio. in \u0026ldquo;1000 minutes\u0026rdquo; and do other things if possible - \u003cu\u003eit is exciting to just show me\u003c/u\u003e and what circumstances I can invent \u0026ndash; I hope to leave on the 15th? I will be in NYC till then. Thank you very much for the Phd. fic. presentation and the hatting.\u003cbr /\u003e\r\nLook forward to Europe. It will be my first time. \u0026ldquo;Byars in Antwerp\u0026rdquo; sounds fantastic already. Please send the ticket as soon as possible. I am ready to leave any time after the 10th \u0026ndash; with great appreciation to you both \u0026ndash;\u003cbr /\u003e\r\nfondly JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Anny De Decker en\u0026nbsp;Bernd Lohaus\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;A \u0026amp; B\u003cbr /\u003e\r\ndelighted\u003cbr /\u003e\r\nFor press just say \u003cu\u003eW.W.S. is showing Mr. Byars\u003c/u\u003e and list my 12 facts and suggest calling daily for scheduling. I will open with \u0026ldquo;50 in a hat\u0026rdquo; and bring the airplane and write my autobio. in \u0026ldquo;1000 minutes\u0026rdquo; and do other things if possible - \u003cu\u003eit is exciting to just show me\u003c/u\u003e and what circumstances I can invent \u0026ndash; I hope to leave on the 15th? I will be in NYC till then. Thank you very much for the Phd. fic. presentation and the hatting.\u003cbr /\u003e\r\nLook forward to Europe. It will be my first time. \u0026ldquo;Byars in Antwerp\u0026rdquo; sounds fantastic already. Please send the ticket as soon as possible. I am ready to leave any time after the 10th \u0026ndash; with great appreciation to you both \u0026ndash;\u003cbr /\u003e\r\nfondly JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Anny De Decker et Bernd Lohaus\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;A \u0026amp; B\u003cbr /\u003e\r\ndelighted\u003cbr /\u003e\r\nFor press just say \u003cu\u003eW.W.S. is showing Mr. Byars\u003c/u\u003e and list my 12 facts and suggest calling daily for scheduling. I will open with \u0026ldquo;50 in a hat\u0026rdquo; and bring the airplane and write my autobio. in \u0026ldquo;1000 minutes\u0026rdquo; and do other things if possible -\u003cbr /\u003e\r\n\u003cu\u003eit is exciting to just show me\u003c/u\u003e and what circumstances I can invent \u0026ndash; I hope to leave on the 15th? I will be in NYC till then. Thank you very much for the Phd. fic. presentation and the hatting.\u003cbr /\u003e\r\nLook forward to Europe. It will be my first time. \u0026ldquo;Byars in Antwerp\u0026rdquo; sounds fantastic already. Please send the ticket\u003cbr /\u003e\r\nas soon as possible. I am ready to leave any time after the 10th \u0026ndash; with great appreciation to you both \u0026ndash;\u003cbr /\u003e\r\nfondly JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20282,"title":"Letter to Jef Cornelis, Walter Van Dyck and Ludo Bekkers","dimensions":"9 x (51 x 70.5 cm)","date_begin":"1969-01-01","material":"Pink silk paper","short_description":"\u003cp\u003eNovember 1969\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy VRT - Archief- en Documentbeheer","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"letter-to-jef-cornelis-walter-van-dyck-and-ludo-bekkers","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Jef Cornelis, Walter Van Dyck and Ludo Bekkers\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Jeff and Walter and Mr Bekkers,\u003cbr /\u003e\r\nAt last my Ghost show has cooled down enough for me to spend a few hours on 28. First it is important for me to have multiposs. considered and set up for rapid change (if I want) and my style is to keep improving up to the last minute, \u003cu\u003eso \u003c/u\u003ethese letters are so slow and easily misunderstood \u0026ndash; please clear some telegram time for me or telephone me \u0026ndash; I will be giving this full time attention from Hudson for a week or so \u0026ndash; I\u0026rsquo;ll send another list of people soon \u0026ndash; \u003cu\u003eplease telegram them for OK\u0026rsquo;s\u003c/u\u003e. what substitutes exist for technical failures? Besides films? And which ones? People? Walter your letters are grand so do than the opportunity for me to observe the sensibilities of there TV-types \u0026ndash; I would also appreciate seeing concise TV-criticism of programs and statements of TV aims made by the station and I will need on the second day assistance for answering calls made into the station (with questions) about 4 hrs time, say noon to 4 p.m. (schedule) on 29. Can\u0026rsquo;t that be live on radio? Will both Flemish and French be avail on 28? I will need if Jeff is too busy a \u003cu\u003epolyglot assistant\u003c/u\u003e. Repeat 60 min. \u0026ndash; 5 minutes intro. Calls 5 min mid. calls 5 min and = 15 to 25 calls \u0026ndash; Have how to keep people on the line (sev calls at once?) also I would like to have a list of spontaneous callee\u0026rsquo;s (no previous notice). I will choose then, so keep some call time open \u0026ndash; I\u0026rsquo;m very concerned about responsibility relagations (even in the Ghost show (a vast simplicity) to keep up was extraordinarily \u003cs\u003epoor \u003c/s\u003edifficult). The TVshow must be a collosal network and I hate not being in closer touch \u0026ndash; so immed. upon arriv. I would like to see sublim. tests \u0026ndash; W \u0026ndash; The mess unit \u003cu\u003efor radio Band 100\u003c/u\u003e is a needed comm. unit so if it doesn\u0026rsquo;t work then \u003cu\u003etotal screen fastest speed try\u003c/u\u003e or (repeat) auditory subliminal directions with or without total screen blackout also I want to feed gift questions like \u0026ldquo;Do you have an affection for questions\u0026rdquo; or \u0026ldquo;Which questions have disappeared?\u0026rdquo; Into the program \u0026ndash; if none works the a bottom screen feeder in flashing lights \u0026ndash; chairs \u0026ndash; \u003cu\u003ecolors?\u003c/u\u003e mat? I know it doesn\u0026rsquo;t matter on screen but to me \u0026ndash; also \u0026ndash;\u003cbr /\u003e\r\nconsidering other possibilities of presentation \u0026ndash; for example a red silk ring for 100 people (Ghent students? Or ) or Robots (do you [soft electricones in Belgium? That hum with \u003cu\u003eelectric brains?\u003c/u\u003e) check? \u003cu\u003eCan a ring be made when I arrive?\u003c/u\u003e Me sitting in the mid. with all looking In (silently) breathing simultaneouslywould be a great consciouness group \u0026ndash; because I\u0026rsquo;m very anxious fot this to be my most fantastic show. I may come early even nov.15th or so as to the letter of invitation \u0026ndash; I\u0026rsquo;m sorry but must insist that \u003cu\u003eyou\u003c/u\u003e pay \u003cu\u003emy hotel expenses including food and trans-\u003c/u\u003eportation \u0026ndash; I have no idea how much that would be but the fee is merely a token \u0026ndash; Next no mention in the letter of the preview meetings with media experts and TVstars I want this very badly and it should be at my hotel and comfortable \u0026ndash;If\u003cbr /\u003e\r\nnothing else than the all the inviting please \u0026ndash; I would like to know what advance publicity or invitations you are doing (I\u0026rsquo;d like to see first please). It is a good chance for Ghent un. students to do a bigshow by writing their observations\u003cbr /\u003e\r\nof the experience \u0026ndash; ask? \u0026ndash; Color TV ?????? \u003cu\u003eAll Europe\u003c/u\u003e ? Globe ? ask ask ?? why not? I think it is imperative that I come sooner than 23 \u0026ndash; I like 15. please ans. by telegram (no time) Love, James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS The details are immense and I can do many only there so I stress leaving NYC on the 15th or 16th \u0026ndash; that seems easy and best \u0026ndash; Besides my presense adds much to willingness to do \u0026ndash; and the final presentation must be a display of continuing to do. Love again, Ans immed\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/994/medium_500/JLB_VRT_Image00003.jpg?1665500416","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/994/large/JLB_VRT_Image00003.jpg?1665500416","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Jef Cornelis, Walter Van Dyck and Ludo Bekkers\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Jeff and Walter and Mr Bekkers,\u003cbr /\u003e\r\nAt last my Ghost show has cooled down enough for me to spend a few hours on 28. First it is important for me to have multiposs. considered and set up for rapid change (if I want) and my style is to keep improving up to the last minute, \u003cu\u003eso \u003c/u\u003ethese letters are so slow and easily misunderstood \u0026ndash; please clear some telegram time for me or telephone me \u0026ndash; I will be giving this full time attention from Hudson for a week or so \u0026ndash; I\u0026rsquo;ll send another list of people soon \u0026ndash; \u003cu\u003eplease telegram them for OK\u0026rsquo;s\u003c/u\u003e. what substitutes exist for technical failures? Besides films? And which ones? People? Walter your letters are grand so do than the opportunity for me to observe the sensibilities of there TV-types \u0026ndash; I would also appreciate seeing concise TV-criticism of programs and statements of TV aims made by the station and I will need on the second day assistance for answering calls made into the station (with questions) about 4 hrs time, say noon to 4 p.m. (schedule) on 29. Can\u0026rsquo;t that be live on radio? Will both Flemish and French be avail on 28? I will need if Jeff is too busy a \u003cu\u003epolyglot assistant\u003c/u\u003e. Repeat 60 min. \u0026ndash; 5 minutes intro. Calls 5 min mid. calls 5 min and = 15 to 25 calls \u0026ndash; Have how to keep people on the line (sev calls at once?) also I would like to have a list of spontaneous callee\u0026rsquo;s (no previous notice). I will choose then, so keep some call time open \u0026ndash; I\u0026rsquo;m very concerned about responsibility relagations (even in the Ghost show (a vast simplicity) to keep up was extraordinarily \u003cs\u003epoor \u003c/s\u003edifficult). The TVshow must be a collosal network and I hate not being in closer touch \u0026ndash; so immed. upon arriv. I would like to see sublim. tests \u0026ndash; W \u0026ndash; The mess unit \u003cu\u003efor radio Band 100\u003c/u\u003e is a needed comm. unit so if it doesn\u0026rsquo;t work then \u003cu\u003etotal screen fastest speed try\u003c/u\u003e or (repeat) auditory subliminal directions with or without total screen blackout also I want to feed gift questions like \u0026ldquo;Do you have an affection for questions\u0026rdquo; or \u0026ldquo;Which questions have disappeared?\u0026rdquo; Into the program \u0026ndash; if none works the a bottom screen feeder in flashing lights \u0026ndash; chairs \u0026ndash; \u003cu\u003ecolors?\u003c/u\u003e mat? I know it doesn\u0026rsquo;t matter on screen but to me \u0026ndash; also \u0026ndash; considering other possibilities of presentation \u0026ndash; for example a red silk ring for 100 people (Ghent students? Or ) or Robots (do you [soft electricones in Belgium? That hum with \u003cu\u003eelectric brains?\u003c/u\u003e) check? \u003cu\u003eCan a ring be made when I arrive?\u003c/u\u003e Me sitting in the mid. with all looking In (silently) breathing simultaneouslywould be a great consciouness group \u0026ndash; because I\u0026rsquo;m very anxious fot this to be my most fantastic show. I may come early even nov.15th or so as to the letter of invitation \u0026ndash; I\u0026rsquo;m sorry but must insist that \u003cu\u003eyou\u003c/u\u003e pay \u003cu\u003emy hotel expenses including food and trans-\u003c/u\u003eportation \u0026ndash; I have no idea how much that would be but the fee is merely a token \u0026ndash; Next no mention in the letter of the preview meetings with media experts and TVstars I want this very badly and it should be at my hotel and comfortable \u0026ndash;If nothing else than the all the inviting please \u0026ndash; I would like to know what advance publicity or invitations you are doing (I\u0026rsquo;d like to see first please). It is a good chance for Ghent un. students to do a bigshow by writing their observations of the experience \u0026ndash; ask? \u0026ndash; Color TV ?????? \u003cu\u003eAll Europe\u003c/u\u003e ? Globe ? ask ask ?? why not? I think it is imperative that I come sooner than 23 \u0026ndash; I like 15. please ans. by telegram (no time) Love, James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS The details are immense and I can do many only there so I stress leaving NYC on the 15th or 16th \u0026ndash; that seems easy and best \u0026ndash; Besides my presense adds much to willingness to do \u0026ndash; and the final presentation must be a display of continuing to do. Love again, Ans immed\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Jef Cornelis, Walter Van Dyck en Ludo Bekkers\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Jeff and Walter and Mr Bekkers,\u003cbr /\u003e\r\nAt last my Ghost show has cooled down enough for me to spend a few hours on 28. First it is important for me to have multiposs. considered and set up for rapid change (if I want) and my style is to keep improving up to the last minute, \u003cu\u003eso \u003c/u\u003ethese letters are so slow and easily misunderstood \u0026ndash; please clear some telegram time for me or telephone me \u0026ndash; I will be giving this full time attention from Hudson for a week or so \u0026ndash; I\u0026rsquo;ll send another list of people soon \u0026ndash; \u003cu\u003eplease telegram them for OK\u0026rsquo;s\u003c/u\u003e. what substitutes exist for technical failures? Besides films? And which ones? People? Walter your letters are grand so do than the opportunity for me to observe the sensibilities of there TV-types \u0026ndash; I would also appreciate seeing concise TV-criticism of programs and statements of TV aims made by the station and I will need on the second day assistance for answering calls made into the station (with questions) about 4 hrs time, say noon to 4 p.m. (schedule) on 29. Can\u0026rsquo;t that be live on radio? Will both Flemish and French be avail on 28? I will need if Jeff is too busy a \u003cu\u003epolyglot assistant\u003c/u\u003e. Repeat 60 min. \u0026ndash; 5 minutes intro. Calls 5 min mid. calls 5 min and = 15 to 25 calls \u0026ndash; Have how to keep people on the line (sev calls at once?) also I would like to have a list of spontaneous callee\u0026rsquo;s (no previous notice). I will choose then, so keep some call time open \u0026ndash; I\u0026rsquo;m very concerned about responsibility relagations (even in the Ghost show (a vast simplicity) to keep up was extraordinarily \u003cs\u003epoor \u003c/s\u003edifficult). The TVshow must be a collosal network and I hate not being in closer touch \u0026ndash; so immed. upon arriv. I would like to see sublim. tests \u0026ndash; W \u0026ndash; The mess unit \u003cu\u003efor radio Band 100\u003c/u\u003e is a needed comm. unit so if it doesn\u0026rsquo;t work then \u003cu\u003etotal screen fastest speed try\u003c/u\u003e or (repeat) auditory subliminal directions with or without total screen blackout also I want to feed gift questions like \u0026ldquo;Do you have an affection for questions\u0026rdquo; or \u0026ldquo;Which questions have disappeared?\u0026rdquo; Into the program \u0026ndash; if none works the a bottom screen feeder in flashing lights \u0026ndash; chairs \u0026ndash; \u003cu\u003ecolors?\u003c/u\u003e mat? I know it doesn\u0026rsquo;t matter on screen but to me \u0026ndash; also \u0026ndash; considering other possibilities of presentation \u0026ndash; for example a red silk ring for 100 people (Ghent students? Or ) or Robots (do you [soft electricones in Belgium? That hum with \u003cu\u003eelectric brains?\u003c/u\u003e) check? \u003cu\u003eCan a ring be made when I arrive?\u003c/u\u003e Me sitting in the mid. with all looking In (silently) breathing simultaneouslywould be a great consciouness group \u0026ndash; because I\u0026rsquo;m very anxious fot this to be my most fantastic show. I may come early even nov.15th or so as to the letter of invitation \u0026ndash; I\u0026rsquo;m sorry but must insist that \u003cu\u003eyou\u003c/u\u003e pay \u003cu\u003emy hotel expenses including food and trans-\u003c/u\u003eportation \u0026ndash; I have no idea how much that would be but the fee is merely a token \u0026ndash; Next no mention in the letter of the preview meetings with media experts and TVstars I want this very badly and it should be at my hotel and comfortable \u0026ndash;If nothing else than the all the inviting please \u0026ndash; I would like to know what advance publicity or invitations you are doing (I\u0026rsquo;d like to see first please). It is a good chance for Ghent un. students to do a bigshow by writing their observations of the experience \u0026ndash; ask? \u0026ndash; Color TV ?????? \u003cu\u003eAll Europe\u003c/u\u003e ? Globe ? ask ask ?? why not? I think it is imperative that I come sooner than 23 \u0026ndash; I like 15. please ans. by telegram (no time) Love, James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS The details are immense and I can do many only there so I stress leaving NYC on the 15th or 16th \u0026ndash; that seems easy and best \u0026ndash; Besides my presense adds much to willingness to do \u0026ndash; and the final presentation must be a display of continuing to do. Love again, Ans immed\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Jef Cornelis, Walter Van Dyck et Ludo Bekkers\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Jeff and Walter and Mr Bekkers,\u003cbr /\u003e\r\nAt last my Ghost show has cooled down enough for me to spend a few hours on 28. First it is important for me to have multiposs. considered and set up for rapid change (if I want) and my style is to keep improving up to the last minute, \u003cu\u003eso \u003c/u\u003ethese letters are so slow and easily misunderstood \u0026ndash; please clear some telegram time for me or telephone me \u0026ndash; I will be giving this full time attention from Hudson for a week or so \u0026ndash; I\u0026rsquo;ll send another list of people soon \u0026ndash; \u003cu\u003eplease telegram them for OK\u0026rsquo;s\u003c/u\u003e. what substitutes exist for technical failures? Besides films? And which ones? People? Walter your letters are grand so do than the opportunity for me to observe the sensibilities of there TV-types \u0026ndash; I would also appreciate seeing concise TV-criticism of programs and statements of TV aims made by the station and I will need on the second day assistance for answering calls made into the station (with questions) about 4 hrs time, say noon to 4 p.m. (schedule) on 29. Can\u0026rsquo;t that be live on radio? Will both Flemish and French be avail on 28? I will need if Jeff is too busy a \u003cu\u003epolyglot assistant\u003c/u\u003e. Repeat 60 min. \u0026ndash; 5 minutes intro. Calls 5 min mid. calls 5 min and = 15 to 25 calls \u0026ndash; Have how to keep people on the line (sev calls at once?) also I would like to have a list of spontaneous callee\u0026rsquo;s (no previous notice). I will choose then, so keep some call time open \u0026ndash; I\u0026rsquo;m very concerned about responsibility relagations (even in the Ghost show (a vast simplicity) to keep up was extraordinarily \u003cs\u003epoor \u003c/s\u003edifficult). The TVshow must be a collosal network and I hate not being in closer touch \u0026ndash; so immed. upon arriv. I would like to see sublim. tests \u0026ndash; W \u0026ndash; The mess unit \u003cu\u003efor radio Band 100\u003c/u\u003e is a needed comm. unit so if it doesn\u0026rsquo;t work then \u003cu\u003etotal screen fastest speed try\u003c/u\u003e or (repeat) auditory subliminal directions with or without total screen blackout also I want to feed gift questions like \u0026ldquo;Do you have an affection for questions\u0026rdquo; or \u0026ldquo;Which questions have disappeared?\u0026rdquo; Into the program \u0026ndash; if none works the a bottom screen feeder in flashing lights \u0026ndash; chairs \u0026ndash; \u003cu\u003ecolors?\u003c/u\u003e mat? I know it doesn\u0026rsquo;t matter on screen but to me \u0026ndash; also \u0026ndash;\u003cbr /\u003e\r\nconsidering other possibilities of presentation \u0026ndash; for example a red silk ring for 100 people (Ghent students? Or ) or Robots (do you [soft electricones in Belgium? That hum with \u003cu\u003eelectric brains?\u003c/u\u003e) check? \u003cu\u003eCan a ring be made when I arrive?\u003c/u\u003e Me sitting in the mid. with all looking In (silently) breathing simultaneouslywould be a great consciouness group \u0026ndash; because I\u0026rsquo;m very anxious fot this to be my most fantastic show. I may come early even nov.15th or so as to the letter of invitation \u0026ndash; I\u0026rsquo;m sorry but must insist that \u003cu\u003eyou\u003c/u\u003e pay \u003cu\u003emy hotel expenses including food and trans-\u003c/u\u003eportation \u0026ndash; I have no idea how much that would be but the fee is merely a token \u0026ndash; Next no mention in the letter of the preview meetings with media experts and TVstars I want this very badly and it should be at my hotel and comfortable \u0026ndash;If\u003cbr /\u003e\r\nnothing else than the all the inviting please \u0026ndash; I would like to know what advance publicity or invitations you are doing (I\u0026rsquo;d like to see first please). It is a good chance for Ghent un. students to do a bigshow by writing their observations\u003cbr /\u003e\r\nof the experience \u0026ndash; ask? \u0026ndash; Color TV ?????? \u003cu\u003eAll Europe\u003c/u\u003e ? Globe ? ask ask ?? why not? I think it is imperative that I come sooner than 23 \u0026ndash; I like 15. please ans. by telegram (no time) Love, James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS The details are immense and I can do many only there so I stress leaving NYC on the 15th or 16th \u0026ndash; that seems easy and best \u0026ndash; Besides my presense adds much to willingness to do \u0026ndash; and the final presentation must be a display of continuing to do. Love again, Ans immed\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20351,"title":"Letter to Isi Fiszman (3 inventions)","dimensions":"34 × 27 cm","date_begin":"1969-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"letter-to-isi-fiszman-1e0fc0ac-11d8-40b9-9233-84d5ba2246cc","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI the 3 inventions of tonight 1. Gift 2. Exault question 3. Opportunity (to pose Question (90 spots if) Byars Thanks\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/016/medium_500/JLB_IF_018_B.jpg?1538656764","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/016/large/JLB_IF_018_B.jpg?1538656764","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI the 3 inventions of tonight 1. Gift 2. Exault question 3. Opportunity (to pose Question (90 spots if) Byars Thanks\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan\u0026nbsp;Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI the 3 inventions of tonight 1. Gift 2. Exault question 3. Opportunity (to pose Question (90 spots if) Byars Thanks\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre\u0026nbsp;Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI the 3 inventions of tonight 1. Gift 2. Exault question 3. Opportunity (to pose Question (90 spots if) Byars Thanks\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20356,"title":"Letter to Isi Fiszman","dimensions":"3 x (27 x 21 cm)","date_begin":"1970-01-01","material":"envelope and sheets of pink paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"letter-to-isi-fiszman-05ddc0c2-6c15-4626-9510-7810e80c0d09","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi help me? I\u0026rsquo;m trying to bring out The First Totally Interrogative Philosophy? In the Edition of the population given to all heads of state for Distribution \u0026ndash; a new comes out by winter \u0026ndash; help? Do Isra\u0026euml;l\u0026rsquo;s population number? All Europe via A?\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/022/medium_500/JLB_IF_019_A.jpg?1538657283","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/022/large/JLB_IF_019_A.jpg?1538657283","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi help me? I\u0026rsquo;m trying to bring out The First Totally Interrogative Philosophy? In the Edition of the population given to all heads of state for Distribution \u0026ndash; a new comes out by winter \u0026ndash; help? Do Isra\u0026euml;l\u0026rsquo;s population number? All Europe via A?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi help me? I\u0026rsquo;m trying to bring out The First Totally Interrogative Philosophy? In the Edition of the population given to all heads of state for Distribution \u0026ndash; a new comes out by winter \u0026ndash; help? Do Isra\u0026euml;l\u0026rsquo;s population number? All Europe via A?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Isi help me? I\u0026rsquo;m trying to bring out The First Totally Interrogative Philosophy? In the Edition of the population given to all heads of state for Distribution \u0026ndash; a new comes out by winter \u0026ndash; help? Do Isra\u0026euml;l\u0026rsquo;s population number? All Europe via A?\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20368,"title":"Letter to Isi Fiszman (Marx is old fashioned)","dimensions":"21.5 x 29.5 cm","date_begin":"1976-01-01","material":"ICC letterhead paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"letter-to-isi-fiszman-4a0e7403-70f5-4e8a-b0b0-6b861fc9019e","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Isi being stopped by the police every day I understand much of your interest in liberty. Let\u0026rsquo;s have a talk about Phi soon. You know \u003cu\u003eMarx\u003c/u\u003e is old fashioned. Come on up to question love B\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/971/medium_500/JLB_IF_038_-_kopie.jpg?1665488889","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/971/large/JLB_IF_038_-_kopie.jpg?1665488889","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Isi being stopped by the police every day I understand much of your interest in liberty. Let\u0026rsquo;s have a talk about Phi soon. You know \u003cu\u003eMarx\u003c/u\u003e is old fashioned. Come on up to question love B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan\u0026nbsp;Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Isi being stopped by the police every day I understand much of your interest in liberty. Let\u0026rsquo;s have a talk about Phi soon. You know \u003cu\u003eMarx\u003c/u\u003e is old fashioned. Come on up to question love B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Isi being stopped by the police every day I understand much of your interest in liberty. Let\u0026rsquo;s have a talk about Phi soon. You know \u003cu\u003eMarx\u003c/u\u003e is old fashioned. Come on up to question love B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20355,"title":"Letter to Walter Van Dyck (the world’s first television museum)","dimensions":"tower 29 x 11.5 cm, circles ⌀ 11 cm","date_begin":"1970-01-01","material":"sheets of red paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Walter Van Dyck","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"letter-to-walter-van-dyck-408e1893-2c99-48ac-890f-482aead15a43","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Walter Van Dyck\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTower:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;V.D.\u003cbr /\u003e\r\nwhat a sweet surprise (you at the A.P.) this is the note paper for the world\u0026rsquo;s first television museum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;to do the theory on Holland\u0026rsquo;s 100 days keep Daleds happy!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;I\u0026rsquo;ve opened on Apr 1 a gold rm c only a phone no.\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/995/medium_500/JLB_WVD_Image00015.jpg?1665500503","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/995/large/JLB_WVD_Image00015.jpg?1665500503","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Walter Van Dyck\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTower:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;V.D.\u003cbr /\u003e\r\nwhat a sweet surprise (you at the A.P.) this is the note paper for the world\u0026rsquo;s first television museum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;to do the theory on Holland\u0026rsquo;s 100 days keep Daleds happy!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;I\u0026rsquo;ve opened on Apr 1 a gold rm c only a phone no.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Walter Van Dyck\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTower:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;V.D.\u003cbr /\u003e\r\nwhat a sweet surprise (you at the A.P.) this is the note paper for the world\u0026rsquo;s first television museum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;to do the theory on Holland\u0026rsquo;s 100 days keep Daleds happy!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;I\u0026rsquo;ve opened on Apr 1 a gold rm c only a phone no.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Walter Van Dyck\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTower:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;V.D.\u003cbr /\u003e\r\nwhat a sweet surprise (you at the A.P.) this is the note paper for the world\u0026rsquo;s first television museum.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;to do the theory on Holland\u0026rsquo;s 100 days keep Daleds happy!\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eSide:\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;I\u0026rsquo;ve opened on Apr 1 a gold rm c only a phone no.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20367,"title":"Letter to Isi Fiszman","dimensions":"25.3 x 14 cm","date_begin":"1976-01-01","material":"black paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"letter-to-isi-fiszman-e1c63352-0a0a-4d1e-a853-d1eee9a86bb4","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;$ Isi\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/034/medium_500/24a_Byars_IF.jpg?1665658271","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/034/large/24a_Byars_IF.jpg?1665658271","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;$ Isi\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;$ Isi\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;$ Isi\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20353,"title":"Letter to Philippe Van Snick","dimensions":"2 x (21 x 16.5 cm)","date_begin":"1969-01-01","material":"sheets of white paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Philippe Van Snick ","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"letter-to-philippe-van-snick","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/019/medium_500/12a_Byars_PVS.jpg?1665657140","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/019/large/12a_Byars_PVS.jpg?1665657140","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20361,"title":"Letter to Yves Gevaert","dimensions":"348 x 10 cm","date_begin":"1974-01-01","material":"pink toilet paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"letter-to-yves-gevaert","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y seeing yr. healty face was a great pleasure \u003cu\u003eyes\u003c/u\u003e Daleds should buy \u003cu\u003eseriousness\u003c/u\u003e for you as a wintergift (ser. for your mind it should be like yr. knowledge of your name when you think of yourself) very very artificial \u0026ndash; use the abbrev. \u0026ldquo;Se\u0026rdquo; It\u0026rsquo;s more perfect then ser. just S (is it) so you you seriousness can keep the new habit in your speech just \u0026ldquo;S\u0026rdquo; put all over \u0026ndash; B\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/030/medium_500/20a_Byars_YG.jpg?1665657907","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/030/large/20a_Byars_YG.jpg?1665657907","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y seeing yr. healty face was a great pleasure \u003cu\u003eyes\u003c/u\u003e Daleds should buy \u003cu\u003eseriousness\u003c/u\u003e for you as a wintergift (ser. for your mind it should be like yr. knowledge of your name when you think of yourself) very very artificial \u0026ndash; use the abbrev. \u0026ldquo;Se\u0026rdquo; It\u0026rsquo;s more perfect then ser. just S (is it) so you you seriousness can keep the new habit in your speech just \u0026ldquo;S\u0026rdquo; put all over \u0026ndash; B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y seeing yr. healty face was a great pleasure \u003cu\u003eyes\u003c/u\u003e Daleds should buy \u003cu\u003eseriousness\u003c/u\u003e for you as a wintergift (ser. for your mind it should be like yr. knowledge of your name when you think of yourself) very very artificial \u0026ndash; use the abbrev. \u0026ldquo;Se\u0026rdquo; It\u0026rsquo;s more perfect then ser. just S (is it) so you you seriousness can keep the new habit in your speech just \u0026ldquo;S\u0026rdquo; put all over \u0026ndash; B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y seeing yr. healty face was a great pleasure \u003cu\u003eyes\u003c/u\u003e Daleds should buy \u003cu\u003eseriousness\u003c/u\u003e for you as a wintergift (ser. for your mind it should be like yr. knowledge of your name when you think of yourself) very very artificial \u0026ndash; use the abbrev. \u0026ldquo;Se\u0026rdquo; It\u0026rsquo;s more perfect then ser. just S (is it) so you you seriousness can keep the new habit in your speech just \u0026ldquo;S\u0026rdquo; put all over \u0026ndash; B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20366,"title":"Letter to Patrick Verelst","dimensions":"28 x 22 cm","date_begin":"1975-01-01","material":"white paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Patrick Verelst","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"letter-to-patrick-verelst","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;A Perfect Patrick you sho fly here. I have San Marco for the 7. A Great Italian woman will do it in the Ar in S M\u0026rsquo;s exact\u003cbr /\u003e\r\ncenter with her back to s m whi. s at it maximum with new\u003cbr /\u003e\r\ngold on the center angels wings its so very magnificent to have such a tight light center. you must come I\u0026rsquo;ll call the time \u0026ndash; hows the Black Rm I hope going on? Love to see you B.\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/032/medium_500/23_Byars_PV.jpg?1665658001","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/032/large/23_Byars_PV.jpg?1665658001","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;A Perfect Patrick you sho fly here. I have San Marco for the 7. A Great Italian woman will do it in the Ar in S M\u0026rsquo;s exact center with her back to s m whi. s at it maximum with new gold on the center angels wings its so very magnificent to have such a tight light center. you must come I\u0026rsquo;ll call the time \u0026ndash; hows the Black Rm I hope going on? Love to see you B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan\u0026nbsp;Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;A Perfect Patrick you sho fly here. I have San Marco for the 7. A Great Italian woman will do it in the Ar in S M\u0026rsquo;s exact center with her back to s m whi. s at it maximum with new gold on the center angels wings its so very magnificent to have such a tight light center. you must come I\u0026rsquo;ll call the time \u0026ndash; hows the Black Rm I hope going on? Love to see you B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;A Perfect Patrick you sho fly here. I have San Marco for the 7. A Great Italian woman will do it in the Ar in S M\u0026rsquo;s exact\u003cbr /\u003e\r\ncenter with her back to s m whi. s at it maximum with new\u003cbr /\u003e\r\ngold on the center angels wings its so very magnificent to have such a tight light center. you must come I\u0026rsquo;ll call the time \u0026ndash; hows the Black Rm I hope going on? Love to see you B.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20363,"title":"Letter to Yves Gevaert","dimensions":"8 x (23 x 8.5 cm)","date_begin":"1975-01-01","material":"strips of black paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"letter-to-yves-gevaert-34e4fd28-6f4f-45c6-81bf-52638a15e1a0","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y. do you have a phot of T.P.L.L.\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/033/medium_500/22_Byars_YG.jpg?1665658062","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/033/large/22_Byars_YG.jpg?1665658062","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Yves Gevaert:\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y. do you have a phot of T.P.L.L.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y. do you have a phot of T.P.L.L.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Y. do you have a phot of T.P.L.L.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20374,"title":"Letter to Yves Gevaert","dimensions":"597 x 6/12.5 cm","date_begin":"1978-01-01","material":"golden paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"letter-to-yves-gevaert-27e506f1-7dcd-48fb-812c-b039c8bf45f4","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Yves great good news thank you yes on 81 yes i\u0026rsquo;ll write to mr. \u0026ldquo;hat\u0026rdquo; it sounds fine news I you sho. come here to my greatest exh. to now at the nat. Gal. 2 the bk. of perfect (the fast version is done by the U.S. gov.) lets do in tiny 7 edition the \u0026lsquo;slow\u0026rsquo; on pure gold like in oldest rome print the one page book doing perfect in true micro. print also the gold is so fine you can feel thru it A [king] size 6\u0026rdquo; is fine lets do it immed. Come here please I think I can get the gold. B\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/042/medium_500/31_Byars_YG.jpg?1665658774","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/042/large/31_Byars_YG.jpg?1665658774","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Yves great good news thank you yes on 81 yes i\u0026rsquo;ll write to mr. \u0026ldquo;hat\u0026rdquo; it sounds fine news I you sho. come here to my greatest exh. to now at the nat. Gal. 2 the bk. of perfect (the fast version is done by the U.S. gov.) lets do in tiny 7 edition the \u0026lsquo;slow\u0026rsquo; on pure gold like in oldest rome print the one page book doing perfect in true micro. print also the gold is so fine you can feel thru it A [king] size 6\u0026rdquo; is fine lets do it immed. Come here please I think I can get the gold. B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Yves great good news thank you yes on 81 yes i\u0026rsquo;ll write to mr. \u0026ldquo;hat\u0026rdquo; it sounds fine news I you sho. come here to my greatest exh. to now at the nat. Gal. 2 the bk. of perfect (the fast version is done by the U.S. gov.) lets do in tiny 7 edition the \u0026lsquo;slow\u0026rsquo; on pure gold like in oldest rome print the one page book doing perfect in true micro. print also the gold is so fine you can feel thru it A [king] size 6\u0026rdquo; is fine lets do it immed. Come here please I think I can get the gold. B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre\u0026nbsp;\u0026agrave;\u0026nbsp;Yves Gevaert\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Yves great good news thank you yes on 81 yes i\u0026rsquo;ll write to mr. \u0026ldquo;hat\u0026rdquo; it sounds fine news I you sho. come here to my greatest exh. to now at the nat. Gal. 2 the bk. of perfect (the fast version is done by the U.S. gov.) lets do in tiny 7 edition the \u0026lsquo;slow\u0026rsquo; on pure gold like in oldest rome print the one page book doing perfect in true micro. print also the gold is so fine you can feel thru it A [king] size 6\u0026rdquo; is fine lets do it immed. Come here please I think I can get the gold. B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20378,"title":"Letter to Patrick Verelst","dimensions":"4 x (13 x 27 cm)","date_begin":"1981-01-01","material":"yellow silk paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Patrick Verelst","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"letter-to-patrick-verelst-2d441d72-7502-4bf7-9086-383b70024aa5","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;\u0026ldquo;,,How do you do with mystery\u0026rdquo;,, Perfect Patrick where\u0026rsquo;s a poetic note from you? Hoping you are just very fine in some romantic new sheer idea let me do a metaphysical for you Put a little gold dust on your window ledge (no need just breath) and invite Flor and Yves and Daled and Isy and just blow a tiny breath up at it. A very delicate way too open my show at Gent in 81 we sho travel and do a show together Love B \u0026ldquo;,, write to me soon\u0026rdquo;,,\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nYou re ah fuck whats the use is still such a fine show. I need it. often. I feel like showing \u0026ldquo;,, come on\u0026rdquo;,, the voice is still so attractive maybe at Gent I will do it live in front of the museum no its better with no obvious place to go. I still Love \u0026ldquo;,,what\u0026rdquo;,, so sweet Patrick write maybe by may I can get back to Antwerp I\u0026rsquo;ll love to see you. Be well Hello to lily and Leslie\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/045/medium_500/35_Byars_PV.JPG?1665659035","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/045/large/35_Byars_PV.JPG?1665659035","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;\u0026ldquo;,,How do you do with mystery\u0026rdquo;,, Perfect Patrick where\u0026rsquo;s a poetic note from you? Hoping you are just very fine in some romantic new sheer idea let me do a metaphysical for you Put a little gold dust on your window ledge (no need just breath) and invite Flor and Yves and Daled and Isy and just blow a tiny breath up at it. A very delicate way too open my show at Gent in 81 we sho travel and do a show together Love B \u0026ldquo;,, write to me soon\u0026rdquo;,,\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nYou re ah fuck whats the use is still such a fine show. I need it. often. I feel like showing \u0026ldquo;,, come on\u0026rdquo;,, the voice is still so attractive maybe at Gent I will do it live in front of the museum no its better with no obvious place to go. I still Love \u0026ldquo;,,what\u0026rdquo;,, so sweet Patrick write maybe by may I can get back to Antwerp I\u0026rsquo;ll love to see you. Be well Hello to lily and Leslie\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;\u0026ldquo;,,How do you do with mystery\u0026rdquo;,, Perfect Patrick where\u0026rsquo;s a poetic note from you? Hoping you are just very fine in some romantic new sheer idea let me do a metaphysical for you Put a little gold dust on your window ledge (no need just breath) and invite Flor and Yves and Daled and Isy and just blow a tiny breath up at it. A very delicate way too open my show at Gent in 81 we sho travel and do a show together Love B \u0026ldquo;,, write to me soon\u0026rdquo;,,\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nYou re ah fuck whats the use is still such a fine show. I need it. often. I feel like showing \u0026ldquo;,, come on\u0026rdquo;,, the voice is still so attractive maybe at Gent I will do it live in front of the museum no its better with no obvious place to go. I still Love \u0026ldquo;,,what\u0026rdquo;,, so sweet Patrick write maybe by may I can get back to Antwerp I\u0026rsquo;ll love to see you. Be well Hello to lily and Leslie\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;\u0026ldquo;,,How do you do with mystery\u0026rdquo;,, Perfect Patrick where\u0026rsquo;s a poetic note from you? Hoping you are just very fine in some romantic new sheer idea let me do a metaphysical for you Put a little gold dust on your window ledge (no need just breath) and invite Flor and Yves and Daled and Isy and just blow a tiny breath up at it. A very delicate way too open my show at Gent in 81 we sho travel and do a show together Love B \u0026ldquo;,, write to me soon\u0026rdquo;,,\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nYou re ah fuck whats the use is still such a fine show. I need it. often. I feel like showing \u0026ldquo;,, come on\u0026rdquo;,, the voice is still so attractive maybe at Gent I will do it live in front of the museum no its better with no obvious place to go. I still Love \u0026ldquo;,,what\u0026rdquo;,, so sweet Patrick write maybe by may I can get back to Antwerp I\u0026rsquo;ll love to see you. Be well Hello to lily and Leslie\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20376,"title":"Letter to Patrick Verelst","dimensions":"29.5 x 21 cm","date_begin":null,"material":"black-bordered white paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Patrick Verelst","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"letter-to-patrick-verelst-8ac97b54-b4c8-4670-9da7-38123ee425cb","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;P. It\u0026rsquo;s Apr 3 at Paris\u0026rsquo;s Great Germains 577-1534 be there? New\u0026rsquo;s of the Ghost? Rm? Still Loving it very V. much \u0026ndash; Germany s very\u003cbr /\u003e\r\ncock (in black slang it\u0026rsquo;s the black girls sex parts) Gr. use for cock. I want to do that show too somewhere B\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/048/medium_500/33_Byars_PV.JPG?1665659346","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/048/large/33_Byars_PV.JPG?1665659346","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;P. It\u0026rsquo;s Apr 3 at Paris\u0026rsquo;s Great Germains 577-1534 be there? New\u0026rsquo;s of the Ghost? Rm? Still Loving it very V. much \u0026ndash; Germany s very\u003cbr /\u003e\r\ncock (in black slang it\u0026rsquo;s the black girls sex parts) Gr. use for cock. I want to do that show too somewhere B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan\u0026nbsp;Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;P. It\u0026rsquo;s Apr 3 at Paris\u0026rsquo;s Great Germains 577-1534 be there? New\u0026rsquo;s of the Ghost? Rm? Still Loving it very V. much \u0026ndash; Germany s very\u003cbr /\u003e\r\ncock (in black slang it\u0026rsquo;s the black girls sex parts) Gr. use for cock. I want to do that show too somewhere B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Patrick Verelst\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;P. It\u0026rsquo;s Apr 3 at Paris\u0026rsquo;s Great Germains 577-1534 be there? New\u0026rsquo;s of the Ghost? Rm? Still Loving it very V. much \u0026ndash; Germany s very\u003cbr /\u003e\r\ncock (in black slang it\u0026rsquo;s the black girls sex parts) Gr. use for cock. I want to do that show too somewhere B\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":18271,"title":"The Black Stone","dimensions":"12.5 x 26 x 24 cm","date_begin":"1958-01-01","material":"laquered stone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Michael Werner, Märkisch Wilmersdorf, Cologne and New York","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":"1959-01-01","reference":"","stream_count_app":13,"permalink":"the-black-stone","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/864/medium_500/2018_James_Lee_Byars_Photo_M_HKA_64.jpg?1538662282","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/864/large/2018_James_Lee_Byars_Photo_M_HKA_64.jpg?1538662282","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cdiv style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Ik denk dat de shinto religie zeer interessant was voor mij. Het is een van de meest mysterieuze rituelen die ik heb ervaren. Ook noh theater was belangrijk voor mij.\u0026quot;\u003c/em\u003e\u003c/div\u003e\r\n\r\n\u003cdiv style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/div\u003e\r\n\r\n\u003cdiv\u003eUit: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, Eerste uitzending: VRT 1, 28/11/1969\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;I think that the Shintoism has been very interesting to me, the Shinto religion, I think it\u0026rsquo;s one of the most mysterious rituals I have ever experienced. The Noh theatre was very important to me.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eFrom: James Lee Byars / Antwerp 18 April-7 May 1969, Jef cornelis, First broadcast: VRT 1, 28/11/1969\u003c/p\u003e\r\n"}]},{"id":17066,"title":"The Pink Silk Airplane","dimensions":"560 x 250 cm, 175 x 150 x 50 cm","date_begin":"1969-01-01","material":"silk, wooden showcase","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":"MOMA (Collection Daled) / Kewenig Gallery, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"the-pink-silk-airplane","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Back in New York, I made such a pluralistic structure in order to\u0026nbsp;walk around with five hundred around a residential block. At the time I was mainly interested in the fact that man and woman could get in that dress at the same time, one didn\u0026#39;t see any difference anymore. All people are equal, only their head sticks out. I could do this with a subsidy from the Architects League. Afterwards, the dress was cut in pieces and everyone could take his piece home with him. You start to wonder: what does clothing actually mean? What is the legal status of a man and a woman walking around the streets in the same structure? If you are four people entering a museum under one dress, are you one or four? It has something to do with that alliance of people. Maybe people will once look like this, maybe Martians look like this. Perhaps \u0026#39;100 in an airplane\u0026#39; is just a superficial description of such a Mars situation. Maybe later, it will indeed be possible to make people that are joined together.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI mostly make those structures in silk because that is a fine material \u0026ndash; light and airy. It is the most weightless suggestion of solidarity. And it\u0026#39;s practical: I fly a lot, and all can be taken with me in a small bag. I think it\u0026#39;s fantastic in a jet, with my own plane next to me. I tell my fellow passengers, but they usually don\u0026#39;t believe it. They think I\u0026#39;m from the moon. You can see such an airplane in different ways. You can see it as a \u0026#39;soft sculpture\u0026#39;, or as a stage, or as matter, or as a piece of clothing. The kind of mask we\u0026#39;re in now too, by the way. But my plane gives cause to a more speculative situation. If in Oxford, I can get the students and professors to wear it, that could be great. (It didn\u0026#39;t work out, G.B.) It works stimulating. It is a passing change of attention, with dramatic effect. For people who think, for whom ideas are important \u0026ndash; for them the plane has a great significance. What I am looking for is to stimulate communication through certain inventive interventions. I try that out in different ways. I always want to find something new. [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTake for example that plane of mine: there too, humour plays a role, already in the colour for example. It\u0026#39;s a big thing and it\u0026#39;s pink as well. Pink is my favourite colour. It\u0026#39;s probably the most used colour in the States, it has got some negative undertones, something sexy, and you don\u0026#39;t talk about that. Once, I searched for a pink pencil all day long. I started searching in Harlem and walked all through 125\u003csup\u003eth\u003c/sup\u003e street. Here I am, looking for a pink pencil in all those \u0026#39;black shops\u0026#39;. I thought: here I\u0026#39;ll find it alright, because blacks have a fantastic feeling for colour and style. So I thought: here comes my pink pencil. But no: nothing. Then I went down to Columbia University, Broadway and all through Midtown. I searched for almost twelve hours, until I found my pink pencil in a children\u0026#39;s colour box. You cannot imagine my plane in black. It has to be playful, like \u0026#39;Baby Baudelaire\u0026#39;. In the grey of the street, it also works as a contrast. My autobiography is also printed on pink xerox. I approach these things very seriously, but there is humour too. I\u0026#39;m thinking of a thick pink book, as one thinks of a big piece of pink candy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJames Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol.22.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/926/medium_500/2018_James_Lee_Byars_Photo_M_HKA_perfoamnce_1_2_3.jpg?1538677035","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/926/large/2018_James_Lee_Byars_Photo_M_HKA_perfoamnce_1_2_3.jpg?1538677035","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Back in New York, I made such a pluralistic structure in order to\u0026nbsp;walk around with five hundred around a residential block. At the time I was mainly interested in the fact that man and woman could get in that dress at the same time, one didn\u0026#39;t see any difference anymore. All people are equal, only their head sticks out. I could do this with a subsidy from the Architects League. Afterwards, the dress was cut in pieces and everyone could take his piece home with him. You start to wonder: what does clothing actually mean? What is the legal status of a man and a woman walking around the streets in the same structure? If you are four people entering a museum under one dress, are you one or four? It has something to do with that alliance of people. Maybe people will once look like this, maybe Martians look like this. Perhaps \u0026#39;100 in an airplane\u0026#39; is just a superficial description of such a Mars situation. Maybe later, it will indeed be possible to make people that are joined together.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI mostly make those structures in silk because that is a fine material \u0026ndash; light and airy. It is the most weightless suggestion of solidarity. And it\u0026#39;s practical: I fly a lot, and all can be taken with me in a small bag. I think it\u0026#39;s fantastic in a jet, with my own plane next to me. I tell my fellow passengers, but they usually don\u0026#39;t believe it. They think I\u0026#39;m from the moon. You can see such an airplane in different ways. You can see it as a \u0026#39;soft sculpture\u0026#39;, or as a stage, or as matter, or as a piece of clothing. The kind of mask we\u0026#39;re in now too, by the way. But my plane gives cause to a more speculative situation. If in Oxford, I can get the students and professors to wear it, that could be great. (It didn\u0026#39;t work out, G.B.) It works stimulating. It is a passing change of attention, with dramatic effect. For people who think, for whom ideas are important \u0026ndash; for them the plane has a great significance. What I am looking for is to stimulate communication through certain inventive interventions. I try that out in different ways. I always want to find something new. [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTake for example that plane of mine: there too, humour plays a role, already in the colour for example. It\u0026#39;s a big thing and it\u0026#39;s pink as well. Pink is my favourite colour. It\u0026#39;s probably the most used colour in the States, it has got some negative undertones, something sexy, and you don\u0026#39;t talk about that. Once, I searched for a pink pencil all day long. I started searching in Harlem and walked all through 125\u003csup\u003eth\u003c/sup\u003e street. Here I am, looking for a pink pencil in all those \u0026#39;black shops\u0026#39;. I thought: here I\u0026#39;ll find it alright, because blacks have a fantastic feeling for colour and style. So I thought: here comes my pink pencil. But no: nothing. Then I went down to Columbia University, Broadway and all through Midtown. I searched for almost twelve hours, until I found my pink pencil in a children\u0026#39;s colour box. You cannot imagine my plane in black. It has to be playful, like \u0026#39;Baby Baudelaire\u0026#39;. In the grey of the street, it also works as a contrast. My autobiography is also printed on pink xerox. I approach these things very seriously, but there is humour too. I\u0026#39;m thinking of a thick pink book, as one thinks of a big piece of pink candy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJames Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol.22.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Back in New York, I made such a pluralistic structure in order to\u0026nbsp;walk around with five hundred around a residential block. At the time I was mainly interested in the fact that man and woman could get in that dress at the same time, one didn\u0026#39;t see any difference anymore. All people are equal, only their head sticks out. I could do this with a subsidy from the Architects League. Afterwards, the dress was cut in pieces and everyone could take his piece home with him. You start to wonder: what does clothing actually mean? What is the legal status of a man and a woman walking around the streets in the same structure? If you are four people entering a museum under one dress, are you one or four? It has something to do with that alliance of people. Maybe people will once look like this, maybe Martians look like this. Perhaps \u0026#39;100 in an airplane\u0026#39; is just a superficial description of such a Mars situation. Maybe later, it will indeed be possible to make people that are joined together.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI mostly make those structures in silk because that is a fine material \u0026ndash; light and airy. It is the most weightless suggestion of solidarity. And it\u0026#39;s practical: I fly a lot, and all can be taken with me in a small bag. I think it\u0026#39;s fantastic in a jet, with my own plane next to me. I tell my fellow passengers, but they usually don\u0026#39;t believe it. They think I\u0026#39;m from the moon. You can see such an airplane in different ways. You can see it as a \u0026#39;soft sculpture\u0026#39;, or as a stage, or as matter, or as a piece of clothing. The kind of mask we\u0026#39;re in now too, by the way. But my plane gives cause to a more speculative situation. If in Oxford, I can get the students and professors to wear it, that could be great. (It didn\u0026#39;t work out, G.B.) It works stimulating. It is a passing change of attention, with dramatic effect. For people who think, for whom ideas are important \u0026ndash; for them the plane has a great significance. What I am looking for is to stimulate communication through certain inventive interventions. I try that out in different ways. I always want to find something new. [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTake for example that plane of mine: there too, humour plays a role, already in the colour for example. It\u0026#39;s a big thing and it\u0026#39;s pink as well. Pink is my favourite colour. It\u0026#39;s probably the most used colour in the States, it has got some negative undertones, something sexy, and you don\u0026#39;t talk about that. Once, I searched for a pink pencil all day long. I started searching in Harlem and walked all through 125\u003csup\u003eth\u003c/sup\u003e street. Here I am, looking for a pink pencil in all those \u0026#39;black shops\u0026#39;. I thought: here I\u0026#39;ll find it alright, because blacks have a fantastic feeling for colour and style. So I thought: here comes my pink pencil. But no: nothing. Then I went down to Columbia University, Broadway and all through Midtown. I searched for almost twelve hours, until I found my pink pencil in a children\u0026#39;s colour box. You cannot imagine my plane in black. It has to be playful, like \u0026#39;Baby Baudelaire\u0026#39;. In the grey of the street, it also works as a contrast. My autobiography is also printed on pink xerox. I approach these things very seriously, but there is humour too. I\u0026#39;m thinking of a thick pink book, as one thinks of a big piece of pink candy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJames Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol.22.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e\u0026quot;Back in New York, I made such a pluralistic structure in order to\u0026nbsp;walk around with five hundred around a residential block. At the time I was mainly interested in the fact that man and woman could get in that dress at the same time, one didn\u0026#39;t see any difference anymore. All people are equal, only their head sticks out. I could do this with a subsidy from the Architects League. Afterwards, the dress was cut in pieces and everyone could take his piece home with him. You start to wonder: what does clothing actually mean? What is the legal status of a man and a woman walking around the streets in the same structure? If you are four people entering a museum under one dress, are you one or four? It has something to do with that alliance of people. Maybe people will once look like this, maybe Martians look like this. Perhaps \u0026#39;100 in an airplane\u0026#39; is just a superficial description of such a Mars situation. Maybe later, it will indeed be possible to make people that are joined together.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eI mostly make those structures in silk because that is a fine material \u0026ndash; light and airy. It is the most weightless suggestion of solidarity. And it\u0026#39;s practical: I fly a lot, and all can be taken with me in a small bag. I think it\u0026#39;s fantastic in a jet, with my own plane next to me. I tell my fellow passengers, but they usually don\u0026#39;t believe it. They think I\u0026#39;m from the moon. You can see such an airplane in different ways. You can see it as a \u0026#39;soft sculpture\u0026#39;, or as a stage, or as matter, or as a piece of clothing. The kind of mask we\u0026#39;re in now too, by the way. But my plane gives cause to a more speculative situation. If in Oxford, I can get the students and professors to wear it, that could be great. (It didn\u0026#39;t work out, G.B.) It works stimulating. It is a passing change of attention, with dramatic effect. For people who think, for whom ideas are important \u0026ndash; for them the plane has a great significance. What I am looking for is to stimulate communication through certain inventive interventions. I try that out in different ways. I always want to find something new. [...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTake for example that plane of mine: there too, humour plays a role, already in the colour for example. It\u0026#39;s a big thing and it\u0026#39;s pink as well. Pink is my favourite colour. It\u0026#39;s probably the most used colour in the States, it has got some negative undertones, something sexy, and you don\u0026#39;t talk about that. Once, I searched for a pink pencil all day long. I started searching in Harlem and walked all through 125\u003csup\u003eth\u003c/sup\u003e street. Here I am, looking for a pink pencil in all those \u0026#39;black shops\u0026#39;. I thought: here I\u0026#39;ll find it alright, because blacks have a fantastic feeling for colour and style. So I thought: here comes my pink pencil. But no: nothing. Then I went down to Columbia University, Broadway and all through Midtown. I searched for almost twelve hours, until I found my pink pencil in a children\u0026#39;s colour box. You cannot imagine my plane in black. It has to be playful, like \u0026#39;Baby Baudelaire\u0026#39;. In the grey of the street, it also works as a contrast. My autobiography is also printed on pink xerox. I approach these things very seriously, but there is humour too. I\u0026#39;m thinking of a thick pink book, as one thinks of a big piece of pink candy.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJames Lee Byars in an interview by Geert Bekaert and Walter Van Dijk in \u003cem\u003eStreven\u003c/em\u003e, Vol.22.\u003c/p\u003e\r\n"}]},{"id":20481,"title":"James Lee Byars - The Perfect Kiss","dimensions":"28.7 x 20.2 cm, 143 p., ill., language : English, Dutch, publisher : Museum van Hedendaagse Kunst Antwerpen \u0026 Koenig Books, London, ISBN : 978-3-96098-423-8","date_begin":"2018-01-01","material":"Ink, paper","short_description":"\u003cp\u003eEditor : Lotte Beckw\u0026eacute;, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Magali Arriola, Lotte Beckw\u0026eacute;, James Lee Byars, Jacques Charlier, Melanie Deboutte, Anny De Decker/Bart De Baere, Isi Fiszman/Lotte Beckw\u0026eacute;, Maria Gilissen-Broodthaers, Els Hoek, Viola Michely, Yves Petry \u0026amp; Katharina Sieverding.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvailable in the M HKA bookshop.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2029/572","stream_count_app":8,"permalink":"james-lee-byars-the-perfect-kiss","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/000/042/066/medium_500/20181012105510817_0001.jpg?1539339080","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/066/large/20181012105510817_0001.jpg?1539339080","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":164,"title":"The Shadow of an Extraterrestrial Man/The Antwerp Giant","dimensions":"17 x 245 m","date_begin":"1976-01-01","material":"black tulle","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"\u003cp\u003eCollectionStichting Gordon Matta-Clark Foundation.\u003cbr /\u003e\r\nWithin \u0026lsquo;Extra terrestrial\u0026rsquo; \u0026ndash; \u0026lsquo;The Giant\u0026rsquo; James Lee Byars leads us to an spiritual, impossible place. Through the myth of Lange Wapper and the iconical reference on the Crucifix, the public experiences a doubtful domain. This artwork has the status of an object but can be seen as looking for essence, a ritual and magical ceremony. The preciosity and craftwork that is typical for all his works diverts the public away from the question of scale and monumentalism\u003c/p\u003e\r\n","date_end":null,"reference":"S0096","stream_count_app":100,"permalink":"extra-terrestrial-shadow-of-an-extraterrestrial-man--5","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":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/321/large/Byars%20Essen%202.jpg?1305283199","poster_credits":"(c)image: ICC Archive ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJames Lee Byars was intensely occupied with raising philosophical questions and addressing them in his work, but without ever providing any pat answers. In works such as\u003cem\u003e\u0026nbsp;Extra Terrestrial\u003c/em\u003e, also known as \u003cem\u003eThe Antwerp Giant\u003c/em\u003e, he does however provide viewers with a few suggestions. This piece is inspired by the Antwerp folk-legend, the giant called Lange Wapper. Byars represents him as an endlessly long, primitive human figure in black tulle. In something of a ritual during the opening of his 1976 exhibition at Antwerp\u0026rsquo;s Internationaal Cultureel Centrum, he had those present help unfurl the transparent dark figure on the Meir (the adjacent thoroughfare). W. Van Mulders described this act as a procession where the participating public warily unfolded the black tulle like an immense reliquary. Afterwards, the giant was included in the \u0026lsquo;inside\u0026rsquo; exhibition as an airy black mass. The act of unfolding, in the presence of the public, was essential for Byars. It was only during this act that the \u0026lsquo;Antwerp Giant\u0026rsquo; really became present again. Once back in the exhibition, the viewer is again consigned to a certain distance, and what remains is a pile of black tulle. Byars was fascinated by paradoxes: the giant versus a mass of black cloth, the material quality of the tulle versus the immateriality of the Lange Wapper folk-figure. The artist admired enduring continuity and immutability, but his works tended to go \u0026lsquo;lost\u0026rsquo; (among other reasons, due to the fragility of materials used) or remain to us only as fragments of their former selves.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJames Lee Byars houdt zich zeer intens bezig met filosofische vraagstellingen, zonder echter antwoorden te formuleren. In zijn werk, zoals \u003cem\u003eExtra Terrestrial\u003c/em\u003e, ook wel \u003cem\u003eThe Antwerp Giant\u003c/em\u003e\u0026nbsp;genoemd, reikt hij de toeschouwer enkel suggesties aan. Het werk is ge\u0026iuml;nspireerd op de Antwerpse volkslegende van de reus Lange Wapper. Byars stelt hem voor als een eindeloos lange primitieve menselijke figuur in zwarte tule. Als een ritueel laat hij de doorschijnende zwarte figuur door de aanwezigen op de opening van zijn tentoonstelling in het Antwerpse Internationaal Cultureel Centrum (1976) openplooien op de Meir. W. van Mulders omschrijft deze actie als een processie waar de processiegangers de zwarte tule als een immense relikwie behoedzaam openplooien. Daarna is de reus als een luchtige zwarte massa in de tentoonstelling opgenomen. De handeling van het openvouwen, in aanwezigheid van het publiek, is essentieel voor Byars. Enkel op het moment van de actie was de \u0026lsquo;Antwerpse reus\u0026rsquo; even echt aanwezig. Eens terug in de tentoonstelling is de toeschouwer opnieuw op een afstand geplaatst, wat overblijft is een hoopje zwarte tule. Byars is gefascineerd door paradoxen: de reus versus het hoopje zwarte stof, het materi\u0026euml;le van de tulen figuur versus het immateri\u0026euml;le van de sprookjesfiguur Lange Wapper. De kunstenaar heeft bewondering voor duurzame continu\u0026iuml;teit en onbeweeglijkheid, maar zijn werken gaan verloren (onder andere omwille van de fragiliteit van het gebruikte materiaal) of blijven slechts fragmentarisch bestaan.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJames Lee Byars se penche tr\u0026egrave;s intens\u0026eacute;ment sur des questions philosophiques sans toutefois formuler de r\u0026eacute;ponse. Dans son oeuvre comme \u003cem\u003eExtra Terrestria\u003c/em\u003el, aussi appel\u0026eacute;e \u003cem\u003eThe Antwerp Giant\u003c/em\u003e, il ne fait que des suggestions au spectateur. L\u0026#39;oeuvre s\u0026#39;inspire de la l\u0026eacute;gende populaire anversoise du g\u0026eacute;ant Grand Wapper. Byars le pr\u0026eacute;sente comme un personnage humain primitif infiniment grand en tulle noir. Comme un rituel, il laisse la silhouette noir translucide se d\u0026eacute;ployer sur le Meir au milieu des personnes pr\u0026eacute;sentes \u0026agrave; l\u0026#39;ouverture de son exposition \u0026agrave; l\u0026#39;Internationaal Cultureel Centrum d\u0026#39;Anvers (1976). W. van Mulders d\u0026eacute;crit cette action comme une procession o\u0026ugrave; les participants d\u0026eacute;ploient avec pr\u0026eacute;caution le tulle noir comme une immense relique. Ensuite, le g\u0026eacute;ant est repris dans l\u0026#39;exposition comme une masse noire vaporeuse.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;acte d\u0026#39;ouverture, en pr\u0026eacute;sence du public, est essentiel pour Byars. Le \u0026#39;g\u0026eacute;ant anversois\u0026#39; n\u0026#39;a \u0026eacute;t\u0026eacute; vraiment pr\u0026eacute;sent qu\u0026#39;au moment de l\u0026#39;action. Une fois de retour dans l\u0026#39;exposition, le spectateur est \u0026agrave; nouveau plac\u0026eacute; \u0026agrave; distance et il ne reste qu\u0026#39;un amas de tulle noir. Byars est fascin\u0026eacute; par les paradoxes : le g\u0026eacute;ant et l\u0026#39;amas de tissu noir, le mat\u0026eacute;riau de la silhouette en tulle et l\u0026#39;immat\u0026eacute;rialit\u0026eacute; de la silhouette fantomatique du Grand Wapper. L\u0026#39;artiste admire la continuit\u0026eacute; durable et l\u0026#39;immobilit\u0026eacute; mais ses oeuvres se perdent (entre autres en raison de la fragilit\u0026eacute; du mat\u0026eacute;riau utilis\u0026eacute;) ou ne subsistent que sous forme de fragments.\u003c/p\u003e\r\n"}]},{"id":20352,"title":"Letter to Isi Fiszman (Where in the fuck are you?)","dimensions":"3 x (14.8 x 21 cm)","date_begin":"1969-01-01","material":"three sheets of white paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"letter-to-isi-fiszman-72288792-8ce1-48ce-9554-c32b701291b8","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI Where in the fuck are you?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eI\u0026rsquo;ll go Back to Marcel\u0026rsquo;s \u003cu\u003ewith Butler\u003c/u\u003e I must see \u003cu\u003eBoyce\u003c/u\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOn Tues. OK? Fantastic. Hotelnight. Love Jimmy\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/018/medium_500/JLB_IF_008_B.jpg?1538656888","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/017/large/JLB_IF_008_A.jpg?1538656849","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI Where in the fuck are you?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eI\u0026rsquo;ll go Back to Marcel\u0026rsquo;s \u003cu\u003ewith Butler\u003c/u\u003e I must see \u003cu\u003eBoyce\u003c/u\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOn Tues. OK? Fantastic. Hotelnight. Love Jimmy\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI Where in the fuck are you?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eI\u0026rsquo;ll go Back to Marcel\u0026rsquo;s \u003cu\u003ewith Butler\u003c/u\u003e I must see \u003cu\u003eBoyce\u003c/u\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOn Tues. OK? Fantastic. Hotelnight. Love Jimmy\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Isi Fisman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;ISI Where in the fuck are you?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eI\u0026rsquo;ll go Back to Marcel\u0026rsquo;s \u003cu\u003ewith Butler\u003c/u\u003e I must see \u003cu\u003eBoyce\u003c/u\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOn Tues. OK? Fantastic. Hotelnight. Love Jimmy\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":20315,"title":"Letter to Isi Fiszman (the Skinny Herman Kahn)","dimensions":"2 x (21 x 26.9 cm)","date_begin":"1969-01-01","material":"two sheets of white paper","short_description":"\u003cp\u003eApril 1969\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"letter-to-isi-fiszman","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;J.L. and M.T.\u003cbr /\u003e\r\nLA County Museum\u003cbr /\u003e\r\n5905 Wilshire\u003cbr /\u003e\r\nLos Angeles Calif.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThrilled ---- They call me the Skinny Herman Kahn in Antwerp. I\u0026rsquo;ll be the extraordinary student of Philosophy at Oxford for a week as the last W.W.S. work then proceed to NYC etc. J.B. Phd. (fic)\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"\u003cp\u003eApril 1969\u003c/p\u003e\r\n","short_description_fr":"\u003cp\u003eApril 1969\u003c/p\u003e\r\n","short_description_ru":"","short_description_de":"\u003cp\u003eApril 1969\u003c/p\u003e\r\n","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/000/042/005/medium_500/JLB_IF_011.jpg?1538655948","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/005/large/JLB_IF_011.jpg?1538655948","poster_credits":"(c)scan: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;J.L. and M.T.\u003cbr /\u003e\r\nLA County Museum\u003cbr /\u003e\r\n5905 Wilshire\u003cbr /\u003e\r\nLos Angeles Calif.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThrilled ---- They call me the Skinny Herman Kahn in Antwerp. I\u0026rsquo;ll be the extraordinary student of Philosophy at Oxford for a week as the last W.W.S. work then proceed to NYC etc. J.B. Phd. (fic)\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;J.L. and M.T.\u003cbr /\u003e\r\nLA County Museum\u003cbr /\u003e\r\n5905 Wilshire\u003cbr /\u003e\r\nLos Angeles Calif.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThrilled ---- They call me the Skinny Herman Kahn in Antwerp. I\u0026rsquo;ll be the extraordinary student of Philosophy at Oxford for a week as the last W.W.S. work then proceed to NYC etc. J.B. Phd. (fic)\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave; Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;J.L. and M.T.\u003cbr /\u003e\r\nLA County Museum\u003cbr /\u003e\r\n5905 Wilshire\u003cbr /\u003e\r\nLos Angeles Calif.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThrilled ---- They call me the Skinny Herman Kahn in Antwerp. I\u0026rsquo;ll be the extraordinary student of Philosophy at Oxford for a week as the last W.W.S. work then proceed to NYC etc. J.B. Phd. (fic)\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":587,"title":"Letter to Flor Bex (The Giant)","dimensions":"158 x 177 cm","date_begin":"1976-01-01","material":"Inkt op gouden papier","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1976-01-01","reference":"BK7670_M425","stream_count_app":81,"permalink":"the-giant","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Eta; \u0026epsilon;\u0026pi;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026alpha; \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026kappa;ό \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026delta;\u0026omicron;\u0026upsilon;\u0026lambda;\u0026epsilon;\u0026iota;ά\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Tau;\u0026zeta;έ\u0026iota;\u0026mu;\u0026sigmaf; \u0026Lambda;\u0026iota; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf;. \u0026Alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί έ\u0026kappa;\u0026phi;\u0026rho;\u0026alpha;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026omega;\u0026sigmaf; \u0026pi;\u0026lambda;ά\u0026nu;\u0026eta;\u0026tau;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026omega;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;\u0026omicron;\u0026delta;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026sigma;\u0026upsilon;\u0026mu;\u0026beta;ά\u0026nu;\u0026tau;\u0026omicron;\u0026sigmaf;. \u0026Alpha;\u0026upsilon;\u0026tau;ό\u0026sigmaf; \u0026omicron; \u0026chi;\u0026rho;\u0026upsilon;\u0026sigma;ό\u0026sigmaf; \u003cem\u003e\u0026Gamma;ί\u0026gamma;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; \u003c/em\u003e[The Giant] έ\u0026chi;\u0026epsilon;\u0026iota; \u0026kappa;\u0026iota; \u0026alpha;\u0026upsilon;\u0026tau;ό\u0026sigmaf; \u0026phi;\u0026iota;\u0026lambda;\u0026omicron;\u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026eta;\u0026theta;\u0026epsilon;ί \u0026mu;\u0026epsilon; \u0026tau;\u0026eta; \u0026mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026eta;\u0026rho;\u0026iota;ώ\u0026delta;\u0026eta; \u0026iota;\u0026delta;\u0026iota;ό\u0026chi;\u0026epsilon;\u0026iota;\u0026rho;\u0026eta; \u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ή \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf;, ό\u0026pi;\u0026omicron;\u0026upsilon; \u0026omicron;\u0026iota; \u0026gamma;\u0026omega;\u0026nu;ί\u0026epsilon;\u0026sigmaf; \u0026kappa;ά\u0026theta;\u0026epsilon; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;ή\u0026rho;\u0026alpha; \u0026kappa;\u0026omicron;\u0026sigma;\u0026mu;\u0026omicron;ύ\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026mu;\u0026epsilon; \u0026alpha;\u0026sigma;\u0026tau;\u0026epsilon;\u0026rho;ά\u0026kappa;\u0026iota;\u0026alpha;. \u0026Omicron;\u0026iota; \u0026epsilon;\u0026pi;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026lambda;έ\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026omicron;\u0026upsilon;\u0026nu; έ\u0026nu;\u0026alpha; \u0026omicron;\u0026lambda;ό\u0026kappa;\u0026lambda;\u0026eta;\u0026rho;\u0026omicron; \u0026omicron;\u0026pi;\u0026lambda;\u0026omicron;\u0026sigma;\u0026tau;ά\u0026sigma;\u0026iota;\u0026omicron; \u0026upsilon;\u0026lambda;\u0026iota;\u0026kappa;ώ\u0026nu;, \u0026alpha;\u0026pi;ό \u0026delta;\u0026upsilon;\u0026sigma;\u0026epsilon;ύ\u0026rho;\u0026epsilon;\u0026tau;\u0026alpha; \u0026epsilon;ί\u0026delta;\u0026eta; \u0026gamma;\u0026iota;\u0026alpha;\u0026pi;\u0026omega;\u0026nu;έ\u0026zeta;\u0026iota;\u0026kappa;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026iota; \u0026kappa;\u0026iota;\u0026nu;έ\u0026zeta;\u0026iota;\u0026kappa;\u0026omicron;\u0026upsilon; \u0026chi;\u0026alpha;\u0026rho;\u0026tau;\u0026iota;\u0026omicron;ύ \u0026omega;\u0026sigmaf; \u0026kappa;\u0026omicron;\u0026iota;\u0026nu;ά \u0026epsilon;\u0026pi;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026lambda;ό\u0026chi;\u0026alpha;\u0026rho;\u0026tau;\u0026alpha; \u0026xi;\u0026epsilon;\u0026nu;\u0026omicron;\u0026delta;\u0026omicron;\u0026chi;\u0026epsilon;ί\u0026omega;\u0026nu;, \u0026chi;\u0026alpha;\u0026rho;\u0026tau;\u0026omicron;\u0026mu;ά\u0026nu;\u0026tau;\u0026eta;\u0026lambda;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026chi;\u0026alpha;\u0026rho;\u0026tau;ί \u0026upsilon;\u0026gamma;\u0026epsilon;ί\u0026alpha;\u0026sigmaf;. \u0026Tau;\u0026alpha; \u0026alpha;\u0026sigma;\u0026upsilon;\u0026nu;ή\u0026theta;\u0026iota;\u0026sigma;\u0026tau;\u0026alpha; \u0026sigma;\u0026chi;ή\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;, ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026tau;\u0026omicron;\u0026upsilon; \u0026iota;\u0026delta;\u0026iota;\u0026alpha;ί\u0026tau;\u0026epsilon;\u0026rho;\u0026alpha; \u0026mu;\u0026iota;\u0026nu;\u0026iota;\u0026mu;\u0026alpha;\u0026lambda;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026gamma;ί\u0026gamma;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha; \u0026epsilon;\u0026delta;ώ, \u0026omicron;\u0026rho;\u0026iota;\u0026sigma;\u0026mu;έ\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026phi;\u0026omicron;\u0026rho;έ\u0026sigmaf; \u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026omicron;\u0026upsilon;\u0026nu; \u0026gamma;\u0026iota;\u0026gamma;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026alpha;ί\u0026epsilon;\u0026sigmaf; ή, \u0026alpha;\u0026nu;\u0026tau;ί\u0026theta;\u0026epsilon;\u0026tau;\u0026alpha;, \u0026mu;\u0026iota;\u0026kappa;\u0026rho;\u0026omicron;\u0026sigma;\u0026kappa;\u0026omicron;\u0026pi;\u0026iota;\u0026kappa;έ\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026sigma;\u0026tau;ά\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;, \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;έ\u0026lambda;\u0026epsilon;\u0026sigma;\u0026mu;\u0026alpha; \u0026mu;\u0026iota;\u0026alpha;\u0026sigmaf; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026mu;\u0026alpha;\u0026sigmaf; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota; \u0026pi;\u0026lambda;\u0026omicron;ύ\u0026sigma;\u0026iota;\u0026alpha; \u0026omicron;\u0026pi;\u0026tau;\u0026iota;\u0026kappa;ά \u0026epsilon;\u0026rho;\u0026epsilon;\u0026theta;ί\u0026sigma;\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;. \u0026Tau;\u0026omicron; \u0026chi;\u0026rho;ώ\u0026mu;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon;\u003cem\u003e \u0026Gamma;ί\u0026gamma;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u003c/em\u003e έ\u0026chi;\u0026epsilon;\u0026iota; \u0026epsilon;\u0026nu;\u0026tau;\u0026upsilon;\u0026pi;\u0026omega;\u0026sigma;\u0026iota;\u0026alpha;\u0026kappa;ή έ\u0026nu;\u0026tau;\u0026alpha;\u0026sigma;\u0026eta;. \u0026Omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026theta;\u0026epsilon;\u0026omega;\u0026rho;\u0026epsilon;ί \u0026tau;\u0026omicron;\u0026nu; \u0026chi;\u0026rho;\u0026upsilon;\u0026sigma;ό \u0026omega;\u0026sigmaf; \u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026iota;\u0026omicron; \u0026alpha;\u0026phi;\u0026alpha;\u0026iota;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ή \u0026epsilon;\u0026kappa;\u0026delta;ή\u0026lambda;\u0026omega;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026laquo;\u0026upsilon;\u0026psi;\u0026eta;\u0026lambda;\u0026omicron;ύ\u0026raquo; (\u003cem\u003esublime\u003c/em\u003e). \u0026laquo;\u003cem\u003e\u0026Omicron; \u0026chi;\u0026rho;\u0026upsilon;\u0026sigma;ό\u0026sigmaf;\u003c/em\u003e, έ\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026epsilon; \u0026kappa;ά\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon; \u0026omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf;,\u003cem\u003e \u0026delta;\u0026iota;\u0026alpha;\u0026theta;έ\u0026tau;\u0026epsilon;\u0026iota; \u0026tau;έ\u0026tau;\u0026omicron;\u0026iota;\u0026omicron;\u0026upsilon; \u0026beta;\u0026alpha;\u0026theta;\u0026mu;\u0026omicron;ύ \u0026alpha;\u0026phi;\u0026alpha;\u0026iota;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; ό\u0026tau;\u0026alpha;\u0026nu; \u0026tau;\u0026omicron;\u0026nu; \u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;\u0026epsilon;ί\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026iota;\u0026kappa;ά \u0026alpha;\u0026nu;\u0026alpha;\u0026kappa;\u0026alpha;\u0026lambda;ύ\u0026pi;\u0026tau;\u0026epsilon;\u0026iota;\u0026sigmaf; ό\u0026tau;\u0026iota; \u0026beta;\u0026rho;ί\u0026sigma;\u0026kappa;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; ή\u0026delta;\u0026eta; \u0026sigma;\u0026epsilon; \u0026epsilon;\u0026pi;ί\u0026pi;\u0026epsilon;\u0026delta;\u0026omicron; \u0026alpha;\u0026pi;ό\u0026lambda;\u0026upsilon;\u0026tau;\u0026alpha; \u0026upsilon;\u0026psi;\u0026eta;\u0026lambda;ό.\u003c/em\u003e\u0026raquo; \u0026Epsilon;\u0026pi;\u0026iota;\u0026pi;\u0026lambda;έ\u0026omicron;\u0026nu;, \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026nu;ά\u0026kappa;\u0026lambda;\u0026alpha;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; ή\u0026lambda;\u0026iota;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026upsilon; \u0026upsilon;\u0026pi;έ\u0026rho;\u0026tau;\u0026alpha;\u0026tau;\u0026omicron;\u0026upsilon; \u0026phi;\u0026omega;\u0026tau;ό\u0026sigmaf;. \u0026Lambda;ί\u0026gamma;\u0026omicron; \u0026mu;\u0026epsilon;\u0026tau;ά \u0026tau;\u0026eta; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;ί\u0026alpha; \u0026alpha;\u0026upsilon;\u0026tau;\u0026omicron;ύ \u0026tau;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron; 1976, \u0026omicron; \u0026Mu;\u0026pi;ά\u0026iota;\u0026epsilon;\u0026rho;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026rho;\u0026omicron;\u0026upsilon;\u0026sigma;ί\u0026alpha;\u0026sigma;\u0026epsilon; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026Alpha;\u0026mu;\u0026beta;έ\u0026rho;\u0026sigma;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; ί\u0026delta;\u0026iota;\u0026alpha; \u0026phi;ό\u0026rho;\u0026mu;\u0026alpha; \u0026sigma;\u0026epsilon; \u0026kappa;\u0026omicron;\u0026lambda;\u0026omicron;\u0026sigma;\u0026sigma;\u0026iota;\u0026alpha;ί\u0026epsilon;\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026sigma;\u0026tau;ά\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. Έ\u0026nu;\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026omicron;\u0026lambda;\u0026omicron;\u0026sigma;\u0026sigma;ό\u0026sigmaf; ύ\u0026psi;\u0026omicron;\u0026upsilon;\u0026sigmaf; 245 \u0026mu;έ\u0026tau;\u0026rho;\u0026omega;\u0026nu; \u0026alpha;\u0026pi;ό \u0026mu;\u0026alpha;ύ\u0026rho;\u0026omicron; \u0026tau;\u0026omicron;ύ\u0026lambda;\u0026iota;, \u0026pi;\u0026omicron;\u0026upsilon; έ\u0026mu;\u0026epsilon;\u0026iota;\u0026nu;\u0026epsilon; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026rho;ί\u0026alpha; \u0026omega;\u0026sigmaf; \u0026laquo;\u0026omicron;\u003cem\u003e \u0026gamma;ί\u0026gamma;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Alpha;\u0026mu;\u0026beta;έ\u0026rho;\u0026sigma;\u0026alpha;\u0026sigmaf;\u003c/em\u003e\u0026raquo;, \u0026xi;\u0026epsilon;\u0026tau;\u0026upsilon;\u0026lambda;ί\u0026chi;\u0026tau;\u0026eta;\u0026kappa;\u0026epsilon; \u0026sigma;\u0026tau;\u0026omicron; Meir, \u0026tau;\u0026omicron;\u0026nu; \u0026kappa;\u0026epsilon;\u0026nu;\u0026tau;\u0026rho;\u0026iota;\u0026kappa;ό \u0026epsilon;\u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026iota;\u0026kappa;ό \u0026delta;\u0026rho;ό\u0026mu;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;ό\u0026lambda;\u0026eta;\u0026sigmaf;, \u0026sigma;\u0026tau;\u0026omicron; \u0026pi;\u0026lambda;\u0026alpha;ί\u0026sigma;\u0026iota;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026sigma;\u0026tau;\u0026omicron; \u0026Delta;\u0026iota;\u0026epsilon;\u0026theta;\u0026nu;έ\u0026sigmaf; \u0026Kappa;έ\u0026nu;\u0026tau;\u0026rho;\u0026omicron; \u0026Pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026sigma;\u0026mu;\u0026omicron;ύ.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/955/medium_500/Byars_James_Lee_The_Giant_1975.jpg?1326971220","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/955/large/Byars_James_Lee_The_Giant_1975.jpg?1326971220","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eLetter-writing is an essential part of James Lee Byars\u0026rsquo; work. It is an expression of the artist as a drifter and of the work of art as a fleeting occurrence. This golden giant too is portrayed in Byars\u0026rsquo; mysterious handwriting, where the corners of each character are embellished with small stars. His letters comprise a whole arsenal of materials ranging from very exclusive types of Japanese and Chinese paper to ordinary sheets of hotel writing paper, tissues and toilet paper. The unusual shapes, such as we see in this very minimalist giant, sometimes assume gigantic proportions or, indeed, minutely small shapes so that we are confronted with a creativity that is visually stimulating and rich. The colour of The Giant has a striking intensity. Byars regards gold as the most abstract manifestation of the sublime. \u0026lsquo;Gold\u0026rsquo;, Byars once wrote, \u0026lsquo;has such a degree of abstraction that when you use it artistically you already find it is at a sublime level\u0026rsquo;. Furthermore, it is the reflection of the sun and of the ultimate light. Shortly after creating this work in 1976, Byars introduced this form into Antwerp on a colossal scale. A 245-metre colossus in black tulle, and since known as \u003cem\u003eThe Antwerp Giant\u003c/em\u003e, was rolled out on the Meir as part of his exhibition in the International Cultural Centre.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTranscriptie:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eGreat F\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWithin moments I become Germanys most serious philosopher with the positive prejudice of Kant Heg. and Hus the Un. of Essen loves my Bl Book The First Totally Interrogative Philosophy (It is a true Ghost Philosophy being only question) so perf for Germ to rage question as maximum reality (the Gho. Phi.) All of your knowledge is context with Que how benevolent wish me luck they will publish the new Black Book with perforated text for television performance of the one sentence (I already have an oral tutor for Plato) I speak Totally positive no one says german anymore. A new sub-Rosa exists an intellectual Flag or literary (it sho be the First Flag) after the [swastika] its only a small gold flag. It says fut out suppose to encourage international inventions such Energy of everybody fut [?] means everything How abo the simple presup. Everyth.s Poss: esp.C I Love the faster form. Don\u0026rsquo;t you. F Take everything out of our gorgeous red rooms on the last night of the show get 100 guests and the show is of is of a mass invention like the umbrella don\u0026rsquo;t you love me speaking in the future perfect past tense please just read this letter with your back to the audience or in each room but stand in front of a mirror. Please on 13 at 8 PM I\u0026rsquo;d like to be on the telephone Listening to the show 02 12 4*56478 Love B BB\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eBriefschrijven is een essentieel onderdeel van het werk van James Lee Byars. Het is de expressie van de kunstenaar als zwerver en van het kunstwerk als een tijdelijk gebeuren. Ook deze gouden reus is beschreven in het mysterieuze handschrift van Byars. Kleine sterretjes versieren de hoeken van elke letter. Zijn brieven benutten een heel arsenaal van materialen, gaande van uiterst exclusieve Japanse en Chinese papiersoorten tot banale velletjes hotelbriefpapier, zakdoeken of toiletrol. De ongewone vormen, zoals deze wel zeer minimalistische reus, nemen soms gigantisch proporties aan of net minuscuul kleine, waardoor we geconfronteerd worden met een visueel boeiende rijkdom aan inventiviteit. De kleur van The Giant is van een opvallende intensiteit. Goud betekende voor Byars de meest geabstraheerde manifestatie van het verhevene. \u0026lsquo;Goud\u0026rsquo;, schreef Byars ooit,\u0026rsquo;is van een zodanige mate van abstractie, dat het je \u0026ndash; wanneer je het artistiek toepast \u0026ndash; al op een verheven vlak tegemoet treedt\u0026rsquo;. Het is bovendien de reflectie van de zon en van het ultieme licht. Kort na het maken van dit werk, in 1976, zou Byars deze vorm introduceren in Antwerpen op kolossale schaal. Een gigantische reus van 245 meter uit zwarte tule, sindsdien luidend naar de bijnaam \u003cem\u003eThe Antwerp Giant\u003c/em\u003e, werd toen, naar aanleiding van zijn tentoonstelling in het Internationaal Cultureel Centrum, uitgerold op de Meir.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTranscriptie:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eGreat F\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWithin moments I become Germanys most serious philosopher with the positive prejudice of Kant Heg. and Hus the Un. of Essen loves my Bl Book The First Totally Interrogative Philosophy (It is a true Ghost Philosophy being only question) so perf for Germ to rage question as maximum reality (the Gho. Phi.) All of your knowledge is context with Que how benevolent wish me luck they will publish the new Black Book with perforated text for television performance of the one sentence (I already have an oral tutor for Plato) I speak Totally positive no one says german anymore. A new sub-Rosa exists an intellectual Flag or literary (it sho be the First Flag) after the [swastika] its only a small gold flag. It says fut out suppose to encourage international inventions such Energy of everybody fut [?] means everything How abo the simple presup. Everyth.s Poss: esp.C I Love the faster form. Don\u0026rsquo;t you. F Take everything out of our gorgeous red rooms on the last night of the show get 100 guests and the show is of is of a mass invention like the umbrella don\u0026rsquo;t you love me speaking in the future perfect past tense please just read this letter with your back to the audience or in each room but stand in front of a mirror. Please on 13 at 8 PM I\u0026rsquo;d like to be on the telephone Listening to the show 02 12 4*56478 Love B BB\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eEcrire des lettres repr\u0026eacute;sente une part essentielle de l\u0026rsquo;\u0026oelig;uvre de James Lee Byars. C\u0026rsquo;est l\u0026rsquo;expression de l\u0026rsquo;artiste en tant que vagabond et de l\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;art, en tant qu\u0026rsquo;objet \u0026eacute;ph\u0026eacute;m\u0026egrave;re. Ce g\u0026eacute;ant dor\u0026eacute; est \u0026eacute;galement r\u0026eacute;alis\u0026eacute; dans l\u0026rsquo;\u0026eacute;criture myst\u0026eacute;rieuse de Byars. De petites \u0026eacute;toiles ornent les coins de chaque lettre. Ses missives requi\u0026egrave;rent tout un arsenal de mat\u0026eacute;riaux, allant des qualit\u0026eacute;s de papiers japonais et chinois les plus exclusives aux banales feuilles de papier \u0026agrave; lettre des h\u0026ocirc;tels, mouchoirs ou papier toilette. Les formes inhabituelles, comme celles de ce g\u0026eacute;ant minimaliste, prennent parfois des proportions gigantesques ou sinon de toutes minuscules qui nous confrontent \u0026agrave; une richesse inventive visuellement fascinante. La couleur de l\u0026rsquo;\u0026oelig;uvre The Giant est d\u0026rsquo;une intensit\u0026eacute; remarquable. Pour Byars, l\u0026rsquo;or est synonyme de la manifestation la plus abstrayante du sublime. \u0026lsquo;L\u0026rsquo;or\u0026rsquo;, \u0026eacute;crivait Byars un jour, rel\u0026egrave;ve d\u0026rsquo;un tel niveau d\u0026rsquo;abstraction, que \u0026ndash; si vous l\u0026rsquo;utilisez en art \u0026ndash; vous allez d\u0026eacute;j\u0026agrave; \u0026agrave; la rencontre du sublime\u0026rsquo;. C\u0026rsquo;est en outre la r\u0026eacute;flexion du soleil et de la lumi\u0026egrave;re ultime. Peu de temps apr\u0026egrave;s avoir r\u0026eacute;alis\u0026eacute; cette \u0026oelig;uvre, en 1976, Byars comptait introduire cette forme \u0026agrave; Anvers \u0026agrave; une \u0026eacute;chelle colossale. Un g\u0026eacute;ant immense de 245 m\u0026egrave;tres en tulle noire, qui a entretemps re\u0026ccedil;u le nom de \u003cem\u003eThe Antwerp Giant\u003c/em\u003e, a \u0026eacute;t\u0026eacute; d\u0026eacute;roul\u0026eacute; sur le Meir, dans le cadre de son exposition au Centre culturel international.\u003c/p\u003e\r\n"}]},{"id":33675,"title":"Letter to Isi Fiszman","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Depot Isi Fiszman, Brussel","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"letter-to-isi-fiszman-c361e644-59f7-4c71-8de4-c75f4e60cf0d","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/000/087/997/medium_500/JLB_IF_031_A.jpg?1665500983","cached_actor_names":"Isi  Fiszman, James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/997/large/JLB_IF_031_A.jpg?1665500983","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003c/p\u003e\r\n\r\n\u003cp\u003eThis early recognition of wheat as an alient plant is remarkable since its origin has always been a mistery\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003ePostkaart aan Isi Fiszman\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003c/p\u003e\r\n\r\n\u003cp\u003eThis early recognition of wheat as an alient plant is remarkable since its origin has always been a mistery\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20377,"title":"Letter to Jan Hoet","dimensions":"9 x (14.7 x 15.5 cm)","date_begin":"1980-01-01","material":"beige paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Estate Jan Hoet","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"letter-to-jan-hoet-20fe6525-66ea-4ff2-b28c-69a7f9c1f995","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Jan Hoet\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Jan Merry X I m trying very hard to make a pink silk sensuous and spiritual I will do \u0026ldquo;The Great Doubt\u0026rdquo; in LA and NY in January round Giant for Gent we must have it as the greeter to the show perhaps \u0026ldquo;A place to put your cheek\u0026rdquo; yes it\u0026rsquo;s ideal for the Red Powered Room. We have much to do for spring yrs JLB\u0026quot;\u003c/em\u003e\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/044/medium_500/34a_Byars_JH.jpg?1665658977","cached_actor_names":"James Lee Byars","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/044/large/34a_Byars_JH.jpg?1665658977","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Jan Hoet\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Jan Merry X I m trying very hard to make a pink silk sensuous and spiritual I will do \u0026ldquo;The Great Doubt\u0026rdquo; in LA and NY in January round Giant for Gent we must have it as the greeter to the show perhaps \u0026ldquo;A place to put your cheek\u0026rdquo; yes it\u0026rsquo;s ideal for the Red Powered Room. We have much to do for spring yrs JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Jan Hoet\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Jan Merry X I m trying very hard to make a pink silk sensuous and spiritual I will do \u0026ldquo;The Great Doubt\u0026rdquo; in LA and NY in January round Giant for Gent we must have it as the greeter to the show perhaps \u0026ldquo;A place to put your cheek\u0026rdquo; yes it\u0026rsquo;s ideal for the Red Powered Room. We have much to do for spring yrs JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Jan Hoet\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Dear Jan Merry X I m trying very hard to make a pink silk sensuous and spiritual I will do \u0026ldquo;The Great Doubt\u0026rdquo; in LA and NY in January round Giant for Gent we must have it as the greeter to the show perhaps \u0026ldquo;A place to put your cheek\u0026rdquo; yes it\u0026rsquo;s ideal for the Red Powered Room. We have much to do for spring yrs JLB\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]}]