[{"id":10857,"title":"The Joy of the Experience of Totality","dimensions":"2 p","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Archief De Zwarte Panter, Antwerpen","cached_tag_list":"surrealism, lecture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"the-joy-of-the-experience-of-totality","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/564/large/The_joy_of_the_experience_of_totality.jpg?1401459322","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen","translations":[{"locale":"en","description":"\u003cp\u003eIn this manuscript Cox speaks positively about surrealism, contextualizing it in terms of the aftermath of WWI as well as in reaction to an unjust and conformist colonial world.\u0026nbsp; Surrealism sought to coherently \u0026#39;repair\u0026#39; mankind, to provide a joy of experience of the whole.\u0026nbsp; This text appears to be an earlier version of his \u0026lsquo;The Meaning of Surrealism\u0026rsquo;.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn dit manuscript spreekt Cox positief over het surrealisme en duidt hij het in de nawee\u0026euml;n van de eerste wereldoorlog maar ook van een onrechtvaardige en conformistische koloniale wereld. Het surrealisme trachtte de mens te herstellen in samenhang, en droeg ertoe bij om de vreugde van de ervaring van het geheel te kunnen beleven. Het lijkt een eerdere versie te zijn van \u003cem\u003eThe meaning of surrealism\u003c/em\u003e.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":10078,"title":"Visual Thinking Expressed in Words","dimensions":"1 p","date_begin":"1938-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Archief De Zwarte Panter, Antwerpen","cached_tag_list":"Jan Cox","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"visual-thinking-expressed-in-words","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/479/large/Visual_thinking_expressed_in_words.jpg?1401092139","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen","translations":[{"locale":"en","description":"\u003cp\u003eVisual Thinking Expressed in Words, a typescript by Jan Cox.\u003c/p\u003e\u003cp\u003eThis enigmatic text from the archives of De Zwarte Panter gallery, combines intensity, physical experience and elements of actual perception in a manner that resonates with Cox\u0026#39;s oeuvre.\u0026nbsp; Below in capital letters we have \u0026#39;PICASSO\u0026#39;, as though he would be the author or source of inspiration.\u0026nbsp; Above stands \u0026quot;2.2\u0026quot; and \u0026quot;38\u0026quot;.\u0026nbsp; The text benefits from another short passage in English that thematizes the tension between freedom - often spoken of, little present - and security, decision and verdict.\u0026nbsp; This also leads the soothsayer to transmit the message instead of tossing the coffee-grounds in the face of the client.\u0026nbsp; Both texts were kept together in a plastic folder, along with a 1966 article from the \u003cem\u003eBoston Globe\u003c/em\u003e, where comics were praised as the right space for art in an era when it had become abstract and incomprehensible, with Picasso at the pinnacle. \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eBeelddenken uitgedrukt in woorden\u003c/em\u003e, een typoscript van Jan Cox\u003c/p\u003e\u003cp\u003eDeze enigmatische tekst uit het archief van De Zwarte Panter verbindt intensiteiten, fysieke ervaring en elementen van feitelijke waarneming op een manier die resoneert met het werk van Cox. Onderaan staat in hoofdletters \u0026rsquo;PICASSO\u0026rsquo; alsof die de auteur of inspiratiebron zou zijn. Bovenaan staat \u0026ldquo;2.2.\u0026rdquo; en \u0026ldquo;\u0026lsquo;38\u0026rdquo;. De tekst is geniet aan een andere korte Engelstalige tekst die de spanning thematiseert tussen vrijheid \u0026ndash; vaak besproken, weinig aanwezig - en zekerheid, beslissing en oordeel. Dat leidt er de waarzegger ook toe om de boodschap aan te geven in plaats van het koffiedrab in het gezicht van de afnemer te smijten.\u0026nbsp; Beide teksten bevinden zich in een plastic mapje samen met een artikel uit de \u0026lsquo;Boston Globe\u0026rsquo; van 1962, waarin comics worden geprezen als de ruimte voor kunst in een tijd waarin die abstract en onbegrijpelijk wordt, met Picasso aan de top.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":10079,"title":"There is a Lot of Talk about Freedom","dimensions":"1 p","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Archief De Zwarte Panter, Antwerpen","cached_tag_list":"Jan Cox","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"there-is-a-lot-of-talk-about-freedom","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/480/large/There_is_a_lot_of_talk_about_freedom.jpg?1401092259","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":10080,"title":"The Meaning of Surrealism","dimensions":"12 p","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy Archief De Zwarte Panter, Antwerpen","cached_tag_list":"Jan Cox","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"the-meaning-of-surrealism","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/565/large/The_meaning_of_surrealism__I_to_V.jpg?1401459368","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen","translations":[{"locale":"en","description":"\u003cp\u003eThis manuscript of an educational lecture values surrealism as a move to liberate the human spirit from conformity and hypocrisy.\u0026nbsp; The two World Wars are cited in evidence.\u0026nbsp; That world that surrealism challenged is a world totally out of balance, living on the edge of a volcano.\u0026nbsp; Cox illustrated this mindset with quotations from De Chirico. The liberating action of surrealism, with its use of automatic writing and paranoiac-critical activity, and with its tight relationship to the real, is explained by Cox through works by Duchamp, Dali, Ernst and Miro.\u003c/p\u003e\u003cp\u003eThe manuscript \u003cem\u003eThe Joy of Experience of Totality\u003c/em\u003e\u0026nbsp;appears to be an earlier version of this text.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDit manuscript van een didactische lezing waardeert het surrealisme als een inzet om de geest van de mens te bevrijden van conformisme en hypocrisie. De twee wereldoorlogen zijn daar blijk van. De wereld die het surrealisme uitdaagde is een wereld die volledig uit balans was en op de rand van een vulkaan leefde. Deze mind set illustreert Cox met werken en citaten van De Chirico. De bevrijdende werking van het surrealisme, met zijn gebruik van automatisme en parano\u0026iuml;de activiteit, en met zijn hechte relatie tot het re\u0026euml;le, licht hij toe aan de hand van werken van Duchamp, Dali, Ernst en Miro.\u0026nbsp;\u003c/p\u003e\u003cp\u003eHet manuscript \u003cem\u003eThe Joy of Experience of Totality\u003c/em\u003e lijkt een eerdere versie van deze tekst te zijn.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9519,"title":"Untitled","dimensions":"290 x 442 mm","date_begin":null,"material":"pen, pencil on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_02","stream_count_app":17,"permalink":"untitled--145","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/636/large/Cox_Jan_ZT_sd_photo_M_HKA35.jpg?1392208974","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9521,"title":"Untitled","dimensions":"243 x 183 mm","date_begin":"1957-01-01","material":"lino print on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, 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HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9549,"title":"Le fou rire du nouveau riche","dimensions":"488 x 350 mm","date_begin":"1950-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_10","stream_count_app":14,"permalink":"le-fou-rire-du-nouveau-riche","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/591/large/Cox_Jan_Le_fou_rire_du_nouveau_riche_1950_photo_M_HKA8.jpg?1392129580","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9516,"title":"Studie voor de Maenaden, Boston","dimensions":"785 x 573 mm","date_begin":"1960-01-01","material":"charcoal on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_22","stream_count_app":35,"permalink":"studie-voor-de-maenaden-boston","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/640/large/Cox_Jan_ZT_1960_photo_M_HKA31.jpg?1392209654","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe myth of Orpheus plays a crucial role in Cox\u0026#39;s oeuvre.\u0026nbsp; From 1953 up to the end of his painting life, it was to remain a constant source of inspiration.\u0026nbsp; In 1958-1959 he would devote an entire cycle of works to it.\u0026nbsp; He concludes this particular series of paintings on the Orphean theme in 1960 with a number of works around the Maenads, and of which this drawing is a preparatory sketch.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026ldquo;The Maenads\u0026rdquo;\u003c/em\u003e, Cox writes, \u003cem\u003e\u0026ldquo;are women who come together in an orgiastic celebration that ends in hysteria and destruction.\u0026nbsp; Animals are ripped apart, and Orpheus - who accidentally finds himself in this enchanted wood - is befallen by the same fate.\u0026nbsp; His limbs are strewn and his head and lyre flow away down river.\u0026nbsp; The poet who could live no more is destroyed by elemental forces.\u0026quot; \u003c/em\u003e\u003c/p\u003e\u003cp\u003eIn\u003cem\u003e\u0026nbsp;Study for the Maenads, Boston\u0026#39;(1960)\u003c/em\u003e\u003cem\u003e,\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003ealso titled \u003cem\u003eThe Hands,\u0026nbsp;\u003c/em\u003ethe drama of\u003cem\u003e \u003c/em\u003eOrpheus and Eurydice is not represented in detail, but rather via the loose, sketchy and linear drawing that obliges the viewer to all the more associate with the sorrow and the pain.\u0026nbsp; With this clear, constrained composition, the artist brings a personal and humane intensity of feeling to the surface.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDe mythe van Orpheus speelt een zeer belangrijke rol in het oeuvre van Jan Cox. Vanaf 1953 tot zijn laatste levensjaar blijft de thematiek hem inspireren. In 1958-1959 wijdt hij er een hele cyclus aan. Deze reeks schilderijen die de mythe en figuur van Orpheus tot onderwerp hebben, sluit hij in 1960 af met een aantal werken rond de Maenaden, waarvan deze tekening een schets is voor de studie van het werk.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026ldquo;De maenaden\u0026rdquo;\u003c/em\u003e, schrijft Cox, \u003cem\u003e\u0026ldquo;zijn vrouwen die zich verenigen in een orgiastisch feest dat in hysterie en vernieling eindigt. Beesten worden uiteengereten en zo ook Orpheus, die zij als bij toeval in de bossen vinden. Zijn ledematen worden verstrooid en zijn hoofd en zijn lier drijven af op de rivier. De dichter die niet meer kon leven, wordt door de oerkrachten vernield.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eIn\u003c/em\u003e\u003cem\u003e\u0026nbsp;Studie voor de Maenaden, Boston (1960)\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003eook getiteld \u003cem\u003eThe Hands\u0026nbsp;\u003c/em\u003e[Handen] wordt het drama van Orpheus en Euridyce niet in detail verbeeldt maar via de losse, schetsmatige en linaire tekening wordt de toeschouwer verplicht verder\u0026nbsp;te associ\u0026euml;ren met het verdriet en de pijn. De kunstenaar brengt via deze heldere maar begrensde compositie een persoonlijke en humane gevoelsintensiteit aan de oppervlakte.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9541,"title":"Untitled","dimensions":"270 x 180 mm","date_begin":"1976-01-01","material":"color pencil, ink, gouache on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_36","stream_count_app":13,"permalink":"untitled--154","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/608/large/Cox_Jan_ZT_sd_photo_M_HKA41.jpg?1392133105","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9531,"title":"Studie voor de vernieling van Troje; muurschildering station Herrmann-Derbroux (Brussel)","dimensions":"560 x 760 mm","date_begin":"1977-01-01","material":"mixed media on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_38","stream_count_app":15,"permalink":"studie-voor-de-vernieling-van-troje-muurschildering-station-herrmann-derbroux-brussel","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/622/large/Cox_Jan_Studie_voor_muurschildering_station_Herrmann-Derbroux_Brussel_1977_photo_M_HKA22.jpg?1392197637","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9527,"title":"Surprise","dimensions":"560 x 410 mm","date_begin":"1952-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_13","stream_count_app":24,"permalink":"surprise","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/627/large/Cox_Jan_suprise_1952_photo_M_HKA28.jpg?1392198871","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eBegin jaren vijftig experimenteert Cox met het maken van veelkleurendrukken op een eigen lithopers. Cox was echter niet tevreden met de resultaten van zijn eigen handpers en trekt in 1952 naar de befaamde ateliers van Mourlot te Parijs. Hier kan hij in ideale omstandigheden, naast kunstenaars als Villon, Chagall en Giacometti, met behulp van het beste materiaal en de bijstand van ervaren drukkers, kleurlithograferen, zonder zich te hoeven bekommeren over druktechnische beslommeringen. Zo komen er enkele prachtige werken tot stand, zoals dit portret van z\u0026rsquo;n vrouw Yvonne: \u003cem\u003eSurprise\u003c/em\u003e.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9517,"title":"Flower","dimensions":"614 x 850 mm","date_begin":"1969-01-01","material":"charcoal on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_24","stream_count_app":33,"permalink":"flower","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/638/large/Cox_Jan_Flower_1969_photo_M_HKA30.jpg?1392209427","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDuring his years in Boston, Jan Cox undoubtedly came to know more of the work of \u003ca href=\"http://www.biography.com/people/georgia-okeeffe-9427684\"\u003eGeorgia O\u0026#39;Keeffe\u003c/a\u003e\u0026nbsp;(b. 1887, Wisconsin, d. 1986, New Mexico). \u0026nbsp;Motifs she constantly returns to in her paintings include flowers, rocks, shells, animals, bones and landscapes, often with abstracted contours and forms with subtle, multicolored tones that transform these subjects into powerful, near-abstract representations.\u0026nbsp; Aside from formal similarities in their work, Jan Cox also felt a kinship by virtue of her relentless quest for beauty and the sublime.\u0026nbsp; Georgia O\u0026#39;Keeffe was convinced that visual symbols were essential as a way of understanding our surroundings and of exploring our inner selves.\u0026nbsp; For O\u0026#39;Keeffe, so imbued with the spiritual and the transcendental, \u0026#39;the sublime\u0026#39; was no theoretical concept but rather something visible in experiences of the everyday world.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026quot;It is only by selection, by elimination, and by emphasis that we get at the real meaning of things.\u0026quot; - Georgia O\u0026#39;Keeffe\u003c/em\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eBij zijn residentie in Boston leerde Jan Cox ongetwijfeld het werk van \u003ca href=\"http://www.biography.com/people/georgia-okeeffe-9427684\"\u003eGeorgia O\u0026#39;Keeffe\u003c/a\u003e (\u0026deg;1887, Wisconsin, \u0026dagger;1986) kennen. Terugkerende onderwerpen in haar schilderijen zijn bloemen, rotsen, schelpen, dieren, beenderen en landschappen. Haar schilderijen laten vaak abstraherende contouren en vormen zien met subtiele tonen in verschillende kleuren. Vaak vervormde ze haar onderwerpen tot krachtige, bijna abstracte afbeeldingen.\u0026nbsp;Naast de vormelijke gelijkenissen in hun werk werd Jan Cox ook aangetrokken door haar zoektocht naar het \u0026#39;schone\u0026#39; en \u0026#39;sublieme\u0026#39;. \u0026nbsp;Georgia O\u0026#39;Keeffe was overtuigd dat visuele symbolen de manieren om de omgeving te bekijken en het verkennen van je innerlijke zelf bepalen. Voor O\u0026#39;Keeffe, \u0026nbsp;al doordrongen van het spirituele en het transcendentale, was het sublieme geen theoretisch concept maar zichtbaar in de dagelijkse wereldse ervaringen.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026quot;It is only by selection, by elimination, and by emphasis that we get at the real meaning of things.\u0026quot; - Georgia O\u0026#39;Keeffe\u003c/em\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9520,"title":"Untitled","dimensions":"406 x 537 mm","date_begin":null,"material":"pen and ink incremented with chalk on paper ","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, 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Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_30","stream_count_app":38,"permalink":"untitled--156","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/599/large/Cox_Jan_ZT_1974_photo_M_HKA13.jpg?1392131088","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9558,"title":"Marlene (Wallin)","dimensions":"525 x 390 mm","date_begin":"1978-01-01","material":"etching on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, 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Boston, danseres\u003c/p\u003e\u003cp\u003e1965; depressie\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9545,"title":"Verhuizing ’s avonds (Brussel)","dimensions":"410  x 625 mm","date_begin":"1952-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_15","stream_count_app":19,"permalink":"verhuizing-s-avonds-brussel","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/596/large/Cox_Jan_ZT_1952_photo_M_HKA12.jpg?1392130721","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eCox started experimenting with the making of multi-colored prints on his own litho press at the beginning of the 1950\u0026#39;s.\u0026nbsp; Dissatisfied with the results so obtained, in 1952 he travels to Paris to work with the famous Moulot printing atelier.\u0026nbsp; Here Cox could take advantage of ideal printing conditions and expertise, as had artists like Villon, Chagall and Giacometti, and he produced fine color lithographs without being overly encumbered by technical details.\u0026nbsp; Some splendid works were achieved there, like the calligraphic \u003cem\u003eVerhuizing \u0026rsquo;s avonds \u003c/em\u003e(Evening Removals).\u0026nbsp; In 1953 Cox shows a selection of his lithographic work in Amsterdam.\u0026nbsp; Later the exhibition would travel to Indonesia, and a catalogue of Cox\u0026#39;s graphic work is published with a text by J.H.W. Veenstra to accompany it.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eBegin jaren vijftig experimenteert Cox met het maken van veelkleurendrukken op een eigen lithopers. Cox was echter niet tevreden met de resultaten van zijn eigen handpers en trekt in 1952 naar de befaamde ateliers van Mourlot te Parijs. Hier kan hij in ideale omstandigheden, naast kunstenaars als Villon, Chagall en Giacometti, met behulp van het beste materiaal en de bijstand van ervaren drukkers, kleurlithograferen, zonder zich te hoeven bekommeren over druktechnische beslommeringen. Zo komen er enkele prachtige werken tot stand, zoals de kalligrafische \u003cem\u003eVerhuizing \u0026rsquo;s avonds\u003c/em\u003e. In 1953 stelt Cox een selectie van zijn lithografisch werk tentoon te Amsterdam. Later zal deze tentoonstelling ook te zien zijn in Indonesi\u0026euml;. Ter gelegenheid van deze tentoonstelling verschijnt er een catalogus van Cox\u0026rsquo; lithografisch werk met een tekst van J.H.W. Veenstra.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9532,"title":"Untitled","dimensions":"600 x 455 mm","date_begin":null,"material":"collage, pen, ink on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, 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HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9551,"title":"Le fou rire du nouveau riche","dimensions":"488 x 350 mm","date_begin":"1950-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"lithography","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_12","stream_count_app":42,"permalink":"le-fou-rire-du-nouveau-riche--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,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/589/large/Cox_Jan_Le_fou_rire_du_nouveau_riche_1950_photo_M_HKA5.jpg?1392129273","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eAt the beginning of the 1950\u0026#39;s, Cox starts experimenting with making multicolored prints on his own litho-press.\u0026nbsp; \u003cem\u003eLe fou rire du nouveau riche\u003c/em\u003e is one such work, and the M HKA collection contains several printer\u0026#39;s proofs of this lithograph.\u0026nbsp; Feeling limited in his printing technique and not wholly satisfied with the results, in 1952 Cox decides to call on the celebrated Parisian printing atelier of Mourlot.\u0026nbsp; Here he could realize his color litho\u0026#39;s in ideal conditions, and profit from this workshop\u0026#39;s accumulated experience - as did fellow artists like Bernard Villon, Marc Chagall and Alberto Giacometti.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThis collaboration resulted in some wonderful works such as \u003cem\u003eVerhuizing \u0026rsquo;s avonds (1952)\u003c/em\u003e, \u003cem\u003eVreugdetakken (1952)\u003c/em\u003e and the portrait of his girlfriend Yvonne: \u003cem\u003eVerrassing\u003c/em\u003e [Sursprise] from 1952.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn 1953 Cox exhibits a selection of his lithographic work in Amsterdam.\u0026nbsp; This exhibition later also traveled to Indonesia, and a companion catalogue was published with texts by J.H.W. Veenstra.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eBegin jaren vijftig experimenteert Cox met het maken van veelkleurendrukken op een eigen lithopers.\u003cem\u003e Le fou rire du nouveau riche\u003c/em\u003e is hiervan \u0026eacute;\u0026eacute;n resultaat en M HKA heeft van deze lithografie meerdere drukproeven in collectie. Beperkt in druktechniek en niet geheel tevreden met de resultaten, trekt Cox in 1952 naar de befaamde ateliers van Mourlot in Parijs. Hier kan hij in ideale omstandigheden, naast kunstenaars als Bernard Villon, Marc Chagall en Alberto Giacometti, verder kleurlithograferen, zonder zich te hoeven bekommeren over de druktechnische proced\u0026eacute;s. Hier komen enkele prachtige werken tot stand zoals \u003cem\u003eVerhuizing \u0026rsquo;s avonds (1952)\u003c/em\u003e, \u003cem\u003eVreugdetakken(1952)\u003c/em\u003e en het portret van z\u0026rsquo;n vriendin Yvonne: \u003cem\u003eVerrassing\u003c/em\u003e [Sursprise] uit 1952.\u003c/p\u003e\u003cp\u003eIn 1953 stelt Cox een selectie van dit lithografisch werk tentoon in Amsterdam. Later is deze tentoonstelling ook te zien in Indonesi\u0026euml; en verschijnt er een catalogus met tekstmateriaal van J.H.W. Veenstra.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9518,"title":"Untitled","dimensions":"402 x 300 mm","date_begin":null,"material":"pencil on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_01","stream_count_app":18,"permalink":"untitled--144","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/637/large/Cox_Jan_ZT_sd_photo_M_HKA38.jpg?1392209271","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9533,"title":"Verkrachte vrouw bleek niet dood","dimensions":"600 x 455  mm","date_begin":null,"material":"collage, colored pencil and newspaper article on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_05","stream_count_app":18,"permalink":"verkrachte-vrouw-bleek-niet-dood","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/620/large/Cox_Jan_Verkrachte_vrouw_bleek_niet_dood_sd_photo_M_HKA20.jpg?1392197315","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eCox\u0026#39;s later work is marked by profound reflections on worldly reality and life.\u0026nbsp; These are pieces where aspects of inner emotionality and outer engagement are woven together.\u0026nbsp; Something hardly strange, if we consider that during this time Cox suffered from emotionally exhausting manic-depressive episodes, with periods of hyperactivity followed by heavy downs.\u003c/p\u003e\u003cp\u003eDuring this time, after\u0026nbsp;\u003cem\u003eThe Iliad of Homer\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e(1974-1975),\u0026nbsp;he published various editions of graphic works, and experimented with combinations of diverse materials always supplemented with language and text.\u0026nbsp; The collage \u003cem\u003eVerkrachte vrouw bleek niet dood \u003c/em\u003e\u003cem\u003eis one result of this investigative process.\u003c/em\u003e\u003c/p\u003e\u003cp\u003eIt was while Cox was in Boston - he was based there from 1956 to 1974 - that his girlfriend Marlene was victim of an assault.\u0026nbsp; Back in Belgium he tried to in a way process this violent trauma.\u0026nbsp; In \u003cem\u003eVerkrachte vrouw bleek niet dood\u003c/em\u003e\u003cem\u003e,\u003c/em\u003e Jan Cox reflects on these emotions via the case of Henriette D. in the town of Lier (1974).\u0026nbsp; The related press cutting accompanies the sketchily rendered, tormented female figure.\u0026nbsp; This theme was also further elaborated in a similar undated\u0026nbsp;\u003ca href=\"http://ensembles.mhka.be/items/9532\"\u003ecollage\u003c/a\u003e.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHet latere werk van Cox wordt gekarakteriseerd door uitputtende reflecties over de wereldlijke realiteit en het leven. Werkstukken waarin aspecten van het innerlijke, emotionaliteit en engagement verweven zijn. Niet onverklaarbaar; in deze periode lijdt Cox aan uitputtende manisch-depressieve inzinkingen, gekenmerkt door hevige emotionele opstoten; elkaar afwisselende periodes van opwinding gepaard met hyperactiviteit en zware geestelijke depressies.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn deze periode, na\u0026nbsp;\u003cem\u003eDe Ilias van Homeros \u003c/em\u003e(1974-1975),\u0026nbsp;heeft hij verschillende grafiekmappen uitgebracht en experimenteerde hij met combinaties van diverse materialen steeds aangevuld met taal en tekst. In dit zoekproces ontstond ook de collage\u0026nbsp;\u003cem\u003eVerkrachte vrouw bleek niet dood\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eTijdens zijn verblijf in Boston (1956 - 1974) werd vriendin Marlene het slachtoffer van een aanranding. Terug in Belgi\u0026euml; heeft hij dit gewelddadige trauma trachten te verwerken. In\u0026nbsp;\u003cem\u003eVerkrachte vrouw bleek niet dood\u003c/em\u003e\u0026nbsp;reflecteert Jan Cox over deze emoties via de zaak van Henriette D. in Lier (1974). Het betreffende persknipsel begeleidt de bovenstaande schetsmatige en getormenteerde vrouwenfiguur. Deze thematiek werd ook verder uitgewerkt in een gelijkaardige ongedateerde \u003ca href=\"http://ensembles.mhka.be/items/9532\"\u003ecollage\u003c/a\u003e.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":9554,"title":"Marlene (Wallin)","dimensions":"525 x 390 mm","date_begin":"1978-01-01","material":"etching on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_40","stream_count_app":15,"permalink":"marlene-wallin","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/588/large/Cox_Jan_ZT_sd_photo_M_HKA2.jpg?1392129083","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9548,"title":"Visage de jeune femme","dimensions":"450 x 310 mm","date_begin":"1950-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MHKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_09","stream_count_app":18,"permalink":"visage-de-jeune-femme","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/592/large/Cox_Jan_Visage_de_jeune_femme_1950_photo_M_HKA9.jpg?1392129706","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9556,"title":"Marlene (Wallin)","dimensions":"525 x 390 mm","date_begin":"1978-01-01","material":"etching on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_41","stream_count_app":14,"permalink":"marlene-wallin--5","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/586/large/Cox_Jan_ZT_sd_photo__M_HKA3.jpg?1392128694","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9557,"title":"Marlene (Wallin)","dimensions":"525 x 390 mm","date_begin":"1978-01-01","material":"etching on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_41","stream_count_app":16,"permalink":"marlene-wallin--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,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/585/large/Cox_Jan_ZT_sd_photo_M_HKA6.jpg?1392128547","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9526,"title":"Boom en appelsienen","dimensions":"648 x 565 mm","date_begin":"1954-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_16","stream_count_app":16,"permalink":"untitled--149","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/628/large/Cox_Jan_ZT_1954_photo_M_HKA25.jpg?1392199123","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9524,"title":"Reaching Out","dimensions":"305 x 455 mm","date_begin":"1957-01-01","material":"woodcut on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_19","stream_count_app":18,"permalink":"reaching-out","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/000/020/630/medium_500/Cox_Jan_ZT_sd_photo_M_HKA34.jpg?1392199675","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/630/large/Cox_Jan_ZT_sd_photo_M_HKA34.jpg?1392199675","poster_credits":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014, (c)image:M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9543,"title":"Untitled","dimensions":"755 x 565 mm","date_begin":"1973-01-01","material":"charcoal on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_28","stream_count_app":31,"permalink":"untitled--155","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/000/020/606/medium_500/Cox_Jan_ZT_1973_photo_M_HKA14.jpg?1392132681","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/606/large/Cox_Jan_ZT_1973_photo_M_HKA14.jpg?1392132681","poster_credits":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014, image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThese charcoal sketches of an organic aspect evoke a good many questions and might at first seem a bit strange, for here we essentially are dealing with an abstraction of feelings and sense-experience.\u0026nbsp; The figure looks like a butterfly, and makes us think of the earlier works \u003cem\u003eButterfly of Love\u003c/em\u003e\u0026nbsp;(Boston, 1960),\u0026nbsp;\u003cem\u003eEscapade de Papillon\u003c/em\u003e\u0026nbsp;(Boston, 1961)\u0026nbsp;and\u0026nbsp;\u003cem\u003eButterfly of Tears\u003c/em\u003e\u0026nbsp;(Boston, 1963).\u0026nbsp; The butterfly motif also returns later in \u003ca href=\"http://ensembles.mhka.be/items/9538\"\u003e\u003cem\u003eThe Fog in Maine\u003c/em\u003e\u003c/a\u003e\u0026nbsp;(Boston, 1974) and in\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cem\u003eDe droeve vlinder\u003c/em\u003e\u0026nbsp;(Antwerp, 1975).\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eApplying Freudian dream analysis to contemporary art, we might suggest that first-and-foremost the artist represents him/herself in the work, and that certain feelings continue to emerge as recurring signs or motifs.\u0026nbsp; This butterfly and other animals - but also shells and flowers - within Jan Cox\u0026#39;s oeuvre give shape to particular, acutely felt emotions.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe butterfly is a sort of indefinable thing, of which the \u0026#39;eyes\u0026#39; are clear and recognizable.\u0026nbsp; Just as with \u003cem\u003eUntitled\u003c/em\u003e\u0026nbsp;(1979) where the motif of the door dominates, here the \u0026#39;eyes\u0026#39; (like \u0026#39;two fringed carbuncles\u0026#39;) again evoke the feminine and reflect upon the quest for \u003cem\u003efreedom\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze houtskoolschets van een organische verschijning roept heel wat vragen op en oogt wat vreemd omdat het hier in essentie om een abstrahering van gevoelens en zintuiglijke ervaringen gaat. De verschijning lijkt een vlinder en doet denken aan de eerdere\u0026nbsp;\u003cem\u003eButterfly of Love\u003c/em\u003e (Boston, 1960),\u0026nbsp;Escapade de Papillon (Boston, 1961)\u0026nbsp;en\u0026nbsp;\u003cem\u003eButterfly of Tears\u003c/em\u003e\u0026nbsp;(Boston, 1963). Het vlinder - motief komt ook later terug in \u003ca href=\"http://ensembles.mhka.be/items/9538\"\u003e\u003cem\u003eThe Fog in Maine\u003c/em\u003e\u003c/a\u003e (Boston, 1974) en in\u003cem\u003e De droeve vlinder\u003c/em\u003e (Antwerpen, 1975).\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAls we de droomanalyse van Freud toepassen binnen de hedendaagse kunst kunnen we stellen dat de kunstenaar \u0026nbsp;in de eerste plaats zichzelf representeert in zijn werk en dat bepaalde gevoelens terugkomen als terugkerende tekens of motieven. Deze vlinder en andere dieren, maar ook schelpen en bloemen binnen het oeuvre van Jan Cox geven gestalte aan zo\u0026#39;n welbepaalde emoties.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDe vlinder is een ondefinieerbaar ding waarvan de \u0026#39;ogen\u0026#39; duidelijk en herkenbaar zijn. Net zoals in \u003cem\u003eUntitled\u003c/em\u003e (1979) het motief van de poort heerst zijn het hier de \u0026#39;ogen\u0026#39;, als \u0026#39;twee omzoomde karbonkels\u0026#39; die opnieuw het vrouwelijke evoceren en reflecteren aan de zoektocht naar de \u003cem\u003evrijheid\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCe dessin au fusain d\u0026rsquo;une apparition organique soul\u0026egrave;ve de nombreuses questions et para\u0026icirc;t \u0026eacute;trange parce qu\u0026rsquo;il s\u0026rsquo;agit en essence d\u0026rsquo;une abstraction de sentiments et d\u0026rsquo;exp\u0026eacute;riences sensorielles. L\u0026rsquo;apparition ressemble \u0026agrave; un papillon et fait penser aux \u0026oelig;uvres pr\u0026eacute;c\u0026eacute;dentes, \u003cem\u003eButterfly of Love\u003c/em\u003e (Boston, 1960), \u003cem\u003eEscapade de Papillon\u003c/em\u003e (Boston, 1961) et\u0026nbsp;\u003cem\u003eButterfly of Tears\u003c/em\u003e (Boston, 1963). Le motif du papillon revient aussi par la suite dans \u003cem\u003eThe Fog in Maine\u003c/em\u003e (Boston, 1974) et dans\u003cem\u003e De droeve vlinder\u003c/em\u003e (Anvers, 1975).\u003c/p\u003e\r\n\r\n\u003cp\u003eSi on applique l\u0026rsquo;analyse des r\u0026ecirc;ves de Freud \u0026agrave; l\u0026rsquo;art contemporain, on peut avancer l\u0026rsquo;hypoth\u0026egrave;se que l\u0026rsquo;artiste se repr\u0026eacute;sente lui-m\u0026ecirc;me en premier lieu dans son \u0026oelig;uvre et que certains sentiments reviennent comme des signes ou des motifs r\u0026eacute;currents. Dans l\u0026rsquo;\u0026oelig;uvre de Cox, ce papillon et d\u0026rsquo;autres animaux mais aussi des coquillages et des fleurs donnent corps \u0026agrave; de telles \u0026eacute;motions.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe papillon est une chose ind\u0026eacute;finissable dont les \u0026laquo;\u0026nbsp;yeux\u0026nbsp;\u0026raquo; sont nets et reconnaissables. Tout comme dans \u003cem\u003eUntitled\u003c/em\u003e (1979) o\u0026ugrave; domine le motif de la porte, ici les \u0026laquo;\u0026nbsp;yeux\u0026nbsp;\u0026raquo;, qui ressemblent \u0026agrave; \u0026laquo;\u0026nbsp;deux escarboucles ourl\u0026eacute;es\u0026nbsp;\u0026raquo;, \u0026eacute;voquent \u0026agrave; nouveau le f\u0026eacute;minin et refl\u0026egrave;tent la qu\u0026ecirc;te de libert\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":9525,"title":"The Dancers (2)","dimensions":"567 x 760 mm ","date_begin":"1962-01-01","material":"lavis on paper ","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_23","stream_count_app":17,"permalink":"the-dancers-2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/629/large/Cox_Jan_The_dancers_1962_photo_M_HKA26.jpg?1392199251","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9529,"title":"Het volk jubelt, Boston","dimensions":"590 x 786 mm","date_begin":"1973-01-01","material":"ink on Arches - paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_26","stream_count_app":26,"permalink":"het-volk-jubelt-boston","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/625/large/Cox_Jan_ZT_1973_photo_M_HKA24.jpg?1392198461","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eJust as in \u003cem\u003eOh! Those Voices, Boston, 1972\u003c/em\u003e, with \u003cem\u003eHet volk jubelt, Boston\u003c/em\u003e\u0026nbsp;[The People Rejoice, Boston, 1973]\u0026nbsp;Cox attempts to capture daily experiences through flashes of memories and feelings.\u0026nbsp;Cox often combines experiences with Biblical stories and ancient myths, whereby they surpass the anecdotal and the purely subjective.\u0026nbsp;These are obsessional themes, where drink-induced visions alternate with manifestations of death and doom.\u0026nbsp;The etching \u003cem\u003eHet volk jubelt, Boston\u003c/em\u003e\u0026nbsp;[The People Rejoice, Boston, 1973]\u0026nbsp;is part of a series devoted to the story of Judith and Holofernes, a tragic tale about love and death where, just as with Orpheus and Eurydice, just as with the \u003cem\u003eIliad\u003c/em\u003e, woman is cause of conflict and calamity.\u0026nbsp;Using this Biblical story, Cox evokes his relational problems with the opposite sex, while at the same time de-subjectivizing the theme.\u0026nbsp;Beneath the mythic soil bubbles Cox\u0026#39;s own narrative: \u003cem\u003e\u0026quot;The basic idea here [of Judith and Holofernes] is that every woman has the potential to be a Judith.\u0026nbsp;Here I don\u0026#39;t mean anything negative.\u0026nbsp;I\u0026#39;m just basing myself on my own experience and what I\u0026#39;ve seen around me.\u0026nbsp;The woman that can seduce, can also kill.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eNet zoals in \u003cem\u003eOh! Those Voices, Boston, 1972\u003c/em\u003e tracht Cox in \u003cem\u003eHet volk jubelt, Boston, 1973\u003c/em\u003e de dagelijkse ervaring en omgeving te vatten door flitsen van herinneringen en gevoelens weer te geven. Vaak verbindt Cox zijn ervaringen met Bijbelse verhalen en mythen uit de oudheid, waardoor zij de anekdotiek van het louter subjectieve overstijgen. Het zijn obsessionele thema\u0026rsquo;s, waarin visioenen door drankmisbruik afwisselen met visioenen over dood en ondergang. De ets \u003cem\u003eHet volk jubelt\u003c/em\u003e maakt deel uit van een reeks etsen gewijd aan de geschiedenis van Judith en Holofernes, een tragisch verhaal over liefde en dood waarin, net zoals bij Orpheus en Eurydice, net als in de \u003cem\u003eIllias\u003c/em\u003e, de vrouw de oorzaak is van conflict en rampspoed. Aan de hand van dit Bijbelse verhaal evoceert Cox zijn relatieproblemen met de vrouw en desubjectiveerd het hiermee tegelijk. Onder de mythische bodem borrelt Cox\u0026rsquo; eigen verhaal: \u003cem\u003e\u0026ldquo;de grondidee ervan [van Judith en Holofernes] is dat elke vrouw potentieel een Judith kan zijn. Ik bedoel daarmee niets negatiefs maar steun alleen op mijn eigen ervaring en op wat ik bij anderen heb gezien. De vrouw kan de man die ze verleidt ook doden.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9538,"title":"The Fog In Maine, Boston","dimensions":"350 x 350 mm","date_begin":"1957-01-01","material":"oil on cardboard","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_21","stream_count_app":40,"permalink":"the-fog-in-maine-boston","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/611/large/Cox_Jan_ZT_sd_photo_M_HKA40.jpg?1392133754","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis gouache entitled \u003cem\u003eThe Fog in Maine, Boston\u003c/em\u003e (1957) is a preliminary study for the painting \u003cem\u003eThe Fog\u003c/em\u003e from 1960, but based on the earlier painting \u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/981/large/cox3_.jpg?1396687005\"\u003e\u003cem\u003eThe Fog in Maine\u003c/em\u003e\u003c/a\u003e from 1957.\u0026nbsp; The impulse for the work arose out of a late-night car ride with friends when a large moth suddenly flew against their windshield.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn the first painting from 1957, the moth is recognizably portrayed with, on the right (just as in the later works as well), a bird\u0026#39;s head with outstretched neck sticks out from above a layer of mist.\u0026nbsp; In the preparatory study for the subsequent painting, Cox transforms this moth into a visionary image, thereby imparting a more dramatic accent to the rather neutral atmosphere.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn his artistic creations, Jan Cox will continually return to certain themes and motifs, always developing them further: \u003cem\u003e\u0026ldquo;You can get ten new ideas, ones you hadn\u0026#39;t earlier thought about, but that emerge while you\u0026#39;re working.\u0026nbsp; The more you work, the more work keeps coming.\u0026nbsp; There\u0026#39;s no end to it...\u0026quot;\u003c/em\u003e (Jan Cox)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze gouache getiteld \u003cem\u003eThe Fog in Maine, Boston\u003c/em\u003e\u0026nbsp;(1957) is een voorstudie van het latere schilderij \u003cem\u003eThe Fog\u003c/em\u003e\u0026nbsp;uit 1960 maar gebaseerd op het eerdere schilderij \u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/981/large/cox3_.jpg?1396687005\"\u003e\u003cem\u003eThe Fog in Maine\u003c/em\u003e\u003c/a\u003e uit 1957. De aanleiding voor \u0026nbsp;dit werk was \u0026nbsp;een autorit met vrienden waarbij \u0026nbsp;er een grote nachtvlinder tegen de voorruit vloog.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn het eerste schilderij van 1957 wordt deze nachtvlinder duidelijk herkenbaar weergegeven, met rechts, net zoals ook in de latere werken, een vogelkop met uitgerekte hals, die boven een mistlaag uitsteekt. In de voorstudie van het latere schilderij heeft Cox deze nachtvlinder tot een visioenbeeld herleid waardoor de eerder neutrale sfeer een meer dramatisch accent heeft gekregen.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Cox zal in zijn artistieke creaties steeds bepaalde thema\u0026rsquo;s en motieven hernemen en verder ontwikkelen: \u003cem\u003e\u0026ldquo;Je kunt tien nieuwe idee\u0026euml;n krijgen, waar je niet helemaal aan gedacht had en die een aanleiding vinden in dat waarmee je bezig bent. Hoe meer dat je werkt, je krijgt steeds meer werk. Er is geen einde aan.\u0026rdquo;\u003c/em\u003e (Jan Cox)\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCette gouache intitul\u0026eacute;e \u003cem\u003eThe Fog in Maine, Boston\u003c/em\u003e (1957) est une \u0026eacute;tude pr\u0026eacute;paratoire pour le tableau ult\u0026eacute;rieur \u003cem\u003eThe Fog \u003c/em\u003ede 1960, mais elle s\u0026rsquo;inspire d\u0026rsquo;un tableau plus ancien, \u003cem\u003eThe Fog in Maine \u003c/em\u003ede 1957. L\u0026rsquo;\u0026eacute;l\u0026eacute;ment d\u0026eacute;clencheur de cette \u0026oelig;uvre \u0026eacute;tait un trajet en voiture avec des amis lors duquel un grand papillon de nuit a vol\u0026eacute; sur le pare-brise.\u003c/p\u003e\r\n\r\n\u003cp\u003eDans le premier tableau de 1957, ce papillon de nuit est repr\u0026eacute;sent\u0026eacute; de mani\u0026egrave;re parfaitement reconnaissable, avec \u0026agrave; droite, tout comme dans les \u0026oelig;uvres ult\u0026eacute;rieures, une t\u0026ecirc;te d\u0026rsquo;oiseau au cou allong\u0026eacute; qui s\u0026rsquo;\u0026eacute;tend au-dessus d\u0026rsquo;une nappe de brouillard. Dans l\u0026rsquo;\u0026eacute;tude pr\u0026eacute;liminaire du tableau qui suivra, Cox a r\u0026eacute;duit ce papillon de nuit \u0026agrave; une vision, ce qui conf\u0026egrave;re un accent plus dramatique \u0026agrave; l\u0026rsquo;atmosph\u0026egrave;re jusque-l\u0026agrave; plut\u0026ocirc;t neutre.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Cox reprend sans cesse certains th\u0026egrave;mes et motifs dans ses cr\u0026eacute;ations artistiques et continue \u0026agrave; les d\u0026eacute;velopper\u0026nbsp;: \u0026laquo;\u0026nbsp;On peut trouver dix nouvelles id\u0026eacute;es, auxquelles on n\u0026rsquo;aurait pas du tout pens\u0026eacute; et qui \u0026eacute;mergent de ce qui vous occupe. Plus on travaille, plus on a de travail. C\u0026rsquo;est sans fin.\u0026nbsp;\u0026raquo; (Jan Cox)\u003c/p\u003e\r\n"}]},{"id":9530,"title":"Het hoofd van Holofernes, Boston","dimensions":"590 x 786 mm","date_begin":"1973-01-01","material":"etching on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_27","stream_count_app":20,"permalink":"het-hoofd-van-holofernes-boston","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/624/large/Cox_Jan_ZT_1973_photo_M_HKA23.jpg?1392198159","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;Jan Cox told stories because he considered life to be a linked chain of stories. He therefore frequently presented the content of his paintings in the shape of the ancient images and ancient narratives that the classic myths, but also the Bible, offered him as the foundations of Western culture. He painted various works and also real series based on ancient narratives of for example Orpheus, the Iliad and Judith and Holofernes. This had nothing to do with literature, but everything to do with life: the works were not illustrations for those stories, the stories enabled the artist to penetrate and visualise life. \u0026lsquo;Myths are the instruments by which we continually struggle to make our experience intelligible to ourselves. A myth is a large controlling image, that gives philosophical meaning to the facts of ordinary life: that is, which has organizing value for experience\u0026rsquo;, he taught his students. In the traditional and therefor\u0026nbsp; generally known narratives Cox not only found what was in human nature in a kind of intensified and timeless form. They also enabled him to take topical and generally personally experienced, sometimes even anecdotal, events to a more universal and universally understandable plane. In the context of this crisis of civilisation and his personal problems, it should therefore not be surprising that stories on the tragic failure of mankind and his culture appealed most to him\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Marijke Van Eeckhaut in:\u0026nbsp;\u003cem\u003eJan Cox. Living One\u0026rsquo;s Art\u003c/em\u003e, Stichting Kunstboek, Group Van Damme, Oostkamp, 2008, p.\u0026nbsp;221\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;Jan Cox vertelde verhalen omdat hij het leven als een aaneenschakeling van verhalen beschouwde. Hij presenteerde de inhoud van zijn schilderijen dan ook dikwijls in de gedaante van de oerbeelden en oerverhalen die de klassieke mythen, maar ook de Bijbel hem boden als de fundamenten van de westerse cultuur. Hij heeft verschillende werken en ook heuse reeksen geschilderd naar de aloude verhalen over onder meer Orpheus, de Ilias en Judith en Holofernes. Dit had niets met literatuur, maar alles met het leven van doen: de werken vormden geen illustraties bij die verhalen, de verhalen stelden de kunstenaar in staat om het leven te doorgronden en te visualiseren. \u0026lsquo;Myths are the instruments by which we continually struggle to make our experience intelligible to ourselves. A myth is a large controlling image, that gives philosophical meaning to the facts of ordinary life: that is, which has organizing value for experience\u0026rsquo;, zo hield hij zijn studenten voor. In de traditionele en daardoor alom bekende verhalen trof Cox niet alleen alles wat des mensen was in een soort verhevigde en tijdloze vorm, ze stelden hem ook in staat om actuele en meestal persoonlijk beleefde, soms zelf anekdotische gebeurtenissen op een meer universeel en universeel begrijpbaar niveau te tillen. In de context van de beschavingscrisis en zijn persoonlijke problematiek hoeft het dan ook niet te verwonderen dat de verhalen over het tragische falen van de mens en zijn cultuur hem het meeste aanspraken\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Marijke Van Eeckhaut, \u003cem\u003eJan Cox. Profiel van een kunstenaarschap\u003c/em\u003e, Stichting Kunstboek, Group Van Damme, Oostkamp, 2008, p.\u0026nbsp;222\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026quot;Jan Cox racontait des histoires parce qu\u0026rsquo;il consid\u0026eacute;rait la vie comme une succession d\u0026rsquo;histoires. Aussi pr\u0026eacute;sentait-il souvent le contenu de ses tableaux sous la forme d\u0026rsquo;images arch\u0026eacute;typales et de r\u0026eacute;cits ancestraux que lui offraient les mythes classiques, mais aussi la Bible en leur qualit\u0026eacute; de fondements de la culture occidentale. Il a peint diff\u0026eacute;rentes \u0026oelig;uvres et de v\u0026eacute;ritables s\u0026eacute;ries d\u0026rsquo;apr\u0026egrave;s des r\u0026eacute;cits antiques comme, entre autres, Orph\u0026eacute;e, l\u0026rsquo;Iliade et Judith et Holopherne. Cela n\u0026rsquo;avait rien \u0026agrave; voir avec la litt\u0026eacute;rature, mais tout avec la vie\u0026nbsp;: les \u0026oelig;uvres ne constituent pas des illustrations de ces r\u0026eacute;cits, mais ces r\u0026eacute;cits permettent \u0026agrave; l\u0026rsquo;artiste de sonder et de visualiser la vie. \u0026laquo;\u0026nbsp;Les mythes sont des instruments avec lesquels nous sommes continuellement aux prises pour rendre notre exp\u0026eacute;rience intelligible \u0026agrave; nous-m\u0026ecirc;mes. Un mythe est une image qui exerce un grand contr\u0026ocirc;le et donne aux faits de la vie ordinaire du sens philosophique, c\u0026rsquo;est-\u0026agrave;-dire une valeur organisationnelle pour l\u0026rsquo;exp\u0026eacute;rience\u0026nbsp;\u0026raquo;, expliquait-il \u0026agrave; ses \u0026eacute;tudiants. Dans les r\u0026eacute;cits traditionnels et de ce fait connus de tous, Cox ne rencontre pas seulement tout ce qui rel\u0026egrave;ve de la nature humaine sous forme exacerb\u0026eacute;e et intemporelle, mais aussi la possibilit\u0026eacute; de hisser des \u0026eacute;v\u0026eacute;nements actuels et souvent personnels, parfois m\u0026ecirc;me anecdotiques, sur un plan plus universel et plus universellement compr\u0026eacute;hensible. Dans le contexte de la crise de civilisation et de ses probl\u0026egrave;mes personnels, il n\u0026rsquo;est pas surprenant que ce soient les r\u0026eacute;cits d\u0026rsquo;\u0026eacute;checs tragiques de l\u0026rsquo;\u0026ecirc;tre humain et de sa culture qui l\u0026rsquo;int\u0026eacute;ressent le plus\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Marijke Van Eeckhaut, \u003cem\u003eJan Cox. Profiel van een kunstenaarschap\u003c/em\u003e, Stichting Kunstboek, Group Van Damme, Oostkamp, 2008, p.\u0026nbsp;222\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":9550,"title":"Le fou rire du nouveau riche","dimensions":"488 x 350 mm","date_begin":"1950-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_11","stream_count_app":23,"permalink":"le-fou-rire-du-nouveau-riche--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/590/large/Cox_Jan_Le_fou_rire_du_nouveau_riche_1950_photo_M_HKA7.jpg?1392129463","poster_credits":"(c)image: MHKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9546,"title":"Untitled","dimensions":"560 x 440 mm","date_begin":"1949-01-01","material":"lithograph on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"lithography","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_07","stream_count_app":29,"permalink":"untitled--157","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/595/large/Cox_Jan_ZT_sd_photo_M_HKA11.jpg?1392130109","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAt the end of the 1940\u0026#39;s Jan Cox produced some splendid works, like the portraits that follow here.\u0026nbsp; \u003cem\u003e\u0026quot;The feeling of being again-and-again enthralled by the mystery of the uniqueness of a certain individual sets the creative process in motion,\u0026quot;\u003c/em\u003e writes the artist in an article about the art of portraiture.\u0026nbsp; Cox\u0026#39;s portraiture had also always been an endeavor of restoring human worth, and the beauty contained therein lies in the uniqueness of every individual.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026quot;A person\u0026#39;s portrait is the image of that someone as it has taken form in the mind of another.\u0026nbsp; Someone can only be recognized if he is seen by someone else, and that means appreciated.\u0026nbsp; The portrait bears witness to a person\u0026#39;s existence.\u0026nbsp; A human being only achieves significance in terms of connection with other human beings, and so accrues an extra dimension of reality and authenticity when he is captured as an image.\u0026nbsp; I think that it provides a natural and just fulfillment for our human self-consciousness, when the portrait remains as constant proof that we have been seen.\u003c/em\u003e(Jan Cox, 1964)\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eVanaf de late jaren \u0026#39;40 komen er enkele prachtige werken tot stand, zoals enkele portretten van Yvonne. \u003cem\u003e\u0026ldquo;Het gevoel steeds opnieuw geboeid te zijn door het mysterie van het uniek-zijn van een bepaald individu zet de creatieve werkzaamheid in gang\u0026rdquo;\u003c/em\u003e, schrijft Cox in een artikel over het portretschilderen. Cox\u0026rsquo; portretkunst is dan ook steeds een streven geweest naar het herstel van de waardigheid van de mens, en de schoonheid die vervat ligt in de specifieke uniciteit van elk individu.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026quot;Het portret van iemand is het beeld van iemand, dat zich heeft gevormd in de geest van een ander. Iemand kan alleen herkend worden als hij gezien is door iemand anders, en dat betekent naar waarde geschat. Het portret is de getuigenis van iemands bestaan. Een menselijk wezen krijgt alleen betekenis in verband met andere menselijke wezens, en hij verkrijgt aldus een extra dimensie als werkelijkheid en waarachtigheid, wanneer hij als beeld is vastgelegd. Ik denk dat het een natuurlijke en gerechtvaardigde voldoening is voor ons menselijke zelfbewustzijn, waneer het portret als blijvend bewijs daar is dat we gezien zijn geweest.\u0026quot;\u003c/em\u003e (Jan Cox, 1964)\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9581,"title":"Golgotha","dimensions":"200 x 110 x 70 cm","date_begin":"1978-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_44","stream_count_app":20,"permalink":"golgotha","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/659/large/cox9.jpg?1392216569","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 1979 Jan Cox travels to Israel and there comes into contact with Arab culture.\u0026nbsp; He keeps a diary where he records his impressions and thoughts, and also composes some letters to friends back home.\u0026nbsp; From one such to Adriaan Raemdonck: \u003cem\u003e\u0026ldquo;\u0026hellip;it\u0026#39;s Israel, but an Arabic world.\u0026nbsp; The mosques dominate the Wailing Wall [\u0026hellip;] one feels quite clearly that the Jewish word is artificially implanted upon the Arabic.\u0026nbsp; The land is Arabic, forcefully modeled by the Jews.\u0026nbsp; It remains an Arabic land occupied by the Jews; 2000 years is too much.\u0026quot;\u003c/em\u003e\u003c/p\u003e\u003cp\u003eThere, Jan Cox confronts his Jewish-Christian background with the Arabic society, and refers in his sculpture \u003cem\u003eGolgotha\u003c/em\u003e to Mt. Calvary where Christ was crucified.\u0026nbsp; He further notes: \u003cem\u003e\u0026ldquo;\u0026hellip; it\u0026#39;s a farewell to a world become Christian, unforeseen.\u0026nbsp; Revelation [of an] Arabic world.\u0026nbsp; My Golgotha and fetishism, [\u0026hellip;] with the luck of having begun with almost nothing and then just finding the one symbol (fetish) after another until it seemed complete.\u0026nbsp; But it must become humanly individualized in Christ.\u0026quot;\u0026nbsp;\u0026nbsp; \u003c/em\u003e\u003c/p\u003e\u003cp\u003eThis journey paralyzed Jan Cox with a deep-seated fear of a resurgence of fascism or totalitarianism.\u0026nbsp; A fear, or \u0026#39;pressure of reality\u0026#39;, against which he was unable to cope.\u0026nbsp; In the night of 7-8 October, Jan Cox put an end to his own life.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn 1979 reist Jan Cox naar Isra\u0026euml;l en komt er in contact met de Arabische cultuur. Hij houdt er een dagboek bij waarin hij zijn indrukken en bedenkingen noteert en schrijft er ook enkele brieven naar onder meer Adriaan Raemdonck; \u003cem\u003e\u0026ldquo;\u0026hellip;het is Isra\u0026euml;l maar een Arabische wereld. De moskee\u0026euml;n domineren de Klaagmuur, [\u0026hellip;] men voelt zeer goed dat de joodse wereld kunstmatig op de Arabische is \u0026nbsp;ingeplant. Het land is Arabisch, door de joden forceful gemodelleerd. Het blijft door de joden bezet Arabisch land, 2000 jaar is teveel.\u0026rdquo; \u003c/em\u003e\u003c/p\u003e\u003cp\u003eJan Cox confronteert er zijn jood-christelijke achtergrond met de Arabische maatschappij en refereert in de sculptuur \u003cem\u003eGolgotha\u003c/em\u003e aan de Calvarieberg waar Christus werd gekruisigd. Verder noteert hij: \u003cem\u003e\u0026ldquo;\u0026hellip; het is afscheid nemen van een wereld (de christene) geworden, onvoorzien. Revelatie Arabische wereld. Mijn Golgotha en het fetisjisme, [\u0026hellip;] met het toeval van bijna niets begonnen en vanzelf het ene symbool (fetisj) na het andere gevonden tot het volledig leek. Maar het moest menselijk ge\u0026iuml;ndividualiseerd worden in Christus.\u0026rdquo; \u003c/em\u003e\u003c/p\u003e\u003cp\u003eDeze reis heeft Jan Cox verlamd met een doorgedreven angst voor een heroplevend fascisme of totalitarisme. Een angst of \u0026lsquo;druk van de realiteit\u0026rsquo; waartegen hij niet was opgewassen. In de nacht van 7 op 8 oktober maakte Jan Cox een einde aan zijn leven.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":10859,"title":"As Manipulators of the Visual Arts our Understanding goes through our Eyes.","dimensions":"3 p","date_begin":"1961-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":84,"category_id":25,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Archief De Zwarte Panter, Antwerpen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"as-manipulators-of-the-visual-arts-our-understanding-goes-through-our-eyes","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/562/large/Our_understanding_goes_through_our_eyes.jpg?1401459238","poster_credits":"Courtesy Archief De Zwarte Panter, Antwerpen","translations":[{"locale":"en","description":"\u003cp\u003eThis typescript is a lecture for Cox\u0026#39;s students at the end of an academic year at the School of the Museum of Fine Arts in Boston.\u0026nbsp; Here, Cox avows his support for a moral stance as the basis by which to judge art.\u0026nbsp; \u0026#39;Anyone with adequate technique can get away with murder,\u0026#39; is among his assertions.\u0026nbsp; The artist\u0026#39;s ultimate aim is to give others a poetic \u003cem\u003eraison d\u0026rsquo;\u0026ecirc;tre\u003c/em\u003e.\u0026nbsp; The first question must be \u0026#39;why\u0026#39;, then \u0026#39;what\u0026#39;, and not the \u0026#39;how\u0026#39; that now takes precedence.\u003c/p\u003e\u003cp\u003eThe lecture was accompanied by slides.\u0026nbsp; \u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDit typoscript is een lezing voor de studenten van Cox aan het eind van een academiejaar aan de Academie van Boston. Cox breekt er een lans in voor een morele houding als basis voor oordelen in kunst. \u0026lsquo;Om het even wie met voldoende techniek kan wegkomen met moord\u0026rsquo;, stelt hij onder meer. Het ultieme doel van de kunstenaar is om de mens een po\u0026euml;tische raison d\u0026rsquo;\u0026ecirc;tre te geven. De eerste vraag zou dei naar het \u0026lsquo;waarom\u0026rsquo; moeten zijn, dan die naar het \u0026lsquo;wat\u0026rsquo;, niet die naar het \u0026lsquo;hoe\u0026rsquo; dat nu op de eerste plaats komt.\u003c/p\u003e\u003cp\u003eDe lezing werd begeleid door dia\u0026rsquo;s.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":10860,"title":"Notes on the Path to Surrealism","dimensions":"8 p","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":84,"category_id":25,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy Archief De Zwarte Panter, Antwerpen","cached_tag_list":"surrealism, lecture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"notes-on-the-path-to-surrealism","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/561/large/notes_on_the_path_to_surrealism__1_to_5.jpg?1401459184","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThese handwritten notes, most likely by way of preparation for lectures, offer an overview of a portion of Jan Cox\u0026#39;s cultural horizon, with a part of his chronology of the prologue for surrealism and extensive quotations from Tiriade, De Chirico and Dali.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDeze handgeschreven nota\u0026rsquo;s, wellicht voorbereidingen voor lezingen, geven een overzicht van een deel van de culturele horizon van Jan Cox, met een deel van zijn chronologie van het voorspel voor het surrealisme en uitgebreide citaten van Tiriade, De Chirico en Dali.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9534,"title":"Studie van kleuren, vormen, objecten, materialen","dimensions":"360 x 535 mm","date_begin":null,"material":"gouache on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_06","stream_count_app":29,"permalink":"studie-van-kleuren-vormen-objecten-materialen","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/619/large/Cox_Jan_ZT_sd_photo_M_HKA19.jpg?1392197195","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn the manner of Emile Verhaeren, Paul Van Ostaijen, Pierre Alechinsky, Christian Dotrement and (lest we forget) Hugo Claus, Jan Cox also combines \u0026#39;word\u0026#39; and \u0026#39;image\u0026#39;. \u0026nbsp;Or, better said, in numerous sketches and sketchbooks he investigates the processes whereby word transitions into image.\u0026nbsp; All qualitative relationships between form and color are painstakingly studied, with the purpose being to impart correct expression or sensitivity to the artwork.\u0026nbsp; Also in \u003cem\u003eStudie van kleuren, vormen, objecten, materialen [Study of colors, forms, objects, materials]\u003c/em\u003e he argues that images are in the first instance \u0026#39;thought\u0026#39;.\u0026nbsp; An image is formed in the brain and is not the direct consequence of \u0026#39;the drawn\u0026#39; or painted composition.\u003cem\u003e \u003c/em\u003e\u003c/p\u003e\u003cp\u003eIn\u0026nbsp;\u003cem\u003eStudie van kleuren, vormen, objecten, materialen [Study of colors, forms, objects, materials]\u0026nbsp;\u003c/em\u003ethe poetical nature-symbols (shells, flowers and butterflies) seem to carry the secret of life and the promise of metamorphosis.\u0026nbsp; The shell, archetypical symbol for the female, for life\u0026#39;s mystery, conserves the secret knowledge that the artist strives lifelong to attain.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn navolging van Emile Verhaeren, Paul Van Ostaijen, Pierre Alechinsky, Christian Dotrement en niet te vergeten Hugo Claus combineert ook Jan Cox \u0026#39;woord\u0026#39; en \u0026#39;beeld\u0026#39;. Of beter gezegd gaat hij in talrijke schetsen en schetsboeken op zoek naar de processen waarin woord overgaat in beeld. Allerlei kwalitatieve relaties tussen vorm en kleur worden zorgvuldig bestudeerd met als doel het kunstwerk de juiste uitdrukking of gevoeligheid te geven. Ook in\u0026nbsp;\u003cem\u003eStudie van kleuren, vormen, objecten, materialen\u003c/em\u003e\u0026nbsp;laat hij ons ervaren dat beelden in eerste instantie worden \u0026#39;gedacht\u0026#39;. Een beeld wordt gevormd in de hersenen en is niet het rechtstreekse gevolg van \u0026#39;het getekende\u0026#39; of de geschilderde compositie.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn\u0026nbsp;\u003cem\u003eStudie van kleuren, vormen, objecten, materialen\u0026nbsp;\u003c/em\u003elijken\u0026nbsp;de po\u0026euml;tische natuursymbolen (schelpen, bloemen en vlinders)\u0026nbsp;het geheim te dragen van het leven en beloven ze een metamorfose. \u0026nbsp;De schelp, archetypisch symbool van het vrouwelijke, het levensmysterie, bewaart de geheime kennis waarnaar de kunstenaar zijn leven lang op zoek is geweest.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9559,"title":"Untitled","dimensions":"900 x 690 mm","date_begin":"1974-01-01","material":"silkscreen on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_31","stream_count_app":33,"permalink":"untitled--164","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/582/large/Cox_Jan_aan__Adriaan_in_herinnering_aan__onze_zeer_mooie_samenwerking_van_harte_Jan_Cox_1974_photo_M_HKA32.jpg?1392127738","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn this silkscreen print it is mainly the 'spiral eyes' that make it recognizable as a portrait.\u0026nbsp; Jan Cox portrays himself, but the spiral form also implicates the eyes of the observing viewer; eye and gaze.\u0026nbsp; Or put another way: here is the search of the subject for the lost object, the search of Orpheus for Eurydice.\u0026nbsp; As well, the mother's gaze as lost object is also rendered visual.\u0026nbsp; Psychoanalytically, these motifs might be explained in terms of the Oedipus complex: for Jan Cox that lost, constantly sought for object, may be found revealed in the mother's gaze.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn deze zeefdruk zijn vooral de spiraalogen als portret herkenbaar. Jan Cox representeert zichzelf maar de spiraalvorm impliceert ook de ogen van de toeschouwer die hem gadeslaan; oog en blik. Of anders beschreven: de zoektocht van het subject naar het verloren object, de zoektocht van Orpheus naar Eurydice. Tevens wordt ook de blik van de moeder als verloren object gevisualiseerd. Via de psycho-analayse kunnen we dit motief verklaren vanuit het oedipus-complex: voor Jan Cox reveleert het verlorene en steeds opnieuw gezochte object zich als de blik van de moeder.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9574,"title":"Untitled","dimensions":"100 x 40 x 20 cm","date_begin":"1978-01-01","material":"ostrich plume and marble","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Sculpture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_45","stream_count_app":56,"permalink":"untitled--168","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/650/large/Cox_Jan_ZT_sd_photo_M_HKA48.jpg?1392213655","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAs a humanist, Jan Cox was committed to a dualistic worldview.\u0026nbsp; The notion of the dichotomy - man/woman, matter/intelligence, steadfastness/inconstancy - and the impenetrable reality that sits alongside dream and hope, receives its visual manifestation in works such as \u003ci\u003eUntitled\u003c/i\u003e\u0026nbsp;or\u0026nbsp;\u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/980/large/cox4_.jpg?1396685173\"\u003e\u003ci\u003eMarmer en pluim\u0026nbsp;(Marble and Feather\u003c/i\u003e)\u003c/a\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eOnly too aware of his own weaknesses, in 1952 Cox writes the following about his wife:\u0026nbsp;\u003ci\u003e\"... there is Yvonne, a positive and joyous soul who is unconcerned with having the approval of others.\u0026nbsp; She does what she wants to do.\u0026nbsp; She has mettle; I appear timorous.\u0026nbsp; It astonishes me to see how she can be so unreasonably certain about some values.\u0026nbsp; Sometimes this irks me, but that's what I love about her...\". \u0026nbsp;\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp\u003eIn later works, as well, Cox seeks to create a visual translation of 'the contrast', and in the series The Calvary and more particularly in \u003ci\u003eThe Descent from the Cross\u003c/i\u003e - with a nod to Giotto - he endeavors to reconcile the spiritual with the physical and the worldly.\u0026nbsp; The palette is reduced; it's all in the power and the energy.\u0026nbsp; Impasto, with interiority made manifest on canvas.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAls humanist was Jan Cox overtuigd van een dualistische wereldbeeld. Het besef van de tweedeling; man/vrouw, materie/intelligentie, standvastigheid/wisselvalligheid en de ondoordringbare werkelijkheid naast de droom of hoop krijgt in \u003ci\u003eUntitled\u003c/i\u003e en later in\u0026nbsp;\u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/980/large/cox4_.jpg?1396685173\"\u003e\u003ci\u003eMarmer en Pluim\u003c/i\u003e\u003c/a\u003e\u003ci\u003e \u003c/i\u003e(1979)\u0026nbsp;een visuele weerspiegeling.\u0026nbsp;\u003c/p\u003e\u003cp\u003eBewust van zijn zwaktes schreef hij in 1952 over zijn vrouw;\u0026nbsp;\u003ci\u003e\"... er is Yvonne, een positieve gelukkige ziel, die niet om andermans goedkeuring geeft, en doet wat ze wil doen. Zij heeft een moed waarnaast ik een lafaard lijk. Het verbaast me te zien hoe onredelijk zeker ze over sommige waarden kan zijn. Soms maakt me dit kregel, maar meestal hou ik hierom van haar...\"\u003c/i\u003e.\u003c/p\u003e\u003cp\u003eOok in latere werken tracht Jan Cox 'het contrast' plastisch te vertalen en probeert hij in de reeks van \u003ci\u003ede Martelgang\u003c/i\u003e en meer bepaald in \u003ci\u003ede Kruisafneming\u003c/i\u003e, in navolging van Giotto, het spirituele te verzoenen met fysieke en wereldse. Elke kleur ontbreekt. enkel de kracht en energie; een pasteuze innerlijkheid krijgt gestalte op het doek.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eEn tant qu’humaniste, Jan Cox avait une vision du monde résolument dualiste. La conscience de la dichotomie homme/femme, matière/intelligence, constance/inconstance et la réalité insondable à côté du rêve ou de l’espoir prennent la tournure d’un reflet visuel dans \u003ci\u003eUntitled\u003c/i\u003e et par la suite dans \u003ci\u003eMarmer en Pluim \u003c/i\u003e[Marbre et plume] (1979).\u003c/p\u003e\u003cp\u003eConscient de ses faiblesses, il écrit en 1952 à propos de sa femme\u0026nbsp;: «\u0026nbsp;(…) il y a Yvonne, une âme positive et heureuse, qui n’attache aucune importance à l’approbation d’autrui et n’en fait qu’à sa tête. Elle est dotée d’un courage à côté duquel je passe pour un lâche. Cela me surprend de voir à quel point elle peut se montrer déraisonnablement sûre de certaines valeurs. Parfois, cela me rend irascible, mais le plus souvent c’est pour cette raison que je l’aime (…)\u0026nbsp;».\u003c/p\u003e\u003cp\u003eDans ses œuvres tardives, Jan Cox cherche à traduire «\u0026nbsp;le contraste\u0026nbsp;» plastique et tente, dans le sillage de Giotto, de réconcilier le spirituel, le physique et le temporel dans la série \u003ci\u003eDe Martelgang\u003c/i\u003e [Le Calvaire] et en particulier dans \u003ci\u003eDe Kruisafneming\u003c/i\u003e [\u003ci\u003eLa descente de croix\u003c/i\u003e]. Toute couleur fait défaut, rien que de la force et de l’énergie\u0026nbsp;; une intériorité pâteuse prend corps sur la toile.\u003c/p\u003e"}]},{"id":9571,"title":"Herinneringen aan mijn kinderjaren","dimensions":"120 x 160 cm","date_begin":"1980-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_52","stream_count_app":42,"permalink":"herinneringen-aan-mijn-kinderjaren","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/000/020/647/medium_500/Cox_Jan_Jeugdherinneringen_sd_photo_M_HKA.jpg?1392212844","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/647/large/Cox_Jan_Jeugdherinneringen_sd_photo_M_HKA.jpg?1392212844","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eCox\u0026#39;s later work is characterised by exhaustive reflections on life and work, expressed in paintings and in his written journal notes, as well.\u0026nbsp; These are pieces where aspects of his inner life, emotional state and commitment are mutually interwoven.\u0026nbsp;And given his biography, this is not difficult to understand, for a the time Cox suffered from an exhausting manic-depressive breakdown, marked by extreme emotional surges seesawing between periods of hyperactive excitability and deep mental depression.\u0026nbsp;In 1979, Cox endeavors to set down his memories of his father on paper, and this results in the manuscript \u003cem\u003eNagedachtenis aan Hendricus Maria Cox \u003c/em\u003e(In Commemoration of Hendricus Maria Cox).\u0026nbsp;It comes over as an intimate and tranquil dialogue between father and son.\u0026nbsp;Following on from the example of this melancholic look back, in his final years of life Cox returns to memories from childhood, translating these in a number of paintings.\u0026nbsp;In \u003cem\u003eHerinneringen aan mijn kinderjaren\u003c/em\u003e (Memories of my Childhood), these early recollections reverberate alongside later vivid impressions of the Arizona deserts.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet latere werk van Cox wordt gekarakteriseerd door uitputtende reflecties over leven en werk die zowel in schilderijen als in neergeschreven dagboeknotities hun weerslag vinden. Werkstukken waarin aspecten van het innerlijke, emotionaliteit en engagement verweven zijn. Niet onverklaarbaar; in deze periode lijdt Cox aan uitputtende manisch-depressieve inzinkingen, gekenmerkt door hevige emotionele opstoten, elkaar afwisselende periodes van opwinding gepaard met hyperactiviteit en zware geestelijke depressies. In 1979 tracht Cox de herinneringen aan zijn vader op papier te zetten, wat resulteert in het manuscript \u003cem\u003eNagedachtenis aan Hendricus Maria Cox\u003c/em\u003e. Het wordt een innige en stille dialoog tussen vader en zoon. In navolging van deze melancholische terugblik is het niet verwonderlijk dat Cox in zijn laatste levensjaren teruggrijpt naar de herinneringen uit zijn kindertijd en deze in een aantal schilderijen verwerkt. In \u003cem\u003eHerinneringen aan mijn kinderjaren\u003c/em\u003e zinderen deze en de indrukken die Cox opdeed in de woestijn nabij Arizona nog sterk na.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;\u0026oelig;uvre tardive de Jan Cox se caract\u0026eacute;rise par des r\u0026eacute;flexions \u0026eacute;puisantes sur la vie et le travail qui se r\u0026eacute;percutent aussi bien dans ses tableaux que dans les notes de son journal intime. Des \u0026oelig;uvres dans lesquelles s\u0026rsquo;entrem\u0026ecirc;lent des aspects d\u0026rsquo;int\u0026eacute;riorit\u0026eacute;, d\u0026rsquo;\u0026eacute;motivit\u0026eacute; et d\u0026rsquo;engagement. Ce qui s\u0026rsquo;explique sans doute par le fait qu\u0026rsquo;\u0026agrave; cette \u0026eacute;poque Cox souffre d\u0026rsquo;\u0026eacute;pisodes maniaco-d\u0026eacute;pressifs \u0026eacute;puisants, marqu\u0026eacute;s par de fortes crises \u0026eacute;motionnelles lors desquelles s\u0026rsquo;alternent des p\u0026eacute;riodes d\u0026rsquo;agitation et d\u0026rsquo;hyperactivit\u0026eacute; et de profondes d\u0026eacute;pressions. En 1979, Cox tente de consigner les souvenirs de son p\u0026egrave;re, ce qui aboutit au manuscrit \u003cem\u003eNagedachtenis aan Hendricus Maria Cox\u003c/em\u003e [M\u0026eacute;moires d\u0026rsquo;Hendricus Maria Cox], un dialogue intime et silencieux entre p\u0026egrave;re et fils. \u0026Agrave; l\u0026rsquo;instar de cette r\u0026eacute;trospection m\u0026eacute;lancolique, il n\u0026rsquo;est pas \u0026eacute;tonnant que dans les derni\u0026egrave;res ann\u0026eacute;es de sa vie Cox revisite ses souvenirs d\u0026rsquo;enfance et les int\u0026egrave;gre \u0026agrave; certains tableaux. Dans \u003cem\u003eHerinneringen aan mijn kinderjaren\u003c/em\u003e, ces souvenirs ainsi que des impressions ressenties dans le d\u0026eacute;sert pr\u0026egrave;s de l\u0026rsquo;Arizona subsistent avec intensit\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":9542,"title":"Papageno ","dimensions":"960 x 160 mm","date_begin":"1976-01-01","material":"lithograph, ink on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_33","stream_count_app":49,"permalink":"papageno--2","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eNach dem Iliad-Zyklus, in dem Cox das B\u0026ouml;se, Gewaltt\u0026auml;tige und die Rachegedanken in den Mittelpunkt stellt, beginnt er im Jahr 1976 mit einer komplement\u0026auml;ren Reihe, die von Mozarts \u0026lsquo;freimaurerischer\u0026rsquo; Oper die Zauberfl\u0026ouml;te inspiriert ist. Der Sinnspruch lautet: Sei standhaft, duldsam und verschwiegen: den Menschen erheben, indem man ihn nach Liebe und Freiheit verlangen l\u0026auml;sst, ihn ermutigt zu menschlicher Vorz\u0026uuml;glichkeit und Gerechtigkeit als Waffe gegen den blinden Wahnsinn und die Gewalt, die vielen Generationen Ungl\u0026uuml;ck und Elend gebracht hat.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eF\u0026uuml;r dieses Projekt hat Cox nur wenige Skizzen und Gem\u0026auml;lde entworfen: Monastatos, Papageno, und Sarastro. Angesichts Given Cox\u0026rsquo; Humanismus und der darin enthaltenen dualistischen Lebensvorstellung ist es nicht verwunderlich, dass er die Pers\u0026ouml;nlichkeiten Monastatos und Papageno als Thema w\u0026auml;hlte. Diese Figuren sind Spiegelbilder von einander und weisen mehr Gemeinsamkeiten auf, als man vermuten w\u0026uuml;rde. Zum einen sind sie beide eine Art Einzelg\u0026auml;nger, die auf der Grundlage von \u0026auml;u\u0026szlig;eren Merkmalen Au\u0026szlig;enseiter in der Welt sind, zu der sie geh\u0026ouml;ren. Schlie\u0026szlig;lich stammt der Name Monastatos vom Griechischen \u0026bdquo;mono-statos\u0026ldquo;, was so viel bedeutet wie \u0026bdquo;der Alleinstehende\u0026ldquo;, \u0026bdquo;der Isolierte\u0026ldquo;. In der Oper von Mozart wird der schwarze Maure traditionell als ein b\u0026ouml;ser Schurke dargestellt, der seinen triebhaften Impulsen vollkommen erlegen ist. Er wird als Aufseher der entf\u0026uuml;hrten und wundersch\u0026ouml;nen Pamina vorgestellt, die er bewachen soll, jedoch -\u0026nbsp;\u0026nbsp;entgegen jedem Anstand \u0026ndash; begehrt und bedr\u0026auml;ngt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePapageno hingegen \u0026ndash; der auch das Tierische im Menschen symbolisiert, ist ein fr\u0026ouml;hlicher Naturmensch, der von prim\u0026auml;ren Instinkten wie Essen, Trinken, Schlafen und die Suche nach einer Frau getrieben ist. Papageno ist eins mit der Natur und lebt autonom und in v\u0026ouml;lliger Harmonie. Vor diesem Hintergrund stehen beide Figuren f\u0026uuml;r die sinnliche, weniger entwickelte Seite des Menschen, der vor allem aus prim\u0026auml;ren Trieben heraus handelt, und nicht aus rationalen \u0026Uuml;berlegungen. Dabei verk\u0026ouml;rpert Monastatos das eher Dunkle, Zerst\u0026ouml;rerische; Papageno die Lebenskraft. In dem Gem\u0026auml;lde Monastatos und in der vorbereitenden Skizze ruft Cox eine drohende Atmosph\u0026auml;re mit einer h\u0026ouml;llischen Farbgebung und einer aggressiven Linienf\u0026uuml;hrung hervor, w\u0026auml;hrend in Papageno eher das Lyrische und das Organische vorherrscht, verh\u0026uuml;llt in Unschuld und Sympathie einer vegetalen Welt.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/022/868/large/Cox_Jan_ZT_1976__photo_M_HKA15.jpg?1399376158","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFollowing the\u0026nbsp;\u003cem\u003eIliad\u003c/em\u003e-cycle, where Cox sets violence and thoughts of revenge as central motifs, in 1976 he begins a complimentary series inspired by Mozart\u0026#39;s \u0026#39;masonic\u0026#39; opera\u0026nbsp;\u003cem\u003eThe Magic Flute\u003c/em\u003e.\u0026nbsp; The adagio states\u0026nbsp;\u003cem\u003eSei standhaft, duldsam und verschwiegen\u003c/em\u003e, \u0026lsquo;be steadfast, forbearing and discrete\u0026#39;: to elevate man by having him long for love and freedom, encouraging him to human excellence and justice as weapons against the blind madness and violence that have brought unhappiness and misery to so-many generations.\u0026nbsp; For this project, however, Cox only made a few sketches and paintings:\u0026nbsp;\u003cem\u003eMonastatos, Papageno,\u003c/em\u003e\u0026nbsp;and\u0026nbsp;\u003cem\u003eSarastro\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eGiven Cox\u0026rsquo;s humanistic and herein contained dualistic vision of life, it is hardly surprising that he chooses the characters of Monastatos and Papageno as subjects.\u0026nbsp; These figures are each others mirror-image and have more in common than one might suspect.\u0026nbsp; First, each is a sort of\u0026nbsp;\u003cem\u003eeinzelg\u0026auml;nger\u0026nbsp;\u003c/em\u003e(loner)\u003cem\u003e,\u0026nbsp;\u003c/em\u003ewhom on the basis of outer appearance are outsiders in the world they find themselves in.\u0026nbsp; For that matter, the name Monastatos is derived from the Greek \u0026lsquo;mono-statos\u0026rsquo;, that may be taken to mean \u0026#39;the stand-aloner\u0026#39;, \u0026#39;the isolated one\u0026#39;.\u0026nbsp; In Mozart\u0026#39;s opera, the Moor Monastatos is traditionally represented as an evil villain completely given over to unbound libidinous impulses.\u0026nbsp; He is introduced as controller of the abducted beauty Pamina, whom he is beholden to protect, but - against any modicum of decency - covets to have his lustful way fulfilled.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOn the other hand, Papageno \u0026ndash; who also symbolizes the animal in man, is a merry \u0026#39;natural man\u0026#39;, driven by primary instincts such as eating, drinking, sleeping and pursuing the opposite sex.\u0026nbsp; Papageno is as one with nature, living autonomously and in full harmony.\u0026nbsp; From this perspective, both figures stand for the carnal, less-developed side of man, mainly operating according to primal drives and not much given to reason.\u0026nbsp; And here, Monastatos embodies the rather dark and the destructive; Papageno, the vitality of life\u0026#39;s force. \u0026nbsp; \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn\u0026nbsp;\u003cem\u003eMonastatos\u003c/em\u003e, Cox evokes a threatening atmosphere with hellish coloring and an aggressive execution of line, while with\u0026nbsp;\u003cem\u003ePapageno\u0026nbsp;\u003c/em\u003ewe have the lyrical and the organic, a personage enveloped by the innocence and sympathy of a botanical flush.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eNa de\u0026nbsp;\u003cem\u003eIlias\u003c/em\u003e-cyclus, waarin Cox het kwade, het gewelddadige en de wraakgedachte centraal stelde, start hij in 1976 een complementaire reeks werken waarvoor hij inspiratie vond in Mozarts ma\u0026ccedil;onnieke opera\u0026nbsp;\u003cem\u003eDe Toverfluit\u003c/em\u003e. Het adagium hier luidt\u0026nbsp;\u003cem\u003eSei standhaft, duldsam und verschwiegen\u003c/em\u003e, \u0026lsquo;wees standvastig, verdraagzaam en discreet\u0026rsquo;: de mens verheffen door hem te doen verlangen naar liefde en vrijheid, hem aansporen tot menselijke voortreffelijkheid en gerechtigheid als wapens tegenover de blinde waanzin en gewelddadigheid die vele generaties ongeluk en ellende heeft gebracht. Cox zou hiervoor echter slechts enkele schetsen en schilderijen ontwerpen:\u0026nbsp;\u003cem\u003eMonastatos, Papageno,\u003c/em\u003e\u0026nbsp;en\u0026nbsp;\u003cem\u003eSarastro\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eGezien Cox\u0026rsquo; humanistische en daarin vervatte dualistische levensvisie, is het niet verwonderlijk dat hij de personages Monastatos en Papageno tot onderwerp kiest. Deze figuren zijn elkaars spiegelbeeld en hebben meer gemeen dan men zou vermoeden. Vooreerst zijn ze elk een soort\u0026nbsp;\u003cem\u003eeinzelg\u0026auml;nger,\u0026nbsp;\u003c/em\u003edie op basis van uiterlijke kenmerken buitenstaanders zijn in de werelden waartoe ze behoren. Monastatos is immers afgeleid van het Griekse \u0026lsquo;mono-statos\u0026rsquo;, wat zoveel betekent als \u0026lsquo;de alleenstaande\u0026rsquo;, de \u0026lsquo;ge\u0026iuml;soleerde\u0026rsquo;. In de opera van Mozart wordt de zwarte Moor Monastatos traditioneel voorgesteld als een boosaardige schurk, een bruut die totaal overgeleverd is aan onbeteugelde libidineuze driften. Hij wordt ge\u0026iuml;ntroduceerd als de belager van de geschaakte en wonderschone Pamina, die hij geacht wordt te bewaken, maar \u0026ndash; tegen elk maatschappelijk fatsoen in \u0026ndash; waagt te begeren en aanrandt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ePapageno echter \u0026ndash; die ook het dierlijke in de mens symboliseert, is een vrolijk natuurmens gedreven door primaire instincten zoals eten, drinken, slapen en het zoeken naar een wijfje. Papageno is dan ook \u0026eacute;\u0026eacute;n met de natuur en leeft autonoom in volledige harmonie. In dit opzicht staan beide figuren voor de zinnelijke, minder ontwikkelde kant van de mens die vooral vanuit primaire driften en niet vanuit de ratio handelt. Daarbij belichaamt Monastatos het eerder donkere, destructieve, en Papageno het levenskrachtige.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn\u0026nbsp;\u003cem\u003eMonastatos\u003c/em\u003e\u0026nbsp;evoceert Cox een dreigende sfeer met een hels coloriet en een agressieve lijnvoering, terwijl hij met\u0026nbsp;\u003cem\u003ePapageno\u0026nbsp;\u003c/em\u003emeer het lyrische en het organische, gehuld in de onschuld en sympathie van een vegetale wereld aanbrengt.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eSuite au cycle de l\u0026#39;Iliade, o\u0026ugrave; Cox accorde une place centrale \u0026agrave; la violence et aux r\u0026ecirc;ves de vengeance, en 1976 il commence une s\u0026eacute;rie \u0026eacute;logieuse inspir\u0026eacute;e de l\u0026#39;op\u0026eacute;ra \u0026#39;ma\u0026ccedil;onnique\u0026#39; de Mozart, Le Fl\u0026ucirc;te Enchant\u0026eacute;e. L\u0026#39;adagio dit \u0026laquo;\u0026nbsp;Sei standhaft, duldsam und verschwiegen\u0026nbsp;\u0026raquo; ou \u0026laquo;\u0026nbsp;sois loyal, patient et discret\u0026nbsp;\u0026raquo; : \u0026eacute;lever l\u0026#39;homme en lui faisant d\u0026eacute;sirer l\u0026#39;amour et la libert\u0026eacute;, en l\u0026#39;encourageant \u0026agrave; l\u0026#39;excellence humaine et \u0026agrave; la justice en tant qu\u0026#39;armes contre la folie aveugles et la violence, qui ont amen\u0026eacute; la tristesse et la douleur \u0026agrave; tant de g\u0026eacute;n\u0026eacute;rations. Toutefois, pour ce projet, Cox n\u0026#39;a r\u0026eacute;alis\u0026eacute; que quelques esquisses et peintures : Monastatos, Papageno, et Sarastro.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEtant donn\u0026eacute; la vision humaniste de Cox, qui sous-tend une vision dualiste de la vie, il n\u0026#39;est pas vraiment surprenant qu\u0026#39;ils choisisse les personnages de Monastatos et Papageno. Ces personnages sont chacun le miroir de l\u0026#39;autre et ils ont plus en commun qu\u0026#39;on ne pourrait le supposer. Tout d\u0026#39;abord, chacun est une sorte d\u0026#39;Einzelg\u0026auml;nger (solitaire) qui, sur la base de l\u0026#39;apparence physique, est un outsider dans le monde dans lequel il se trouve. C\u0026#39;est pourquoi le nom de Monastatos est d\u0026eacute;riv\u0026eacute; du grec \u0026lsquo;mono-statos\u0026rsquo;, qui peut \u0026ecirc;tre traduit par \u0026#39;le solitaire\u0026#39;, \u0026#39;l\u0026#39;isol\u0026eacute;\u0026#39;. Dans l\u0026#39;op\u0026eacute;ra de Mozart, le Maure Monastatos est traditionnellement repr\u0026eacute;sent\u0026eacute; comme un m\u0026eacute;chant qui s\u0026#39;adonne pleinement \u0026agrave; ses pulsions libidineuses d\u0026eacute;brid\u0026eacute;es. Il est pr\u0026eacute;sent\u0026eacute; en tant que contr\u0026ocirc;leur de la beaut\u0026eacute; enlev\u0026eacute;e, Pamina, qu\u0026#39;il est cens\u0026eacute; prot\u0026eacute;ger mais (contre toute notion de d\u0026eacute;cence) qu\u0026#39;il convoite pour assouvir son d\u0026eacute;sir.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eD\u0026#39;un autre c\u0026ocirc;t\u0026eacute;, Papageno, qui symbolise \u0026eacute;galement l\u0026#39;animal dans l\u0026#39;homme, est un simple \u0026#39;homme naturel\u0026#39;, guid\u0026eacute; par des instincts primaires comme manger, boire, dormir et poursuivre le sexe\u0026nbsp;\u0026nbsp;oppos\u0026eacute;. Papageno ne fait qu\u0026#39;un avec la nature, il vit en autonomie et en parfaite harmonie. De ce point de vue, les deux personnages symbolisent le c\u0026ocirc;t\u0026eacute; charnel, moins d\u0026eacute;velopp\u0026eacute; de l\u0026#39;homme, agissant principalement selon des instincts primaires et peu enclins \u0026agrave; la raison. Et l\u0026agrave;, Monastatos repr\u0026eacute;sente l\u0026#39;aspect plut\u0026ocirc;t sombre et destructeur tandis que Papageno repr\u0026eacute;sente la vitalit\u0026eacute; de la force de vie. Avec Monastatos, Cox \u0026eacute;voque une atmosph\u0026egrave;re mena\u0026ccedil;ante aux couleurs cauchemardesques et avec une ex\u0026eacute;cution agressive de la ligne, tandis que Papageno est un personnage lyrique et organique, nimb\u0026eacute; d\u0026#39;innocence et de compassion d\u0026#39;un \u0026eacute;clat botanique.\u003c/p\u003e\r\n"}]},{"id":9535,"title":"Monostatos ","dimensions":"720 x 550 mm","date_begin":"1974-01-01","material":"mixed media on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_29","stream_count_app":47,"permalink":"monastatos","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/000/020/615/medium_500/Cox_Jan_ZT_1974_photo_M_HKA18.jpg?1392134651","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u003cstrong\u003eЯн Кокс,\u0026nbsp;\u003c/strong\u003e\u0026laquo;\u003cstrong\u003eМоностатос\u003c/strong\u003e\u0026raquo;\u003cstrong\u003e, 1976\u003c/strong\u003e\u003cbr /\u003e\r\nМалюнок\u003cbr /\u003e\r\nолівець, гуаш, туш на папері\u003cbr /\u003e\r\nНадано Музеєм сучасного мистецтва в Антверпені\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eСлідом за циклом \u0026laquo;Іліада\u0026raquo;, де центральними мотивами стають насильство та думки про помсту, у 1976 році Кокс починає доповнюючу серію, натхненну \u0026laquo;масонською\u0026raquo; оперою Моцарта \u0026laquo;Чарівна флейта\u0026raquo;. В адажіо йдеться: \u0026laquo;Sei standhaft, duldsam und verschwiegen\u0026raquo; (\u0026laquo;будь непохитним, терплячим і розсудливим\u0026raquo;): щоб піднести людину, змусивши її прагнути любові і свободи, заохочуючи її до людської досконалості і справедливості як зброї проти сліпого безумства та насильства, які принесли нещастя та страждання багатьом поколінням. Для цього проєкту Кокс зробив лише кілька ескізів та малюнків, названих іменами героїв опери: \u0026laquo;Моностатос\u0026raquo;, \u0026laquo;Папагено\u0026raquo; та \u0026laquo;Зарастро\u0026raquo;. Ім\u0026rsquo;я Моностатос походить від грецького \u0026laquo;mono-statos\u0026raquo;, що означає \u0026laquo;відокремлений\u0026raquo; або \u0026laquo;ізольований\u0026raquo;. Втілюючи темне й руйнівне в опері Моцарта мавр Моностатос традиційно зображується як лиходій, повністю відданий своїм розкутим лібідним поривам. У роботі \u0026laquo;Моностатос\u0026raquo; Кокс створює загрозливу атмосферу завдяки пекельному забарвленню та агресивному виконанню ліній.\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/615/large/Cox_Jan_ZT_1974_photo_M_HKA18.jpg?1392134651","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFollowing the\u0026nbsp;\u003cem\u003eIliad\u003c/em\u003e-cycle, where Cox sets violence and thoughts of revenge as central motifs, in 1976 he begins a complimentary series inspired by Mozart\u0026#39;s \u0026#39;masonic\u0026#39; opera\u0026nbsp;\u003cem\u003eThe Magic Flute\u003c/em\u003e.\u0026nbsp; The adagio states\u0026nbsp;\u003cem\u003eSei standhaft, duldsam und verschwiegen\u003c/em\u003e, \u0026lsquo;be steadfast, forbearing and discrete\u0026#39;: to elevate man by having him long for love and freedom, encouraging him to human excellence and justice as weapons against the blind madness and violence that have brought unhappiness and misery to so-many generations.\u0026nbsp; For this project, however, Cox only made a few sketches and paintings:\u0026nbsp;\u003cem\u003eMonostatos, Papageno,\u003c/em\u003e\u0026nbsp;and\u0026nbsp;\u003cem\u003eSarastro\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eGiven Cox\u0026rsquo;s humanistic and herein contained dualistic vision of life, it is hardly surprising that he chooses the characters of Monastatos and Papageno as subjects.\u0026nbsp; These figures are each others mirror-image and have more in common than one might suspect.\u0026nbsp; First, each is a sort of\u0026nbsp;\u003cem\u003eeinzelg\u0026auml;nger\u0026nbsp;\u003c/em\u003e(loner)\u003cem\u003e,\u0026nbsp;\u003c/em\u003ewhom on the basis of outer appearance are outsiders in the world they find themselves in.\u0026nbsp; For that matter, the name Monostatos is derived from the Greek \u0026lsquo;mono-statos\u0026rsquo;, that may be taken to mean \u0026#39;the stand-aloner\u0026#39;, \u0026#39;the isolated one\u0026#39;.\u0026nbsp; In Mozart\u0026#39;s opera, Monostatos is traditionally represented as an evil villain completely given over to unbound libidinous impulses.\u0026nbsp; He is introduced as controller of the abducted beauty Pamina, whom he is beholden to protect, but - against any modicum of decency - covets to have his lustful way fulfilled.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn the other hand, Papageno \u0026ndash; who also symbolizes the animal in man, is a merry \u0026#39;natural man\u0026#39;, driven by primary instincts such as eating, drinking, sleeping and pursuing the opposite sex.\u0026nbsp; Papageno is as one with nature, living autonomously and in full harmony.\u0026nbsp; From this perspective, both figures stand for the carnal, less-developed side of man, mainly operating according to primal drives and not much given to reason.\u0026nbsp; And here, Monostatos embodies the rather dark and the destructive; Papageno, the vitality of life\u0026#39;s force. \u0026nbsp; \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn\u0026nbsp;\u003cem\u003eMonostatos\u003c/em\u003e, Cox evokes a threatening atmosphere with hellish colouring and an aggressive execution of line, while with\u0026nbsp;\u003cem\u003ePapageno\u0026nbsp;\u003c/em\u003ewe have the lyrical and the organic, a personage enveloped by the innocence and sympathy of a botanical flush.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eNa de \u003cem\u003eIlias\u003c/em\u003e-cyclus, waarin Cox het kwade, het gewelddadige en de wraakgedachte centraal stelde, start hij in 1976 een complementaire reeks schilderijen waarvoor hij inspiratie vond in Mozarts ma\u0026ccedil;onnieke opera \u003cem\u003eDe Toverfluit\u003c/em\u003e. Het adagium hier luidt \u003cem\u003eSei standhaft, duldsam und verschwiegen\u003c/em\u003e, wees standvastig, verdraagzaam en discreet: de mens verheffen door hem te doen verlangen naar liefde en vrijheid, hem aansporend tot menselijke voortreffelijkheid en gerechtigheid als wapens tegenover de blinde waanzin en gewelddadigheid die vele generaties ongeluk en ellende heeft gebracht. Cox zou hiervoor echter slechts enkele schetsen en schilderijen ontwerpen: \u003cem\u003eMonastatos, Papageno,\u003c/em\u003e en \u003cem\u003eSarastro\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eGezien Cox\u0026rsquo; humanistische en daarin vervatte dualistische levensvisie, is het niet verwonderlijk dat hij de personages Monastatos en Papageno tot onderwerp kiest. Deze figuren zijn elkaars gespiegelde en hebben meer gemeen dan men zou vermoeden. Vooreerst zijn ze elk een soort \u003cem\u003eeinzelganger, \u003c/em\u003edie op basis van uiterlijke kenmerken buitenstaanders zijn in de werelden waartoe ze behoren. Immers is Monastatos afgeleid van het Griekse \u0026lsquo;mono-statos\u0026rsquo;, wat zoveel betekent als \u0026lsquo;de alleenstaande\u0026rsquo;, de \u0026lsquo;ge\u0026iuml;soleerde\u0026rsquo;. In de opera van Mozart wordt Monastatos traditioneel voorgesteld als een boosaardige schurk, een bruut die totaal overgeleverd is aan onbeteugelde libidineuze driften. Hij wordt ge\u0026iuml;ntroduceerd als de belager van de geschaakte en wonderschone Pamina, die hij geacht wordt te bewaken, maar \u0026ndash; tegen elk maatschappelijk fatsoen in \u0026ndash; waagt te begeren en aanrandt. Papageno daarentegen \u0026ndash; die ook het dierlijke in de mens symboliseert, is een vrolijk natuurmens gedreven door primaire instincten zoals eten, drinken, slapen en het zoeken naar een wijfje. Papageno is dan ook \u0026eacute;\u0026eacute;n met de natuur en leeft autonoom in volledige harmonie. In dit opzicht staan beide figuren voor de zinnelijke, minder ontwikkelde kant van de mens die vooral vanuit primaire driften en niet vanuit de ratio handelt. Daarbij belichaamt Monastatos het eerder donkere, destructieve, en Papageno het levenskrachtige. In het schilderij \u003cem\u003eMonastatos\u003c/em\u003e en in de voorbereidende schets evoceert Cox een dreigende sfeer met een hels coloriet en een agressieve lijnvoering, terwijl in \u003cem\u003ePapageno \u003c/em\u003emeer het lyrische en het organische appelleert, gehuld in de onschuld en sympathie van een vegetale wereld.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9564,"title":"Oh! Those Voices, Boston","dimensions":"127 x 159 cm","date_begin":"1972-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eIn \u003cem\u003eOh! Those Voices, Boston\u003c/em\u003e Jan Cox combines scenes from daily life with flashes of memories and feelings.\u0026nbsp;Visions induced by alcohol intoxication alternate with phantasms of death and doom, like those we see in stories from the Bible and Greek mythology.\u003c/p\u003e\r\n","date_end":null,"reference":"S0491_25","stream_count_app":59,"permalink":"oh-those-voices-boston-1972","description_ru":"","description_de":"\u003cp\u003eDas Werk von Jan Cox ist stark gepr\u0026auml;gt von seinen Erfahrungen als Jugendlicher in der Zeit des deutschen Naziregimes. Gegen jenes Grauen hat er w\u0026auml;hrend seiner gesamten Karriere angek\u0026auml;mpft. Seine Werke zeichnen sich in der Regel durch Kompositionen mit einer magischen, surrealen Atmosph\u0026auml;re aus, mit Verweisen auf \u0026quot;klassische\u0026quot; Themen wie Gewalt, Grausamkeit und Verletzlichkeit. In Oh! Those Voices kombiniert \u0026nbsp;Jan Cox die Erfahrung des t\u0026auml;glichen Lebens mit aufblitzenden Erinnerungen und Gef\u0026uuml;hlen. Diese Visionen, die wie ein Rausch \u0026nbsp;wirken, sind keine wirklichen Phantasmen, sondern die Gespenster des Todes und des Untergangs, wie sie uns in den Geschichten der Bibel und der griechischen Mythologie begegnen. Auch in der Ukraine verschmelzen die traumatischen Erfahrungen und Schrecken des Krieges mit dem t\u0026auml;glichen Leben aller \u0026nbsp;\u0026ndash; \u0026nbsp;von den Schicksalsbildern, die beim Lesen der Nachrichten auftauchen, bis hin zu den pl\u0026ouml;tzlichen Erinnerungen, die die seltenen Momente der Ruhe im Alltag schlagartig zerst\u0026ouml;ren k\u0026ouml;nnen.\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/000/020/642/medium_500/Cox_Jan_Oh_Those_voices__Boston_1972_photo_M_HKA.jpg?1392210347","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cmeta charset=\"utf-8\" /\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eНа творчість Яна Кокса вплинув отриманий ним у молодості досвід життя в умовах нацистського режиму гітлерівської Німеччини. З цим жахом він боровся протягом усієї подальшої кар\u0026rsquo;єри в мистецтві. Для більшості його робіт характерна магічна, сюрреалістична композиція та відсилки до \u0026laquo;вічних\u0026raquo; тем, таких як насилля, жорстокість і вразливість. У картині \u0026laquo;О, ці голоси, Бостон\u0026raquo; повсякденний досвід поєднується зі сполохами спогадів і почуттів. Зображені на ній видіння, що можуть здатися наркотичними, насправді ніякі не фантазми, а привиди смерті й невідворотної загрози, як у сюжетах біблійних історій та давньогрецьких міфів. Ці теми перегукуються з українським сьогоденням, глибоко пронизаним травматичним досвідом і жахіттями війни \u0026ndash; від постійного читання новин до раптових тривог, що (як ті самі сполохи) руйнують рідкісні миті спокою.\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/642/large/Cox_Jan_Oh_Those_voices__Boston_1972_photo_M_HKA.jpg?1392210347","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJan Cox\u0026rsquo;s oeuvre is profoundly impacted by his experiences as a young person of the German Nazi regime. This is the horror he acted against throughout his career. His works are usually characterized by compositions with a magical, surreal atmosphere, with references to \u0026lsquo;classical\u0026rsquo; themes such as violence, cruelty, and vulnerability. In\u0026nbsp;\u003cem\u003eOh! Those Voices, Boston\u003c/em\u003e\u0026nbsp;Cox combines the experience of daily life with flashes of memories and feelings.\u0026nbsp;These visions, that might seem to have been induced by intoxication, are not actual phantasms but the ghosts of death and doom, like those we encounter in stories from the Bible and in Greek mythology. Likewise, in Ukraine, the traumatic experience and horrors of war are melting into everyone\u0026#39;s daily life \u0026ndash;\u0026nbsp;from doom scrolling when reading the news, to the sudden reminders, that are capable of ruining rare moments of tranquility in a flash.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn het werk \u003cem\u003eOh! Those Voices, Boston\u003c/em\u003e combineert Cox taferelen uit het dagelijkse leven met flitsen van herinneringen en gevoelens. Visioenen teweeggebracht door alcoholintoxicatie wisselen af met hersenschimmen van dood en ondergang, zoals ze ook voorkomen in Bijbelse verhalen of de Griekse mythologie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eDans l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eOh! Those Voices, Boston \u003c/em\u003eJan Cox combine des sc\u0026egrave;nes de la vie quotidienne avec des souvenirs et des sentiments. Des visions provoqu\u0026eacute;es par des intoxications \u0026agrave; l\u0026rsquo;alcool alternent avec des hallucinations de mort et de d\u0026eacute;ch\u0026eacute;ance qui rappellent des r\u0026eacute;cits bibliques ou la mythologie grecque.\u003c/p\u003e\r\n"}]},{"id":9576,"title":"Untitled","dimensions":"117 x 107 cm","date_begin":"1979-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_51","stream_count_app":24,"permalink":"untitled--166","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/655/large/Cox_Jan_ZT_sd_photo_M_HKA51.jpg?1392214521","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eUntitled \u003c/em\u003e(1979) is indeed perhaps one of Jan Cox\u0026#39;s most abstract pieces.\u0026nbsp; But even here we can recognize a motif that we also see recur in many other of his works.\u0026nbsp; The black, broken line flanked by the red bow sketching a passage or portal.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Cox was familiar with Freud, and often made references to his theories in his texts.\u0026nbsp; In this vein, it is plausible to suggest that this door references the female.\u0026nbsp; In addition, we can also postulate that this stylized passage, seen from the perspective of Cox\u0026#39;s humanist-dualistic philosophy of life, is not the one or the other, but the one \u003cem\u003eand\u003c/em\u003e the other - namely, a representation of both the masculine and the feminine.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e (1979) may be considered rather as an experiment in the run-up to the \u003cem\u003eCalvary\u003c/em\u003e series, and has never before been exhibited.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eUntitled \u003c/em\u003e(1979) is misschien wel een van de meest abstracte werken van Jan Cox. Toch kunnen we een motief herkennen dat ook in vele andere werken terugkomt. De zwarte, gebroken lijn geflankeerd door de rode boog schetst een doorgang of poort.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Cox kende Freud en verwijst in zijn teksten meermaals naar zijn theorie\u0026euml;n. Het is aannemelijk te stellen dat deze poort verwijst naar het vrouwelijke.\u0026nbsp; Daarnaast is het ook plausibel te stellen dat deze gestileerde doorgang, bekeken vanuit de humanistisch dualistische levensvisie van Cox, niet het ene of het andere, maar het ene en het andere; het mannelijke en vrouwelijke\u0026nbsp; voorstelt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e (1979) is eerder een experiment in de aanloop naar de reeks van \u003cem\u003eDe Martelgang \u003c/em\u003een werd\u003cem\u003e \u003c/em\u003enooit eerder getoond.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eUntitled \u003c/i\u003e(1979) est peut-\u0026ecirc;tre l\u0026rsquo;une des \u0026oelig;uvres les plus abstraites de Jan Cox. N\u0026eacute;anmoins, on peut y reconna\u0026icirc;tre un motif r\u0026eacute;current de Cox. La ligne noire, bris\u0026eacute;e, encadr\u0026eacute;e par un arc rouge, esquisse un passage ou une porte.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Cox connaissait l\u0026rsquo;\u0026oelig;uvre de Freud et ses textes font \u0026agrave; plusieurs reprises r\u0026eacute;f\u0026eacute;rence aux th\u0026eacute;ories freudiennes. Il est plausible d\u0026rsquo;affirmer que cette porte renvoie au f\u0026eacute;minin. Parall\u0026egrave;lement, il serait aussi vraisemblable d\u0026rsquo;affirmer qu\u0026rsquo;au vu de la conception humaniste dualiste de Cox, ce passage stylis\u0026eacute; ne repr\u0026eacute;sente pas l\u0026rsquo;un ou l\u0026rsquo;autre, mais l\u0026rsquo;un et l\u0026rsquo;autre\u0026nbsp;: le masculin et le f\u0026eacute;minin.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eUntitled\u003c/i\u003e (1979) est plut\u0026ocirc;t une exp\u0026eacute;rimentation en pr\u0026eacute;ambule de la s\u0026eacute;rie \u003ci\u003eDe Martelgang\u003c/i\u003e [Le Calvaire] et n\u0026rsquo;a jamais \u0026eacute;t\u0026eacute; expos\u0026eacute; pr\u0026eacute;c\u0026eacute;demment.\u003c/p\u003e\r\n"}]},{"id":9566,"title":"Petrified Wood","dimensions":"130 x 200 cm","date_begin":"1979-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_48","stream_count_app":28,"permalink":"petrified-wood","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/643/large/Cox_Jan_Perified_wood_1978_photo_M_HKA.jpg?1392211427","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eWorks of Cox from the Seventies are characterised by exhaustive reflections on life and work.\u0026nbsp; In the painful and dramatic beauty of the \u003cem\u003eIliad\u003c/em\u003e cycle, Cox draws on his experiences from the Second World War.\u0026nbsp; Central motifs here are evil, violence and thoughts of revenge.\u0026nbsp; By way of contrast, in 1976 he begins a complimentary series of paintings for which Mozart\u0026#39;s \u0026#39;Masonic\u0026#39; opera \u003cem\u003eThe Magic Flute \u003c/em\u003eacted as impulse.\u0026nbsp; But after \u0026#39;the war of attrition\u0026#39; of his \u003cem\u003eIliad\u003c/em\u003e cycle, Cox was unable to bring this project to final fruition.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn autumn 1976 he embarks on journeys to two far-flung destinations, Chartres and Arizona, and each would in its own way make a lasting impression upon him.\u0026nbsp; In his journal notes, Cox describes how these two monuments engendered a manner or \u0026#39;rebirth\u0026#39;: \u003cem\u003e\u0026quot;I immediately made the connection between the awe I felt at the Grand Canyon with my experience in Chartres.\u0026nbsp; The effect was even more overwhelming, and I could understand how people who believe in God would fall to their knees - but it stirred me in an opposite sense - no matter how man might imagine God, it is utterly inadequate; man knows beauty, but nature is impervious to this opinion.\u0026nbsp; The revelation of absolute chance, with neither reason nor purpose, became my all-encompassing experience.\u0026nbsp; My solitary trek of two days and two nights through the deserts of New Mexico and Arizona completed this unforgettable adventure.\u0026nbsp; It was a different Jan Cox who was resurrected here.\u0026nbsp; A chastened one?\u0026nbsp; Perhaps.\u0026quot;\u003c/em\u003e* (Jan Cox, Dagboeknotities (Journal notes), De Tafelronde, jrg. XXIV/2-3, 1981, p. 11)\u003c/p\u003e\r\n\r\n\u003cp\u003eThe painting \u003cem\u003ePetrified Wood\u003c/em\u003e, wherein we recognize the ancient wood and fossils, is a typical example of Cox\u0026#39;s success in sketching a suggestive visual impression of nature\u0026#39;s wonder.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe werken van Cox in de jaren zeventig worden gekarakteriseerd door uitputtende reflecties over leven en werk. In de pijnlijke en dramatische schoonheid van de cyclus \u003cem\u003eIlias\u003c/em\u003e verwerkt Cox zijn ervaringen uit de Tweede Wereldoorlog. Daarin staat het kwade, het gewelddadige en de wraakgedachte centraal. In 1976 start hij hiertegenover een complementaire reeks schilderijen waarvoor hij inspiratie vond in Mozarts ma\u0026ccedil;onnieke opera de \u003cem\u003eToverfluit\u003c/em\u003e. Maar na de uitputtingsslag van de \u003cem\u003eIlias\u003c/em\u003e kon hij dit opzet niet voltooien.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn de herfst 1976 onderneemt hij reizen naar Chartres en Arizona die op hem een overweldigende indruk zullen nalaten. In zijn dagboeknotities beschrijft Cox hoe hij naar aanleiding van deze twee monumenten een \u0026lsquo;wedergeboorte\u0026rsquo; onderging: \u003cem\u003e\u0026ldquo;Ik verbond mijn \u0026lsquo;awe\u0026rsquo; voor de Grand Canyon meteen met mijn belevenis in Chartres. Het effect was nog overweldigender en ik dacht met begrip aan de mensen die in God geloven en op hun knie\u0026euml;n zouden vallen \u0026ndash; maar het ontroerde mij in tegengestelde zin \u0026ndash; wat ook de mens zich van God kan voorstellen, het is ten enenmale ontoereikend; de mens kent schoonheid maar de natuur trekt zich daar niets van aan. De openbaring van het absolute toeval, zonder reden noch doel, werd mijn allesomvattende ervaring. Mijn eenzame tocht van twee dagen en twee nachten door de woestijnen van New Mexico en Arizona voltooiden deze onvergetelijke belevenis. Het was een andere Jan Cox die hieruit herrees. Een gelouterde?... may be.\u0026rdquo;\u003c/em\u003e* (Jan Cox, Dagboeknotities, De Tafelronde, jrg. XXIV/2-3, 1981, p.11)\u003c/p\u003e\r\n\r\n\u003cp\u003eHet schilderij \u003cem\u003ePetrified Wood\u003c/em\u003e, waarin we versteend hout en fossielen herkennen, is zo\u0026rsquo;n typisch voorbeeld waar Cox op rake wijze een suggestieve beeldimpressie van het natuurwonder weet te schetsen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes \u0026oelig;uvres de Cox des ann\u0026eacute;es\u0026nbsp;70 sont marqu\u0026eacute;es par des r\u0026eacute;flexions \u0026eacute;puisantes sur la vie et le travail. Dans la beaut\u0026eacute; douloureuse et hautement dramatique du cycle de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, Cox int\u0026egrave;gre ses exp\u0026eacute;riences de la Seconde Guerre mondiale ax\u0026eacute;es autour du mal, de la violence et de la notion de vengeance. En 1976, il entame comme pendant une s\u0026eacute;rie compl\u0026eacute;mentaire de tableaux pour laquelle il s\u0026rsquo;inspire de l\u0026rsquo;op\u0026eacute;ra ma\u0026ccedil;onnique de Mozart, \u003cem\u003eLa Fl\u0026ucirc;te enchant\u0026eacute;e\u003c/em\u003e. Mais apr\u0026egrave;s la guerre d\u0026rsquo;usure qu\u0026rsquo;a constitu\u0026eacute;e le cycle de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, il n\u0026rsquo;a pas pu achever ce projet.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; l\u0026rsquo;automne de 1976, il entreprend un voyage \u0026agrave; Chartres et ensuite en Arizona qui lui laissera des impressions bouleversantes. Dans les notes de son journal intime, Cox d\u0026eacute;crit la mani\u0026egrave;re dont il a v\u0026eacute;cu ces deux d\u0026eacute;couvertes comme une \u0026laquo;\u0026nbsp;renaissance\u0026nbsp;\u0026raquo;\u0026nbsp;: \u0026laquo;\u0026nbsp;J\u0026rsquo;ai d\u0026rsquo;embl\u0026eacute;e reli\u0026eacute; ma stup\u0026eacute;faction face au Grand Canyon \u0026agrave; mon exp\u0026eacute;rience \u0026agrave; Chartres. L\u0026rsquo;effet \u0026eacute;tait encore plus bouleversant et j\u0026rsquo;ai pens\u0026eacute; avec compr\u0026eacute;hension aux personnes qui croient en Dieu et qui se seraient agenouill\u0026eacute;es \u003cem\u003e\u0026ndash;\u003c/em\u003e sauf que mon \u0026eacute;motion allait en sens inverse\u0026nbsp;: quelle que soit la repr\u0026eacute;sentation que l\u0026rsquo;\u0026ecirc;tre humain se fait de Dieu, elle est absolument inad\u0026eacute;quate\u0026nbsp;; l\u0026rsquo;\u0026ecirc;tre humain conna\u0026icirc;t la beaut\u0026eacute;, mais la nature n\u0026rsquo;en a rien \u0026agrave; faire. Mon exp\u0026eacute;rience int\u0026eacute;grale fut la r\u0026eacute;v\u0026eacute;lation du hasard absolu, d\u0026eacute;pourvu de tout motif ou objectif. Ma randonn\u0026eacute;e solitaire de deux jours et deux nuits \u0026agrave; travers les d\u0026eacute;serts du Nouveau-Mexique et de l\u0026rsquo;Arizona ont parachev\u0026eacute; cette exp\u0026eacute;rience inoubliable. Elles ont donn\u0026eacute; naissance \u0026agrave; un autre Jan Cox. Purifi\u0026eacute;\u0026nbsp;? Peut-\u0026ecirc;tre\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eLe tableau \u003cem\u003ePetrified \u003c/em\u003eWood, dans lequel on reconna\u0026icirc;t du bois p\u0026eacute;trifi\u0026eacute; et des fossiles, est un exemple caract\u0026eacute;ristique de la facult\u0026eacute; de Cox \u0026agrave; esquisser avec justesse une impression visuelle, \u0026eacute;vocatrice de la merveille de la nature.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Jan Cox, \u0026ldquo;Dagboeknotities\u0026ldquo; [notes extraites du journal intime], \u003cem\u003eDe Tafelronde\u003c/em\u003e, XXIV/2-3, 1981, p.\u0026nbsp;11\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":9575,"title":"Untitled","dimensions":"164 x 204 cm","date_begin":"1979-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_50","stream_count_app":25,"permalink":"untitled--165","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/654/large/Cox_Jan_ZT_1979_photo_M_HKA.jpg?1392214123","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9580,"title":"Untitled","dimensions":"260 x 140 x 240 cm","date_begin":"1978-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_46","stream_count_app":41,"permalink":"untitled--167","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/658/large/cox8.jpg?1392216353","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 1950, in the review \u003cem\u003eTijd en Mens\u003c/em\u003e, Jan Cox publishes an article on American art that includes remarks on the art of Edward Hopper.\u0026nbsp; Hopper deeply impressed Cox, inspiring the latter in his painting \u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/983/large/cox5.jpg?1396688325\"\u003e\u003cem\u003eThe Movie Hous\u003c/em\u003ee\u003c/a\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026ldquo;A work like (Hopper\u0026#39;s) \u0026lsquo;New York Movie\u0026rsquo; transmits, with grim authenticity, the atmosphere of a half-darkened movie theater, the dreamy boredom of the usherette and a glimpse of the illusionary silver screen.\u0026quot;\u003c/em\u003e (Jan Cox, \u003cem\u003eop.cit\u003c/em\u003e., 1950, pp. 287-288)\u003c/p\u003e\u003cp\u003eAs Cox further describes the work itself, here the transmitted mood is immediately apparent, and given with great detail and a strongly linear touch.\u003c/p\u003e\u003cp\u003eIn \u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/982/small_240/cox2_1.jpg?1396688171\"\u003e\u003cem\u003eMaenade\u003c/em\u003e\u003c/a\u003e\u0026nbsp;[Maenad], as well, Cox is beholden to Hopper.\u0026nbsp; We see no sketch-like dreamy image, but rather a female head-and-torso, monumentally modeled in a calm, clear execution of line.\u0026nbsp; By virtue of color, the near-sculptured handling of facial parts and the expressionless eyes, it comes over as a painted sculpture, enlivened by the jewelry and flower garland.\u0026nbsp; While her station is rather defined within the space of the painting, it remains unclear as into which context the figure is meant to fit.\u003c/p\u003e\u003cp\u003eIn \u003cem\u003eUntitled\u003c/em\u003e, Jan Cox again adapts motifs employed in earlier works: the stairs, the podium, the usherette\u0026#39;s head and a glimpse of the screen.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn 1950 publiceert Jan Cox in het tijdschrift \u003cem\u003eTijd en Mens\u003c/em\u003e een artikel over Amerikaanse kunst waarin hij ook werk van Edward Hopper beschrijft. Hopper heeft een diepe indruk op hem nagelaten en inspireert hem tot het schilderij \u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/983/large/cox5.jpg?1396688325\"\u003e\u003cem\u003eThe Movie Hous\u003c/em\u003ee\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003cem\u003e\u0026ldquo;Een werkje als \u0026lsquo;New York Movie\u0026rsquo; geeft met een akelige echtheid (het smakeloos kleine) de atmosfeer van de halfduistere filmzaal, de dromerige verveling van de bioscoopjuffrouw en een glimp van het illusiedoek.\u0026rdquo;\u003c/em\u003e(Jan Cox, \u003cem\u003eop.cit\u003c/em\u003e., 1950, pp.287-288)\u003c/p\u003e\u003cp\u003eZoals ook Jan Cox het werk zelf beschrijft blijkt onmiddellijk de aparte focus in deze werken. Deze\u0026nbsp; zijn zeer gedetailleerd met sterke lineaire toets.\u003c/p\u003e\u003cp\u003eOok in \u003ca href=\"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/982/small_240/cox2_1.jpg?1396688171\"\u003e\u003cem\u003eMaenade\u003c/em\u003e\u003c/a\u003e\u0026nbsp;is Cox schatplichtig aan Hopper en zien we geen schetsmatige visioenbeelden, maar een vrouwenbuste, monumentaal gemodelleerd in een rustige, klare lijnvoering. Door de kleur, de bijna geboetseerde behandeling van de gezichtsonderdelen en de uitdrukkingsloze ogen, lijkt het wel een geschilderd beeldhouwwerk, verlevendigd door de juwelen en de bloemenkrans. Hoewel haar plaats enigszins gedefinieerd is binnen de ruimte van het schilderij, is het toch niet duidelijk in welke context men de figuur dient te plaatsen.\u003c/p\u003e\u003cp\u003eIn de sculptuur \u003cem\u003eUntitled\u003c/em\u003e adapteert Jan Cox opnieuw de motieven uit deze vroegere werken; de trap, het podium, het hoofd van de bioscoopjuffrouw en een glimp van het illusiedoek.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":9573,"title":"Gnoothi Se Auton","dimensions":"130 x 70 x 60 cm","date_begin":"1980-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_47","stream_count_app":38,"permalink":"gnoothi-se-auton","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u003cstrong\u003eЯн Кокс,\u0026nbsp;\u003c/strong\u003e\u0026laquo;\u003cstrong\u003eGnoothi Se Auton\u003c/strong\u003e\u0026raquo;\u003cstrong\u003e\u003cem\u003e,\u003c/em\u003e 1980\u003c/strong\u003e\u003cbr /\u003e\r\nСкульптура, мішана техніка, 130 x 70 x 60 см.\u003cbr /\u003e\r\nНадано Музеєм сучасного мистецтва в Антверпені / Подаровано музеєві Адріаном Ремдонком, 2014\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eПаралельно з роботою над \u0026laquo;the Martelgang\u0026raquo; (Голгофа), серією, заснованою на Страстях Христових, у \u0026laquo;Gnoothi Se Auton\u0026raquo; (1980) Ян Кокс формулює спосіб (само)критики щодо художньої та людської гордині. На маленькій тумбочці, яка служить п\u0026rsquo;єдесталом, він розміщує великий череп із полістиролу, на якому написано стародавній дельфійський афоризм \u0026laquo;Gnoothi se auton\u0026raquo;, або \u0026laquo;пізнай самого себе\u0026raquo;. Цей вираз, зокрема в античності, часто означав \u0026laquo;(смертні) знайте свої обмеження\u0026raquo;. Одночасно із постійними пошуками добра та свободи він дає нам зрозуміти за допомогою намальованої білою стріли: \u003cem\u003ememento mori\u003c/em\u003e \u0026mdash; всі ми повинні зрештою прийти до свого смертного кінця. У таких роботах, як \u0026laquo;Gnoothi Se Auton\u0026raquo; (1980), Ян Кокс об\u0026rsquo;єднує різноманітні матеріали, сповнені екзистенційного відчаю та надії.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u0026laquo;\u003cem\u003eЗнадобилося тридцять років, перш ніж я зміг візуально висловити жах і розпач, свідком яких я був і які пережив на війні\u003c/em\u003e\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003eЯн Кокс, 16 травня 1975 р.\u003cbr /\u003e\r\nБостон\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/648/large/Cox_Jan_Gnoothi_se_auton_1980_photo_M_HKA.jpg?1392213162","poster_credits":"(c)image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eParallel to the development of the \u003cem\u003eMartelgang \u003c/em\u003e(Calvary)\u003cem\u003e,\u003c/em\u003e a series based on Christ\u0026#39;s Passion, in \u003cem\u003eGnoothi Se Auton\u003c/em\u003e (1980) Jan Cox formulates a manner of (self)criticism with regard to artistic and human pride. \u0026nbsp;On a small nightstand that serves as pedestal, he positions a large skull made in polystyrene upon which he\u0026#39;s written the ancient Delphic maxim \u0026ldquo;Gnoothi se auton\u0026rdquo;, or \u0026quot;know thyself\u0026quot;, and - particularly in antiquity - this often took the meaning \u0026quot;(mortals) know your limitations\u0026quot;.\u0026nbsp; Alongside the recurring quest for the good and for freedom, he makes us understand - via the white painted arrow, a \u003cem\u003ememento mori\u003c/em\u003e - the we must all eventually come to our mortal end.\u0026nbsp; In works such as \u003cem\u003eGnoothi Se Auton\u003c/em\u003e (1980), Jan Cox brings together diverse materials full of existential despair and hope.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eParallel met de ontwikkeling van de \u003cem\u003eMartelgang,\u003c/em\u003e een reeks gebaseerd op de Passie van Christus, formuleert Jan Cox in \u003cem\u003eGnoothi Se Auton\u003c/em\u003e (1980) enige (zelf)kritiek op de artistieke en menselijke hoogmoed. Op een nachtkastje dat dienst doet als sokkel heeft hij een grote schedel in piepschuim aangebracht waarop hij de oude Delfische spreuk \u0026ldquo;Gnoothi se auton\u0026rdquo;, wat zoveel als \u0026ldquo;mens, ken je beperkingen\u0026rdquo;\u0026nbsp; betekent, heeft geschreven. Naast de wederkerende zoektocht naar het goede en de zoektocht naar vrijheid laat hij ons via de geschilderde witte pijl, een \u003cem\u003ememento mori\u003c/em\u003e , beseffen dat we uiteindelijke allemaal zullen sterven. In werken zoals \u003cem\u003eGnoothi Se Auton\u003c/em\u003e (1980) assembleert Jan Cox diverse materialen vol existenti\u0026euml;le vertwijfeling en hoop.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn parall\u0026egrave;le au d\u0026eacute;veloppement \u003ci\u003eDe\u003c/i\u003e \u003ci\u003eMartelgang\u003c/i\u003e [Le Calvaire], une s\u0026eacute;rie inspir\u0026eacute;e de la\u003ci\u003e \u003c/i\u003ePassion du Christ, Jan Cox formule dans \u003ci\u003eGnoothi Se Auton\u003c/i\u003e (1980) quelque (auto)critique sur l\u0026rsquo;orgueil artistique et humain. Sur une table de nuit qui fait office de socle, il a pos\u0026eacute; un grand cr\u0026acirc;ne en polystyr\u0026egrave;ne expans\u0026eacute; sur lequel il a \u0026eacute;crit le dicton delphique \u003ci\u003egnothi seauton, \u003c/i\u003ece qui signifie \u0026laquo;\u0026nbsp;connais-toi toi-m\u0026ecirc;me\u0026nbsp;\u0026raquo;. Outre la qu\u0026ecirc;te r\u0026eacute;currente du bien et de la libert\u0026eacute;, il nous fait prendre conscience par le biais de la fl\u0026egrave;che blanche peinte, un \u003ci\u003ememento mori\u003c/i\u003e, que nous allons tous mourir au bout du compte. Dans des \u0026oelig;uvres comme \u003ci\u003eGnothi Se Auton\u003c/i\u003e (1980), Jan Cox assemble divers mat\u0026eacute;riaux d\u0026eacute;bordants \u0026agrave; la fois d\u0026rsquo;espoir et de d\u0026eacute;sespoir existentiel.\u003c/p\u003e\r\n"}]},{"id":18529,"title":"Het licht aan het einde van de poort","dimensions":"180 x 130 cm","date_begin":"1977-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie Adriaan Raemdonck","cached_tag_list":"Jan Cox","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"het-licht-aan-het-einde-van-de-poort","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/000/044/456/medium_500/Cox_foto_M_HKAcc__1.jpg?1558442484","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/456/large/Cox_foto_M_HKAcc__1.jpg?1558442484","poster_credits":"Courtesy Adriaan Raemdonck","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9568,"title":"Orpheus","dimensions":"150 x 200 cm and 16 x 18 x 12.5 cm","date_begin":"1979-01-01","material":"acrylic on canvas with object","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_49","stream_count_app":31,"permalink":"orpheus","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":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/644/large/Cox_Jan_Orfeus_1979_photo_M_HKA35.jpg?1392212252","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe myth of Orpheus plays a major role in the oeuvre of Jan Cox, and this theme was to remain an ongoing source of inspiration from 1953 right up to the end of his life.\u0026nbsp; Cox feels a great inner fascination for this classical myth, where the desire for the absolute, for harmony and unity - as well as the tragic impossibility of such - stands central.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn a conversation with Willem M. Roggeman in 1980, Cox explains this intense affiliation:\u0026nbsp;\u003cem\u003e\u0026ldquo;Orpheus especially struck me because he\u0026#39;s the very personification of the artist.\u0026nbsp; So it was a sort of identification.\u0026nbsp; In response to the great loss he\u0026#39;d undergone - indeed, Orpheus loses his beloved - he transposes this to song.\u0026nbsp; And the more he suffers, the more he sings.\u0026rdquo;\u0026nbsp; \u003c/em\u003e(Willem M. Roggeman, \u003cem\u003eAteliergesprekken met Jan Burssens, Jan Cox, Paul Van Hoeydonck, Pol Mara\u003c/em\u003e, 1982, p. 52)\u0026nbsp; The fateful blow befallen Orpheus, functioned as metaphor for artistic and existential existence.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn \u003cem\u003eOrpheus\u003c/em\u003e, the artist evokes an image of two irreconcilable realms.\u0026nbsp; In the middle of the painting, on a blue strip that acts as a borderline, Jan Cox integrates a figure playing the lyre.\u0026nbsp; At right, we see the warm glow of dancing fire; left, a number of thorny strokes representing the protagonist\u0026#39;s grief. \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;It is the ironic, bittersweet commentary of the weary poet confronting the illusory nature of his artistic and existential struggle.\u0026nbsp; An illusion, or in the best case a substitute.\u0026nbsp; But he can find no manner of reconciliation in either; for the artist who in life and art strove for the absolute, this was simply not enough.\u0026quot;\u003c/em\u003e (Francisca Vandepitte, Jan Cox. Ilias, 1997, p. 32)\u003c/p\u003e\r\n\r\n\u003cp\u003eAs such, this work is described as a poignant and intimate self-portrait where the divide between the two irreconcilable worlds shows itself deeper than ever.\u0026nbsp; With this kitsch-like Orpheus figure, Cox visually calls into question his pursuit of the absolute.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe mythe van Orpheus speelt een belangrijke rol in het oeuvre van Jan Cox. Vanaf 1953 tot zijn laatste levensjaar blijft de thematiek hem inspireren. Cox voelt een grote innerlijke fascinatie voor deze klassieke mythe waarin het verlagen naar het absolute, de harmonie en de vereniging, alsook de tragische onmogelijkheid hiervan, centraal staan.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn een gesprek met Willem M. Roggeman in 1980 belicht Cox zijn intense betrokkenheid: \u003cem\u003e\u0026ldquo;Orpheus heeft me getroffen omdat hij de personificatie van de artiest is. Dat was dus een soort identificatie. Doordat hij een groot verlies heeft geleden \u0026ndash; hij verliest immers zijn geliefde - gaat hij daarover zingen. En hoe meer hij lijdt, hoe meer hij zingt.\u0026rdquo; \u003c/em\u003e(Willem M. Roggeman, \u003cem\u003eAteliergesprekken met Jan Burssens, Jan Cox, Paul Van Hoeydonck, Pol Mara\u003c/em\u003e, 1982, p.52)\u0026nbsp;Orpheus\u0026rsquo; noodlottig wedervaren fungeerde als metafoor voor het artistieke en existenti\u0026euml;le bestaan.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn \u003cem\u003eOrpheus\u003c/em\u003e wordt een beeld van twee onverenigbare werelden opgeroepen. In het midden van het schilderij, op een blauwe strook die als grenslijn fungeert, integreert Jan Cox een sigarendoos met een lierspelend figuurtje. Rechts zien we de warme gloed van dansend vuur, links een aantal doornige stroken die het verdriet van Orpheus weergeven.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;Het is de ironische bitterzoete commentaar van de vermoeide dichter die het illusoire karakter van zijn artistiek en existentieel streven constateert. Een illusie of in het beste geval een substituut. Met geen van beiden kon hij zich echter verzoenen; voor de kunstenaar die in leven en kunst immers het absolute nastreefde was dit simply not enough.\u0026rdquo;\u003c/em\u003e (Francisca Vandepitte, Jan Cox. Ilias, 1997, p.32)\u003c/p\u003e\r\n\r\n\u003cp\u003eZodanig wordt dit werk beschreven als schrijnend abstract en innerlijk zelfportret waarin de kloof tussen de twee onverenigbare werelden zich dieper dan ooit toont. Met dit kitscherige Orpheus-figuurtje stelt Cox zijn streven naar het absolute beeldende in vraag.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe mythe d\u0026rsquo;Orph\u0026eacute;e joue un r\u0026ocirc;le important dans l\u0026rsquo;\u0026oelig;uvre de Jan Cox. De 1953 \u0026agrave; sa derni\u0026egrave;re ann\u0026eacute;e de vie, ce th\u0026egrave;me continue \u0026agrave; l\u0026rsquo;inspirer. Cox \u0026eacute;prouve une grande fascination int\u0026eacute;rieure pour ce mythe classique centr\u0026eacute; autour du d\u0026eacute;sir d\u0026rsquo;absolu, d\u0026rsquo;harmonie et de r\u0026eacute;union ainsi que leur impossibilit\u0026eacute; tragique.\u003c/p\u003e\r\n\r\n\u003cp\u003eDans un entretien avec Willem M.\u0026nbsp;Roggeman en 1980, Cox se livre sur la connexion intense\u0026nbsp;: \u0026laquo;\u0026nbsp;Orph\u0026eacute;e m\u0026rsquo;a touch\u0026eacute; parce qu\u0026rsquo;il est la personnification de l\u0026rsquo;artiste. C\u0026rsquo;\u0026eacute;tait donc une sorte d\u0026rsquo;identification. Parce qu\u0026rsquo;il a subi une grande perte \u0026ndash; sa bien-aim\u0026eacute;e \u0026ndash;, il va la chanter. Et plus il souffre, plus il chante\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003cem\u003e.\u0026nbsp;\u0026raquo; \u003c/em\u003eLe destin funeste d\u0026rsquo;Orph\u0026eacute;e fait office de m\u0026eacute;taphore pour la vie artistique et existentielle.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eOrpheus\u003c/em\u003e \u0026eacute;voque une image de deux mondes incompatibles. Au milieu du tableau, sur une bande bleue qui fait fonction de d\u0026eacute;marcation, Jan Cox int\u0026egrave;gre une bo\u0026icirc;te \u0026agrave; cigares avec une figurine jouant de la lyre. \u0026Agrave; droite, on aper\u0026ccedil;oit le rougeoiement ardent du feu dansant, \u0026agrave; gauche quelques bandes \u0026eacute;pineuses repr\u0026eacute;sentent le chagrin d\u0026rsquo;Orph\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;\u0026nbsp;Il s\u0026rsquo;agit du commentaire doux-amer et ironique du po\u0026egrave;te fatigu\u0026eacute; qui constate le caract\u0026egrave;re illusoire de sa recherche artistique et existentielle. Une illusion ou tout au mieux un substitut. Il ne peut cependant se r\u0026eacute;concilier ni avec l\u0026rsquo;un ni avec l\u0026rsquo;autre\u0026nbsp;; pour l\u0026rsquo;artiste qui aussi bien dans la vie que dans l\u0026rsquo;art a aspir\u0026eacute; \u0026agrave; l\u0026rsquo;absolu, cela ne suffisait pas\u003ca href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"\u003e[2]\u003c/a\u003e.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAinsi, cette \u0026oelig;uvre est d\u0026eacute;crite comme un autoportrait poignant, abstrait et int\u0026eacute;rieur dans lequel le foss\u0026eacute; entre deux mondes irr\u0026eacute;conciliables se r\u0026eacute;v\u0026egrave;le plus profond que jamais. Avec cette figurine kitsch d\u0026rsquo;Orph\u0026eacute;e, Cox remet en question sa qu\u0026ecirc;te d\u0026rsquo;absolu.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Willem M. Roggeman, \u003cem\u003eOp bezoek in het atelier van Jan Burssens, Jan Cox, Paul Van Hoeydonck, Pol Mara\u003c/em\u003e, Soethoudt, Antwerpen, 1982, p.\u0026nbsp;52\u003c/p\u003e\r\n\u003c/div\u003e\r\n\r\n\u003cdiv id=\"ftn2\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref2\" name=\"_ftn2\" title=\"\"\u003e[2]\u003c/a\u003e Francisca Vandepitte, \u003cem\u003eJan Cox, Ilias\u003c/em\u003e, Cultureel Centrum A. Spinoy, Malines, 1997, p.\u0026nbsp;32\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":21176,"title":"Papageno","dimensions":"80 x 75 cm","date_begin":"1976-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Adriaan Raemdonck","cached_tag_list":"Jan Cox Papageno Painting","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"papageno-bcd59488-10cc-420e-afc3-e9fdde5f0fbf","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/000/044/457/medium_500/Cox_foto_M_HKAcc_11.jpg?1558442454","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/457/large/Cox_foto_M_HKAcc_11.jpg?1558442454","poster_credits":"Courtesy Adriaan Raemdonck","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;Following the \u003cem\u003eIlias (Iliad)\u003c/em\u003e Jan Cox had planned on painting a counterpart for the series, inspired by Mozart\u0026rsquo;s \u003cem\u003eMagic Flute\u003c/em\u003e. After the painful and highly dramatic beauty of the \u003cem\u003eIlias\u003c/em\u003e, he wanted to create something with compassion and tenderness. The masonic opera by Mozart, in which an optimistic view of humanity is portrayed, was a perfect fit. However, the gruelling effort needed to complete the \u003cem\u003eIlias\u003c/em\u003e meant Cox was unable to fulfil\u0026nbsp;his plan. He would only complete a few works. These works are illustrations for the opera (Papageno), in his paintings the subject would become more personal.\u0026rdquo;\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Philippe Pirotte in \u003cem\u003eJan Cox\u003c/em\u003e, Snoeck-Ducaju \u0026amp; zoon, Gemeentekrediet, 1996, p.24\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;Na de \u003cem\u003eIlias\u003c/em\u003e had Jan Cox plannen een pendant voor de cyclus te schilderen, ge\u0026iuml;nspireerd op de \u003cem\u003eToverfluit\u003c/em\u003e van Mozart. Na de pijnlijke en hoogdramatische schoonheid van de \u003cem\u003eIlias\u003c/em\u003e wilde hij iets maken rond medelijden en tederheid. De ma\u0026ccedil;onnieke opera van Mozart waar een optimistisch beeld van de mens naar voren wordt gebracht, leende zich hiervoor perfect. Maar na de uitputtingsslag van de \u003cem\u003eIlias\u003c/em\u003e kon hij dit opzet niet voltooien. Hij zou slechts enkele werken realiseren. Het zijn eerder illustraties bij de opera (Papageno) en al schilderend zou zijn onderwerp verglijden naar een meer persoonlijke thematiek.\u0026rdquo;\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Philippe Pirotte in \u003cem\u003eJan Cox\u003c/em\u003e, Snoeck-Ducaju \u0026amp; zoon, Gemeentekrediet, 1996, p.24\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Apr\u0026egrave;s avoir achev\u0026eacute; le cycle de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, Jan Cox projetait de peindre un pendant \u0026agrave; la s\u0026eacute;rie, inspir\u0026eacute; de \u003cem\u003eLa Fl\u0026ucirc;te enchant\u0026eacute;e\u003c/em\u003e de Mozart. Apr\u0026egrave;s la beaut\u0026eacute; douloureuse et hautement dramatique de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, il souhaitait cr\u0026eacute;er quelque chose autour de la compassion et de la tendresse, ce \u0026agrave; quoi se pr\u0026ecirc;tait parfaitement l\u0026rsquo;op\u0026eacute;ra ma\u0026ccedil;onnique de Mozart, qui offre une image optimiste de l\u0026rsquo;\u0026ecirc;tre humain. Mais apr\u0026egrave;s la guerre d\u0026rsquo;usure qu\u0026rsquo;a constitu\u0026eacute;e le cycle de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, il n\u0026rsquo;a pas pu achever ce projet. Il n\u0026rsquo;en a r\u0026eacute;alis\u0026eacute; que quelques pi\u0026egrave;ces qui sont plut\u0026ocirc;t des illustrations de l\u0026rsquo;op\u0026eacute;ra (\u003cem\u003ePapageno\u003c/em\u003e) et c\u0026rsquo;est en peignant que son sujet a \u0026eacute;volu\u0026eacute; vers une th\u0026eacute;matique plus personnelle\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Philippe Pirotte, \u003cem\u003eJan Cox\u003c/em\u003e, Snoeck-Ducaju \u0026amp; zoon, Gemeentekrediet, 1996, p.\u0026nbsp;24\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":21177,"title":"Orpheus Returning from Hades, Boston","dimensions":"300 x 127 cm","date_begin":"1972-01-01","material":"acrylic on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Adriaan Raemdonck","cached_tag_list":"Jan Cox Painting Orpheus Boston","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"orpheus-returning-from-hades-boston","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/000/044/458/medium_500/Cox_foto_M_HKAcc.jpg?1558442422","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/458/large/Cox_foto_M_HKAcc.jpg?1558442422","poster_credits":"Courtesy Adriaan Raemdonck","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;The roots of our civilisation are with the Greek and therefore I am glad that I had a Greek-Latin education. To deny or demolish the bonds always seemed like suicide to me. \u0026#39;I do not consider tradition a form of stagnant convention, on the contrary, it is the source of energy and progress. Our civilization has been built upon a chain of heritages, if we don\u0026rsquo;t recognize their value anymore we may still exist as a power but not as a civilization. This in answer to those who don\u0026rsquo;t understand my love for ancient myths.\u0026#39;\u0026rdquo;\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ndash; Jan Cox\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Marijke Van Eeckhaut in: \u003cem\u003eJan Cox. Living One\u0026rsquo;s Art\u003c/em\u003e, Stichting Kunstboek, Group Van Damme, Oostkamp, 2008, p.222\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;\u0026lsquo;De wortels van onze beschaving liggen bij de Grieken en daarom ben ik blij dat ik een Grieks-Latijnse opvoeding heb gehad. De banden ontkennen of afbreken heeft me altijd zelfmoord geleken. \u0026#39;Ik beschouw traditie niet als een vorm van stagnerende conventie, integendeel, het is de bron van energie en vooruitgang. Onze beschaving is gebouwd op een keten van erfgoed, als we hun waarde niet meer herkennen, kunnen we nog steeds bestaan als een macht maar niet als een beschaving. Dit in antwoord op diegenen die mijn liefde voor oude mythen niet begrijpen.\u0026#39;\u0026rdquo;\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ndash; Jan Cox\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Marijke Van Eeckhaut in: \u003cem\u003eJan Cox. Profiel van een kunstenaarschap\u003c/em\u003e, Stichting Kunstboek, Group Van Damme, Oostkamp, 2008, p.222\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Les racines de notre civilisation remontent aux Grecs et c\u0026rsquo;est pour cela que je me f\u0026eacute;licite d\u0026rsquo;avoir b\u0026eacute;n\u0026eacute;fici\u0026eacute; d\u0026rsquo;une formation gr\u0026eacute;co-latine. Nier ou rompre les liens m\u0026rsquo;a toujours paru relever du suicide. Je ne consid\u0026egrave;re pas la tradition comme une forme de convention stagnante, au contraire, elle est source d\u0026rsquo;\u0026eacute;nergie et de progr\u0026egrave;s. Notre civilisation s\u0026rsquo;est \u0026eacute;difi\u0026eacute;e sur une s\u0026eacute;rie d\u0026rsquo;h\u0026eacute;ritages\u0026nbsp;; si nous n\u0026rsquo;en reconnaissions plus la valeur, nous pourrions encore exister en tant que puissance, mais plus en tant que civilisation. Ceci en r\u0026eacute;ponse \u0026agrave; ceux qui ne comprennent pas mon amour des mythes anciens.\u0026nbsp;\u0026raquo; \u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e \u0026ndash; Jan Cox\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e\u0026nbsp;Traduction libre, Marijke Van Eeckhaut in: \u003cem\u003eJan Cox. Profiel van een kunstenaarschap\u003c/em\u003e, Stichting Kunstboek, Group Van Damme, Oostkamp, 2008, p.222\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":21178,"title":"Porta Flamina in Rome, Boston","dimensions":"147 x 147 cm","date_begin":"1957-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Province of Antwerp / Donated by Maertens-Verkein","cached_tag_list":"Jan Cox Paiting Boston","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"porta-flamina-in-rome-boston","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/000/044/459/medium_500/Cox_foto_M_HKAcc_5.jpg?1558442389","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/459/large/Cox_foto_M_HKAcc_5.jpg?1558442389","poster_credits":"Collection Province of Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21179,"title":"La porte des arbres, Pincio, Rome","dimensions":"130 x 52 cm","date_begin":"1955-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Province of Antwerp / Donated by Maertens-Verkein","cached_tag_list":"Jan Cox Painting","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"la-porte-des-arbres-pincio-rome","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/000/044/460/medium_500/Cox_foto_M_HKAcc_6.jpg?1558442354","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/460/large/Cox_foto_M_HKAcc_6.jpg?1558442354","poster_credits":"Collection Province of Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;Perhaps we\u0026rsquo;ll open the day\u0026rsquo;s doors. And then we shall enter the unknown.\u0026rdquo;\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eArt can open doors to the unknown for the artist, but also for the viewer. Some things we suspect or feel, but often we are grasping at straws. Fiction will let you approach the field, which is only marginally present, and shed light on the dormant and vaguely determined. Jan Cox points to fiction\u0026rsquo;s strength in removing the factual reality, while also gaining an increased understanding of that reality. Some phenomena or diffuse feelings are best communicated through images.\u003ca href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"\u003e[2]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Octavio Paz, \u003cem\u003eA Draft of Shadows, and Other Poems\u003c/em\u003e, A New Direction Books, New York, 1972, p. 161\u003c/p\u003e\r\n\u003c/div\u003e\r\n\r\n\u003cdiv id=\"ftn2\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref2\" name=\"_ftn2\" title=\"\"\u003e[2]\u003c/a\u003e Clair Van Damme in \u003cem\u003eJan Cox\u003c/em\u003e, Snoeck-Ducaju \u0026amp; zoon, Gemeentekrediet, 1996, p.80\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;Misschien zullen wij de poorten van de dag openen en dan binnentreden in het onbekende.\u0026rdquo; (O. Paz)\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eKunst kan voor de kunstenaar maar ook voor de toeschouwer deuren openen naar het ongekende. Sommige dingen vermoeden we of voelen we aan maar vaak tasten we in het duister. Fictie laat toe het veld, dat zijn aanwezigheid suggereert maar niet volledig prijsgeeft, te benaderen, licht te werpen op het sluimerende en het vaag gedetermineerde. Terecht wijst Jan Cox op de verschillende mogelijkheden van fictie als verwijdering van de factuele werkelijkheid enerzijds maar ook als toenadering tot die werkelijkheid anderzijds. Sommige fenomenen of diffuse gevoelens kunnen het best via beelden worden gecommuniceerd.\u003ca href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"\u003e[2]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Octavio Paz, \u003cem\u003eA Draft of Shadows, and Other Poems\u003c/em\u003e, A New Direction Books, New York, 1972, p. 161\u003c/p\u003e\r\n\u003c/div\u003e\r\n\r\n\u003cdiv id=\"ftn2\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref2\" name=\"_ftn2\" title=\"\"\u003e[2]\u003c/a\u003e Clair Van Damme in \u003cem\u003eJan Cox\u003c/em\u003e, Snoeck-Ducaju \u0026amp; zoon, Gemeentekrediet, 1996, p.80\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Peut-\u0026ecirc;tre ouvrirons-nous les portes du jour et p\u0026eacute;n\u0026eacute;trerons-nous dans l\u0026rsquo;inconnu\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026nbsp;\u0026raquo; (O. Paz)\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;art peut ouvrir \u0026agrave; l\u0026rsquo;artiste des portes vers l\u0026rsquo;inconnu, mais au spectateur aussi. On imagine ou ressent certaines choses, mais on se perd en conjectures. La fiction permet d\u0026rsquo;approcher le champ dont la pr\u0026eacute;sence n\u0026rsquo;est que sugg\u0026eacute;r\u0026eacute;e sans \u0026ecirc;tre enti\u0026egrave;rement r\u0026eacute;v\u0026eacute;l\u0026eacute;e et d\u0026rsquo;\u0026eacute;clairer ce qui sommeille et n\u0026rsquo;est que vaguement d\u0026eacute;termin\u0026eacute;. Jan Cox attire \u0026agrave; juste titre l\u0026rsquo;attention sur les diff\u0026eacute;rentes possibilit\u0026eacute;s de la fiction \u0026agrave; dissiper la r\u0026eacute;alit\u0026eacute; factuelle, tout en offrant une plus grande proximit\u0026eacute; de cette r\u0026eacute;alit\u0026eacute;. Certains ph\u0026eacute;nom\u0026egrave;nes ou sentiments diffus se communiquent mieux par le biais d\u0026rsquo;images\u003ca href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"\u003e[2]\u003c/a\u003e.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Traduction libre, Octavio Paz, \u003cem\u003eA Draft of Shadows, and Other Poems\u003c/em\u003e, A New Direction Books, New York, 1972, p.\u0026nbsp;161\u003c/p\u003e\r\n\u003c/div\u003e\r\n\r\n\u003cdiv id=\"ftn2\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref2\" name=\"_ftn2\" title=\"\"\u003e[2]\u003c/a\u003e Clair Van Damme, \u003cem\u003eJan Cox\u003c/em\u003e, Snoeck-Ducaju \u0026amp; zoon, Gemeentekrediet, 1996, p.\u0026nbsp;80\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":21214,"title":"Het volk jubelt","dimensions":"49 x 60 cm","date_begin":"1973-01-01","material":"","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":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Jan Cox Paiting","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK002031","stream_count_app":18,"permalink":"het-volk-jubelt","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/000/044/806/medium_500/BK002031.jpg?1557476050","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/806/large/BK002031.jpg?1557476050","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community","translations":[{"locale":"en","description":"\u003cp\u003eJust as in \u003cem\u003eOh! Those Voices, Boston, 1972\u003c/em\u003e, with \u003cem\u003eHet volk jubelt \u003c/em\u003e[The People Rejoice]\u0026nbsp;Cox attempts to capture daily experiences through flashes of memories and feelings.\u0026nbsp;Cox often combines experiences with Biblical stories and ancient myths, whereby they surpass the anecdotal and the purely subjective.\u0026nbsp;These are obsessional themes, where drink-induced visions alternate with manifestations of death and doom.\u0026nbsp;The etching \u003cem\u003eHet volk jubelt\u003c/em\u003e\u0026nbsp;[The People Rejoice]\u0026nbsp;is part of a series devoted to the story of Judith and Holofernes, a tragic tale about love and death where, just as with Orpheus and Eurydice, just as with the \u003cem\u003eIliad\u003c/em\u003e, woman is cause of conflict and calamity.\u0026nbsp;Using this Biblical story, Cox evokes his relational problems with the opposite sex, while at the same time de-subjectivizing the theme.\u0026nbsp;Beneath the mythic soil bubbles Cox\u0026#39;s own narrative: \u003cem\u003e\u0026quot;The basic idea here [of Judith and Holofernes] is that every woman has the potential to be a Judith.\u0026nbsp;Here I don\u0026#39;t mean anything negative.\u0026nbsp;I\u0026#39;m just basing myself on my own experience and what I\u0026#39;ve seen around me.\u0026nbsp;The woman that can seduce, can also kill.\u0026quot;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eNet zoals in \u003cem\u003eOh! Those Voices, Boston, 1972\u003c/em\u003e tracht Cox in \u003cem\u003eHet volk jubelt \u003c/em\u003ede dagelijkse ervaring en omgeving te vatten door flitsen van herinneringen en gevoelens weer te geven. Vaak verbindt Cox zijn ervaringen met Bijbelse verhalen en mythen uit de oudheid, waardoor zij de anekdotiek van het louter subjectieve overstijgen. Het zijn obsessionele thema\u0026rsquo;s, waarin visioenen door drankmisbruik afwisselen met visioenen over dood en ondergang. De ets \u003cem\u003eHet volk jubelt\u003c/em\u003e maakt deel uit van een reeks etsen gewijd aan de geschiedenis van Judith en Holofernes, een tragisch verhaal over liefde en dood waarin, net zoals bij Orpheus en Eurydice, net als in de \u003cem\u003eIllias\u003c/em\u003e, de vrouw de oorzaak is van conflict en rampspoed. Aan de hand van dit Bijbelse verhaal evoceert Cox zijn relatieproblemen met de vrouw en desubjectiveerd het hiermee tegelijk. Onder de mythische bodem borrelt Cox\u0026rsquo; eigen verhaal: \u003cem\u003e\u0026ldquo;de grondidee ervan [van Judith en Holofernes] is dat elke vrouw potentieel een Judith kan zijn. Ik bedoel daarmee niets negatiefs maar steun alleen op mijn eigen ervaring en op wat ik bij anderen heb gezien. De vrouw kan de man die ze verleidt ook doden.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans \u003cem\u003eHet volk jubelt, Boston, 1973\u003c/em\u003e, tout comme dans \u003cem\u003eOh\u0026nbsp;! \u003c/em\u003e\u003cem\u003eThose Voices, Boston, 1972\u003c/em\u003e, Cox tente de comprendre l\u0026rsquo;exp\u0026eacute;rience et l\u0026rsquo;environnement quotidien en reproduisant des flashs de souvenirs et de sentiments. Souvent, Cox associe ses exp\u0026eacute;riences \u0026agrave; des r\u0026eacute;cits bibliques et des mythes antiques, transcendant de la sorte leur caract\u0026egrave;re anecdotique et purement subjectif. Il s\u0026rsquo;agit de th\u0026egrave;mes obsessionnels dans lesquels les visions caus\u0026eacute;es par l\u0026rsquo;abus d\u0026rsquo;alcool alternent avec des visions de mort et de d\u0026eacute;clin. L\u0026rsquo;eau-forte \u003cem\u003eHet volk jubelt\u003c/em\u003e fait partie d\u0026rsquo;une s\u0026eacute;rie de gravures d\u0026eacute;di\u0026eacute;e \u0026agrave; l\u0026rsquo;histoire de Judith et Holopherne, un r\u0026eacute;cit tragique sur l\u0026rsquo;amour et la mort dans lequel, tout comme dans Orph\u0026eacute;e et Eurydice et dans l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, la femme est la cause de conflit et de catastrophe. \u0026Agrave; la faveur de ce r\u0026eacute;cit biblique, Cox \u0026eacute;voque ses probl\u0026egrave;mes relationnels avec la femme et les \u0026laquo;\u0026nbsp;d\u0026eacute;subjective\u0026nbsp;\u0026raquo; \u0026agrave; la fois. Sous le fondement mythique bouillonne la propre histoire de Cox\u0026nbsp;: \u0026laquo;\u0026nbsp;L\u0026rsquo;id\u0026eacute;e de base (de Judith et Holopherne) est que chaque femme peut potentiellement \u0026ecirc;tre une Judith. Je ne veux rien dire de n\u0026eacute;gatif par l\u0026agrave;, je m\u0026rsquo;appuie seulement sur ma propre exp\u0026eacute;rience et sur ce que j\u0026rsquo;ai vu chez les autres. La femme peut aussi tuer l\u0026rsquo;homme qu\u0026rsquo;elle s\u0026eacute;duit.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n"}]},{"id":21212,"title":"Het hoofd wordt in de zak gedaan","dimensions":"48 x 30 cm","date_begin":"1973-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Jan Cox Paiting","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK002029","stream_count_app":16,"permalink":"het-hoofd-wordt-in-de-zak-gedaan","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/000/044/808/medium_500/Cox_foto_M_HKAcc_9.jpg?1558442314","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/808/large/Cox_foto_M_HKAcc_9.jpg?1558442314","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Ik ben trouwens later nog teruggekomen op die geschiedenis van Judith en Holofernes. Ik spring met die dingen vrij om: ik lees de geschiedenis, tracht ze te begrijpen en geef er een persoonlijke interpretatie aan. Het is een beetje een verhaal \u0026agrave; la Samson en Dalila. Er wordt verteld dat de stad Bethuli\u0026euml; werd belegerd en gedwongen zou worden zich over te geven, omdat de belegeraar de watertoevoer had afgesneden. De weduwe Judith begeeft zich dan, op haar mooist getooid, naar het legerkamp van de vijand: ze wekt in Holofernes, de generaal, een heftige passie, verleidt hem en als ze ziet dat hij dronken is, slaat ze hem het hoofd af en brengt deze trofee triomfantelijk naar haar volk. De joden die zich door het voorval gesterkt voelden, deden een uitval en dreven de vijand op de vlucht\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e J.Florquin, \u0026ldquo;Jan Cox, 1976\u0026rdquo;, in\u0026nbsp;: \u003cem\u003eTen huize van\u0026hellip;\u003c/em\u003e, n\u0026deg;\u0026nbsp;17, Davidsfonds, Louvain, 1981, pp.\u0026nbsp;117-155\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Je suis d\u0026rsquo;ailleurs revenu par la suite sur l\u0026rsquo;histoire de Judith et Holopherne. J\u0026rsquo;aborde ces sujets tr\u0026egrave;s librement\u0026nbsp;: je lis l\u0026rsquo;histoire, tente de la comprendre et en donne une interpr\u0026eacute;tation personnelle. C\u0026rsquo;est un peu une histoire \u0026agrave; la Samson et Dalila. On y raconte que la ville de B\u0026eacute;thulie a \u0026eacute;t\u0026eacute; assi\u0026eacute;g\u0026eacute;e et forc\u0026eacute;e \u0026agrave; se rendre parce que l\u0026rsquo;assi\u0026eacute;geant a coup\u0026eacute; l\u0026rsquo;approvisionnement en eau. C\u0026rsquo;est alors que la veuve Judith, par\u0026eacute;e de ses plus beaux atours, se rend dans le campement de l\u0026rsquo;ennemi\u0026nbsp;: elle suscite chez le g\u0026eacute;n\u0026eacute;ral Holopherne une passion intense, le s\u0026eacute;duit et lorsqu\u0026rsquo;elle voit qu\u0026rsquo;il est saoul, elle le d\u0026eacute;capite et rapporte victorieusement ce troph\u0026eacute;e \u0026agrave; son peuple. Renforc\u0026eacute;s par l\u0026rsquo;\u0026eacute;v\u0026eacute;nement, les juifs r\u0026eacute;alisent une perc\u0026eacute;e et contraignent l\u0026rsquo;ennemi \u0026agrave; la fuite\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e J.Florquin, \u0026ldquo;Jan Cox, 1976\u0026rdquo;, in\u0026nbsp;: \u003cem\u003eTen huize van\u0026hellip;\u003c/em\u003e, n\u0026deg;\u0026nbsp;17, Davidsfonds, Louvain, 1981, pp.\u0026nbsp;117-155\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":21384,"title":"Cowboys Arizona","dimensions":"","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Adriaan Raemdonck","cached_tag_list":"Jan Cox, Paiting","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"cowboys-arizona","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/218/medium_500/Cox_foto_M_HKAcc_18.jpg?1558513822","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/218/large/Cox_foto_M_HKAcc_18.jpg?1558513822","poster_credits":"Collection Adriaan Raemdonck, image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFollowing his travels through the United States, Cox created a series of works that became a diary of his experiences in Arizona and New Mexico. \u003cem\u003eCowboys Arizona\u003c/em\u003e is one of the paintings in that series.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eNa zijn rondreis door de Verenigde Staten maakt Cox een reeks werken die een dagboek vormen van zijn ervaringen in Arizona en New Mexico. \u003cem\u003eCowboys Arizona\u003c/em\u003e is een van de schilderijen uit die reeks.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":21385,"title":"Zelfportret","dimensions":"","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Adriaan Raemdonck","cached_tag_list":"Jan Cox","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"zelfportret-c2408a6b-8dd1-4ded-9ef3-82d51bc96685","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/219/medium_500/Cox_foto_M_HKAcc_3.jpg?1558514185","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/219/large/Cox_foto_M_HKAcc_3.jpg?1558514185","poster_credits":"Collection Adriaan Raemdonck, image: (c) M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23552,"title":"Jan Cox - Wilfried Pas","dimensions":"29.7 x 21 cm, language : Dutch, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1985-01-01","material":"ink, paper","short_description":"\u003cp\u003eEditor : Glenn van Looy.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen 19.04-19.05.1985.\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 2030/341","stream_count_app":8,"permalink":"jan-cox-wilfried-pas","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/000/051/134/medium_500/20200205094948771_0001.jpg?1580892702","cached_actor_names":"Jan Cox, Wilfried Pas","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/134/large/20200205094948771_0001.jpg?1580892702","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":10272,"title":"Monostatos","dimensions":"300 x 270 mm","date_begin":"1976-01-01","material":"pencil, gouache, ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eFollowing the\u0026nbsp;\u003cem\u003eIliad\u003c/em\u003e-cycle, where Cox sets violence and thoughts of revenge as central motifs, in 1976 he begins a complimentary series inspired by Mozart\u0026#39;s \u0026#39;masonic\u0026#39; opera\u0026nbsp;\u003cem\u003eThe Magic Flute\u003c/em\u003e.\u0026nbsp; The adagio states\u0026nbsp;\u003cem\u003eSei standhaft, duldsam und verschwiegen\u003c/em\u003e, \u0026lsquo;be steadfast, forbearing and discrete\u0026#39;: to elevate man by having him long for love and freedom, encouraging him to human excellence and justice as weapons against the blind madness and violence that have brought unhappiness and misery to so-many generations.\u0026nbsp; For this project, however, Cox only made a few sketches and paintings:\u0026nbsp;\u003cem\u003eMonostatos, Papageno,\u003c/em\u003e\u0026nbsp;and\u0026nbsp;\u003cem\u003eSarastro\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eGiven Cox\u0026rsquo;s humanistic and herein contained dualistic vision of life, it is hardly surprising that he chooses the characters of Monostatos and Papageno as subjects.\u0026nbsp; These figures are each others mirror-image and have more in common than one might suspect.\u0026nbsp; First, each is a sort of\u0026nbsp;\u003cem\u003eeinzelg\u0026auml;nger\u0026nbsp;\u003c/em\u003e(loner)\u003cem\u003e,\u0026nbsp;\u003c/em\u003ewhom on the basis of outer appearance are outsiders in the world they find themselves in.\u0026nbsp; For that matter, the name Monostatos is derived from the Greek \u0026lsquo;mono-statos\u0026rsquo;, that may be taken to mean \u0026#39;the stand-aloner\u0026#39;, \u0026#39;the isolated one\u0026#39;.\u0026nbsp; In Mozart\u0026#39;s opera, the Moor Monostatos is traditionally represented as an evil villain completely given over to unbound libidinous impulses.\u0026nbsp; He is introduced as controller of the abducted beauty Pamina, whom he is beholden to protect, but - against any modicum of decency - covets to have his lustful way fulfilled.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn the other hand, Papageno \u0026ndash; who also symbolizes the animal in man, is a merry \u0026#39;natural man\u0026#39;, driven by primary instincts such as eating, drinking, sleeping and pursuing the opposite sex.\u0026nbsp; Papageno is as one with nature, living autonomously and in full harmony.\u0026nbsp; From this perspective, both figures stand for the carnal, less-developed side of man, mainly operating according to primal drives and not much given to reason.\u0026nbsp; And here, Monostatos embodies the rather dark and the destructive; Papageno, the vitality of life\u0026#39;s force. \u0026nbsp; \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn\u0026nbsp;\u003cem\u003eMonostatos\u003c/em\u003e, Cox evokes a threatening atmosphere with hellish coloring and an aggressive execution of line, while with\u0026nbsp;\u003cem\u003ePapageno\u0026nbsp;\u003c/em\u003ewe have the lyrical and the organic, a personage enveloped by the innocence and sympathy of a botanical flush.\u003c/p\u003e\r\n","date_end":null,"reference":"S0491_35","stream_count_app":31,"permalink":"monastatos--2","description_ru":"","description_de":"\u003cp\u003eNach dem Ilias-Zyklus, in dem Cox Gewalt und Rachegedanken als zentrale Motive setzt, beginnt er 1976 eine komplement\u0026auml;re Serie, die von Mozarts \u0026quot;freimaurerischer\u0026quot; Oper Die Zauberfl\u0026ouml;te inspiriert ist. Im Adagio hei\u0026szlig;t es: \u0026quot;Sei standhaft, duldsam und verschwiegen\u0026quot; den Menschen zu erheben, indem er sich nach Liebe und Freiheit sehnt, und ihn zu menschlicher Vortrefflichkeit und Gerechtigkeit zu ermutigen, als Waffen gegen den blinden Wahnsinn und die Gewalt, die Ungl\u0026uuml;ck und Elend \u0026uuml;ber viele Generationen gebracht haben. F\u0026uuml;r dieses Projekt fertigte Cox nur einige Skizzen und Gem\u0026auml;lde an, die nach den Figuren der Oper betitelt sind: Monostatos, Papageno und Sarastro. Der Name Monostatos leitet sich vom griechischen \u0026quot;mono-statos\u0026quot; ab, was so viel wie \u0026quot;der Alleinstehende\u0026quot; oder \u0026quot;der Isolierte\u0026quot; bedeutet. Der Mohr Monostatos verk\u0026ouml;rpert das Dunkle und Zerst\u0026ouml;rerische und wird in Mozarts Oper traditionell als B\u0026ouml;sewicht dargestellt, der seinen unb\u0026auml;ndigen libidin\u0026ouml;sen Impulsen v\u0026ouml;llig ausgeliefert ist. In Monostatos evoziert Cox eine bedrohliche Atmosph\u0026auml;re mit h\u0026ouml;llischem Kolorit und aggressiver Ausf\u0026uuml;hrung der Linien.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u003cstrong\u003eЯн Кокс,\u0026nbsp;\u003c/strong\u003e\u0026laquo;\u003cstrong\u003eМоностатос\u003c/strong\u003e\u0026raquo;\u003cstrong\u003e, 1976\u003c/strong\u003e\u003cbr /\u003e\r\nМалюнок\u003cbr /\u003e\r\nолівець, гуаш, туш на папері\u003cbr /\u003e\r\nНадано Музеєм сучасного мистецтва в Антверпені\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eСлідом за циклом \u0026laquo;Іліада\u0026raquo;, де центральними мотивами стають насильство та думки про помсту, у 1976 році Кокс починає доповнюючу серію, натхненну \u0026laquo;масонською\u0026raquo; оперою Моцарта \u0026laquo;Чарівна флейта\u0026raquo;. В адажіо йдеться: \u0026laquo;Sei standhaft, duldsam und verschwiegen\u0026raquo; (\u0026laquo;будь непохитним, терплячим і розсудливим\u0026raquo;): щоб піднести людину, змусивши її прагнути любові і свободи, заохочуючи її до людської досконалості і справедливості як зброї проти сліпого безумства та насильства, які принесли нещастя та страждання багатьом поколінням. Для цього проєкту Кокс зробив лише кілька ескізів та малюнків, названих іменами героїв опери: \u0026laquo;Моностатос\u0026raquo;, \u0026laquo;Папагено\u0026raquo; та \u0026laquo;Зарастро\u0026raquo;. Ім\u0026rsquo;я Моностатос походить від грецького \u0026laquo;mono-statos\u0026raquo;, що означає \u0026laquo;відокремлений\u0026raquo; або \u0026laquo;ізольований\u0026raquo;. Втілюючи темне й руйнівне в опері Моцарта мавр Моностатос традиційно зображується як лиходій, повністю відданий своїм розкутим лібідним поривам. У роботі \u0026laquo;Моностатос\u0026raquo; Кокс створює загрозливу атмосферу завдяки пекельному забарвленню та агресивному виконанню ліній.\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/022/457/large/Cox_Jan_ZT_sd_photo_M_HKA37.jpg?1397832473","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eFollowing the Iliad-cycle, where Cox sets violence and thoughts of revenge as central motifs, \u0026nbsp;he begins a complimentary series inspired by Mozart\u0026#39;s \u0026#39;masonic\u0026#39; opera The Magic Flute in 1976. The adagio states, \u0026quot;Sei standhaft, duldsam und verschwiegen (\u0026lsquo;be steadfast, forbearing and discrete\u0026#39;)\u0026quot; \u0026nbsp;to elevate man by having him long for love and freedom, encouraging him to use human excellence and justice as weapons against the blind madness and violence that have brought unhappiness and misery to many generations. For this project, Cox only made a few sketches and paintings titled after the characters of the opera: Monostatos, Papageno, and Sarastro. The name Monostatos is derived from the Greek \u0026lsquo;mono-statos\u0026rsquo;, meaning \u0026lsquo;standing alone\u0026rsquo;, or \u0026lsquo;the isolated one\u0026rsquo;. Embodying the dark and destructive, in Mozart\u0026#39;s opera, the Moor Monostatos is traditionally represented as a villain completely given over to his unbound libidinous impulses. In Monostatos, Cox evokes a threatening atmosphere with hellish colouring and an aggressive execution of lines.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eNa de \u003cem\u003eIlias\u003c/em\u003e-cyclus, waarin Cox het kwade, het gewelddadige en de wraakgedachte centraal stelde, start hij in 1976 een complementaire reeks schilderijen waarvoor hij inspiratie vond in Mozarts ma\u0026ccedil;onnieke opera \u003cem\u003eDe Toverfluit\u003c/em\u003e. Het adagium hier luidt \u003cem\u003eSei standhaft, duldsam und verschwiegen\u003c/em\u003e, wees standvastig, verdraagzaam en discreet: de mens verheffen door hem te doen verlangen naar liefde en vrijheid, hem aansporend tot menselijke voortreffelijkheid en gerechtigheid als wapens tegenover de blinde waanzin en gewelddadigheid die vele generaties ongeluk en ellende heeft gebracht. Cox zou hiervoor echter slechts enkele schetsen en schilderijen ontwerpen: \u003cem\u003eMonastatos, Papageno,\u003c/em\u003e en \u003cem\u003eSarastro\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eGezien Cox\u0026rsquo; humanistische en daarin vervatte dualistische levensvisie, is het niet verwonderlijk dat hij de personages Monastatos en Papageno tot onderwerp kiest. Deze figuren zijn elkaars gespiegelde en hebben meer gemeen dan men zou vermoeden. Vooreerst zijn ze elk een soort \u003cem\u003eeinzelganger, \u003c/em\u003edie op basis van uiterlijke kenmerken buitenstaanders zijn in de werelden waartoe ze behoren. Immers is Monastatos afgeleid van het Griekse \u0026lsquo;mono-statos\u0026rsquo;, wat zoveel betekent als \u0026lsquo;de alleenstaande\u0026rsquo;, de \u0026lsquo;ge\u0026iuml;soleerde\u0026rsquo;. In de opera van Mozart wordt de zwarte Moor Monastatos traditioneel voorgesteld als een boosaardige schurk, een bruut die totaal overgeleverd is aan onbeteugelde libidineuze driften. Hij wordt ge\u0026iuml;ntroduceerd als de belager van de geschaakte en wonderschone Pamina, die hij geacht wordt te bewaken, maar \u0026ndash; tegen elk maatschappelijk fatsoen in \u0026ndash; waagt te begeren en aanrandt.\u003c/p\u003e\r\n\r\n\u003cp\u003ePapageno daarentegen \u0026ndash; die ook het dierlijke in de mens symboliseert, is een vrolijk natuurmens gedreven door primaire instincten zoals eten, drinken, slapen en het zoeken naar een wijfje. Papageno is dan ook \u0026eacute;\u0026eacute;n met de natuur en leeft autonoom in volledige harmonie. In dit opzicht staan beide figuren voor de zinnelijke, minder ontwikkelde kant van de mens die vooral vanuit primaire driften en niet vanuit de ratio handelt. Daarbij belichaamt Monastatos het eerder donkere, destructieve, en Papageno het levenskrachtige.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn het schilderij \u003cem\u003eMonastatos\u003c/em\u003e en in de voorbereidende schets evoceert Cox een dreigende sfeer met een hels coloriet en een agressieve lijnvoering, terwijl in \u003cem\u003ePapageno \u003c/em\u003emeer het lyrische en het organische appelleert, gehuld in de onschuld en sympathie van een vegetale wereld.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eApr\u0026egrave;s le cycle de l\u0026rsquo;\u003ci\u003eIliade\u003c/i\u003e, au centre duquel Cox place le mal, la violence et la notion de vengeance, il entame en 1976 une s\u0026eacute;rie de tableaux compl\u0026eacute;mentaires inspir\u0026eacute;s de l\u0026rsquo;op\u0026eacute;ra ma\u0026ccedil;onnique de Mozart, \u003ci\u003eLa fl\u0026ucirc;te enchant\u0026eacute;e\u003c/i\u003e. L\u0026rsquo;adage dit ici \u003ci\u003eSei standhaft, duldsam und verschwiegen\u003c/i\u003e [soit constant, patient et discret]\u0026nbsp;: \u0026eacute;lever l\u0026rsquo;\u0026ecirc;tre humain en lui faisant d\u0026eacute;sirer l\u0026rsquo;amour et la libert\u0026eacute;, en l\u0026rsquo;incitant \u0026agrave; l\u0026rsquo;excellence humaine et \u0026agrave; la justice comme arme face \u0026agrave; la folie et la violence aveugle qui n\u0026rsquo;ont apport\u0026eacute; que malheur et mis\u0026egrave;re \u0026agrave; de nombreuses g\u0026eacute;n\u0026eacute;rations. Mais pour ce projet, Cox ne parviendra qu\u0026rsquo;\u0026agrave; r\u0026eacute;aliser quelques croquis et tableaux\u0026nbsp;: \u003ci\u003eMonastatos, Papageno,\u003c/i\u003e et \u003ci\u003eSarastro\u003c/i\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eEu \u0026eacute;gard \u0026agrave; la conception de vie humaniste et intrins\u0026egrave;quement dualiste de Cox, il n\u0026rsquo;est pas surprenant qu\u0026rsquo;il choisisse comme sujet les personnages de Monastatos et de Papageno. Ces personnages sont les images miroirs l\u0026rsquo;un de l\u0026rsquo;autre et ont plus en commun qu\u0026rsquo;on ne pourrait le croire. Tout d\u0026rsquo;abord, ils sont tous deux des solitaires et per\u0026ccedil;us comme des \u0026eacute;trangers dans leurs mondes respectifs, uniquement sur base de signes ext\u0026eacute;rieurs. Monastatos est d\u0026eacute;riv\u0026eacute; du grec \u003ci\u003emono-statos\u003c/i\u003e, ce qui \u0026eacute;quivaut \u0026agrave; \u0026laquo;\u0026nbsp;solitaire\u0026nbsp;\u0026raquo;, \u0026laquo;\u0026nbsp;isol\u0026eacute;\u0026nbsp;\u0026raquo;. Dans l\u0026rsquo;op\u0026eacute;ra de Mozart, le Maure Monastatos est traditionnellement repr\u0026eacute;sent\u0026eacute; comme un bandit malfaisant, une brute qui s\u0026rsquo;abandonne enti\u0026egrave;rement \u0026agrave; ses pulsions libidineuses et comme l\u0026rsquo;assaillant de la merveilleuse Pamina qu\u0026rsquo;il est tenu de surveiller apr\u0026egrave;s son enl\u0026egrave;vement, mais qu\u0026rsquo;il ose, contre toute d\u0026eacute;cence sociale, convoiter et agresser.\u003c/p\u003e\r\n\r\n\u003cp\u003ePapageno en revanche \u0026ndash; qui symbolise aussi l\u0026rsquo;animalit\u0026eacute; dans l\u0026rsquo;\u0026ecirc;tre humain \u0026ndash; est un homme proche de la nature, joyeux, port\u0026eacute; par des instincts primaires comme manger, boire, dormir et chercher une partenaire. Papageno se fond dans la nature, avec laquelle il vit en parfaite harmonie et de mani\u0026egrave;re autonome. \u0026Agrave; cet \u0026eacute;gard, les deux personnages incarnent l\u0026rsquo;aspect plus charnel que spirituel de l\u0026rsquo;\u0026ecirc;tre humain. Ils agissent surtout sous l\u0026rsquo;impulsion d\u0026rsquo;instincts primaires et non pas selon la raison. Si Monastatos incarne plut\u0026ocirc;t les t\u0026eacute;n\u0026egrave;bres et la force destructrice, Papageno repr\u0026eacute;sente la vitalit\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eAussi bien dans le tableau \u003ci\u003eMonastatos\u003c/i\u003e que dans l\u0026rsquo;esquisse pr\u0026eacute;paratoire, Cox \u0026eacute;voque une atmosph\u0026egrave;re mena\u0026ccedil;ante \u0026agrave; travers un coloris d\u0026rsquo;enfer et un lin\u0026eacute;ament agressif, alors que \u003ci\u003ePapageno\u003c/i\u003e \u0026eacute;voque plut\u0026ocirc;t le lyrisme et le caract\u0026egrave;re organique, envelopp\u0026eacute; de l\u0026rsquo;innocence et de la sympathie d\u0026rsquo;un \u0026eacute;lan botanique.\u003c/p\u003e\r\n"}]},{"id":33718,"title":"Plaats voor nieuwe","dimensions":"270 x 126 cm","date_begin":"1975-01-01","material":"acrylic on canvas ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie De Zwarte Panter, Antwerpen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":27,"permalink":"plaats-voor-nieuwe","description_ru":"","description_de":"\u003cp dir=\"ltr\"\u003e\u0026quot; Es hat drei\u0026szlig;ig Jahre gedauert, bis ich das Grauen und die Verzweiflung, die ich im Krieg erlebt und erlitten habe, visuell ausdr\u0026uuml;cken konnte.\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cb\u003e\u0026ldquo;\u003c/b\u003eDieses Gem\u0026auml;lde it die w\u0026ouml;rtliche Aufzeichnung eines Traumes den ich in 1955 in Rom hatte. Die Diskussionen des Tages warn iber den vergangenen Krieg und \u0026uuml;ber die Angst vor cinem Neuen gegangen.\u003cbr /\u003e\r\nIch tr\u0026auml;umte von einer Art Zeichentrickfilm. Ich sah das Totenfeld mit den endlosen Kreuzchen der Gefallenen und eine Anzahl 1.000.000.\u0026hellip;. mit Nullen ohne Ende. Zwei b\u0026ouml;sartige M\u0026auml;nchen machen aus den Nullen Kegelballen und kegeln alle Kreuzchen um. Dann ist wieder Platz f\u0026uuml;r Neue (was in gricchisch vermerkt ist) und der Totentanz kann auf\u0026#39;s Neue beginnen.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp dir=\"ltr\" style=\"text-align: right;\"\u003eJan Cox, 1975\u003cbr /\u003e\r\n\u0026nbsp;\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/000/088/222/medium_500/20141112_0017.jpg?1666620993","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u003cstrong\u003eЯн Кокс,\u0026nbsp;\u003c/strong\u003e\u0026laquo;\u003cstrong\u003eМіcце для нових\u003c/strong\u003e\u0026raquo;\u003cstrong\u003e, 1975\u003c/strong\u003e\u003cbr /\u003e\r\nАкрил на полотні, 270 х 126\u003cbr /\u003e\r\nНадано галереєю De Zwarte Panter, Антверпен\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;Ця картина є буквальним відображенням сну, який мені наснився в Римі у 1955 році. Того дня обговорювалася остання війна та страх перед новою. Мені наснилося щось на кшталт стрип мультфільму. Я бачив кладовище з нескінченними хрестами вбитих та числом 1 000 000... із нескінченними нулями. Двоє маленьких злобних чоловічків ліпили кулі для гри в кеглі з нулів та збивали всі хрести, \u0026mdash; щоб звільнити місце для нових (що написано на картині грецькою мовою), тоді танець смерті зможе розпочатися знову\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003eЯн Кокс, 1975 рік\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/222/large/20141112_0017.jpg?1666620993","poster_credits":"© Jan Cox. Courtesy Verzameing, De Zwarte Panter Antwerpen","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;This painting is a literal rendering of a dream I had in Rome in 1955. The discussion that day was about the last war and the fear of a new one. I dreamt a kind of strip cartoon.\u003cbr /\u003e\r\nI saw the cemetery with endless crosses of the slain and a number 1,000,000\u0026hellip;. with endless zeros. Two small malicious men were making skittle-balls of the zeros and bowling all the crosses down. Then there is room for new ones (which is written on the picture in Greek) and the dance of the death can start afresh.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003eJan Cox, 1975\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;...Dit schilderij is de letterlijke optekening van en droom die ik had in Rome in I955. De discussie van de dag was gegaan over de voorbije oorlog en de vrees voor een nieuwe. Ik droomde een soort stripverhaal. Ik zag het dodenveld met de eindeloze kruisjes van de gesneuvelden en getal 1.000.000... met nullen zonder einde. Twee kwaadaardige mannetjes maken van de nullen, kegelballen en kegelen al de kruisjes om. Dan is er plaats voor nieuwe (hetgeen er in het grieks op geschreven staat) en de dodendans kan opnieuw beginnen...\u0026quot; (Jan Cox)\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9522,"title":"Nieuwjaarskaart","dimensions":"23,5 x 19,5 cm (framed: 39 x 38,5 cm)","date_begin":"1957-01-01","material":"woodcut and ink on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp - Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_17","stream_count_app":31,"permalink":"happy-new-year","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/632/medium_500/Cox_Jan_ZT_sd_photo_M_HKA43.jpg?1392208331","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/632/large/Cox_Jan_ZT_sd_photo_M_HKA43.jpg?1392208331","poster_credits":"© Jan Cox/SABAM Belgium — image:M HKA","translations":[{"locale":"en","description":"\u003cp\u003eCox’s work is characterised by carefully constructed compositions with a magical, surreal atmosphere, gestural energy, and a vivid colour palette echoing the Cobra artists, with recurring references to violence, cruelty, and vulnerability. In his final works, he increasingly confronts the horror humans inflict upon one another — an obsession rooted in his experiences in the lead-up to the Second World War. \u003ca href=\"https://ensembles.org/items/papageno?locale=en\"\u003e\u003ci\u003ePapageno\u003c/i\u003e\u003c/a\u003e symbolises the animal side of human nature, living autonomously in harmony with the natural world — representing the sensual, instinct-driven side of humanity over reason.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eJan Cox’ werk wordt gekenmerkt door zorgvuldige composities met een magische, surreële sfeer, gestuele energie en een uitgesproken kleurenpalet dat refereert aan de Cobra kunstenaars, met terugkerende verwijzingen naar geweld, wreedheid en kwetsbaarheid. In zijn laatste werken zoekt hij steeds nadrukkelijker naar een eigen omgang met de gruwel die mensen elkaar aandoen — een obsessie geworteld in zijn ervaringen in de aanloop naar de Tweede Wereldoorlog. \u003ca href=\"https://ensembles.org/items/papageno?locale=nl\"\u003e\u003ci\u003ePapageno\u003c/i\u003e\u003c/a\u003e symboliseert het dierlijke in de mens en leeft autonoom in harmonie met de natuur — de zinnelijke, instinctgedreven kant van de mens tegenover de ratio.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL'œuvre de Jan Cox se caractérise par des compositions soignées empreintes d'une atmosphère magique et surréaliste, d'une énergie gestuelle et d'une palette de couleurs affirmée qui renvoie aux artistes du mouvement Cobra, avec des références récurrentes à la violence, à la cruauté et à la vulnérabilité. Dans ses dernières œuvres, il cherche de plus en plus à trouver sa propre manière d’aborder les horreurs que les hommes s’infligent les uns aux autres — une obsession ancrée dans ses expériences à l’aube de la Seconde Guerre mondiale. \u003ca href=\"https://ensembles.org/items/papageno?locale=fr\"\u003e\u003ci\u003ePapageno\u003c/i\u003e\u003c/a\u003e symbolise la part animale de l’homme et vit de manière autonome en harmonie avec la nature — le côté sensuel et instinctif de l’homme face à la raison.\u003c/p\u003e"}]},{"id":9539,"title":"Papageno","dimensions":"16 x 9,5 cm (framed: 39 x 38,5 cm)","date_begin":"1976-01-01","material":"lino print, ink on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp - Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_32","stream_count_app":71,"permalink":"papageno","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003eNach dem Iliad-Zyklus, in dem Cox das Böse, Gewalttätige und die Rachegedanken in den Mittelpunkt stellt, beginnt er im Jahr 1976 mit einer komplementären Reihe, die von Mozarts ‘freimaurerischer’ Oper die Zauberflöte inspiriert ist. Der Sinnspruch lautet: Sei standhaft, duldsam und verschwiegen: den Menschen erheben, indem man ihn nach Liebe und Freiheit verlangen lässt, ihn ermutigt zu menschlicher Vorzüglichkeit und Gerechtigkeit als Waffe gegen den blinden Wahnsinn und die Gewalt, die vielen Generationen Unglück und Elend gebracht hat.\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eFür dieses Projekt hat Cox nur wenige Skizzen und Gemälde entworfen: Monastatos, Papageno, und Sarastro. Angesichts Given Cox’ Humanismus und der darin enthaltenen dualistischen Lebensvorstellung ist es nicht verwunderlich, dass er die Persönlichkeiten Monastatos und Papageno als Thema wählte. Diese Figuren sind Spiegelbilder von einander und weisen mehr Gemeinsamkeiten auf, als man vermuten würde. Zum einen sind sie beide eine Art Einzelgänger, die auf der Grundlage von äußeren Merkmalen Außenseiter in der Welt sind, zu der sie gehören. Schließlich stammt der Name Monastatos vom Griechischen „mono-statos“, was so viel bedeutet wie „der Alleinstehende“, „der Isolierte“. In der Oper von Mozart wird der schwarze Maure traditionell als ein böser Schurke dargestellt, der seinen triebhaften Impulsen vollkommen erlegen ist. Er wird als Aufseher der entführten und wunderschönen Pamina vorgestellt, die er bewachen soll, jedoch -\u0026nbsp;\u0026nbsp;entgegen jedem Anstand – begehrt und bedrängt.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003ePapageno hingegen – der auch das Tierische im Menschen symbolisiert, ist ein fröhlicher Naturmensch, der von primären Instinkten wie Essen, Trinken, Schlafen und die Suche nach einer Frau getrieben ist. Papageno ist eins mit der Natur und lebt autonom und in völliger Harmonie. Vor diesem Hintergrund stehen beide Figuren für die sinnliche, weniger entwickelte Seite des Menschen, der vor allem aus primären Trieben heraus handelt, und nicht aus rationalen Überlegungen. Dabei verkörpert Monastatos das eher Dunkle, Zerstörerische; Papageno die Lebenskraft. In dem Gemälde Monastatos und in der vorbereitenden Skizze ruft Cox eine drohende Atmosphäre mit einer höllischen Farbgebung und einer aggressiven Linienführung hervor, während in Papageno eher das Lyrische und das Organische vorherrscht, verhüllt in Unschuld und Sympathie einer vegetalen Welt.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/022/869/medium_500/Cox_Jan_ZT_sd_photo_M_HKA44.jpg?1399376236","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/022/869/large/Cox_Jan_ZT_sd_photo_M_HKA44.jpg?1399376236","poster_credits":"© Jan Cox/SABAM Belgium — image:M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eFollowing the Iliad-cycle, where Cox sets violence and thoughts of revenge as central motifs, in 1976 he begins a complimentary series inspired by Mozart’s ‘masonic’ opera \u003ci\u003eThe Magic Flute\u003c/i\u003e. The \u003ci\u003eadagio states Sei standhaft, duldsam und verschwiegen\u003c/i\u003e, ‘be steadfast, forbearing and discrete’: to elevate man by having him long for love and freedom, encouraging him to human excellence and justice as weapons against the blind madness and violence that have brought unhappiness and misery to so-many generations.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eFor this project, however, Cox only made a few sketches and paintings: \u003ci\u003eMonastatos\u003c/i\u003e, \u003ci\u003ePapageno\u003c/i\u003e, and \u003ci\u003eSarastro\u003c/i\u003e. Given Cox’s humanistic and herein contained dualistic vision of life, it is hardly surprising that he chooses the characters of Monastatos and Papageno as subjects. These figures are each others mirror-image and have more in common than one might suspect. First, each is a sort of \u003ci\u003eeinzelgänger \u003c/i\u003e(loner), whom on the basis of outer appearance are outsiders in the world they find themselves in. For that matter, the\u0026nbsp;name Monastatos is derived from the Greek ‘mono-statos’, that may be taken to mean ‘the stand-aloner’, ‘the isolated one’. In Mozart’s opera, the Moor Monastatos is traditionally represented as an evil villain completely given over to unbound libidinous impulses. He is introduced as controller of the abducted beauty Pamina, whom he is beholden to protect, but - against any modicum of decency - covets to have his lustful way fulfilled.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eOn the other hand, Papageno – who also symbolizes the animal in man, is a merry ‘natural man’, driven by primary instincts such as eating, drinking, sleeping and pursuing the opposite sex. Papageno is as one with nature, living autonomously and in full harmony. From this perspective, both figures stand for the carnal, less-developed side of man, mainly operating according to primal drives and not much given to reason. And here, Monastatos embodies the rather dark and the destructive; Papageno, the vitality of life’s force. In \u003ci\u003eMonastatos\u003c/i\u003e, Cox evokes a threatening atmosphere with hellish coloring and an aggressive execution of line, while with \u003ci\u003ePapageno\u003c/i\u003e we have the lyrical and the organic, a personage enveloped by the innocence and sympathy of a botanical flush.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eNa de\u0026nbsp;\u003ci\u003eIlias\u003c/i\u003e-cyclus, waarin Cox het kwade, het gewelddadige en de wraakgedachte centraal stelde, start hij in 1976 een complementaire reeks werken waarvoor hij inspiratie vond in Mozarts maçonnieke opera\u0026nbsp;\u003ci\u003eDe Toverfluit\u003c/i\u003e. Het adagium hier luidt\u0026nbsp;\u003ci\u003eSei standhaft, duldsam und verschwiegen\u003c/i\u003e, ‘wees standvastig, verdraagzaam en discreet’: de mens verheffen door hem te doen verlangen naar liefde en vrijheid, hem aansporen tot menselijke voortreffelijkheid en gerechtigheid als wapens tegenover de blinde waanzin en gewelddadigheid die vele generaties ongeluk en ellende heeft gebracht. Cox zou hiervoor echter slechts enkele schetsen en schilderijen ontwerpen:\u0026nbsp;\u003ci\u003eMonastatos, Papageno,\u003c/i\u003e\u0026nbsp;en\u0026nbsp;\u003ci\u003eSarastro\u003c/i\u003e.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eGezien Cox’ humanistische en daarin vervatte dualistische levensvisie, is het niet verwonderlijk dat hij de personages Monastatos en Papageno tot onderwerp kiest. Deze figuren zijn elkaars spiegelbeeld en hebben meer gemeen dan men zou vermoeden. Vooreerst zijn ze elk een soort\u0026nbsp;\u003ci\u003eeinzelgänger,\u0026nbsp;\u003c/i\u003edie op basis van uiterlijke kenmerken buitenstaanders zijn in de werelden waartoe ze behoren. Monastatos is immers afgeleid van het Griekse ‘mono-statos’, wat zoveel betekent als ‘de alleenstaande’, de ‘geïsoleerde’. In de opera van Mozart wordt de zwarte Moor Monastatos traditioneel voorgesteld als een boosaardige schurk, een bruut die totaal overgeleverd is aan onbeteugelde libidineuze driften. Hij wordt geïntroduceerd als de belager van de geschaakte en wonderschone Pamina, die hij geacht wordt te bewaken, maar – tegen elk maatschappelijk fatsoen in – waagt te begeren en aanrandt.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003ePapageno echter – die ook het dierlijke in de mens symboliseert, is een vrolijk natuurmens gedreven door primaire instincten zoals eten, drinken, slapen en het zoeken naar een wijfje. Papageno is dan ook één met de natuur en leeft autonoom in volledige harmonie. In dit opzicht staan beide figuren voor de zinnelijke, minder ontwikkelde kant van de mens die vooral vanuit primaire driften en niet vanuit de ratio handelt. Daarbij belichaamt Monastatos het eerder donkere, destructieve, en Papageno het levenskrachtige.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eIn\u0026nbsp;\u003ci\u003eMonastatos\u003c/i\u003e\u0026nbsp;evoceert Cox een dreigende sfeer met een hels coloriet en een agressieve lijnvoering, terwijl hij met\u0026nbsp;\u003ci\u003ePapageno\u0026nbsp;\u003c/i\u003emeer het lyrische en het organische, gehuld in de onschuld en sympathie van een vegetale wereld aanbrengt.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eSuite au cycle de l'Iliade, où Cox accorde une place centrale à la violence et aux rêves de vengeance, en 1976 il commence une série élogieuse inspirée de l'opéra 'maçonnique' de Mozart, \u003ci\u003eLe Flûte Enchantée\u003c/i\u003e. L'adagio dit «\u0026nbsp;Sei standhaft, duldsam und verschwiegen\u0026nbsp;» ou «\u0026nbsp;sois loyal, patient et discret\u0026nbsp;» : élever l'homme en lui faisant désirer l'amour et la liberté, en l'encourageant à l'excellence humaine et à la justice en tant qu'armes contre la folie aveugles et la violence, qui ont amené la tristesse et la douleur à tant de générations. Toutefois, pour ce projet, Cox n'a réalisé que quelques esquisses et peintures : \u003ci\u003eMonastatos\u003c/i\u003e, \u003ci\u003ePapageno\u003c/i\u003e, et \u003ci\u003eSarastro\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eEtant donné la vision humaniste de Cox, qui sous-tend une vision dualiste de la vie, il n'est pas vraiment surprenant qu'ils choisisse les personnages de Monastatos et Papageno. Ces personnages sont chacun le miroir de l'autre et ils ont plus en commun qu'on ne pourrait le supposer. Tout d'abord, chacun est une sorte d'\u003ci\u003eEinzelgänger\u003c/i\u003e (solitaire) qui, sur la base de l'apparence physique, est un outsider dans le monde dans lequel il se trouve. C'est pourquoi le nom de Monastatos est dérivé du grec ‘mono-statos’, qui peut être traduit par 'le solitaire', 'l'isolé'. Dans l'opéra de Mozart, le Maure Monastatos est traditionnellement représenté comme un méchant qui s'adonne pleinement à ses pulsions libidineuses débridées. Il est présenté en tant que contrôleur de la beauté enlevée, Pamina, qu'il est censé protéger mais (contre toute notion de décence) qu'il convoite pour assouvir son désir.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eD'un autre côté, Papageno, qui symbolise également l'animal dans l'homme, est un simple 'homme naturel', guidé par des instincts primaires comme manger, boire, dormir et poursuivre le sexe\u0026nbsp;\u0026nbsp;opposé. Papageno ne fait qu'un avec la nature, il vit en autonomie et en parfaite harmonie. De ce point de vue, les deux personnages symbolisent le côté charnel, moins développé de l'homme, agissant principalement selon des instincts primaires et peu enclins à la raison. Et là, Monastatos représente l'aspect plutôt sombre et destructeur tandis que Papageno représente la vitalité de la force de vie. Avec \u003ci\u003eMonastatos\u003c/i\u003e, Cox évoque une atmosphère menaçante aux couleurs cauchemardesques et avec une exécution agressive de la ligne, tandis que \u003ci\u003ePapageno\u003c/i\u003e est un personnage lyrique et organique, nimbé d'innocence et de compassion d'un éclat botanique.\u003c/p\u003e"}]},{"id":9540,"title":"Studie voor ‘Papageno’","dimensions":"36 x 27 cm (framed: 56 x 42 x 3,5 cm)","date_begin":"1976-01-01","material":"colour pencil, ink, gouache on paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp - Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_34","stream_count_app":47,"permalink":"papageno--3","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003eNach dem Iliad-Zyklus, in dem Cox das Böse, Gewalttätige und die Rachegedanken in den Mittelpunkt stellt, beginnt er im Jahr 1976 mit einer komplementären Reihe, die von Mozarts ‘freimaurerischer’ Oper die Zauberflöte inspiriert ist. Der Sinnspruch lautet: Sei standhaft, duldsam und verschwiegen: den Menschen erheben, indem man ihn nach Liebe und Freiheit verlangen lässt, ihn ermutigt zu menschlicher Vorzüglichkeit und Gerechtigkeit als Waffe gegen den blinden Wahnsinn und die Gewalt, die vielen Generationen Unglück und Elend gebracht hat.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eFür dieses Projekt hat Cox nur wenige Skizzen und Gemälde entworfen: Monastatos, Papageno, und Sarastro. Angesichts Given Cox’ Humanismus und der darin enthaltenen dualistischen Lebensvorstellung ist es nicht verwunderlich, dass er die Persönlichkeiten Monastatos und Papageno als Thema wählte. Diese Figuren sind Spiegelbilder von einander und weisen mehr Gemeinsamkeiten auf, als man vermuten würde. Zum einen sind sie beide eine Art Einzelgänger, die auf der Grundlage von äußeren Merkmalen Außenseiter in der Welt sind, zu der sie gehören. Schließlich stammt der Name Monastatos vom Griechischen „mono-statos“, was so viel bedeutet wie „der Alleinstehende“, „der Isolierte“. In der Oper von Mozart wird der schwarze Maure traditionell als ein böser Schurke dargestellt, der seinen triebhaften Impulsen vollkommen erlegen ist. Er wird als Aufseher der entführten und wunderschönen Pamina vorgestellt, die er bewachen soll, jedoch -\u0026nbsp; entgegen jedem Anstand – begehrt und bedrängt.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003ePapageno hingegen – der auch das Tierische im Menschen symbolisiert, ist ein fröhlicher Naturmensch, der von primären Instinkten wie Essen, Trinken, Schlafen und die Suche nach einer Frau getrieben ist. Papageno ist eins mit der Natur und lebt autonom und in völliger Harmonie. Vor diesem Hintergrund stehen beide Figuren für die sinnliche, weniger entwickelte Seite des Menschen, der vor allem aus primären Trieben heraus handelt, und nicht aus rationalen Überlegungen. Dabei verkörpert Monastatos das eher Dunkle, Zerstörerische; Papageno die Lebenskraft. In dem Gemälde Monastatos und in der vorbereitenden Skizze ruft Cox eine drohende Atmosphäre mit einer höllischen Farbgebung und einer aggressiven Linienführung hervor, während in Papageno eher das Lyrische und das Organische vorherrscht, verhüllt in Unschuld und Sympathie einer vegetalen Welt.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/609/medium_500/Cox_Jan_ZT_sd_photo_M_HKA36.jpg?1392133256","cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/609/large/Cox_Jan_ZT_sd_photo_M_HKA36.jpg?1392133256","poster_credits":"© Jan Cox/SABAM Belgium — image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eFollowing the Iliad-cycle, where Cox sets violence and thoughts of revenge as central motifs, in 1976 he begins a complimentary series inspired by Mozart’s ‘masonic’ opera The Magic Flute. The adagio states Sei standhaft, duldsam und verschwiegen, ‘be steadfast, forbearing and discrete’: to elevate man by having him long for love and freedom, encouraging him to human excellence and justice as weapons against the blind madness and violence that have brought unhappiness and misery to so-many generations.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eFor this project, however, Cox only made a few sketches and paintings: Monastatos, Papageno, and Sarastro. Given Cox’s humanistic and herein contained dualistic vision of life, it is hardly surprising that he chooses the characters of Monastatos and Papageno as subjects. These figures are each others mirror-image and have more in common than one might suspect. First, each is a sort of einzelgänger (loner), whom on the basis of outer appearance are outsiders in the world they find themselves in. For that matter, the\u0026nbsp;name Monastatos is derived from the Greek ‘mono-statos’, that may be taken to mean ‘the stand-aloner’, ‘the isolated one’. In Mozart’s opera, the Moor Monastatos is traditionally represented as an evil villain completely given over to unbound libidinous impulses. He is introduced as controller of the abducted beauty Pamina, whom he is beholden to protect, but - against any modicum of decency - covets to have his lustful way fulfilled.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eOn the other hand, Papageno – who also symbolizes the animal in man, is a merry ‘natural man’, driven by primary instincts such as eating, drinking, sleeping and pursuing the opposite sex. Papageno is as one with nature, living autonomously and in full harmony. From this perspective, both figures stand for the carnal, less-developed side of man, mainly operating according to primal drives and not much given to reason. And here, Monastatos embodies the rather dark and the destructive; Papageno, the vitality of life’s force. In Monastatos, Cox evokes a threatening atmosphere with hellish coloring and an aggressive execution of line, while with Papageno we have the lyrical and the organic, a personage enveloped by the innocence and sympathy of a botanical flush.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eNa de\u0026nbsp;\u003ci\u003eIlias\u003c/i\u003e-cyclus, waarin Cox het kwade, het gewelddadige en de wraakgedachte centraal stelde, start hij in 1976 een complementaire reeks werken waarvoor hij inspiratie vond in Mozarts maçonnieke opera\u0026nbsp;\u003ci\u003eDe Toverfluit\u003c/i\u003e. Het adagium hier luidt\u0026nbsp;\u003ci\u003eSei standhaft, duldsam und verschwiegen\u003c/i\u003e, ‘wees standvastig, verdraagzaam en discreet’: de mens verheffen door hem te doen verlangen naar liefde en vrijheid, hem aansporen tot menselijke voortreffelijkheid en gerechtigheid als wapens tegenover de blinde waanzin en gewelddadigheid die vele generaties ongeluk en ellende heeft gebracht. Cox zou hiervoor echter slechts enkele schetsen en schilderijen ontwerpen:\u0026nbsp;\u003ci\u003eMonastatos, Papageno,\u003c/i\u003e\u0026nbsp;en\u0026nbsp;\u003ci\u003eSarastro\u003c/i\u003e.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eGezien Cox’ humanistische en daarin vervatte dualistische levensvisie, is het niet verwonderlijk dat hij de personages Monastatos en Papageno tot onderwerp kiest. Deze figuren zijn elkaars spiegelbeeld en hebben meer gemeen dan men zou vermoeden. Vooreerst zijn ze elk een soort\u0026nbsp;\u003ci\u003eeinzelgänger,\u0026nbsp;\u003c/i\u003edie op basis van uiterlijke kenmerken buitenstaanders zijn in de werelden waartoe ze behoren. Monastatos is immers afgeleid van het Griekse ‘mono-statos’, wat zoveel betekent als ‘de alleenstaande’, de ‘geïsoleerde’. In de opera van Mozart wordt de zwarte Moor Monastatos traditioneel voorgesteld als een boosaardige schurk, een bruut die totaal overgeleverd is aan onbeteugelde libidineuze driften. Hij wordt geïntroduceerd als de belager van de geschaakte en wonderschone Pamina, die hij geacht wordt te bewaken, maar – tegen elk maatschappelijk fatsoen in – waagt te begeren en aanrandt.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003ePapageno echter – die ook het dierlijke in de mens symboliseert, is een vrolijk natuurmens gedreven door primaire instincten zoals eten, drinken, slapen en het zoeken naar een wijfje. Papageno is dan ook één met de natuur en leeft autonoom in volledige harmonie. In dit opzicht staan beide figuren voor de zinnelijke, minder ontwikkelde kant van de mens die vooral vanuit primaire driften en niet vanuit de ratio handelt. Daarbij belichaamt Monastatos het eerder donkere, destructieve, en Papageno het levenskrachtige.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eIn\u0026nbsp;\u003ci\u003eMonastatos\u003c/i\u003e\u0026nbsp;evoceert Cox een dreigende sfeer met een hels coloriet en een agressieve lijnvoering, terwijl hij met\u0026nbsp;\u003ci\u003ePapageno\u0026nbsp;\u003c/i\u003emeer het lyrische en het organische, gehuld in de onschuld en sympathie van een vegetale wereld aanbrengt.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eSuite au cycle de l'Iliade, où Cox accorde une place centrale à la violence et aux rêves de vengeance, en 1976 il commence une série élogieuse inspirée de l'opéra 'maçonnique' de Mozart, Le Flûte Enchantée. L'adagio dit «\u0026nbsp;Sei standhaft, duldsam und verschwiegen\u0026nbsp;» ou «\u0026nbsp;sois loyal, patient et discret\u0026nbsp;» : élever l'homme en lui faisant désirer l'amour et la liberté, en l'encourageant à l'excellence humaine et à la justice en tant qu'armes contre la folie aveugles et la violence, qui ont amené la tristesse et la douleur à tant de générations. Toutefois, pour ce projet, Cox n'a réalisé que quelques esquisses et peintures : Monastatos, Papageno, et Sarastro.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eEtant donné la vision humaniste de Cox, qui sous-tend une vision dualiste de la vie, il n'est pas vraiment surprenant qu'ils choisisse les personnages de Monastatos et Papageno. Ces personnages sont chacun le miroir de l'autre et ils ont plus en commun qu'on ne pourrait le supposer. Tout d'abord, chacun est une sorte d'Einzelgänger (solitaire) qui, sur la base de l'apparence physique, est un outsider dans le monde dans lequel il se trouve. C'est pourquoi le nom de Monastatos est dérivé du grec ‘mono-statos’, qui peut être traduit par 'le solitaire', 'l'isolé'. Dans l'opéra de Mozart, le Maure Monastatos est traditionnellement représenté comme un méchant qui s'adonne pleinement à ses pulsions libidineuses débridées. Il est présenté en tant que contrôleur de la beauté enlevée, Pamina, qu'il est censé protéger mais (contre toute notion de décence) qu'il convoite pour assouvir son désir.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eD'un autre côté, Papageno, qui symbolise également l'animal dans l'homme, est un simple 'homme naturel', guidé par des instincts primaires comme manger, boire, dormir et poursuivre le sexe\u0026nbsp; opposé. Papageno ne fait qu'un avec la nature, il vit en autonomie et en parfaite harmonie. De ce point de vue, les deux personnages symbolisent le côté charnel, moins développé de l'homme, agissant principalement selon des instincts primaires et peu enclins à la raison. Et là, Monastatos représente l'aspect plutôt sombre et destructeur tandis que Papageno représente la vitalité de la force de vie. Avec Monastatos, Cox évoque une atmosphère menaçante aux couleurs cauchemardesques et avec une exécution agressive de la ligne, tandis que Papageno est un personnage lyrique et organique, nimbé d'innocence et de compassion d'un éclat botanique.\u003c/p\u003e"}]}]